Another chord that isn’t the easiest to use in a rock context but shows up frequently in jazz. Also referred to as the half-diminished.
Dominant 7’s cover the last remaining core 4-note chord in the arsenal. I struggle to employ them effectively in composition as well, but this one is clearly on me. Dominant chords are the heart of the blues and jazz and are no strangers to rock.
I’ve spent a lot of time working on chords and harmony lately, and I’ve concluded that I really need a good roadmap to move up and down or across the neck to speed the up the composition process. The most obvious place to start that wasn’t the 6th-string bar chords we all know was the 5th-string-root shape that seems to come up first for dominant 7th chords or the Hendrix chord. There are a few fantastic voicings in here.
The m9’s of the second and sixth degree are a chord I’ve highlighted before, and the m7 of the seventh was frankly a surprise. It never occurred to me to drop the flattened 5th to create a less tense seventh chord of the major scale, but it seems more useful than just avoiding the seven altogether. I also really like the maj7(add9) and maj7(add13) you get in the root and fourth positions. There’s a load of color on tap in this template. I’m looking forward to connecting seamlessly it across strings and to a larger set of voicings.
This particular shape of the minor 7 is one of my favorites. It’s easily movable and removes the extra 5th from the typical barre chord, which leaves more space for the rest of a track without sacrificing complexity.