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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/
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.
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.
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.
022000
32245x
779987
and some minors for the A shape too.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I just thought someone might have a link to some printable chord charts.
Prob worth investing in one of the many jazz chord books. Not expensive.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.