Guitar Chord Theory
Part 6 - More Advanced Chord Voicings

We ended up using chord voicings based around ascending and descending chord shapes from their subsequent scale shapes in the same position - these chord shapes are the E, A, C, D and G shape movable barre chords.

In this lesson we're pushing this to another level and looking at chord inversions where the root note is not necessarily the lowest sounding note in a chord. Although the root is still there, it can take on the octave position and actually be higher voiced than the 3rd, added 6th, 9th etc.

This often means we build the chord as usual around the root note and chord shape (e.g. ascending or descending), but we can also "borrow" tones from another shape of major scale nearby, allowing us to get a lower voiced 3rd, for example.

Let's look at some examples...

Interesting major triad shapes

You know that a major triad consists of the Root, 3rd and 5th tones from the major scale. Good!

Now, the standard way to play a major triad is with an open position chord (including open root and other open strings) or barre chord, which is a movable version of the open position chord. These types of chords can start to sound a bit...overused after a while, so it's good to hunt down some unusual voicings to spice them up a bit in a chord progression.

We can do this by simply swapping, or inverting the order of notes, so the root no longer sits as the lowest sounding note in the chord (careful: don't get confused between "lowest note" meaning the lowest note in the order of scale tones, and "lowest sounding note" which is in reference to pitch - how high or low the note sounds)

Try the chord below... (Bb major, but it's obviously movable!)

Usually if you play, for example, an E shape barre chord for a major triad, the order of notes on your fretboard appears as R 5 3 - Root on the E string, 5th next up on the A string and finally the 3rd on the G string.

In the variation of Bb major triad above, the order has changed to 3 R 5 giving the chord a very different flavor. It adds tension (an "unresolved" feeling).

The 3rd is now the lowest sounding note in the chord!

We can also see that this is part of the full G-shape major barre chord with the lowest root and other strings left out, so it's a thinner chord voicing.

We know it's from this G-shape position because look at where the 3rd is - if you see the 3rd on the A, D or G string, the root lies on the next string down, one fret right of it...

Take a look at the G-shape (descending) major scale here and you'll see what I mean (it opens in a seperate window for you)...

See how that chord above has been pulled straight from that scale...

This is how you can construct chords like this by yourself, without diagrams - by learning the 8 major scale shapes!

I've kept stressing this like a broken record, but hopefully you now see why these visual fretboard patterns are so important.

What about if we now take that descending G shape major scale and make the 5th the first note in the triad?

We have to include the root and 3rd somewhere to make it a major triad.

That should get us a high alternate voicing of the Bb major chord because we're starting the chord further up the scale...

Another thing to notice here - scales overlap!

The descending E string major scale shape includes positions also in the ascending A string scale shape.

Above, the 5th, root and 3rd on the D, G and B strings are positions also used in the A string ascending scale shape - try it, apply the A string acending major scale starting on the Bb A string root - it ascends right up into the descending E string territory!

This is so valuable to investigate - the relationships and links between the major scale positions and their intervals - this way, you'll see "key overlapping notes" quicker and know the different positions a chord can be played.

Wow, we've sidetracked a bit here (well, I have!), but all in good cause.

Now onto fuller chords...

Add9 chords - alternate positions

We learned in part 4 that add9 chords are made up of the root, 3rd, 5th and an added 9th.

Again, the standard barre chord voicings can lose their freshness after years of playing, so you'll eventually want to investigate a bit, like we did with the Bb chord above, but this time we obviously need to include the 9th...

Aadd9

All you're doing is leaving a few notes out of what could be a fuller G-shape barred voicing - this thins the chord and creates a sharper, punchier voicing. Perfect for finger picking/plucking.

Learn to be resourceful and free up your fingers for outside or anticipated movement by only fretting the strings needed for the chord! Doubling up tones doesn't always sound great.

Let's look at an alternate voicing for Aadd9

• There is a root note on the D string

• Most of the chord lies in the D shape barre position

• The low 3rd has been "borrowed" from another scale...

Which major scale shape has a 3rd on the E string?

The acsending E string major scale!

The acsending E string scale and the D string scale both overlap.

The D string scale is just the top end of the E string scale.

So what's my point?!

If you can build a chord on any root note, and you know how the major scale shapes overlap, you can "borrow" notes from nearby "scale overlaps" like in the example above!

Another voicing of Aadd9

The low root note has been removed, and the first occurance of the 3rd in the scale has been used as the lowest note in the chord!

---------Side note---------------------

A good point to raise here is to sometimes let the bassist in your band (if you have one) sort out the firm root notes - this allows you to free up your fingers because restrictions come with every note you fret. If you can do without a note somehow (e.g. a bassist can cover the root) you'll have an extra finger to create more interesting chords.

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Finger economics - wonderful!

Full chord inversions

So what happens if the root note becomes the highest sounding note in the chord?...

Play it and you will notice something very peculiar...

Sounds like a minor chord!!

Yes, it technically is - this is what inverted chords to this degree do - the chord tones end up overlapping with the relative minor of the chord.

All major chords have a minor equivalent 3 frets below or if we're using strict terminology here: 1 and a half steps lower.

In Badd6's case, its relative minor is Abm7

That's what that chord above is, on its own, but this is where a bassist comes in - in a progression, if your bassist plants the root firmly on "B" then you playing that inverted chord above will create the desired Badd6

A typical progression example would be - C#m7 F#7 Badd6

It's all about context - if you used that chord above at the start of a progression (for example) it would be in the context of Abm7.

Notice also how it's adopted the D barre shape position for minor 7 chords.

Stick with it - here are some more interesting chords to play around with. Remember, all these chords are movable (no open strings) so you can play in different keys.

Try and think about which scale/chord shapes these chords originate from and if they borrow tones from other scale shapes nearby...

This stuff takes time to learn, but it's so, so rewarding to accomplish whether you want to improvise or really sit down and write a song. Knowing the different chord voicings gives you more of an outlet and a more accurate expression for whatever you want to "say" with your guitar - yeh it sounds corny, but isn't that what all this is about?!

What does it all boil down to?...

Experimentation.

Thanks for taking the time and see you soon!