Watch the Good Vibes: 7 online guitar lesson by Chris Buono from Guitar Cubed
First thing to notice in Guitar 2 is the clustery sound of the chords. True clusters are three-note chords that are made up of 2nds of either type--major or minor. While the chords heard here in Guitar 2 are close, but not the real deal, they are very cool nonetheless. The first one is a 3rd inversion Bm7 spelled A-B-D or b7-root-b3. The bottom interval of a major 2nd between the A and B is what gives the chord it's cluster luster. As a side note, whenever a chord whose original voicing formula calls for a 5th has that 5th omitted, it does not affect the name of the chord. Perfect 5ths are completely disposable chord tones and have no bearing on the name.
The second chord is Bm6, and following the Bm7 voicing, it serves as a great example for tight voice leading as two of the three notes are common to both chords. The only change is from the b7 (A) to 6 (G#) that does so by a half step. Again, there’s no 5th present and therefore has no effect on the name. Getting back to the cluster sound, the final chord is a Bmb6 and it’s voiced G-F#-B. Take note: Power Tab does not provide an option to name it as such so you’ll see it on your charts as a Bm+5 (same as Bm#5). The reason why the name of this chord uses a b6 as opposed to the enharmonic equivalent #5 seen in Guitar 1 is because there’s a perfect 5th in the chord.
Looking at the voicing of Bmb6 you should notice something strange. There’s a disjunct element in the spelling where the note fretted on the lower 3rd string (G) is actually a higher pitch than the one fretted on the 2nd string (F#). This anomaly was purposely set up so that the m2 can exist in the chord and be played in a way where the G played on the Bm7#5 and the final F# played meets up with the anticipated Bm7. What’s even cooler is how that last chord anticipates AND resolves at the same time.
The rhythmic placement of the chords serves a twofold purpose. First, they are a response to the chords played in Guitar 1. Whether the Guitar 1 chords are played on the downbeat or anticipated, Guitar 2 answers the call for the first three. In order to make things go ‘round, there’s no response chord for the final Bm7. Instead, as mentioned previously, Guitar 2’s Bmb6 both anticipates and resolves at the same time.