I agree with Brille, this could be infinite for a "Real" guitarist.

On a piano just about any chord can be laid out nice and pretty, as long as it has less than 11 notes in it.
One can often push a variety of inversions of the chord without making fingering difficult.
The piano can be wonderful in that way.

Chords on the guitar seem an exercise in compromise, especially more complex chords.
Aside from certain musical genres, 6 notes are rarely played when voicing complex chords.

I believe most Guitarist rely on 3 or 4 note chords when comping. Sometimes 5 and sometimes 2.
Example: Consider a b9b13 chord, you need 1,3,5,b7,b9,b13 (i believe) to construct on a piano.
It may be physically impossible for most (any) players to play that in root position on a guitar. I don't know.
I'm guessing it would sound like mud if you could play it.

So which ones do you leave out on a guitar. Typically the 5th goes first, then probably the 1.
So you end up with a playable 4 note chord of 3,b7,b9,b13.
It may sound great played that way or you may have to move it around (invert)to make it playable
Add the 1 if you like (or can) for 5 notes. A lot of guitar players might just leave it out.
Likewise the b7 may disappear and be replaced by the 1 in the 4 note construction.
Put the b9 in the bass? Sure, if it sounds ok.

Imagine all the enharmonic names for those little gems.
How would you ask for them in BIAB?


I could go on an on. The more I think about it (melody, bass lines, voice leading, cadences,next chords,other comping players in the band) the more I realize the requirements and solutions on the guitar are large, possibly infinite.

Back to the shed. I need to work on my comping skills

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