Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
Added a new exercise, other changes too |
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It matters whether we include the octave or not. We get the same chord type, upminor, but different roots and different voicings. To keep the same root, follow our rule: the root becomes the 5th and vice versa. x '''8''' 8 '''7''' 9 x becomes 6 '''8''' 7 '''7''' x x, and Dv becomes D^m. The old voicing was close, going up from the root. The new voicing is also close, but now it goes down from the 5th. | It matters whether we include the octave or not. We get the same chord type, upminor, but different roots and different voicings. To keep the same root, follow our rule: the root becomes the 5th and vice versa. x '''8''' 8 '''7''' 9 x becomes 6 '''8''' 7 '''7''' x x, and Dv becomes D^m. The old voicing was close, going up from the root. The new voicing is also close, but now it goes down from the 5th. | ||
What about open voicings? | What about open voicings? If we start at the 5th and go down from there, we'll run out of strings. So let's start at the top note. | ||
{| class="wikitable" | {| class="wikitable" | ||
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|low-3,5 add-5 | |low-3,5 add-5 | ||
|} | |} | ||
What a mess! An unrelated root, and not a very nice voicing. So for now, don't worry about the new voicing or the new root. Just focus on the new chord type. | What a mess! An unrelated root, and not a very nice voicing. You can only take rotations so far. The basic rules of voicing and voice leading still hold. Good chord voicings avoid small intervals in the bass, but favor them in the upper voices. Good bass melodies tend to have big leaps, and good melodies in the upper voices tend to have smaller steps. | ||
So for now, don't worry about the new voicing or the new root. Just focus on the new chord type. | |||
* major rotates to minor | * major rotates to minor | ||