Exam ple 4 Di­min­ished voic­ings

Guitar Techniques - - Play: Theory -

Here we see a sim­i­lar prin­ci­ple but this time we’re look­ing at the Di­min­ished

Σ 7th. There’s no real need for five forms here though, as the sym­met­ri­cal na­ture of this chord means that each sub­se­quent shape is iden­ti­cal, shifted

E up or down in m3rds, and equally that any note in each shape could be con­sid­ered the root. Here we also see how a form can be repo­si­tioned to new string groups and fi­nally we in­tro­duce the re­lated voic­ing con­cept of ‘drop 3’, where R b3 b5 bb7 would be­come b3 R b5 bb7, spread­ing the voic­ing fur­ther while still rep­re­sent­ing each com­po­nent note once only.

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