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Drop 2 Chords
Drop 2 chords have been used by many of the great jazz guitarists including Joe Pass, Wes Montgomery and Ed Bickert during their careers.
Chances are you are already using drop 2 chords in your guitar playing. Having a good understanding of drop 2 voicings can be a valuable tool for players of any experience level when comping or improvising a chord solo. By understanding how drop 2 chords are built we can quickly learn to play them over the entire neck, and begin to use them to comp or solo over our favorite tunes.
How to Build a Drop 2 Chord
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The first chord you see is the root position for Cmaj7: C E G B
To make a drop 2 chord out of this root position, all we need to do is drop the second highest note (the G) to the bass: G C E B
Back to the guitar:
Drop 2 chords are built across adjacent strings (6543, 5432 and 4321) and have the following intervals:
Fig. 1 shows these four inversions written out in the key of C across the three different string groups.
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How to Build Common Drop 2 VoicingsOnce we have learned to play the different inversions of Maj7 drop 2 chords across the three string sets, we can begin to check out the other “common” drop 2 chord types. Learning these different chords can seem like a daunting task, but with a few simple steps we can play all of these chords with relative ease. Instead of treating each of these different chords as separate fingerings, we can look at them as variations of the Maj7 chord we already know.
Start by holding the root position CMaj7 chord that we learned in Fig. 1. Now, by moving only one finger we will turn it into four different types of chords:
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Follow this same pattern to produce the chord types listed below. A good way to start is to learn the four “Maj7” based chords (Maj7, Maj7#11, Maj7#5, mMaj7), then move onto the 7th and m7 families.
Notice that once you know the 7 voicings, all you need to do to learn the m7 chord is lower the 3rd, then just lower the 5th and you can now play the m7b5 chords.
After you can play these different chords in root position, try adjusting the intervals of the different inversions in the same manner to build all of these chords types over the entire neck.
转载自：http://www.jazzguitar.be/drop_2_chords.html
Chances are you are already using drop 2 chords in your guitar playing. Having a good understanding of drop 2 voicings can be a valuable tool for players of any experience level when comping or improvising a chord solo. By understanding how drop 2 chords are built we can quickly learn to play them over the entire neck, and begin to use them to comp or solo over our favorite tunes.
How to Build a Drop 2 Chord
A drop 2 chord is built by dropping the second highest note of a chord to the bass...Here's a theoretic example:
The first chord you see is the root position for Cmaj7: C E G B
To make a drop 2 chord out of this root position, all we need to do is drop the second highest note (the G) to the bass: G C E B
Back to the guitar:
Drop 2 chords are built across adjacent strings (6543, 5432 and 4321) and have the following intervals:
- Type 1: R 5 7 3 or C G B E (derived from the 2nd inversion of a chord)
- Type 2: 3 7 R 5 or E B C G (derived from the 3rd inversion of a chord)
- Type 3: 5 R 3 7 or G C E B (derived from a root position chord)
- Type 4: 7 3 5 R or B E G C (derived from the 1st inversion of a chord)
Fig. 1 shows these four inversions written out in the key of C across the three different string groups.
How to Build Common Drop 2 VoicingsOnce we have learned to play the different inversions of Maj7 drop 2 chords across the three string sets, we can begin to check out the other “common” drop 2 chord types. Learning these different chords can seem like a daunting task, but with a few simple steps we can play all of these chords with relative ease. Instead of treating each of these different chords as separate fingerings, we can look at them as variations of the Maj7 chord we already know.
Start by holding the root position CMaj7 chord that we learned in Fig. 1. Now, by moving only one finger we will turn it into four different types of chords:
- By moving the 5th down a fret you'll have a Cmaj7#11.
- Move the same note, the 5th, up a fret and you get a Cmaj7#5.
- Move the 7th down by a fret and you get a C7.
- If you lower the 3rd by one fret, you'll get a Cm/maj7.
Follow this same pattern to produce the chord types listed below. A good way to start is to learn the four “Maj7” based chords (Maj7, Maj7#11, Maj7#5, mMaj7), then move onto the 7th and m7 families.
- Maj7: R 3 5 7
- Maj7#11: R 3 #11 7
- Maj7#5: R 3 #5 7
- 7: R 3 5 b7
- 7#11: R 3 #11 b7
- 7#5: R 3 #5 b7
- m7: R b3 5 b7
- m11: R b3 11 b7
- mMaj7: R b3 5 7
- m7b5: R b3 b5 b7
Notice that once you know the 7 voicings, all you need to do to learn the m7 chord is lower the 3rd, then just lower the 5th and you can now play the m7b5 chords.
After you can play these different chords in root position, try adjusting the intervals of the different inversions in the same manner to build all of these chords types over the entire neck.
转载自：http://www.jazzguitar.be/drop_2_chords.html
原先看过Drop 2和弦的文章，个人感觉这篇写的更有条理。翻译如下：
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[ 本帖最后由 sharpbones2004 于 10-1-18 02:51 编辑 ]
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Drop 2和弦被很多伟大的爵士吉他演奏家在他们的职业生涯中所使用，包括Joe Pass, Wes Montgomery 和Ed Bickert 。
也许你已经在你的演奏中使用Drop 2和弦了（只是你自己不是很了解），理解Drop 2 和声手法，将会对任何阶段的吉他手在伴奏或和弦独奏即兴中带来富有价值的辅助。我们可以通过理解Drop 2和弦的构成，快速的学习如何在整个指板上演奏他们，然后开始把它们利用到自己喜欢的曲目中来伴奏或者独奏。
如何构建一个Drop 2和弦
把一个和弦里面的次高音挪到低音部位去，我们就会得到一个Drop 2和弦。
下面是个理论性的例子
你看到的第一个和弦，是CMaj7的原位排列：C E G B
[ 本帖最后由 sharpbones2004 于 10-1-18 02:51 编辑 ]
观众反应
我们只需要把次高音（G）挪到低音部，就能从原位和弦得到一个Drop 2和弦：G C E B。
回到吉他上来
Drop 2和弦是构建在相邻的弦上的（6543，5432，4321），并且具有以下音程：
类型1： 根音 5音 7音 3音 或者 C G B E (来自和弦的第二转位)
类型2： 3音 7音 根音 5音 或者 E B C G（来自和弦的第三转位）
类型3： 5音 根音 3音 7音 或者 G C E B（来自和弦的原位）
类型4： 7音 3音 5音 根音 或者 B E G C（来自和弦的第一个转位）
注意，根音和5音，3音和7音总是堆叠在相邻的位置，这种音程上的排列在Drop 2和弦标志性的音响中起到了一定的作用。
回到吉他上来
Drop 2和弦是构建在相邻的弦上的（6543，5432，4321），并且具有以下音程：
类型1： 根音 5音 7音 3音 或者 C G B E (来自和弦的第二转位)
类型2： 3音 7音 根音 5音 或者 E B C G（来自和弦的第三转位）
类型3： 5音 根音 3音 7音 或者 G C E B（来自和弦的原位）
类型4： 7音 3音 5音 根音 或者 B E G C（来自和弦的第一个转位）
注意，根音和5音，3音和7音总是堆叠在相邻的位置，这种音程上的排列在Drop 2和弦标志性的音响中起到了一定的作用。
如何构建常用的Drop 2和声
既然我们已经学会了如何在不同的相邻弦组合中来演奏这些大七和弦不同转位的Drop 2和弦，我们也可以开始看下其他“常用”Drop 2和弦的类型。学习这些不同的和弦乍看起来好像是艰苦卓绝的任务，但是通过一些简单的步骤，我们可以相对容易的演奏这些和弦，而不是把这些各不相同和弦看作是毫无关联的指法。我们可以把他们看成是我们已知的大七和弦的变化和弦。
开始，按住从图表1中CMaj7的原位和弦，然后，只移动一个手指，得到4种不同类型的和弦。
.把5音移低一品，你会得到一个 Cmaj7#11
.移动相同的音，5音，移高一品，你会得到一个Cmaj7#5
.把7音移低一品，你会得到一个C7
.如果你把3音移低一品，你会得到一个Cm/maj7
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既然我们已经学会了如何在不同的相邻弦组合中来演奏这些大七和弦不同转位的Drop 2和弦，我们也可以开始看下其他“常用”Drop 2和弦的类型。学习这些不同的和弦乍看起来好像是艰苦卓绝的任务，但是通过一些简单的步骤，我们可以相对容易的演奏这些和弦，而不是把这些各不相同和弦看作是毫无关联的指法。我们可以把他们看成是我们已知的大七和弦的变化和弦。
开始，按住从图表1中CMaj7的原位和弦，然后，只移动一个手指，得到4种不同类型的和弦。
.把5音移低一品，你会得到一个 Cmaj7#11
.移动相同的音，5音，移高一品，你会得到一个Cmaj7#5
.把7音移低一品，你会得到一个C7
.如果你把3音移低一品，你会得到一个Cm/maj7
按照相同的方式得到下表中列出的这些和弦类型。通过学习大七和弦的四个基本和弦（Maj7,Maj7#11,Maj7#5,mMaj7）是个好的开端，然后进入大小七和弦和小七和弦家族。
•Maj7: R 3 5 7
•Maj7#11: R 3 #11 7
•Maj7#5: R 3 #5 7
•7: R 3 5 b7
•7#11: R 3 #11 b7
•7#5: R 3 #5 b7
•m7: R b3 5 b7
•m11: R b3 11 b7
•mMaj7: R b3 5 7
•m7b5: R b3 b5 b7
你可以从这里下载图表2http://www.jazzguitar.be/files/drop-2-chords.pdf，它给出了4个例子，每个对应这些“常用”和弦的一个转位。
注意，一旦你知道了大小七和弦的和声手法，要学习小七和弦，你只需降低它的3音和5音，你就可以演奏一个降5音的小七和弦。
在你会演奏这些不同和弦的原位之后，试着用同样的方法来调整这些转位的音程，在整个指板上来构建这些和弦。
•Maj7: R 3 5 7
•Maj7#11: R 3 #11 7
•Maj7#5: R 3 #5 7
•7: R 3 5 b7
•7#11: R 3 #11 b7
•7#5: R 3 #5 b7
•m7: R b3 5 b7
•m11: R b3 11 b7
•mMaj7: R b3 5 7
•m7b5: R b3 b5 b7
你可以从这里下载图表2http://www.jazzguitar.be/files/drop-2-chords.pdf，它给出了4个例子，每个对应这些“常用”和弦的一个转位。
注意，一旦你知道了大小七和弦的和声手法，要学习小七和弦，你只需降低它的3音和5音，你就可以演奏一个降5音的小七和弦。
在你会演奏这些不同和弦的原位之后，试着用同样的方法来调整这些转位的音程，在整个指板上来构建这些和弦。
观众反应
