Satin Doll (by Duke Ellington)
The Girl from Ipanema (by A.C.Jobim)
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-|---|---|---|---|---|--
Ymaj
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) <continued>
=========================================
#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 :)
Top