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Extended Chord Rhythm playing

LaCathedrale_UKLaCathedrale_UK Frets: 105
in Technique
I've got an RGT rhythm guitar book that's just generally fun to play around with, but I've found the higher level charts to sound like hot horseshit. Here's an example: in 4/4

F#7#9 / % / B7#9 / %
A7 / C#7#9 / F#7#9 / C#7b9
F#9 / B9 / F#9 / C#7#9
F#9 / A° / A7b9 / B°
B7b9 / C#° / C#7b5b9 / F#maj9

Is it basically just an etude? It is described to be played 'in the style of jazz rock'.

I literally cannot think of a way for this to sound good playing full chords, and only playing partial voicings sounds so much nicer. My go to method for ad hoc partial chords is to have on to the third, extension, seventh and fifth In that order, by superimposing various caged shapes on the board.

Is that good start? I've learnt those soprano-alto-tenor-bass four note voicings in all positions, voicings and inversions, but they were mostly unplayable garbage because the intervals were so tight.

How would I pay the above in a rock or fusion context? Power chords below and a diad or single note line to fill out the chord tones?

There's lots of fun reharmonisation, having said that.










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Comments

  • GrangousierGrangousier Frets: 2627
    Is this one of those places where they expect the bass player to be holding down the root? I've a feeling I know a lot less than you do, but the first thing I notice is that 7b9 without a root is the diminished chord of the b9 (so A° / A7b9 / B° / B7b9 / C#° would be the same as A° / Bb° / B° / C° / C#°)

    I'm sure there's something similarly fishy about 7#9, but I can't remember what it is at the moment and I need to get off to work. F#7#9 without a root or a fifth is an A triad with a Bb. 

    Otherwise, they sound like they might be something if they're kept short and stabby like a horn section.
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  • LaCathedrale_UKLaCathedrale_UK Frets: 105
    Yes, that third line is super fun with lots of fourth-string-root (ha!) diminished chord substitutions - I guess I need to figure out the 'equivalents' as you've said midway through your post!
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  • LestratcasterLestratcaster Frets: 1083
    What grade is this for? I'm currently taking a learner through grade 7 and he is being tested on this section! To be fair the 5ths don't tell you much in a chord so I usually tell them to leave it out and get the 3rd/7th and whatever the extension is (e.g 9th). Some shapes (depending where it is on the fretboard) sound nicer without the root as well.
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  • LaCathedrale_UKLaCathedrale_UK Frets: 105
    Yes, this is RGT grade 7 or 8 equivalent. My old teacher had me run through the book charts in various positions/roots/inversions and it was good fun, and I figure before I take up lessons again I may as well run through the old material.

    It's not so much a challenge playing it, rather playing it in a way that doesn't sound really bad. The book is meant to be fairly comprehensive but does NOT cover any partial/rootless fingerings (tho it does suggest slash chords).


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  • LestratcasterLestratcaster Frets: 1083
    edited July 2018
    The later grades (from 5 onwards) test your musicality with this kinda stuff, whereas the earlier ones are kinda learn by the book "parrot fashion" the higher you go the more musical they expect you to be with your guitar, scales are spread across the fretboard and there are multiple positions to play chord shapes. They're looking at what sounds good whilst being in time, having groove and being accurate. Whereas in grade 3 the chunk G barre chord would be acceptable, with a sus or extended shape they would expect a more smart way to voice the chord.
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