EXAMPLE 1A–1C MAJOR 7, MAJOR 7b5 AND MAJOR 9b5 CHORD VOICINGS

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Set 1: G major 7th chord voicings (R-3-5-7). Here we have Gmaj7th chords moving up the neck in five CAGED shapes. No problems here, as we have covered these before in GT252.

Set 2: G major 7 5 Chord Voicings (R-3- 5-7). Here we have Gmaj7 5 chord b voicings moving up the neck in five shapes in the CAGED system. Gmaj7 5 uses b a flattened 5th degree – G-B-D -F# – R-3- 5-7. The D is flattened in each shape from the previous maj7 shape. You may notice that shapes 2 and 5 look like root-less A13 chords, and this is correct as A13 is the V chord to the G Lydian IV chord. Shape 3 might be new to you; it’s voiced as 7-3-5-7-#11 ie, no root and the inclusion of a 5th (which is present in Lydian); it’s a good sound, and very similar to Bm9 VI chord. Fingering is shown as 23114 but also try 22113 to free the fourth finger for embellishment, and for higher up the neck. 9b5 (R-3-b5-7-9). b Set 3: G major chord voicings Here we have Gmaj9 5 chord Gmaj9b5 voicings moving up the neck in the five shapes of the CAGED system. G-B-Db-F#-A R-3-b5-7-9. includes a 9th degree : – Now shape 2 and 4 are an ‘A13’ chord shape, across two different string groupings. This provides the very R-b5-7-9. useful voicing We lose the 3rd to get a 9th in a playable four-note chord. Again, shapes 3 and 5 can be Bm9 voicings – another example of chord substitution to achieve a harmonic colour. This can also be applied to soloing sCeeamShpau-n Baxter’s excellent column for this type of application.