I have previously mentioned that you can sometimes simplify matters by playing a basic triad major chord instead of the minor 7th of the note three semitones below it.
For example, play C major triad instead of A minor 7th. (Nobody will notice!)
Banjo-playing friends have since reminded me of two more similar tricks. One friend said 'Because we have four strings, we often play partial chords, as the full chord pattern on each inversion would stretch fingers beyond human limits at times'.
For example, play C major triad instead of A minor 7th. (Nobody will notice!)
Banjo-playing friends have since reminded me of two more similar tricks. One friend said 'Because we have four strings, we often play partial chords, as the full chord pattern on each inversion would stretch fingers beyond human limits at times'.
TRICK ONE
The music calls for a Diminished Chord. Instead, play the 7th of the chord one semitone below it. But LEAVE OUT THE BOTTOM NOTE. For example, for F diminished, play E7th (but leaving out the E at the bottom). It works.
The music calls for a Diminished Chord. Instead, play the 7th of the chord one semitone below it. But LEAVE OUT THE BOTTOM NOTE. For example, for F diminished, play E7th (but leaving out the E at the bottom). It works.
For C diminished, play B7th without the B;
For F# diminished, play F7th without the F, etc.
TRICK TWO
The music calls for a Minor 7th with flattened fifth (sometimes called the 'half-diminished' chord). Instead, play the Minor 6th based on the note three semitones above.
For example,
For Cm7-5, play Ebm6;
For Dm7-5, play Fm6;
For Gm7-5, play Bbm6;
etc.
Tricks. But you will get away with them.
