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Old 01-06-2013, 01:37 PM   #1
marveldude_31
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chord voicings

does anyone have any advice for finding new chord voicing, i find myself often just using standard chord shapes and i would like to expand from that
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Old 01-06-2013, 01:44 PM   #2
johnyere
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www.chordbook.com

go to inversions, and it'll show you a few different voicings.
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Old 01-06-2013, 01:45 PM   #3
mdc
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Do you know how to construct chords from the major scale using the intervals?
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Old 01-06-2013, 01:51 PM   #4
marveldude_31
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i know how to construct chords
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Old 01-06-2013, 01:56 PM   #5
mdc
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Quote:
Originally Posted by marveldude_31
i know how to construct chords

Do you understand what I've done here?
Code:
-------- -5-8-12-13 -4-5-9--12 -5-9-10-14 -3-7-10-14 --------
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Old 01-06-2013, 02:01 PM   #6
MaggaraMarine
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It's pretty basic to use open strings. You can for example move the open E major chord up and leave the B and E strings open. Same with A5. Move open G major chord and leave G and D strings open, open C major and leave the E and G strings open and Cadd9 and leave the G string open. They sound pretty cool IMO.

For example:

E major

e|-0-0-0-0-0-0--0--
B|-0-0-0-0-0-0--0--
G|-2-3-4-6-8-9--11-
D|-3-4-5-7-9-10-12-
A|-3-4-5-7-9-10-12-
E|-1-2-3-5-7-8--10-

A5

e|-0-0-0-0-0-0--0--
B|-0-0-0-0-0-0--0--
G|-4-5-6-7-9-11-12-
D|-4-5-6-7-9-11-12-
A|-2-3-4-5-7-9--10-
E|-----------------

G major

e|-1-6-8-10-11-
B|-1-6-8-10-11-
G|-0-0-0-0--0--
D|-0-0-0-0--0--
A|-0-5-7-9--10-
E|-1-6-8-10-11-

Cadd9

e|-1-6-8-10-12-
B|-1-6-8-10-12-
G|-0-0-0-0--0--
D|-0-5-7-9--11-
A|-1-6-8-10-12-
E|-------------

C major

e|-0-0-0--0--
B|-3-6-8--10-
G|-0-0-0--0--
D|-4-7-9--11-
A|-5-8-10-12-
E|-----------
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Last edited by MaggaraMarine : 01-06-2013 at 02:02 PM.
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Old 01-06-2013, 02:27 PM   #8
HotspurJr
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Quote:
Originally Posted by marveldude_31
does anyone have any advice for finding new chord voicing, i find myself often just using standard chord shapes and i would like to expand from that


What are you goals? Learning new chord shapes in and of themselves doesn't mean very much.

I tend to learn new voicings as I need them. eg, I got comfortable with the barred-C shape when I wanted to do a Bm-D transition keeping the fingerpicking pattern the same.

YMMV but I tend to find learning big chord-dictionary type approaches really tedious. Rather, I'm always trying to find songs I'm inspired by, and those will invariably introduce me to new chord ideas. I find it's much easier to stay motivated learning them if you have a context - something you want to play that sounds better with the new shape.
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Old 01-06-2013, 02:46 PM   #9
dannydawiz
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Listen to MDC.

No really. There's an important lesson in that example.
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Old 01-06-2013, 02:52 PM   #10
marveldude_31
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mdc can you explain your example
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Old 01-06-2013, 03:03 PM   #12
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Allan and Ted are scary people. Ted's knowledge makes me cry sometimes... in the shower... getting thraped and feeling dirty
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Old 01-06-2013, 03:04 PM   #13
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Quote:
Originally Posted by evolucian
Allan and Ted are scary people. Ted's knowledge makes me cry sometimes... in the shower... getting thraped and feeling dirty


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Old 01-06-2013, 03:13 PM   #14
HotspurJr
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Quote:
Originally Posted by marveldude_31
mdc can you explain your example


He was trying to see if you really know how to construct chords. The specifics of that example don't matter so much. Turns out that you don't really know how to construct chords.

Which is okay. It's a case of an "unknown unknown" - you don't know what you don't know, so you think you understand chord construction when you probably only know a tiny tiny bit of it.

More concerning, however, is that it seems likely that you didn't put much work into his example. I'd encourage you to look at it longer, and spend some time thinking about it until you notice something interesting ... which probably won't take that long if you actually start thinking about what notes are being played. If you're not going to put some effort and energy into it, no chord dictionary will actually really help your playing very much.

Curious to other posters here. I guessed what that example was instantly, but it took me a minute or two of conscious thought to confirm my hunch. Curious for whom here that's completely intuitive?
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Old 01-06-2013, 03:21 PM   #15
mdc
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Quote:
Originally Posted by marveldude_31
mdc can you explain your example

TS, it depends on your goals, really. If you're in to metal and shred then my example won't be of much use to you.

If you're in to jazz, blues, funk, soul, motown and developing a high level of rhythmic accompaniment skills, then learning voicings like the ones I presented will be useful to you.

To answer your question, it was nothing more than Cmaj7 in root, 1st, 2nd and 3rd inversions.
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Old 01-06-2013, 03:34 PM   #16
marveldude_31
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i thought you could only do inversions like that with triads
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Old 01-06-2013, 05:15 PM   #17
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no
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Old 01-07-2013, 10:26 AM   #18
MaggaraMarine
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Quote:
Originally Posted by marveldude_31
i thought you could only do inversions like that with triads

You can do whatever you want in music, there are no rules. So if you want to do inversions with maj7 chords, why not?
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Quote:
Originally Posted by AlanHB
Just remember that there are no boring scales, just boring players.

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Charvel So Cal
Ibanez Blazer
Digitech RP355
MXR Micro Chorus
Laney VC30
Tokai TB48
Hartke HyDrive 210c
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Old 01-07-2013, 12:45 PM   #19
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Write up the notes of the chord, and fin them on the fretboard and make shapes
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Old 01-07-2013, 12:50 PM   #20
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Quote:
Originally Posted by MaggaraMarine
You can do whatever you want in music, there are no rules. So if you want to do inversions with maj7 chords, why not?


I think he's trying to cover for the fact that he didn't put a basic amount of energy into figuring out what those chords where. (Else he would have noticed, at least, that they're all the same notes).
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