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The next level above using open position chords (those that occur within the first three frets) and barre chords is Jazz voicings.
The basic chord voicings you'll learn studying the so called Jazz voicings are easy to finger, easy to remember and associate to each other, and they sound fabulous whether strummed or played in finger style. With Jazz chords, you typically work with voicings having only 4 tones, one for each finger on your chording hand, and you muffle or deaden the remaining two strings. The basic voicings are learned in logical groupings of related shapes organized by 4-string "string-sets". Often such voicings are called "rhythm chords" or "melody chords", depending upon which string-sets you’re using at a given time and the style or intent of your playing. Regardless that the word "Jazz" is associated with these chords, they’re really just part of the greater set of materials and resources available to us on the guitar fretboard. They’re very versatile and should be incorporate into many guitar playing styles and used in many different styles of music. In other words, these chords belong to us all, not just Jazz players. They truly are a very large part of our potential tool set to be used any way we choose and in any style of music. So learn them, make them yours, own them.
The basic starter sets of Jazz chords are, again, organized by 4-string string-sets, either four adjacent strings or sets having a one string gap within them, like 6 432 (skips string 5). Also, the voicings for any given string set are organized to be learned in association with each other, meaning you typically start with the Dominant 7th voicing (on any of the possible string-sets) and from there you just change one tone, one at a time, to achieve voicings for other chord-types. For example, from a Dom 7 voicing you just lower the 3rd to form a minor 7th chord, or raise the 7th to get Major 7th chord. Seventh chords, by the way, are the core of Jazz style. From the basic 7th chords, you can add alterations and extensions: 9ths, 11ths, 13ths, etc. Given you're often using only 4 tones no matter how large the given chord is (i.e. how many tones it would "normally" use for a full 11th or 13th chord lets say) you’ll eventually learn about dropping so called nonessential tones, e.g. you might drop the 5th or the root of the chord.
Aside from string-set organization, another organizational scheme within this method of learning chords has to do with learning inverted chord voicings, meaning placing the 3rd, 5th, or 7th of the chord in the bass (as well as the stock Root position voicing), and the ways that those inversions can be achieved. In particular, there’s a way of forming inversions that involves staying on the same string-set and sliding up or down the fretboard. That principle is highlighted in one of the upcoming illustrations.
There are five 4-string string sets in all (that includes two with a gap in them). To get you started we’ll take just one of those string sets, on strings 1345 (using commonsense string numbering order) or 6432 using conventional numbering order. Chords in this string set are commonly called rhythm chords because they have a note on the lowest pitched string (i.e. in the bass) and they’re eminently strummable, like the rhythm guitar played in big band orchestras of the 1940’s. They’re also great for finger style playing however, for example the bassa nova type claw picking.
Plates:
Sixth and seventh chords on string set 1345 (part one)
Sixth and seventh chords on string set 1345 (part two)
Dominant seventh chord inversions sliding up/ down the neck
Read these charts two ways: in horizontal rows for the inversions of a given chord type, and in vertical columns to change chord type.
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