Working drop 2 voicings through this standard, mid string set.
I’m extending the major 7 chords to either #11 or #5, and altering the dominants to #5.
Limiting the exercise to the inner strings helps to focus on voice leading. In this etude, I’m not incorporating the melody, but rather studying how the changes can connect together smoothly and musically. It’s rather surprising how these chords aren’t as far away from each other as they might appear. The first two changes for example, the Bma7#11 to D7#5, the A# in the voicing remains constant and the other 3 notes move by a half step. B, F, A#, D# moves to C, F#, A#, D.
I’ve always been frustrated by the ‘root based’ education we’re shackled to as guitarists. The study of harmony with a focus on inversions is opening up the guitar to me in ways I’d never imagined.
Inspiration as always from @timmillerguitar and @okazakistudio.
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