7 5h C+7 (cont'd) proe rHrer — [RHVTEIM paoP TWO Stree. | ste 8h ai Gere, f 1234 123 ty tsn 29 fia yg oe 2 ea 5G san 23 2 raat 6 roo! & root Technically, C95 is 2 triad and not a don Os = ALL ARE DROP TWO & [RHYTHM] 63) 23 123 4 101 ous 5d 2 16h * 585m = C75 prom tHner [REYTHM) ror two ea De 123 sal 4 ST Ru oie at ES prow nines [RHYTHM] oRop Two “Tie De “ste @ ste ¢ Os {¢ . MMI 244 1324 a 429 360%, ah 2 ook oe 29 DROP THREE [RHYTHM] pop TWO Qe oe @pigr foe @ te Tile fee 3 142 3 1F 2314 pein ze in ze sth | “boat % foot bee Ton La 30 ead pat Al seventh chord, but it can be a substitution for C795, (THM) DROP TWO rvs Dylgyior D, oghae ‘ Opt 474! . 4 a2 una [3s 54 50 gh be ai bd im 72 3, DROP THREE [RHYTHM] DROP TWO BD Nepsfiowr @/TepPow @ e Fow ee ‘ . ee . Vie a Mi gitReference Chords—Diminished Group With diminished seventh chords, the symmetrical nature of the intervals (all minor thirds) means that any note in the chord can be considered the root. So, in actuality, amy" note can be any chord tone! Below, we are only locking at four fingerings total, but all four fingerings apply to four different roots, for a total of sixteen possible chords, €°7 DROP THREE vith meter oe 77 asin RHYTHM! bbe eR be s3ec yz oh 2908 J roa vain 2 wenn DROP THREE Sot a) 2131 vowed 9 > sb7th root DROP THREE Gg O,9 10 G3.@ eo? m1 p_sein?ag 87th sr vermin RHYTHM bg 19 2 Sh ool & DROP TWO, 2413 bth be gow 9 om prop Two ayieyi ae ave 24a g root H8b 8 sad mn ne DROP TWO eye bROP TWO ote DROP TWO & FOUR 13 24 120 bed | 33°8 So7th sath prop Two.w FOUR Beve'st DP . 13 24 15 bo © 190! > obs rot DROP TWO & FOUR DROP TWO & FOUR yey ete . 1324 TO S6th.oe ——— Seen RY rere | ate ye 30 de oad | be hana at WHICH VOICINGS SHOULD | USE? I'm glad you brought this up! As you refer to the chords in the Chord Reference Library, it can be seen that we are basically studying three chord voicing type: Drop Three ‘These typically employ strings 2-4 and 6 only (B, G, D, and low E). The inversion exercises in Part 4 use drop dhree voicings for seventh chords—the purpose of the exercises is to prepare you for the rhythm voicings. Rhythm These can typically be derived from the drop three voicings by leaving out the B which is the highest note. The patterns and progressions, practice tunes, and reduction/expansion exercises in Parts, 5-7 all use rhythm voicings only. These are the most practical for 4/4 chythm guitar Drop Two These typically employ strings 3-6 only (G, D, A, and E), The major and minor triads will always be drop two in this book. After all. that’s the only choice in the library for triads. However, as far as sev- enth chords go, the drop avo voicings are primarily for your own exploration. | recommend studying them by taking them through the inversion exercises, but only after you've learned the drop three voic~ ings. Some of them are not appropriate for 4/4 rhythm while others can be used to fatten up some of the rhythm voicings. They will also increase your knowledge of the fretboard! In the real world, your ears, musical taste, and judgment will guide you in choosing voicings. Always keep the following points in mind + Generally speaking, the size of the group or ensemble you are playing with should affect the number of notes that you use in your voicings. A simple rule of th cians, fewer notes; fewer musicians, more notes nb is this: More musi- ‘Duo or trio—Use three- or four-note chords, Drop two and drop three voicings are good. Because of the small number of instruments. the guitar has to take on more of a harmonic role. Big band—Three-note rym voicings are all that you really need. Check out some Count Basie Orchestra recordings with guitarist Freddie Green. With Freddie, some- times you only hear one note of the chord—but what a note! By using primarily three- note voicings, one left hand finger is always free, which allows a guitarist to play fit- tle melodies. This can be heard on small group recordings with Freddie Green, ymphony orchestra—Believe it or not, two-note Voicings can sound great. In all situations—A mixture of voicings offers the most flexibility. Don’t use only ‘one voieing type throughout an entire song. + Always think about the “next chord,” the one that will follow the current chord that you're play- ing, Choose an inversion that seems like the most natural transition (musically and fingering- wise) to the following chord, + Try to listen and develop an awareness of cach note in each chord as it leads into the next note gba nee hind* Just because you use four notes in a given chord doesn’t mean that the next chord can’t have three notes. 32 Part 4: Chord Inversion Exercises In this section, we will begin inverting triads and drop shree seventh chords. The drop three voicings are a great aid in rhythm playing because they act as a reference for the actual rhythm voicings, which we will drill in subsequent chapters. The better you know these drop three voieings, the better you will know the rithm voicings, HOW THE EXERCISES WORK In the following exercises, you will see chord symbols with numbers beneath them. The numbers | 3, 5, etc. refer to the chord tone at the bottom of the chord. This is how you will determine which voice ing/inversion is being asked for in the exercise. For example, if you see the symbol “B’maj7” with a "1" under it, this means you are to play the dep three voicing of B’maj7 that has the root (BF) on the low E string. Bbmaj?— Gm? Cm? F7 Din? 1) 23) @ ® i 5) bes Ltt ls st Pf L . Dn. oO D, ~, B, tires 0% 5tr es eee, Oli “88 wteme kr yye "on “ ae i | 1342002143 2333 F241 «2333 Di 2d 3 a Bomaj7 Gm7 Cm7 F7 Dm7 G7 Cm7 FU 5 : $ Pea ee 7 FT 7 a $ s ° . . : The numbers used throughout the exercises, and their co! chart below nding chord tones, are shown in the Number Chord Tone 1 root 3 flatted third 6 axth 7 flatted seventh z seventhRemember that the articulation for each bar should be as follows: beat Itong, beat 2-short and slightly accented, beat 3-long, beat 4short and slightly aevented, This is subtle, but if it is dane eonsis- tently, a certain groove or “feel” can be established. Beginning Exercises—Major Group On the enclosed CD, Exercises 8-32 were recorded with an acoustic guitar and an acoustic piano. 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