> On 13 May 97 at 4:05, reed wrote:
> =
> >...
> > Are you really comfortable playing shells, both rooted and rootless?
> >
> > I.e. R 3 7 or 3 7 .
> =
> Yup. Thirds and (flat) sevenths form a diagonal chord across the neck
> (except for a jump on the B string), sort of like the augmented triad
> in reverse. Flatting or sharping the thirds and sevenths or adding a
> root to that is easy.
> =
I hope that this little thread isn't absolutely boring to those on this
list who don't play guitar, but I have a few other questions
specifically about implementing 3/7 voicings on guitar. =
Kevin's diagonal idea is one of those things I realize now was there all
along and I just missed it. =
I see this fine for min7 and dom7 chords. Somehow, though, playing 3rd
and Maj7 as a two-note voicing sounds discordant to me.
I am ready and happy to say "Okay, so I train my ear to like it. It's
right, guitarist and pianists have played 3rd/Maj7 voicings for decades,
just get over it." So I'm not disagreeing, but for now, while the 3/7
voicings sound and move very nicely on min7 and dom7, I have trouble
seeing how to use them well with majors. =
I have heard that prior to the Maj7 chord's rise in popularity, many
jazz players actually played the 6: 1 3 5 6. Might the 3/6 2 note
voicing work or am I just scrambling to avoid learning to use a sound
that seems odd to me? Note I have no problem with Maj7 chords, just the
3/7 voicing here seems not to have the same naturally leading feeling as
it does with the others.
I am prepared now to learn something from you guys.
-- =
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"You know, a long time ago, being crazy meant something. Nowadays,
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