arpeggios - chord voicing with arpeggiations and inversions

This question is in two parts.A) Assume the rules of 4-part harmony. Should the first note of an arpeggio be the one that is included in the chord for best sonority? For example, we are told, with regard to doublings, to double the root first. In that case, would the following situation not be ideal (please see below)? Or, because the listener must only wait one quarter note (see arpeggio in tenor) is this acceptable? In other words, technically speaking, should the arpeggio start with the most ideal chord tone (double the root first, then the...Read more

Fm7 Drop 2 1st inversion confusion

I'm reading a guitar book that has started to describe drop voicing and inversions (both of which I'm already familiar with their concepts). My concern is that I think my understanding of the concepts are slightly off (or not as nuanced as maybe the author's understanding).He starts..."Let's begin by learning the four voicings for a drop 2 Fm7 chord played on the top 4 strings (squares being the root)".When discussing the Drop 2 voicing for Fm7 he provides a set of chord diagrams (one for each inversion: root, 1st, 2nd and 3rd).But the second d...Read more

chord inversions - How does this drop 3 voicing work?

My understanding is that 'drop voicing's are the process of taking the nth highest note and dropping it an octave.e.g. drop 2 for 1,3,5,7 is just 5,1,3,7 Now, with this understanding: I've seen a voicing of 1,7,3,5 and it was labelled as being a "drop 3 major 7th in root position"... But I didn't understand how they reached that conclusion.I understand it's root because the 1st degree is played in the bass/lowest position, but I'm not sure how the name of drop 3 in root position was calculated.If I play a close voiced Gmaj7 on the guitar, the s...Read more