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I use the most of the time- because I'm often playing with keyboard and horn players.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
continue the 12fret '1/2 barre' onto the 4th string and you get the full Em9
which is probably why my lil' brain think of this fingering and context as being Em9, even though the target strings are really 1st thru 3rd [cos the 1/2 barre I use covers the 4th string anyhow]..
another gorgeous variation of this that I use in funky ballads is to play the Gmaj7 using the Amaj7 fingering up on the 10th fret when the bass plays E
although the open E strings are 'in', I'll only play the inner 4 strings and leave the E to the bassist
sounds wonderful...
I don't really do jazzer circles,, they tend not to like long haired goons with Marshalls and pointy guitars like me... lol..
which explains why I'm not familiar with the term..
that said, I use small 2 to 4 string chords all the time.. power chords for one.. lol..
in arrangements where I play across all 6 strings [ballady / clean stuff] I tend to use them around chord changes either before or just after to make things more interesting..
or to create a small melody / inject some movement when I'm stuck on a single chord for many bars
and so they'll voice chords that include the bass notes
sure this is perfectly fine..
but in some situations they're missing a trick because you can use simple triads to extend the chord or create some quite interesting voicings
also, using fewer notes overall can strip 'clutter' and provide more space for the melody whist still enabling the coloration of the chord to sound
E 11
Bass plays E, guitar plays a D triad
ok so there's no maj 3rd in there but that can be implied by the overall tonality of the piece and melody