#1
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
#5
Quote by marveldude_31
i know how to construct chords

Do you understand what I've done here?
--------
-5-8-12-13
-4-5-9--12
-5-9-10-14
-3-7-10-14
--------
#6
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|-----------
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Last edited by MaggaraMarine at Jan 6, 2013,
#8
Quote 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.
#12
Allan and Ted are scary people. Ted's knowledge makes me cry sometimes... in the shower... getting thraped and feeling dirty
#13
Quote by evolucian
Allan and Ted are scary people. Ted's knowledge makes me cry sometimes... in the shower... getting thraped and feeling dirty




#14
Quote 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?
#15
Quote 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.
#18
Quote 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?
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#20
Quote 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).