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Richard Barrett on 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 a constant E and B 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.

Example 2

This should also be familiar, so let’s start experimenting! Of course, all we have to do is exchange the 2nd fret on the B string for the 1st to hear A minor. Then try lifting off to the open B string for A sus2 – a very popular variation. This is not the same as an add9, because there is no 3rd (C#).

Example 3

This B7 could be described as a ‘Beatles’ type chord, though it has obviously been used extensively elsewhere too… Lifting off to give an open 4th string (D) gives a similar B minor 7th voicing to the one heard in Fool On The Hill.

Example 4

Moving from the 2nd to 4th fret on the D string gives an F# (or 9th), which is added to the existing Emajor chord – giving it the literal name ‘add9’. Try lifting off to the open G string to create a beautiful E minor 9th.

Example 5

There are a few ways this chord could be named, but we’re going with Aadd9/E, as the major 3rd appears on the 5th string (distinguishing it from a sus2). The ‘add9’ appears in the shape of the open B string. Finally, try moving from 4th down to 3rd fret for an interesting Amin9/E.

Example 6

It’s possible to view this chord from different perspectives, but B11 seems to cover it best. This voicing contains the essentials low to high; Root, 5th, b7, Root again on the open 2nd ,then the 11th in the open top E.An alternative is to bar across from 5th to 1st strings at the 2nd fret.You gain the missing 9th (C#), but lose the ringing E and B…