Open string voicings

I just love open string voicings especially on an acoustic, was hoping maby some of you folks could hook us with some cool chords. Here are a few of my
favorites.
From "you can't kill rocknroll"
e--0-----0--
b--0-----0--
g--8-----6--
d--9-----7--
a--9-----7--
e--7-----5--

"I believe"
e--0---0---0--
b--0---0---0--
g--0---0---0--
d--2---4---5--
a--3---5---7--
e--x---x---0--

no song in particular just some random chords
e--0--0--0
b--0--0--0
g--0--1--3
d--4--4--4
a--2--2--4
e--0--0--2

I've been playing with this progression for a couple of years now..It's kind of
got this cool uptown blues feel to it.Reminds me of the Hollies classic "Long cool woman" at least the first few chords..
e--0--x--x--x--x--x---x--x--0
b--0--x--x--x--x--x---x--x--0
g--1--2--4--6--7--6--4--2--1
d--x--x--x--x--x--x---x--x--x
a--2--4--5--7--9--7--5--4--2
e--0--0--0--0--0--0--0--0--0

wheh kind of tired of tabbing. getting a crick in my neck trying to do this on a laptop..was gonna do the Ric Emmett type like in D..you know with the open d string drone and you move the d shape around..bet that one's cool in drop d as well. Another thing I noticed is quite a few country songs are in drop d as well..Marty stuart's "touch me turn me on,and burn me down..and I would love to find a decent tab to "Killing time"..anyways I'm out..Time to Eat!!:razz:

Love open string voicings...if you are going to play guitar, might as well make some guitar like sounds...

This is one of my faves...Am (add9) or indeed A major (add9)

--0-----0---
--0-----0---
--5-----6---
--7-----7---
--0-----0---
-------------

I wrote a song with the latter chord that used harmonic on the open strings at fret 7 as well...lovely little chime

here's a "matching" Dm or major...

--0-----0-------
--6-----7-------
--7-----7-------
--0-----0-------
--------------
--------------

both make use of very close voicing clusters, the root, 2n'd and third degrees that all rub together nicely.

There are so many, sometimes they form "melody chords' in that when you pick them a melodic line comes out...there are so many.

All the E shaped bar chords can work well with or without fretting the E string.

An Oz band 'the runners' that I used to love...had a local hit with a song called "sure fire thing"...the chorus had this kind of thing sequence...

----0--0--0----0----0----------
----0--0--0----0----0----------
----8--6--8---13---6----------
----9--7--9---14---7---------
----9--7--9---14---7---------
----0--0--0----0----0----------

things like this F# minor are also nice and possible with a thumb over technique*...

---0-----------
---0-----------
---2-----------
---4-----------
---4-----------
---2*-----------

Any of the open shapes can be moved about of course....

I've always liked this D chord (add4)

----0----------
----3----------
----0----------
----4----------
----5----------
--------------

I've written so many half completed songs or arrangements with these voicings on G,C,D

--3----3-----5----------
--0----1-----3----------
--0----0-----0----------
--0----2-----4----------
--2----3-----5----------
--3----------------------

Has a kind of softness and a mandoin-esque top line in a way...try it on a song like "north country girl" and woo someone!


the C also sounds interesting up higher, such as with this F chord...

----0----------
----6----------
----0----------
----7----------
----8----------
--------------

that open g clusters with the A and the F plus the F and the E cluster on top...use with care. We are used to hearing drone notes in the outer voices, the bass or top notes, but it can also be effective in the inner voices by using the g string for example.

Players like Townsend and page have made great use of these sounds...but there are so many interesting sounds on the guitar...

I guess there has to be mention of the six string power chord...4 e's and a pair of b's...on acoustic or clean guitar makes a kind of fake 12 string effect!

----0----------
----0----------
----9----------
----9----------
----7----------
----0----------

move it around to make neato drone sounds...got to be careful though that such chords don't stand out too much on their own and you include others with a similar vibe I've found.

It's interesting the kinds of effects you can get though in less guitar like keys...always like this Fmaj7b5

----0----------
----0----------
----2----------
----3----------
----x----------
----1*----------

or this Fmaj7 add 2

-----0----------
-----1----------
-----0----------
-----3---------
-----0---------
-----1*---------

or this Bsus4 thing...

----0------(0----
----0------(0----
----4------(1----
----4------(2----
----2------(2----
------------(0)---

makes a cool cadence to E in E...strum the B chord a la pinball wizard!

Or perhaps this Bb#11 which makes a nice "spooky" kind of melody if fingerpicked...

-----------0---
---------6---6--
------7---------7---
----8--------------8-
----------------------
--6--------------------

So many great sounds, even without getting into the open tunings where this kind of thing is bread and butter!~

here's a another I couldn't help adding...again a kind of 'mysterious' Em7add2 that makes an interesting "melody"...can be used with other bases to amke different chords...with a G in the bass for example makes a lovely Gmaj6/7 chord

-----------0---------
--------3----3-------
------0---------0----
----4--------------4-
----------------------
--0-(3)------------------

oh...and a fave of mine...this lovely Cmaj7 voicing...lots of jangle!

----0----------
----0----------
----5----------
----5----------
----3----------
--------------

Evilest E7#9
-----x---------
-----x---------
-----0----------
-----6-----------
-----5---------
-----0-----------

F#7b9
----0----------
----2--------
----0---------
----4---------
----x----------
----2---------

Move your low F# note to a G (6th string 3rd fret) for a nice change (Gmaj13+11).

Am11 voicing courtesy of Ralph towner - sounds great arpeggiated



----0---------
----0---------
----5---------
----0---------
----7---------
----5---------

F#m11 #5 or a Dmaj13/F#
----0---------
----0---------
----2---------
----0---------
----4---------
----2---------

Wow guys those are really excellent!
I got another one to add to the mix
-0--0--0--0--0--0-
-0--0--0--0--0--0---
-5--5--5--5--5--4---
-7--6--5--4--3--2---
-0--0--0--0--0--0--
---------------------

Earl Hooker via Ronnie Earl E7
--0-
--0-
-13-
-12-
-11-
--0-

Not to be strummed, just used as an accent.

Evilest E7#9
-----x---------
-----x---------
-----0----------
-----6-----------
-----5---------
-----0-----------

F#7b9
----0----------
----2--------
----0---------
----4---------
----x----------
----2---------

Move your low F# note to a G (6th string 3rd fret) for a nice change (Gmaj13).

ken, are you ready to check into "intervals of a major second or less addicts anonymous" with me?:mrgreen:

no close intervals, but here's one i use as an Eb maj 7 voicing in an arrangment i do of "laura"

x 5 0 0 4 x

ken, are you ready to check into "intervals of a major second or less addicts anonymous" with me?:mrgreen:

no close intervals, but here's one i use as an Eb maj 7 voicing in an arrangment i do of "laura"

x 5 0 0 4 x

Very nice! Yeah, that stuff rarely makes to a real gig unless I'm the only harmony player.

Or ... what's the point of playing guitar unless you can hear the beats between the notes ;)

Evilest E7#9
-----x-----
-----x-----
-----0-----
-----6-----
-----5-----
-----0-----


That's pretty evil and Atilla the Hun-like. My fave evil #9 chords also contain a #5. Personal fave:



-----3-----
-----3-----
-----5-----
-----6-----
-----7-----
-----0-----

//: X05500, X04030 / X05500, X04030 ://

Semi-arpeggiate the first chord of each measure.

Intro to "Suicide is Painless".

Flamenco meets So What:

35X422
24X300
066676
044454

heres and academic approach to the worderful world of open chords by the great tom principato. he accumulated em over a period of years and put them in a book:

http://www.amazon.com/Open-String-Guitar-Chords-Tom-Principato/dp/0634004786

good pickin!

rand z

!00 pages!

Flamenco meets So What:

35X422
24X300
066676
044454

Awesome chords.

Here are some I use, not necessarily blusey on their own, but whatever
6x0560
8x0780
7x0700
5x0500
(10)x(10)900

If you're vamping on C9 do something like C9 C Bb Fmaj7, just use triads or diads

Only one open low E but well worth it. A 'Bill Evans' E13 ...

----4---------
----3----------
----6-----------
----x----------
----x-----------
----0------------

Or, down an octave ...

----x-----
----x-----
----1----
----0----
----4----
----0----

Shine On You Crazy Diamond - I love this part:

----------0----
----6----------
-------0-------
--8------------
---------------
---------------

Last nites gig - Em/maj to Gm13/Bb

----0--------
----4--------
----0--------
----4--------
----2--------
----0--------

to

----0--------
----3--------
----0--------
----3--------
----1--------
----x--------

Okay, what's the actual voicing of that crazy augmented chord in Sugar Loaf's "Green Eyed Lady"? I don't have a copy of the record to figure it out with.

Sorry, don't know that tune...

So, was doing some "homework" for this weekly bass playing buddy on a beautiful old Aussie song "Short Note" (by Matt Finish)...some lovely simple fingerpicking stuff (often played wrong) and there's a neat guitar solo on the original but was trying to come up with a little bit of an original solo for the end.

The verse chords are these...in a picking pattern

-----0------------0-----------------------------------
-----2------------2-----------------------------------
-----2------------1-----------------------------------
-----0------------2-----------------------------------
-------------------0---------------------------------
---------------------------------------------
Dmaj7sus2....Amaj7

so, I came up with some sliding 4ths which I tend to do a lot these days...

----------------------------------------------------0---------------
----------s12-s10--s15-s14--------------------0----------------
----------s11--s9---s14-s13---14-s13--------9----------------
--9--11---------------------------14-s13-------11---------------
-----------------------------------------------------x---------------
---------------------------------------------------10------------------

If you look at the way I am using those 4ths, you can see how I can put in sneaky out notes that don't sound "off" because of the consistency of the 4ths sound...that Eb note in the last one for instance, the paired note is a part of the underlying chord (M7).

I came up with this nice open sound for the final chord...the trademark of the song is the cross between the D (which sounds a bit like an A/D and the Amaj7 which with the melody sounds a bit like an E6/A...you'd have to hear it)...so, I have re-voiced the original open position chord in lower strings so that I could add the B as a 6th...so I guess the chord would be a Dmaj7/6sus2...or I suppose it might be called an Aadd9/D in keeping with the simple but lovely song.

(ps...Matt Moffitt was a fabulous if perhaps troubled player and a contemporary of some major aussie acts such as Midnight Oil, Icehouse and others and they played their first gig with INXS on their first gig also...so an early 80's band. Did the support for U2, so was set to be a major star, but it was not to be. He died suddenly in his sleep at the age of only 46...but greatly under appreciated for his talent as a guitarist, singer and songwriter...oh, and he had some fabulous open and unique chord voicings and some interesting song forms as well)

I like this one -

----11-------
----11-------
----11-------
----11-------
----11-------
----0--------

E Major 13th Flat 5th?

I like this one -

----11-------
----11-------
----11-------
----11-------
----11-------
----0--------

E Major 13th Flat 5th?

I'd say Emaj13#11, since it sounds good to have both A# and B in the chord (just not this one). Note that also works as a movable chord, Cmaj13#11: 877777.

Just running through a couple of songs before heading off to play with my "jam buddy", a bass player (and occasionally a drum machine)...we've been playing any kind of MOR kind of material that I can competently sing and give him experience (He is pretty good, but only been playing 2 years). Good chance to relive my band playing days as well!

...

Anyway...just working through Tom Petty's "Breakdown" a neat 3 chord Am-G-F song (Am-G vamp in the verses). And this thread came to mind as I am using more and more of these kinds of techniques to fill out the sound and compensate for the lack of other instrumentation.

In this song the F chord is 'major' but sounds better as an F5 or power chord as the original, no third. These F's are also neat and still avoids the 3rd and fits with the feel of the song...also keeps that F5 on the lower strings...

--1--------0--------------------
--1--------1--------------------
--0--or---0--------------------
--3--------3--------------------
--3--------3--------------------
--1*-------1*------------------
F(sus2)...Fmaj7(sus2)

In recent years I have been playing a lot of rhythm guitar al la hendrix with the thumb over to play the bass as with these chords (*) and you may have to lay the hand in some strange ways to get them to work comfortably.

Along with this F these other voicings for the chords have their place as well...

----0-------0--------------0-----------
----3-------3--------------0-----------
----4--or---0-------------3--------------
----5-------5--------------7-----------
----5------5---------------7-----------
----3*-----3*-------------5*--------------
G6........G6(no 3rd).....Am(add2)

...

On the rock side, Free's "alright now" has some nice riffy chord voicings in the chorus as well as the famous signature riff that a lot of people never really learn to play the way Kossoff intended...

chorus
------------------|---------|--------|--------
------------------|---------|--------|--------
---9-9-9--------|-7------|-7-----|--2-------
---7-7-7--------|-5------|-4-----|--2-------
---0-0-0--9-7--|-0------|-0-----|--0----------
-------------------|--------|--------|-----------
A.......................G/A......D/A.......A

famous riff voicings...

----------------|--------------------------|---------5--------
--------3--2---|--3~~~~--3~~~~--|---2-----5--------
--2----2---2--|---2~~~~-0~~~~---|--2--or-2-------------
--2----4---2---|--4~~~~-4~~~~---|---2-----2----------
--0----0---0---|--0---------0-----------|--0------0-------
-----------------|-------------------------|-------------------

Been also getting into some "Who" songs...I used to be a bit of a pete townsend impersonator in my youth...(the band was called "The How":oops:)...hahaha

Intro to "Pinball wizard"...

---2-------------------|--0------------------|--0------------------|----------
---3-------------------|--3------------------|--2------------------|----------
---4-------------------|--4------------------|--4------------------|----------
---4-4-4-4-4-4-4-4-|--4 4 4 4 4 4 4 4-|--4 4 4 4 4 4 4 4-|-----------
------------------------|---------------------|----------------------|-----
------------------------|----------------------|---------------------|-----
Bm/F#.....................Bm(add4)/F#........F#7(sus4)..............


---0-------------------|--0------------------|--0------------------|----------
---2-------------------|--2------------------|--0------------------|----------
---3-------------------|--2------------------|--0------------------|----------
---4-4-4-4-4-4-4-4-|--4 4 4 4 4 4 4 4-|--4 4 4 4 4 4 4 4-|-----------
------------------------|---------------------|----------------------|-----
------------------------|----------------------|---------------------|-----
F#7..........................F#m7................. ...Em/F#..................



-----------------------|---(0)-----------------|--(0)----------------|---7~~7~~---
---0-------------------|--2-2-2-2-2-2-2-2-|--2-------------------|--7~~7~~----
---4-4-4-4-4-4-4-4-|--3-3-3-3-3 3-3-3-|--3-------------------|--9~~8~~----
---5-5-5-5-5-5-5-5-|--4-4-4-4-4-4-4-4-|--4 4 4 4 4 4 4 4--|--9~~9~~----
------------------------|-----------------------|----------------------|--x--------------
------------------------|--2*2-2-2-2-2-2-2-|-2-2-2-2-2-2-2-2--|-7*------------
G...............................F#(7) play bass with thumb*.............Bsus4-B riff

Classic bit of Townsend orchestration and technique with classical like voice leading over a 'ground bass'.

Having to play this stuff really taught me a lot about the power of the rhythm guitar and how clever it can be...it knocked a lot of my 'lead guitar is king, blues rock pretensions' out of me and dramatically changed my approach. If you like open string stuff, townsend is an encyclopedia for this kind of thing...here's another and I think more of an influence than people sometimes appreciate...

Oh...here's "substitute" for example

----5--5--3--2--------------------------------------------
----7--5--3--3--------------------------------------------
----7--6--4--2--------------------------------------------
----0--0--0--0--------------------------------------------
------------------------------------------------------
------------------------------------------------------

compare with a bit of pages "stairway"...

--0--3--0---3--2--0--2---------------------------------------
--1--1--1---3--3--3--3---------------------------------------
--2--0--0---2--2--2--2---------------------------------------
--2--2--2---0--0--0--0---------------------------------------
--0--0--0-------------------------------------------------
------------------------------------------------------

--0--3--0---7--5--3--5---------------------------------------
--1--1--1---8--7--5--7---------------------------------------
--2--0--0---7--7--5--7---------------------------------------
--2--2--2---0--0--0--0---------------------------------------
--0--0--0-------------------------------------------------
------------------------------------------------------

Ok...better run...classic rock awaits!

Hey Pete,really nice stuff..What I find funny about the "Who" is that Entwhistle and Moon seemed to formed a mutiny against the other two guys..not content with being "mere sidemen",I guess they felt "We're gonna make our presence known!!" my opinion anyways.
One other quick note,I was reading Ox's biography and he said he almost hooked up with Hendrix back in the day...Wouldn't that of been something!

You can hear Ox and Moon with Page on Jeff Becks "Beck's Bolero"...a classic, you can hear Moon scream just before the "rave up" section and hit the mic so a heap of the drums sound is only ambient from then on...classic track. These guys might have turned into what became Led Zepplin, as it was Beck's early stuff provided the template for that sound with a young Rod Stewart. Let's face it all those guys were a den of thieves!