My new C7 chord shape

[Django57]

I stumbled on this moveable chord shape for a 7th chord sounds lovely , looks hard but if your used to bar chords shouldn't be a problem .

 

[John Colter]

Wot,no G? You could play the G string open, I guess, but then it wouldn't be moveable. I sometimes use 0067 but, again, not moveable.

John Colter.

 

[YogiTom]

Wot,no G? You could play the G string open, I guess, but then it wouldn't be moveable. I sometimes use 0067 but, again, not moveable.

John Colter.

I agree, though not for the mobility reason. The 5th is a pretty important part of the dominant 7 chord, so omitting to double up the root seems a bit odd. I would personally omit the 3rd first, but that’s just me.

Also, this is super music theory nit picky, but A# is not the note name in the C7 chord. It should be written as Bb. Are they the same pitch? Yes. Do they have the same meaning in music theory? No. Again, a very minor quibble, but almost as upsetting as improper use of there/their/they’re or something similar.

 

[merlin666]

Nice, this is basically an extended a7 shape moved to the c position. For re-entrant, it may sound nicer to have the g string on 3rd fret though.

 

[John Colter]

I like 3433 - it has all the required notes, is easy to play and moveable.

John Colter.

 

[YogiTom]

Actually, the fifth is the least essential component of a dominant seventh chord; the (dissonant) tritone interval between the third and the seventh is the most characteristic and vital one—to the point that you can use just these two notes to suggest the entire chord.

After the fifth, the next best choice for omitting would be the root (not the third), leaving just the third, fifth and seventh. You'll often find fifth-less and rootless forms of dominant seventh chords in fingerstyle and chord/melody arrangements.

If you want movable shapes for C7 which include all four components, you can use 3433 or 5767 (or even 5431—yes, I do occasionally use this shape, particularly in linear tunings).

In re-entrant tuning, a simpler way to play C7 which sounds the same as 5463 is 3463 (where the index can barre to stop both 3 positions). But in linear tuning, 5463 or the full forms are generally preferable: 3463 doubles the 7th at the octave, and puts one at the bottom of the chord, which increases the sense of instability. 5463 doubles the root, with one root on the bottom, the most stable voicing.

I assume that the spelling mistake (A# for Bb) was imposed by the program being used to generate the diagram. It probably represents all the accidental notes by their sharp variants, ignoring the third stacking behind the construction of most chords. Your pointing this out isn't "super-picky" at all: it's things like this that make me hate most music helper apps—the programmers don't sufficiently understand music, so they lead others to replicate their quite basic errors.

Thank you for expounding! I hadn’t thought about that tritone being key, but having played around with it, you’re right. Taking the 3rd out makes it sound...odd.

And agreed re: music programs. I just figured out how to change that default in Guitar Pro recently. It was driving me nuts!

 

[Peter Frary]

In four voice writing, it's standard voice leading practice to omit the 5th in dominant 7th chords and double the root. You need the root and 3rd to create the major quality and the 7th for the dominant 7th sound. Even if not played, the 5th is always present in the overtones. It's not uncommon to omit the 5th even in plain major and minor chords to avoid awkward parallel voice leading. If I'm working with a bass player I often omit the root so I can add extensions to color the chords (7th, 9th, 13th, etc.).

The OP's chord voicing/shape is very popular on blues and rockabilly guitar styles.

 

[Django57]

Thanks for the the posts , i just like how it sounds i did forget to mention i use a low G sorry for that .

 

[ichadwick]

Barre the first and second strings. Easier that way. Like you do with a Bb chord.