Kite Guitar chord shapes (downmajor tuning): Difference between revisions

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== Sixth chords ==

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 ~~aka 3rd inversion~~ (6 R 3 5). But this is the same as the close voicing of ~~the corresponding~~ 7th chord, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or R 3 6 8 5) and high-6 (R 3 5 8 6).

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the low-6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is high-3-5 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or R 3 6 8 5) and high-6 (R 3 5 8 6).

The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.

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 == Sixth chords ==
-Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or R 3 6 8 5) and high-6 (R 3 5 8 6).
+Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the low-6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is high-3-5 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or R 3 6 8 5) and high-6 (R 3 5 8 6).
 The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.