Why You Should Ignore 'Ridiculous' Drop 2 Inversions

What was the question?

David mentioned he was comfortable with shell voicings but found some inversions of Drop 2 voicings (specifically the 2nd inversion) physically awkward and impractical. He asked if it was better to use the "Third" as a stepping stone or coordinate system to navigate the fretboard instead of memorizing every grip.
(Timestamp: 38:11)

The core idea (in plain English)

You are right—some voicings, like the 2nd inversion Drop 2 on the middle strings, are physically ridiculous. I realized early on that even legends like Wes Montgomery rarely, if ever, used those awkward shapes.

It is much more effective to find the voicings that connect smoothly in a line. David's idea of treating the Third of the chord as a "coordinate system" or "home base" is excellent. If you know where the Third is, you know where the chord lives, and you can build your lines or simple voicings around that anchor point without breaking your fingers.
(Timestamp: 39:28)

Fretboard breakdown (what to play)

  • Discard the Bad Shapes: If a voicing feels impossible to grab quickly, don't use it. Focus on the ones that allow you to move the melody on the top string.

  • The Third as an Anchor: Use your shell voicings (Guide Tones) to locate the 3rd of the chord.

  • Stepping Stones: When the chord changes, look for the next 3rd. That is your next "step."

  • Expand outward: Once you are secure on the Third, you can add intervals above or below it to create fuller sounds relative to that safe spot.
    (Timestamp: 51:04)

Common mistake to avoid

Don't be a completionist with chord inversions. Just because a theory book lists 4 inversions doesn't mean all 4 are musical or practical on the guitar. Use what connects efficiently; discard what stops the flow.

A 10-minute practice assignment

Play through a tune using only the Shell Voicings (Root-3-7). Pay attention to the Third of every chord. Visualize it as a glowing light on the fretboard. Try to see where the Third is for the next chord before you even play it.

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