Exam ple 3 Half-di­min­ished voic­ings

Guitar Techniques - - Play: Theory -

All this the­ory is well enough, but how do th­ese chords look, feel and sound on the gui­tar? This ex­am­ple shows a cou­ple of mu­si­cally ef­fec­tive ways to voice the Half-di­min­ished chord on gui­tar. The first set is based around ‘drop-2’ voic­ings. This is a con­cept used in ar­rang­ing to spread the notes wider and more ef­fi­ciently, pro­vid­ing both a richer spread of sound and a more prac­ti­cal fin­ger­ing than play­ing the notes in se­quen­tial or­der, root, 3, 5 etc. The ‘drop’ part refers to which note is low­ered by an oc­tave, in com­par­i­son to the the­o­ret­i­cally cor­rect ‘close’ po­si­tion. So, R b3 b5 b7 would take the sec­ond high­est (b5) and put this on the bot­tom, leav­ing us with b5 R b3 b7. This can now be de­vel­oped through each in­ver­sion and that’s what you see here. The re­main­ing shapes dis­play our Half-di­min­ished through each of the five CAGED forms. This is far from ex­clu­sive, but it’s a good start.

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