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    Many Jazz Guitar Voicings

    Uploaded by

    Polce Rafael Talahatu
    Jazz

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Many Jazz Guitar Voicings

    Uploaded by

    Polce Rafael Talahatu
    549 views1 page
    Jazz

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

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    Jazz

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    549 views1 page

    Many Jazz Guitar Voicings

    Uploaded by

    Polce Rafael Talahatu
    Jazz

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 1

    Many Voicings

    -stick with one 1 3 5 7 3571 5713 7135 closed


    type of chord
    (eg. drop 2)
    -play each on as
    1573 3715 5137 7351 drop2

    many different
    string groupings 1 7 3 5 3157 5371 7513 drop3
    as possible
    -in 12 keys
    -try some other 1 3 7 5 3517 5731 7153 drop2&3
    chord qualities
    (e.g. min7, dom7)
    -then try another
    1537 3751 5173 7315 drop2&4

    chord type
    (e.g. drop 3) 1753 3 1 7 5 5 3 1 7 7 5 3 1double drop 2, drop 3

    these voicings are applicable to any 4-note type chord:


    maj7, min7, dom7, min7(b5), maj7#5
    etc, etc...
    closed Cmaj7

    e e e %%%~
    drop 2

    try using R.H. harmonics


    to play these inversions e.g.


    & e
    0
    0

    let ring..... R.H. harm.


    12 frets above note


    drop 2&3

    drop 3


    &


    double drop 2, drop 3


    drop 2&4


    &

    try any one voicing and taking it through scales
    Voice Leading drop 2 through a II, V, I , VI progression ie: harmonic&melodic minor

    Dmin7 G7 Cmaj7 Amin7 Dmin7 etc...

    try voice leading over a minor ii, V, i


    then try it over a standard tune

    &
    w
    this is a 2nd inversion

    w
    other uses:
    w
    drop 2 chord for Cmaj7

    & w
    it could also be used for
    Amin9, D7sus(9,13), Abmaj7(#5,b9) Eb13b9#5, FMaj9#11
    therefore any inversion of this voicing or any other "Cmaj7" inversion
    could also be used as a voicing for the chords named above....
    this material is similar to what I saw at a Ben Monder clinic
    and to Mick Goodrick's Almanac of voice-leading (Dr. Goodchord)
    Occdav Music 2001

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