I got told not to play jazz guitar voicings with the root above the 7th of the chord, because it sounds ugly. Is this true? Or is it something I can do sometimes? – Jeff H.
It really depends. On the musical situation, who you are playing with, and what you’re trying to do.
There are some voicings that place the root above the 7th that sound really nice, and there are some that I’ll call an acquired taste.
And even in these cases, there are ways to adjust your voicing so it’s not such a big deal to whoever is listening to you.
At the end of the day, what you really want is to have a good vocabulary of jazz guitar chords at your fingertips. That way you can adjust or replace the “offending” chord at will – and it won’t be a big deal for you.
Now, if the person making this comment to you is someone you look up to or are studying with, I’d recommend trying to take their advice, at least when they’re around to hear you.
In general though, it’s a good idea to use your own ears to decide what sounds good to you – you just have to be honest with yourself about what sounds good to you, and what doesn’t.
You don’t want to tell yourself you like a certain sound just because it’s easy under your fingers, but you don’t want to eliminate chords you genuinely like just because someone else doesn’t like them.
It’s also a real possibility that they told you it songs ugly just because:
- Someone said that to them years ago and they’re just repeating it
- They don’t actually have good enough ears to tell you what specifically they don’t like about that chord voicing you just played
- They don’t know enough about how chords work to be able to “fix it.”
(It’s actually pretty simple to adjust some of the problematic chords to make them carry a little less tension)
These possibilities don’t make them a bad teacher – just things to keep in mind as you work through this for yourself.
Let’s take a look at some of the usual suspects as far as voicings that don’t sound good at first.
Some Potentially Problematic Voicings
I don’t really subscribe to any of these voicings sounding “ugly” or “bad.” What sounds a little off in isolation can often sound just right when played in context of a chord progression.
But even so, let’s look at some of the common culprits that might get you the “ugly chord” label by someone you’re paying with.
Usually the problem is with major 7th chords, so we’ll start there:
The first 3 voicings are the drop 2 structure in 3rd inversion, with the root appearing over the 7. I’ve shown them here in each of the possible string sets they can be played on.
The last voicing another one I frequently hear complaints about (usually from new students who are inexperienced with jazz chords).
It’s a Drop 3 chord, also in 3rd inversion, with the 7th on the bottom of the chord.
How to “Fix” These Voicings
There are 2 easy “fixes” to these situations that take some of the tension out of the chord structure.
Option #1: Replace the root with the 9th
Take your root, and move it up 2 frets to make it a 9th. Now there isn’t a root in the chord at all, and the 9th will interact differently with the rest of the chord.
It can be that easy.
Option #2: Replace the 7th with the 6th
Major 7 and Major 6 chords fill the same basic role in jazz harmony. They’re both considered to be major sounds.
If you really want to keep the root in your voicing, try replacing the 7th with a 6th.
Take your 7 and lower it 2 frets. Now it’s a 6 Chord.
This is a great option all the time, but it’s especially nice to have if you’re working out a chord melody and you need the root on top to be a melody note.
You can also use both options at once and create a 6/9 chord. It’s anothe option on your plate as you play with different available sounds.
Great Sounding Jazz Guitar Voicings with the Root Above the 7th
There are some particularly great sounding major 7th voicings that place the root above the 7th within the chord structure.
Check these out and try to add them to your vocabulary:
These sound nice and give you the bonus of adding a close interval to your voicing.
Conclusion
Even without adjustments, there is nothing wrong with any ov the voicings I’ve shared in this lesson.
If you use them in context, any of these voicings can sound fine as is – with the root above the 7th within the voicing.
But if you’re playing with someone who doesn’t like those sounds, the polite thing to do is adjust to their preferences while you’re playing with them.
Change it to a 6, or a maj9. Or just don’t use those voicings when you play with that person.
It’s good practice anyway for professional life – you need to do things differently for some players you encounter.
Also understand that this person may have struggles with these voicings in the past, or been told not to play them by a teacher at some point.
Take their advice with a grain of salt, work on you chords, and decide for yourself what sounds good and what doesn’t.
Are there any voicings you’re avoiding because someone told you they don’t sound good? Let me know in the comments below.
This lesson was created in response to a student question. Ask me anything about jazz guitar and I’ll get back to you ASAP!