I have put them into a kind of lexical order and made many addons. All chords are "jazz chords", what means they contain options like the 7th, 9th or higher (most chords played in jazz have at least a 7th), so you won't find a plain major chord here. If you try them out, don't play them with distortion - they won't sound good this way and you may think, all of them are crap. The best way to try them is fingerpicking or playing with the thumb to achive a mellow sound. All chords are moveable like bar chords, but less straining, because you won't have to keep your index finger in that "bar position" all the time. You can play about 600(!) different chords with the some 50 chord patterns, that will follow this message. So you don't have to keep in mind too much. I also will add one or two messages about chord theory and examples, which are not written yet, so look out for them. First some definitions, because "digitized" chords may look strange or unusual. The numbers on the "fretboard" mean the fingers of the left hand. They are numbered this way: 1234 IIII For example: 1 is the index finger, I IIII 2 is the middle finger... \|__| An "X" means at the left side of the pattern means, that this string is muted or not played. "(r)" is the root of the chord - if not played (leave some work to your bassist, man). This may help you to place the chord on the fretboard. Also the 5th is left out some times, except it is a +5 or a b5. A plain 5th is contained in nearly every chord, it does not carry any further information, so that is just boring. The numbers at the right side of the fretboard are the notes of the chord. E.g. "r" means the root, "7" is the 7th, maj7 is the major 7th, "-3" is the minor 3rd, "3" is the major 3rd. As I said before, all chords are moveable like bar chords. Thus they don't have a specific key - the "Y" is just a virtual key, it is variable, you can put a G, a Bb etc. instead. E.g. if a chord placed at the 3rd fret is a G minor, just shift it down one fret, now you have a Gb minor with the same pattern. Now a simple example, everybody should know...it is just an ordinary bar chord. Y- 1. E -|---|-1-|---|---|---|-- root 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|-1-|---|---|---|-- -3 4. D -|---|-1-|---|-4-|---|-- root 5. A -|---|-1-|---|-3-|---|-- 5 6. E -|---|-1-|---|---|---|-- root ^--- If this is the 3rd fret, you play G minor. BTW: "-" is short for minor. To place a chord on the fretboard, you have to know the notes of the (4th,) 5th and 6th string. Most of you, who play bar chords, still know them, but I'll repeat that now. 1. E |-F--|-Gb-|-G--|-Ab-|-A--|-Bb-|-B--|-C--|-Db-|-D--|-Eb-|-E--|-... 2. B |-C--|-Db-|-D--|-Eb-|-E--|-F--|-Gb-|-G--|-Ab-|-A--|-Bb-|-B--|-... 3. G |-Ab-|-A--|-Bb-|-B--|-C--|-Db-|-D--|-Eb-|-E--|-F--|-Gb-|-G--|-... 4. D |-Eb-|-E--|-F--|-Gb-|-G--|-Ab-|-A--|-Bb-|-B--|-C--|-Db-|-D--|-... 5. A |-Bb-|-B--|-C--|-Db-|-D--|-Eb-|-E--|-F--|-Gb-|-G--|-Ab-|-A--|-... 6. E |-F--|-Gb-|-G--|-Ab-|-A--|-Bb-|-B--|-C--|-Db-|-D--|-Eb-|-E--|-... . . . . . : open 3rd 5th 7th 9th 12th fret (Note: A F# is just the same as Gb, a C# = Db etc. I didn't want to paint all that for the sharp notes again. Use yer brain, man!) The chords I will show you, have options like the 7th a 9th... Sheesh, what is a ninth, man? I thought there were just 8 tones in a scale??? No problem, keep cool. A 9th is one octave higher than a 2nd, but you will never see 2nd as a chord option. So an 11th is a 5th plus an octave, a 13th is a 6th plus ... You get it, bud! Some chords are "partial" bar chords, what means, you don't have to press a finger (I don't use only the index finger for that) on all six strings, but on maybe 2, 3 or 4. E.g. Y-7/11 1. E -|---|-1-|---|---|---|-- 11 2. B -|---|-1-|---|---|---|-- root 3. G -|---|---|---|-3-|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|---|-2-|---|-- root 6. E X-|---|---|---|---|---|-- ^--- here you have to put your index finger (1) on the 1st - 4th (5th) string - of course you also have to put it on the 3rd string, although it is not shown here. All chords that are shown, are _playable_! They might be unusual for you, but they are not more difficult to learn, than normal chords. Most are variations of just a few basic pattern, so if you are able to play some of them, the others won't be a problem any more. Major Chords ============ Ymaj7 1. E -|(1)|---|---|---|---|-- (7, if you want. Index finger is 2. B -|---|-2-|---|---|---|-- 5 diagonal) 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|---|-3-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root Ymaj7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 3 3. G -|---|---|-2-|---|---|-- maj7 4. D -|---|---|---|-3-|---|-- 5 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- Ymaj7 1. E -|---|-1-|---|---|---|-- maj7 2. B -|---|---|-2-|---|---|-- 5 3. G -|---|---|---|-3-|---|-- 3 4. D -|---|---|---|---|-4-|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Ymaj7 1. E -|---|---|---|-3-|---|-- 3 2. B -|---|---|---|-3-|---|-- maj7 3. G -|---|---|---|-3-|---|-- 5 4. D -|---|-1-|---|---|---|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Ymaj7 1. E -|---|-1-|---|---|---|-- root 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|---|-2-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Ymaj7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|---|-4-|---|-- maj7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Ymaj7/9 1. E -|---|(r)|---|-4-|---|-- 9 (root left out!) 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|---|-2-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E X-|---|(r)|---|---|---|-- Ymaj7/9/#11 1. E -|---|-1-|---|---|---|-- #11 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|---|-4-|---|-- maj7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Ymaj7/#11 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- #11 3. G -|---|---|---|-4-|---|-- 3 4. D -|---|---|---|-3-|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Ymaj7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|---|-2-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root Ymaj7/13 1. E -|---|---|---|-4-|---|-- 13 2. B -|---|---|---|-4-|---|-- 3 3. G -|---|---|-2-|---|---|-- maj7 4. D -|---|---|---|-3-|---|-- 5 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- Y6 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- root 3. G -|---|---|-3-|---|---|-- 6 4. D -|---|---|-2-|---|---|-- 3 5. A -|---|---|---|-4-|---|-- root 6. E X-|---|---|---|---|---|-- Y6 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 5 3. G -|---|---|---|-4-|---|-- 3 4. D -|---|-1-|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Y6 1. E -|---|---|-3-|---|---|-- root 2. B -|---|---|-2-|---|---|-- 5 3. G -|---|---|---|-4-|---|-- 3 4. D -|---|-1-|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y6/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|-1-|---|---|---|-- 6 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Minor Chords ============ Y-7 (- means "minor") 1. E -|---|-3-|---|---|---|-- root 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root Y-7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 (The 5th is left out!) 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y-7 1. E X-|---|---|---|---|---|-- 2. B -|-1-|---|---|---|---|-- root 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y-7 1. E -|---|-1-|---|---|---|-- root 2. B -|---|---|---|---|-3-|-- 7 3. G -|---|-1-|---|---|---|-- -3 4. D -|---|---|---|-2-|---|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y-7 1. E -|---|---|---|---|-3-|-- -3 2. B -|---|---|---|---|-3-|-- 7 3. G -|---|-1-|---|---|---|-- -3 4. D -|---|---|---|-2-|---|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y-7 1. E -|---|-1-|---|(r)|---|-- 7 (the root is left out) 2. B -|---|---|---|-4-|---|-- 5 3. G -|---|---|---|-3-|---|-- 3 4. D -|---|---|---|-2-|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|(r)|---|-- Y-7/9 1. E -|---|---|---|-4-|---|-- 9 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root Y-7/9 1. E -|---|---|(3)|---|---|-- 5 (play it or mute it) 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y-7/11 1. E X-|---|---|---|---|---|-- 2. B -|-1-|---|---|---|---|-- 11 3. G -|---|---|-4-|---|---|-- -3 4. D -|---|---|-3-|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Y-7/11 1. E -|---|-1-|---|---|---|-- 11 2. B -|---|-1-|---|---|---|-- root 3. G -|---|---|---|-3-|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|---|-2-|---|-- root 6. E X-|---|---|---|---|---|-- Y-6 1. E -|---|---|-3-|---|---|-- root 2. B -|---|---|-3-|---|---|-- 5 3. G -|---|---|-3-|---|---|-- -3 4. D -|---|-1-|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Y-6 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- root 3. G -|---|---|-2-|---|---|-- 6 4. D -|---|-1-|---|---|---|-- -3 5. A -|---|---|---|-3-|---|-- root 6. E X-|---|---|---|---|---|-- Y-6 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|---|-4-|-- -3 3. G -|---|---|-2-|---|---|-- 6 4. D -|---|-1-|---|---|---|-- -3 5. A -|---|---|---|-3-|---|-- root 6. E X-|---|---|---|---|---|-- Y-6/9 1. E -|---|---|---|-4-|---|-- 9 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|-1-|---|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root Y-6/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 9 3. G -|---|---|-2-|---|---|-- 6 4. D -|---|-1-|---|---|---|-- -3 5. A -|---|---|---|-3-|---|-- root 6. E X-|---|---|---|---|---|-- Y-7/b5 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b5 3. G -|---|---|-4-|---|---|-- -3 4. D -|---|---|-3-|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Y-7/b5 1. E -|---|-1-|---|---|---|-- b5 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-3-|---|---|-- 7 4. D X-|---|---|---|---|---|-- 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y-7/b5 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-2-|---|---|-- 7 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-1-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y-7/b5 1. E -|(1)|---|---|---|---|-- (-3) 2. B -|-1-|---|---|---|---|-- 7 3. G -|-1-|---|---|---|---|-- b5 4. D -|---|---|-3-|---|---|-- -3 5. A -|---|---|---|---|-4-|-- root 6. E x-|---|---|---|---|---|-- Dominant 7th chords =================== Y7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root Y7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|---|-4-|-- 3 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y7 1. E -|---|---|---|-4-|---|-- 3 2. B -|---|---|-2-|---|---|-- 7 3. G -|---|---|---|-3-|---|-- 5 4. D -|---|-1-|---|---|---|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y7 1. E -|---|-1-|---|---|---|-- root 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|-1-|-2-|---|---|-- 3 4. D -|---|-1-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y7/b9 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b9 3. G -|---|-1-|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|-1-|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y7/b9 1. E -|---|(r)|-4-|---|---|-- b9 (root left out, looks like a dim 2. B -|---|-2-|---|---|---|-- 5 chord) 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-1-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|(r)|---|---|---|-- Y7/9 1. E -|---|---|-3-|---|---|-- 5 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Y7/9 1. E -|---|---|(r)|---|-4-|-- 9 (root left out) 2. B -|---|---|-1-|---|---|-- 5 3. G -|---|---|---|-2-|---|-- 3 4. D -|---|---|-1-|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|(r)|---|---|-- Y7/#9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- #9 3. G -|---|-3-|---|---|---|-- 7 4. D -|-2-|---|---|---|---|-- 3 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- Y7/#9 1. E -|---|(r)|---|---|-4-|-- #9 (root left out) 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|---|-2-|---|---|-- 3 4. D -|---|-1-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|(r)|---|---|---|-- Y7/#11 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- #11 3. G -|---|---|---|-4-|---|-- 3 4. D -|---|---|-3-|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Y7/b9/#11 1. E -|---|-1-|---|---|---|-- #11 2. B -|---|-1-|---|---|---|-- b9 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E -|---|---|---|---|---|-- Y7+ (an augmented 5th (5+) can also 1. E X-|---|---|---|---|---|-- be interpreted as a b13) 2. B -|---|---|-4-|---|---|-- 5+ 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root Y7/9/b13 1. E -|---|---|-4-|---|---|-- b13 2. B -|---|-3-|---|---|---|-- 9 3. G -|---|-3-|---|---|---|-- 7 4. D -|-1-|---|---|---|---|-- 3 5. A -|---|-2-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- Y7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 As you can see, there is 3. G -|---|---|-3-|---|---|-- 3 no 5th in it. 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root Y7/13 1. E -|---|-2-|---|---|---|-- root 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-1-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Y7/9/13 1. E -|---|---|---|-4-|---|-- 13 2. B -|---|-3-|---|---|---|-- 9 3. G -|---|-3-|---|---|---|-- 7 4. D -|-1-|---|---|---|---|-- 3 5. A -|---|-2-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- Diminished Chords ================= Yo (Ydim means the same!) 1. E -|---|---|---|-4-|---|-- -3 2. B -|---|---|-2-|---|---|-- 6 3. G -|---|---|---|-3-|---|-- b5 4. D -|---|---|-1-|---|---|-- root 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- Yo 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|-1-|---|---|---|-- 6 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- Yo 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b5 3. G -|---|-1-|-3-|---|---|-- -3 4. D -|---|-1-|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root Hi, folks! Because every chord is based on intervals, we have to speak about them first. Intervals ========= An interval consists of two tones. The relation of this tones are dissonant or consonant. The definition of dissonance has change over the centuries. In middle age even a third was dissonant, today a flat 5th isn't not perceived as a strong dissonance any more (in jazz :). We can play 12 basic intervals (there are 12 semitones in an octave) But now, back to the fretboard... A 1st is just the same note twice. No keyboard player can manage it, but we guitarists are the lucky ones, we can play it. BTW: it is the most consonant interval. Finaly it is often used to tune the guitar. The root is played on the 5th fret, the next (higher) string is open. It just looks (sounds) like this 1. E -|-o-|---|---|---|---|---|- 2. B -|---|---|---|---|---|-o-|- 3. G -|---|---|---|---|---|---|- 1st 4. D -|---|---|---|---|---|---|- 5. A -|---|---|---|---|---|---|- 6. E -|---|---|---|---|---|---|- Try to play it on a higher fret, with that you won't break your fingers. Ey man, don't play all strings, just the two, that are marked! The next is a (flat) b2nd. The two tones are just one semitone (= one fret) appart. It is really dissonant. Just try this: 1. E -|-o-|---|---|---|---|-- 2. B -|---|---|---|---|-o-|-- 3. G -|---|---|---|---|---|-- b2nd 4. D -|---|---|---|---|---|-- 5. A -|---|---|---|---|---|-- 6. E -|---|---|---|---|---|-- The ordinary 2nd is dissonant also. It is two semitones apart 1. E -|---|-o-|---|---|---|-- 2. B -|---|---|---|---|-o-|-- 3. G -|---|---|---|---|---|-- 4. D -|---|---|---|---|---|-- 5. A -|---|---|---|---|---|-- 2nd 6. E -|---|---|---|---|---|-- Now you can try the flat or minor thrid. It is a consonant interval as you can hear. Lets play it somewhere else 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|-o-|---|---|---|-- 4. D -|---|---|---|-o-|---|-- -3rd or #2nd 5. A -|---|---|---|---|---|-- 6. E -|---|---|---|---|---|-- This third is called _minor_ third because you can identify a minor scale or chord by it. The root and the 3rd are just three semitones apart. In music theory it is also called (sharp) #2nd, but that depends on the context. Now we'll have a look at the major third, it is consonant also: 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|-o-|---|---|-- 4. D -|---|---|---|-o-|---|-- 3rd 5. A -|---|---|---|---|---|-- 6. E -|---|---|---|---|---|-- If the root of a scale/chord is related to the 3rd like this, it is a major scale. The 4th was considered as consonant even in middle age. You can play it with heavy distortion and it will sound good also. 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|---|---|-- 4. D -|---|---|---|-o-|---|-- 4th 5. A -|---|---|---|-o-|---|-- 6. E -|---|---|---|---|---|-- The flat (b) 5th and the augmented 4th are the same intervals, although it is noted different (We are lucky again, because the "fingering pattern" is just the same). It is the most dissonant interval (in classic theory). 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|---|---|-- 4. D -|---|---|---|---|-o-|-- b5th/aug. 4th 5. A -|---|---|---|-o-|---|-- 6. E -|---|---|---|---|---|-- The 5th is the most consonant interval, some name it "power chord" because you can play it with heavy distortion. 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|---|---|-- 4. D -|---|---|---|---|-o-|-- 5th 5. A -|---|---|-o-|---|---|-- 6. E -|---|---|---|---|---|-- The augmented 5th is the same as the (minor) b6th 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|---|---|-- 4. D -|---|---|---|---|-o-|-- aug. 5th/b6th 5. A -|---|-o-|---|---|---|-- 6. E -|---|---|---|---|---|-- The (ordinary) 6th is consonant also. Some chords contain it like C6, F6 etc. 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|-o-|---|---|---|-- 4. D -|---|---|---|---|---|-- 6th 5. A -|---|---|-o-|---|---|-- 6. E -|---|---|---|---|---|-- Now we will have a look at the 7th. In classic theory it is considered to be dissonant, in pop music it is a weak tension. In jazz, it is just consonant and will occure in most chords. 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|-o-|---|---|-- 4. D -|---|---|---|---|---|-- 7th 5. A -|---|---|-o-|---|---|-- 6. E -|---|---|---|---|---|-- The major 7th is used for some chords like Cmaj7, Fmaj7 etc. Wether it is dissonant or consonant - see above. 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|-o-|---|-- 4. D -|---|---|---|---|---|-- maj7th 5. A -|---|---|-o-|---|---|-- 6. E -|---|---|---|---|---|-- The octave is as consonant as the 1st. Wes Montgomery made a big deal of playing octave style (Ibanez and Boss make it also, they sell octave pedals). Because octave playing is such a great effect, I show you both fingering patterns. As I mentioned before, all strings are tuned in 4th, G to B is the only exception. Thus we have two different fingering patterns for all intervals, I showed you. Which is the right one depends on wether the step from G to B is included or not (all intervals I painted yet are valid if G->B is not included). 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|---|-- 3. G -|---|---|---|-o-|---|-- octave (1) 4. D -|---|---|---|---|---|-- 5. A -|---|-o-|---|---|---|-- 6. E -|---|---|---|---|---|-- 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|---|-o-|-- 3. G -|---|---|---|---|---|-- octave (2) 4. D -|---|-o-|---|---|---|-- 5. A -|---|---|---|---|---|-- 6. E -|---|---|---|---|---|-- If you play the octave on string 6 & 4 or 5 & 3, use pattern (1). If the octave is played on string 4 & 2 or 3 & 1, use pattern (2). Ey, try to play some (simple) tunes with that, it sounds really good. I showed this to a cousin, who started playing 8 or 10 years before me - he was absolutely enthusiastic about octave playing. Abstract: | semitones | (c)onsonant/ | Interval | apart | (d)issonant | Note ------------+-----------+---------------+--------------- 1st | 0 | very c | minor 2nd | 1 | d | aka b2nd 2nd | 2 | d | aug. 2nd | 3 | c | minor 3rd | 3 | c | aka -3rd major 3rd | 4 | c | 4th | 5 | c | aug. 4th | 6 | d | Tritonus (word???) dim. 5th | 6 | d | -"- aka b5th 5th | 7 | c | aug. 5th | 8 | d | Noted as "+5" minor 6th | 8 | d | major 6th | 9 | c | minor 7th | 10 | d | Noted as "7th" major 7th | 11 | d | Noted as "maj7th" octave | 12 | very c | There are some intervals that exceed the octave. Most common are Interval | equals -------------+---------------------- b9th | octave plus b2nd 9th | -"- -"- 2nd #9th | -"- -"- aug. 2nd 11th | -"- -"- 4th #11th | -"- -"- aug. 4th b13th | -"- -"- b6th 13th | -"- -"- 6th You will see these intervals quite often a chord options. Chords ====== Generally a chord is build with piled up 3rds. This can be minor or major 3rds. The first (on the root) determines wether it is a minor or a major chord. With the second 3rd you'll reach the 5th: 5 5 > major 3rd > minor 3rd -3 3 > minor 3rd > major 3rd root root minor chord major chord In jazz a 7th or maj7th is added to most chords. The three basic type of chords are: 7 7 maj7 > minor 3rd > minor 3rd > major 3rd 5 5 5 > major 3rd > minor 3rd > minor 3rd -3 3 3 > minor 3rd > major 3rd > major 3rd root root root minor 7th dominant 7th major 7th chord Finally there are 8 chords you can pile up this way, but the ones above are the most common. BTW: These chords are often played in this sequence (E.g. D-7, G7, Cmaj7) - everybody has played a G7 before a C and should know that a G7 leads to the C. Jazz musicians are well know as very excentric, therefor they are not satisfied with just the 7th. They pile up more and more 3rds. That leads to the 9th, the 11th and the 13th - a 3rd on the 13th will result in a tone which is 2 octaves higher than the root, thus is makes no sense anymore. The 9th, 11th and 13th are called options. Certainly there are b9th, #9th #11th etc too. There are some rules, how to name a chord: - the root is first (e.g. C, D, Ab, F#) - then is the distinction between minor (short: MIN, MI or just - ) and major - now the 6th or 7th (if required) - after that b5 (dim, o) or augmented 5th (aug, +5, +) (if reqiured). - in the end the other options in ascending sequence Examples: right nonsense A- A+5/7 G7 C9/maj7 B-7/b5 G7/11/9 Cmaj7 Bb7/#9 In many notations the option "9" includes the 7th, the option "11" includes the 7th and 9th and "13" includes 7th, 9th and 11. If the 7th is not included it is noted as "add9" (e.g. Cadd9 is C-E-G-D, the 7th is missing). Here we are in trouble! We only have 6 strings and a 13th-chord needs 8 notes. So we have to leave out some notes. We should always play the 7th, that's for sure. In most cases we have to leave out the 9th and/or the 11th, which are less important. E.g. a Y13th chord is can be played like this: Y7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root As you can see, the 9th and the 11th are left out. (Note: Y stands for an optional key, it can be a C, a Bb or whatever) Further on we should know some "special" chords. This are diminished chords, the Y6 and Ysus4 chords. The diminished chords contain a diminished (flat) 5th. One is the Y-7/b5 (which explaines itself). The short is Y0 (0 = a slashed circle). The other is the Yo (o = small circle, aka Ydim or Yo7). This chord is build of piled up minor 3rd and looks like this: another -3rd -------------- 6 | > minor 3rd | b5 | > minor 3rd | -3 | > minor 3rd -> octave = root If you add another minor 3rd (on top of the 6th), you will reach the octave (= root), so this chord has a kind of cyclic structure. BTW: As you can see, this chord doesn't contain a 7th (just a 6th), so the name Yo7 is misleading. In a Y6 chord, a 6th is added. In a Ysus4 chord the 4th replaced/substitutes the 3rd (the 3rd is not contained). Hmm...I don't know, where to continue...it is the same problem like where to cut a pizza first. Finally I don't want to give you advice of all that harmony stuff. Books were written about that - I will give you some book recommendations at the end of this series. BTW: All questions are welcome, as all hinds are. Maybe I have used a wrong word, because my dictionary doesn't contain many technical terms. Well, first I want to continue with the chord options. Chords (continued) ================== Most of you have already seen a chord like Am7/G and may wonder what that means. This is fairly simple. Am7/G means it is an ordinary A minor7 chord with a G as bass note. Am7 Am7/G 1. E -|---|---|---|-3-|---|-- 1. E -|---|---|---|-3-|---|-- 2. B -|---|---|---|-3-|---|-- 2. B -|---|---|---|-3-|---|-- 3. G -|---|---|---|-3-|---|-- 3. G -|---|---|---|-3-|---|-- 4. D -|---|---|---|-3-|---|-- 4. D -|---|---|---|-3-|---|-- 5. A -|---|---|---|---|---|-- 5. A -|---|---|---|---|---|-- 6. E -|---|---|---|-2-|---|-- = A 6. E -|---|-1-|---|---|---|-- = G ^ ^-------' 5th fret 5th fret The original bass note (an A) just moved down a whole-tone (2 frets) and thus became a G. Easy, isn't it? Recently, I have seen a movie about Woodstock. Jimi Hendrix has play this "moving" bass notes with his thumb. He did it successfully as we all know, but IMNSHO this is not a good style, it slows down the movement of the left hand up and down the neck and it would be hard to play that on a wide neck of an accoustic guitar. I know, some of you guy have tried to speed up the neck with silicon spray and have ruined their guitars :) But what might that be good for? You can achieve a fine bass voicing this way. And what the heck means "voicing"? If you listen to a chord, you will hear, if it is a major, a minor or what ever chord, but the note that attract attention most are !!!! the deepest and the highest notes of the chord. !!!! So it is very easy to hear the movement of these notes. What voicings will sound good? A constant voicing will work fine. That means the chord may change, but the voincing notes are the same. Another good voicings are steps of 1, 2 or 3 semi-tones (up or down) and of large steps (but not all the time, man!). A good example for a constant high voicing is "One Note Samba" (A.C.Jobim) The first 4 bars look like this: . . . . . . . . . . . . . . . . |: D-7 | Db7 | C-7/11 | B7/#11 :| (4/4 beat as you can see) Or written as real music :) D-7 Db7 C-7/11 1. E X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- 2. B -|---|---|---|-4-|- -|---|---|---|-4-|- -|-1-|---|---|---|- 3. G -|---|---|-3-|---|- -|---|-3-|---|---|- -|---|---|-4-|---|- 4. D -|-1-|---|---|---|- -|-1-|---|---|---|- -|---|---|-3-|---|- 5. A -|---|---|-2-|---|- -|---|-2-|---|---|- X-|---|---|---|---|- 6. E X-|---|---|---|---|- X-|---|---|---|---|- -|---|---|-2-|---|- ^6th fret ^6th fret^ B7/#11 1. E X-|---|---|---|---|- 2. B -|-1-|---|---|---|- 3. G -|---|---|-4-|---|- 4. D -|---|-3-|---|---|- 5. A X-|---|---|---|---|- 6. E -|---|-2-|---|---|- ^6th fret. As cou can see, the highes tone of all that chords is located to the 6th fret of the B-string. One example for a good bass voicing is...hm, I know the piece, but I don't remember it's name... "Whisper not" (by B.Golson, I think) . . . . . . . . . . . . |: C-7 C-7/Bb | A-7/b5 D7/b9 | G-7 G-7/F | ...... C-7 C-7/Bb A-7/b5 1. E X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- 2. B -|---|---|-3-|---|- -|---|---|-3-|---|- -|---|-1-|---|---|- 3. G -|---|---|-3-|---|- -|---|---|-3-|---|- -|---|---|-4-|---|- 4. D -|---|---|-3-|---|- -|---|---|-3-|---|- -|---|---|-3-|---|- 5. A X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- 6. E -|---|---|-2-|---|- -|-1-|---|---|---|- -|---|---|-2-|---|- (8) (6) (5) D7/b9 G-7 G-7/F 1. E X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- 2. B -|---|-1-|---|---|- -|---|---|-3-|---|- -|---|---|-3-|---|- 3. G -|---|---|-3-|---|- -|---|---|-3-|---|- -|---|---|-3-|---|- 4. D -|---|-1-|---|---|- -|---|---|-3-|---|- -|---|---|-3-|---|- 5. A -|---|---|-2-|---|- X-|---|---|---|---|- X-|---|---|---|---|- 6. E X-|---|-Ab|---|---|- -|---|---|-2-|---|- -|-1-|---|---|---|- (5) (3) (1) The numbers in the brackets should mean the bars. Ab means an alternative bass voicing, catch this tone with the index finger "1". As you can see, the bass voicing moves down in the steps, I mentioned before. 2 semitones 1 semitone oops oops 2 semitones C-7 ----> C-7/Bb ----> A-7/b5 ----> D7/b9 ----> G-7 ----> G-7/F.... You can prevent the "oops" (if you want, not necessary), if you play D7/b9/Ab instead of D7/b9. Then it would look like this: 2 semitones 1 semitone 1 semitone 1 semitone 2 semitones C-7 ----> C-7/Bb ----> A-7/b5 ----> D7/b9/Ab ----> G-7 ----> G-7/F.... Sounds nice, ey? Another example most of you will know is taken from "Stairways To Heaven" ....ok, ok....that's no jazz, but it is a good example and was one of the first pieces I could play on the guitar.... . . . . . . |: A- A-add9/Ab | A-7/G ..... A- A-add9/Ab A-7/G 1. E -|-1-|---|---|---|- -|---|---|-4-|---|- -|---|---|---|-4-|- 2. B -|-1-|---|---|---|- -|-1-|---|---|---|- -|-1-|---|---|---|- 3. G -|-1-|---|---|---|- -|-1-|---|---|---|- -|-1-|---|---|---|- 4. D -|---|---|-3-|---|- -|---|-2-|---|---|- -|-1-|---|---|---|- 5. A X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- 6. E X-|---|---|---|---|- X-|---|---|---|---|- X-|---|---|---|---|- (5) (5) (5) The bass voicing is moving down in semi-tone steps, while the high voicing moves up. Such a movement of the both voicings in different directions sounds always brilliant! Finally you can play the melody of a piece in the high voicing, and a bass line in the bass voicing and all that together with the chords of the piece. I try to play this way, but it is rather difficult, man... I broke my fingers several times. When you take a look at the chord charts I posted before, you will see that it didn't show chords like Y-7/b9 or Ymaj7/#9. Of course you can play such chords, but they contain extreme tension and are not very suitable as rythm chords. I play that chords also, but I don't hold them, I just step over. chord | suitable options --------------+--------------------- minor(7th) | 9 11 major(7th) | 9 #11 13 dominant 7th | b9 #9 #11 b13 13 Above are the options shown that could be played without a risc. Finally it depends on the context and the function of the certain chord, which options could be played. Just try it out. Hi, folks! My chord lists can't be complete, but I think, they contain the most important "jazz" chords. Nevertheless, you should be able to figure out your own chords, if you need one that I haven't listed - it is more easy, tham you may think now. Thus I will talk about chords for do-it-yourselvers ============================ First, you have to know, what tones you need for the chord, you want to assemble and on what string you want to place the root note. The last depends on the context, that means what chords you'll play before or after the chord, that has to be constructed. Sure, you can play all chords with the root on the 6th (E) string, but it will be hard to get a good voicing this way and you have to move around the entire neck a lot, which might slow down your playing very much. E.g. if you play a Bb-7 with the root on the 6th string, and want to play a Eb7/b13 after it (Eb is a 4th higher than Bb) you will probably place the root of this chord on the 5th (A) string. So you don't have to move your hand to another fret - if you would have placed it on the 6th string you had to move your hand from the 6th to the 11th fret! Ok, _sometimes_ you can't avoid a thing like this. So, what tones do we need for a chord that has to be "invented"? The root, the 3rd (minor or major), the 5th (can be diminished or augmented) the 7th (minor or major), the 9th (b9, 9, #9), the 11th (or #11th) and the (b)13th. Sure, if your highest option is a 7th, you don't need a 9th or everything higher, if your highest option is a #11th, you don't need a 13th and so on. But that are still a lot of notes, probably more than we have strings on our guitar. But there are simple rules for the notes, we can leave out. I don't know, if they are written down in any textbook, but I do it this way (in the same sequence). - the 5th (if _not_ diminished or augmented) is included in the most chords, either major or minor, so it doesn't contain much information about the feeling of the chords. Leave it out first! - the options between the 7th and the highest options could be left out also. If I play a XY13th chord, I leave out the 9th and the 11th some- times. - the root is played very often by the bass, so it is not as important as you may think. _Never_ leave out the 3rd, the 7th (if included in the "original" chord) [and the highest option]. The 3rd contains the information, whether it is a minor or a major chord, the 7th is needed for distinguishing between a major7th or a dominant7th chord. I put the highest option into [], because sometimes this will be hard to manage and could be replaced by another option, that sounds good, gives us a good voicing or what ever. I'm not too picky here, nobody it perfect... Now, we have to find a suitable (and comfortable!) fingering pattern, what means the place of the tones that are included in the chord related to the root note (whether played or not). It is not necessary to keep the same (ascending) sequence of the notes. This would lead us to fingering patterns that are not playable and may sound less interesting (piano players, who could keep the sequence, do change it quite often to achive a mellow sound - they can do, we have to...but this is, why a guitar sounds so fine). That means you can replace e.g. the 3rd by a note that is an octave higher, but can be interpreted as a 3rd also. If we don't need all or nearly all strings for the chord, we should fill it up by playing one note "twice", e.g. play the 3rd _and_ the 3rd an octave higher or the root, same an octave or even two octaves higher. That doesn't change the meaning of the chord and you don't have too many "gaps" where we have to mute a string. Now some patterns, that will help you to locate the notes: - Root at the 6th string... 1.E -|-----|- 7--|maj7-|root-|- b9-|- #9-|- -3 |--- 2.B -|-----|-11--|b5#11|- 5 -|- +5 |6/13-|- 7 -|--- 3.G -|-----|-----|- b9 |#9/-3|- 3 -|- 11 |-#11-|--- 4.D -|-----| +5 -|- 6 -|- 7 -|maj7 |root |- b9 |--- 5.A -|-----| -3 -|- 3 -|- 11-|- b5 |- 5 -|- +5 |--- 6.E -|-----|- 6 -|maj7-|root |-----|-----|-----|--- - Root at the 5th string... 1.E -|-----|- 11 |b5#11|--5--| +5 -| 6/13|- 7 -|--- 2.B -|-----|-root| b9 |- 9 -|#9/-3| 3 -|-11--|--- 3.G -|-----|- +5 |- 6--|- 7 -|maj7-|root-| b9 -|--- 4.D -|-----|- -3 |- 3 -|- 11-|- b5-|- 5 -|- +5 |--- 5.A -|-----|- 7 -|maj7-|root-|- b9-|- 9 -|- -3 |--- 6.E -|-----|-----|-----|- 5 -|- +5-|- 6 -|-----|--- Wow, that looks rather complicated! Man, it is not as bad as it looks to ya! You just need to know a few tones on a vertical line drawn though the root. The others could be easyly found. E.g. Root at the 6th string... 1.E -|-----|root-|-----|- 2.B -|-----|- 5 -|-----|- 3.G -|-----|- -3-|-----|- minor 3rd! 4.D -|-----|- 7 -|-----|- 5.A -|-----|- 11-|-----|- 6.E -|-----|root |-----|- You'll find e.g. the major 3rd one fret right to the minor 3rd (it is one semitone higher). The 13th is a 6th plus an octave (I wrote that some messages ago. Do you remember it?), so you'll place it 2 frets left to the 5th (prove it by looking it up at the "full version" of the above pattern). The thought that lead to this kind of simplification is just learning the notes (related to the root) of few simple basic chords by heart and create the needed chord just by variing these basic patterns. You see, that things become quite simple with a _little_ experience. You should extend both pattern a bit to find some "extra long finger chords", do the same simplification (vertical line) with the pattern "Root at the 5th string" create a pattern with the root at the 4th string. That's your homework for today :) If you have trouble with that or not sure if it is right, send me your suggestion and I'll correct it. Hi! This message is quite a little late and I have a lot of poor excuses, why I haven't written it earlier. If there is anybody out there who hasn't got my earlier messages about jazz chords, just ask me to repost them. This time I want to give you some examples of how the chords are needed. Well, I guess most of you are not too familiar to jazz comping, so I'll give you a (the most) simple recipe how to achive a swing feeling: Most jazz tunes are in a 4/4 time... one - two - three - four :) well, to swing means to emphazise the two and the four, just like one - TWO - three - FOUR - one - TWO - three - FOUR - ... Best is to play the chords not with a pick, but with your thumb. I usualy play them with a finger picking style... First we should try out the most common jazz figure, the II-7/V7 or the II-7/V7/Imaj7 respectively. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- A short theory lesson: Q: What the heck means II and V and all that crap? A: These roman numbers mean how the chords are related to the key you are in. E.g. you take the C major scale as a basic: C - D - E-F - G - A - B-C - D - E-F - G - A - B-C. The 'Imaj7' means the Cmaj7 chord, 'II-7' means D-7 (D minor 7) a.s.o. BTW: You can create chords on every step of a scale (that works with most scales!) and will get a certain sequence of chords that (kinda) belong together. C major scale: In general: C - E - G - B -> Cmaj7 Imaj7 D - F - A - C -> D-7 II-7 E - G - B - D -> E-7 III-7 F - A - C - E -> Fmaj7 IVmaj7 G - B - D - F -> G7 V7 A - C - E - G -> A-7 VI-7 B - D - F - A -> B-7/b5 VII-7/b5 ^- you can use the notes of the Cmajor scale for improvising over all of these chords. You can also do that with other scales like the harmonic minor etc. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Well, let's play a C-major II-7/V7/Imaj7... (expressed in 'propper' chords: D-7/G7/Cmaj7) . . . . . . . . . . . . . . . . |: D-7 | G7 | Cmaj7 | Cmaj7:| Chord chart: D-7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--5th fret G7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--3rd fret Cmaj7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 3 3. G -|---|---|-2-|---|---|-- maj7 4. D -|---|---|---|-3-|---|-- 5 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--3rd fret Take a look at the chord voicing (the 'movement' of the highest note of the chords): It goes: F - D - E...that means it moves down 3 semi-tones (a minor 3rd) first, then moves up 2 semi-tones (a major 2nd). Well, we could play that somewhere else on the fret-board (playing the same chords over and over again might get boring soon). So, here is an alternative chord chart: D-7 1. E -|---|-3-|---|---|---|-- root 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root ^--10th fret G7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|---|-4-|-- 3 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--10th fret Cmaj7 1. E -|---|-1-|---|---|---|-- root 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|---|-2-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- ^--8th fret Again, take a look at the voicing: A - B - C +2 +1 semi-tone That's different, isn't it? Well, now we should try chords with higher options like the 9th. Let's play: |: D-7/9 | G+7 | Cmaj7/9 | Cmaj7/9 :| Chord chart: D-7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--5th fret G+7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- 5+ 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^---3rd fret Cmaj7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|---|-4-|---|-- maj7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--3rd fret That's another voicing again: E - Eb - D -1 -1 semitone This chromatical down-movement of the voicing sounds rather nice, doesn't it? You might see now, that you could play this simple figure in many different ways. Take the general chord charts you have already received and try out some more alternatives. Another figure that occures quite often is the Diminished II-V(-I) =================== This figure leads to a minor chord (not to a maj7 like the 'ordinary' II-V). So, you'll probably play a harmonic or melodic minor scale over it. It looks like this II-7/b5 - V7, Valt7 or V+7 - I-(maj)7 ^--therefore, it is ^-- sometimes a minor chord called diminished with a maj7 is played (according to the harm. minor scale), but quite often, it is just an ordinary I-7 chord. Enough with theory, now let's play it... ok, the key is C minor, so this are the required chords: . . . . . . . . . . . . . . . . |: D-7/b5 | G+7 | C-7/9 | C-7/9 :| Chord chart: D-7/b5 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-2-|---|---|-- 7 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-1-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--5th fret G+7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- 5+ 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--3rd fret C-7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--3rd fret ...I took a C-7/9 because of the better (?) voicing. Try also this C-7... 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--3rd fret and this C-7... 1. E X-|---|---|---|---|---|-- 2. B -|-1-|---|---|---|---|-- root 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--3rd fret Do you hear the differnt voicing? Well, you should :) Now let's try some rhythm changes... . . . . . . . . . . . . . . . . |: Amaj7 | Bbo | B-7 | E7/b9 :| BTW: Do you see the II-V in this progression? It is the B-7 - E7/b9 that leads to the Amaj7. Chord chart: Amaj7 1. E X-|---|---|---|---|---|-- 2. B -|---|-2-|---|---|---|-- 5 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|---|-3-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--5th fret. Bbo 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b5 3. G -|---|-1-|-3-|---|---|-- -3 4. D -|---|-1-|---|---|---|-- 6 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root ^-- 6th fret B-7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root ^--7th fret E7/b9 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b9 3. G -|---|-1-|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|-1-|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--7th fret Well, for another voicing, try B-7/11 (see minor chord chart) instead of the plain B-7 and substitute the E7/b9 with a Bb7/#11 (Dominant7th chord chart). This should be enough for today, next time, I'll post some simple pieces like a blues or ... Satin Doll might be a good choice. This time I'll post something to practice all those weird chords. The 12 bar blues should be quite suitable for that. Blues in Bb =========== . . . . . . . . . . . . . . . . |: Bb7 | Eb7/9 F7/#9 | Bb7 B7 | Bb7 | . . . . . . . . . . . . . . . . | Eb7/9 | Eo | Bb7 A7 | Ab7 G7 | . . . . . . . . . . . . . . . . | C-7/9 | F7/#9 | Bb7 G7/#9 | C7/13 F7/#9 :| BTW: The '.' mark the beat, e.g. play the Eb7/9 in the 2nd for 3 beats, then play F7/#9 for one beat. Chord chart: Bb7 1. E -|---|-1-|---|---|---|-- root 2. B -|---|-1-|---|---|---|-- 5 3. G -|---|-1-|-2-|---|---|-- 3 4. D -|---|-1-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E X-|---|---|---|---|---|-- ^-- 6th fret Eb7/9 1. E -|---|---|-3-|---|---|-- 5 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- 6th fret F7/#9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- #9 3. G -|---|-3-|---|---|---|-- 7 4. D -|-2-|---|---|---|---|-- 3 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- 8th fret B7 : like Bb7 but played at the 7th fret Eo 1. E -|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|-1-|---|---|---|-- 6 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- 7th fret A7 : like Bb7 but played at the 5th fret Ab7 : " " " " " " 4th fret G7 : " " " " " " 3rd fret C-7/9 1. E -|---|---|-3-|---|---|-- 5 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- 3rd fret G7/#9 : like F7/#9 but played at the 10th fret C7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^-- 8th fret These are the chords, you need for that blues. I want you to take a look at the chromatical down-movement in bar 7 and 8 (Bb7, A7, Ab7, G7). The fingering pattern is the same for all that chords, but you just move it down one fret each time. This is why I think the chords I have posted are so comfortable. You do it with all of them, you just have to know, where to locate the root of the chord. Now some blues progressions extra (from simple to complicated - in F, because that's more common than Bb): #1: | F7 | F7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | C7 | C7 | F7 | F7 | #2: | F7 | F7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | C7 | Bb7 | F7 | C7 | #3: | F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | F7 | G7 | C7 | F7 | C7 | #4: | F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | D7 | G7 | C7 | F7 | C7 | #5: | F7 | Bb7 | F7 | F7 | Bb7 | Bb7 | F7 | D7 | G-7 | C7 | F7 | G-7 C7 | #6: | F7 | Bb7 | F7 | F7 | Bb7 | Eb7 | F7 | D7 | Db7 | C7 | F7 | Db7 C7 | #7: | F7 | Bb7 | F7 | C-7 F7 | Bb7 | Eb7 | F7 | A-7 D7 | G-7 | C7 | | A-7 D7 | G-7 C7 | #8: | F7 | Bb7 | F7 | C-7 F7 | Bb7 | Eb7 | A-7 | D7 | G-7 | C7 | | A-7 D7 | G-7 C7 | #9 | F7 | Bb7 | F7 | C-7 F7 | Bb7 | B-7 E7 | F7 E7 | Eb7 D7 | G-7 | C7 Bb7 | | A-7 D7 | G-7 C7 | #10: | Fmaj7 | E-7 A7 | D-7 G7 | C-7 F7 | Bb7 | Bo | A-7 D7 | Ab-7 Db7 | | G-7 C7 | Db-7 Gb7 | F7 D7 | G-7 C7| #11: | Fmaj7 | E-7 Eb-7 | D-7 Db-7 | C-7 B7 | Bbmaj7 | Bb-7 | A-7 | Ab-7 | | G-7 | C-7 | A-7 Ab-7 | G-7 Gb | #12: | Fmaj7 | Bbmaj7 | A-7 G-7 | Gb-7 B7 | Bbmaj7 | Bb-7 | A-7 | Ab-7 | | G-7 | Gb7 | Fmaj7 Ab-7 | G-7 Gb | #13: | Fmaj7 | Bbmaj7 | A-7 G-7 | Gb-7 B7 | Bbmaj7 | Bb-7 Eb7 | Abmaj7 | | Ab-7 Db7 | Gbmaj7 | G-7 C7 | A-7 D7 | Db-7 Gb | #14: | Fmaj7 | E-7 A7 | D-7 G7 | C-7 F7 | Bbmaj7 | Bb-7 Eb7 | Abmaj7 | | Ab-7 Db7 | G-7 | C7 | A-7 D7 | G-7 C7 | Some of those progressions even just don't remind to a blues, but they are! You'll notice that when you listen to them. Do you see all those II-7/V7 figures in them ? Hi! Blues Progressions (F Blues) ========================================= #15: | Fmaj7 | E-7 A7 | D-7 G7 | C-7 F7 | Bb- Bb-maj7 | Bb-7 Eb7 | Amaj7 | | Ab-7 Db7 | Gbmaj7 | G-7 C7 | A-7 D7 | G-7 C7 | #16: | Fmaj7 | E-7 A7 | D-7 G7 | Gb-7 B7 | Bbmaj7 | B-7 E7 | A-7 | | Ab-7 Db7 | G-7 | C7 Bb7 | A-7 D7 | G-7 C7 | #17: | F#-7 B7 | E-7 A7 | D-7 G7 | C-7 F7 | Bbmaj7 | Bb-7 Eb7 | Abmaj7 | | Ab-7 Db7 | Gbmaj7 | G-7 C7 | A-7 D7 | G-7 C7 | #18: | Fmaj7 | F#-7 B7 | Emaj7 Ebmaj7 | Dbmaj7 Bmaj7 | Bbmaj7 | B-7 E7 | Amaj7 | | A-7 D7 | Gmaj7 | Gbmaj7 | Fmaj7 Abmaj7 | Gmaj7 Gb | Of course you can transpose these progression to any other key you want. The above patterns are kinda simplified, you should also try out playing them with chords including options that are higher than a 7th. The Minor Blues =============== The Minor Blues is not as often played as the 'ordinary' Blues, but some jazz standards are in the form of a 12 bar minor blues, so I didn't want to leave it out here. . . . . . . . . . . . . . . . . |: F-7/9 | G-7/b5 C+7 | F-7/9 | F7/#9 | . . . . . . . . . . . . . . . . | Bb-7 | Bb-7 | F-7/9 | F-7/9 | . . . . . . . . . . . . . . . . | G-7/b5 | C+7 | F-7/9 | C7 C+7:| Chord chart: F-7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--- fret 8 G-7/b5 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-2-|---|---|-- 7 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-1-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 10 C+7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- +5 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^-- fret 8 F7/#9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- #9 3. G -|---|-3-|---|---|---|-- 7 4. D -|-2-|---|---|---|---|-- 3 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 8 Bb-7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root ^-- fret 6 C7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|---|-4-|-- 7 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^-- fret 8 Minor Blues Progressions ======================== #1: | F-7 | F-7 | F-7 | F7 | Bb-7 | Bb-7 | F-7 | F-7 | C7 | C7 | F-7 | C7 | #2: | F-6 | G-7/b5 C7 | F-7 | F7 | Bb-7 | Bb-7 | F-7 | F-7 | | G-7/b5 | C7 | F-7 | C7 | #3: | F-7 | F-7 | F-7 | F7 | Bb-7 | Eb7 | Abmaj7 | Dbmaj7 | | G-7/b5 | C7 | F-7 | C7 | Hi! Well, this time we should try to play a quite common jazz standard. Satin Doll (by Duke Ellington) ============================== |: D-7 G7/13 | D-7 G7/13 | E-7 A7/13 | E-7 A7/13 | \ > Part A1 | A-7 D7/9 | Ab-7 Db7/b9 | Cmaj7 | E-7/b5 A+7 | / | D-7 G7/13 | D-7 G7/13 | E-7 A7/13 | E-7 A7/13 | \ > Part A2 | A-7 D7/9 | Ab-7 Db7/b9 | Cmaj7 D-7 | D#o E-7 | / | G-7 C7/13 | G-7 C7/13 | Fmaj7 | G-7 C7/13 | \ > Part B | A-7 D7/13 | A-7 D7/13 | D-7 G7/b9 | E-7 G7/13 | / |: D-7 G7/13 | D-7 G7/13 | E-7 A7/13 | E-7 A7/13 | \ > Part A3 | A-7 D7/9 | Ab-7 Db7/b9 | Cmaj7 | Eb7/b5 A+7:| / That might look rather difficult to play, but when you take a look at the chord chart, you will see, that it is not, because there are many chords with the same fingering pattern at other locations. BTW: This is a typical 32 bar jazz tune. It has the AABA form, that means Part A1, A2 and A3 are nearly the same. Chord chart: D-7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-3-|---|---|-- 7 4. D -|-1-|---|---|---|---|-- -3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 5 G7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^-- fret 3 E-7 : like D-7, played at fret 7 A7/13 : like G7/13, played at fret 5 A-7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root ^-- fret 5 D7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 5 Ab-7 : like A-7, played at fret 4 Db7/b9 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b9 3. G -|---|-1-|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|-1-|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 4 Cmaj7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 3 3. G -|---|---|-2-|---|---|-- maj7 4. D -|---|---|---|-3-|---|-- 5 5. A -|---|-1-|---|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 3 E-7/b5 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|---|-2-|---|---|-- 7 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-1-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 7 A+7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- 5+ 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^-- fret 5 D#o 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- -3 3. G -|---|-1-|---|---|---|-- 6 4. D -|---|---|---|-3-|---|-- b5 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^-- fret 6 G-7 : like D-7 played at fret 10 C7/13 : like G7/13 played at fret 8 Fmaj7 : like Cmaj7 played at fret 8 A-7 : like D-7 (Part A) played at fret 12 (!! not the same as A-7 in part A!!) D7/13 : like G7/13 played at fret 10 D-7 : like A-7 (Part A) played at fret 10 G7/b9 : like Db7/b9 played at fret 10 Another popular piece, I was asked to post the chords is The Girl from Ipanema (by A.C.Jobim) ===================================== (Bossa) | Fmaj7 | Fmaj7 | G7/13 | G+7 | \ > Part A1 | G-7 | Gb7 | Fmaj7 | Gb7/#11 | / | Fmaj7 | Fmaj7 | G7/13 | G+7 | \ > Part A2 | G-7 | Gb7 | Fmaj7 | Fmaj7 | / | Gbmaj7 | Gbmaj7 | B7/9 | B7/b9 | \ | | F#-7 | F#-7 | D7/9 | D7/b9 | | > Part B | G-7 | G-7 | Eb7/9 | Eb7/b9 | | | | A-7 | D7/b9 | G-7 | C7/b9 | / | Fmaj7 | Fmaj7 | G7/13 | G+7 | \ > Part A3 | G-7 | Gb7 | Fmaj7 | Gb7/#11 | / Chord Chart: ------------ Fmaj7 1. E X-|---|---|---|---|---|-- 2. B -|---|-2-|---|---|---|-- 5 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|---|-3-|---|---|-- maj7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--- 1st fret G7/13 1. E X-|---|---|---|---|---|-- 2. B -|---|---|---|-4-|---|-- 13 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--- 3rd fret G+7 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-4-|---|---|-- 5+ 3. G -|---|---|-3-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--- 3rd fret G-7 1. E X-|---|---|---|---|---|-- root 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|-3-|---|---|---|-- -3 4. D -|---|-3-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-2-|---|---|---|-- root Gb7 1. E X-|---|---|---|---|---|-- 2. B -|---|-3-|---|---|---|-- 5 3. G -|---|---|-4-|---|---|-- 3 4. D -|---|-2-|---|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|-1-|---|---|---|-- root ^--- 2nd fret Gb7/#11 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- #11 3. G -|---|---|---|-4-|---|-- 3 4. D -|---|---|-3-|---|---|-- 7 5. A X-|---|---|---|---|---|-- 6. E -|---|---|-2-|---|---|-- root ^--- 2nd fret Gbmaj7: same as Fmaj7 played at 2nd fret B7/9 1. E X-|---|---|---|---|---|-- 2. B -|---|---|-3-|---|---|-- 9 3. G -|---|---|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|---|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--- 2nd fret B7/b9 1. E X-|---|---|---|---|---|-- 2. B -|---|-1-|---|---|---|-- b9 3. G -|---|-1-|-3-|---|---|-- 7 4. D -|---|-1-|---|---|---|-- 3 5. A -|---|-1-|-2-|---|---|-- root 6. E X-|---|---|---|---|---|-- ^--- 2nd fret F#-7: same as G-7 played at the 2nd fret D7/9: same as B7/9 played at the 5th fret D7/b9: same as B7/b9 played at the 5th fret Eb7/9: same as B7/9 played at the 6th fret Eb7/b9: same as B7/b9 played at the 6th fret A-7: same as G-7 played at the 5th fret C7/b9: same as B7/b9 played at the 3rd fret Remark: You should notice that different chords have the same fingering patterns, although they have different roots (e.g. A-7 is the same pattern as G-7). They're kinda subtile bar chords - they don't use open strings (just muted 'X'), thus you can move them up and down the fretboard. They're really comfortable. In the original piece (in my real book) is nearly no chord option higher than the 7th or the maj7th. I have added the higher options (like the 9th, the b9th, the #11th or the 13th) to obtain a better voicing. Whatch the chord voicing, when you play the pieces, I have posted. Hi, this should be my last message in this series. I can't give you full advice how to play jazz guitar, there are other much more competent jazz musicians, who wrote books about it. What I wanted to do was to open your eyes for the variety of existing chords - especially those with higher options, to show you their beauty and a way how to play them. If you learn their fingering patterns, I would recommend you to learn the function of the finger positions also - I show them at the right side of the fingering pattern. If you know the 9th in a Y7/9 chord, it is rather easy to find the #9th or the b9th. If you are interested in further jazz pieces, I'd rather recommend you to buy "The Real Book". There are more than 500 jazz standards included and you won't hear many pieces on a jam session, that are not written down in it - The Real Book is a kinda bible for jazz musicians all over the world. When working out other pieces by yourself, you should always try to archive a good voicing and try different ways to play a chord sequence. This will diversify your comping. When the chords became familiar to you, you could try to play the melody of piece in the voicings of the chords, so you could try to replace a piano :)