Why should keyboard players get to have all the fun? Here I’ve been talking about triads and thinking about triads for a month, in a single closed position (which I’ve been trying to use as much as possible in as many different keys and playing contexts as possible), but been completely ignoring something on my mind for quite some time. S P A C E.
And to think all I really wanted to talk about last time was how beautiful Drop 3 and especially Drop 2 and 4 chords are and how I’d like to use them more in my chord playing. But that’s just not how things happened.
I guess that’s all I have to say about that, except to buy Mick Goodrick’s Almanac of Guitar-Voice Leading or Advancing Guitarist for everything you could ever want to know about that subject from a technical perspective. But I’d like to add that all the horizontal chordal triad work that I started doing at first really didn’t appeal to me. Firstly, everything sounded classical. Secondly, there’s no space! All my chord playing involves consecutive strings, involve stacked 4ths or triads or their inversions or Drop 2 chords.
But MAN do those drop 2 and 4s sound amazing. And everybody uses drop 3 whether they realize it or not, but MAN do some of those inversions sound great. And MAN would I like to arrange some standards with these voicings, my primary device not being reharmonization or chord substitution but simply chord inversions and beautiful open chords with greater span, but not ugly 6 note bar chords. No, I’d love to hear beautiful airy voicings that leave space to recognize and digest every note. Ted Greene’s Chord Chemistry is also a great reference if you feel like you need more technical guidance.
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