Example1 Har­monised ma­jor scales us­ing close and open voic­ings

Guitar Techniques - - LEARNING ZONE -

G Ma­jor har­monised close voic­ings – R-3-5-7 on fourth, third, sec­ond and first strings G Ma­jor har­monised open voic­ings – R-5-7-3 on fourth, third, sec­ond and first strings D Ma­jor har­monised close voic­ings – R-3-5-7 on fifth, fourth, third and sec­ond strings D Ma­jor har­monised open voic­ings – R-7-3-5 on fifth, fourth, third, sec­ond and first strings Here are four sets of chord shapes (voic­ings) de­rived from har­monised Ma­jor scales that are use­ful in all styles of play­ing, in­clud­ing jazz, funk, soul, coun­try and blues etc. The Har­monised G Ma­jor scale shapes are on the top four strings of your gui­tar. Set 1 is ‘close’ voiced (R-3-5-7), and set 2 is ‘open’ (R-5-7-3) voiced. The har­monised D Ma­jor scale shapes are on dif­fer­ent string group­ings be­cause of the spread of the notes. Set 3 is ‘close’ (R-3-5-7) and is the same as Set 1 but on the ‘inside’ strings of the gui­tar (fifth, fourth, third and sec­ond strings). Set 4 is even more open-voiced (R-7-3-5) with a wider spread over five strings. The gap in the voic­ing (by not us­ing the fourth string) helps stop the chord voic­ings from get­ting too muddy.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.