#1
Whats the best voicing/position for this chord? I do it like this:

Amaj7#5


e|-----/------
B|-----6-----
G|-----6-----
D|-----6-----
A|-----4-----
E|-----5-----



Is there a better way?

Also off topic but I'd rather not spam the board with this; there's a thread somewhere that has good tips and pictures for memorizing the major scale along the fretboard, I think it was archived. If anyone knows please post a link.
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#2
There is no "best".

Good voicings are realised through voice leading.

But I use this a lot

|---|
|-6-|
|-6-|
|-6-|
|---|
|-5-|
Last edited by MapOfYourHead at Jul 21, 2010,
#3
Quote by MapOfYourHead
There is no "best".


True. I'm just trying to figure out if 'less is more' for things like this.
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#4
Quote by Serpentarius
True. I'm just trying to figure out if 'less is more' for things like this.

Yeah, it depends on the context. With more experience, it will be easier to make those decisions.
Oh yeah.

Quote by hildesaw
A minor is the saddest of all keys.

EDIT: D minor is the saddest of all keys.
#5
A C# E# G#

4
2
1
3
0
x

possibly? I unno, haha I've never used that chord, and just came up with that shape
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#7
Imo, the Major 3rd on the A string just clutters the sound.

You can leave it out since you have a Major 3rd already on the G string.

It really depends on context though. Using the A string for the 3rd is common in early Jazz, but there's more to that style then just that.

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#8
|-4-|
|-6-|
|-6-|
|-7-|
|---|
|---|

|---|
|-14-|
|-13--|
|-15-|
|-12--|
|----|

for closed voiced forms...in open voiced the fingerings can get a bit strained...and voice leading is more important than the form itself...
#9
Yeah, I like use the 5th string Drop 2 voicing. Which, if you were play Cmaj7#5 would be C (3rd fret, 5th string), G# (6th fret, 4th string), B (4th fret, 3rd string), E (5th fret, 2nd string).

Or, the close position voicing. Emaj7#5 would be: E (7th fret, 5th string), G# (6th fret, 4th string), C (5th fret, 3rd string), D# (4th fret, 2nd string)