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Tap Theory - 7th Chord overview
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Author:  The_Afro_Circus [ Mon Sep 11, 2017 3:12 pm ]
Post subject:  Tap Theory - 7th Chord overview
Hey everyone, as requested by my patrons this month here is a quick overview of 7th chords from both a theoretical and technical standpoint. As always, there are exercises and much more at http://www.patreon.com/jgoldbergmusic. Enjoy!
Author:  rclere [ Mon Sep 11, 2017 4:54 pm ]
Post subject:  Re: Tap Theory - 7th Chord overview
Josh, as always, great work... clear and concise . thanks!
Author:  The_Afro_Circus [ Mon Sep 11, 2017 7:54 pm ]
Post subject:  Re: Tap Theory - 7th Chord overview
Thanks Randy!
Author:  Jayesskerr [ Fri Sep 15, 2017 7:17 am ]
Post subject:  Re: Tap Theory - 7th Chord overview
Cool video Josh.

An observation; One thing about 7th chords (LH only) in 5ths tuning; a min7b5 seems to get sacrificed/substituted with either a min7 or a diminished triad, and a dom7sus4 (or any sus4) seems to be avoided a lot in Stick music; I understand, as a P4 IS hard to reach and a b5 is a bit of a fingertwister when coupled with the easiest Stick min7 fingering (which omits the 5th). Any ideas on how one might snag those tensions (LH only, as the RH will be occupied)? How about a min/maj7 also?

Just curious about your thoughts on that, (I still play my Railboard in RMR...)
Author:  The_Afro_Circus [ Sat Sep 16, 2017 9:39 am ]
Post subject:  Re: Tap Theory - 7th Chord overview
Thanks Scott, and good question.

For 7sus chords, try 1st finger on the root, skip a string, pinky on the 11th, next string up middle finger on the b7th or ring finger on the natural 7th.

|-|-|-|-|
|1|-|-|-|
|-|-|-|-|
|-|-|-|4|
|-|2|-|-|

You can also do a really interesting drop 4 (is that what it's called when the lowest note is the 4th?) inversion by applying a classic guitar shape and making the root the highest note. Bar your first finger and use your 3rd and 4th like so.

|-|-|-|-|
|-|-|4|-|
|1|-|-|-|
|-|-|3|-|
|1|-|-|-|

A complete-voiced min7b5 will be a bit of a stretch and will involve 5 strings. Play the root on your lowest bass string, then skip a string, and play the b3rd with your 2nd finger on the 3rd lowest bass string. Then finish the classic open minor shape with your 3rd and 4th fingers like so.

|1|-|-|-|-|
|-|-|-|-|-|
|-|2|-|-|-|
|-|3|-|-|-|
|-|-|4|-|-|

Truthfully I usually either leave the b5 out or play a 1st inversion minor chord on the b5th and imply the root.

|-|-|-|
|-|-|-|
|1|-|-|<---b5
|-|-|4|
|-|-|3|

OR an inversion with every note:

|-|-|-|-|-|
|-|-|2|-|-|
|-|-|-|-|4|<---root
|-|-|-|3|-|
|1|-|-|-|-|

I hope that clears things up.
Author:  Jayesskerr [ Sat Sep 16, 2017 11:04 am ]
Post subject:  Re: Tap Theory - 7th Chord overview
Cool info, I went through pretty much all of those fingerings, I was just curious if y'all had any other stuff for 5ths tuning on the bass side that I hadn't checked out yet. One of the many reasons that Mirrored 4ths is working out for me a bit better as a tuning.

:D Of course, in 5ths tuning the full chord COULD be played as an arpeggio/line pedalling off the root as an alternative, and there is ALWAYS the option of playing part of the chord in the melody side with the RH... I guess it's dependent on the cleverness and arrangement ability of the player, eh?

Dropped chord voicings are like this;One takes a chord and then drops the "next to the highest" note/voice, to become the lowest note of the chord. (Basically take it and drop it to the bass.) Drop 2 (second highest note dropped to the bass from a closed voicing) are extremely useful, especially on guitar... compact and they sound great...
[youtube2]https://www.youtube.com/watch?v=RWpbCJY86VI[/youtube2]

Thanks for posting this, Josh. A fun view and read as always.
Author:  The_Afro_Circus [ Sun Sep 17, 2017 10:56 pm ]
Post subject:  Re: Tap Theory - 7th Chord overview
So just to get this straight, the bottom note of a drop 2 7th chord would be three 5th and on a drop 2 9th it would be the 7th?
Author:  Jayesskerr [ Mon Sep 18, 2017 7:02 am ]
Post subject:  Re: Tap Theory - 7th Chord overview
They are derived from closed voicings; ie
Maj7
B=B
G=E
E=C
C=G
Maj7add9
D=D
B=G
G=E
E=C
C=B


Drop 2 = 2nd highest voice dropped to the bass. On a root inversion chord, one ends up with the 3rd and the 7th stacked at the top and the 5th in the bass - sounds cool and it's very useful for voice leading, chord solos, that sort of thing. Works on every inversion.

Guitar chords are all basically 'soli' - drop voicings, although soli is primarily an arrangement convention... Works out in the wash... Also don't forget that some chords don't always take all tensions (9 11 13 etc) depending on their function (iiimin7 for instance does NOT get a nat9, but will take a nat11 and b13 for instance...)

Now, remember that guitar has that pesky maj3 in it's tuning; so that means that one gains the ability to form 6 note chords pretty easily. In a straight 4ths/5ths tuning one loses the ability to form those '6 noters', and gains the advantage of repetitive symmetry.
Author:  The_Afro_Circus [ Mon Sep 18, 2017 7:46 am ]
Post subject:  Re: Tap Theory - 7th Chord overview
Neat thanks! Although i will say I do get really lush 6+ note chords on stick way easier than guitar.
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