Drop 3 Chord Development Peter Sklaroff

G‹7 G‹7 G‹7 G‹7 G7 G7 G7 G7

5fr 8fr 11fr 5fr 8fr 12fr

˙˙ ˙ b ˙˙ ˙˙˙ ˙˙
˙
& C b˙˙ ˙ b˙˙ ˙
˙ n˙˙˙ nn˙˙
n˙
˙
˙
˙ b˙ ˙ ˙ n˙ ˙
GŒ„Š7 GŒ„Š7 GŒ„Š7 GŒ„Š7 G‹7(b5) G‹7(b5) G‹7(b5) G‹7(b5)
5fr 8fr 12fr 5fr 8fr 11fr

5 ˙˙ b ˙˙
n#n˙˙˙ #˙˙˙ n˙˙ ˙
& #˙˙˙ #˙
˙ bbn˙˙˙ ˙ b˙˙ b˙
˙
n˙ ˙ b˙ b˙
˙ ˙

The above chords are (like 'Drop 2' chords) very common forms on the guitar and are referred to as 'Drop 3'
voicings. They are especially useful for rhythm guitar playing where a strong bass note (or bassline) is required,
as they all offer a triadic (or closely voiced) chord structure with a related bass note located below.

Play through each of the four inversions illustrated (for the four chord types) noting where the root of the chord
is in each inversion (the first chord form always has the root on the low 'e' string for example)

You may find that playing these chords is somewhat easier with your fingers from a standpoint of technique, but
they can be played succesfully with a pick too as long as you take care to mute the strings that are not required.
Pick and fingers can also be used effectively with these chords too.

You may find that some of these chord forms are rather 'muddy' sounding especially in higher fret positions, so it
is worth taking some time to examine the chords that appeal to you most in terms of overall sound and location.

One especially useful application of these chord forms is when you have no other harmonic instrument available,
such as another guitar, piano or even without a bass player, as they give you a strong bass note in each
inversion.

These can easily be combined with Drop 2 chord forms as well and if you have a situation where you emply two
guitarists, you can create great harmonies with one guitarist using Drop 2 shapes and the other employing these
Drop 3 shapes.

Experimentation is the best policy here.

Copyright © P.Sklaroff 2010

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