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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