Alternative Chord Voicings

WHILE THERE IS

a certain purity to standard chord voicings, there can be times when something a little extra adds some welcome harmonic variety and interest. Our case in point is these three open position chords of E, A and B7. It’s impossible to number the vast amount of songs written using this I-IV-V 7 chord sequence – so it seems particularly ripe for a rethink in how we might structure the chord voicings to create a fresh take on the whole thing. Though these were designed with the acoustic guitar in mind, they are also effective on the electric for jangly ‘almost-clean’ chords. Elvis Costello, James Honeyman Scott, Andy Summers and Tom Petty spring to mind as players who have implemented this kind of thinking with great results. You’ll notice the alternative voicings all feature the open first and second strings, giving constant E and B notes ringing on top.

Example 1 NOT TOO MUCH

to say about this – though it must be one of the grandest sounding open chords invented! Of course, a mere lift of the first finger gives us the Minor version, also an acoustic mainstay; or take off the third digit for a dark sounding E Dominant 7.

Example 4 MOVING FROM THE

2nd to 4th fret on the fourth string gives an F# (or 9th), which is added to the existing E Major chord - giving it the literal name ‘add9’. Try lifting off to the open third string to create a beautiful sounding E Minor 9th.

Example 2 ANOTHER

common one, so let’s experiment. Of course, all we have to do is exchange the 2nd fret on the second string for the first to hear A Minor. Then try lifting off to the open second string for A sus2 - not the same as an add9, because there is no 3rd (C#).

Example 5 THIS HAS A RICH SOUND

due to the A chord's E being the lowest note. Considering the low C# on the fifth string and the two open high strings (B and E notes), it's very much an A major chord but with a Robben Ford/Michael Landau vibe of sophistication.

Example 3 THIS B7 COULD

be described as a ‘Beatles’ type chord, though it has obviously been used extensively elsewhere too… Lifting the finger off to give an open fourth string (D) gives a similar B Minor 7th voicing to the one heard in Fool On The Hill.

Example 6 THIS B11 VOICING

contains the essentials low b to high; Root, 5th, 7, Root again on the open second, then the 11th in the open first. Alternatively, barre across from fifth to first strings at the 2nd fret - you gain the missing 9th (C#), but lose the ringing E and B notes.