Voicings

Notes on the notation:

In the following we use the numbers:

1 - 2 - 3 - 4 - 5 - 6 - 7

to denote the intervals of the major scale. So 2 stands for the major 2nd, 3 for the major 3rd, 4 for the perfect 4th and so on.

We use flats to denote minor or diminished intervals: b3 stands for minor 3rd, b5 for diminished 5th, etc.

....and sharps to denote augmented intervals: #2 stands for augmented second, #5 for augmented 5th, etc.

1 - x - 7 - 3 Voicings

When you comp it is not necessary to play all the notes of a chord. The most important notes are the root (1), the third (3) and the seventh (7). These are enough to give the chord the appropriate color.

Minor sevenths

The minor seventh chord consists of: 1 - b3 - 5 - b7. Three voicings for the minor seventh voicing are given below:

Now you can see why we called these voicings (1 - x - 7 - 3). This name will help remember that you finger the root on a string, you skip the next string (dump it) and then you are on the seventh. On the next string is the third.

Notice also that as you pass the second string (B) you have to shift the pattern to the right. Keep this ALWAYS in mind! It is valid for any pattern.

A note for the beginners:In case you don't understand the above patters, because you've only met patterns of Em7 or Dm7 and so on. The above patterns are generic. By moving the root (circled 1) to a note (say A on the 5th fret of the sixth string) you get the chord with this note as the root (that will be Am7).

Dominant sevenths

The dominant seventh chord consists of: 1 - 3 - 5 - b7. So you have to shift the 3rd to the right. The resulting voicings are:

Major sevenths

You guess what to do next. Shift the 7th to the right. The resulting voicings are:

1 - x - 7 - 3 - 5 Voicings

We said that the 1 - x - 7 - 3 voicings give the appropriate color to a chord. If you need some volume too, i.e. if you want to fatten the sound you can also include the fifth.

Notice that in the fingerings below, the 5th is always on the same fret with the root, four strings below.

The minor sevenths with a (1-x-7-3-5) voicing are:

The dominant sevenths with a (1-x-7-3-5) voicing are:

The major sevenths with a (1-x-7-3-5) voicing are:

You can alter the 5th to get the family of diminished 5th chords:

For example. the half diminished is given by:

The full diminished is given by:

The altered dominant (for example A7b5) is:

If you sharpen the 5th you get the augmented chords:

For example, the augmented major sevenths:

or the altered dominants (again, but this time 7#5):

1 - 3 - 7 - 9 Voicings

You can use these voicings when you encounter a night chord. The intervals are met with this sequence 1-3-7-9. No strings to skip! The most common nights are the dominant ninths:

From the above voicing the most common is in the middle. I will only work on this voicing, and let you do the following transformations as an exercise for the rest of the voicings.

You could build minor 9ths or major 9ths:

Or you can build the altered dominants (once again with other voicings), 7b9 and 7#9:

The above are very frequently used in jazz and blues. The following are not 1-3-7-9 voicings but this is the right place to bring them, so (drums please) the ultimate altered dominants 7b5b9 and 7#5#9:

The second (7#5#9) maybe tricky to play if you insist of keeping the third in the voicing. The fingering is 2-1-3-4-4 (these are fingers not intervals). You should try to play both #5 and #9 with your pinky. This needs a little exercise.

Epilogue

Well, the above should give you enough material to work with. And remember make your one charts. Investigate the fretboard. There is so much more!

Some hints:

  • Learn the intervals on the fretboard. I showed you how. Some examples again. The 3 is on the next string one fret to the left. The seventh (b7) is found by skipping one string, on the same fret. On the next string on the same fret you find the third (this time b3) again. Go on like this. Do not forget to shift to the right when you pass the B string.
  • Take already known chord shapes and draw them on the paper. Find out the intervals, and start altering them. Find out what the new chords are.
  • Take a song, and try to play the harmony and melody simultaneously. The melody should be on the high string. Use the voicings presented here if possible. If no voicing is appropriate then build a new one. Write it down for future use.

    • If I find some time again, I will show another approach to voicings, which is much more helpful in arranging songs for solo playing. Till next time, have fun.

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