In contemporary music, upper-structure triads and fourth voicings play a major role, The following chordal inversions contain such voicings and should be noted! 1) Fourths: The root inversion of the maj75 and the 2nd inversion of the dom7sus4 are the most common fourth voicings used, 2) Upper-structure triads: Root Inv. Cmaj7! 3rd Inv. C-785 = Ab/Bb Root Inv. C°maj7 = B/C nz Additional upper-structure triads will be revealed in later chapters, ‘The examples using drop 2 type voicings throughout this text will indicate such voicings by notating only the top note or voice on the 2nd string, eliminating the need for position markings, This lead note will directly indicate the inversion of the drop 2 voicing introduced: Third of chord notated (top voice) = root inversion Fifth of chord notated = first inversion 5 Seventh/Sixth of chord notated = second inversion Root of chord notated = third inversion Example: C7 Gnd (sin) (ny (Roo!) by = Root Inv. Ist Inv. 2nd Inv. 3rd Inv. The following chord progression examples consist of only’ 7th and 6th drop 2 type chords. These drop 2 chord Progressions are actually substitutions for more basic chord progressions listed directly below each voicing in parentheses, After preparing each example, students should record and play back the roots of the basic chord progression in Parentheses while again playing the example. This will allow students to “hear” the example in relation to the basic chord progression. Students should also write or realize the tensions produced on the basic chord progression by the original 7th and 6th chords, Example: Alsus4 G-7>5 Fmaj7_ Bmai7b5 Evsus4 bo 2 5 j We __ie__te be (basic chord progression) —~ (C) (AT). (D7) (G7) Q) ‘ 4 4 4 (tensions) ————= 069) A7#569) D-7(9) G7#549) Cmaj7(6/9) 10