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5/19/2018 A Chordal Concept for jazz guitar.pdf
1/133
er 0tllara
itOI
)tJ
FOR
JATZ
GUITAR
5/19/2018 A Chordal Concept for jazz guitar.pdf
2/133
,t-
O 1996 byADVANCEMUSIC
No
parts
of this
publication
ay
be
reproduced,
tored n a
re: '
system,
or t ransmitted, n
any
orm
or by any means, electronic,
-e
cal,
photocopying,
ecording,
r otherwise,without
prior
written
per^-
of AdvanceMusic.
International opyright
ecured.
Music
typesetting
nd
|ayout:
ans-JrgRudiger
CoverArt
by
10e9,
Oberhausen
Printed
by TC Druck,Tubingen
Order No. tOOt2
5/19/2018 A Chordal Concept for jazz guitar.pdf
3/133
ln t roduct ion . . . .7
Chopter I - Triods
Ma jo rT r i ad s . . . ; . .
. . . . . . . . 1 0
M inorTr iads
. . . L2
MajorAugmentedTriads
. . . .L4
Ma jo r 1 1T r i ad s . . . . : . . . . . . 1 5
D im in i s hedT r i ad s . . . . . .
. . . . 1 6
TriadsWithAddedNinth . . . .t7
M i no r ST r i a ds . . . . . 2 o
A C 'EOROIA
. . . . . . . 2 I
STATRV . . . . . . . 2 2
Chopter
2
-
Seventh Chords
25
Major
7tnVoicing
xercises . . .26
Major7 11Shapes&nvers ions . . . .27
Major7 5Shapes&nversions
' ' , '28
MajorTthConversion
xercises
..
-..29
D im in i s hedT t t ' Cho rd s . . . . . . . 3 0
Dom inan tT t t ' Shapes&
nve r s i ons . . . . . . . . 3 1
M inor7 t t ' Shapes&nvers ions
. . . . . . 32
M inorTt t ' b5Shapes& lnve rs ions . . . . 33
M ino rMa jT thShapes& lnve r s i ons . . . . . . . . 3 4
Major7 5 Shapes . . .35
RootPos i t ionxerc ises . . . . .36
f f -V- foic ingExerc ises . . . . .37
Drop
ThreeVoicings . . .38
Reduced
7tnChordForms . . .4O
Th reeNo teComp ingUs i ng "S tab l e "No te s
. . . . . . . . . 4 2
Chopter 5
-
Extended
7n Chords 45
fixiil.Ylih,il::: : :: .......::
xtended
Diminished tnChords
. . . .63
D imin ishedTtt ' -DominantTtnSubst i tut ionRule . . . . . .66
^l BoDY
soUL , . . .67
INYOUROWNSWEETVAY . . . . . . . 68
Chopter
4
-
Extending
7n Chords Using
Ascendlng Retotive
Thirds 9
OtherSubstitute ossibilities or 7tnChords . . .7O
Practical
pplications:l-V-l
ombinations . .
.72
fl6v- l rogressions(Minor) ... .73
Exotic Examples
Extended
hapes For
-7b5)
. .
.75
UpperStructure thChordSubstitutes No3d) . . . . . .76
Some ExamplesOverStandard
hord
Progressions . . . . . . . . .77
- J a z zB l ue s
. - . . . . . . 7 7
- S tanda rd
. . . . . . . . 7 8
-Rhy thmChanges
. . . . 79
5/19/2018 A Chordal Concept for jazz guitar.pdf
4/133
Chopter
5
-
4thChords
(Quortot
Hormong)
8t
Examples
f
ModalUsageOf 4tnChords
Comping MinorBluesUsing tnChords
"Miles"
4tnChords
Chopter
-
Ctusters
85
Major,Minor
&
Dominant luster ounds
Comping
StandardUsing
ThreeNote
Clusters
THE GIFT . .
^' ALLBLUES
Chopter
7
-
Intervotistic
Comping 95
StandardChordProgression
Other ossibilities orChordConstruction
"Scale
Skipping"
Altered
Scale Voicings .
.
.
,
STELLA BY STARLIGHT
.
. .
t
,:
t
a
t
t
A
SECRETLOVE
.
' VERY EARLY
.
Chopter 8
-
Stosh Chords 109
MajorTriadsAs
"Upper
Structure" lash Chords
MajorAugmented riadsAs
"Upper
Structure" lash Chords
MinorTriads s "Upper tructure" lashChords
Diminished riads s
"Upper
tructure" lashChords
Combination
xercises
StandardChordProgre..'"" . : : : : . : : : . : : .
A cosTADsoL
A
LAK
A
OMA}IA ELEBRATION . . .
Appendlx
150
^,
EXPRESSIONS
A THRE
T
.J
- t
In
Closing
-*
About he
Author
-r
5/19/2018 A Chordal Concept for jazz guitar.pdf
5/133
NTRODUCTION
The deabehind
his book
s to
provide
he
progressive
uitarist
witha com-
prehensive
verview f chordal tructures n he
guitar
ingerboard.tarting
with
riads,
hen
workinghrough th nd 9th hordsand urther xtensions,
chord ubstitutionelationships nd
practical
xamples ver
tandard
hord
progressions,'ve ried o presenthere a chordal onceptbased on logic
rather
han
ust
memorized
hapes.
This book s not or beginners
However, fter many
years
of
performing
nd
teaching
az
guitar,
've
come o someconclusions
bout
earning
hordsand hope hat his book
will make t
easier
or
oday's
uitarist
o understandhe complex hordal
structures sed
n
contemporary
au,.
Peter O'Mara
5/19/2018 A Chordal Concept for jazz guitar.pdf
6/133
Chapter
1
TRIADS
Goingback to
our
irst
days
of
playing uitar,
we learneda few basic chords
to be
able
to
play
hose songs
we were
hearing n the
radio.Those
chords
often used open strings,so we were stuck when a song was in the key of
"F"
To
overcome his
problem,
we learned
a
few
"bar-chords."
owwe were
set But then
along
came those more
complex
azz
chords
and
we forgot
about the basic triads we had learned at the beginning. et's take a new
look at
them.
The
"bar-chord"
ingerings
were:
mof
or
molor molor
One problemwith hese chords s t hat they often doublea note: wo roots
or fifths.That's
a
good "fat"
sound
for
pop guitar
but we don't necessarily
want
o
"waste"
a notewhen
playing
ontemporarymusic.The ingerings
n
the
following
pages
show
various
possibilities
or triads withoutdoubling
notes.
5/19/2018 A Chordal Concept for jazz guitar.pdf
7/133
I
i
'
MAJOR
TRIADS
Ctose Position
vtttrn
ffi
l...I..]'.m
t-I-n-n
u'm
ffi
TT-TT-N
v+m
ffi
H]]T
v
rrr-T.1
F]+ +]
ffi
TtrFT-N
^ l
v
vrFFtl
l-i-+fl-l
ffi
?a_
V||
lm
...I...|T
F]]
TtrN-N
vilffi
ffi
t-I-n-n
V|
FEIT]
fi
RUU
N_TTN
abc
Bb
Eb
vilrffi1
HUU
TN-TN
rb ab sb
10
5/19/2018 A Chordal Concept for jazz guitar.pdf
8/133
Wide Form
lnversions
)
Root Posit ions
Inpersions
L
l
Y i l l
ffi
#
ffi
ffi
t a t a l
T]T
rTrn
ffi
:Fm
]]
il l
l - t F
}
lu rn rouna LXerc ses
l .
ffiffi
--rTTT-l
H]T
TtrTTN
TR-II
t-a1-T-]-1
ffi
TTTTN
TT-TT-]
l-fiHt
ffi
TT]-TN
t l
^ l
v
EbIBb
ffi
ffi
ffi
ffi
rll-m
ffi
TI-TTN
TT-T-]
I...I...]..m
FUtl
ffi
I X
FlC
GIB
D
IE
bIF
F IA
F IA
IV
EH
ffi
ffi
v'||
EE
V|lFm
V
rliln
V|||
m
V|||m|n
Vl|EFf] VmfI
V|||ffi]l
V|lfflm
ffi ffi Frf,
ffi
FF
Trt1-l
r-it-r-i
ffi ffi
---rHfr-fffr j++l H+H H+H H+H H+# H# H+#
I
c/B
V-T - i l
Vmn
ffi
l-l-li-n
i+# ?+l+-{-l
--T-m
n-FTn
V
EFF-II
l....l....JJ
a t t a t l
TTTTT]
rT TTN
TTTTN
V
FF|rt]
Trtrrn
l ]-]_H
TT-TT-1
vFFm
vr
ffim
tx
Fffm
v
fffm
vt
EEfr-l
H+H tT1t H#]-]
Tml
H+ffiH+Hffiff iff i
DlA
IVTFH
ffi
F]]
vrrran
raTl-n
TTIT-]
TI-TT-N
GID
IVETfTl
ffi]
ffi
GIB
^ l
D
CIG F IA
.
FIC
vil;lTF
---+N
---T-Tl
B'ID
C
BbIF
- t , ^
E_V/U
BbIF
EbIBb
AbIC
Bb
EbIBb
vrrrff ivrrtff ivrrm
vilEFFfF
vi lrFFFfF
i lrFm
vilm
vilr
Em
rxff im vi lrEm
vilrm
f f iTnT+ff i f fi f f i f f i f f i f f i f f iEt t++ tsrf f-H
_t_l_t_|]
l_|||]
H-]]
H+ffi
H++F
H++|
H+H
'HJ H
H+H
H+H
H+ffi
5/19/2018 A Chordal Concept for jazz guitar.pdf
9/133
Wide
Form lnversions
} R oo
p
os tii. :
.rs
I.n .e.i:i.i1s
L
il
Bb
Eb/Bb
F IA
ffi
r+Tl
HUfl
ffil
ffi
HUfl
tT-T-l
I...I...|..m
TTTTN
l- +.]_H
t-Tu-n
tx
ffi
a-rTTT-l
ffi
TTTTN
trm
-aTTTl
ffi
TtrTT-N
ffi
g]]]
FUfi
ffi
tffiN
i..]'..]..m
t]]
ffi
t a t a l
...l..]..m
Ttlu
ffi
Htffi
T]]
il l
}
T,, n
o,
ou | ..E)
ii
s: :
l.
F
C
G/B
Bb
I E
bIF
vilr
sE
vil
FFm
v
FFm
vilr
EEEN
vilrFFm
vil
Ftm
vFf|rll
vilrm
vrmn
ffi
F]
fFffi
ffi TflTl
rrn-H
rffil
Tflfl H+++
++F ++++H +H H+H H+H H+# H+H H+#
I
G/B
v
-Tfil
{:ffi
:T+F
V
TilfI
TTTTN
IH+N
TTT]_N
V
EFEE
l....l...JJ
Ht+]-]
ffi+l
C I F
v
rrT-n
tra-rT-n
l-|++ ]
Trn-n
GID
C/E
lA
IVTF?lll
ffi
F]]
GIB
F IA
Bb
CIG F I A
v
rflil]
rvFtm
vFFm
vr
mt
rx
FF|F
v
fffm
vr
m
TFrn
TTT1]]tJ] TT]t Tijt]
Ftt1tl
HJ+H
H+H
H+H
H+#
H+H
H+H
H+ffi H+H
E-D/V
,,,
BbtD
c
BbIF
IC
BbIF
EbIBb
Eb/Bb
\IC
Bb
rx
mTfl
vilrfffffl
ffi] FFt
ffi F]]T
Yil
-Tffl
vilr[frmvilrffi
vil
ffi
vil
ffi
vilrEm
vilrEm
vil
Em
=il
ffi
trr-
nr-n
"-;
FflTl
ffi T1+l
:FE
R]]
H+IF
H]+F
H#fl
F]+
+H+
H++fl
vilr
lff|fl
frr-Tn
ffi
bT-
vilr
m
TT-n-n
Ff+l-u
rtrtrtrn
5/19/2018 A Chordal Concept for jazz guitar.pdf
10/133
Triods
MINOR
TRIADS
Ctose
Position
V
TtrT'N
t-f+fl-l
ffiFF
TI-TTTI
vrffi
t-f+t-H
ffiTfl
VTrr|]
H]
HUil
Vm
ffi
H]]
#.**
- r
L - r - u - L -
F- Bb- C- Bb-
- l
EV-
7
Bb-
b-
7
12
5/19/2018 A Chordal Concept for jazz guitar.pdf
11/133
Wide Form lnversions
) Root Posit ions Inaersions
C-
C_IG
ffi
ffi
l11
-a-rTTl
i+ffiutT
ffi
ffi
lu+
il l
ITrr roround
Exerc ises
I
c-
F-tc
G-tBb
ffi
ffi
TTTI-N
Hffi
trrTrn
H-.H+l
TTTTN
TT-T-I
I..]...]T
H]]]
F]]T
ffi
fT+F
Htffi
ffirF
ffi
-TTTN
l t t t a l
ffi
I...I...IT
FFFM
-rTrn
IV
VET|rn VI|IFII
f f i f f i
f f i f f i
vil
fim
vrlffTfl
vrm
f f i f f iH f f i
f f i f f i f f i
vil l
C_
F -
v
ftFn
FFFFF
ffi
Bb-tF
vr
flfTl
ffi
FFFH
L _ / t P F _
^ l
v_
ffi
ffi
ffi
I
7e
eb-teb F-t^b
- l
D_
v
:Etr
vl
r-r.Trr
v
rT--rT-l
v
[T--r
--LLI.].J
LLLLIJ E-]_LLIJ LLLLIJ
-H+H ?]-]_I-H F|+ N tH+H
ffi F] t F]] ffi
v l
?
v
)'
G-/Bb
v
rT--rTt
r+H-l
H]]
TTTTN
G_IBb F
-tAb
VI
FFrlT]
F]]1
R]]
Bb -
vt
fffm
ffi
TT-TI-T'
ffi
c-
D- lA
v F m
|||m
t++t| f T|
ffi Ht+
C_IE
F-
G_ID
vElm
vT[fTl
ilrm
f f i f f i f f i
ffi ffi F]]
C_IG
F_IA
_IEb
VTI[-fl
ffi
ffi
vEm
TT-TT-N
F|++ ]
TtrTtrN
rvmm vrm
f f i f f i
E]]T F]]
B
F
tc
Bb-tDb
c-
7_lr
Eb-/Gb
Bb-tF eb-nb
vil
mm
ffi
ffi
Eb-/Bb
b-tcb Bb-
rxn-flf l
rrrm
f f i f f i
ffi
TTm
V|FFF T
|||5FFFF[[m V||fflf|]
fTffi Hffi t TI| fTT+|
f f i f f i f f iHUt
vrm
vilrEm v[I[fT] vr[TffTl
f f i f f i F] ] f f i
f f i f f i f f i EUT
7 3
vil
ffim
ffi
ffi
5/19/2018 A Chordal Concept for jazz guitar.pdf
12/133
No study
of triads
would
be completewithout ookingat altered orms:ma.:
mented
( 5),
major
b5, diminished and
minor
s.
ay now, We should be
,.
familiarwith
riads, so that
we
can convert he shapes to
get
other sounds
-
start with major augmented
/'5).
MAJOR AUGMENTED TRIADS
(il5)
An augmented
riad s made up of
two
major
hird
ntervals.The
chro^
scale contains hree major
hird ntervals.Therefore,
he
inversions '
augmented riadare
always
mirror
mages"of each other.However,l-..
tar fingerboard
oes offer us a numberof fingerings.
Bb
ug
) CIose'Posit ion
C oug
VI
EIFH
r+H-l
...I...|..m
TT'TT-N
t)
First 8 Second noersion
C oug
VI
EIIFFI
ffi
ffi
vrffi
tTtm
t-l-H-H
vilffi
tftm
l-Ft-l-H
F
oug
C oug/E
vrrr-n
l- +H.]
....|....l....|T
ffi
ffi
C oug/G
VM
t-r-l-t-t-l
H+IH
C oug
tv
n-rrra
F|+]
ffil
TT-TT.N
- l
E P O u g
o W de Fartn lnoercioas
F oug
rffi
ilrm u,ffi
ITfl-n Elt--n Eul
FH-H-I
H+l+l Fl'rH-l
Bb ug
ffi
ffi
I..]:..]..m
N_TTN
ilrFIFll
ffi
HUfl
rttrn
TrTrtra
H++t-.]
TI-TTN
'vffi
ffi
TT.TTN
vrffi
ffiF
T|-TT'N
vilrFEF
TT-trT--
t t t o
|..1...]T
-TTT-
Eb ug
F
oug Bb
Bb
ug
L Connecting
Exercise
G
ilrttil
l++t+
ffi
G oug
C oug
F I
f o
ilrlflm
iltfffm iltffi
tffm
1lH ttllll
FH+|]
|V
-l++]-]
ffi ffi f +I| f +]|
TtrTtrN TTTTN FTT]_N I-TTI'N
|||tt
||ffF ||FFm
LLLLLJ LLLLIJ
?+J+N
l-iH+l Ht+N
TTTTn n-n-n ffi
Transpose
his exercise
to other
string
groups,
too
vFm
I.].ffi
TTT'T]
ffi
5/19/2018 A Chordal Concept for jazz guitar.pdf
13/133
F
(
l )
MAJoR
lrr
nlaos
(b5)
)
CIot,
Positib,i
C ( i l 11 )
rvfmn
FTFFFI
f-+-]+
rtrrn
}
F;rst
Invi:is.ii
G ( i l l l )
IVTITTI
r-r'rrn
?++++
TT'-I-N
c (# l l )
}
S eco
n d t r : itt
F
( l
)
rv+lll
TT-trT-n
f?-l-l+
-I-TI-N
rvmnH++fl
ffi
B b( l)
ilrrffll
T'TTTI
ffi
TTTT-N
vilFFTfn
l... ...]+
Ft-]-t-H
ffi
F
(il
r) abtil rl
3
b tf ill
viltm
ffi
TTTTN
bs
TTTT-]
LLLLL'
H+TH
ffi
|rI
v t l
}
w i a,
p
6.|,,.
;.it;i;
on;
F ( i l l l )
ilrtTrJ
I...I...]..m
FFFFF
TTTTN
vil
ml
Trtrrn
TTTT-N
H+H
a bt l
rbt#rl
nFFEI
vtrffi
ro ffi
LLLLLJ TTTT-N
++Hl n-n-n
}Co,,,iis}:E...Eic,|ii;;i
G( i l l l )
F
( l
)
vTT-Trr
lxm
-
trrtr-n
TtrTT-n
a t t t t t t t t a t I
I..1...]T l..]...]-..m
Hll+
r-r-r-Fn
tx[m
V l l l a l | l . . #
tfrm FH-I-H
FH+]
TTTTN
TTTTT]
VTI-TT-I
H+H
ffi
TI-TTN
rx
fflfl]
ffi
TTTTTI
TT-TTN
15
5/19/2018 A Chordal Concept for jazz guitar.pdf
14/133
trr
A
diminished
riad
s
made
up
of
two
minor
hird
ntervars.
he
cnro
care
contains
our
minor
hird
ntervars.
his
symmetry
wi,
be
or
great
:iJ."J:*,
when
we
took
at
oiminished
seventhchords. Here are so
ilrTTrn
Tf--Ftl
FT+FF
rT.FTN
'um
|T-TT-1
Iffi
rTITN
Do
VIMTB
rTTT-1
+f++-l
n-n-n
r n
E -
)'Clpse
Fasiticn
Bo
ilrFfTfl
rll-1T1
aTT-t.ti
rTn-n
)
First'inai:eision
R O
vlllr.Trn
H+l+
TTTt-rJ
ffi
r]_ftl-l
villETlfl
TII-E
H+H
vilrmTfl
TT]TI
t-t-ffi
TTIT.H
Ao
xilrffim
R+m
t-Tl-t-n
O
t r"
b
Do
lxrn-r-l
Hl+]
rfTn
n-n-H
o
A O
)
See:oad:Inversipn
R o
xilFrffl
T[r
H+ffi
t r '
xilmTfl
TTTE
ffi
TTF]-N
Do
xilBTf-Fl
rmT-]
F+-t+l--l
mn-rl
Bro
C
Wide
Form
lnaers ion
Fo
,ffi
F]_Hl
H++F
Bbo
DIMINTSHED
RIADS
t
trrEffi
vrFm
ffiffi
'ffi
TNT
fTt-Tf l
llrBnrn
t|
Hl+l
EbU
5/19/2018 A Chordal Concept for jazz guitar.pdf
15/133
L Connect ing
Exercise
t r lo c
il
flm
ilrFFm
Trtrrn tr-trT-n
ffi ffi
TTTT- TTTTN
u -
vilr
fflfll
a1-t-ttl
TI-TT-N
t t t a t l
trT-trrn
Boo
- C -
Eo
V
TT-T-I
H+H
FT+
trrtrT-Tl
vrm
TTTI-T'
r-r'Trrl
ftEtr
l t t l
vilr
flfm
I...I...|..m
TTTTT]
trrFT-tr4
TT-TTN
Eo
-
IIFf;IdI
ffi
TRl]
Fil-i-n
ilrH+B
rT-tr-n
FFFFE
.TTTN
Eo
b
TRIADS WITH
ADDED
NINTH
Another
ommon oundassociated ith
riads
s the
"added
ninth," sed n
countrymusic,
but also in
pop,
usion,
and contemporary
azz.
Here,we can
add the ninth o the triad shaoes we have ust seen.
Mojor Add
9
Voicings
O
Root Pos i t ion
C o d d 9
v+m
T'T'T]
ffi
-TTT-N
Bbodd
vr[Tm]
rrraTt
t t a t t a
ffi
t-1-t-1-H
>
Bo
||Ff,t]
ffi
ffiffi
ilr[Fml rvEm
vEtF+ vil[m
f f i f f i f f i f f i
f f i f f i f f i f f i
IX
FTFM
tTrT-n
t-Fl-l-H
Trn-n
. _o
bo
F o d d 9
)
t-s-s-s voicing
A o d d 9
V
fFTII
f f ior
T--rn
D o d d 9
V
TrTI
Effi
or
TTfF
G o d d 9
V
ITITTI
l....l'...]J
I t t a t a
F]]T
IT'TT-I
l
i lmE
rrT-T1
a-rT-rT-l
ffi
| | TTrT-l-a
I+IFT
t o t t a l
ITrrn
t t t l
vil f,l::m
l....]'...1....]T
or
rfi-tfr
ITffn
t t t t t l
17
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16/133
iw.#ffi
) tA
, :
o - tb l s ,
;ffi
(
:
Csus
)
{:iiaittFi;.}::*1;i
( : A 9 s u s )
C od d g
BboddglD
v
r-r-n
t j + a l
trrtrrn
r-r--rT-l
ffiTl
BboddglF
vil
Em
l...I...]..m
rT-TT]
,
++t+t
I
7 9
( :
D - 7b 13 )
(
:
Fsus )
Ebaddg/G
v
rT-TT'l
|.]-t]4
t-+-l+-l-l
t-t-t-t-t-l
7 o
,
_
n_rbls
Ebodd9lBb
(:
Bbsus l
vil
SFFFF
ffi
TTT-N
v l l l
I
bs
t , ^
t
-
a z P l J r
\
-
- l
)
_
,_ rb l s ,
C o d d 9
VITlIr]
FFffi]
(str.
ffi
rtrrTl-
y
_o
Bbdd9
Ebodd
vrH-fft
trFIfl
Htfi
vrmfl
ffi
ffi
7|t,
b
Minor
Add
9 Voicings
C-
odd9
VM
ffiFF
Bb-
oddg
vr
EffIfl
l | |
H+]+'
ffiTtrTTN
G o d d 9
F o d d 9
F o d d 9
18
F-
odd9
{E}
5/19/2018 A Chordal Concept for jazz guitar.pdf
17/133
A- odd9
YEtr
ffim
ffi
Bb-
oddgiD
(
-
oh l l3 )
IY
G-
odd9
VIEEM
l#
ffi
Pd)
Eb-
oddglG
IVFF?TII
F|+..]+
I
Htffi
2
-O.
Eb_
dd9lBb
vil
FEt
'
tt F|
| +|-.'l-t
2
{ E } " " "
(
:
cb l l3 )
(
:
Bbsus
F_
dd9lAb
(
:
b ll3
)
"m
F-
odd9lC
vl
FFFIT
ftfm
tffi
(
:
Csus
)
) ) 4
5/19/2018 A Chordal Concept for jazz guitar.pdf
18/133
I
OTHER
ADDg
VOICINGS
).Ad.d?. 11" oicin$s
{1-5-9.i11}
Lydian o.r
Mixolydian
11
Goddg i l l l C oddg i l l l
i l rmn
Fffi or
TTr--t
trT-trFFl
VFFiTT]
t t J a a l
fl-T rrl
trrtrT-n
V
FTM
ffi
t a t t a l
TrrrTl
Foddg# l
G
odd9i l l
O
Addg
:S
uspended Voicin
s
{1,
5
-9 -11
sus4)
G oddg l
I
C o d d g l
1
o Tr i d Sus9
Voic ings
(Root
Pos i t ion)
C
No
3rd
V
Til;il
ffi
ffi
Csus
Fsus
t i p sus
y
Gsus9
O Triad Susg Vaieings
{7.'5-8-9)
No 3rd
I
- b6
F s u s
ilti-r.TT.
ffi
H+tH
FFFFF
MINOR
{5
T{TIADS
We can thinkof a
..minor
5
triad"as an
inversion f a major riada thir
lower
example
). This means, of course, hat we don't
have o learn
whole new set of
fingerings,
ust
reinterpret xisting ones.
This sort o
.,over|apping''
is one of the
wonders
of chorda|
harmony, S
We
can se
example .
2
E
20
+CA
F
+D-7
5/19/2018 A Chordal Concept for jazz guitar.pdf
19/133
OEOROIA
APPLICATION
OF TRIADS
Try reducing
he
chords
of a
tune to
triads,
as in the
following
example
"Georgia."
These
aren't
necessarily
he
most
advanced
harmonic
ubstitu-
tions
but
this sort
of exercise
helps
us
to
get
the various
riad
shapes into
our
"everyday"
epertoire.
riads
can
also
create
a
purity,
hrough
heir sim-
plicity,whichcan be an advantagewhen playingwithoutbass and drums-
great
or ntroductions
r duo
accompaniment
A 7
D_7
D_7/C
Bs
Bb-7
- 3 -
r \ ?
"----
G- 7
G -7
C 7
Music:H
oagy Crm
chael
Text: turtGorreII
ttn
Peter
O'Mara1
E s
A
A-7
A - 7
Abo
D7
A
7
A7
a
A
D-7
D_7lC
- 3 -
Bs
D_ /
-\--
'-----
Ab'
G- 7
FA
A
- 7
^ t -
v/
a
F
F I A
G_lBb
^lC
t l
D_
FIC
l l
B
o
eb-tob
r l
o
a
A-7lC
B
o
Do
l r
B'IO
CIE
. )^
F
e
Et'io
?
- ^ d
\ f -
b "
? , ?
a
o
F
A
B'IF
t r '
n
AIE
e
D_
FIC
-lr
D-IF
D'IF
e ,be
. Q
a
-
I
BbIF
?
t r '
B'ID DO
I
F
e
trtc
i o
o
B t93O by Peer
nternational
orporation,
ew
york.
c 1959 by Peer
Musikverlag
mbH, Hamburg,
ur
Deutschland,
oten
und rschechische
Republik.
-s by Permission.
5/19/2018 A Chordal Concept for jazz guitar.pdf
20/133
STAIRWAY
Peter
,Mr
(as
played
by
Peter
O'Mara
on
"Stairway",
ENJA
CD 7077-2)
The
versatility
f
triads will
become
apparent
as we
move on
to more
corn
plicated
harmony.
he
next
une,
"Stairway,"
eatures
a lot
of
"added
9th-
triads. he
minor7f5
chords
are
ust
nversions
f
major
added
th"
riad
with
he
third n the
bass. In
he
"A"
section
he chords
progress
hrough
l
seven
steps in
the B
major
cale.
Eodd9 Ff ,odd9
E
odd9/Gf, Ff,odd
/A$
C{- 11(no
o l T l
of-z
ils)
A t \ ,
7
Eodd
Ffodd
, \ l L
E
add9lGl Ff
odd9/Af
t \ \
B o d d 9
tl
.__-+ . Tr
- t '
v l
I
V|| - . - -
E
odd
9
Ffiodd
E
odd
e/G$
Fflodd
/A{
Cf i -
1(no
.
a)
of-z
f
)
A t \ ,
7
E
odd Ffodd
, \ r \
I
7
E odd9/G{
Ff,odd
/Afi
t \ , \
I
Bsus
I
11O
.
| i ' J
' v l
: :
r
r t J -
.
vt
f ,J_
lt
fl
22
@ by TUTU UBLISHING/ENJA
ECORDS
orstWeber
mbH.
Usedby
permission.
vl l
5/19/2018 A Chordal Concept for jazz guitar.pdf
21/133
c-715
F_715
r{zsusbg
E
odd
9
F lE
5/19/2018 A Chordal Concept for jazz guitar.pdf
22/133
SEVENTH
CHORDS
Our first "jazz
chord" fingeringwas
propably
he
major 7th
(A).
Let's take a
new ook
at its
possibilities
n the
guitar
ingerboard:
F
V TTT--I
FF fr]
T-trrn
Ht]fl
FA
vilrFFET
H+ffl
ffi
v
rn-rFa
LLLL'J
LT-L'-LJ
Fffl#
TTTTN
BbA
vilrf|Fm
Fffi
ffi
-o-
BbA
Yoicing
.,,,:.::;;,1.-t,;,:-.,
g
Group,
-+
anu.@|ii a,#,;.i
BbND
vrffi
I...|...|..m
TTTTN
xlTlfn
- tL|H
Hffi
FNC
Bb^/F
FNE
--+
--+
i l rm
f f i ->
ffi
vrrff i
iT'if il -
Ft]fl
BbNA
xffi
ffi
bo
)s
b;n
ciA#
:{
t$$t&::l{ii
A Eh^/G
'm -+ '"m-+
EbLlBb
vilrl-ff,ifl
H]:E
t-t-t-FH
TtrtrTN
cl
EbND
",m
llfl
7o
-+
rb;
2C
5/19/2018 A Chordal Concept for jazz guitar.pdf
23/133
MAJOR
7Ifl
VOICING
EXERCISES
L2 -Cho rd Connec t i on s
cA
FAIC
DA/A
GA/B
CAIE
D C
GAID
CA/G
DA
G^/F#
D^/Ff
GA
FA
L, R.an.d.1ata
a
n
e t {aa.
s,
c^ Ab^tc
EA/B
A^/Cil
G^/F# EbNG
A
BbAIF
7
\^ , {
J-
(^Orrir,
7th naersions
ounterpoint
Eb^IG
A
FN A
CA/G ^bNG
DA
BbA/D
AA
FA/A
DA/A
BbA/A
AID
Eb^ID
,l
,|
lr
|
b
5/19/2018 A Chordal Concept for jazz guitar.pdf
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MAJoR #rr
napes
& rNVERsroNs
A
common
extension o the
major 7th hord s the
11,
rom
the Lydian mode
(sometimes
written s
"major
7b5"):
F a l l
Bbl
l
rvffi
ffi
v ff i
ffi
Tt-rn
F l i l l I
vi lrmll
t-f+t+]
H]Tfi
r l l
l /
---+
-+
rrtffi
-+
ffiTN
{E}
ab l f , l lD
--+
o
i l rm
ffi
-+
Hffi
a bl ] l ' '
u"ffi
ffi
>
Bba
l' o
rxmn
ffi
bT
rblf,l
/o
,.m
1f f iN
2
rba l l lc
rbl l
l
TTTT-N
vil EFf F
t-fl-t-t-a
TN-TN
(t
-+
lv f-T-rT-r
|-+l+l ---+
ET]IT
t-ii-l-fJ
--+
5/19/2018 A Chordal Concept for jazz guitar.pdf
25/133
MAJOR
7il5
SHAPES
& INVERSIONS
Yet
another
possibility
s the
major
7il5,
he
third
step of
both
the melodic
and
harmonic
minor
cales:
I Roof Posit ion
CA'iI '
) 1-5-7^3
oicing
cai'r-
vlil
r-rrn
H+iH
trrtrT-n
ffi
Fai't-
BbLn'
vlil
rTaTrr
t t t a t l
IT-TT-'
trT-rT-n
ml:
t t t t l
o
t )
Lower
4-St r ing
Group
lnaers ions
--->
-j>
t r A l J l A
O Midd le
4-St r ing
Group
Inaers ions
sbt#s
BbLr- Fil
y11FFffi
t r a r r i
-
TTTT-]
fT-Trn
{
BbLr'/D
-+
BbLi - lA
rx
[Rfl
FnT-l
t a a t l i
E]E
I
ra-rT ]
F|l #
ffi+
IT-TTN
i l l
-.+
I
2 0
) Upper
4-Strin'g
Group
Inursi.ons.,
e #5
rbn|.src
E 'L " IB
EbAr-ID
Xt|TTTl
LLLLL'
-
tm
I
rrTTN
2o " "
28
-+
lv rrrT-t
t t a t a
trT-trrtr]
IT-T'TI
tTrnl
t t l l t l
->
vrffi
L
|
l-H++t
5/19/2018 A Chordal Concept for jazz guitar.pdf
26/133
Seventh Chords
We
can see that by raising or lowering
the
fifth in
these chord shapes, the whole
texture of them
can be changed. The following exercise
should encourage us to
think about the function
of the fif th, rather than
ust
memorizing
the chord shapes
alone.
MAJOR 7 CONVERSION EXERCISES
O Lower
4 .."':Wtj+
,::,
inii,il?
cA c^i5
GA
GA
A
Ii lff i i lrm
ffi FFFF
TT-TTN TTTTN
|||
,I|
FtrtrFTI
ffi
TtrTtrN
ilrffiIf
tr-Trn
TFIIF
-Tl_I-n
V
TF[F]
a-rTaTl
ffi
TT-TtrN
vm
ffi
TTTTN
V
FFFFF
5ffi
ffi
trT-trrn
Gl f , l
I
G^#s
V
TFITI
ffi
ffi
l ' l l
Ga+ l '
c^f
l ' l l
Ga l ' t '
GA
A
A
A
G f l
l
rrrtrn
|xlt|-l
H]
TTTT-N
rx
lfl-H
TTIT]
t-l-t-t-H
x i l |m
55t1fi
Errn
H+IH
XII
FFFFE
Q -LL
F ] |N
n-FrFl
G^ 5
O Middle
4'string
Group
l'l
cA c^l'r"
ilr
mn
ilrml
rT-T-t
TrrT-1
H++H H+HI
TT.TI-N TTTTN
i l rm l
TT-T-I
I...I...I...m
F]]
l l l
CA
A
vFtm
T'TTT]
t t t t a l
r-r--rT-l
TtrTtrN
vffiTl
ffi
ffi
CA ' l -
clf i l
I
cA ' l.
ca i l l l
A
''m
ffi
t-Tt-Tn
CA
A
A
rxFtffi
t a o t t l
HT
TTTTN
xil
ml
r-a-rTt
trFil
TT-TTN
xil
ml
T--TT]
ffiF
TTTTN
c^ 5
C l l
t
29
5/19/2018 A Chordal Concept for jazz guitar.pdf
27/133
seventh Chords
FAI I "
l l l
F A T '
'
. Upper4-Str ing
Graup
FA
I l IrT m
ll l
l.../...]
I I t a a a
ffi
trtrn
t t t t l l
FA "
vrm
l- ++.
Ffl-TN
FA
A
A
vr
mm
ffi
ffi
|
TI
X
IT*FE
EEIIH
ffi#
TTTTN
xm
Ft+]]
F]]
xuffi
H+F
TTTTN
FAI,I"
X|||FlTfi l
ffi
TTTTN
ilrFlffl
t I t a a a
ffi
Trr-rn
VI
MTfl
TTTTT'
frT--n
FFffi
FAA
A
DIM NISHED 7TH
CHORDS
Here
s a lavoutof diminished
7t'
shaoes:
) Diminiihid 7th
Cha'rds
Go
"m
ffi
C Wide
Form lnpersions
Lr "
i lEm
IEE
+fl-H
Trn-n
F o
ilrffifl
FFFFF
TTTTN
b*
I
Tru
L+]-H
+ffi|
TT-n-n
co
rTI5T
FTH+]
Hl]
\
(pr"arv
mprocticol )
Because of the symmetry
of the diminished
7tnchord,
fingerings)
ithin
a
given
string
group
are
identical.
hi s
work memorizing hord shapes.
Co
G o
rffi
TTfn
ft-fiH
rmB
?-u-l+
Ht+fl
the
voicings
(and
saves us a
lot of
t l r
F A ' ,
F^{s
F l l
l
F l
5/19/2018 A Chordal Concept for jazz guitar.pdf
28/133
50
DoMINANT
TrH
sHAPEs
INVERSIONS
Here s
a layout
of dominant
7tn
hapes:
'um
ffi
TtrTTN
abt
7
c7
ffi
c7
'm
'm
>
'ffi
IVffiM
ffifl
ffi
Bb7
v i l rml
|-|+ ]
H+ F
F7 FTIC
rbzBb
vlllrr---r
Fftt+?ffiF
l
nTTn
7.O
_o
-.+
-+
EbTlDb
xrmTl
l...I...I..m
FFFFF
r
Frl-T-l-l
FTIEb
-+
--+
vil
J;FEI
-
rrFrn
+FFF
x
SFtl
ffi
ffi]
Bb7
sbztab
*ffi
ffi
FTTTN
bo
--+
Eb7lG
-.>
IVFEF]
FFFF|'
-
trTTTN
-+
|b
P . O
5/19/2018 A Chordal Concept for jazz guitar.pdf
29/133
I
Rost
Positi:o.n
c _ 7
MlNoR
7TH
HAPEs
lNVERsloNs
Here
s a
layout f
minor
7tn hapes:
V_ /
rvFFm
Fffif5]
ffi
TT-TtrN
)
1:7-5.3
Vaicing
c -7
VIII
FFEE
EFFFH
FFffi
TN-TN
) Lo.r :.er
'String.Graup
Inversio.ns.
F 7 F -7lAb
t a t a a I
EFFftl
l-.I...]...m
tT-t-r-t-l
t t l t l
F -7
vilr
FEE+I
r-ra-rT-t
ffi
N-TtrN
Bb-7
vr
fllll
TTT'T]
ffi
. TTTf-N
'b.
DA
)....
i:d.dLe
,S trin
g.
Gra.up
Inuersins
.
.
Bb-7
sb-ttob
I r-T-Tl
t j + a I
T?TT]
ffi-tl
n-TTn
b-
Bb-7
F
vr|Tflfl
t a a t t l
.rTT-l
ffi
- - . - l
t - / l L v
Bb-7lAb
X
m]
FFffi
Fl]T
bo
-
J
Uppe,i,4'S,ii
ng
C.raup
- l
LV- /
lntser sio
ns
Eb-7tcb
IV f f i
rrr+n'
-
FFFffi
- L - , - l
Eb_
v
Eb-7lDb
x r f f i
I-rTn-]
TTTTN
.FFffi
bo
F -7
52
I
TT-TTI
I | | l a a
TR-ll
+
F]]
vil
mEIfl
FFffi
' [
D . a
5/19/2018 A Chordal Concept for jazz guitar.pdf
30/133
MlNoR
7TH
5
sHAPEs
INVERSIONS
R,oot
Posi t io l
Here
s a
lavoutof
minor
7tn
b5
shapes:
tvITtIfl
TT--TT"]
TTtrTN
T--Trn
TT-TTN
Fa
vil r
FtFill
TTTTN
FUll
n-Trn
b*
Cs
|l|
m
ffi
tfffi
(propobly
with
root )
F a
va
|V
Fff[ l
ffi
TT--rT-l
TT.']TN
b
Va
vi l rm]l
ffi
F]]
rbo
DA
unployob le
7-7-5-3 Voic ing
Ca
vrr
m
ffi
ffi
Lower 4-Str ing Croup Invers ions
F a
r
a t a a t l
ffi
rnrn
l-l-u-n
Fa l Ab
F a l C b
o
Midd le
4-St r ing
Croup
Inpers ions
oa
I T-r-Tl
Lt
t t a t a l
TTTT-N
l..]...l.]T
t-l'ti-n
Upper
4.String
E V A
Group
Inoers ions
Bbs Fb
VI
ETiT]
TT'TTI
ffi
TI-TT-N
b-
Bba Ab
rx
flFfl
r--T-t
ffi
Tr-Trn
bo
Ebs Gb
Ebs
Bh
V||l-|l+ ]
TT-I-T'
ffi
N-TTN
Eba
Db
xmF
F]]
I
FUfr
? o
I
TT-TT']
| | t a a a
rrtm
ffi
IT'TTN
IVITITfl
-
rrT-ra
ffi
bo
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M|NOR
MAJoR
7rH
sHAPEs
INVERSIONS
Here
s
a
layout
of
minor
chord
shapes
with
a
major
7tn:
c A
Bb-^
v
rrr--l
ffi
TTTTN
p-A
V|||m T]
Trr'r-n
ffi
vm
Fffi
FTTTN
vilr
Em
t+11+l
F]]T
Bb-^
vill
FFm
TI-r5-t
Ft ffi
FFTTN
I
p- o
rm
F?]+N
F]]
Bb-^
4
4
r-^/ b
ab-ttob
4
-+
Bb-^lA
xmFl+1++1
F]]
mTl
t-f+t-H
F]]T
ilrffi
l-T-fT-l
Fffl-H
VIF|frll
rim
4
Fl-l-FH
N_TTN
Bh-^
b-o.
Eb-^
vrrFEI]F
FFffi+
F]lfl
Eb-^/D
xrm
FFFFF
I TTTTn
F_AIC
c Arr
IFFiTB
n--r-rn
-
ffi
_o
b
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Seventh Chords
MINOR 7{5
SHAPES
Minor7f,5 hapes an also be thought f as
inversions f a
"major
dd 9"
on the
stn.
orexamo|e:
^ _7 5 Fodd9
Here
are somecommonly-usedhapes:
D_7T5
vtff i
l . t . * a t
H+HI
rffff1
7D
A-715
l' r
G - 7
t u
v|TflTl
TrrTF
TrT--n
ffi
ilr
[fffl?
FFnJtl
l-H-+ ]
TT-TTN
vfmF
TTt-rn
TTIII-I
t-t-t-FH
l'l
A,-7
"
D-7i ls
Vffi
FFFFF
TT-TTN
po,
^ -7 5
Vffi
FFFFF
TTTI-N
55
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Seventh Chords
ROOT POSITION EXERCISES
Hereare some exercises sing he
chord hapeswe have
ust
seen:
ab l l 3ba
LMajor 7 Colours
t \
FA FA1'I"
V trTTT-]
Fl_ FFl
IT]T
TTTTN
TTTTN
L Minor Colours
A
G _ A G _ 7
v
rT-rrra
H+ fl
ffi
H]]T
VE l E
TT'T'TI
t t a t a l
I..]...]..m
TT--r'Tl
Ga
c - 7
vr
f[m
t t t a a l
TTTTN
TT5-TTT
Trarn
C a
v I
rrrrra
H +l]
ffi
trrtrT-Tl
VI
IEFFE
Fl_ lFl
-TTTN
a t t l
TTTTN
vil
FFEI+rl
Hffi
Ell
b b
LDominant
7
Colours
t'
G 7 G 7 J
l '
c7n -
cr3
c7b5
VI
FFTIfl
Hffi
ffi
vrm
El#
T--rT-l
TTTTN
L ScIe tep Skipping
DA DAiI"
E - 7
g-A
GA
rt
rTTIfl
l.| tfi
tr-rT-n
H+H-]
viltTFt
P- ffi
tTfl-n
FH+H
CA
C i l l l
v t l
( J
I J
c t b 5
a -7
GA
r # lFA
3
'
BbA , i.
I i ' l r r
Bbarf
'
G-6
C _
tr*
-7
Fil_^
i ' l r 1
G A t '
r-rT_
\L#
5______________
_:
G A T '
36
|V
FFFFI
t t t a t l
TTIII
t-l-TFn
A-7 4_A B -7
g_A
v||FFt V||
FFFB
FH # H+tHF]] H]]fl
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II.V.I
OICINO
EXERCISES
r 4-St r ing
Croup Inoers ions
G_7
CTIG
FA
lt
T:lTl
---'-1-H
_._ti
trTrTn
LLt _.lJ
l-iH#
f'rffl
CTIBb
v
rT-an
Q-EdJ
t a t t t l
I-rn-T.]
H+H.I
X
T?III
TT.T]
tr-trT-n
TTN-N
FA/A
ilr
FFfp
a t t a t i
ffi
TTTTN
G-7ID
C 7
e
FNC
o
FA/E
vilr
-TTTI
vilr
EEf;ll
EFN
TNT
=1
F]]#
vrr
fi
TTln
trtrH
x
Tn-|
-TTT-l
rTNT
t-l-t-t-H
e 4-St r ing Group
c -7
e
fuywe|siai.s
.
gb
rTE-|
TT-T-I
Errfn
H+IH
ilt
i-T-n
#fl
t]
V
TT--'TI
t a t t a l
ffi
Trrrn
trTTT-N
i lrtTfIn
L | | | |
t a t l t l
TTTT-I
t t a t t l
TT-trrn
Bb^/A
x
rfR-Il
r5-TTt
TNT
t-l-ti-n
I
2- O
| / t E v Bb^/D
F 7 BbNF
vu
FFffi
t a a t t t
TTTTN
t t l t a l
TTTT-N
L _ / V
vilr
[TffTl
TT--r-l
EE
H++H
4-Str tnq, t t roup Inaeistons
F
7
BbTtF tbt
|
rTm
....]....JJ
I I t a a a
r-r-trrn
FTTTN
n-Trn
- - |
r - / l a 7
xlll ITlIIl
I...I...]T
TTTI-N
ffi
BbTlAb
vrmfr
ffi
ffi
;
EbNG
rv
mm
TTtrT'
F|+ N
,TtrTtrN
b;
EbND
xr FFffi
t t a a t l
|Ttm
,l-li-l-H
D /
EbL/Bb
vilrlfflfl
rlTrn
ffi
trTTtrN
_o
F
_7IC
rxFFrEI
t t l a t a
ffi
TTTTN
b
BbTtD
' bii
DA
5/19/2018 A Chordal Concept for jazz guitar.pdf
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v
I
DROP
THREE
VOICINGS
Another
oicing ommonly
sed
on the
guitar
voice n a close
our-note
oicing
from
he
op,
octave o oroduce
fulland
resonant ound.
is the
"drop
hree":
he hird
any nversion)
s dropped
ne
O Major 7 Forms
GA
GA/B
O Dom inan t
7
Fo rms
G7 GTIB
ilr
FFtlfl
Tmt
ffi-J_H
n-FI-n
CA
CAIE
ilrffi+fl
ffi
ffi
v
TilT
aTT--t
ffi
-trTT-n
V||l
m
ffi
ffi
XII
IITIFI
$fffi
ffi
F]Tfl
ilr
mT
ffi
n-Ffl-1
V
FFIfF
t a t t t a
r-r-r-r-l
FFFFF
V|||FFEIP X||m
f f i f f i
Fllf, ffi
G^/Ff,
C^/G
CA/B
CTIBb
X||[I-m
l..]...]-m
Fllu
TTTtrN
C_7IG
c-7lBb
a -7
G_7ID
vilrtTlTll
a-rTTT-l
ffi
TT-trN
G_7IF
XITIITI
ffi
F]]
b
ilr[ffflP
|_I].Til
ffi
TT-I-N
|||m
T-ttn
ffi
TtrTT-N
vilrI:]:E
t+H#
ffi
b
) Minar
7
G-7
Forms
G-7tBb
O Minor 7bSForms
Ga GslBb
II
FTIfl
ffi
F]]T
tv
rTaTn
a t t a a l
ffi
F]]
GslDb GslF
xrmfi
rT-rTT
ffi
Tl--trn
CslEb
CslGb
viltlTl-ffl
I_5IFFI
trrrT-l
ffi
b
C s
b
L Ex
er
cis : Maj
or 'Col our
s
r 3
G A G A
'
CA
] ' l
Gar ' r '
cal'l '
||| Elfl ||| EI|
ffi ffi
FFFFF FFFFF
i l rmT
TTTT-I
rrn-n
ffiffi
5/19/2018 A Chordal Concept for jazz guitar.pdf
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seventh
Chords
.DROP
THREE'
COTOURS
Dominnt
7 Colours
G
13
G 7 r "
F"set
ci
s e
M in
g.
.
:.aurs
G - 13
G -7
rr(Elt lllfFFEtr
-.J l
l_l_l_l_H
--tl
TrTT-l
=::
ffi
i lEm
a t a a t l
rftm
I-f1ff]
a
"J
u
-V:I.,..Ca?.biation
D7
GA
c-7
ilr[Fml
TT-TTN
Ff+++t
TT-TtrN
b
A,-7
D7
G - 1
1
c - 7 ?
|
5
F.xcrcise:
A-7
.'EE
*+- l
---+l
i l r tm
a t t a t l
FFF F
TT-TT-N
|||
tIfl
Fffi
ffi
ilffi
F]]T
TTTTN
vilFFm
ffi
Fl]T
V
FFfTJl
a t t a t l
trT-trrn
ffi
GA
7
DA
7
A
E7
V
TT[il
.TT'T]
irttn
t-Ft-t-l-l
vtil
ElEm
fiTfr]
]]fl
ilr
fFf,lfl
FFFFF
Hffi
vr
m
vil
-Fm
AILLLJ LLLLIJ
| -|+.]-.] l-. ..]-+.]-.]
fH-fH rfftH
G-7
C7
D -7
G7
viltTlIll
tsfffTl
TTTTN
FFFFF
B7
rx
T?TSI
-TT'T]
ffi
n-Trn
'ffi
...ffi
l#
tt-trl
|||m
ffi
Fffi
|||m
rrrm
F++-]+l
t-l-u-n
i lm
T'-T-T-T..]
l-|++ 1
TTN-N
V||EFm
ffiffi
n-rff1
v|+il
l a t t t a
TT]TI
Ft-rTn
V
FTM
T'TT-N
r .+-]+
t-l-u-n
4, 7
A
7
A
E7
A
-7
VIII
EEFEFi
tr-trT-n
TTTT-]
,ff i
F 7
G7
A -7
D7
cz i l l
c z l
;
VIII
FEFEFI
l-fH-51
Trn-n
l..]...].-m
T _TTN
IXffi
E]l
TTTN
ffi vil lfffB
ffi ffi
FFFFF ffi
vil ffflIl
ffi
F]]
rx Tfm
T'TT T1
ffi
t-I]-T-n
39
5/19/2018 A Chordal Concept for jazz guitar.pdf
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REDUCED 7TH
CHORD
FORMS
The
various
extensions
9,
tL, 13) used in
azz
harmony
make t necessil)
to leave out notes hat don't add colour o the chord,
or
example
he
fifth:
A-
ruffi
rflTt
ffH
O 7-3-7 Voicings
GA G7
LMajor
Sc e
xercise
cA
-6
D-7
-6
lr
Tf[|]
rT--rT-l
TI_TF
tfFffl
i l tm
I..]...t..m
TNT
FFni-l
il
JTll-ll
Fffi
Ff++#
"ffi
tTtm
l-Ft-t-H
il
ESn
rTNT
H+IH
IIEffi
ffi
F]]
ilr
FFFffi
ffi
ffi
G6
a
C 67A
p_A
F67A 6_A
c -7
ilrFtEfl
t t l t t a
H]]
7
G 7
- 6
A - 7
- 6
Bo( l
)
_bs
IIFEM
TTTTN
l-|++ 1
TTTtrN
il
Ftm
LLLLIIJ
t-f+H
I-l'n-n
il
Fttl
ffi
TTTTN
TTTTN
ilr
FFm
ffi
ffifl
Bb7
i lm
ffi
ffi
II
FIT?I
ffiF
ffi
ilITFFFi
TTTTT]TTTTN
|..]...]T
TTT]-N
b
Bb6
FA
bo
C^
-
xrvEFm
ffi
TM
t-l-u-n
IX
ETJN
I..]...]T
FTTM
fffl-ft
i lEm
Trtr-n
tTt+l
t-t-t-t-H
vilml
ffi
TTTTN
- 6
Transpose
his exercise to other keys and fingerings. d
5/19/2018 A Chordal Concept for jazz guitar.pdf
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GI
",t
--'-'-1-1
.'...--
--l
|.7-3
Voici tgs
G6
B-7
-bO
CA
A
ilr
FEl
ffi
l..]"-]m
TTTTN
rffi
TtrTTN
H+H.]
G7
C
7
;
io'
i l rm
l-i-ff-]
Ttm
fffi-fr
"ffi
trTT-I
ffi
F6
ilrTrTfl
TTTT-tr-
l..]...]...m
F]]
CJ
' t t
F I
--i
-
e
F7
g - -
v
rT--rT-l
t t t t l a
TrrTSl
rfn-n
trt-l-f1
?
G -6
rvF|rm
Fffi
ffi
bo
- 6
F ,
_ bd
XIV
FEEtr
ffi
i lr[fm]
trT-Trtr-
ffi
N_TTN
|{aj
o
r
S
ca e. E*;
ib,..e;.......;
....
G"\
-6
A-7
-6
.rt
---:-n
--_-_-T.]
D7
- 6
- 6
vl||FE[|
ffi
ffi
xmn
ffi
ffi
TTTTN
XV
tI+
rTTrn
ffi
TTTT-N
Transpose
his exercise
to other
keys and
fingerings
s
well
41
5/19/2018 A Chordal Concept for jazz guitar.pdf
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r
Seventh Chords
THREE.NOTE
COMPINO USINO
"STABLE''
NOTES
Let's look
at
a more modally-orientedonceptof reduced
7tn
hordcomping.
Perhaps his vamp rom
Herbie
Hancock's
Cantaloupe
sland" s famil iar:
It
uses diatonic hirds
with
a
"stable"
upper
voice
o express he
chordal
sound of F7 Mixolydian.
f we
decideon a strong
stable"
voice
(here
he
root)
we
could experiment
with
his concept
urther:
F 7
6a i l l l l Lyaron)
Thereareonlya handful f possible ombinations,lthough oucan extend
them by using other ntervals or
your
basic
chord shapes, e.9., he
fourth
(see
chapter
).
The
combinations lso ransfer o
other hords
within dia
tonicscale. Forexamole:
A-7
or
DTsus
42
5/19/2018 A Chordal Concept for jazz guitar.pdf
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c l f i l
I
or
A-7,
or DTsus
l 3
or
AbTolt .
t.
D9{l l
The
"stable"
oice
can also be
underneath:
The same
conceptapplied o the melodic
minorscale can
produce
nterest-
ing results:
We
see here also
the emergence
of
"cluster"
voicings
whichwill be
discus-
sed in chapter6. These should be transferred o otherstringgroups.
43
5/19/2018 A Chordal Concept for jazz guitar.pdf
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Ga9
,tffi
iltim
FTTTN
HUU
TTTTN
G9
EXTENDED
FII
CHORDS
Now
that
we've
omitted
the
fifth,
we
have
room
for
other
colours,
for
exam-
ple,
he
ninth:
G-69
ilr
l-fl+.1-.1ffi
H]tfl
a
ca9
"m
"m
fi
TT-TTN
c9
rd,9
ffi
F 9
ilFtm
l-FH+i
Hil
t ^
GTvY
IEFII
ffi il
HUfl
r 9
ffi
H]
t l
ezle
5/19/2018 A Chordal Concept for jazz guitar.pdf
42/133
MAJOR
7TH
MATRIX
The
next
step in
chord
reduction
s
to omit
the root.
That
eaves
us with
ust
the
third
and seventh.
Now we
are free
to experiment
with
the colours
avail-
able
to us
around
these
notes. Let's
took
at
GA:
After
omitting
he root
and fifth,
we
are left
with B
and Fil.
Let's
see wherg
we
can
place
these
two
notes
on the fingerboard,
o
that we
can look
fu
the
colours
available
o us
around
hem.
I
t-f+l-H
TTTTN
FI?N]
TTTTN
vil FFm
ffi
ffi
rvml
II IF
fi
Ft-t-rn
il [Ffm
ffi
ffi
rx
EiFm
ffi
ffi
rvmn
FHl]]
ET]
rxmF
ffi
ffi
vllffim
H#
F]]
rvml
ffi
FFTN
IIHTTI
Tf-l-aT1
ffi
TI-TTN
46
5/19/2018 A Chordal Concept for jazz guitar.pdf
43/133
7th Chords
#+7 tn
GA
Y
-TttI
.ltltl
N-]TI
VII
FEEtr
t-5t-t-H
l..]...].--m
E]17
vilfFm
ffi
ffi
+ D-Str ing
Colours
GA9
GA
)
3'r
+ 7th
+
A,Stri,n.g
. ou r s
l l ]
G A t '
GA
l v
rv
Em
TtrTTN
?]-+ -.]
H_fH
Ga i r '
o
3'd
+
/tk
.$..:$1ri L8..CoLour,s
GA
rTrn
il
l-?l-fH
Fffi
TTTTN
GA9
ilffi
ffi
l-l-fl-H
Gl i l l
I
o
7th
+ 3,a.i
G Strirg
ot.out:s
l '
'l
Gar ' r '
GA
vnffi
t a a t t l
Fffi
O
7
h
+
:
1rt,,,i,p,',5tri.ug',Crd*ui,
l'l r
'l
Gar ' r '
GA
cA l
3
"rffi
ffi
FT-TTN
5/19/2018 A Chordal Concept for jazz guitar.pdf
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47
Eended
7th
chords
- 7 r ' l r .
- v A
- r ,
- / , , ' +
J ' "
+
L , - b f r z n K
L o l o o ( r s
o o
nTn]
VM
IiJ+H
GA9
rr-rrYr
l-H++l
V TT-TT]
rr TrFlTtrTTN
GA
O
3,d
+
7th
+
B-Str ing
Colours
-^
U A
vilrTJTF
rrrrn
Hl+i-l
Tlt-r-n
O
3'd
+
7th
+
G*String
Calours
J ' l r r
G A i '
'
cA9
Ga f l l
rx
FflfTt
ffiil
rT-rm
t t t l a l
GA
G^#s
-^ 9
L\
vrffi
Tr--Ft-l
ffi
rrrn-l
O
3'd
+
7th
+
E-Str ing
o lours
-^
U 1 \
O
3'd +
7th
+
B-String
Calours
G l # l l
GA
llr-r.r.Il
LLLLIJ
H-t+.{-l
H]]
GA+I'
a
il
llrft
|
f++l
5/19/2018 A Chordal Concept for jazz guitar.pdf
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7th
Chords
Some Int
e re t i n
Combin
a i ons
il
TTI5]
-Ta-rT-l
]]tll
-]-T-TTI
Gt9{r
l 3
cA9
l 3
GA9
t 3
Gat'r-
t 3
c^9#r
xffi
ffi
ffi
l 3
. ^9
U A
t 3
G a i r '
o
trrlm
il
lff[fl
rT-aTl
ffi
l ?
GAI I -
o
13
cA9
t3
c l f , t l
Effi
rum
TI-TI-T]
t 3
Ga+'r"
lv
rT-.n
HH+I
H]17
TtrTTN
l 3
l ] ]
G a r '
t 3
GAN-
fa rTTl
rTL-r]
TT'-TTI
rT-trr-n
-TTT-|-]
v t l
ilIT.TT?
t t t a a l
I ...]T
ffi
G a l l '
'
c n9
XTM
rrT-n
TTTTN
ffi
13
cA9
13
GA9
v
l l
rrr-r-l
t l a t l a
tr\=rFn
H++H
rT'n-rl
rxmfll
r-rT-Tl
trT-trTTA
I...l.."]T
TTTT-N
Xffi
Eu
i-TtrN
l 3
G l l l
9
GAi I -
t 3
cA9
^eil
x||rrr5T
t a t t a l
TTTT-N
t l a t I
TtrTTN
49
5/19/2018 A Chordal Concept for jazz guitar.pdf
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Extended
7th
Chords
MINOR 7IH MATRIX
Now et's do the same with
minor 7th hords for example
D-7:
.*;Wl*:,. ..,bs
::6;$|:sg;iiai
D- t 1
^ r l 3
}.|b7|b
.
+.b,
t :..
;..
Q.
.
.y ,in
g....
.
aa
D -1
ffi
ilrfflffl
FFFFF
D-713
O b3,d+ b7,h+ G-String Colours
D - 7
v l l
D-9
D - l I
i:,:be a':}l::
Ffr
....
...,8::.s ii*::eiip
i'
D-7
D -9
D - t I
1..yi,.y.;... ....$7i;...{',.
$.|;g.:.ctl. |;s
D - t I D -7 D - 713
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Extended
7th
Chords
D->tr tng LoLours
G,St in.g
C Iat rs
D-713-7
D-7
. ' t l 3
A-Str ingColours
D - t I
n 7
D - 713
+
T
1i
T
=
I
",,H
- f f i
I
-T-a-T.]
I ffi
l#
I
l':;"
ffi
I
T-rm
l+
f.rr.
+bs,d
lr,,,H'
I Tffrl
l f f i
l#
l;,,,,ar,3rd
I
D-11
I ilrtTlf|
I
rrr-n
i
l-|++ ]
nTrn
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D-Str ing
Colours
l 2
T \ 7 I J
l 7
D - t I
9".$i
,,v;1x
,;
(,
, ;{,
i s
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o- z
l 3
'I
2
n 7
r r
D-7
E;{ttig ea. .a.a s
51
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Extended
7th
Chords
_
L
Some
nteresting
Combinations
D - 9
l 3
D -9
l 3
vll lr-TTn
H++]l
rTrrn
H+ffl
D - 913
D - 9 1 1
rnf-
ffi
ilrFrn]
H++fl
D - 9 l l
D - 911
u - t 3
u - t 5
D - 9 l l
vil
r-i-rn
+H+
ffi
rnTn
D-9
l 3
D - 913
D - 9
l 3
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7th Chords
DOMINANT 7THMATRIX
Dominant
7tn hords have
a wider arrayof extension
possibilities
han any
otherchord ypes we have
seen so far
-
b9,
lg, tt/bs,ls/bts,13.
',Tritone
substitution"
makes t
possible
or
us to use each dominant ti' hord
shaoe
in two different ituations.For example, f we take G7 and Db7 n their re-
duced orms,
we have:
G7
As we
can see, these
two chords have he
same thi rd and
(b)
eventh,
only
reversed. o
be able to applythe
"dominant
tnmatrix,"we
have o learn o
see each dominant7th hape in two ways simultaneously. orexample:
Db7
t3
A79
ilITEFE
rT-raTt
H+HI
TtrTtrN
( o )
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A7T9
,rbs
A7beile
ItrTFI
E]
Hffl
,um
Hfl
azbe
A9
TrrT-n
rvmfF
FFI-IH
TFTFN
nbs
ATbeirl
A7b9bt3
ilrffi
H]]
ilr
BTT|I
tFug
FFFI-+.I
FTN-N
i l rm
t-t#l
r-fl-ffJ
A9
ilFm
ffi
ffiix
az g l
rvm
Ffi-fi-l
lffi
rn-rn
ne
atlsss
I
FEIFEI
E#fl
Ffl
q 1 l
, q f
l
onb ls
'"m
ft-t-fH
A9
'um
FFFTII
m-n-l
rvm
ffi
ffi
m-ff1
az sbls
'um
H++il
rvt+il
Ht]+.
n-n-n
l ?
al 9
l 3
A q f l l
Ie
A7 5b9
,um
ffi
r-r-t-Fn
13
az9
s
9
l r r
A7t ' ,
,
13
atb9
54
ilmfF
ffi
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rvm+
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ObTrL +
3,d
+
rtfr1
rr
.:rTTl
-.TTT]
-' ]+
=rm
E7
rvFFF
ffil
ffi1fl
G-String
Colours
O
J,r
+
b7th
+
il.,jrh
+
E z 5 f
B-Siring
Colours
13
r z# l t . r f l 1 ,l'l
r l
E 9 ' l ' '
)
3,d +
b7th:.+
tt l
E t 3
+
B-Str ing
Co lour s
E7
l ^
r - V Y
E I
7
E7|"e
o 3,d +
b7,h.+... th
J'l
E 7
u
+
B-String
Colours
lll
r-r-rr-r
FSITH
ffi
TT-I_TN
J'l
E7
'
ffi
t+]
n-l_n
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mtl
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i ll
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t 5
l l ' l
E 9 t '
Extended 7th Chords
*;t#.y*"i%#'.l. m#t$::: i :" :""
*:-H
";{.:
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t t t t t a a
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IT-TTI
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:
trlttl
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H+HJ
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rfTTN
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, rbe i l l t
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t t a t a a
trfiTEl-
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l ' r
l , t ' '
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vff i
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t t t t t l
t 3
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t t a a t l
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a ) t I ) t
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IFFEtr
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l a t r t l
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l t t t t l
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frrrn
a a t t t l
trTTTN
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ttle
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l 3
A7 l1
i lm
ffi
As# l l
a l 9 | l
I ' l r l
A7t ' , ' ,
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rn-Fn
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t-ffi
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az 9
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*.. .#i .t
i i i .;
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i lm
ffi
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FI]
ffiTF
}.$t :::;9:y:; ; 1.1
o ,b b ls
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.
t , ^
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E-String
Colours,
l 3
t ^
n z vY
A9
9
t
r,.: .,ii6a
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ll
rrrT-l
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Extended
7th Chords
O 3'd
+
b7'h
+ 1-+ E-String
Colours
E A *
| |
L /
E z l
E7
9
il
ffm
TT'TI-N
l t t t a l
Hffi
|V[Im
FffiFt#
vmm
TTT'T'
ffi
TT-TTN
v
rarT-l
t t a t t t
trT-T-n
rrTrn
trT-TT-traTTTT-N
E 7b 13
o 3,d
+
bTth
+ bgth+
E-String
Co aurs
l n
r - V a
E /
O 3,d
+
b7th
+
gth
+ E-St r ing Colours
E
tv
l 1
-^1 t
E A
E9 t ' r '
tbeil
t l a t a o
F|+N
FU+
T-I-N
I V
l a
r - V
t t
t 3
t ^
r - ? Y
E I
rrffir
Iffi
TTTT-N
trrtrT-tra
I...I...I...m
t-t-tT-n
t . ^
E g P
r
E 9 l 3
E9
rvm
Fffi
ffi
VI
LIff i
I I t a a a
rr-trFtr
| . m
TTTI-N
t t t t t t
E9
E7b9fre
O 3,d+
t
Tth 9tu + E-s t r ing
Colours
l 3
ET ie
ET ie e l1 9 l
E7 9
7
9b l s
E7 9
VIFITJTI
TTTT-'
TTTT-N
ffi
v rm
E
-TTT-I
l-H+f?
-TTT-N
a b7 'h
+
D-Str ing +
3,dCo lour s
A7
A9
7b9
VI
FTIFF
ffi
T'TT-T-1
trrTrTl
VI
Ff[r[]
TTTTN
I a t t l
ffiFF
ATte
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Extended 7th Chords
abTth+bgth 3,d+ B-Str ingColours
I J
atbe
t ^
ATvv
A 7 o '
a b7th I
jth
I
j,rd
:,
] '
A g e t J
B-String
Colours
A9
3
A99
vr
FFm
TT-|T-l
t t a t t r
FiH+]
VIH#N
Fffi
Ta-r-r-lTTTT-N
. b7th
+
9 , ,
3,d+ B.String Colou,rs
13
ntlsvt3 A7I9
vt Er-r-fl
ETII]]
t-t&FH
N_TTN
^ 7 9 ATle
t)
3rd+ D-String
E t l
+
bTth
olours
e
i l l l
E7
]'
E 7
n u
E l 3
v t lt l
vil
FFm
TiTN
t-}Fl-H
m-Trn
O 3,d + D-String +
bTth
+
E 9 l
I
9'h Colours
I ' l l I
E 9 i ' r '
v t l v t l
E 9 V |
E 9 l 3
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xtended
7th C
E7 9b13
rbeYt
vrmfl
ffi
ffi
z #l
curot$aff ffi
E T P Y
E9
vrm
tr-Trn
ffi]fl
E7
ilrmm
ffi
TtrTTN
eq l l
II
TTffi
ffi
ffi
ezls l
r t i e
I t t l a a
ffi
ffi
ffi
il l
7{ebrc
ffi
ffi
ffi
ilr
FFm
ffi
H]]
t' l
'l
E 7n "
t , ^
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O
D-string
+
b7,h+
3,d
Colours
E l l
r z l l
E 7
v t l
t l
Co lour s
E 7n "
vil
lfnp
t t a t a l
TNT
N_FFH
A9
E t 3
v i l F
FFFE
F
E l 3
vlr+lr
Tl-T-.
Ft-r
TTTT'*
E7
ffi
FUq
FFFFF
O bTth
+
3,d +
E-String
E i l
E 7 ? |
v l l
+,1
ll
O D-String
+
3,n+
A7
VIEETI
TrrT-1
I...l...]..m
HUf,
v / " , L o l o u r s
l ^
a l D Y
ATie
A l 3
vl
ITfFn
t-t-Ft-H
Iffil#
Trtrr-n
E 7 V |
O 3,d
+
bTth
E-String
Colours
t ^
A7 ATVY
vmr.
Vl
f f i
|-+.]+.]l l_l-|| l
t-l-f1-.1
rrTT-n
trrffi
i]-rm
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l t
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|
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y''7.
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+
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t ^
t z v Y
V|||FFF I
tmn
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rtt+t
,l.l
|
+
3d Co/ours
+
3,d
+
bTth olours
t , -
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v i l l
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9
rrriTr
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, 1
tftF
l#
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v l t l
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rz i l l
vl l r f f iT
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Extended 7th Chords
Aog
,ilm
H]]T
A o l l
EXTENDED
DIMTNISHED 7TH
CHORDS
So far, we haven't
ookedat
extendeddiminished
7th hords. Let's
do
it
The
scale that is
commonlyused with
diminished hords s
the
"whole
step-half
step"
scale, or
"symmetrical
iminished"
cale. lt offers us
the
fol lowing
xtensions n a diminished tn
hord:
t , -
7 t J m o l /
We
can see that,
as
in
all otherscales,
the
"upper
tructures" orm
a chord
arpeggio in this case another iminished tn hord.This s againa result
of the
symmetry f the diminished
cale and meanswe
can use any
dimi-
nished 7tn
chord as a substitute
or another,as long
as
it
belongs o the
same scale
(there
re only hree
possibi l it ies).
his ooks
good
on
paper
but
doesn't always
work n reality,
ecause the
"ear"
needs
to
hear
at least
a
minor
hird
or
a chord hape
o
function
s an extended iminished tn:
Aog
t , -
A o l l P l J
Keeping
his in mind, I 've
tried to see how many
shapes lcould f ind.
Remember,
hese are not
diminished tn hords
they are
"reduced"
orms
with
extensions hen
added.
They
are not symmetrical
nd therefore
don't
produce
he same colours when
moved up or down n minor
hirds, as the
diminished tn
hords do. However,
he changing extures, hey
offer us, are
alwayswithin
he
given
scale:
AOA
i l m
TT-T-'
I_FI_FH
TtrTT-N
vrffi
Il-tm
t-t-t-t-H
A ob 3
63
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Extended
7th
Chords
EXTENDED
DIMINISHED
7TH
CHORDS
Aog
IV
Tllr]
raTT-fi
ffi+F
rrrrn
lv
rT-n
Fi ffl
rT TT I-1
rrn-n
D o g
G o g
v
rT-n--a
H+ +]
sil
rrr|n
G o11
um
ffiH
ITFTN
A o l t
Dog
v
rltrTl
l- |t]-]
FTIF
Vffi
Hfl+
n-n-n
G o l l
Vrfffir
H+?+l
trFF
rrTrTl
Go9
vilrFEt
Ft-+fl
ffi1fl
#e
64
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61/133
^ t - t u
LomblrtmS'Lxerc$es
Aob t3
F o b
3
|vm
ffi
I..]...]"m
N_TTN
VIFflJI
ffi
trrrrt-]
trrtrT-n
V m
ffi
ffi
|||[fl]
TtrTT-N
H++ ]
trtrTtrN
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TT-T-]
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TT]]_N
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t a a I t l
TTT'T]
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t t t t t l
TtrTtrN
|V
5FE
ffi
ffi
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odended 7th
Chords
DIMINISHED'ITH
-
DOMINANT
7TH
SUBST|TUT|oN
RUL
Now
that we've
gone
into
quite
a lot of detail with
extended di
chords, et's ook
at anothermportant
se or
hem. 'msure
hat
us have
noticed he
similarity etween
ominant7th
g/Itt/I3
(fromthe dominant 7thmatrix)and the extended diminished 7th.The,y
come rom he same scale
(symmetrical
iminished) ut starting n
ent
notes one
half step apart. This means we
can use a di
shape
(with
or
without
extensions)a|so as a
dominant 7tn 9/ tl/L3
step
lower.
Ao
+
Al7b9
l 3
4o9bl3
+
xbz 9
Everything e
ust
learned bout
diminished
tn
hords
an also
be
to dominant 7th
7l/73
chords with altered
9trr.Don't
value
of
this rule t
provides
s
withan enormous
rray
of chordal
5/19/2018 A Chordal Concept for jazz guitar.pdf
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Extended
7th Chords
BODY
sout
G re n S
our H eymann Eaton
{arr.
Peter
O'Maral
-3----r
- ? -
The
rich
colourof four-note
oicings s
well suited
o ballads, ike
"Body
&
Soul . "
_ - ? _ -
a
Eb-7
BbTbe
b l s
Eb-e
tbtbe
I
obre
cbql3
l e
7
F _9
I
Eo9
| a l.
: f
s
rb-g1t b-s
br:
sb-r
Eb-e
AbTbe
13
Dboddg
E-9
ntbg
D69
E_9
11
r [ e e
Doddg
c*9
I I
e t , e
_
i e
be
13
rXz
ls
B7?5
E-s
A7',s
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ra
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D.C.
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67
a
D^l3
Db #
l
b ' chapp|
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Used 5,
Pe 'ar,ssron
5/19/2018 A Chordal Concept for jazz guitar.pdf
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IN
YOUR
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A-
orbg
G - l
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c9
C _9
F l 3
Ab-7
obtbe
cbne
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cz i l 9
F7b13
czi l9
rzbg
E -9
A l 3
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5/19/2018 A Chordal Concept for jazz guitar.pdf
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Chapter
j9t
utu
7
on the3,d
cn9
( lon ion)
EXTENDING 7TH HORDS USING
ASCEN DING
RELATIVE TH RDS
We've
builtup
quite
a chordvocabulary
y
now,
but
I'm
sure here'ssome
we've missed. By leavingout the root and fifth,we were
able to extendour
7t'
chords with 9,
(il)11,
and 13 colours.Another
way to extend
7tn
hords
is
to use
parallel
hirds.That s,
to
get
a 9th olour,we
move
up to the chord
on the third tep of the
scale,our original hordcomes
rom.For
example,
we want
o
findvoicings
or CA9: we move up to the
thirdstep of the C
major
scale
(where
he
CA9 comes
from)
and we find E-7.
ct9
This
means that we
can use any E-7 voicingas
CA9
as long as
our
voicing
is not
too close
to our bass note
"C".
This substitution ystem works
fo r
everytype
of
7tn
hord,so here are some more
applications f the system
(white
ircles show
the
position
of the original oot):
|
r-n_.l
LLi -l-J
ffi
(or
ony t_/ voicing
ffi
rl-rTn
htgher
up)
O Dom 9: use
-7bS
( Jv
(Mixolydion)
Bs
Vlm
++ r.]
(or
ony
Bo voicing
Effi
hishei up)
):
use
L7
D-9
(Dorion)
FA
O
*6,9:
use L*11
D-69
(Dorion)
l ' l l
F a l r '
i lrmn
ffi
(ond
oon...)
I...I...]T
TTTTN
V
TTll
H - ] -]
(or
onv FA
voicino
TFFN
n-rrn
higher up)
5/19/2018 A Chordal Concept for jazz guitar.pdf
66/133
G
Tsus
9
l 3
CTrrrb9
c7ru.b9
Ablill
lil
trEEFFt
TrT--n
lffi
ffi
l i lm
ffi
ffi
l 3
B
Tsus
9
v||FFFE
ffi
fi
trT-TtrN
c^ils
vil
fFtm
Trr--l
ffi
m-Tn
Gs
5/19/2018 A Chordal Concept for jazz guitar.pdf
67/133
[.ti?lijt ^tr '".i?'IoNS:
|'ve
always
ound
t
helpfulto
ntegrate
ew
chgr
shapes
nto l.V.| .:{
s
these ppear ftenn;".r .iJnlu'roJ"inrr eys.Here
ru
u
r"r.
*l
ut
don't
forget
o
transpose
hem
to
other
xevsl
D _ 9
V
ITITE
T .Ir]
fi
rrn-n
D_9
VfEE
.l-fffi
tfl
l 3
G T D Y
b v ' "
ct9
rv
E-n
t-Fl-++-j
ffi
"'m
ta-Fti
rrrrn
ca9
lvETn
i1tffi
ffi#
'''m
FF
D- 9
vrlffi
E#fi
G 7b 9
t
o l s il
t
ct9
vu
Fn
T tl]
+FH
. ^9
67
rcbt
vlrffi
Tml
mrff1
vil l
co9
f-n
l-t--H+-l
ffi
Tf-IH
n-n-n
v l l
b
A_9
vmm
FiIIIJ
H+ffi
'vm
.til
rrn-n
o,ben
vl
P-Tr-F
ffiE
ffiH
c # l
vl
Er--n
i-l-Fftl
ffi
A _9
um
F#ff
TN-H
r[Irm
ffi
rftrH
A-9
vffi
fj-tfH
Efl#
D7
eb ' t3
rvmX
l-i--i-++t
ffi
c^e#
D - l l
l ^
D7
DY
c -09
72
b
5/19/2018 A Chordal Concept for jazz guitar.pdf
68/133
Jrds
t 3
D T V Y
vll
rrrr-.
t l t a *
Iffi
T-TTT
ffi
t ^
D T D I '
cA9
V
FfTTI'
Fi+]
TT--TT'1
TT-FTN
GAI
3
t 3
A_91 l
o ,b p l
oz 9 il
G^ef
V
rT-rr.
LLLI-IJ
|-.+-.{- +.]
H#
- ^
3
U A
vll
rfrr-r
l - l t 4 I
EHtIl
ffftfJ
vllrr-rr-r
LLLLIJ
ffi
t-ft-ffJ
lx
rrrT-r
LI-LL]
H+l
L]-LL]]I
i r t l t l
IX
EFMJ
f+++-l-l
ffi
TTTN
b
eTlebts
rxEm
t-+++]
H]+fl
\f l\
'*m
E T I
fltfH
c-49
vilrFm
ffifl
fll+H
) s 9
t
T]
._--11
G 7b 9b t 3
lv rrraTr
trI---rT-l
ffi
FTTTN
lg:v-l
RoGREsstoNs
(M
NoR)
t , ^
G 7 D
t J
rffir
++]+
trffi
ftr|n
vil l
Da9l l
c-^9
ol sbq
vll lrrrr--r
LLJ:II]
H+I-N
t+Tl
VI
FFTII
FH+ir
F+HI
D 7b 9b 13
G -69
A - 9 l l
IXFEH
l...I...I..m
rrrrn
H-H+]
ilrffi
F+m
r-r']i-n
I r-rrn
HJI#
t-t-Fi-fl
T]-TTN
5/19/2018 A Chordal Concept for jazz guitar.pdf
69/133
As91
1
c -^9
7 ebls
lv
rrrT-l
LLLI-IJ
l t a l t l
& .]-]_H
TtrTT-N
vm
rT-TT]
H+f?-l
r-r-trT-n
As
c -49
As
o -
I tT-T-l
f-.ffi
FFB
H]]
As9
rvm
I_I_FFH
I...I...]T
TT-TTN
Q-A9 l
3
A a 9
Aa 9
Aa l 1
A s 1 1
X|ttI
ffi
ffi
G-^9
#e#
t t a t J a
ffi
ffi
ffi
l l
D
I
ra-rT-n
&1 3t
rTTTN
ffi
|||FFt
o t t a t l
TtrTTT]
l t a l t l
TT-TTN
c -69
rrdrfi
ffi
rrTaTl
H++#
ITTTN
A 9 l
3
G
v t
b
As1
1
D7b9
D 7b 9b 13
lvffi
trT.]-rFa
ffi
TtrT]-N
t 3
D7 9
c -^13
G-^9
o,b f r l
rx
FFm
l t t a t a
Tl-Tt
ln-rm
3e
G - 913
vilrFffTfl
ffi
Ffi-rfil
IT-TTN
g
As91
1
VIII
FFEFtr
ffi-H
ffi
N-TTN
G- r I
rffi
Hl-t+l
FFF
TTTTN
b
5/19/2018 A Chordal Concept for jazz guitar.pdf
70/133
Extending 7th
Chords Using Ascending
Retotive 3rds
EXOTIC EXAMPLES
(EXTENDED
SHAPES
FOR
-7b5)
Aa11
orbeYt
c -^9
, ,b y l
Q-A9
I
3
ITRII
r-rTTl
t l a t a l
ffi+N
vilrEml
T.-rT.]
FF]
trT-trrn
o l gbl s
rxffi
m-m
FI_I_FH
eTlebts
rvmn
TTTT-'
ffi
frtrrn
b
t ^
D 7
0
Xm
trT-TT-n
t t a t a l
I...I...]T
TT-TtrN
t , ^
A ? | 3
,rbexv
7
c -69
X
FFM
ffi
TT-TT"]
TT-TTN
bs
t . ^
B a D
s
ilr
fffff?
rffi
TTTT-1
-r.TT-]
TTTTN
A - A t 3
YrfTffSl
ffi
i".]...]..m
.iF.TT]
ll
rrrrra
TtrTTN
o t t a a l
ffi
trT-trrn
u,b xv
75
5/19/2018 A Chordal Concept for jazz guitar.pdf
71/133
c^9 l
UPPER
STRUCTURE
7Til
CHORD
SUBSTITUTES
(NO
5no1
Because
of
the complexity
of some
jazz
chords,
we
often find
t