The concept is in any chord where a note can be played on an open string, doing so frees that finger to add

other notes. These can

be chord tones, extensions, or dissonant non-chord tones. So think of the chord, the scale that fits the chord, name the notes
in your head and see if any are open strings. So even though some of the chord names might be the same, this can create a different
feel.
A - Start with simple E7. Next is "Lenny" voicing with 7th in bass. The top note "E" can be played as an open string which frees the
"B" string. This gives us the next chord. Next you could add the 9th. SO...we get a 6 note chord with two open strings.

B - Start with F7. Then "Lenny" voicing with 7th in the bass. In an F7 chord, open strings that would fit are A(3), D(6,13), G(9),
B(#11). So..keeping 3rd and flat7 (A & Eflat), instead of 13 use open G (9). Now there is an extra finger (4) which can be used on the
high E string. So either the 5th on top, or #11.

C - Start with Eflat 7. "G" is the 3rd of the chord, so use open "G". Then add 9 as in next chord, which is missing a 7th. Next chord
adds the 7th, Dflat. As soon as you know the "G" can be open, you can play any note you can reach thats in the chord/scale. Next
example doubles the "G" so you can "drone out". Other ideas follow.....

D - Aflat minor. Open string could be "B" (flat 3). SO if "B" is an open string, you can play the 9 on 3-3 (Bflat). Also can double 3,
or
9.
E - Eflat maj7. 3rd can be open "G".
F - key of Dflat. #11 is open G. Also flat7 is open "B".
G - inversion ideas. These can be hit or miss but can yeild some interesting results. Example In Eflat, using open "G" as 3rd.

H - Apply open string(s) idea to diatonic clusters. Pick 3 notes in Key of "A"......use F#, A, E. as a strating shape. Then ,ove the shape
diatonicallk in the selected key as shown. Next, in the key of "A", open strings would be A, D, B, E. So one thing would be to
drone the high "E" on the previous shape as it moves around. OR...use the "B" string for the drone. That makes the 4th finger available.
First try not using the 4th finger and just use 3rds as shown. Next add 4th finger on high "E" string - try "G#". Here, the "B"
dron creates a thread that runs through the whole passage.

I - Experiment with other modes. Example is mixolydian. Could also drone low "A". Next drone the open "B" and add "G nat" on top.
 Creating Interesting Voicings

A E7 E13 E13 E9(„ˆˆ13) B F7 F13 F13 F7(„ˆˆ9)

w
° ww w w ###ww nb ww w
w bw
w w
& #w
w #w
# w
w
#
#ww
w
w w
w
w nw
w bw
w w
w ww
bw
w w
0 0 10
5 5 0 7 6 6 8 6
7 6 6 6 8 7 8 0
6 6 6 6 7 7 7 7
¢⁄ 7 5 5
0
5
0
8 6 8 6

C
F7(„ˆˆ9)
w F9(#11) E¨7 E¨(„ˆˆ2) E¨9 or E¨9 E¨7 E¨7(#9)
w w
° w
& b ww
w
bbb w
w bw bw
w bw bbnw
w
w b w
ww w bw
ww bw
ww bw
w b ww
w b ww
w

8 7
6 6
0 0
7 7
¢⁄ 6 6
2
8 2 6 2 2
6 0 0 6 0 0
8 3 3 5 5 5
6 6 6 6 6 6

E¨7(„ˆˆ11) E¨Œ„Š7 A¨Œ„Š11 using 9 E¨9(#11) E¨(„ˆˆ2) E¨&

nw instead of flat7
w bw nw
° w w w w
&bbb w bbb ww
ww
w bb w
w
w w
w bw
w bw
w bw
w bw
w
10 5 6 7
2 2 6 6 6 6
0 0 5 0 0 0 0
6 8 6
¢⁄ 6 6 6 6 6 6 6

using 6 D
instead of 3

° bw
w
bw bbA¨‹
w A¨‹9 A¨‹7(„ˆˆ9) A¨‹7(„ˆˆ9)

& bw nw
w bbw w bb ww bbb w
ww bbbb ww b bb w
ww
w bw bbw w w
w bw bw bww bb ww
6 7 4
6 6 4 0 0 0 0
5 5 4 3 3 3 3
6 4 4 4
¢⁄ 6 6 6
4 4 4
2
4
1
4
 3
E
A¨‹9 A¨‹(Œ„Š9) A¨‹(Œ„Š9) A¨‹(Œ„Š9) E¨Œ„Š7 E¨(#11) E¨(„ˆˆ2#11)
° bbb w b ww w
w w
& bw ww bbb w
w nbb w
ww bbnww
w bbnww
w bw
b ww
bw ww
bw
bw bw
w
bw bw bw w w
2 2
0 0 0 0 0 8 6
3 3 3 3 3 7 0 0
4 4 5 5 5 8 7 7
¢⁄ 4 4 4
6
4
6
4
6 6 6

F
E¨13(#11„ˆˆ2) D¨Œ„Š7 D¨Œ„Š7(#11) D¨7(#11) or D¨7(#11) D¨13(#11)
w w
w bw
° w w w w
w w
ww w
ww bw
w
w nww
& b ww
w bw
w bw
w bw
b
w bw
w bw
w bw
w bw
w
8 8 1 1 3 6
6 8 6 1 0 4 0
0 7 7 5 0 0 4 0
7 7 7 6 3 3 3
¢⁄ 6 6 6 4 4 4 4 8
9

4
G E¨ bb w H 1
œ œ # œ œœ œœ
° w w w bw nw 3 # œ #
œœ #œœ# œœ œœ #œœ # œœ œ œ
&bw
b w
w ww w w #ww #œ# œ
bw
b w w
root position 1st inversion 2nd inversion 3rd inversion
8 11 3 4 5 5 7 9 10 12 14 15 17
0 0 0 0 2 2 4 6 7 9 11 13 14
8 13 1 4 4 6 7 9 11 12 14 16
¢⁄ 6 10 1 5

4 0
1 1
œ
° # œœ ## œœœ #œœœ œœœ ##œœ #œœ ˙
3 3

œ# œ #˙˙ œœœ # œœœ##œœœœ œœœœ etc...

˙ ˙˙˙ œ œœ # œœ œœ
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etc..
& #œ# œ #˙˙ #œœ #œ œ
0 0 0 0 0
15 14 12 10 9 7 5 5 7 9 10 0 0 0 0 0
13 11 9 7 6 4 2 2 4 6 7 2 2 2 4 6 7
14 12 11 9 7 6 4 4 6 7 9 4 4 4 6 7 9
¢⁄
4
1
3 I 4 mixolydian
° #w #œ œ œ # œœ etc..
w
1
3
œœ #œœ #nœœœ œœ etc..

& # ww
w # œœœ # œœœ # œœœ œœ #w
w #œ # œ œ
4 4 5 7 9
0 0 0 0 0 5 5 7 8 10
2 2 4 6 7 2 2 4 6 7
4 4 6 7 9 4 4 6 7 9
¢⁄
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œ #œ A7 D%
° w œ œ etc.. ˙ ˙˙
ww
& #w # œœœ œœ
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w œ œ œ œ ˙
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2 2 4 6 7 2 2
4 4 5 7 9 4 4
¢⁄ 0 0 0 0 0 0 5