Jump to content

Who uses a guitar synth live?


Recommended Posts

  • Members

 

A close voiced chord is when the voices are as close together as possible. A four part chord with the root on the bottom followed by stacked thirds is one example.


A cowboy Fma7 chord on the guitar is like that. F,A,C,E.


A G7 on the third fret (6th string - G, 4th string - F, 3rd string - B, 2nd string - D) is not closely voiced. You have the 1, b7, 3, 5.

 

 

Are you saying a requirement of a close voiced chord is that it must also be stacked?

 

When I do a G7 barre chord I have the 5th on the 5th fret of the 5th string, D. So my normal G7 barre is 1-5-b7-3. For some reason you're excluding the 5th string. Obviously it's a valid chord but I would argue it's not likely the way most people play it simply because it requires more effort attempting to mute the 5th string while already doing a barre chord!

Link to comment
Share on other sites

  • Members

A few years ago I thought about fooling around with a Brian Moore i3, Roland GR-20 and midi'ng up to my Triton. But since we have a lead guitarist and I play keys and guitar, I figured what was the point really. Now since we've added a 6th guy to also play keys and rhythm guitar it's just not neccesary. We have every synth part imaginable covered with four hands plus a guitarist holding down the leads.

Link to comment
Share on other sites

  • Members

 

Are you saying a requirement of a close voiced chord is that it must also be stacked?


When I do a G7 barre chord I have the 5th on the 5th fret of the 5th string, D. So my normal G7 barre is 1-5-b7-3. For some reason you're excluding the 5th string. Obviously it's a valid chord but I would argue it's not likely the way most people play it simply because it requires more effort attempting to mute the 5th string while already doing a barre chord!

 

 

Since most chords are some variation of stacked thirds (quartal and quintal chords excepted), the root voicing will be the closest.

 

Your barre G7 has the 5th on the fifth string as well as the second string.

I actually never play full barre chords unless I'm playing an acoustic guitar.

 

I started using the traditional Jazz forms of chords in which the fifth string is muted. I've always done it so it is easier to me than trying to barre across all six strings. It's actually harder to not have the fifth string muted when playing this form....it naturally gets muted when your hands are making the chord.

Link to comment
Share on other sites

  • Members

I started using the traditional Jazz forms of chords in which the fifth string is muted. I've always done it so it is easier to me than trying to barre across all six strings. It's actually harder to not have the fifth string muted when playing this form....it naturally gets muted when your hands are making the chord.

 

I would submit then that you are chording at a more advanced level than most beginners and even perhaps many experienced "rockers" who tend to use more close voicings simply because it's easier.

 

It's more difficult, for me anyway, to attempt muting strings and stretching for some of the jazzier chord shapes than it is to just lay finger one across all the strings and kerrang on a barred E, E7, Em7, A, A7, Am7 shape. Even the upper string C/Cm7 style barres common in rock are close voiced chords.

 

There are some common open voiced chords that are easy to do by simply allowing open strings but I think for the most part being able to finger open voiced chords on the guitar requires extra concentration and practice.

 

I suppose at this point it's all just a matter of opinion as what chords are easier to play.:idk:

Link to comment
Share on other sites

  • Members

I played years ago with a player who made it work well. We did a good sounding Magic Carpet Ride, plus he did a bunch of horn stabs. Organ and Horns if I remember correctly. Maybe the synth lead to Just What I Needed/Cars.

Link to comment
Share on other sites

  • Members

When I think of close voicings, I'm dealing with one or more intervals of a major and/or minor second. So on keys on the chorus to "Peg", I'm starting with B D E G / C, A D E G / B, G B C E / A, D A B E / E, where /X is my left hand. I don't know what the density of notes has to be in order to call it a "cluster", but you can get closer than my example.

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

×
×
  • Create New...