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    Drop2 Voicings For Jazz Guitar.

    Uploaded by

    Milton Mermikides
    The 4 7th chords in all inversions on strings 1-4 and 2-5, together with practical and challenging exercises.

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    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd

    Drop2 Voicings For Jazz Guitar.

    Uploaded by

    Milton Mermikides
    9K views3 pages
    The 4 7th chords in all inversions on strings 1-4 and 2-5, together with practical and challenging exercises.

    Original Title

    Drop2 voicings for Jazz Guitar.

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    © Attribution Non-Commercial (BY-NC)

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    The 4 7th chords in all inversions on strings 1-4 and 2-5, together with practical and challenging exercises.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
    Download as pdf
    9K views3 pages

    Drop2 Voicings For Jazz Guitar.

    Uploaded by

    Milton Mermikides
    The 4 7th chords in all inversions on strings 1-4 and 2-5, together with practical and challenging exercises.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
    Download as pdf
    of 3

    Construction of Drop II voicings

    > 2004 Mermikides

    'Closed' voicings (where all the chord-tones are within an octave) can be tricky to play on the guitar.
    An approach borrowed from jazz arranging is to drop the 2nd voice from the top down an octave,
    to create an 'open' voicing that is readily playable on the guitar.
    5fr

    Example

    ww w
    2nd inversion G7 chord (5,7,R,3) Root inversion drop-II G7 chord (R,5,7,3)
    w
    w w
    w
    & w
    Drop 2nd voice

    Dominant 7th Drop II Voicings

    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    G7 5fr 8fr 12fr

    Strings 1-4
    w w w
    w
    w
    w w
    w ww w
    w
    & w
    w w w
    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)
    7fr 10fr 12fr 4fr

    w
    Strings 2-5
    w w
    w ww
    w w w
    & w
    w w w w
    w
    w

    Note also that G7=Db7(b9/b5) no root


    2
    Minor 7th Drop II Voicings
    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    D-7 10fr
    6fr

    w
    Strings 1-4
    w w w
    w w ww w
    w
    & w w
    w
    w w w

    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    7fr 8fr
    5fr

    Strings 2-5
    w w
    w w
    w ww w
    w
    & w
    w w
    w w w
    w

    Note also that D-7=F6=Bb

    Major 7th Drop II Voicings


    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    Cmaj7 8fr * 10fr


    * 5fr

    Strings 1-4
    w w
    w w
    w
    w w w w
    & w w ww w
    w
    w
    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    * 5fr * 9fr

    Strings 2-5
    w w
    w w
    & w
    w
    w
    w
    w ww
    w
    w
    w
    w w

    Note also that CMaj7=A-9(no root)


    *These voicings may be substituted by these shapes,
    creating C6/9
    3
    Half-dimished Drop II Voicings
    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)

    B-7(b5) 6fr 7fr 12fr 3fr

    Strings 1-4
    w w
    w
    w w
    w ww w
    w w w w
    w
    & w w

    (7,3,5,R) (R,5,7,3) (3,7,R,5) (5,R,3,7)


    10fr 4fr 7fr

    Strings 2-5
    w
    w w w
    w w ww w
    w
    & w w
    w w w
    w
    Note also that B-7(b5)=D-6=G9(no root)=Db(b9/b13) (no root)

    RECOMMENDED EXERCISES:

    1) Take a chord voicing & inversion on strings 1-4 & play all the chord types (Maj7, Dom7 ...)
    Repeat for every inversion.
    Repeat the whole process on strings 2-5

    2) Pick a key & play all diatonic 7th chords in root inversion on strings 1-4.
    Repeat for every inversion.
    Repeat the whole process on strings 2-5

    3) Play through a chord progression or standard tune, keeping voicings as


    close as possible.

    4) Play through a chord progression or standard tune, keeping a harmonized line


    ascending, when out of range descend the line.

    5) Harmonize the melody of a standard tune.

    6) Explore modifications of these voicings.


    9ths (Natural, flattened or raised) replace the root.
    13ths (Natural, flattened or raised) replace the 5th)

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