Chas, you are right about inversions/re-voicing in jazz formats.

I was trying to pick something universal and simple to get my point across and encourage some examples.

Bill Evans was the master of inversions. I drive myself crazy trying to figure out what was going on in that brilliant, troubled head of his.

In pop and simpler formats, a simple substitution of a maj 7th can make all the difference in the world.

A lot of this comes down to personal style, as you point out in some of your chord preferences. I'm the same way.

Suggestions as to a stylistic approach to the assembly/choice of chords is equally valuable here.

For a simple example, our classic R&B C, Am, F and G. is often converted by orchestra and jazz players as a Cmaj 7, Am9, Dmin7th, G7. On guitar, this eliminates open chords and allows control of slides and sustains, classing the act up a little. And, if you learn that structure on guitar, you can easily play in different keys by simply starting the Cmaj7th form in the right position, as indicated by the bass note played on the A string.

As usual, Chas, it must be mental unity. Musically, you and I often think so much alike.

Anyone else....??????


Russ