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Chord Thesaurusfor Jazz Guitar
James E. Smith
4189 Sugar Leaf Dayton, Ohio 45440
©1991
Table of Contents
Page(s) Subject
i Foreward1. Basic Chord Forms2. II-V-I Progressions in Major4. II-V-I Progressions in Minor6. Altered Dominant Chords7. Tonic Chords in Major8. Tonic Chords in Minor9. Minor Cliches
Dominant 9 (#11) ChordsDiminished Seventh Chords
10. Chord Inversion Studies14. Blues with a Walking Bass Line16. Rhythm Changes with
Walking Bass Line18. Using Chords Built in Fourths19. Perfect Fourths in a Key
Planing 4ths through C Dorian20. II-V Cycles with Ascending and
Descending Soprano Line22. II-V’s with 3rds and 7ths in the Bass23. Triads/Bass Notes
D Major Triad Forms24. Close Position Chord Forms25. Blank Chord Charts (add new chords here.)
ForewordA thesaurus is a treasury of ideas about a specific subject. This text is a treasury of jazz
chords for the guitar. It is by no means an exhaustive or comprehensive study, but rather acollection of the some of the hippest chord forms for most harmonic situations. It is intendedfor the serious student of jazz guitar and is equivalent to freshman and sophomore collegeguitar study.
How To Use This BookAll progressions are shown in one key. It is left to the student to transpose into all keys.
In most cases the example is shown in the most popular key (e.g., Blues in F and RhythmChanges in Bb.) Most chords are shown in context with three or four other forms. This willdevelop a good sense of voice leading by developing a good ear for chord motion. No opennotes are used. If a note is not fretted, it should be nulled out by an adjacent finger.
To get the maximum benefit from these exercises ALL MATERIAL MUST BE MEMO-RIZED! This is not a book for sight reading, and reading these exercises without memorizingthem is contrary to the intent of the text. Go slowly . Learn a few new chord forms and inte-grate them into your day to day playing before moving to new studies.
I would advise a student not to study all of the exercises in order, but skip freely learningsome progressions from each section. It is better to learn a couple of chords for all harmonicsituations than know twenty ideas for one progression and no ideas for any others. Aftermastering the basic chord forms, go back and expand your vocabulary of chords concentratingfirst on the II-V’s in both major and minor. Next, I would concentrate on the altered dominantchords. From there proceed according to your own interests.
In conjunction with this book, I recommend working with jazz rhythm tracks, such asthose put out by Jamey Aebersold, by turning the piano channel off and practicing with the bassand drums, transcribing from recordings, and studying transcriptions of the jazz masters.
Some Notes on Correct Usage of Chord FormsThere are many voicings of each chord and knowing the proper time to use each voicing
is the mark of a mature player. Here are some suggestions to get you started. Experience willbe the best teacher.
1. When playing with a rhythm section you a part of a team. Keep your ears open to theother musicians and work together. Often working together means that each player mustrestrain himself to make the group swing harder. Don’t overplay! Keep in mind that eachplayer has a important function in the group. (I think of a jazz quartet as a four-lane highway.Each player has his own lane and venturing into another’s lane can be hazardous.)
2. Keep in the style of the tune and the style of the player you are accompanying in mind.Your comping for John Coltrane would be very different from the way you would back upJohnny Hodges.
3. Bebop tunes need a light, agile chord accompaniment. Use high (4321 string set) ormid range (5432, 5321, et al) chord voicings. Too much use of chords with a sixth string bass maybe a bit heavy for the bebop style. Rootless chord forms are often used in this idiom.
1.
4. Ballads need a full, resonant texture. Most chords in a ballad need the guitarist toemploy voicings with the bass on the fifth or sixth strings. Voicings on the first four strings highup on the neck may be too thin to support the lushness of a ballad.
5. Swing tunes can be played two ways; first, in a comping style with the same mid tohigh voicings you would use in a bebop style, or secondly, using forms on the bottom fourstrings (see Blues with a Walking Bass Line and Rhythm Changes with a Walking Bass Line.)When using these forms play four quarter notes to every bar and meld into the sound of thestring bass. (It is important to turn your amplifier down – if not off– to get a pure acoustic guitarsound. Any sense of amplified guitar will make the rhythm section muddy when playing fourto the bar.) Study the rhythm playing of Freddie Green in Count Basie’s band to understandthis style.
6. Latin music allows great flexibility in chord voicings and register. The voicing youuse will be determined primarily by what is going on in the rest of the group. In latin musicthe piano and guitar can often “comp” simultaneously without getting in each other’s way.Layers of contrasting rhythms are common in the percussion instruments and can work wellin the harmonic instruments as well.
7. When playing in a combo without piano (ie., guitar, bass, and drums) use voicingswhich are not too low in range. Often the chords with the roots on the sixth string are lowenough to clash with the bass player, especially when you are on the fifth fret and below. Thinkof the bass as an extension of your guitar and do not duplicate what he is doing. If your bassistlikes to play in the high part of his register, you should move up into a higher part of the guitar(or convince him to play in his mid and low range more often.)
8. When playing in a rhythm section with a pianist, the potential for getting into eachother’s way is great. If you are playing a swing tune, play four to the bar, turn down low, and“become part of the string bass.” In bop tunes and ballads, it is almost impossible to stay outthe pianist’s way (and vice versa!) Play the melody with the horns and relinquish your role asa chording player or trade off with the pianist. (You comp for the sax and the piano will compfor the trumpet.)
9. Listen! Don’t become so caught up with what your fingers are doing that you forgetto hear what you and your group are playing.
I hope this book will be a help in your development. Please write me with any questionsand comments. –JS.
2.
Basic Chord Forms (learn these first!)
III III
1 2 1 1 I I
1 3 4 2
2 3 4 1 4
1 2 3 1 1 1 1
4 2 2
3 4 3 4 3 4
Gm7 (b5) Bbm7 (b5) Fm7 (b5) Cm7 (b5)
3 3 3
F7 Bb7 Eb7 C7
I
I 1 2 1 2
3 2 2 1 II
4 3 3 1 3 4 2 3 3 3
G13 C13 G9 C9
G6 C6 C6 F6
1
1 2 3 1
2 3 4 2 1 1
4
3 4 3 4
I
Gm6 Cm6 Cm (maj7) Gm (maj7)
Gdim7 Cdim7 F aug F aug
4
1 1
2 3 4 2 3 1 1 2 3
4 2 3 4
1
1 1 1 1 1 2 3
2 3 2 2 4
3 4 3
I
I
1 2 1 1 1
3 4 2 2
3 4 3 3 3 3
4
2 3 3 3 1 1 1 1 1
2 2 2
3 3 3 4
I III II
Fma7 Bbma7 Fma7 Gma7
I
Fmi7 Bbmi7 Ebmi7 Cmi7
3.
III
& bb c ’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Eb912 3 4
5fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
& bb5 ’ ’ ’ ’
Eb912 3 4
5fr.
’ ’ ’ ’
Edim7
12 3 4
6fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
& bb9 ’ ’ ’ ’
Cmin7
2 3 3 3
8fr.
’ ’ ’ ’
F9
12 3 4
7fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
G7(#5)
1 32 4 ’ ’ ’ ’
Cmin7
2 3 3 3
8fr.
F9
12 3 4
7fr.
& bb13 ’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Eb912 3 4
5fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Fmin7
1 3 1 2
8fr.
Bb7(b9)
12 3 4
7fr.
& bb17 ’ ’ ’ ’
Eb912 3 43
5fr.
’ ’ ’ ’
Edim7
12 3 4
6fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Dmin7
1 3 1 2
5fr.
G7(b9)
12 3 4
4fr.
& bb21 ’ ’ ’ ’
Cmin7
2 3 3 3
8fr.
’ ’ ’ ’
F9
12 3 3
7fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
G7(b9)
12 3 4
4fr.
’ ’ ’ ’
Cmin711
1 3 1 2
3fr.
F7(b9)
12 3 4
2fr.
Bb Blues Progressions five choruses
4.
& bb25 ’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Eb912 3 4
5fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
’ ’ ’ ’
Fmin7
1 3 1 2
8fr.
Bb7(b9)
12 3 4
7fr.
& bb29 ’ ’ ’ ’
Eb912 3 4
5fr.
’ ’ ’ ’
Edim7
12 3 4
6fr.
’ ’ ’ ’
Bb13
1 2 3 4
6fr.
Cmin7
1 3 1 2
3fr.
’ ’ ’ ’
Dmin7
1 3 1 2
5fr.
G7(b9)
12 3 4
4fr.
& bb33 ’ ’ ’ ’
Cmin7
2 3 3 3
8fr.
’ ’ ’ ’
F9
12 3 4
7fr.
’ ’ ’ ’
Dmin7
1 3 1 2
5fr.
G7(b9)
12 3 4
4fr.
’ ’ ’ ’
Cmin7
2 3 3 3 2 1 3
8fr.
F7(b9)
1
2fr.
& bb37 ’ ’ ’ ’
Bb13
1 12 3
6fr.
’ ’ ’ ’
Eb13
1 2 2 4
5fr.
’ ’ ’ ’
Bb13
1 12 3
6fr.
’ ’ ’ ’
Fmin9
1 33 3
6fr.
Bb7(#5b9)1 2 2 4
6fr.
& bb41 ’ ’ ’ ’
Eb13
1 2 2 4
5fr.
’ ’ ’ ’
Edim7
1 12 4
5fr.
’ ’ ’ ’
Bb13
1 12 3
6fr.
A13
1 12 3
5fr.
’ ’ ’ ’
Ab13
1 12 3
4fr.
G7(#5)
1 23 4
& bb45 ’ ’ ’ ’
Cmi7
12 3 4
4fr. 8fr.
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Cmin9
1 1 1 3 1 2 4 4
F7(#5#9)
1 2 3 1 1 2 4 4
6fr. 9fr. 8fr.
G7(#5#9)
1 1 1 3
F7(#5#9)
1 2 4 4
7fr
& bb49 ’ ’ ’ ’
Bb91 23 4 4
5fr.
’ ’ ’ ’
Eb912 3 3
5fr.
Edim7
12 3 4
6fr.
’ ’ ’ ’
Bb91 23 4
5fr.
’ ’ ’ ’
Fmin9
12 3 4
6fr.
Bb7(b5#5)12 3 4
6fr.
& bb53 ’ ’ ’ ’
Eb912 3 3
5fr.
’ ’ ’ ’
Edim7
12 3 4
6fr.
’ ’ ’ ’
Bb91 23 4
5fr.
Cmin7sus
1 1 21 ’ ’ ’ ’
Dmin7sus
1 1 21
5fr.
G7(b9)
12 3 4
4fr.
& bb57 ’ ’ ’ ’
Cmin7sus
1 1 21 ’ ’ ’ ’
F13
2 3 4
6fr.
F13(b9)
1 2 2 2
6fr.
’ ’ ’ ’
Dmin7sus
1 1 21
5fr.
G7(b9)
12 3 4
4fr.
’ ’ ’ ’
Cmin7sus
1 13 4
3fr.
F7alt.
1 12 4
2fr.
’ ’ ’ ’
Bb91 23 4
5fr.
6.
& bbb c ’ ’ ’ ’
Cmi7
1 1 23
3fr.
’ ’ ’ ’
Dmi7(b5)
1 23 4
5fr.
G7(b9)
12 3 4
4fr.
’ ’ ’ ’
Cmi7
1 1 23
3fr.
’ ’ ’ ’
C7(#9)
12 3 4
2fr.
& bbb5 ’ ’ ’ ’
Fmi7
2 33 3 ’ ’ ’ ’ ’ ’ ’ ’
Cmi7
1 1 23
3fr.
’ ’ ’ ’
& bbb9 ’ ’ ’ ’
Ab13
1 2 3 4
4fr.
’ ’ ’ ’
G7(#5)
1 32 4 ’ ’ ’ ’
Cmi7
1 1 23
3fr.
’ ’ ’ ’
Dmi7(b5)
1 23 4
5fr.
G7(b9)
12 3 4
4fr.
& bbb13 ’ ’ ’ ’
Cmi7sus
1 1 1 2 ’ ’ ’ ’
Dmi7(b5)
1 12 4
5fr.
G7(#5#9)
1 2 2 4
3fr.
’ ’ ’ ’
Cmi69
1 2 3 4 ’ ’ ’ ’
C7(#5#9)
1 2 4 4
2fr.
& bbb17 ’ ’ ’ ’
Fmi6
1 1 23 ’ ’ ’ ’ ’ ’ ’ ’
Cmi7sus
1 1 1 2 ’ ’ ’ ’
& bbb21 ’ ’ ’ ’
Abma7 (#1 1 )12 3 4
3fr.
’ ’ ’ ’
G7(#5b9)
12 3 4 ’ ’ ’ ’
Cmi69
1 23 4 ’ ’ ’ ’
Dmi7(b5)
1 12 4
5fr.
G7(#5#9 ))
1 12 4
8fr.
C Minor Blues Progressions five choruses
7.
& bbb25 ’ ’ ’ ’
Cmi6
1 32 4
7fr.
’ ’ ’ ’
Dmi7(b5)
12 3 4
9fr.
G7(b9)
1 132
9fr.
’ ’ ’ ’
Cmi6
1 32 4
7fr.
’ ’ ’ ’
C7(#5b9)
12 3 4
8fr.
& bbb29 ’ ’ ’ ’
Fmi69
1 23 4
6fr.
’ ’ ’ ’ ’ ’ ’ ’
Cmi6
1 32 4
7fr.
’ ’ ’ ’
& bbb33 ’ ’ ’ ’
Abma7 (#1 1 )1 2 3 4
11fr.
’ ’ ’ ’
G7(#9)
12 3 4
9fr.
’ ’ ’ ’
Cmi6
1 32 4
7fr.
’ ’ ’ ’
Dmi7(b5)
12 3 4
9fr.
G7(b9)
1 132
9fr.
& bbb37 ’ ’ ’ ’
Cmi69
1 2 2 4
7fr.
’ ’ ’ ’
Dmi7(b5)
1 2 3 4
6fr.
G7(#5#9)
1 2 4 4
9fr.
’ ’ ’ ’
Cmi69
1 2 2 4
7fr.
’ ’ ’ ’
Gmi7(b5)
1 2 2 4
5fr.
C7(#5#9)
1 2 3 4
8fr.
& bbb41 ’ ’ ’ ’
Fmi69
1 2 3 4
6fr.
’ ’ ’ ’ ’ ’ ’ ’
Cmi69
1 2 2 4
7fr.
’ ’ ’ ’
& bbb45 ’ ’ ’ ’
Ab13
1 2 2 4
10fr.
’ ’ ’ ’
G7(#5#9)
1 2 3 4
9fr.
’ ’ ’ ’
Cmi69
1 2 2 4
7fr.
’ ’ ’ ’
Dmi7(b5)
1 12 4
3fr.
G7(#9)
12 3 4
9fr.
8.
& bbb49 ’ ’ ’ ’
Cmi6
1 23 4
8fr.
’ ’ ’ ’
Fmi69
1 23 4
6fr.
G7(#5#9)
213 4
8fr.
’ ’ ’ ’
Cmi6
1 23 4
8fr.
’ ’ ’ ’
C7(b9)
1 23 4
9fr.
& bbb53 ’ ’ ’ ’
Fmi69
1 23 4
6fr.
’ ’ ’ ’ ’ ’ ’ ’
Cmi6
1 23 4
8fr.
’ ’ ’ ’
& bbb57 ’’’’
Ab13
1 2 3 4
4fr.
’ ’ ’ ’
G7(b9)
1 23 4
4fr.
G7(#5b9)
12 3 4
3fr.
’ ’ ’ ’
Cmi69
1 23 4
Ami7(b5)
12 3 4
4fr.
’ ’ ’ ’
Dmi7(b5)
1 12 4
3fr.
G7(#5)
1 32 4 ’ ’ ’ ’
Cmi69
1 23 4
9.
9fr.
II-V-I Progression in Major
XII
Dmi7 G7 (b9) Cma7 A7 (b9)
Dmi7 G7 (b9) Cma7 A7 (#9)
X
IX XI 1 1
1 1 2 3 2 3
2 4
2 3 3 4 4
4
2 2 3 4 3 4
3
1 X
1 1 2 3 3 3 1 2XIV
G7( ) Cma7Dmi7
Dmi9 G7 ( ) C 6/9
A7( )#5b9
#5b9
A7 ( )#5b9
#5b9
VIII
XI
III
II
V
2 3 3 3
1 2
3
4
X
1
2
3
4
1 2
3
4
1
2 3 4
1
2 3 4
1 1
2 3
1
2 3 4
#5b9
#5b9 Dmi9 G7 ( ) C 6/9 A7 ( )
Dmi9 G7 ( ) C 6/9 A7 ( )#5#9
#5#9
III V
II
X
IX
XI IX
1 1 3 3 1
1 1
3 3 3
2 2 2 2 2 2
1 1 1 2 3 3
1 3 3 2
3 3
1 1 1
3
1 1 1 1 1 1 1 1
2 2
3 2 3 4
4
4
Dmi7sus G13 C 6/9 A7( )b5#5
V VIII VII V 1 1 1 1 1 1 1 1
2 2 3 2 2 3 4
4
V IV
Dmi7sus G7 alt C 6/9 A7 (b9)
VIVII
10.
II-V-I Progression in Major (continued)
IV III 1 1
1 1
2 2 3 2 3 2 3
3 4 4
4 4
III
IV VI
V
1 2
3
1 1 4 1 1
1 2 3 2 2
4 4 4
Dm7 G7 (b9) Cma7 A7 (b9)
Dm7 G7 alt. Cma7 A7 (b9)
V IV
1 1
1 2 2 2
3 3 1 2
3 4 3
4 4 4
IV III
V
IV
Am7 D7 alt. Gma7 E7 (b9)
III
V
1 1 1 2
2 3 3 4 1
2 3 4 4 2 3 4
Am7sus D7 (b5) Gma7 A7 ( )b9#5
also Eb9
also Ab9
X
Dmi7 G7 alt. Cma7 A7 alt.
Dmi9 G7 alt. C 6/9 A7 ( )#5b9
VIII 1
IX XI
II
III V
1 2 2 1 2
2 3 3 3 3 3 3 3
4 4 4 4
4 4
2 2
1 1 1 3 4 1 2
2 3 3 3 3 3 3
2 3 3 3
V
IV III II
IV
III I 1 1 1 1
1 1 2 3 3 3 3
2 3 3 4
4
Cm7 F7 (b9) Bbma7 Ebma7
Gm7 C7 alt. Fma7 (#11) Bbma7 (#11)
1 1 1
1 2 2 2
2 3 3 3
3 4
4 4
11.
II-V-I Progression in Minor
1 1 1
2 2 1 1
3 3 4 2 3 4 2
4
4
1 1
2 2
1 2 2 2 2 3
3 4 4
X VIII
XII
V
III 1 3 3
I II
Dmi7 (b5) G7 (b9) Cmi6 Cmi 6/9
Dmi7 (b5) G7 ( ) Cmi 6/9 Cmi 6/9#5b9
I
1 1
1 1 1 2
2 3 4 2 3 2 3 4 3 4
2 2
1 1 1 1 3 4 3
2 2 3 4
4
III
1 1III
XII
XIII
Dmi7 (b5) G7 (b9) Cmi 6/9 Cmi (ma7)
Dmi7 (b5) G7 (b9) Cmi9 Cmi 6/9
Dm7sus(b5) G7 ( ) Cm6/9 Cm(maj13)
1 1 1 1 1 2
2 2 2 2 2 3 4
4 4 4
V III VII VII
#5#9
1 1 1 1
2 2 2
2 3 4 3 4 3
4 3
4
I I III II
Dm7(b5) G7(b9) Cm(maj9) Cm 6/9
1 1
1 2
2 3 4 3
1 1 1
2 3 4 2 3
VIII
IX
X
1 2 1 2
1
1 3 2 3 3 4
2 3
4 4 4
b5b9 Dm7 (b5) G7 ( ) Cm (maj7) Cm6
IX
VI
Dm7 (b5) G7 (b9) Cm6 Fm6
VII
12.
Bm7 (b5) E7 (b9) Am6 Dm 6/9
III IV
III
III
IV
III
Bm7 (b5) E7 (b9) Am6 Dm 6/9
1
1 1 1 1 1 2
2 2 3 2 3 4 3 4
3
1
1 2
1 1 1 1 3 3 3 4 4
2 2 3
4
II-V-I Progression in Minor (continued)
I
1 1 1 1
2 3 2 2 3 2 3 4
X
1 1
1
2 3 3 2 3 2 1
4 4 2
4 3 4
IX
VIII
X
Dm7(#5) G7(#9) Cm(maj7) Ebmaj7(#11)
also Cm 6/9
1
4 4 4
IV II
Dm7(b5) G7 (b9) Cm6 Cm 6/9
1 1
2 3 4 1 2 3 4
2
1 3 4
2 3 4
III III
VI
IV
Bm7 (b5) E7 ( ) Am 6/9 Dm6
1 1 1 1
2 1 2
4 1 1 2 2 4
2
4 4
II II
V
III
#5b9
Em7 (b5) A7 ( ) Dm 6/9 Gm6
b9#5
V III
II
VII
V
III II
Em9 (b5) A7 (#5) Dm 6/9 Gm 6/9
1 1
1 2 2 2 2
3 4 4 4
1 1 1 4
2
1 2
1 1 1 1 1 3 4
2 2
2 3 4
4 4
Em9 (b5) A7 (b9) Dm6 Gm (maj13)
Nota Bene: m9(b5) chords usually resolve to major tonics becausethe ninth of the m9(b5) is the major third of the key.
13.
b9b5
1 1 1 1 1 1 II
2 3 4 2 3 3 2 3
4
C7 ( ) C7 ( ) C7 ( )b9#5
#9b5
#9#5
1 1 1 1 1 II
2 3 2 3 2 3
4 4 4 4
C9 (b5) C9 (#5) C7 ( )
Through raising or lowering the 5th and 9th of the basic chord form, you can create the six new chords on the right.
9 5
9
9
9
9 9
5
9 9
55
13
13
13
13
C9 G9 G13 D13
II
C9 G9 C13 C13
II
III
V IX
95
9
13 13
13
13 9
13
9 9
55
II
III
F9 G13 D13 G13
Bb13 C13 F13 C9
I III
Alter the 5ths and 9ths in the following basic dominant chord forms.(Nota bene: The 13th can be seen as a double sharped 5th.)
Altered Dominant Chords
14.
r
3
597
1
2 3 1 1
4 2 1 2 3
2 4
3 4 3 4 4
2 2 2 2 1 1 1
1 1 3 1 3 4 3
2
3 4
II
III
I
Cma7 C 6/9 C 6/9 C 6/9 (ma7 )
C 6 C 6 Cma13 Cma9
1
2 1 1 1 1 1
3 3 4 2 2
4 3 3
4 4 4
1
1
T T 2 3 3 3 3 1 1 1 1 1 1 1
4
4 3
II
III
V
I
Cma7 C 6
Cma7 Cma13 Cma7 Cma13
1 1
1 1
2 3 2 2 3 2 3
3 4 4
4 4
1 1 1 1 1 1 1 1 1 1 1
2 3 3 3 4 2 3
III V
VII
VII
Cadd9 Cma7 C6 Cma9
Cma9 C 6/9 C 6/9 C 6/9
1 1 1 1 1 1
2 3 2 2 1
3 3 2 3
4 4 4 4
1 1
2 2
1 3 3
2 3 IX 1 1
4 4 3 4 4 4 4
VII
VIII
VIII
C 6/9 (ma7) C 6 C 6/9 Cma13
Cma9 Cma9 Cma7 Cma7
Tonic Chords (Use as I or IV in major keys. Also vi in minor.)
15.
Tonic Chords Continued.
VIII X X
XII
1 1 1 1
2 1 1
2 3 4 3 4 3 2
4
4
VII VIII 1 2 1 1 1 2
3 4 2 3 4 2 3
3 4
4
Cm(ma13) Cm6 Cm 6/9 Cm 6
Cm 6/9 Cm (ma7) Cm 6/9 Cm (ma7)
I
II
III
II
III
IV VI
1 1
2 2 1
3 4 4 4 2 1
3 2 3
4 4
1
2 1
2 1 1
3 3 2 3 4 2 3
4 4 4
Cm 6/9 Cm 6/9 Cm6 Cm(ma7)
Cm 6/9 Cm (ma9) Cm 6 Cm 6/9
Tonic Minors (Use as i in a minor key.)
XII X
XII 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2
3
4 4
Cma7 Cma9 C 6/9 C 6/9
C add 9 C 6/9 C 6 C 6/9
1 1 1
1 1 1 1
2 3 2 3 4 2 3 4 4
3 3 3
4
1 1 1 1 1
3 4 2 3 4 3
3
4
X IX
X
XII
Cma7 Cma7 C 6/9 Cma7
Cma7 Cma7 C 6 C 6/9
16.
1 1 1 2
2 3 1 3 4
2 1
3 4 2 3
4
1 1 1 1
1 2 2 3 2 2
3 4 3
4 4
4
Cdim(maj7) Cdim(maj7)
I I
II
III
II
II VIII XII
1
1 1 1 2 2
2 2 3 3 3
3 4 4 4 4
II
III
1 1 1 1 1
2 2 2 3 2
3
3 4 4 4 4
V
Cm Cmi (maj7) Cmi7 Cmi6
Fmi (add 9) Fmi (maj9) Fmi9 Fmi 6/9
often labeled as: 1. Cm /B Cm/Bb Cm/Aor 2. G+ Cm7 F9
1
1
2 2 1 1
3 4 3 4 2 3 2 3 4
4
II
III
IV
1 1 1 1 1 1 1 2 2
2
3 4 4 4 4
1
III
II
Cmi Cmi (maj7) Cmi7 Cmi6
Gmi Gmi (maj7) Gmi7 Gmi6
Minor Cliches (used on vi in major keys and tonic minor)
1 1 1 2 1 2
2 3 4 3 4 3 4 1
2 3 4
1
2 2 2 2 1 1 1 1 1
3 1 3 2 2 3
4 4 4
II
VIIVII VIII
VI
Diminished 7th Chords
(usually found as V/V)
9 (#11) Chords
All Forms are C9(#11).All forms are Cdim7, Ebdim7, Bdim7, and Adim7.
(abbreviated as dim7 and o7)
17.
Chord Inversion Studies
(4321 string set)
(5432 string set)
Chord Inversion Studies
(5321 string set)
(6432 string set)
1 2 1
3 4 2
1 3 1 1 1
4
2 3 4 3
2 3 3 3 1 1
1 3 4 1
2 3 2 3
4 4
Fma7
Fmi7
I VI
III X
I VI
IV IX
1 1 1
2 3 4 2
1 4 1 1
2 3 4 2
3
1 2 3 1
4 2
1 3 4
3 4 2
Fmi7 (b5)
F7
X I I
III IX
VI
I VI
X
III
2 1 1 1
1
2 3 1 1
4 1 2 1 1
2 3 2
4 4 4
1 2 3
1 1
4 2 2
3 3 1 1
4 4 2 3
Bbmi7 (b5)
Bb7
XII
VI
III IX
I
III VI
X
1 2 1
3 1 2
4 3 1 1
2 3 2
4 4 3
1 2 3
4 1 1 1
2 3 1
3 2
4 4 3 4
Bbmi7
Bbma7
I V
III
X
I
III VI
18.
VI
IX
3
1 2
3 4 1 1
2
3 2 3 4 1
4 2 3 4
1 1
1
3 1 1
2 2 3 2 3
3 4 4 4
I
III VI
XI
Bbmi7(b5)
Bb7
I
19.
1 1
2 1
3 4 2 2 3 X 1
3 2
4 4 3 4
1 1
3 2
3 4 4 2 3 4
Bbma7
I III
VII
I
2 III 1 1VI III
2 3 1XI
Bbmi7
1
2 3 4
1 1 1 1 1
2 2 2 2 2
3 4
1 1 1
2 1
1 2
2 3 4 1 1 1
3 4 3
XII
III VI IX
I
VI
III
X
F7
Fmi7 (b5)
1 1 1 1
2 3 2
3 3 3 3 1 1 1
4
3
1 1 1 1 1 1
1 3 4 1
2 2 2 3
3 4
III VII
X
I VI
III IX
Fma7
Fmi7
(5432 string set)
(4321 string set)
Chord Inversion Studies
1IX
2
4
1 1
2 3
2 3 4 1 1 1
2 3
4 3 4 4
I V
VIII XI
1I
2
3 1 1 2 3
4 1 2
2 3 4 3 4 4
IV XI
VIII
Bbmi7
Bbma7
Chord Inversion Studies
(5421 string set)
VIII
1
1 2
2 3 1 3 1 2
4
4 2 3 4 4 3
1
2 3 1
2 1
4 3 4 2 1 2 3
4 4 4
I
III
VII
XI
I
Bbmi7 (b5)
Bb7
Gmi7 (b5)
I III VI IX
I III VII X
G 7
1 1 1 1
2
3 4 2 2
2 3 4 3 3
4 4
1 1 1 1
2
2 3 2 3
4 2 3 4 4
3 4
6th employed due toextreme stretch.
I III VI X
III VII X
II
1 1 1
1 2
2 3 2 2 3
4 3
3 4 4 4
Gma7
Gmi7
1 1 1 1
2
2 3 4 2 3
2 3 4
4 3 4
(6321 string set)
Chord Inversion Studies
20.
I III
VII
X
I
1 1
2 3 1
4 2 3 2 3 1 1
4
4 3 4
1 1 1
III VI 1 1
3 2
X 3 2 3 4 1 1
4 2 3
Fma7
Fmi7
1 1
2
1 2 1 1
4 2 3 2 3
3 4 4 4
1
2 1
3 1 2 3 2
4 1 2 3
3 4 4 4
I
IV VII X
I
IV
VIII
X
Fmi7 (b5)
F7
Fma7
1 1
3 3 4
4 4 4
1 2
3 1 1 2 3 1
4 2 4 2 3
3 4 4
3 1 2 1 2 2 3
I
V VIII
X
I
IV VIII X
Fmi7
(6543 string set)
(6532 string set)
Chord Inversion Studies
I III
I
III
VI IX
X
VII
1 1 1
2 1
2 3 1 1
2 2
4 3 4 3 4
1 1 1
2
3 2 3 1 1
4 1 2
2 3 4 3
Fmi7 (b5)
F7
21.
& b cF7
œœœbEb/Gœœœ
E/G#œœœn#n
F/A
œœœBb7œœœb œœœ
BL7œœœn œœœ
& bF7/C
œœœbF9/Ebœœœb
Dmi 7
œœœDbmi 7œœœbbb
Cmi 7
œœœbGb7œœœbb
F7œœœB7
œœœ#n
& bBb7œœœb
Ab/Cœœœb
A/C#œœœn#n
Bb7/Dœœœ
Bb7œœœb
Bb7/Dœœœ
A/C#œœœn#
E7/B
œœœ#n
& bF7/C
œœœbF7
œœœbGmi 7
œœœG#mi 7œœœn##
Ami 7
œœœEb7œœœbb
D7
œœœ#Abmi 7œœœbbb
& bGmi 7
œœœAmi 7
œœœBbma6œœœ
BL7œœœbn
C7
œœœBb/Dœœœ
B/D#œœœ##n
C/Eœœœ
& bF7œœœb
Eb7œœœbbD7
œœœ#Abmi 7œœœbbb
Gmi 7/D
œœœDb7œœœbb
C7
œœœGb7œœœbb
F7wwwb
Blues with a Walking Bass Line
22..
Eb7 Gmi7 Bb 6
F 7 Ab/C Bb7/D E 7/B
VI 1
1 VIII 1 VI 1
2 3 2 3 2 3
2 3
V
V 1
1 III 2 3 3 2
2 3 3
1 1
2 3 2 VIII 1
3 2 3 3 2 3
I I
VI
F7/C F9/Eb Dmi7 Gb9
F 7 Eb/G Bb7 B °7 1 2 1
3
2 3
1 1 VI 1
2 2 3
Blues with a Walking Bass Line
23.
Rhythm Changes with Walking Bass Line
24.
& bb c œœœ œœœ œœœbn œœœ
Bb612 3
5fr.Bdim7
12 3
6fr.
œœœ œœœ œœœn# œœœ
Cmi7
2 3 3
8fr.C#dim7
12 3
8fr.
œœœ œœœ œœœbbb œœœDmi7
2 3 3
10fr.Dbmi7
2 3 3
9fr.
œœœ œœœ œœœ œœœCmi7
2 3 3
8fr.F7
12 3
7fr.
& bb5 œœœb œœœ œœœ œœœ
Fmi7/C
12 3
6fr.Bb7
1 2 3
6fr.
œœœ œœœ œœœbb œœœ
Ebma7/Bb12 3
6fr.Ab7
1 2 3
4fr.
œœœ œœœœœœn œœœ
Bb612 3
5fr.G7/D
1 32
9fr.
œœœ œœœ œœœb œœœ
C7
1 2 3
8fr.F7/C
1 32
7fr.
& bb9 œœœœœœb œœœn œœœbb
Bb612 3
5fr.Ab7/Eb
1 32
10fr.G7/D
1 32
9fr.Db71 2 3
9fr.
œœœnœœœbb œœœb œœœn#n
C7
1 2 3
8fr.Gb7/Db
1 32
8fr.F7/C
1 32
7fr.C#mi7
2 3 3
9fr.
œœœœœœbb œœœn œœœbb
Dmi7
2 3 3
10fr.Ab7
12 3
10fr.G7
12 3
9fr.Db7
1 2 3
9fr.
& bb12 œœœœœœbb œœœb œœœbb
C7
1 2 3
8fr.Gb7
12 3
8fr.F7
12 3
7fr.Gbmi7/Db
12 3
7fr.
œœœb œœœ#nn œœœnbb œœœ#n
Fmi7/C
12 3
6fr.B7
1 2 3
7fr.Bb7
1 2 3
6fr.E7/B
1 32
6fr.
œœœ œœœ# œœœnbb œœœn
Bb612 3
5fr.A7
1 2 3
5fr.Ab7
1 2 3
4fr.Adim7
12 3
4fr.
& bb15 œœœ œœœbb œœœnœœœ##
Bb612 3
5fr.Ab7
1 2 3
4fr.G7
1 2 3
3fr.C#71 2 3
9fr.
œœœn œœœb œœœ œœœ
C7
1 2 3
8fr.F7/C
1 32
7fr.Bb6
12 3
5fr.
& bb17 œœœ# œœœœœœn œœœ
D7
1 2 3
10fr.C7/E
12 3
10fr.
œœœ### œœœœœœ# œœœ
C#7/F12 3
11fr.D7/F#
12 3
12fr.
œœœn œœœœœœ œœœ
G7
1 2 3
3fr.F7/A
12 3
3fr.
œœœ### œœœœœœn œœœ
F#7/Bb12 3
4fr.G7/B
12 3
5fr.
Rhythm Changes with Walking Bass Line
25.
& bb21 œœœn œœœœœœ œœœ
C7
1 2 3
8fr.Bb7/D
12 3
8fr.
œœœ##n œœœœœœ œœœ
B7/Eb12 3
9fr.C7/E
12 3
10fr.
œœœ œœœœœœ œœœ
F7
1 2 3
Eb7/G12 3
œœœn#n œœœœœœ œœœ
E7/G#12 3
2fr.F7/A
12 3
3fr.
& bb25 œœœœœœb œœœn œœœbb
Bb612 3
5fr.Ab7/Eb
1 32
10fr.G7/D
1 32
9fr.Db71 2 3
9fr.
œœœnœœœbb œœœb œœœn#n
C7
1 2 3
8fr.Gb7/Db
1 32
8fr.F7/C
1 32
7fr.C#mi7
2 3 3
9fr.
œœœœœœbb œœœn œœœbb
Dmi7
2 3 3
10fr.Ab7
12 3
10fr.G7
12 3
9fr.Db71 2 3
9fr.
& bb28 œœœœœœbb œœœ œœœb
C7
1 2 3
8fr.Gb7
12 3
8fr.F7
12 3
7fr.Gbmi7/Db
12 3
7fr.
œœœb œœœ#nn œœœnbb œœœ#n
Fmi7/C
12 3
6fr.B7
1 2 3
7fr.Bb7
1 2 3
6fr.E7/B
1 32
6fr.
œœœ œœœ# œœœnbb œœœn
Bb612 3
5fr.A7
1 2 3
5fr.Ab7
1 2 3
4fr.Adim7
12 3
4fr.
& bb31 œœœ œœœbb œœœnœœœ##
Bb612 3
5fr.Ab7
1 2 3
4fr.G7
1 2 3
3fr.C#71 2 3
9fr.
œœœn œœœb œœœ œœœ
C7
1 2 3
8fr.F7/C
1 32
7fr.Bb6
12 3
5fr.
1 1 1 1
2 1 2
2 3 4 3
4
V V
VI
Fm7sus Bb7 ( ) Ebma7b9#5
!Here the chordbuilt in perfectfourths is used asa Fm7 (ii) in thekey of Eb.
Gm7sus C9 Fma7
V 1 1 1 1 1 1
2
2 3
3 4 4
!Here the chord builtin perfect fourths isused as a Gm7 (ii) inthe key of F.
1 1
2 3 4 2
1 1 1 3 4
2
VI
V V
II II
V
Dm7 G7 sus C6
!
!
1 1 1 1 1
1 2 3 2
2 3
4
Here the chordbuilt in perfectfourths is usedas an Abma7 (I)in the key of Ab.
Here the chordbuilt in perfectfourths is usedas a G7 (V7) inthe key of C.
Using Chords Built in Fourths
VI
V V
V
Fm7 Bb9 (#11) Ebma13
IV
also E aug
Cm7sus F13(b9) Bb 6/9
III 1 1
3 1 1 1
4 1 2
2 2 2
1
2 1 1 1 1 1
3 2 2
3
4
!
Here the chord builtin perfect fourths isused as a Ebmaj7 (I)in the key of Eb.
Here the chord built inperfect fourths is usedas a Bb6/9 (I) in thekey of Bb.
1 1 1 1 2 3
2 2 3
VII
Dm7sus G13 Cma13
1 1 1
Here the chord builtin perfect fourths isused as a Dm7 (ii) inthe key of C.
Chords built in fourths have been used extensively in jazzsince the 1960's and are associated with the styles of pianistsMcCoy Tyner and Herbie Hancock. Because the guitar is tunedin fourths, it is a perfect instrument for widespread use of thesechords. The chord which is constructed of all perfect fourths isthe most commonly used fourth structure. It can be used incommon chord progressions, and seen as a complex tertianchord ( a chord built by stacking thirds), or by "planing"(pronounced plane-ing) the fourth structures through a key ormode. This planing approach is often employed when usingthe dorian mode.
This first group of fourth exercises demonstrate the use offourths in common chord progressions and with tertian chords.
V VIII
26.
Perfect Fourths in a Key
1 1 1
2 1 1
3 3 3 2 2
4 3 3
4
V
VII
Key of C
V 1 1 1 1
1 1 1 VII
3 3 3 3 2
3 3 3
4
Key of G
1 1 1 1 1 1 1 1 1 1
2 2 2 3
4 4
1 1 1 1 1 1 1
2 2 2 3
4 1 1 1
2
III V VI VIII
X XII XIII
XV
Voicing Chor ds in Fourths(C dorian or Bb major)
Cmi7sus Dmi7sus Ebma7 ( #11) F1 1
Gmi7sus Ami7sus Bbma7 ( #11) Cmi7sus
1
2
4 4 1 1 1 1
2 3 3 1 1
4 3 3
1 1
4 4 1 1 1 1 1
3 3 3 3 2
4 4
III V
I
VII
X XII XIII
VIII
Planing 4ths through C dorian (Bb major.)
1 1 1 1 1
2 2 2
3 3 3 3 3
4 4
V
V 1 1 1 1
1 1 1
3 3 3 3 2
3 3 3
4
V
Key of F
Key of C
27.
II-V Cycleswith an Ascending & Descending Soprano Line .
#5b9
III III
II
V
III III III
V
1 1 1 2 1
3 4 2 1
3 4 3 4 2 3 4
Dmi7 G7 (#5) Cma7 A7 alt.
also Eb9
Dmi7sus G7 alt. Cma13 A7 ( )
X X
XI
XIV
1 1 1 1
1
3 2 3 3 3
4 1 1
4 3 4
V
VIII
IX X
1
2 1
3 1 1 3 3 1 2
4 2 3 4 4 4 3 4 4
Dmi7sus G9 (#11) Cma13 A7 alt.
also Eb9
Dmi9 G7 (b5) Cma7 (#11) A7 (b9)
XV
XVI
XVII
XX
1
1
3 3 3 2 1 1 1
4 4 1 2
3 3 4
1 1 1 1 1 1 1XVII XVII XVII
XVIII
Dm9 G7 (#9) Cma7 A7 (b9)
Dmi7sus G7 alt. C 6 A7 (#5)
XV
X X
VIII V
X VII
Dmi7sus G7 (b5) C 6 A7 alt.
also Eb13
Dmi7 G7 (b5) Cma13 A7 ( )#5b9
1 1 1 1
1 2
1 1 2 2 3 4 3
4
3 4
1 1
2 3 3 3 3
1 1 1 1 4 1 1
2 2
28.
II
IV
V
V
II
III III
V
Dmi7 G13 (b9) Cma9 A7 alt.
also Eb9
Dmi9 G7 alt. C 6/9 A7 (b5)
1
1 2 2
2 3 3 1
1 2 3 4 2 3 4
4
1 1
1 1 2 3
2 3 4 1 2
2 3 4 3 4
III III
II
Dmi7 G7 alt. C 6
also Db9
1 2
1 1 3 4
2 3 4
2 3 4
II-V Cycles continued
29.
Gmi7 C 7 Fma7 Bbma7
Gmi7 C 7 Fma7 Bbma7
V V
III III
VII
V
III
1 1 1 1
1 1 1 1 2 3 4 3
2 3 2
4
1
1 1
2 2
1 2 3 4 3
2 3 4 3 4 4
Cmi7 F 7 Bbma7 Ebma7
Dmi7 G 7 Cma7 Fma7
VII
VI
III
I
III
1
2
1 1 1 3
2 2 3 4
1 1 1 1 3 4
1 1 2
2 2 3
1 1 1 1 1 3
2 4
II-V's with 3rds & 7ths in the Bass
V
VII VI
VIII
1
1 1 2 3
1 2 3 2 3 4 2 3 4
4
4
Cmi7 F 7 Bbma7 Ebma7
Gmi7 C 7 Fma7 Bbma7
1 IV
1 2 3 V
1 1 2 2 3 4
3 4
2 3 4 4
VI
1
1 1 1 1 1 2 3 4
2 3 2
4 3 4 3
1 1
1 1 2 2
2 2 3 3 3 4
4 4
3 4
Dmi7 G 7 Cma7 Fma7
Dmi7 G 7 Cma7 Fma7
V
VII
III
VI V
30.
D
C
B
C#
Bb
Ab
A
G
II
II
1 1 1 1 1 1 1 2 3
2 2 2 3 4
3
4
1
2 3 1 1 1 1 1 1
4 2 2 2 3
4
4
D D/C# D/C D/B
D/Bb D/A D/Ab D/G
inversion of Dma7 inversion of D7 also Bm7
also Bbma7(#5) 2nd inversion
Eb
E
F
F#
1 1
1 2 3 2 3 1 1 1 2 3
4 4 2 4
D/F# D/F D/E D/Eb
II
1st inversion also F13(b9)
II V X
II
VII X
D TriadsD Major Triads
Apply the triad/bassnote principles shownabove to these triad in-versions.
Triads/Bass Notes
31.
V
VI
1 1 1
1 2
2 3
3 3 4
4
4
1 1 1
2
2 2
3 3
3 4
4 4
V IV
Dmi7 G7 ( ) Cma7b5b9
also Db7
Gmi7 C 7 ( ) Fma7b5b9
also F#7
1 1 1 1
1 1 2
2 2
3 3
4 3
4 4
1 1
1 1 1 2
2 2
3 4
4 4
V
III
Gmi9 C13 (b9) F 6/9
In each of these chords the root is omitted.
V III
VI
Gmi7 C13 ( ) F 6/9#11b9
Fma7 Fmi7 F 7 Fmi7 (b5)
IX VIII 1 1 1 1
2 2
2 2
3 3 3
4 3
4 4 4
Close Position Chord VoicingsCma7 Cmi7 C 7 Cm7 (b5)
VI
VII
IV
V
Fma7 Fmi7 F 7 Fmi7 (b5)
1 1 1
1 2
2 2 3 2 3
3 3
4 4 4 4
1 1 1 1
1 1 2 2
3 2
3 3
4 4 4 4
32.
