i want to know what type of chord voicings are possible on a guitar so that i can construct guitar chordings on a sequencer that can be practically played by a guitarist..
thanks
how chords are voiced on guitar!!
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
you look at how it's tuned: mostly perfect fourths, with one hitch of a major third:
top to bottom: e b g d a E
you don't want a lot of seconds at all, they are finger breakers
regular triads with a doubled root at the octave are fine if the guitar player has all his.her fingers.
in jazzier contexts, stacked fourths are obviously good. maj third on top, D G C e type-thing, mixed fourths are also fine.
you see at the top, that g b e thing, minor first inversion triad, can fit on top of a ninth chord:
F# C E A, implied root D included or omitted; the little finger can extend to a B, the 13th, on that first e string, esp. where the root was omitted.
you see the major triad, second inversion, in the middle of this arrangement: D G B. this is at the heart of guitar arranging.
that should get you a start.
top to bottom: e b g d a E
you don't want a lot of seconds at all, they are finger breakers
regular triads with a doubled root at the octave are fine if the guitar player has all his.her fingers.
in jazzier contexts, stacked fourths are obviously good. maj third on top, D G C e type-thing, mixed fourths are also fine.
you see at the top, that g b e thing, minor first inversion triad, can fit on top of a ninth chord:
F# C E A, implied root D included or omitted; the little finger can extend to a B, the 13th, on that first e string, esp. where the root was omitted.
you see the major triad, second inversion, in the middle of this arrangement: D G B. this is at the heart of guitar arranging.
that should get you a start.
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- KVRian
- 649 posts since 18 Dec, 2004
Here is a great guitar chord chart in PDF format. There are some pretty nice sounding and unique voicings.
http://www.harmony-central.com/Guitar/chord-chart.pdf
http://www.harmony-central.com/Guitar/chord-chart.pdf
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- KVRist
- Topic Starter
- 40 posts since 16 Oct, 2006
thanks a lot jancivil.
that really helps
can you pls tell me in some more abstraction about the inversions n open voicings of simple chords(triads with/without sevenths) that can be easily played.
that really helps
can you pls tell me in some more abstraction about the inversions n open voicings of simple chords(triads with/without sevenths) that can be easily played.
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- KVRist
- Topic Starter
- 40 posts since 16 Oct, 2006
@chardin
just after i posted my reply i saw your reply. thanks it is also useful.. just a question is it really the ultimate chart n contains all the voicings possible or are there other possibilities that i can discover..
just after i posted my reply i saw your reply. thanks it is also useful.. just a question is it really the ultimate chart n contains all the voicings possible or are there other possibilities that i can discover..
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
it's the sevenths that get tricky.
when you use a seventh, a good rule of thumb is to omit the fifth; on electric guitar the fifth you're going to feel from an amplified fundamental anyways.
C7: C E Bb; the same finger that stops the string for the Bb can bar the next two strings up for a full ninth.
C E Bb D G; note that the fifth ISN'T next to the third. this is typical.
closed position first inversion triads are easy two-finger jobs.
if it's a heavily amped guitar, avoid doubled thirds, it sounds noisy.
sus 4s are guitaristic, as my first post suggested: fourth in the bass, same as a '2' chord, a second in lieu of the third: G A D can be a D sus or a G 2 chord.
the foxy lady chord: E G# D G; see those fourths, supported by the third at the bottom, that g natural can move down to f in a sharp nine to flat nine move while the rest stays, very typical 'modern' jazz move.
a guitar player can hold a barre form, one finger stops several strings at once on the same fret, and move stuff at either extreme with the other fingers available; eg: a minor triad C E A, below that C, you can have B - A - G# - G, or above it, the A can be a B, now you've a C maj 7. IE: with these naturalistic fingerings, according to the tuning layout, a player can move little scale things around with no trouble.
Inner voice movement I won't go into, it's biting off more than you want to chew I think.
those are some 'better' ways of approaching the seventh chord on a guitar.
you'll get into trouble with too much doubling in voicings, outside of basic triads, which aren't very problematic.
in a heavier rock setting, you'll want thicker, so double, but those are triads anyways.
in jazz, a guitarists role doesn't require that much Sound unless it's a solo jazz thing, which to score, you'd have to have some experience playing the thing.
when you use a seventh, a good rule of thumb is to omit the fifth; on electric guitar the fifth you're going to feel from an amplified fundamental anyways.
C7: C E Bb; the same finger that stops the string for the Bb can bar the next two strings up for a full ninth.
C E Bb D G; note that the fifth ISN'T next to the third. this is typical.
closed position first inversion triads are easy two-finger jobs.
if it's a heavily amped guitar, avoid doubled thirds, it sounds noisy.
sus 4s are guitaristic, as my first post suggested: fourth in the bass, same as a '2' chord, a second in lieu of the third: G A D can be a D sus or a G 2 chord.
the foxy lady chord: E G# D G; see those fourths, supported by the third at the bottom, that g natural can move down to f in a sharp nine to flat nine move while the rest stays, very typical 'modern' jazz move.
a guitar player can hold a barre form, one finger stops several strings at once on the same fret, and move stuff at either extreme with the other fingers available; eg: a minor triad C E A, below that C, you can have B - A - G# - G, or above it, the A can be a B, now you've a C maj 7. IE: with these naturalistic fingerings, according to the tuning layout, a player can move little scale things around with no trouble.
Inner voice movement I won't go into, it's biting off more than you want to chew I think.
those are some 'better' ways of approaching the seventh chord on a guitar.
you'll get into trouble with too much doubling in voicings, outside of basic triads, which aren't very problematic.
in a heavier rock setting, you'll want thicker, so double, but those are triads anyways.
in jazz, a guitarists role doesn't require that much Sound unless it's a solo jazz thing, which to score, you'd have to have some experience playing the thing.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
you said open position, which i failed to note.
open position, the only real problematic is the major triad with a minor seven. as far as simpler chords goes.
omit the fifth: C E Bb C (you get problems with too many thirds in a fingering, C E G Bb is very difficult.
(impossible in open postion)
or save the third for the top voice: D A C F#
rule of thumb: if it's a chord BUILT on an open string, less problems with what it contains:
A E G C#
E B D G#
and the D7 above.
D G B F
if you want the fifth, look at second inversion, fifth at bottom, like the last figure.
these are fairly trite sounds, tho, btw. folky strums and all that.
if you need some tones that you think are tough to get, think of ways they might be open strings, in a non-open position.
that should be plenty to chew on for now, compare what i told you with some charts.
open position, the only real problematic is the major triad with a minor seven. as far as simpler chords goes.
omit the fifth: C E Bb C (you get problems with too many thirds in a fingering, C E G Bb is very difficult.
(impossible in open postion)
or save the third for the top voice: D A C F#
rule of thumb: if it's a chord BUILT on an open string, less problems with what it contains:
A E G C#
E B D G#
and the D7 above.
D G B F
if you want the fifth, look at second inversion, fifth at bottom, like the last figure.
these are fairly trite sounds, tho, btw. folky strums and all that.
if you need some tones that you think are tough to get, think of ways they might be open strings, in a non-open position.
that should be plenty to chew on for now, compare what i told you with some charts.
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- KVRist
- Topic Starter
- 40 posts since 16 Oct, 2006
thanksjancivil wrote:you said open position, which i failed to note.
open position, the only real problematic is the major triad with a minor seven. as far as simpler chords goes.
omit the fifth: C E Bb C (you get problems with too many thirds in a fingering, C E G Bb is very difficult.
(impossible in open postion)
or save the third for the top voice: D A C F#
rule of thumb: if it's a chord BUILT on an open string, less problems with what it contains:
A E G C#
E B D G#
and the D7 above.
D G B F
if you want the fifth, look at second inversion, fifth at bottom, like the last figure.
these are fairly trite sounds, tho, btw. folky strums and all that.
if you need some tones that you think are tough to get, think of ways they might be open strings, in a non-open position.
that should be plenty to chew on for now, compare what i told you with some charts.
i am trying to play guitar parts on a keyboard and arrange guitar tracks. Without all these information i will only contruct impractical voicings..
even if i pick a guitar and start learning it,it will take a lot of time after which i can physically play even a simple chord..
any books recommended.. ?
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Look at transcriptions from keyboard to guitar, eg: JS Bach keyboard suites, arrangements by a classical guitarist such as Julian Bream or Andres Segovia, you'll see exactly what compromises are necessary to make harmony do-able on the instrument,
good luck!
good luck!
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- KVRist
- Topic Starter
- 40 posts since 16 Oct, 2006
though this was useful..hmm.. sry but i asked about open voicings in which certain notes are dropped a octave below.. not the open position chords in which certain strings are not pressed..??jancivil wrote:you said open position, which i failed to note.
open position, the only real problematic is the major triad with a minor seven. as far as simpler chords goes.
omit the fifth: C E Bb C (you get problems with too many thirds in a fingering, C E G Bb is very difficult.
(impossible in open postion)
or save the third for the top voice: D A C F#
rule of thumb: if it's a chord BUILT on an open string, less problems with what it contains:
A E G C#
E B D G#
and the D7 above.
D G B F
if you want the fifth, look at second inversion, fifth at bottom, like the last figure.
these are fairly trite sounds, tho, btw. folky strums and all that.
if you need some tones that you think are tough to get, think of ways they might be open strings, in a non-open position.
that should be plenty to chew on for now, compare what i told you with some charts.
i thought i will take time to chew all info..
so this late reply ..FLstudioforum.com Fruity Loops Forum
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- KVRian
- 1480 posts since 14 Jun, 2003
I just ask the guitar player which chord he knows and then i just use that.
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- KVRAF
- 4435 posts since 26 Jan, 2006 from :noitacoL
nice going, jancivil!
member of the guild of professional dilettantes.