In particular , the relative positions of two chords e.g. V7-> I (in the roman numbering of a diatonic scale) or X7->X+1 in the symbolism of the wheel of 24 chords (see post 34), is also defined by which root is higher, that of X7 or X+1? Normally for such a dominant->root resolution it is usually intended that the root of X7 is lower that the root of X+1 but in the same octave. The sound feeling of the succession of such two chords is entirely different if the root of X7 is higher than that of X+1 or vice versa. E.g. The G7->C in particular G->C as open chords of the guitar have such position that the upper root of G (In the high E-string) is higher that the upper root of the Chord C (on the B-string). While for the D7->G, in particular D->G , the upper root of D (on the B-string) ,is lower that the upper root of G (on the E-string).
This distinction becomes even more important if there is parallel melody, which requires that the chord follows it, and that some of the notes of the melody are identical with some of the notes of the chords in pitch too and not only in name. Then with such a requirement in the melody-chord relation, the melody itself defines if the root of X7 will be higher or lower that the root of X+1, which also may define the type of inversion , shape and position of the chord on the guitar fretboard.
In the next we shall present some examples, and we shall discuss the role of the relative position of two chords of a chord progression on the guitar fretboard.
Here is a relevant video
https://www.youtube.com/watch?v=hpQfUePH820
(The post has not been written yet completely)
Here is a relevant video
https://www.youtube.com/watch?v=hpQfUePH820
(The post has not been written yet completely)
