New (to me) 1st position G7 voicing

[aK_bAsh7]

I was looking for a 1st position G7 voicing that located the b7 in a lower register and came up with: 3 2 3 0 0 x

Why this wasn't apparent to me decades ago, I can't say-- seems pretty obvious, now. It was "hiding in plain sight", all along. ;o)

It works well with chords such as C/g (3 3 2 0 1 x) or B7/f# (2 2 1 2 0 X )

Variations include doubling the b7 on the low E: (1 2 3 0 0 x) or locating the 3rd in the bass (x 2 3 0 0 x).

No doubt this is nothing new for some here but others may not be aware of these voicings.

[Silly Moustache]

Yup been using this shape for many years.
Simply not interested in fretting an F on the 1st string.
Often, esp., if playing in C with maybe just two beats on the G I'll fret 3x000x - works well for a short time.

see them both here :

[JonPR]

Originally Posted by aK_bAsh7

I was looking for a 1st position G7 voicing that located the b7 in a lower register and came up with: 3 2 3 0 0 x

Why this wasn't apparent to me decades ago, I can't say-- seems pretty obvious, now. It was "hiding in plain sight", all along. ;o)

It works well with chords such as C/g (3 3 2 0 1 x) or B7/f# (2 2 1 2 0 X )

Variations include doubling the b7 on the low E: (1 2 3 0 0 x) or locating the 3rd in the bass (x 2 3 0 0 x).

No doubt this is nothing new for some here but others may not be aware of these voicings.

Yes, I use that shape quite often, but I wouldn't normally mute the 1st string. I'd just keep the usual F on 1st fret. I call it a double-strength G7 .

IMO, 1-2-3-0-0 is ugly though. It would only makes sense if following it with C/E, 0-3-2-0-1-0, so the bass F resolves properly.

x-2-3-0-0-x is much more useful, especially as a passing chord between C and Am. x-2-3-0-3 too.

Alternatively, adding the open 1st string gives you a nice G13 chord. Goes very nice to Cadd9 (x-3-2-0-3-x).
Mind you, I tend to prefer G13 as 3-5-3-4-5-x, to add the D on 5th string.

[Bob from Brooklyn]

You can use the pinky for a G on the first string with this also. This is the G7 Paul Simon uses in The Boxer.

P.S. Don't be too harsh on yourself. It took me a few decades to figure it out myself.

[Mr. Jelly]

Good for you. Remember that you can make up your own chords all over the neck. Think in terms of only playing two or three strings and not all six strings. And then there are open strings that can be utilized.

[aK_bAsh7]

"IMO, 1-2-3-0-0 is ugly though. It would only makes sense if following it with C/E, 0-3-2-0-1-0, so the bass F resolves properly".

I agree -- voice-leading and string-set consistency are very important to me!

[aK_bAsh7]

Remember that you can make up your own chords all over the neck.

Yes; I do that!

[aK_bAsh7]

Simply not interested in fretting an F on the 1st string.


Well, OK -- personal taste...

Me, I like utilizing dom7th chords with b7 in the bass, at times.

[ghostnote]

I’m not that well versed in music theory, but I’ve always messed around with chord shapes for fun, almost since I started playing. “Hey, that B sounds good in that chord. Can I get another B in there somehow? Or even two? What happens if I leave it out?” Things like that helped me learn about chords in spite of myself. I think the main lesson is that there’s no one way to do things - if it sounds good, it is good.

[Mr. Jelly]

Check out Larry Campbells guitar work using mostly chords here.

https://www.youtube.com/watch?v=cdLkFYDTJuk

[Ralph124C41]

I came across that voicing years ago at ... of all places ... a jam of die-hard, old-fashioned bluegrass purists, you know the folks where if you didn't have a Martin, or maybe, just maybe, a Guild or old Gibson, you were not all that welcome.

I had my old Guild D-55 so I was more or less accepted. However the "star" of the group who played many instruments (loudly) played a Blueridge so I guess he was OK because of his years in the group.

I saw the voicing and I didnt know what chord it was at first until I realized it was a way to make a G7 without straying into the no-man's land of that fretted high E.

[aK_bAsh7]

Originally Posted by ghostnote

I’m not that well versed in music theory, but I’ve always messed around with chord shapes for fun, almost since I started playing. “Hey, that B sounds good in that chord. Can I get another B in there somehow? Or even two? What happens if I leave it out?” Things like that helped me learn about chords in spite of myself. I think the main lesson is that there’s no one way to do things - if it sounds good, it is good.

Agreed. I've always enjoyed such explorations...

[aK_bAsh7]

Originally Posted by Ralph124C41

I came across that voicing years ago at ... of all places ... a jam of die-hard, old-fashioned bluegrass purists, you know the folks where if you didn't have a Martin, or maybe, just maybe, a Guild or old Gibson, you were not all that welcome.

I had my old Guild D-55 so I was more or less accepted. However the "star" of the group who played many instruments (loudly) played a Blueridge so I guess he was OK because of his years in the group.

I saw the voicing and I didnt know what chord it was at first until I realized it was a way to make a G7 without straying into the no-man's land of that fretted high E.

Why "no man's land" ?

[EZYPIKINS]

Originally Posted by aK_bAsh7

Remember that you can make up your own chords all over the neck.

Yes; I do that!

You are not gonna make up anything that hasn't been played before.

[ljguitar]

Hi all…
I reposition chords for A)-Balanced chords and B)-convenience.

The voicing highlighted for the discussion is one of those which is convenient, and I only need those three fretted notes or perhaps the open G string as well. I'd never use the naked 'b' (open second string) because doubling the third weakens chords.

I'm more likely to use this on electric versus acoustic when I'm play backing and lead. And I'll likely use it to maintain a different fingering position than another guitarist in a group.