The encyclopedic knowledge that Richie possesses is astounding. Thanks for sharing this. I've been using many drop voicings without being cognizant of their underlying derivation. Thanks Richie!
Thanks Richie. I was so confused by drop voicings and even more so when adding extensions to the chords, but you made it so easily comprehensible in your video, truly amazing!
Thanks Richie! Awesome lesson as usual, can’t wait to download this package! As someone else has said already, your lessons are the best part of Saturday mornings, look forward to every one.
some of those hand positions seem crippling, but, if you hold the guitar more classically with elbow forward wrist straighter to back hand it is easier. very cool.
Hi Mr. Zellon Thanks for the video! There is a part that confuses me. At 8:40 you talk about common characteristics about drop voicing. All drop voicing with 7th in highest voice are root position. But Drop 2 root position follows this order 1 5 7 3. Drop 3 - 1 7 3 5. Only drop 2 & 4 - 1 5 3 7 - has 7th on top.
I think you need to listen again to what I said before that. I think the confusion lies between non drop voicing inversions and drop voicings which are not inversions in themselves. Drop voicings are applied to existing inversions. So we may be talking about 2 different things. Sorry, you would have to elaborate in more detail.
Great lesson as always Richie. Since these chords give the same voice leading do you think it's necessary to learn all the other chords besides drop 2? I find drop 2 when applied with different inversions as u did in the ii V I example u did is much more practical n efficient on guitar rather than using the other drop chords which have the same voice leading but much more difficult to play.
Though most who teach these concepts are perfectly correct, the truth is that all serious guitarists need to just learn EVERY way every chord can be found/stacked, whether they be close voicing or spread voicing on every string in every key so that eventually all the different types/fingerings can be applied anywhere, any time.. These chord types will either be individually plucked, or, by employing deadened strings, strummed.. IE. Get to KNOW everything everywhere and just use them when and where you must in order to create whatever piece, solo, rhythm chart, arpeggio, comping, accompanying you need or want and not bother with what 'drops' are, or are not, involved...It's mainly just 'voice leading' which dictates how one chord follows the next...The 'spread' can and usually must be a mixture of all types..
I don't find any of these basic dominant 7th chord voicings interesting or useful. IMO the most interesting 7 chords on guitar are chords with the 7 or 3 on the bottom. And forget the root on the bottom unless you put the 3 above the 7th. The 5 above the root doesn't work for my ear and I hear very little of that in the great jazz guitar players of days gone by.
You're entitled to your personal taste like is everyone! Nonetheless, contrary to what you say, all "the great jazz guitar players of days gone by" used drop voicings with root and 5th! I could show you countless transcriptions of chord melody solos by Wes, Barney Kessel, Joe Pass etc, with these voicings in chord melody solos. Furthermore, your options when harmonizing a melody are very limited if you want to voice lead between chords only with 3 and 7 in the bottom. Many passages with 3rd or 7th in the melody will make it impossible to harmonize in 4 parts. That said, what most do to avoid root and 5th on the bottom is substitute the root for the 9th or the 5th for the 13 (if available for the given chord). Of course this is only permissible within a certain range. Also, just for the record, I learned all these drop voicings studying personally with Pat Martino. I still have them on manuscript staff paper in his own hand writing. So if what you are saying is a fact and not just your personal view, I guess he wasn't an authority on the subject like I and so many others have been led to believe.
It ain't Saturday morning without Richie...!
Mr Richie thank you for sharing your amazing lesson you are a great teacher
Thank you, much appreciated!
The encyclopedic knowledge that Richie possesses is astounding. Thanks for sharing this. I've been using many drop voicings without being cognizant of their underlying derivation. Thanks Richie!
Glad it was helpful!
Thanks Richie. I was so confused by drop voicings and even more so when adding extensions to the chords, but you made it so easily comprehensible in your video, truly amazing!
Thanks, glad to be of help!
Thanks Richie! Awesome lesson as usual, can’t wait to download this package! As someone else has said already, your lessons are the best part of Saturday mornings, look forward to every one.
Thank you Lindsay...that's great to hear that all my hard work in posting these lessons is appreciated!!
However tedious it may be, this is not a study to be missed. Thanks Richie for meticulously putting it all together.
My pleasure!
Nice richie
Thanks Dominique!
some of those hand positions seem crippling, but, if you hold the guitar more classically with elbow forward wrist straighter to back hand it is easier. very cool.
Gotta practice commenting. The transition from letters to numbers is an ongoing study. But, did the transition really begin in Nashville...?
@ 6:25. you mean strings 1 2 4 5 I was one of the guys who thought inversions were the same as drop 2 3 4 Thanks for the correction
oops!
Hi Mr. Zellon Thanks for the video! There is a part that confuses me. At 8:40 you talk about common characteristics about drop voicing. All drop voicing with 7th in highest voice are root position. But Drop 2 root position follows this order 1 5 7 3. Drop 3 - 1 7 3 5. Only drop 2 & 4 - 1 5 3 7 - has 7th on top.
I think you need to listen again to what I said before that. I think the confusion lies between non drop voicing inversions and drop voicings which are not inversions in themselves. Drop voicings are applied to existing inversions. So we may be talking about 2 different things. Sorry, you would have to elaborate in more detail.
Super! Thanks for clearing that up!
Great lesson as always Richie. Since these chords give the same voice leading do you think it's necessary to learn all the other chords besides drop 2? I find drop 2 when applied with different inversions as u did in the ii V I example u did is much more practical n efficient on guitar rather than using the other drop chords which have the same voice leading but much more difficult to play.
I agree that drop 2 are the most guitar friendly. However a few of the others have some interesting applications if you understand how to use them.
I bet Richie got that shirt in Indonesia or Bali.
Though most who teach these concepts are perfectly correct, the truth is that all serious guitarists need to just learn EVERY way every chord can be found/stacked, whether they be close voicing or spread voicing on every string in every key so that eventually all the different types/fingerings can be applied anywhere, any time..
These chord types will either be individually plucked, or, by employing deadened strings, strummed.. IE. Get to KNOW everything everywhere and just use them when and where you must in order to create whatever piece, solo, rhythm chart, arpeggio, comping, accompanying you need or want and not bother with what 'drops' are, or are not, involved...It's mainly just 'voice leading' which dictates how one chord follows the next...The 'spread' can and usually must be a mixture of all types..
How are inversions being defined by their highest note? Aren't they defined by which chord tone is on the root!?
Remember, these are drop voicings! So you need to keep in mind where the root was located in the original closed voicing inversion they came from.
What model Sadowsky is that.
Jim Hall
There is no adequate vocabulary for defining different permutations of chord notes. Making it more difficult to discuss doesn't help anyone.
Of course there is!!
Language is everything.
I don't find any of these basic dominant 7th chord voicings interesting or useful. IMO the most interesting 7 chords on guitar are chords with the 7 or 3 on the bottom. And forget the root on the bottom unless you put the 3 above the 7th. The 5 above the root doesn't work for my ear and I hear very little of that in the great jazz guitar players of days gone by.
You're entitled to your personal taste like is everyone! Nonetheless, contrary to what you say, all "the great jazz guitar players of days gone by" used drop voicings with root and 5th! I could show you countless transcriptions of chord melody solos by Wes, Barney Kessel, Joe Pass etc, with these voicings in chord melody solos. Furthermore, your options when harmonizing a melody are very limited if you want to voice lead between chords only with 3 and 7 in the bottom. Many passages with 3rd or 7th in the melody will make it impossible to harmonize in 4 parts. That said, what most do to avoid root and 5th on the bottom is substitute the root for the 9th or the 5th for the 13 (if available for the given chord). Of course this is only permissible within a certain range. Also, just for the record, I learned all these drop voicings studying personally with Pat Martino. I still have them on manuscript staff paper in his own hand writing. So if what you are saying is a fact and not just your personal view, I guess he wasn't an authority on the subject like I and so many others have been led to believe.
@@RichieZellon solo yeah - play whatever you want - with a piano player? Maybe not.