Chord inversion charts

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DannyPDannyP Frets: 1677
Anybody have a link to some charts with maj7, min7 and dom chord 1st, 2nd, 3rd inversions? Drop 2, drop 3 etc.

Preferably printable.

My google skills are failing me, I'm just finding a thousand variations of root-on-the-bottom chord boxes.
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  • DannyPDannyP Frets: 1677
    UMPB
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  • digitalkettledigitalkettle Frets: 3248
    I don't want to be the 'you don't wanna do it like that' guy but wouldn't you be better off building some shapes from basic principles?

    I could be wrong: you might want something you can sellotape to the back of the toilet door ;)

    Definition of an inversion is slightly looser than a 'drop' voicing (which is an inversion of a closed voicing):

    https://en.wikipedia.org/wiki/First_inversion
    https://en.wikipedia.org/wiki/Second_inversion
    https://en.wikipedia.org/wiki/Third_inversion

    https://www.jazzguitar.be/blog/drop-2-chords/
    https://www.jazzguitar.be/blog/drop-3-chords-and-inversions/
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  • GreatapeGreatape Frets: 3552
    edited July 2022
    Better by far to understand the chord construction, know what all the notes are and start figuring them out methodically. 

    Yep, worth knowing a bunch of seventh chord voicings, closed and open etc. Def. Now...apologies if teaching gran to suck eggs but slight tangent:

    For practical playing purposes,  I think there's a lot more mileage in understanding (as you prob do) seventh chord types as slash chords. E.g. C7 = Edim/C, Fmaj7 = Am/F, Dm7 = F/D, etc. So when playing styles that don't call for hammering the low strings, dropping the bass note and just playing Edim instead of C7. 

    Then exploring the relationship between other triads (diatonic at first) to the primary chord so you can play more pianistically (conceptually and with more ease and dexterity). E.g.  'All Blues' riff. Conceptually a bit more sophisticated but physically easy and a more musically productive way of organising information in your head. 

    Also stays well away from annoying the bassist...and you prob know all those strings 123/234 triad inversions already...

    This also makes playing through changes much easier, because it does away with all that 'scale over chord' daftness. 

    On from that, you can look at ninth chords etc. Super -useful to know that Em7b5 is the top of C9 for example....then there's all those R'n'B substitution things like glissando from  Gm-Am on top three strings over C7 alluding to C9 and C13....

    Again, many apologies if restating stuff you already know. 





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  • PALPAL Frets: 539
    Your making it complicated for yourself ! Learn the notes on your fingerboard & learn three inversions of each chord !
      You already are playing inversion chord shapes ! For example if you play the chord of A at the second fret then if you move 
      this shape up to the fifth fret and allow your first finger to barre across the third fret you will now be playing the chord of C
      To play a maj7 chord you just need to flatten the root note by half a step so for the chord G you flatten the G root to G flat.
      For G7 it's a whole step s the root goes from G to F ( Whole step ).
      Chords  say G will have to root G in more than one place you can choose which of these you want to flatten as it will give you
      a different voicing. Hope this helps.
      
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  • vizviz Frets: 10695
    edited July 2022
    Here’s what I do. Instead of CAGED. 

    First I think of chords based off the bottom E string. Eg open E chord. 

    then I learn the 3 inversions for that shape. So for E (022100), the inversions are:

    476454 (C shaped chord) or 42245x (part of D shaped chord)
    77999x (A shaped chord)
    10 11 999 x (well that’s what I do, I’m sure it’s wrong)



    Then for the A shaped chords, eg A major (x02220) it’s

    x4222x (part of the G shaped chord)
    x77655 (part of the E shaped chord)
    and I can’t remember what I do for the 7th. 


    Then obvs there are the minors, which are:

    022000
    32245x
    779987

    and some minors for the A shape too. 


    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • DannyPDannyP Frets: 1677
    Not really looking for theory lessons or alternative suggestions.

    I just thought someone might have a link to some printable chord charts.
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  • GreatapeGreatape Frets: 3552
    Soz, yeah. 

    Prob worth investing in one of the many jazz chord books. Not expensive. 
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  • digitalkettledigitalkettle Frets: 3248
    DannyP said:
    Not really looking for theory lessons or alternative suggestions.

    I just thought someone might have a link to some printable chord charts.
    At the risk of sounding facetious, they're all here (for C maj7):

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  • guitarjack66guitarjack66 Frets: 1852
    DannyP said:
    Not really looking for theory lessons or alternative suggestions.

    I just thought someone might have a link to some printable chord charts.
    At the risk of sounding facetious, they're all here (for C maj7):

    Isn't it strange how you can be playing a lot of this stuff without being able to describe what you are actually doing? 
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  • vizviz Frets: 10695
    ^ that's all theory is, just the language to describe stuff that exists in reality. 
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • GreatapeGreatape Frets: 3552
    DannyP said:
    Not really looking for theory lessons or alternative suggestions.

    I just thought someone might have a link to some printable chord charts.
    At the risk of sounding facetious, they're all here (for C maj7):

    Isn't it strange how you can be playing a lot of this stuff without being able to describe what you are actually doing? 
    Typically, theory follows practice though.
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