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

TRACK 73

Guitar Techniques - - LESSON -

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.

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