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Koala
05-10-2003, 10:55 PM
Hey guys. In Guniīs 7th Chords article he talks about drop 2. I understand that this means dropping the second voice from the top down an octave.

Then the drop 2 chords are transposed to the fretboard, what I donīt get is why is it that in Cmaj7 in the 1st position G is the highest note. I thought we were dropping G an octave in order ro make the chord drop 2.

It also says that the top note sticks out as the melody note of the chord. So the first example of cmaj7 is actually a G?

Im very confused please help me out here!



K

szulc
05-10-2003, 11:12 PM
That is because the example is from the 3rd Inversion.
g
e
c
b

Which becomes

g
c
b
e

CMaj7 Inversions

b c e g
g a c e
e g b c
c e g b

Drop 2 versions of above

b c e g
e g b c
c e g b
g a c e

Koala
05-10-2003, 11:24 PM
Ohhhh, so first you do an inversion of any kind 1,2 or 3 and THEN you apply drop 2?

Can you give me a hand with why the top note is the melody note, and what exactly this implies?


Thanks Szulc

szulc
05-10-2003, 11:30 PM
I think the answer has to do with how our ears work.
I believe that we 'hear' the top note of chords in a more pronounced fashion. But Guni may have a better explanation here.

Guni
05-11-2003, 10:11 AM
Originally posted by Koala
Can you give me a hand with why the top note is the melody note, and what exactly this implies? Let's perform a little experiment:

Here's a midi file (http://www.ibreathemusic.com/forums/posts/melody_note/melody_note.mid) using Cmaj7 Drop2s.

Listen to it a few times - then sing it - which 'voice' sticks out?

Here's the notation and guitar voicings.

http://www.ibreathemusic.com/forums/posts/melody_note/melody_note.gif

And here's the melody of this little riff:
http://www.ibreathemusic.com/forums/posts/melody_note/melody.gif

In general the top note sticks out, thus becomes the melody.

Guni

Koala
05-11-2003, 03:23 PM
Gotcha Guni. Thanks.!

Koala
05-11-2003, 03:36 PM
Wait wait, no i didnīt hehehe. So, for the first chord you play, if the melody note is G. Would this be a V chord in a C major progression? Or is it still a I , the Cmaj7?
Lol this 7th chords article is really makin me think.


Thanks

K

szulc
05-11-2003, 03:41 PM
These are all Cmaj7 except the fourth one which is Cmaj6, or as Guni has stated the first inversion replacement for Cmaj7.

Koala
05-11-2003, 03:51 PM
HELL YEAH! WOOHOOO! :) FInally got it, thanks guys.


K

Guni
05-11-2003, 04:08 PM
Hehe cool Koala,

You can put Cmaj7 as a chord symbol above both measures.

Guni

Koala
05-21-2003, 02:09 PM
Thanks G!

Asse
03-10-2004, 02:54 PM
I have a question about drop 2 voicings...

How come that my chord book, "The Ultimate Guitar Chord BIG BOOK" by Don Latarski, lists these add9 chord forms as drop 2 voicings?

I've posted the Fadd9 "drop 2"-voicings as Don Latarski lists them. Here you've got:

Root: F A C G
9th in bass: G C F A
3rd. in bass: A F G C
5th in bass: C G A F

Comparing to

Root: F A C G
1. inv.: A C G F
2. inv.: C G F A
3. inv.: G F A C

...and the corresponding drop 2 voicings as I understand them

C F A G
G A C F
F C G A
A G F C

...something is wrong. They doesn't match at all.

I've found out that the drop 2 voicings for the add9 chord are almost impossible to finger on a guitar. Perhaps that's the explanation and DL decides to put some other voicings that can be used in sort of the same manner. But they aren't drop 2, and he should have put a little note about it.

It's possible that I've misunderstood the whole thing! :D

Dommy
03-10-2004, 09:33 PM
I have actually worked out drop 2 voicings for Maj7, Min7, and Dom7 chords, and it only took me a little bit of time. You just have to think of them as different inversions. Just so long as there are the correct intervals between the notes, it doesn't matter what note you have as your bass, unless you like tracking root movement.