ExamplE1 Di­min­iSheD, 13 anD half-Di­min­iSheD chorD voic­ingS

Guitar Techniques - - LEARNING ZONE -

Here are three sets of voic­ings that you will find useful in all styles of play­ing – jazz, funk, soul, coun­try and blues etc.

(R-b3-b5-bb7) G Di­min­ished chord voic­ings

Here we have a G di­min­ished 7 chord moving up the neck in sym­met­ric mi­nor 3rd intervals. You only need three chord shapes to do this.

G-E-Bb-Db Sixth-string root = R b3 b5 =

-E-Bb Fifth-string root = R- 5- 7- 3 = G-D Fourth string root = R- 5- 7- 3 = G-D -E-B . The di­min­ished 7 chord can be named with any note as the root, so Gdim7 is also B dim7, D dim7 and Edim7.

9TVEoiC­ciHngNsIQUES

Gdim7 is de­rived from the G Di­min­ished scale and part­ners well with a

dom13b9. voic­ing of a G Both chords are used over ‘moving’ or ‘re­solv­ing’ V chords. Let’s look at this relationship in a bet­ter key, up a semi­tone. G13 9 to A dim7 (up a semi­tone A dim7 or down a tone to Fdim7). Look­ing at them as G dom­i­nant chords, us­ing top four strings voic­ings we get: Ab­dim7 (F-B-D-Ab

= Gb13b9 (F-B-E-Ab

= Only one note is dif­fer­ent (E), but it fits into the F di­min­ished scale and gives a con­ve­nient ‘tone’ move­ment be­tween the D and E.

Gm7 5 or G half-di­min­ished chords in 5 shapes (R- 3- 5- 7)

This is the m7 5 or half-di­min­ished chord moving up the neck fol­low­ing CAGED shapes. There are sev­eral other good voic­ings but this is a start­ing point set that re­lates well to the m7 voic­ings you would al­ready know.

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