Is there a “standard” voicing on Stradella chords?

[stickista]

On a 5 column Stradella what are generally the voicings for each chord column?

for example
Major - 1,3,5 or just 3,5
Minor - 1,b3,5 or just b3,5

No 7th on either, correct?

I would think that roots in the chord would be redundant.

And is the 5th column 3,5,b7 or just b3,7?

 

[losthobos]

I'm guessing your thinking like a french five row stradella with the Dom7 doubling as a Dim or Min6 then the chords are all three note
Maj 135 ,Min 1b35 , Dom 357
I know what you're thinking however
I think CJS is
Maj 13 , Min 1b3 , Dom 3b7 Dim b3bb7

 

[stickista]

I'm guessing your thinking like a french five row stradella with the Dom7 doubling as a Dim or Min6 then the chords are all three note
Maj 135 ,Min 1b35 , Dom 357
I know what you're thinking however
I think CJS is
Maj 13 , Min 1b3 , Dom 3b7 Dim b3bb7

I’m trying to think simpler than that Terry.
Yes, I’m still looking for a way to overlay 6thDim theory over Stradella, but realizing that I don’t need the left hand to do the heavy lifting. Let the right hand provide the 6ths!

 

[losthobos]

Enlighten me further as your thought expand...thanks

 

[JeffJetton]

Typically, all chords on Stradella bass accordions are three-note voicings.

So when the chord is a triad, like Maj and Min, you get all the notes in the chord, including the root.

When the chord is a four-note chord, like 7th and Dim7, a choice is made as to which note to leave out. When it's a full "6 column" bass with a diminished chord row, it's usually the fifth that is omitted.*

But when there are just 5 columns, when there are no Dim7 chord buttons, it's common to omit the root of the 7th chord. SInce the upper structure of any dominant 7th chord is a diminished triad, this lets that column serve double-duty as both a 7th chord and (if you move one row over from the root) a Dim triad.



* For a 7th chord, the fifth adds the least amount of information to the chord and can be gotten rid of without too much difference. For a Dim7, the "fifth" (really a flat fifth, of course) can also be removed without too much musical impact, plus, since Dim7 chords invert into other Dim7 chords, you can easily get back to the full, four-note Dim7 by combining the root with the version of the Dim7 where the note that's left out is that root. For example, B bass (as counter bass of G) combined with Fdim7 chord (which leaves out the B) gives you a "true" Bdim7.