I’ve talked about chord shapes on
Root 5 and Root 6 strings before. Today I want to talk about two basic shapes for Major 7th chords with root 4 voicings.
These chords can be really great when you’re playing in a larger band. They’re cleaner then root 5 and root 6 voicings. Plus, they sound really pretty… If that doesn’t make you sick.
Sometime playing it’s hard to find space in a band that has two guitarists or a pianist. Everyone is competing for space. That’s when I employ chords that are voiced on the upper 4 strings.
It’s a good idea to learn these shapes to the point you don’t have to think about them. Your response should be instant when you want to play them.
Let’s look at the voicings:
I recommend practicing each voicing for 5 minutes a day. Try to focus strictly on that one voicing, but switch positions. In other words, play the voicing at fret 3. Then at fret 9. Then at another location.
Take notice of what chord you’re playing. Is it Fmaj7 or Bmaj7? Cheater alert: For these two voicing the root is on the 4th string.
The next 5 minutes we’ll focus on the second voicing. Repeat the same process of moving that shape around and naming the chord.
So far that’s 10 minutes of practice.
Let’s add one last 5 minute routine. We’re going to name every note and interval in each voicing. Note: This is separate from the other exercises. We’re not trying to combine them. Each exercise has it’s own focus.
Is the root at the bottom? (I gave that away earlier) Is the 3rd on top? You should be able to answer these questions without too much struggle.
If you’re struggling to know what intervals are or where the notes are on guitar, check out this Book of Guitar Theory