Although (in theory) you may use any of the four voicings in any situation, each group does suggest a specialized function. A chord's location, difficulty, size , and intended musical style all contribute to this determination. Here's how each of the four voicings were chosen and how they should be used:
Voicing#1
The top diagram is the most common upper position voicing. It's also the most appropriate for struuing purposes.
Voicing#2
This diagram always gives you a convenient "all - purpose " vocing, usable in most amy musical setting.
Voicing#3
Here you'll find another good "all - purpose" vocing. However, this voicing is often a broken set form, which means that the chord contains a lower bass note and two or three notes on higher strings with at least one " interior' string omitted. It works best in jazz or blues styles as a nice comping ( another word for " accompanying" ) chord.
NOTE: Not all of the third voicngs are shown as broken chords. For those that are,though, pluck them with your fingers ( rather than the pick ) and simulate a piano - type sound. Be sure to " mute" the omitted strings.
Voicing#4
Closed voicing ( or adjacent set chords) are used for the fourth group. these often appear " up the neck" and work great for jazz, blues and rock styles. Due to the lack of a lower bass note, these voicings produce a thinner, less-full sound. But this isn't ( necessarily) bad,especially when playing with another guitarist or as a complement to the bass player.
Voicing#4
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