242233329 A Chordal Concept For Jazz Guitar Pdf 4i6w29

e t er

0tllara

itOIŃ )tJ

FOR JATZ GUITAR

,t- /

O 1996 by ADVANCEMUSIC No parts of this publicationmay be reproduced, storedin a re:' system, or transmitted,in any form or by any means, electronic,n-e cal, photocopying, recording,or otherwise,withoutpriorwrittenper^of AdvanceMusic. International Copyrightsecured.

Music typesettingand |ayout:Hans-JórgRudiger Cover Art by 10e9, Oberhausen Printedby TC Druck,Tubingen

Order No. tOOt2

lntroduction

....7

Chopter I - Triods MajorTriads MinorTriads MajorAugmentedTriads Majorł11Triads. DiminishedTriads. TriadsWithAddedNinth MinorłSTriads.

........10 ...L2 ....L4 .....15 ....16 . . . .t7 ....2o

...;.. ...:. .....

.......2I .......22

A C'EOROIA S T A T RYV

Chopter 2 - Seventh Chords

25

Major7tnVoicingExercises M a j o r 7 ł 1 1 S h a p e s|&n v e r s i o n s Major7ł5Shapes&lnversions Exercises MajorTthConversion DiminishedTtt'Chords D o m i n a n t T t t ' S h a p lensv&e r s i o n s M i n o r 7 t t ' S h a p e Is n&v e r s i o n s MinorTtt'b5Shapes&lnversions MinorMajTthShapes&lnversions Major7ł5 Shapes R o o t P o s i t i oEnx e r c i s e s f f - VV- fo i c i n g E x e r c i s e s DropThreeVoicings Reduced7tnChordForms ThreeNoteCompingUsing"Stable"Notes Chopter 5 - Extended

7n Chords

. . .26 ....27 ' ', '28 .. -..29 .......30 ........31 ......32 ....33 ........34 . . .35 .....36 .....37 . . .38 . . .4O .........42

45

fixiil.Ylih,il:: :: : ::: .......:: ExtendedDiminished7tnChords DiminishedTtt'-DominantTtnSubstitutionRule ^l BoDY € , soUL INYOUROWNSWEETVAY.. Chopter 4 - Extending 7n Chords Using

Ascendlng RetotiveThirds

. . . .63 ......66 , . . .67 .....68

ó9

OtherSubstitutePossibilitiesFor 7tnChords PracticalApplications:ll-V-lCombinations fl6v-lProgressions(Minor) Exotic Examples(ExtendedShapes For -7b5) UpperStructure7thChordSubstitutes(No 3d) . . Some ExamplesOverStandardChordProgressions -JazzBlues -Standard -RhythmChanges

. . .7O . . .72 ....73 . . .75 . . . .76 . . . . . . . . .77 .-......77 ........78 ....79

Chopter 5 - 4thChords (QuortotHormong) 8t ExamplesOf ModalUsageOf 4tnChords CompingA MinorBlues Using4tnChords

t a ł

"Miles" 4tnChords

Chopter ó - Ctusters

85

Major,Minor& DominantClusterSounds CompingA StandardUsingThreeNote Clusters

t

,:

THE GIFT . . ^' ALLBLUES

Chopter 7 - Intervotistic Comping

95

StandardChordProgression. OtherPossibilitiesForChordConstruction "ScaleSkipping" AlteredScale Voicings . . . . A

, STELLA BY STARLIGHT . SECRETLOVE ' VERY EARLY

t t

. . .

Chopter 8 - Stosh Chords

. !!

109

MajorTriadsAs "UpperStructure"Slash Chords MajorAugmentedTriadsAs "UpperStructure"Slash Chords MinorTriadsAs "UpperStructure"Slash Chords Diminished TriadsAs "UpperStructure"Slash Chords CombinationExercises StandardChordProgre..'"" . : : : : . : : : . : : . A cosTAD€ L soL A LAK€S A OMA}IACELEBRATION. . . .

Appendlx

T .J

150

^, EXPRESSIONS A THRE€

-t

InClosing AboutTheAuthor

-* -r

!NTRODUCTION guitaristwitha comThe idea behindthis bookis to providethe progressive prehensiveoverviewof chordalstructureson the guitarfingerboard. Starting withtriads,thenworkingthrough7thand 9thchordsand furtherextensions, chordsubstitutionrelationshipsand practicalexamplesoverstandardchord progressions,I've tried to presenthere a chordalconceptbased on logic ratherthanjust memorizedshapes. This book is not for beginners! However,after manyyears of performingand teachingjaz guitar,I've cometo some conclusionsaboutlearningchordsand hopethatthis book will make it easierfor today'sguitaristto understand the complexchordal jau,. structuresused in contemporary Peter O'Mara

Chapter1 TRIADS Going back to our first days of playingguitar,we learneda few basic chords to be able to play those songs we were hearingon the radio.Those chords often used open strings,so we were stuck when a song was in the key of "F"! To overcomethis problem,we learneda few "bar-chords."Now we were set! But then along came those more complexjazz chords and we forgot about the basic triads we had learned at the beginning.Let's take a new look at them.

The "bar-chord"fingeringswere:

mofor

molor

molor

One problemwith these chords is that they often double a note:two roots or fifths.That's a good "fat" sound for pop guitar but we don't necessarily want to "waste" a note when playingcontemporarymusic. The fingeringson the followingpages show various possibilitiesfor triads without doubling notes.

I

MAJOR TRIADS

i

'

Ctose Position

u'm

vtttrn ffi l...I..]'.m

ffi TT-TT-N

t-I-n-n

^l

óv

v+m

v rrr-T.1

H]]T

ffi TtrFT-N

F]+ł+]

ffi

vrFFtl l-i-+fl-l ffi ?a_

V||Ęlm F]]ł TtrN-N l...I...|T

vilffi

V|||FEĘIT] ffi

RUU N_TTN

ffi t-I-n-n

abc

10

Bb

Eb

vilrffi1 HUU TN-TN

rb

ab

sb

Wide Form lnversions

) Root Positions €l Inpersions L

lŁ

Yill

ffiffi

#

ffi

ill

ffi

H]T TtrTTN

ffi

TR-II t-a1-T-]-1 ffi TTTTN

tatal

T]T -rTrn ffi

ffi ffi

I X ffi

rll-m ffi TI-TTN

TT-TT-]

:Fm

TT-T-] I...I...]..m

l-fiHt ffi TT]-TN

ł]]ł

l-

t l ffi

--rTTT-l

FUtl ffi

tF

} lurnąrouna LXerc!ses

l.

v'||EE

FlC

BbIF CIE V|||m|n Vl|EFf] VmfI V|||ffi]l

GIB

V|lĘFm V rliln V|||m

ffi ----rH ffi j++l ffi fr-fffr Frf, H+H

I

c/B

DlA IVTFH l-l-li-n ?+l+-{-l ffi

V-Tł-il Vmn ffi

i+# .--T-m

n-FTn

F]]ł

FF

GIB V EFF-II l....l....JJ attatl TTTTT] rT TTN

TTTTN

Trt1-l rć-it-r-i

H+H H+H H+# ffi H#

^l

óv

V|lfflm

ffi

H+#

GID

vrrran raTl-n

TTIT-] TI-TT-N

VFF|rt] IVETfTl vFFm Trtrrn

lł]-]_H TT-TT-1

ffi]ł ffi

EbIBb

FIA

H+H

vr ffim

^l óD

tx Fffm

FIA I VF E H ffi ffi

CIG v fffm

Tml

tT1tł H#]-] H+ffiH+Hffiffiffi

-t ,^ . FIC B'ID C BbIF E_V/U BbIF vil;lTF vrrrffivrrtffivrrm vilEFFfF vilrFFFfF vilrFm vilm ---+N ffiTnT+ffiffiffiffiffiffiffiEtt++łtsrff-H ---T-Tl

t_t_l_t_|] |l_|||]H-]]ł H+ffi H++F H++| H+H

EbIBb

vilrEm

Bb rxffim vilrEm AbIC

'HJłH H+H H+H

óD

FIA vt EEfr-l

EbIBb

vilrm

H+ffi

Wide Form lnversions

..rs. p łi.iń1s } R oor osttiiń. ś: I.nł.e.i: L

ffi ffi TTTTN

ffi

tffiN

i..]'..]..m

a-rTTT-l

ffit a t a l '...l..]..m

trm t-aTTTl

ffi Htffi

ffi g]]]ł

t]]ł ill

il

T]]ł

r+Tl HUfl

tx ffil

ffi HUfl

ffi TtrTT-N

Ttlu

ffi

tT-T-l I...I...|..m TTTTN

l-ł+.]_H t-Tu-n

FUfi

b iii s:e:s } T,, no, ou ń|d...E)Ć

l.

F/C

G/B

BbIF

Bb

CIE

vilrsE vil FFm v FFm vilrEEEN vilrFFm vilFtm vFf|rll vilrm rrn-H rffil TflTl ffi Tflfl =++FF]Ę fFffi ffi

vrmn H+++

Eb/Bb

FIA

Bb

H++Ę H++HH+H H+H H+H H+# H+H H+#

I

G/B

v -Tfil {:ffi

:T+F

)

,,,

V TilfI TTTTN IH+N TTT]_N

BbtD

DlA IVTF?lll ffi F]]ł

c

Yil -Tffl vilr[frmvilrffi

=il ::FE

GIB

ffi

vil

BbIF ffi

trrnr-n R]]ł H+IF H]+F "-; H#fl

ffi

v rflil]

TFrn l-|++ł] Trn-n H+H

Ht+]-] ffi+l l....l'...JJ

FIC

vil

GID

CIF

v rrT-n tra-rT-n

V EFEE

rvFtm

E-D/V

vilrEm vilrEm

FflTl

ffi

C/E

vFFm

FIA

vr mt

Bb rx FF|F

CIG

v fffm

FIA

vr m

Tijt] Ftt1tl HJ+H H+H H+# TT]tł H+H H+H H+ffi H+H TTT1]Ę]tJ]

BbIF vil Em

T1+l

F]+ł +H+ H++fl

EbIBb A\IC Bb vilr lff|fl rxmTfl vilrfffffl frr-Tn

ffi

bT-

ffi]ł ffi

FFtł F]]T

Eb/Bb vilr m TT-n-n

Ff+l-u rtrtrtrn

(ł|łI

Triods

MINOR TRIADS Ctose Position

V TtrT'N

vrffi t-f+t-H ffiTfl

t-f+fl-l ffiFF TI-TTTI

VTrr|]

Vmł

H]ł HUil

ffi

H]]ł

#.** -r

L-

r-

u-

L-

F-

Bb-

C-

Bb-

-l

EV-

7

12

Ab7

Bb-

Wide Form lnversions

) Root PositionsG Inaersions C-

C_IG €}

€}

ffi ffi

ffi ffi

l11ł

ill

ffi

fT+F Htffi

TTTI-N

-a-rTTl

Hffi trrTrn

i+ffi utT

vill

H-.H+l TTTTN

I V ffi

H]]]ł F]]T

lu+

ffi -TTTN

ltttal

TT-T-I I..]...]T

ffi ffi

ffirF

I...I...IT

FFFM -rTrn

ITrrroround Exercises I

c-

F-tc

v :Etr

vl r-r.Trr

ffi

F]łt

--LLI.].J

-H+H

LLLLIJ

G-tBb C _ v rT--rT-l v [T--rĘ E-]_LLIJ

LLLLIJ

?]-]_I-H F|+łN tH+H

F]]ł

ffi

Bb-tF v lftFn vr[flfTl FFFFF ffi ffi FFFH F-

L_/tP

^l

F_

VET|rn VI|IFII ffiffi ffiffi

óv_

vl

?

v

)'

G-/Bb

c-

D-lA

vFłm |||m r+H-l t++t| fłłT| H]]ł TTTTN ffi Ht+

v rT--rTt

B

F-tc

G_IBb VTI[-fl ffi ffi

Bb-tDb c-

V|FFFłT V|||5FFFF V[[m V||fflf|] fTffi Hffi tłTI| fTT+| ffiffiffiHUt

C_IE! FvElm vT[fTl ffiffiffi ffi ffi

Ó7_lr

Eb-/Gb

vrm vilrEm ffiffiF]]łffi ffiffiffiEUT

G_ID ilrm

C_IEb

vEm TT-TT-N

F]]ł

F|++ł] TtrTtrN

Bb-tF v[I[fT] vr[TffTl

ffi ffi ffi I 7e

eb-teb

ffi

C_IG

ffiffi

E]]T

7

rxn-flflvrrrm ffiffi

ffi

F_IA!

rvmm vrm

eb-nb ^b-tcb Bb-

vil mm ffi ffi

-l ÓD_

vil ffim vrlffTfl vrm ffiffiHffi ffiffiffi

F -tAb BbVIFFrlT] vt fffm ffi F]]1ł TT-TI-T'

R]]ł

F-t^b

TTm 3

F]]ł

Eb-/Bb

vil ffim ffi ffi

r No study of triads wouldbe completewithoutlookingat altered forms:ma.: ' mented (ł5),major b5, diminished and minor łs. ay now, We should be ,. familiarwith triads, so that we can convert the shapes to get other sounds start with major augmented(/'5).

MAJOR AUGMENTED TRIADS (il5) An augmentedtriad is made up of two majorthird intervals.The chro^ scale contains three majorthird intervals.Therefore,the inversionsc' augmentedtriad are always "mirrorimages" of each other.However,tl-.. tar fingerboarddoes offer us a numberof fingerings. ) CIose'Position C oug

vrffi

VIEIFH

r+H-l I...I...|..m

EPOug

vilffi

tTtm t-l-H-H

TT'TT-N

-l

B bo u g

F oug

tftm l-Ft-l-H

t) First 8 Second lnoersion C oug VIEIIFFI ffi

C oug/E

C oug/Gł

l-ś+H.]

tv n-rrra

F|+łł] ffil TT-TT.N

t-r-l-t-t-l

l....|....l....|T ffi

ffi

C oug

VM

vrrr-n

H+IH

ffi

o Włde Fartn lnoercioas F oug

rffi

ITfl-n

FH-H-I

ilrm Elt--n

H+l+l

u,ffi Eul

Fl'rH-l

Bboug ffi ffi I..]:..]..m N_TTN

ilrFIFll ffi

HUfl

E bo u g

vrffi

rttrn TrTrtra

ffiF T|-TT'N

H++t-.] TI-TTN

vilrFEF

'vffi

TT-trT--

ttt o |..1...]T -TTT-

ffi TT.TTN

L Connecting Exercise

G ilrttil

l++t+ ffi

G oug

|||ttł LLLLLJ

l-iH+l TTTTn

C oug

||ffFĘ ||FFm LLLLIJ

Ht+N n-n-n

?+J+N

ffi

F oug ilrlflm

ł1lH ffi TtrTtrN

iltfffm

ttllll ffi TTTTN

Bb iltffi

FH+|] fł+I| FTT]_N

B bo u g

|Vtffm l-l++]-] fł+]| I-TTI'N

Transposethis exercise to other stringgroups, too!

FI

fo

vF m I.].ffi

TTT'T]

ffi

MAJoRilrrrnlaos (b5)

) CIot, Positib,i C(il11) rvfmn

a b t lłl l

F ( łl l )

FTFFFI

łf-+-]+ Trtrrn

} F;rst Invi:is.iiń

F(ilr r) rvmn H++fl ffi

c(#ll)

G(illl) IVTITTI

rv+lll TT-trT-n f?-l-l+ -I-TI-N

r-r'rrn

?++++ TT'-I-N

abtilr rl TTTT-]

3

} S econ d tłłćrłł:łitt

|rI

ł btfil ll viltm

rbt#r rl

F (łll)

H+TH ffi LLLLL'

vtl

ffi TTTTN

bs

p t,.:;.ińt;ói;on; } w i a, 6.|, F(illl) nFFEI vtrffi ro

LLLLLJ

++Hl

ffi

n-n-n TTTT-N

}Co,,,iis}:E...Eic,|iŁi;;i G(illl) vTT-Trr - trrtr-n attttt I..1...]T

Hll+

lxm TtrTT-n tt tat I l..]...]-..m

r-r-r-Fn

B b ( ł ll )

vilFFTfn

ilrrffll T'TTTI ffi TTTT-N

V ll

ilrtTrJ

l...ł...]+

Ft-]-t-H

ffi

la l

tfrm FH+]

TTTTT]

|

I...I...]..m

FFFFF TTTTN

tx[m l..#

FH-I-H TTTTN

F ( ł ll ) VTI-TT-I

H+Hł ffi TI-TTN

vil ml Trtrrn

TTTT-N

H+Hł

rx lfflfl] ffi TTTTTI TT-TTN

15

DIMINTSHEDTRIADS

trr

A diminishedtriad is made up of two minorthird intervars.The cnrom scare containsfour minorthird intervars. This symmetrywi, be or great r when we took at oiminished seventh chords. Here are so :iJ."J:*,

)'Clpse

Fasiticn

Bo ilrFfTfl rll-1T1

rn E-

O

'um

ilrTTrn Tf--Ftl

FT+FF

aTT-t.ti

rTn-n

Do VIMTB

rTTT-1

|T-TT-1 Iffi rTITN

rT.FTN

+f++-l n-n-n

b

) First'inai:eision RO

tr" villETlfl

vlllr.Trn

H+l+ TTTt-rJ

AO

TII-E

H+H

ffi

r]_ftl-l

Do lxrn-r-l

vilrmTfl TT]TI t-t-ffi

Hl+]ł rfTn

n-n-H

TTIT.H

o

) See:oad:Inversipn Ro

tr'

xilFrffl

Ao

xilmTfl TTTE ffi

T[rĘ

H+ffi

Do xilBTf-Fl rmT-] F+-t+l--l mn-rl Bro

xilrffim R+m t-Tl-t-n

TTF]-N

a

C Wide Form lnaersion Fo

,ffi F]_Hl

trrEffi

H++F

tó

vrFm

ffiffi

Bbo

'ffi

TNT

fTt-Tf l

llrBnrn

t|ą Hl+l

EbU

L Connecting Exercise trłlo

il flm Trtrrn ffi TTTT-

c

Bo

u-

ilrFFm tr-trT-n ffi TTTTN

a1-t-ttl TI-TT-N tttatl trT-trrn

Eo IIFf;IdI ffi

TRl] Fil-i-n

C-

Bo

C-

Bo

||Ff,tĘ] ilr[Fml rvEm vEtF+ vil[m ffi ffiffiffiffi ffiffi ffiffiffiffi

vilr fflfll

Eo

ilrH+B rT-tr-n

Eo V TT-T-I

FFFFE .TTTN

H+Hł

FT+

vrm

TTTI-T' r-r'Trrl ftEtr lttl

IXFTFM

vilr flfm

tTrT-n t-Fl-l-H Trn-n

I...I...|..m TTTTT] trrFT-tr4 TT-TTN

._o

. trrtrT-Tl

b

I

bo

TRIADS WITH ADDED NINTH Anothercommonsound associatedwithtriadsis the "addedninth,"used in countrymusic, but also in pop, fusion, and contemporary1azz.Here,we can add the ninthto the triad shaoes we have iust seen.

Mojor Add 9 Voicings

O Root Position Codd9

B b o d d9

Fodd9

v+m

vr[Tm] rrraTt

T'T'T]

ffi -TTT-N

ttatta ffi

t-1-t-1-H €>

) t-s-s-s voicing Aodd9

V fFTII

ffior 'T--rn

Dodd9

ilmE rrT-T1 a-rT-rT-l

ffi

VTrTI Effi TTfF

or

| | TTrT-l-a

I+IFT tottal ITrrn tttl

Godd9 V ITITTI l....l'...]J I ttata

F]]T IT'TT-I

vil f,l::m

or

l....]'...1....]T

rfi-tfr ITffn tttttl

€rl

17

W

iw.#ffi )tA

,: o-tbls,

BboddglD v r-r-n tj+al

(:

D-7b13)

, _ n _ r b l s,

Ebaddg/G

v rT-TT'l |.]-t]4ł

trrtrrn r-r--rT-l

t-+-l+-l-l

ffiTl

t-t-t-t-t-l 7o

;ffi vil SFFFF

(:

Cósus )

BboddglF vil Em l...I...]..m

ffi

( : Fósus)

Ebodd9lBb (:

rT-TT]

,I ++t+t

TTTT-N

I

bs

79

{:iiaittFi;.}::*1;i Godd9

(:A9sus)

Coddg

Bbósusl

vlll

, _ ,_rbls,

Fodd9

t -\

t,^

a zPlJr Ą-l

Codd9 VITlIr] (strę. FFffi] ffi

)

rtrrTl-ł y

_o

Fodd9

Bbądd9

Ebodd 9 vrH-fft trFIfl

vrmfl ffi ffi

Htfi

b

7|t,Ą Minor Add 9 Voicings

C- odd9

VM

ffiFF

F- odd9

Bb- oddg vr EffIfl l||ń

H+]+'

ffi TtrTTN

{E}

18

A- odd9 YEtr

G- odd9

VIEEM

ffim ffi

l#

ffi Pd)

€}

"m

F_ ądd9lAb ( :

Bb- oddgiD ( -

łbll3 )

ohll3)

IY

(:

Eb- oddglG IVFF?TII

cbll3)

F|+..]+ł Htffi I 2 -O.

F- odd9lC ( : C ó s u s ) vl FFFITł ftfm )) 4 <ż.l?,

tffi

Bb- add9lF tt t VIFFl-fTl |+-ł+]-.ł

F ó s u s)

FF}FH r-rrT-1 I 7JD

L

C- odd9

Eb_ ądd9lBb ( : Bbósus) vil FEt ttłF| ' | 2

( : rbrl3)

+|-.'l-tł {E}"""

F_odd9 (-

ilFm

łbal3)

ffi rH-1-n

Bb- oddg

F- odd9

Eb- odd9

vrm

vrml ffi Hffi

VFEffi ffi ffił

F- odd9 rvl-r---lf H+IH

ffi]ł ?o

F]H

b

r l-T-l-T-l-1

Bb-oddg VFFT] H+FH | ffi ?9-

łć,\

19

r I

OTHER ADDg VOICINGS ).Ad.d?.ł11" Voicin$s {1-5-9.i11}. Lydian o.rMixolydian ł11 G o dddd9gi li llIl l

Coddgilll ilrmn or Fffi TTr--t

VFFiTT] ttJaal

fl-T rrl trrtrT-n

trT-trFFl

F o d d g #Il

V FTM ffi tattal

TrrrTl

O Addg :Suspend ed Voicings{1,-5 -9 -11/ sus4) G oddgl

I

Coddgl

1

V Til;il ffi ffi

o Triąd Sus9 Voicings (Root Position)C No 3rd C s u s9

F s u s9

tipsusy

O Triad Susg Vaieings {7.'5-8-9). No 3rd Gsus9

F s u s9 ilti-r.TT.

H+tH FFFFF ffi

MINOR {5 T{TIADS

We can think of a ..minorł5 triad" as an inversionof a majortriad a thir lower(example1). This means, of course,that we don't have to learn e whole new set of fingerings,just reinterpretexisting ones. This sort o .,over|apping'' is one of the wonders of chorda|harmony,aS We can se€ example2.

I

-b6

20

2 E

+CA

F

+D-7

APPLICATION OF TRIADS

OEOROIA

Try reducingthe chords of a tune to triads, as in the followingexample "Georgia."These aren't necessarilythe most advancedharmonicsubstitutions but this sort of exercise helps us to get the varioustriad shapes into our "everyday"repertoire.Triadscan also create a purity,throughtheir simplicity,which can be an advantagewhen playingwithoutbass and drums great for introductionsor duo accompaniment!

Music:H oagy Cąrmichael Text:StuąrtGorreII ttn

Peter O'Mara1

Es

FA

A7

D_7

D_7/C

r\?

-3-

Bs

Bb-7

Bo

eb-tob

"----

a G_lBb

FIA

F

^lCł

D_

FIC

ll

tl

rl

o

A-7

Abo

G-7

a

C7

FA

CIE

F

Et'io

e

?

D7

G-7

C7

lr

Bo

A-7lC

Do

B'IO .)^

-

^ d

\f-

b"

?

,?

a

FA

A7

Ea

D-7

D_7lC

-3-

-\--

'-----

Bs

óD_ /

o FIA

B'IF

tr'

AIE

n

e

D_

FIC

-lr

D-IF

e

,be

.Q

A-7

Ab'

a

G-7

^t-

a-7

FA

tr'

F

B'ID

e

I

óv/

FA

I

-

BbIF

? io B t93O by Peer lnternationalCorporation,New york. c 1959 by Peer MusikverlagGmbH, Hamburg,fur Deutschland,potenund rschechischeRepublik. -s€ d by Permission.

DO

D'IF

trtc

o

STAIRWAY

The versatilityof triads will become apparentas we move on to more corn plicatedharmony.The next tune, "Stairway,"features a lot of "added 9thtriads.The minor7f5 chordsarejust inversionsof major"added9th" triads withthe third in the bass. In the "A" sectionthe chords progressthroughal seven steps in the B majorscale.

Petero,Mąrą (as played by PeterO'Mara on "Stairway", ENJA CD 7077-2)

Eodd9 Ff,odd9

E odd 9/Gf, Ff,odd9/A$

7

olTl

of-z(ils) At\,

E o d d9

F f o d d9

E add9lGl Ff odd9/Af

E odd9

At\,

7 E o d d9

F f o d d9

V||-.--

C f i -I 1 ( n o3 .

7

I

I

Bsus

t\,\

.

łł lt fl

'vl

@ b y T U T UP U B L I S H I N G / E N JRAE C O R D SH o r s tW e b e rc m b H . U s e d b y p e r m i s s i o n .

22

vl

E odd 9/G{ Ff,odd9/Afi

,\r\

|iłł'J

Tr'

E odd e/G$ Fflodd9/A{

a)

of-z(fs)

.

.__-+ -t'

VI

Ffiodd9

Bodd9

t\\

,\lL

tl

1 1 O. ł

C { - 11 ( n o3

.

I

rr

rtJ-

vt f,J_

vll

:Ż:

c-715

F_715

r{zsusbg

E odd 9

FłlE

SEVENTH CHORDS Our first "jazz chord" fingeringwas propablythe major 7th (A). Let's take a new look at its possibilitieson the guitarfingerboard:

BbA

F V TTT--I

v rn-rFa

T-trrn

Fffl#

FFłfr]

LLLL'J LT-L'-LJ

Ht]fl

TTTTN

.,,,:.::;;,1.-t,;,:-.,

Yoicing

BbA vilrf|Fm Fffi ffi -o-

FA vilrFFET H+ffl ffi €}

g Group, FNC

-+

--+

vrffi

I...|...|..m TTTTN

FNE

-

xlTlfn łtL|H

Hffi

€}

anuę.@|iiła,#,;.i --+

)s

b;ns ciA# :{

'm -+ ńA

BbND ilrm ffi-> ffi

BbNA

Bb^/F

xffi

vrrffi iT'if

il

Ft]fl

-

t$$t&::l{ii

'"m-+ Eh^/G

EbLlBb vilrl-ff,ifl H]:Eł -+ t-t-t-FH TtrtrTN

7o

cl

ffi

bo

",m EbND

Hllfl

rb; 2C

MAJOR 7Ifl VOICING EXERCISES

L2-Chord Connections

cA

DA/A

FAIC

CAIE

GA/B

DłCł

FA

CA/G

GAID

DA

G^/F#

D^/Ff

GA

L, R.an.d.1ataC a nł ełt {aa.s,

c^

Ab^tc

A^/Cil

EA/B

DA

G^/F#

BbAIF

EbNG 7

FNA

\^,{ J(^Orrir,

7thlnaersionscounterpoint

GA

GAID

Eb^IG

Eb^ID

CA/G

AA

ł,l ł,|

^bNG

DA

BbA/D

FA/A

DA/A

BbA/A

lr

łł ł|

b

MAJoRz#rrsnapes & rNVERsroNs A common extensionto the major 7thchord is the ł11, from the Lydian mode (sometimeswrittenas "major7b5"):

Bblł l l

Fałll

rvffi

vffi

ffi

ffi

TTt-rn

BblilI I vilrm ffi TTTTN

Flill I vilrmll t-f+t+]

H]Tfi

-o. € >

<}

rlłl l/ł

---+

rrtffi

-+

ffiTN

o

{E}

ablf,llD

-+

ilrm ffi

Hffi

-+

l l'o Bbał

ablł]l''

u"ffi ffi

--+

€>

rbałlllc -+

lv f-T-rT-r

|-+l+lł ---+ ET]IT t-ii-l-fJ

vil EFfłF t-fl-t-t-a TN-TN (t

ffi

bT

,.m rblf,ll/o

rblłl llł TTTT-N

rxmn

--+

1ffiN 2<>

MAJOR 7il5 SHAPES & INVERSIONS Yet anotherpossibilityis the major 7il5, the third step of both the melodic and harmonicminorscales: I Roof Position CA'iI'

) 1-5-7^3Voicing cai'r-

Fai't-

BbLn' vlil rTaTrr tttatl

vlil r-rrn

H+iH trrtrT-n ffi

IT-TT-' trT-rT-n

ml: ttttl

o

t) Lower 4-String Group lnaersions tr A łlJlA

--->

-j>

O Middle 4-String Group Inaersions

sbt#s

I ra-rTr]

F|lł#

ffi+ IT-TTN

BbLr'/D

-.+

ill

-+

BbLr-lFil y11FFffi trarri

BbLi-lA

rx[Rfl FnT-l

-

TTTT-] fT-Trn

taatl

E]E

i

I 20

{€}

) Upper 4-Strin'gGroup Inuęrsi.ons.,

ebł#5

rbn|.src -+

28

lv rrrT-t tta ta trT-trrtr] IT-T'TI tTrnl ttlltl

->

E'Lłł"IB

vrffi

l-H++t L

| ń

-

EbAr-ID Xt|TTTl LLLLL' tm rrTTN I 2o""

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 fifth, rather than just memorizing the chord shapes alone.

MAJOR 7 CONVERSION EXERCISES

',::,tinii,il? O Lower 4!.."':Wtj+ cA

Iilffi ffi TT-TTN

GA

rrrtrn

|xĘlt|-l

c^i5

ilrm FFFF TTTTN

c^fs

Glf,l I

|||f,ĘĘI| FtrtrFTI ffi TtrTtrN

Gal't' ' l'łl l

GA ilrffiIf

tr-Trn

TFIIF

ł-Tl_I-n

GA TTTT-N

rxtlfl-H TTIT]

H]łł

t-l-t-t-H

GA

V TF[F] a-rTaTl ffi TT-TtrN

GA xil|m

G^#s

V TFITI ffi ffi

G^ł5

l'łl l G a + l ''

vm

ffi TTTTN

Głfl l

GA V FFFFF 5ffi

ffi trT-trrn

GA

XII FFFFE

55t1fi Errn H+IH

Q!-LL!

Fł]|N n-FrFl

O Middle 4'string Group cA ilrmn rT-T-t

H++H TT.TI-N

''m cA

ffi t-Tt-Tn

l'l Ę

c^l'r" ilrml

lłl

l

TrrT-1

TT-T-I I...I...I...m

H+HI TTTTN

cAł'l.

cA

ilrml

F]]ł

cailll

cA rxFtffi taottl HTł TTTTN

vFtm

CAł'l-

clfil I

c^ł5

Clłl t

T'TTT] ttttal

r-r--rT-l TtrTtrN

cA

xil ml r-a-rTt

trFil TT-TTN

CA

vffiTl ffi ffi

CA xil ml T--TT]

ffiF TTTTN

29

seventh Chords

. U p p e r 4 - S t r i n gG r a u p FA IlIrTłm l.../...]! I I taaa ffi

FAII"

'

łll l

FAT'

lll

FA ilrFlffl t I taaa

VI MTfl

TTTTT' frT--n

ffi

trtrn ttttll

FA

FA

FFffi

Trr-rn

F^{s

Flłl

l

FA

xm

X IT*FE

EEIIH

Ft+]]ł F]]ł

ffi# TTTTN

FA

xuffi

H+F TTTTN

t l1 r

FA ł ł "

vr m l-ł++.łł Ffl-TN

FAłł',

ffi ffi

ł| TI

FAI,I"

X|||FlTfiłl

FA

vrmm

Fłłl l

ffi TTTTN

DIM!NISH ED 7THCH O RD S Here is a lavoutof diminished7t' shaoes: ) Diminiihid

7th,Cha'rds

"m Go

Co

Fo

ilrffifl FFFFF TTTTN

ilEm

IEE +fl-H Trn-n

ffi

b*

C Wide Form lnpersions Lr"

rffi

TTfn ft-fiH

Go

ITruł

rmB ?-u-l+ Ht+fl

\

L+]-H +ffi| TT-n-n

co rTI5Tł FTH+] Hl]ł

(pr"arvimprocticol!)

Because of the symmetry of the diminished 7tn chord, the voicings (and fingerings)within a given string group are identical.This saves us a lot of work memorizingchord shapes. 50

DoMINANT TrHsHAPEs € I INVERSIONS Here is a layoutof dominant7tnshapes:

'm c7

abt

F7

'um

IVffiM ffifl ffi

ffi TtrTTN

c7

Bb7 vilrml

ffi

'm

|-|+ł]ł H+łF _o

F7

FTIC

-+

-

+FFF

-.+

FTIEb x SFtl ffi ffi]ł

€}

€>

'ffi

vil J;FEI rrFrn

sbztab

Bb7

--+

--+

-+

*ffi

ffi FTTTN

bo

-.>

rbzBb

Eb7lG IVFEF] FFFF|'

trTTTN

-

vlllrr---r

Fftt+? -+ ffiF nTTn

l 7.O

EbTlDb

xrmTl l...I...I..m FFFFF r Frl-T-l-l

|bś P. O

r MlNoR 7THsHAPEs € I lNVERsloNs Here is a layoutof minor7tnshapes: I Rost Positi:o.n óV_ /

F-7

c_7

rvFFm Fffif5] ffi TT-TtrN

) 1:7-5.3 Vaicing

Bb-7 vr||ffllll TTT'T] ffi . TTTf-N

F-7 vilr FEE+I r-ra-rT-t ffi N-TtrN

c-7 VIIIIFFEE EFFFH

FFffi TN-TN

'b. DA

b-

4'String.Graup Inversio.ns.: ) Lo.rł:.er t ataa

--.-l

F -7lAb

F-7

t-/lLv

I

EFFftl l-.I...]...m

tT-t-r-t-l ttltl

4,S trin g. Gra.up Inuersións . . )....Mi:d.dLe I r-T-Tl tj+a

Bb-7tF vr|Tflfl

sb-ttob

Bb-7

taattl

.rTT-l

I

T?TT] ffi-tl

ffi

b-

n-TTn

Bb-7lAb

XĘm] FFffi Fl]T

bo

J Uppe,i,4'S,iiin g C.raup lntser sions

Eb-7tcb

-l

LV- / I TT-TTI I | | laa

TR-ll F]]ł

+

IVffi rrr+n'

FFFffi

bo

52

-

-L-,-l

Eb_/ lóv

vil mEIfl FFffi

Eb-7lDb xrffi I-rTn-] TTTTN

.FFffi '[ó D.a

MlNoR 7THb5 sHAPEs € I INVERSIONS Here is a lavoutof minor 7tnb5 shapes: R , o o tP o s i t i o ł l

Cs |l|Ęm ffi tfffi (propoblyu n p l o y o b l e

óva

Fa tvITtIfl

|VFff[śl ffi TT--rT-l

TT--TT"] TTtrTN T--Trn TT-TTN

TT.']TN

b

with root!)

7-7-5-3 Voicing Ca

vrrEm ffi ffi

óVa

Fa vil rFtFill TTTTN

vilrm]l ffi

b*

rbo

F]]ł

FUll n-Trn

DA

Lower 4-String Croup Inversions Fa

FalAb

FalCb

r ataatl

rnrn ffi

l-l-u-n

o

Middle4-String Croup Inpersions

I T-r-Tl Lt ttatal TTTT-N l..]...l.]T

ffi TI-TT-N

t-l'ti-n

EbslGb

EVA

rrtm ffi IT'TTN

bo

b-

Upper 4.String G r o u p I n o e r s i o n s I TT-TT'] | | taaa

BbalAb rxlflFfl r--T-t ffi Tr-Trn

BbslFb VIETiT] TT'TTI

óoa

-

IVITITfl rrT-ra

ffi

EbslBh V||l-|l+ł] TT-I-T' ffi N-TTN

bo

E b al D b

xmFą F]]ł I FUfr ?o

M|NOR MAJoR 7rH sHAPEs € r INVERSIONS 7tn: Here is a layoutof minor chord shapes with a major

Bb-^

cA

vm

v rrr--l

Fffi FTTTN

ffi TTTTN

Bb-^ vill FFm

p-A

V|||młT]

vilrtEm t+11+l F]]T

rm

F?]+N

F]]ł

I FFiTB n--r-rn ffi

Ftłffi FFTTN

Trr'r-n

Ip-o

ffi

€}

r-^/łb

c Arr

F_AIC 4

4

ab-ttob ilrffi

Bb-^

rmTl t-f+t-H F]]T

TI-r5-t

4

-

l-T-fT-l

Fffl-H

Bh-^ VIF|frll ręim

4

Fl-l-FH N_TTN

+

Eb-^ vrrFEI]F FFffi F]lfl _o

Bb-^lA

-+

xmF l+1++1 F]]ł b-o.

Eb-^/D

xrm

FFFFF

bś I TTTTn

Seventh Chords

MINOR 7{5 SHAPES Minor7f,5shapescan also be thoughtof as inversionsof a "majoradd 9" on the łstn.Forexamo|e:

^_7ł5

Fodd9

Hereare somecommonly-used shapes:

l'łtr

D_7T5

G-7 tu

v|TflTl

vtffi

l.t.*at

TrrTFł TrT--n

H+HI

ffi

rffff1

7D

l'l Ę

A,-7t" ilr [fffl? FFnJtl

l-H-+ł] TT-TTN

A-715 vfmF TTt-rn

TTIII-I t-t-t-FH

D-7ils

Vffi

FFFFF TT-TTN

^-7ł5

Vffi

FFFFF TTTI-N

po,

55

Seventh Chords

ROOT POSITION EXERCISES Here are some exercisesusingthe chordshapes we havejust seen:

LMajor 7 Colours FA

t\

FA1'I"

FAl3

r ł # ll

aba

' łĘ

BbAł,i.

v rT-rrra

V trTTT-]

VElE TT'T'TI ttatal I..]...]..m TT--r'Tl

H+śfl

Fl_śFFl IT]T

ffi

H]]T

TTTTN TTTTN

I i'lr r Bbarf' '

abll3

L Minor Colours łA

G_A

G_7

G-6

Ga VI IEFFE Fl_ślFl -TTTN

vtl

at

tl

TTTTN

c-7

vil FFEI+rl vr[f[m TTTTN Hffi TT5-TTT Trarn Ellł

C_ó

Ca v I rrrrra

Hł+l] ffi trrtrT-Tl

tttaal

b

b

LDominant 7 Colours G7

VIFFTIfl Hffi ffi

t'łr

G7łJ

(J IJ

ctb5

a-7

vrm El# TT--rT-l

l'łĘ

c7n-

cr3

c7b5

TTTTN

L ScąIe|tep Skipping DA rt rTTIfl l.|łtfi tr-rT-n

DAiI"

E-7

g-A

tr* -7

Fil_^

\L#

tttatl

t-l-TFn

36

'

FH+H

r-rT_

GA

i'lr 1

GAłt'

viltTFt P-łffi tTfl-n

H+H-]

|VFFFFIł TTIII

GA

GAT'

A-7

4_A

B-7

1_: 5______________

g_A

CA

v||FFtł FHł# F]]ł

Cłilll V||FFFFB H+tH H]]fl

II.V.IVOICINO EXERCISES r 4-String Croup Inoersions CTIG

G_7

CTIBb

FA

v rT-an

trTrTn

lt €t

T:lTl

LLt!_.lJ

Q-EdJ tatttl

l-iH# f'rffl

---'-1-H

_._ti

I-rn-T.]

H+H.I

=ł1ł

C7 vilr EEf;ll TNT

F]]#

attati

ffi TTTTN

o

e

G-7ID vilr -TTTI EFN

FA/A ilr FFfp

FNC

X T?III

vrrffi rTTln

ÓTT.T] tr-trT-n TTN-N

trtrH

FA/E

x Tn-| a-TTT-l

rTNT

t-l-t-t-H

e

e 4 - S t r i n g G r o u p fuywe|siai.s .

gbł

c-7

| /tEv

rTE-|

ilt i-T-n

#fl t]ł

V TT--'TI tattal

TT-T-I Errfn

ffi

Trrrn

H+IH

F7 vilr [TffTl TT--r-l EE

H++H

trTTT-N

BbNF FFffi vu

Bb^/D ilrtTfIn L|||| tatltl

TTTT-I ttattl TT-trrn

Bb^/A x rfR-Il

L_ / lóV

r5-TTt

TNT t-l-ti-n

taattt

TTTTN ttltal TTTT-N

I

€}

2-O

4-Strtnq, ttroup Inaeistons

F-7

BbTtF

tbt | trTm

BbTlAb

vrmfr

l....]....JJ I I taaa

ffi ffi ;

r-r-trrn FTTTN

n-Trn

F _7IC

óD/

rxFFrEI ttlata

ffi TTTTN

EbL/Bb vilrlfflfl

rlTrn

ffi trTTtrN

_o

r-/la7 -

ż ! - |

xlll ITlIIl I...I...]T

TTTI-N

ffi

b

BbTtD

EbNG

rvmm TTTtrT'

F|+łN

,TtrTtrN

b;

EbND xr FFffi ttaatl

|Ttm ,l-li-l-H

'Dbii A

v

I

DROP THREE VOICINGS Anothervoicingcommonlyused on the guitaris the "dropthree":the third one is dropped voicing(fromthetop,anyinversion) voicein a closefour-note octaveto oroducea full and resonantsound. O Major 7 Forms GA ilrffi+fl ffi ffi

GA/B v TilT aTT--t ffi -trTT-n

V||lFĘm ffi ffi

G^/Ff,

XII IITIFI $fffi ffi

F]Tfl

CA

ilr mT ffi

n-Ffl-1

CAIE V FFIfF tattta

r-r-r-r-l

FFFFF

C^/G

O Dominant 7 Forms G7

ilrFFtlfl Tmt ffi-J_H

CTIBb

a-7

GTIB

X||[I-mł

ilr[ffflP

l..]...]-m

ffi TT-I-N

b

) Minar 7 Forms G-7

G-7tBb

G_7ID vilrtTlTll a-rTTT-l

ffi TT-trN

C_7IG

G_7IF XITIITI ffi F]]ł

vilrI:]:E

t+H# ffi

b

O Minor 7bSForms Ga IIFTIfl ffi

F]]T

GslBb tv arTaTn ttaal

ffi F]]ł

L E x e r c i se : M a j o r ' C o l o u r s r3 GA GA ''

|||FEĘlfl ffi FFFFF

Fllu TTTtrN

|_I].Til

n-FI-n

|||FEĘI| ffi FFFFF

GslDb

GslF

xrmfi

ĆrT-rTT

ffi Tl--trn

b

lł]'l G a r ' r''

CA/B

V|||FFEIP X||mł ffiffi Fllf, ffi

Cs

|||mł T-ttn ffi TtrTT-N

CA

ilrmT

rrn-n TTTT-I

ffiffi

CslEb

CslGb viltlTl-ffl I_5IFFI trrrT-l

ffi

b

cal'l'

c-7lBb

seventh Chords

.DROP THREE' COTOURS Dominąnt 7 Colours

c z ł lt

c z i l lI

G7r"

G 13

a "J

Ó urs F"setci s e: M in g.r. Ć:.aŁ G-13

rr(Elt -.Jżl --tl

=::ł

c-7 ilr[Fml

G-11

G-7

ilEm

lllfFFEtr l_l_l_l_H TrTT-l

TT-TTN

rftm

Ff+++t TT-TtrN

ataatl

ffi

|5

c-7?

I-f1ff]

b

.. F.xcrcise:u -V:I.,..Ca?ń.bińationś A-7

.'EE

|||ftĘIfl Fffi ffi

ilffi F]]T TTTTN

C7

FA

D7

attatl

*+-łl

---+l

G-7 vtil ElEm

fiTfr]

ilr fFf,lfl

ł]]fl

FFFFF Hffi

D-7

G7

'ffi

|||mł ffi Fffi

...ffi l#

tt-trl

c-7 VIII EEFEFi tr-trT-n TTTT-]

,ffi ;

GA

D7 ilrtm FFFłF TT-TT-N

vrtm

AILLLJ

|ł-|+.]-.] fH-fH

CA

|||mł rrrm

F++-]+l t-l-u-n

F7 VIII FEFEFI l-fH-51 Trn-n l..]...].-m T!_TTN

GA

D7

A,-7

E7

vilFFm ffi Fl]T

trT-trrn

ffi

viltTlIll

tsfffTl TTTTN

l-.ł..]-+.]-.]

FFFFF

rfftH

G7

V||EFmł

ilm

T'-T-T-T..]

l-|++ł1 TTN-N

G7

attatl

DA

vilI-Fm LLLLIJ

IXffi E]lł TTTTN

V FFfTJl

ffiffi n-rff1

A-7

ffi ffi FFFFF

D7

vil lfffB ffi ffi

CA v|+il lattta

TT]TI Ft-rTn

GA

vil ffflIl ffi

F]]ł

E7 V TT[il .TT'T] irttn

t-Ft-t-l-l

B7

rxT?TSI -TT'T]

ffi n-Trn

4,7

V FTM T'TT-N

rł.+-]+ t-l-u-n

E7

rx[Tfm T'TT T1 ffi t-I]-T-n

39

REDUCED

7THCHORD FORMS

The variousextensions(9, tL, 13) used in jazz harmonymake it necessil) to leave out notes that don't add colourto the chord,for examplethe fifth:

O 7-3-7 Voicings GA

G7 iltm

lr Tf[|] rT--rT-l

TNT FFni-l

tfFffl

ruffi

Fffi Ff++#

I..]...t..m

TI_TF

A-ó

G6 il JTll-ll

rflTt ffH

a CA

C7

"ffi tTtm

l-Ft-t-H

FA IIFEM

IIEffi ffi F]]ł

F7

TTTTN

l-|++ł1 TTTtrN

il Ftm LLLLIIJ t-f+H I-l'n-n

Bb7 ilm ffi

IIFFIT?I ffiF ffi

p_A

C6

il ESn rTNT H+IH

ilrFFFffi ffi ffi

F6

6_A

il Fttl ffi TTTTN

ilr FFm ffi ffifl

TTTTN

Bb6

c-7 ilrFtEfl

ilITFFFi TTTTT] TTTTN |..]...]T TTT]-N

ffi

b

ttltta

H]]ł 7

LMajor ScąłeExercise cA ilEm

Trtr-n

tTt+l t-t-t-t-H

-6

D-7

-6

-bo FA vilml ffi TTTTN

-6

G7 IX ETJN I..]...]T FTTM fffl-ft

-6

A-7

-6

B o ( ll )

_bs

C^

xrvEFm TM t-l-u-n

-ó

ffi

Transposethis exercise to other keys and fingerings.td

|.7-3 Voiciłtgs G6

G7

GI

",t .'...--

rffi

ilrfFEl ffi l..]"-]m

'--'-'-1-1 --l

TtrTTN

H+H.]

TTTTN

;

io'

Có

C7 ilrm

CJ 'ttĘ

"ffi

l-i-ff-]

Ttm

TtrTT-I

ffi

fffi-fr

FI

--i -

F7 ilr[fm]

F6 ilrTrTfl

ffi

F]]ł €}

N_TTN

e

rvF|rm Fffi

TrrTSl

rfn-n

TTTT-trl..]...]...m

trT-Trtr-

G-6

g--

v rT--rT-l ttttla

ffi

trt-l-f1

bo

?

:.... |{aj o r S ca l e. E*;ełiib,..e;.......;

.rt

G"\

-6

---:-n --_-_-T.]

A-7

-6

B-7

-bO

CA

vl||FEĘ[| ffi ffi

A

D7

xmn ffi ffi

TTTTN

-6

-6

-6 _bd Fł, XVftĘI+ł XIVIFEEtr

ffi

rTTrn ffi TTTT-N

Transposethis exercise to other keys and fingeringsas well!

41

r Seventh

Chords

THREE.NOTE COMPINO USINO "STABLE'' NOTES Let's look at a more modally-oriented conceptof reduced7tnchord comping. Perhapsthis vamp from HerbieHancock's"Cantaloupelsland" is familiar: F7

It uses diatonicthirds with a "stable" uppervoice to express the chordal sound of F7 Mixolydian.lf we decide on a strong "stable"voice (herethe root)we could experimentwith this conceptfurther:

6ailll lLyaron)

Thereare onlya handfulof possiblecombinations, althoughyou can extend them by using other intervalsfor your basic chord shapes, e.9., the fourth (see chapter5). The combinationsalso transferto otherchordswithina dia tonic scale. For examole: A-7 or DTsus

42

The "stable"voice can also be underneath:

c l f i l I or A-7, or DTsus

The same concept appliedto the melodic minorscale can produceinteresting results: l3 o r A b T o l to. t . D 9 { l l

We see here also the emergenceof "cluster"voicingswhich will be discussed in chapter6. These should be transferredto other stringgroups.

43

EXTENDED FII CHORDS Now that we've omitted the fifth, we have room for other colours, for example, the ninth:

,tffi Ga9

G9

iltim

FTTTN

HUU

TTTTN

a

"m"m ca9

c9

ffił

TT-TTN

rd,9

ffi

F9

G-69 ilr l-fl+.1-.1 ffi

ilFtm l-FH+i Hilł

H]tfl €}

ezle

t^

GTvY

IEFII ffiłil

HUfl

rł9

tl

ffi H]ł

MAJOR 7TH MATRIX The next step in chord reductionis to omit the root. That leaves us withjust the third and seventh. Now we are free to experimentwith the colours available to us around these notes. Let's took at GA:

After omittingthe root and fifth, we are left with B and Fil. Let's see wherg we can place these two notes on the fingerboard,so that we can look fu the colours availableto us aroundthem.

vil FFm ffi ffi

r x mF ffi ffił

46

rvml IIłIF

il [Ffm ffi ffi

ffi

Ft-t-rn

vllffim

H# F]]ł

rx EiFm ffi ffi

rvml

ffi

FFFTN

rvmn FHl]] ET]ł

I t-f+l-H TTTTN

FI?N]

TTTTN

IIHTTI Tf-l-aT1

ffi TI-TTN

7th Chords

# + 7 t n + D - S t r i n gC o l o u r s G a i r ''

GA9 VIIIFEEtr t-5t-t-H l..]...].--m

GA Y -TttI .ltltl

N-]TI

GA

vilfFm ffi ffi

E]17

) 3'r + 7th+ A,Stri,n.gCłł.ours .

lłl ]

GAłt'

GA

rvEm TtrTTN

lv

?]-+ł-.] H_fH

o 3'd + /tk ę.$..:$1riłL8..CoLour,s GA9

GA

rTrŁn il l-?l-fH

Glill I

ilffi ffi

Fffi TTTTN

l-l-fl-H

o 7th+ 3,a.i GłStrirg Ćot.out:s 'l

l'ł l G a r ' r''

GA

vnffi taattl

Fffi

O 7th + :1rt,,,i,p,',5tri.ug',Crd*ui, 'l

l'l r G a r ' r''

GA

cAl 3

"rffi Fffi

FT-TTN

47

Eńended

-

-

7th chords

-vA . r, /,,'+ J'" + L,-bfrznK Loloo(rs

7r'lr

GA

GA9 rr-rrYr

nTn] VM IiJ+H oo

l-H++l

V TT-TT] rr TrFl TtrTTN

O 3 , d+ 7 t h+ B - S t r i n gC o l o u r s -U ^ A

Gafll rxFflfTt ffiil rT-rm

cA9

vilrTJTF rrrrn Hl+i-l Tlt-r-n

tttlal

O 3'd + 7th + G*String Calours J'lr r

GAłi'

'

GA

vrffi

G^#s

Tr--Ft-l

rrrn-l ffi

O 3 ' d + 7 t h+ E - S t r i n gC o l o u r s -^

U1\

-^9 gL\

O 3'd + 7th + B-String Calours Gl#ll

il llrft Ęł|

f++l

Ąa

GA llr-r.r.Il LLLLIJ

H-t+.{-l H]]ł

GA+I'

7th Chords

S o m e I n t e r es t i ng C o m b i n a t i o n s

G t 9 { rr

l3

l3

cA9

t3

c ^ 9 #r r xffi

GA9

il TTI5] -Ta-rT-l

]]tll --]-T-TTI

ffi ffi

t3

l?

Gair' ' trrlm

il lff[fl

GAII-

o

Effi

o

t3 Gat'r-

lv rT-.n

rum

rT-aTl

ffi

HH+I H]17 TtrTTN

TI-TI-T]

t3 GAN-

t3 clf,tl

t3 Ga+'r"

rTTl v t l fa rTL-r] TT'-TTI rT-trr-n -TTT-|-]

Gall' ' v l ll rrr-r-l tlatla

tr\=rFn

H++H rT'n-rl

l3 Glłll x||rrr5TÓ

13 cA9

l3 lł] ] G a ł r ''

l3 .^9 UA

ilIT.TT? tttaal I l...]T

ffi

c n 9 łl XTM rrT-n TTTTN

ffi

c^eilI

13 cA9

rxmfll

r-rT-Tl trT-trTTA I...l.."]T TTTT-N

9 GAiI-

13 GA9

Xffi Eu fi-TtrN

t3 cA9

tattal

TTTT-N tlat I TtrTTN

49

Extended 7th Chords

MINOR 7IH MATRIX Now let's do the same with minor 7thchords - for example D-7:

.*;Wl*:,.ł..,bs ::6;$ą|:sg;ęóióiaiś ^ rl3

D-t 1

}.|b7|b .+.b,3 ti :.. 1;...Q.:.$.y|,in g.... Có.łaałś D-713

D-1I

ffi

ilrfflffl

FFFFF

O b 3 , d+ b 7 , h+ G - S t r i n g C o l o u r s D-7

D-9

D-l I

D-9

D-t I

D-7

D-713

vll

i...,8::.s tłii*::eiiŁpni' i:,:beła':}l:: lFfrb.... D-7

1..yi,.y.;...ł....$7iń;...{',. .$.ę|;ąg.:.cótló.ł|;s D-t I

Extended 7th Chords

+ D->trtng LoLours D-7

D-713

D-7

.' tl3

G,Stłin.g CłIatłrs

T

A-StringColours

I ",,H l-ffi I

I

D-t I

D-713

n7

-T-a-T.]

ffi

l#

l':;" I

1i

D - S t r i n gC o l o u r s D-t I

Fl

7

T\

l2

7IJ

tffi T-rm I

l+ f.rr.

g,;:(,p,!;{, +bs,d 9".$i1,,v;1x rirs T

lr,,,H' I Tffrl

D-7

o-z l3

D-7

n

lffi

l#

=

E;{ttińg ea.ł.a.ałs

l;,,,,ar,3rd D-11 I I I

'I 2 7 rr

ilrtTlf|ł rrr-n

,# i

l-|++ł] nTrn

51

Extended 7th Chords

L Some lnterestingCombinations

D-9 l3

_

D-9ll

D-9 l3 vlllr-TTn

D-911

H++]l rTrrn

H+ffl

D-913

u-t3

u-t5

D-9ll vil r-i-rn

+H+ ffi rnTn

D-911 rnfffi

ilrFrn]

H++fl

D-9 l3 D-913

D-9 l3

7th Chords

DOMINANT 7THMATRIX Dominant7tnchords have a wider array of extensionpossibilitiesthan any otherchordtypes we have seen so far - b9,ilg, łtt/bs,ls/bts,13. ',Tritone substitution"makes it possiblefor us to use each dominant7ti'chord shaoe in two differentsituations.For example, if we take G7 and Db7 in their reduced forms, we have: G7

Db7

As we can see, these two chords have the same third and (b)seventh,only reversed.To be able to applythe "dominant7tnmatrix,"we have to learn to see each dominant7thshape in two ways simultaneously.For example:

t3 A79 ilITEFEł rT-raTt

H+HI TtrTtrN

(o)

o,rbs

A9

A7T9

FFI-IH

Hflł

TFTFN

A7beile ItrTFI E]łł Hffl

nbs

łq1l

ffiix

rn-rn

E#fl

Fflł

'um

ilr BTT|I tFug FFFI-+.I FTN-N

A9

rvm ffi ffi

m-ff1

'umł

Ffi-fi-l lffi

I FEIFEI

, ą q fl l

azbe

azłsbls

rvm

ne

ilrffi

FFFTII m-n-l

azłgłl l

atlsss

ATbeirl

H]]ł

A9 ilFm ffi

H++il

l3 Aqfll ilmfF

ffi

r-r-t-t-t-l

lłr r

A7t', ',

,um

rvmfF TrrT-n

A9

rvm+ ffi FTFffl

ilr m

t-t#l r-fl-ffJ

'"m onbls ft-t-fH

l?

alł9

rvt+il Ht]+.ł n-n-n

Ie

A7ł5b9

,um r-r-t-Fn ffi

?

54

13 atb9

A7b9bt3

13

az9łs

ObTrL + 3,d + G-String Colours

t rtfr1

E7

rr .:rTTl

rvFĘFF ffil ffi1fl

-.TTT]

-'ł]+ =rm

O J,r + b7th+ il.,jrh+ B-Siring Colours 13 E z ł 5 fl l rz#lt .rfl1

,l'l r l

E9ł'l''

) 3,d + b7th:.+Sttl + B - S t r i n g C o l o u r s Et3

E7 lll r-r-rr-r

FSITH ffi TT-I_TN

'vm

o 3,d + b7,h.+...łśth + B-String Colours J'lĘ

E7tu

E7

J'lĘ

E 7t '

ffi t+]ł

l^

r-VY EI

E9 IVET-II

mtl Trt-ll-l

E7|"e

rTaTT]

H+t?] rtrTTN

9 t E7 '

ETie

ffi ffi

rn-l_n

TI-TT-N

i]i3lł..n B.StłźnY..C.sIaurs ) 3,a+b7tu. Et3 ill

Et3

E9l3

13 E7ile

!''

Extended

7th Chords

}" |;{.: *;t#.y*"i%#'.l.łm#t$:::łĘąiłł:"ł:"" ł*:-H !.;:l I #,t

t5

E 9 ł t '' lłl'l

E7ł5b9 |_FFłfI TtrTT-N tattt I IT-TTI

,rbeillt rvEm

,rbeYt

E7 : H+HJ FUfl

ilrm

trlttl LIILIJ

tt tttaa

l ' ł rr l,t''

rfrsas v'tT-T-t T-r-r]

ttataa trfiTEl-

I tataa

TTTTN

t3 e q # lI

IJ

,rbeYt

rgl3 v r-rrFl ttaatl

vffi

I t aaaa

FTTTFł

t+-]J-?-? Fl-l-fFI

Trrrr] ITffn tttttl

ffi TTTT-N

HUfl

rfTTN

TTN_N

t3 A q i l lI V Til] ffi ffi

l ł rr ATtt' '

VĘm ffi .TTTTI

TT-TTN

łzil5

Ar3

V TTM

V TFIN

TTTTN totttl

TT-TT-N

ri-H-H

a)t

*e*łjzłlŁ-Jł$łl.s;$$rłł*ił.gue"olr;.vr,,. t t z#9ilt

atile

trFł rFFFH

T-TTT"I Iffi

pł1l

'vTffff TtrT'T']

ffi

5ó

ttle Vtl-fTn l-fT+H frrrn

V IFFEtr Trtrrn

latrtl ?JJ-l-ł-] lttttl

trTTF

{ Al l

alłs|"s

VITfTn

V TT-TTI tagtl

13

l3 ll9 ł9 ITffn v FfffiH trrtr-n

Hl]fl

aat

ttl

trTTTN

l'łĘ

A7 n'

rrnT

v ft-1-f1 trTTa-t

ffi

I ) t

l3 A7l1

il m

ffi

I'lrl

at{tt

A7t',',

ruffi

ffifTt rn-Fn

At3 il Fff[R t-ffi

ffi

A7

'um

rvFtm

r-t-fffJ

FHJ_I{

ffi

ffił

u-t-t-F1

A9

ffi H+ilJ FFN-H

D

pł5

l^zls

eilsbs vm

9

atil5

TTTF

b

Ar3

ffi FF|-+?ł ffiFF

xr t3

arbe

VMTI F++Ę] l-.|-.ł-# FTFft] D

łg l3

T|Hł

azł9

vmt

Trn-n

|-.H+łł rTFTN tl

I-TTTFI

Al3

ffi

FTTTN

azbe Vtr?lT{ H+IN FFBł

ffi FFĘ'|

alł9ł|l

rvEm

LL]-tIJ

ffi

A7

lll F|TITI

As#ll

Ar3 VffiI +ft-?]

ffi+fr ,|ł lll

*..Ęł.#iś.t

iłiłił.;ź

A7

A9

ilm

ilmn FI]ł ffiTF

ffi

HITI

}.$tłŁ::Ę:;Ę9:yĄ:;!;ł1.1 E-String Colours, l3

o , b łbls

t^

n zvY

t

,::f?.ih.',.:g:

.

.ł

r,.:ąłłąś.,Ćii6ałł

t,^

AgV|ó

4913

A9

A9

ll rrrT-l

il Ffmi

FIIH LLLLI!

ffi

FTN_N

atiebts

FFI_TN

l3 ATle

orbeXo rrmFl

ffi

D

E9

v'm

TI-TH FTFFN

58

Eil

V'M

rrrTr]

H+ffl

r z # tl

Extended 7th Chords

O 3'd + b7'h+ 1-+ E-String Colours

E7

E9 il ffm TT'TI-N

| |

EA*

vmm

|V[Imł Fffi Ft#

l tttal

Hffi

E7b13

L/

TTT'T'

ffi TT-TTN

o 3 , d + b T t h+ b g t h+ E-String Co!aurs

E7b9fre

t3

l1 E tbeil

ln r-Va E/

t^ r -?Y EI

la

r-Vż tt

rrffir Iffi

t vt l a t a o F|+łN

IV

E z ł ll v rarT-l ttattt trT-T-n rrTrn trT-TT-tra TTTT-N

TTTT-N trrtrT-tra I...I...I...m t-t-tT-n

FU+ TT-I-N

O 3 , d + b 7 t h+ g t h+ E - S t r i n g C o l o u r s E9

rvm Fffi ffi

-E A^ 1 t

E 9 t ' r' '

E9

E9l3

tr

VI LIffi I I taaa

rr-trFtrł | ].]m TTTI-N tttttt

O 3 , d + t T t h1 ! 9 t u + E - s t r i n g C o l o u r s

ETie

t.^

EgP

e l 1 9 ł ll

l3 E7ł9

ę 7| 9 b l s VIFITJTI TTTT-' TTTT-N

ffi

ETie vrm E -TTT-I l-H+f? -TTT-N

E7ł9

a b 7 ' h+ D - S t r i n g + 3 , d C o l o u r s A7

VIFTIFF ffi T'TT-T-1 trrTrTl

A7b9

A9

VIFf[r[] TTTTN I

attl

ffiFF

ATte

Extended 7th Chords

a b T t h + b g t h+ 3 , d+ B - S t r i n g C o l o u r s IJ

t^

atbe

a b7th I jth I j,rd :,

]'ą

ATvv

A7o'

B-String Colours A9 l3

AgetJ

A9

A9 VIH#N

vrFFm TT-|T-l

Fffi Ta-r-r-l

ttattr

FiH+]

TTTT-N

+ 3,d+ B.String Colou,rs . b7th+ ł9,ł, 13 A7I9

ntlsvt3

ATle

^7ł9

vt Er-r-fl ETII]] t-t&FH N_TTN

t) 3rd+ D-String + bTthColours ez i l l l

Etl vtl

vtl

]'ł Ę

E7nu

E7

vil FFm TiTN

El3

t-}Fl-H m-Trn

O 3 , d + D - S t r i n g + b T t h+ 9 ' h C o l o u r s E9l I vtl

I'll I E 9 i ' r ''

vtl

E9V|ó

E9l3

xtended 7th C

,rbeYt

vrmfl ffi ffi

E7ł9b13

ł z # ll

curot$aff!ffi E9

ETPY

vrm tr-Trn

ffi]fl

t'ł l

'l

E7n"

E7

ilrmm

t,^ E7vt5

ffi TtrTTN

eqll IITTffi ffi ffi

ezlsłl l ffi ffi ffi

rtie ill

I ttlaa ffi

ffi ffi

ę 7{ebr c ilr FFm ffi

H]]ł

O D - s t r i n g + b 7 , h+ 3 , d C o l o u r s Ell

rzłll

vtl

E7 vil lfnp

vtl

E7V|ó

Et3 vilF

ttatal

FFFE F

TNT

N_FFH

O b T t h+ 3 , d + E - S t r i n g C o l o u r s Eil

E7n"

E7 vll

El3 vlr+lr Tl-T-. Ft-r

E7?|ó

ffi FUq FFFFF

TTTT'*

+,1

ll

O D-String + 3,n+ v / " , L o l o u r s l^ alDY

A7 VIEETI

ATie

A9 vl ITfFn t-t-Ft-H Iffil# Trtrr-n

TrrT-1

I...l...]..m

HUf,

Al3

O 3,d+ bTth+ E-String Colours A7 vmr. |-+.]+.]l t-l-f1-.1 trrffi

O G-String

i]-rm

V|||FFFłI tmn H+-] ,l.l ł|

y''7. ',

ATIe

A9

VIFFIT* FF|= Fr=

VIFF|rB TT-TT-I ffi Fn-rn

+ bZth + 3d Co/ours

t^ tzvY

rtt+t

t^

ATVY Vl ffi l_l-||łl rrTT-n

A9

^7ł9

łl t A7t' '

All

^ 1 v |5

v i l l rrriTr

,Ą13 v l t l tftF

H+Hł I..]...].-m

l#

TftTTI|-

H]]T

O G-String + 3,d+ bTthColours

r z i l lI

vllrffiTł

ffił+ł R]]ł

ó2

t,E7?t5

El3

r-?ź rI

ft

IXFFITB H+TH l....m

f]-t-Fn

E7ile

Extended

7th Chords

EXTENDED DIMTNISHED 7THCHORDS So far, we haven't looked at extendeddiminished7thchords. Let's do it! The scale that is commonlyused with diminishedchords is the "whole step-half step" scale, or "symmetricaldiminished"scale. lt offers us the followingextensionson a diminished7tnchord:

t,7tJ

mol/

We can see that, as in all otherscales, the "upperstructures"form a chord arpeggio- in this case anotherdiminished7tnchord.This is againa result of the symmetryof the diminishedscale and means we can use any diminished 7tnchord as a substitutefor another,as long as it belongs to the same scale (thereare onlythree possibilities). This looksgood on paperbut doesn't always work in reality,because the "ear" needs to hear at least a minorthirdfor a chordshape to functionas an extendeddiminished7tn: t,AollPlJ

Aog

Keeping this in mind, I've tried to see how many shapes lcould find. ,these are not diminished7tnchords - they are "reduced"forms with extensionsthen added. They are not symmetricaland thereforedon't producethe same colours when moved up or down in minor thirds, as the diminished7tnchords do. However,the changingtextures,they offer us, are alwayswithinthe given scale:

Aog

,ilm

H]]T

Aoll

vrffi

Il-tm t-t-t-t-H

A o b1 3

AOA

ilm

TT-T-'

I_FI_FH TtrTT-N

63

Extended 7th Chords

EXTENDED DIMINISHED 7TH CHORDS Aog IVlTllr] raTT-fi

ffi+F rrrrn

Dog lv rT-n

Fiłffl

Gog v rT-n--a

H+ł+] silł rrr|n

rT TT I-1

rrn-n

€}

Aolt

Go11

um

ffiH

ITFTN

Dog v rltrTl l-ł|t]-]

FTIF

Vffi

Hfl+

n-n-n

Goll Vrfffir

H+?+l

trFFł

trrTrTl

Go9 vilrFEt Ft-+fl

ffi1fl

#e

64

^

t-

tu

LomblrtmS'Lxerc$es Aobt3

F ł o bl 3

|vmą ffi I..]...]"m N_TTN

Vf,Ęm ffi F]]ł

VIFflJI ffi trrrrt-]

trrtrT-n

rrmJl fT--rT-l TTTT-N

ffi

VĘm ffi ffi

|||[fl]ł TtrTT-N

H++ł] trtrTtrN

ilEml TT-T-]

ffiul TT]]_N

uffi

u'mE

ffił TT'TTN

FFFFF FFFFN

V Et Ea a I t l TTT'T] trT-trT-n tttttl

TtrTtrN

rvffi ffi

fl-Tt-n

|V5FEł ffi ffi

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,let's lookat anotherimportantuse for them.I'm surethat us have noticedthe similaritybetweendominant7tht g/Itt/I3

(from the dominant 7thmatrix)and the extended diminished 7th.The,y

come fromthe same scale (symmetrical diminished)but startingon ent notes one half step apart. This means we can use a di shape (withor withoutextensions)a|so as a dominant 7tnt 9/łtl/L3 step lower.

Ao

+

Al7b9

4o9bl3 +

l3 xbzł9

Everything we just learnedaboutdiminished7tnchordscan also be

to dominant 7th ł7l/73 chords with altered 9trr.Don't

valueof this rule!lt providesus withan enormousarrayof chordal

óó

Extended 7th Chords

BODY € J sout

The rich colourof four-notevoicingsis well suitedto ballads,like "Body & Soul."

G r ee nI S o u r/ H e y m a n nI E a t o n {arr. Peter O'Maral

_-?_-

-3----r

a

7

I

Eb-7

bls tbtbe

Eb-e

BbTbe

obre

F_9II

cbql3

le

|ą

a

Eo9 l.!

:f

s

rb-g1trb-s

sb-rI

br: Eb-e AbTbe

Dboddg E-9

13 ntbg

-?-

_ł

r[

D69

E _ 9 11

Doddg

e

e

e

ie rXzils

c*9 II t,e

be B7?5

E-s

13 A7',s

{E}

D69

IQ

a-l

7

D _ ^ 9 D _ 9 ęra ol3

.u-/f i|l'l r\t

,. )

J* 1,, e',

-l

CA9

|

?

^

tb"a

,?

T\

7

,u-'

'|?

t-

G13 GTtl

łl.

Ce

ł9 BTts

bls ebql3 ebzie

I

D . C .o l S

o a

D^l3

ll Dbł# b!'chapp€|| & Co.. Ltd Used 5, Pe'ar,ssron

67

IN YOUR OWN

_gIvEEr wAY ?,ffi:,ł,,::ł

A- l l

Ab-7

c zil9

E-7

orbg

obtbe

G-l I

cbne

c9

cbne

E-9

ołl3

oł#ll

Fl3

czil9 F7b13

rzbg

orbs

C_9

D-7

Al3

Gzlt t

rb-g łbl: D'ol X ol fine(lst ending)

@ Wortdcopyright 1956bv I Arrrightsforthewortd. i".tjt x:::,:"";

san Francisco, usA.

r.l'ńui""nruni;;.Ja":.l;'l'".i. 'T::i:""il1,ji:ń?;l|?J;""*T?"y'l'ł gAR., Wc2E Eng|and. 9l11i;łi':jliil"Ł1i,"J;f;l il.i.1xu,;';.,onoon ó8

Chapter4 EXTENDING 7THCHORDS USING ASCEN DING RELATIVE TH IRDS We've builtup quite a chordvocabularyby now,but I'm sure there's some we've missed. By leavingout the root and fifth,we were able to extendour 7t' chords with 9, (il)11,and 13 colours.Anotherway to extend 7tnchords is to use parallelthirds.That is, to get a 9thcolour,we move up to the chord on the thirdstep of the scale, our originalchordcomes from. For example, we want to find voicingsfor CA9: we move up to the third step of the C major scale (wherethe 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 substitutionsystem works for everytype of 7tnchord, so here are some more applicationsof the system (whitecircles show the positionof the originalroot):

j9t utu -7 on the 3,d

O Dom 9: use -7bS

cn9

Bs

(Jv

(lonion)

||| ró-n_.l LLi!-l-J

(or ony t_/ voicing

rl-rTn

htgher

ffi ffi

up)

D-69

FA (Dorion)

Vlmł

++łr.] (or ony Bo voicing Effi hishei up)

O *6,9:use L*11

): use L7 D-9

(Mixolydion)

V ĘTTll Hł-ł]-] TFFN n-rrn

(or onv FA voicino higher up)

(Dorion)

Falr' ' l'łl l

ilrmn ffi I...I...]T

TTTTN

€}

(ondso on...)

G T s u sb 9

Ablill I

v||FFFEł ffi

lil trEEFFt TrT--n lffi

ffi

ffi

trT-TtrN

l3 CTrrrb9

c7ru.b9

l3 BTsusb9

Gs

lilm ffi ffi

c^ils

vil fFtm Trr--l ffi m-Tn

[.ti?lijt!^trł'".i?'IoNS: |'vealwaysfound it helpfulto

integratenew chgr! as theseappearoften shapes into ll.V.|p.:{Ę in;".r .iJnlu'roJ"in arr but don't forgetto keys. Hereuruu r"r.*l transposethem to other xevsl

D_9 V ITITE

bv'"

rv fE-n t-Fl-++-j

Tł.Ir]

ffi

rrn-n ffi

D-9

vrlffi

G 7 b 9b t3 vill

"'m ct9

GTDY

VfEE

lvETn

ł.l-fffi tflł

fta-Fti

rrrrn

ct9

vu Fn

D-ll

Tłtl] +FH

E#fi

l3

D_9

i1tffi ffi#

s 67 frcbt vlrffi Tml mrff1

b

A_9

vmm

l^

D7 DY

FiIIIJ

H+ffi

A_9

um F#ff FTN-H

.^9

'vm

o,benł

Ę.til rrn-n

olłsil t

r[Irm

ffi rftrH

II c^e#

vl P-Tr-F

ffiE ffiH

A-9

vffi

fj-tfH

Efl#

D 7i e b ' t 3

rvmX

l-i--i-++t

ffi

b

72

'''m ca9

ĘFF

co9

v l l f-n

l-t--H+-l

ffi Tf-IH

n-n-n

c ł # ll

vl Er--n i-l-Fftl

ffi

c-09

Jrds

t3 DTVY vll rrrr-. tl ta* Iffi

óT-TTT

ffił

cA9 V FfTTI' Fi+łł] TT--TT'1

EHtIl

G A I3 vllrr-rr-r LLLLIJ

H]+fl

b

G ^ e fI I V rTó-rr.

|-.+-.{-ł+.] LLLI-IJ

H#ł

A-9ll

ozł9il l

lx rrrT-r ŁLI-LL] H+l

ffi t-ft-ffJ

ffftfJ

eTlebts rxEm t-+++]

t3 o,błpl

TT-FTN

t^

DTDI' vll rfrr-r l - l t 4l I

A_91l

L]-LL]]I irtltl

-U A^l 3 IXEFMJ f+++-l-l ffi TTTN

'*m \f

l\

ETI fltfH

!lg:v-lPRoGREsstoNs (MrNoR) )s9

tET]

._--11

G7b9bt3

Da9ll

lv rrraTr trI---rT-l

vlllrrrr--r LLJ:II]

ffił FTTTN

olłsbq IXFEH l...I...I..m rrrrn

H-H+]

H+I-N

t+Tl

c-49 vilr Fm

ffifl

fll+H

t,^ tJ G7D v i l l rffir

++]+ trffi

ftr|n

D7b9b13

ilrffi F+m r-r']i-n

c-^9

VIFFTII

FH+ir

F+HI

G-69 I r-rrn

HJI# t-t-Fi-fl T]-TTN

As91 1

97łebls

c-^9

lv rrrT-l

LLLI-IJ ltal tl

I ra-rT-n

&1ł3tł rTTTN ffi

FFB

H]]ł

As9

rvm

I_I_FFH I...I...]T TT-TTN

D7b9b13

lvĘffi

trT.]-rFa

ffi TtrT]-N

b

As11

H+f?-l

r-r-trT-n

Q-A9l 3

As

D7b9

c-49

rT-TT]

&ł.]-]_H TtrTT-N

oI tT-T-l 'f-.ffi

As

vm

c-69

Aa9

|||FFtł ottatl

TtrTTT] ltal tl TT-TTN

D 7 # el l#

ffi ffił

G A9l3

Aa9

rrdrfi

vt

ffi

rrTaTl

H++# ITTTN €}

c-^13

Aal1

o,błfrlt rxFFm Tl-Tt lttata

ln-rm 3e

As91 1

t3 D7ł9

G-^9

ttatJa ffi

G-^9 VIIIFFEFtr ffi-H

ffi N-TTN

As1 1

X|ttĘIł ffi ffi

b

G-913 vilrFffTfl ffi Ffi-rfil IT-TTN

Ęg

G-r I róffi

Hl-t+l FFFł TTTTN

Extending 7th Chords Using Ascending Retotive 3rds

EXOTIC EXAMPLES (EXTENDED SHAPES FOR -7b5)

Aa11

orbeYt ITRII

c-^9

,,błyl

vilrEml

r-rTTl

óT.-rT.]

FF]ł trT-trrn

tlatal

ffi+N

eTlebts rvmn

olłgbls

rxffi

TTTT-'

m-m

ffi frtrrn

FI_I_FH

b

D7

7

t^ 0Ź

Xmł

trT-TT-n ttatal I...I...]T

TT-TtrN

t,^ Aó?|3

YrfTffSl ffi i".]...]..m .iF.TT]

Q - A 9 I3

,rbexv

c-69 X FFM ffi TT-TT"] TT-TTN

bs

t.^

B a Dt s ilr fffff? rffi TTTT-1 ó-r.TT-] TTTTN

u,błxv

A-At3 ll rrrrra TtrTTN ottaal ffi

trT-trrn

75

UPPER STRUCTURE 7Til CHORD SUBSTITUTES (NO 5no1 Because of the complexityof some jazz chords, we often find that

enoughstringsto coverall the notes required.ln some cases it b do awaywith the third and still "approximately" coverthe chordal required.Forexample:

c ^ 9 ł ll

Da9ll

76

c q i l lI

l3 G ^ 9 ł ll

Extending 7th Chords Using Ascending Retotive Srds

SOME EXAMPLES OVER STANDARD CHORD PROORESSIONS Here are a few practicalexamplesof the shapes we have learnedso far:

I CompintgA' Jazz Blues llsing Ertended TthChords

I

Fe13

c-9

F9l3

F7b9b13

VI

Bbe

v

ilt

IV

,,błxł

ozil9łll

F9l3

t3 Gqłll

ę7łsbls

IV

l?

a b sl 3 €}

F9t', ',

VI

VI

lłl.l

c-9

rzisle

1?

ol ł9łll

lłr l

F9łl''

-t^

EVY

I

?4.

V

VI

IV

t3

, rbeY t

t3

As9

D7b9b13

b

c9l3

t^

c70'

Comping A Stondord Using Ascending 5rd Retotionships & Extended 7n Chórds Eo9

F-e

l3

t^

( G-^)

(AYh;ffil ,a,13

(AbA)

( eba)

c-e

A7D'

rbf

pql3

rc-7)

ł b sl 3

V

sbte .o-t)

IJ

E o r l ( a b a f 5 )a z b e

D-9

b

V

rf

(FA)

ab-s,DbD ebyfl I

o

V

(t-t)

G- 9 rabł )

nrbvxv

clłgbls

b

Abqilll (Eb-^)

,,b ł b ts

c _ o 9 ( eb ł i llll

bo

IV

(c-^)

Ao9

VI

c-aq

VI

l?

^bzłll

tcbr #s l

sbt9

(D-7)

€} IV

l;ł sbls

VI

Da||

rłba#51

Ęę vill

vill '|

Ca9 (Eb-A)

78

2 t^

F 7vY

abne

r-7)

G7b9b13

rEhafl

Extendino 7th Chords Usino Ascendino Retotive Srds

Comping "RHYTHMCHANGES" Using Extended 7tnChords 13

s b ql 3

t^ r -DY

c7b9b13

D-9

c-9

c7b9b13

F7b9111

b IV F-9

t3 eblvY

V

t^

LVL'

t-

ltl

IV

vlll

97ilłbls

tl

b

V

l3 -u / - b 9

L-v

I

ill l3

Bb9

G7b9b13

ę7ilłbll

F7b9b13

D-9ll

ę 7| 9 b l s

c9łł''

ę7|łbts

b t3

F-9

t^

BbTvY

ł b ql 3

rbn9

c-9

b

b

o,błbls

A-9

rt lelt t

--lgbi3

G9

P_o

vtl

VI

VI

C 7 b 9ł 11

G-9ll

rlł9łll

bo vll s b s1 3

G7b9b13

Cs9

VI

orbene

rl łgbls

ę7lłbls

67 i9bts

b

b VI F*s

t3 B b q iIlI

r3

E b q iIl l E o b r 3

1 ' ł ll

D7r'', .a

.u -/ b 9 b \ 3

b

l?

t^

LIJ

?-oY Tl

B b 3r

b;

Chapter5 4th CHORDS

(QUARTAL HARMONY)

jazz and fusion is the 4t'. Here are A popularchordalsound in progressive some applicationsof this concepton the fingerboard: ) Diatonic 4th Chords in C Maior

I

ttrio, Shapes

t3 c69 xil ml ffi

c69 I I TT-TT''] tt taa trTTTN TTTTN

E]]T

EIftr ttlttl

LA

ńr

vrrml rfn_n

ffi F]]ł

trtrn TT--trn

e

rłillt

F69 vil ffmJ ilrFFtll xil Ftl or l-l-Hf? ll-H# or ll-H# l..]...]..m I..]...].m l...|...]..m TI-TTN

TTTTN

XITNE rfn-n

''il Ta-aTt trT-TT-l

ffi TTTtrN

CI

€>

l3 rłłll

Fłillt

F69

V|TnT] VTilł |T-Tfi or FFFFFI Fffi or FFffi |..]...]..m I..]...]..m l...|.] m

IT-TI-N

-I-TTN

TI-TTN

TT-TTN

t3 rn9 Vl|[|fTI] l|m] or FFffi FFffi -I...1T I ffi TT--I-N

TT-TTN

Minor Shapes

OT

xlrFml

|..]...]..m

vill or

FFFFF TTTTN

ilrTm FFłF

-t-n-H -TTtrN

V[T-5l FHffi FUfl

X TFT -I-Tr-1 ffi N-TtrN

l3 D9

|||mł ffi FUT

X TNT] ffi F]]ł

Dominant Mixolydian Shapes G69 vtl

t2

Gll

\f7

ilrFFqn

vilr[flfl

TTTT-] trrTrn

ffi

€}

orffi

t-TfT-a TTTTN

X Tff]I TTTT-I ffi TTTTN C)

VTPłl IT-TTT' ffi -trTrn

soME oTt|€ R PosslBLE 4TH CONFIOURATIONS Our examples again are C lonian. Inversionsand combin&a voicingsand cluster sounds, too (see next chapter).

stretch !

EXAMPLES

OF MODAL USAGE OF 4TH CHORDS

Trythese progressions withothermodes,too (Phrygian, Aeolian,

etc.). The lonian mode, however,does not work too well because d dissonance betweenthird and eleventh(b9).

G7

D-7

Mixolydion ("Milestones")

Dorion("tmpressions")

l, \

Faf I I

Lydion

gg!?!!c A MtNoRBLUES usrNc

4rH Ct-toRDS

c-il13

C7ł9b|3

1C7olt )

atlsbs

bo

D7ł5b9

tb 7t

czlsbts

t bł. v

uT:.

c-69

at|"svg

b

ozilsbts ?

67fieńs bł.

85

4th chords (ouońot Hormonu)

"MILES" 4rfr cHoRDS In the music of Miles Davis from the 1980's we can see an interestingLC of 4tnchords. A "modal" vamp, let's say F7 Mixolydian,would be conf with chromatic4th chords,with an additionaltop note remainingfixed or t significantchordaltone. For example:

F7

(Mixolydion)

Thls devicecan also be appliedto minor7t'vamps:

Chapter6 CLUSTERS Clusters are voicingsin which at least one 2ndintervalis present.The tension arising throughthis 2no interval creates a special chordal character. We've alreadyseen a numberof voicingsthat can be classified as clusters, for example: --l1l

cA/E

u/ "

Let's look at a specificthree-notecluster,consistingof a 2ndand a 3rointerval and how it moves throughthe C major scale:

An interestingeffect is that any cluster with an "F" in it could be a D minor chord of some sort, because "F" is the minor third. I've made up a list of possible applicationsfor these 2noand 3roclusters which can representa vast arrayof chordalcolours in many keys.

t3 lłl l

AiAlł'

'

l3 FA9 DTsus

t3 Ebn9

t? , l r l' Bb^t'

Bzodd9

G9 l3

l3 EbafI I

B-7 cgll

A-9

G odd9

rlatl

Bs 1l

9 Ebałr"

A Tsus

Bbłłl l

D-t Il3

DTsus

r łilll

G Tsus

E-7

FA

F ^ 9 ł ll

Fodd9

ETsus

Dg ll

D-7

C odd9

D-9

G7

A-7

cAl 3

cA

l?

sbne

l3

r l # lI l?

Clustersare a wayof creatinginteresting chordcolourswithoutusinga lot of notes.The tensioncreatedby the 2nointervals,as well as the modal unitywhenmovinga clusterthrougha scale,can be veryusefulin comping.

85

I We can also build clusters with other intervals,however,a 2nomust { be present.

) 2na I 5ti

Ctusters

+ 4th+ znd

+ 2nd

t+2nd+4th

)* 2"'

MAJOR' MlNoR € I DOMINANT CLUSTER SOUNDS The followingpagesfeaturea numberof clustersoundsthat can be applied to major(Lydian),minorand dominantharmonies.In four-noteclusterstop and bottomnotes may be omitted,whereasin three-noteclusters notes may be addedon too or underneath. A lot of these voicingsdo not featurea 7th or even a 3rd which makes them very ambiguousand applicableto othermodes. C MAJOR 7T+I SOUNDS (LYDIAN)

: s u ,9 ł l l

C s u s9

C r u .9 1 3

C A s u s9

l3 r.r.9l3

C.u,913

cA9

CAłl'' łl

C A s u s{ l I

l

C A s u s9 ,o d d f iI I

C o d d $ lI €}

r3

C o d d9 1 3 €}

l3

l3 cafl I

cAl3

cA9

clfl I

Cłłll

cAl3

clfll

D MINOR 7rH SOUNDS D-913

D-oddl I

u-oodt

88

I

D-6

D-9

D-oddl I

D-7

D - o d d9

D-lll3

D-9l t

D-9

D-9 l3

D- 13

D-oddl 1

D-l I

D-At3

D MINOR 7THb5 SOUNDS Dall

Dall

Da911

Da11

Ds11

Ds

Dsll

Ds9

G DOMINANT 7THSOUNDS

Gr3

13

ctilt t

Gl3sus

GTie

G T o d dI I

l3

u tJ

r -?Y U/

t^

ł-Dź

c9l3

G l3sus

\J lJ

GTsus

lłrr

G7t"

l3 J'lr r G 9 ł | ,,

G DOMINANT7rHSOUNDS (CTD.) GTsus

l,-

G7?|ó

o r b en tt

G z.u.b9

67fiebts

orbebts

G9sus

Goddlll3

13

czit t

GzIl t

Gzfr1t

o r b e Xtt

b*

COMPING A STANDARD USING 5.NOTE CLUSTERS E.V/

Aa

DToY

o r b'

G ł # ll

Ss e

-ta?/

€}

c7'Y

TH

E

O IFT

rhis tunecombines a totof theconcepts we havediscussedso far:cru

Ltuc'L.'narmOny,extended7tnChOrdS.

Petero,Mąrą e d m : P et er o , M a r a , ' S y m m e t ! s , ' ł I av ry,,' 484-2, distribuicd ą si,,ny |ł::::,;,,,',

nl upsus y

).

r|)

tDłt!

ł

o

I

łbll13

ń|

r.Jpsus y

Bb-odd9

Lóff|er Mrinchen 3.13ii S"lY.;.leorg lvlusikverlag,

92

Ab/Bb

abz'9

1il.

'/

e.'

B b z . ul.3

D"zIJ

G7 olt

3x (3rdx: D.C.ot S)

ł 7

A7.J

łbBb

BA13

c-l1

-=t

=! E ,lDb

EbID

b

]'ł Ę

Ail"

łb_sll Gil/A

93

ALL BLUES Miles Dązłis {arr. Peter O,Mara}

The "tune of the chapter" is by

Mires Davis, of course. The quiet floa character of thistunelendsits;lfV;;' ńu.n .o '"l;i.,;;i"-, JJ'o'n..

@ by )azz Horn Music. Alle Rechteflir D/CHIGUS , - - - + or -steuropóischeLónder bei: NEUE WELTMUs|KVERLAG Used by Permission. GMBH,

Munchen.

Chapter7 i

I

IN lf we look at contemporaryjazz guitaristsand their compingstytes,we see a strong tendencytowards note reduction- let's call it "intervalisticcomoing." lt's not only easier to comp with fewer notes, it also helps create "space" in the music.The old saying"too manycooks spoilthe broth"could be interpretedmusicallyas "too many notes kill the soloist." lt's often better to comp with chords usingthree notes (or less!)than to fill everythingup with thick voicings.You may not need to comp at all! The space that a soloist has to develop melodic ideas is very much dependenton the comping.A lot of soloists even preferplayingwithoutchords behindthem all the time. Guitaristslike Bill Frisellor John scofield often use intervalsto express a chordalsound.This sort of compingis also popularin rock and country music. For examp|e,to get a,,mĄor,,soundWe can use variousinterva|s:

To get a major7thsound with extensionswe can also trv these:

nilll

Experimentby changingthe order of the intervalsused: C A ł I '' łl

l

c^eilll

Here is an examplecombiningsome of these ideas: C L y d i o n( ^ 9 , ł l l , l 3 )

^ 9 i l ll

l3 lłl l

Here are some otherchordal sounds:

D MINORSOUNDS

D MINOR 7THb5 SOUNDS uay

G7 WITH.EXTENSIONS

#s(bt3)

#e €}

tit t

-7

*J

bsl3

b-

bsl3

we can see that there are unrimited possibiritiesfor this kind of compingas rong as we know what the "important" notes in a givenchord are. To gain this sort of knowredge,it.'simportunt io practicearpeggios,as we, as intervalisticsequences based on scares. ro, exumpre,prayingthe c major scare in thirds gives us that sweet ,,country,, souno:

A similar effect can be achieved by 6t intervals:

IntervotisilcComDlno

Applyingthe same intervalsto the dominant-diminished scale producesa completely differentsound.Forexample,E7:

='1r;#f#ri5#F€i

ile

.:iła'ai;:€lffi

Here'sthe same principleappliedto the melodicminorscale.UsingF melodic minor,we can get soundsthat are usefu|as F-A (|),Bb7,9,ł11,13 (lV) and E7 altered(Vll)justto namea few of the possibleuses.

?O

bo

€>

o.

'Ę:'.

an examp|eof a standard chord progressionusing intervalistic co

Bb-9

rbu9

Gtitt

Godd 9

B b 13

c- sBb

.l

Ao9

Gł#]l

l3 rlll FTsus

A7b9

l3

Ebsitt

A-7

o-,bsbł

13

t^ ?Y trł+-7

rbł#5

AhA

łlJltrL

13 rtil t

OTHER POSSIBITITIESFOR CHORD CONSTRUCTION Note that there is no third in the first row of voicings!

ifths c69

D69

Eb9b13

^t,.

F69

vil;TflE ilrErm rxsEm vrfTlfl xTnfl vrEFm rfFmvilrEm --TTrn rr-rr. rrrrtr ro ęTlTn !-rriE or EEt o, fftfE' TfTflor T[f[ TfTflol. FTT|I FIFH TtTTI Tffi Tffi -tfn rrrrn FFrrn Fffi-n FffFn Fn-Ff] Frffi-l i-rFFr]

G69

t-t^t.^

B v S v v v|3

A9br3

rrrir-l vlJill ilffim xffi rvm xilErm LLLLI] LLLI{ u{tr IIEEE m or Lr-.re m FFffi TfTFlo, TITII m! or FFFFF 'T-T-T1 rrrrr-1 Trrr-t FFrTn TTTTn rT-rr1 €} e

€>

ible Uses c69

D-rI

a, ^9

łl l

Eil

b

€> €>

a

GTsus o

x (e)

x tol

construction:

dl

ltl

vltl

VI

xll

X

sible Uses Coddgll

C o d dI I 1 3

cA l3

cA9 cre

cA9l3 dr

D-9ll

D-9ll

D-t Il3

D-9 dr

Fl9f,r r

FA9f,rr

r o { lI €rl

t?

F a i r '' l'łl l

(P

(o) t3 --11

Gl3(no3rd)

G 9 l 3 ( n o3 r d )

Goddgll

tol 99

Intervolistic Compino

"SCALE SKIPPING'' A lot of us are familiar with the voicings within the major scale ant soundsthat theycan producein a "modal"setting(Ex.l-).The idea is t low a particularvoicingthroughthe scale (inthis case a "rootpositioning)whilekeepinga steadyor "pedalpoint"bass line. C E x a m p l eL : " M i l e s t o n e s "V a m p CTsus

rt9

It is importantto emphasizethat any voicingcan be taken throughall : degrees of the scale to produce a unity of sound-texturewhich a randc change of chord voicing cannot simulate. The advantageof this sort compingis that the voicingslead to each other,ratherthan jumpingaroL' melodicallv: ) Example2: Quartal Voicing (Dorian) A_7

O Ełample3: Cluster Voicing (Lydian) C ł i l ll

We have lookedat many possiblevoicingcombinationsin the previouscha ters, from "four-note4tnchords"to "four-noteclusters."Let's see what ha pens, when we change the source scale from the typical major scale ' somethinglike the melodicminorscale: ) Example4: Root Position(Melodic Minor) 4_A

This sort of "scare skipping" is a good option to have, especialry when we want to connect chords melodically with eacn other:

C-7

(Dorion)

4-A

(Melodic Minor)

_o

It can also be reducedto intervalswhich is a conceptwe exploredin chapter 6: ł| A Iź.c e i n..Wb.ńd.ćrt ea d.,! G7

(^A

FA

Ba

.-b9ttl

br'

G7

CA

101

r lltervotistic Compinq

ALTERED SCALE VOICINGS Here are some examplesfor alteredscale voicings(E7 alteredfrom F n dic minorVll): O

E7 Altered Scale Voicings

C E7 Daminant Diminished Scale Voicings

102

STETLA BY

śrnnLloHT

CD and book "l HearA Rhapsody" play-along Thtsexampleis takenfromthe comps a bass howJohnAbercrombie (AdvanceMusic 145O7CD)and shows s o l o o n " s t e l l a B y S t a r l i $ h t " ' T h e f r e q u e n t u s e the o f e ssoloist s e n t i atol lay h o r dover' tones'like foundationfor the 3,dand the 7,n,creales a sorid

-. lohnAberrrombiej

A7 ^

F7

F-7

Ab7

tba

e7{9uls

łbzł]l

ł'łĘłło G7 rJ ł|,

Ea^

BlrA

(F7 )

F-7

A7

a1

E-7b13

ł'ło

A7r',

105

sEcREtThisisaJohnScofie|darrangementof,,SecretLove.,,Notetheuseofinlel vals in the "A" sectionand three-note ., voicingsin the ,,8" section. bammy Latnlt'aul o.Wrtr*

- !

(asplayedby IohnScolield)

[mą - l

tba

-l

D 2 , /S U S

-l

F-9

fDL

Bb3 l

tba

D2l SUS

-l

e b sl

tta

-l

LDA

łbl

bp-. I

a

óv/

Bb7

trf

rD/

I D,g

,\ \ bł^ł,)

|

F7

.D--i

@ by Remick M. Corp. A||eRechteflir D/CHIGUS + osteuropóischeLónder bei: NEUE WELTMUS|KVERLAGG|V]BH, Munchen. Used by Permission.

104

sba

Bb-7

,N

b{r,

E

łbl

Eb7

N

I

|.

b)--j

ł ')>_).

F-9

EbA

czł9bls

Bbr3

b)

--ą

ebt

b) b)

C7ł9

il

)-.1

rbl

JXJ IJ J J^J

105

r I

Intervotistic Comping

I i

l tFnrr

I

VERY (as played by Bitl FriseLl)

--

EARLY

-

ortheBilrEvans tune,,veryEarty,,*r",,* rec. ::,,:j:?,f::ompins cu 'irq nas a strong contrapuntar

erement.Note the frequentuse of hig-i extensionsat the cost of even omitting the third (if impriedin the mero:, creatinga rather ..abstract''atmospheń.

abzilt , t b3 O FOLKWAYSr\4USIC PUB. CO, INC.

3.::.#?:*i:ltsch|and, 10ó

Ósterreich, Schwelzundosteuropa: ESsExMUslKVERTRIEB GMBH,HAMBURG.

'3'

L3J

--4-

'3r

SLASH CHORDS "Slashchords"are namedaftertheirnotation:a triadand a singlerootdivided by a slash ("/").Theyare a convenient way to expresspolychord-like soundson the guitar. Polychordsare, literallyspeaking,two chordssuperimposedon each other. However, the limitednumberof notesavailablefor guitarvoicingsmake it necessaryfor us to be economical.This sort of voiceeconomyis usefulin producing new"sounds,"for example: Polychord:G/C

Gtc

cA9

Althoughwe'veleftoutthe third(E),the resultis still a "C major7, 9 (CAg)" sound,becauseourear fills in the gap betweenthe rootandthe fifth.That meanswe can use any G majortriadto createa CA9:

ilrffi H++l

vilrffiH ffi]ł ffi

ilrffi FFTTtr t-t-n-n

xFFm EniF-l

l--t.t-t| FTTTN

Here, our knowledgeof triad shapes (see chapter 1) comes to fruition!Also, slash chords providethe guitaristwith very resonantand "modern"sounds and voicings for the majorityof modes as will be shown on the following pages.

t09

Stosh Chords

MAJOR TRIADS AS "UPPER STRUCTURE" SLASH CHORDS One way to learn to understandpolychordsis to take a triad, let's say 'C major"and try every possible bass note under it. We can then analyzethe chordalcoloursoroducedand establishthe suitablescales for them. MAJOR TRIAD WITH THE b2ND(bgTH)IN THE

aAss

CIDb

oblł9ł l l

(no 5th)

F Hormonic Minor Vl

Ab Hormonic Mojor lV

obol ut utmtntsneo

MAJoR TRIAD wlTH TH€ CID

Dg ll

D-9ll

c/Dil

(no 5th)

D Mixolydion

(no5th, no 3rd)

D Dorion

t3 Eb7b9 go 7th, €}

.rl9

no 5th)

(no root, no 7th)

c^ile (no root, no 7th)

110

2ND(9TH)lN THE BASS

MAJOR TRIAD WITH ISNO1f,9TI1IN THE BASS Eb Dominont Diminished

Ab HormonicMolorV

C Dominont Diminished

E H o r m o n i cM i n o r

C Hexotonic

Stosh Chords

MAJOR TRIAD WITH THE 5RD IN THE BASS There Herewe have a "firstinversion"triad,that is, the thirdis underneath. are many possible chord-scales,dependingon the harmoniccontext: E-b6

(no5th)

C | o n i o n( m o i o r ) C A

C Lydionil9

C Lydion

cnf,9łl l

C Mixo|ydionb2 bó

C Hormonic Moior

F Hormonic Minor V

Clłl

l

C Mixolydion 66 ,rblZ

c7b9b13

a o bt :

C Mixolydion

C7

I C Mixolydion $11 Clil

C DominontDiminished

,,b!ł;

C Hexotonic

F HormonicMoiorV

Ab Hormonic Mojor lll

MAJOR TRIAD WITH THE 4THIN THE BASS

ctE

FA9

(no 3rd)

F lonion (moior)

F Lydion

F Hormonic Mojor

F Melodic Minor

F Hormonic Minor

C Hormonic Mojor lV

cAo (no 3rd)

MAJOR TRIAD WITH THE bsTH(ilIlrt)IN THE BASS ClFł

Fl7beillI

łl r C A { ł ''

(no 3rd)

(no 7th)

Ff Dominont Diminished

Fil Altered

C Lydion

E Hormonic Minor Vl

|t{ĄłoRTRIAD wlTH T}|E 5THlN THE BAss Here, just as with "c/E" we have an inversionof the triad, this time the second inversionwith the fifth underneath.The possible chord-scares are the same as with "C/E". CIG

Gósus

(no 3rd)

MAJoR TRIAD wlTH THE bóTH(ilsT}')lN THE BASS I

lłR

Abat'r"

112

Ab Lydion Augmented ( F M e l o d i cM i n o r l l l )

( F H o r m o n i cM i n o r l l l )

Ab Hormonic Mojor

Ab Hexotonic

Ab Mojor il5

\^.t.TH

b,{A'oR.TRIAD

-r+lE

6TH

A Dorion

rN

Tł.,łE

BAss

A Phrygion

A Aeolion

E H o r m o n i cM i n o r l V

G M e l o d i cM i n o r l l

(Dorionł4)

\uoflon

.

]Dz) Ą\

MAJOR TRIAD WITH THE bTTHIN THE BASS l3

Bb9 I'l' '

This chord is not as easy to define,because it has no Jrd ep /th.Therefore, it could be a major7th(A),minor-major 7,h(-A),dominant7rh(7) or a minor 7tn(7) chord. Naturally, there are common uses, like saying it's just an inversionof "C7 Mixolydian"and thereforemakingit a "BbALydian"sound - both share the same signature:1 b (F major).But a close look at the scale oossibilitiesrevealsa lot more: Bb Lydion

Bb LydionAugmented

Bb Mixo|ydionł4

l3 9łll

F H o r m o n i cM i n o r l V

t3 e#ll

F Hormonic Mojor lV

t3 ^l

ÓVa

9'ił"

Ab Hormonic Mojor ll

115

Stosh Chords

!ĄqR

TRIAD w|TH THE 7rH lN THE BAss

B Locrion

C Hexotonic

B Phrygion

C Hormonic Mojor Vll

This polychordtype can arso be seen as a "dominant7rhsus (11), bg, br3' bl3

,rbctt

(no 5th, no 7th)

E H o r m o n i cM i n o r V

some of these sca/es we have just seen may seem strange to the ear. Jus :"Rome wasn't built in a day." what we ,.hear,,is a resultof what we have "heard,"so let's keep our earsopen!

MAJOR AUGMENTED TRIADS AS ..UPPER STRUCTURE' SLASH CHORDS

MAJOR AUGMENTED TRIAD WITH THE b2ND(bgrH)lN THE BASS

C ous/Db

Db Melodic Minor

Ab Hormonic Mojor lV

Db Hormonic Minor

Db Hexotonic

F Hormonic Minor Vl

MAJOR AUGMENTED TRIAD WITTITHE 2ND (9rH) IN THE BASS

C o ug/D

l'f Lr

D9fi''

(no 3rd,

Da9 (no 3rd)

D M i x o | y d i o nł l 1

D Locrionf2

A Hormonic Minor lV

C H o r m o n i cM o j o r l l

MA]oR AUGMENTED TRIAD wlTH THŁ (ł9TH) |N THE BAss b5RD

Eatr-

Cł Me|odic Minor ||

C{ Hormonic Minor ll

E Hexotonic

MAJOR AUGMENTED TRIAD WITH THE 5RD IN THE BASS Because of the symmetryof the majoraugmentedtriad,the third or the f,Sth in the bass only representinversionsof the same triad. The same follows for all otherremainingbass notes: C o u gI

Coug/

Coug/

bz40 identicol!

\2

łll

b7

identicol!

ilqs\7 identicoll

115

Stosh Chords

MINOR TRIADS AS 'UPPER. STRUCTURE" SLASH CHORDS we have tried all the possible bass notes under majortriads - now let's do the same for minortriads. MINOR TRIAD WITH THE b2ND(bgT}I) IN T+{E BASS D-tEb

,;oe{l I (no3rd, no 5th)

Eb Lydion

Eb Lydion Augmented

Althoughthe most common use of this polychordis as a Lydian(or Lydian augmented)sound, it does also have a use as an extendeddiminished chord: EboA9(no 3rd, no óth)

Eb Diminished

MINOR TRIAD WITH THE 2ND(9rH)IN T+tE BASS

n/tr

t^

E _ 7 V ' ' (no 3rd, no 5th)

E Phrygion

E Locrion

D Melodic Minor ll

D Hormonic Minor ll

As a "dominant7tnsus (11) b9" chordthere are more possibilities: ll

sbe

t1ó

(no 5th)

A Hormonic Minor V

A Hormonic Mojor V

MINOR TRIADS AS "UPPER.

sTRUcTURE"sLAsH clónos

we havetriedail the possibrebass notesundermajor triads- nowret,sdo the same for minortriads. MINOR TRIAD WITH TI{E b2ND(b9TH)IN THE

BASS

D_tEb

I1 Eb^e# (no

3rd, no 5th)

EbLydion

Lydion Augmented

Althoughthe most commonuse of this porychord is as a Lydian(or Lydian augmented) sound,it does arso have a use as an extended diminished chord: EboL9 (no

3rd, no óth)

MTNOR TRIAD W|TH THE 2ND(9ru; ," ,*a

BASS

D_/E

t^

E-7DY

(no 3rd, no 5th)

E Phrygion

D Melodic Minor ll

E Locrion

D H o r m o n i cM i n o r l l

As a "dominantTtrrsus (11) b9" chord there are more possibirities: 1l rlbg

1|ó

( n o5 t h )

A Hormonic Minor V

A Hormonic Mojor V

MINOR TRIAD WITH THE b5RDIN THE BASS use any Becauseth\St(\ad\s a "firstinversion"triad,we couldtheoretically usua\\y vl\\\ scale that fits to a D minor tr\ad. Aga\n,the mus\ca\contex\ determinewhichsca\eis correct,but here are a few to try: F lonion (moior)

F Lydion

F Lydion Augmented

D H o r m o n i cM i n o r l l l

A Hormonic Mojor Vl

C Melodic Minor V

F Mixolydion

A Hormonic Minor Vl

D Hexotonic lll

MlNoR TR|AD w|TH THE ł5RD|N THE BAss

(no 3rd)

G Mixolydion

G Mixolydion il11

C Melodic Minor

MINOR TRIAD WITH THE 4THIN THE BASS D-lG

G9

(no 3rd)

G Mixolydion

G Mixolydionil11

C Melodic Minor

r Stosh Chords

MtNoR TRIAD V/ITH THE b5Tf|(ł11TH) !N THE BASS D-lAb

tbobs (no b3rd)

(o)

{E}

t3

= og'beXu(no 3rd, no 7th)

A Hormonic Minor Vll

A Hormonic Moior Vll

fro Ab Dominont Diminished

MINOR TRIAD WITH THE 5THIN THE BASS This is another invertedtriad. so we can use anv scale that contains a D minortriad. D-/A

MlNoR TRIAD v/lTH THE bóTH|N THE BAss Here we can use any scale that fits a "BbL" chord (see "Major Triad With The 3,0In The Bass"). D-IBb

sbl

M|NoR TRIAD wlTH THE óTHIN THE BAss D_/B

118

Ba

B Locrion

B Locrion!2

A Hormonic Mojor ll

A H o r m o n i cM i n o r l l

MINOR TRIAD WITH THE bTTHIN THE BASS

This is an inversionof D-7. Therefore, our scarepossibirities are anyscare thatcontainsa minor7tnchord(see"MajorTriadwith rhe 6thInTheBass,,). D_/C

D-7

MlNoR TRIAD wlTH THE ł7rHlN THE BAss D_/Cł

D_A

D Melodic Minor

cxzłsbe

D Hormonic Minor

D Hexotonic

Cil Altered

PIIINISHED TRTADSAS .UPPER sTRUcTUf,lE"sLAsH clońoś DIMINISHED TRIAD V/ITH THE b2ND(bgTH) IN THE BASS

we mightbe wondering aboutthe musicarvarueof chordsrikethisr

Eb Symmetricol Diminisheo

ll

Eb-^e (no 5th, no 3rd)

Eb Hormonic Minor

119

Slosh

Ch(

Here'sone exampleof theirusage: DotEb

roEb

Eb-g

DIMINTSHED TRIAD WITH THE 2ND19rr')tN THE BASS

DO/E

E7v'

E Dominont Diminished

A Hormonic Minor V

A HormonicMoiorV

DIMINISHED TRIAD WITH THE b5RDIN THE BASS

This is, as we know,identicalto a firstinversion triad.

DIMINISHED TRIAD WITH THE 4THIN THE BASS t^ G7?,

or

G Dominont Diminished

C Hormonic Minor V

1l

t^ r -?Y u/

G Phrygion

DIMINISHEDTRIAD WITH THE b5THIN THE BASS

120

C Hormonic Moior V

DIMINISHED TRIAD WIT}I THE 5THIN THE BASS

bls

łll l

A HormonicMoior b2

A Hormonic Moior

bls =

A-All

A Hormonic Minor

oal

DIM|NISł{EDTRIAD wtTt| T|{E bóTH(ils.') IN THE BASS DolBb

Bb7

This is reallyno big deal, but let'sjust file this knowledgeawayfor the sake of it!.

D|M|NISH€ D

DO/B

TR|AD wlT{"|THE óTH lN TflE BASS Bo7

See chapters 2, 3 and 4 for a discussion of diminished 7tnchords.

IA

Slosh Chords

DIMINISHED TRIAD WITH THE bTTHIN THE BASS

F Melodic Minor V

C Hormonic Minor

C HormonicMoior

DIMINISHEDTRIAD WITTITHE f,7TH IN THE BASS

(no 7th)

Cl Dominont Diminished

Ffi HormonicMinorV

Fil Hormonic Mojor \

Slosh Chords

DIMINTSHED TRIAD WITH TilE bTTHIN THE BASS

F Melodic Minor V

C Hormonic Minor

C Hormonic Mojor

DIMINISHED TRIAD WITH THE il7THIN THE BASS

Cł Dominont Diminished

Fł Hormonic Minor V

Fł Hormonic Mojor V

COMBINATION EXERCISES Combining severalslash chordscan produceinteresting results:

(:

( : c o e i lll,

CA9)

FlC

(: o-łbs,

(: D-7)

EblD

( : csll)

oblc 1=67brXll,

rbrc(:człobls,

o

=

( : D- Phrysion;

Gtc 1: ca9y

l3 Fł/A (: ^7b9)

( = D - A b 5)

FID ( : D-7)

( = G T s u s b 9)

BbtD ( : D-2il5y

Etc

l3

(: czbe,

Ę=

Etc

FIC

( : cał5,

( =Cósus)

Dblc

obrct:o,błxlt,

(: CA9)

l, t : co9łl

Here are some examplesof slash chord usage on a standardchord pr gression. The originalprogressionis notated underneaththe system, il slash chords are writtenabove.Try some variationsstartingfrom differe posltionson the guitar!

(^A

GIC

G7 AbIF

rIa F/D

EIG

DP,/SUS

BIBb

EIBb

D2./SUS

Óo/

ctFil

AbIF

tła

124

DIE

ra

DPl SUS

C/D

GIE

DIC

GIC

Ebo ^t,UVlg

Stosh Chords

COSTA DEL SOL

Here's one of my own tunes for you to have more fun with slash chords. Again,the "scale-chords" behindthe slash chords are writtenunderneath.

Peter O'Mara (as played on Peter O'Mara's "Aoenue LJ", ENIA

604ó,ENIA_ruTU)

G-9

F n ł ll

Cósus

^tcil

ebp

ATolt

o ol3

E9sus

A9 sus

-

EbIAb

Clłl

,-l

r lEV

l

@ by TUTU PUBLISHING/ENJA RECORDSHorst WeberGmbH Usedby Permission.

D.C.

125

Stosh Chords

Here'sone for you tunesuse slashchordharmony. A totof pat Metheny's

LAKES

to try. Note how the eight-barmelodyis totallyredefinedharmonicallythree times.

Pat Methenu t fr o m P n t M e t h e i t y ' s " W a t e r c a l o r s " a l b u n t l

,

^

A/D

GID

AiD

D

e

€}

ll€}

o

ł

t+'-,t

,'

^

\-

|

r-l

r l J

ł1'.--, Dsus

Eodd9lGl GIA

D/B DiA

Aodd9/C{

Dodd9

l r

lul

\r

\

)^4.

FVbl3

\

ar

5

al

\-/-

Tr

-

t

7

"o'

E_7

B-ll

A

+, ł4:

-l

GIA

A,IG

\|

J

E-91I

D oddg/F$

,

sbtilllA

ctA

r,b^r.

I"

9

-

o A

^ .l' 730)

-+.

łł'', ł ł, ' ^IBb

l r

ńł\/ vl.ł łt

B_7 DIC

[ |

)))-

''-t

|ż'---,

--rt-

l-'v

Music Corp. O by Pat l\'4eth u n d a l l e o s t e u r o p a i s c h eLne n d e r :E M | | \ 4 U S |PcU B L | S H I N G E R M A N YG M B H . o F 0 r D e u t s c h | a n dÓ s, t e r r e i c h ,S c h W e i Z Usedby Permission.

126

r l J

Ff,/Gf,

\t l

,

-rr!rl)

D/G

v. l v/n

frł'.-,

-ł.

ilł-

t

a-

l-v

Ć.

-7

)

-

lt .^

FAir'' łłl l

D odd9/Ffl

DIG

CID

B_7

L

\\

-^-

'a

a tr

-+J -tJ

u'--

.lxt

)-

'

T'

o CIB

DIBb

r

h_

_t.

I

EblA

E odd9/Gfl

Ffic

lt

I

-

o\Jo'

f

BbIC

IN

_v_

|

CID

A odde/Cf |

\

DlEb 'j,!ź:

-f

E_7

F^l3 D/Fł

ł

G

D

GIA

'd.

\

ll

127

- in a simitarvein! MoreMetheny

O MAHA

CELEBRATION Pat Metheny

Btcl

BT s u s

G odd9/B

DICI

'rr'

ł.

l\vl

BbIC

BbIC

CID

CID

'F-(

'ł

/r

E7

AA

CID

Gadd9

FIGb

r B7Dt3

urr AIB

Clń

Goddg ebrc

FA

rBb

*. ,ł

nt)-l

O by Pat Meth lvlusicCorp. @ Fur Deutsch|and,Ósterreich,schweiz und a|IeosteuropaischenLónder: E|V]| |VUs|UBLlsHlNGGER|V]ANY G|\4BH Used by Permission.

128

Btci

J-].^.)J

Fil/c#

)--;

nbpb

DIG

GTsus

r J l''l \r a^.)e

?-

G7

E-lr

r b z o a aIt e

ł.

vrl Cb/Db

Fl/G

cbl

\

|\ tl

1?. .e

2-l AIB

EAPIJ

E odd9

A b T D |3

ńl UV

F7?tr

r--.3-__

^i

cbtab

AbIDb

129

Appendix

APPENDIX

EXPRESSIONS Peter O'Mara

The two tunes that conc|udethis book featurea |ot of the chorda|conceotł we have discussedas they appearin "real life."They are just here for yor to enjoyand to get a feel for the sounds introducedin the previouschapters in a musicalcontext.

D- odd9"

L r' 2u

2) L r' "2 D- odd9"

ll

D-9 " A

a'

5Q) lll

ta

CIBb

--.€}--

ę

ę v Dd.

v

D-odd9bl3

c CIBb

B-9ll

lr

ę l5

DIG

v Dd.

tl

tl

I

2) B-odd9bl3 A

20 _ Georg Lóffler |\4usikver|ag, o 1994 GL|\i] |\4unchen. Used by Permission 150

B-9ll

Itą

B-odd9zrr

B t a

ll obłf,5f,

a

1')

Ba

\ |J ---l

| € ) '. :,Q lv\r," /

lll (

)

Bytc

\r

-1,-\

I ttt

- l

LbL/l

\

-l

lllr-:r-'--

bę b a

l-

DAIF

Rl.A łlJ/tr

,#e'.

L rQ

q

,I

--1.

Yl a'--'ł

VII

V.

abtc

DblilI I \l -l,-,1

Ebłill l

al|"9

IV

ill

.

|YV.''-_-.

||

Jo D_l I

t*?

D-odd9bl3 =-=-

t,^ D- oddgPlr

D-9ll

a

ś>

h.

ill

o

t:

V

eb*pll

l'ł

D- oddgP

rJ

151

THREE Petero,Marą (),Mąra,s,, ; Aaenue U,',ENJA i;'i : ;w^;ł.ił ;,

Ci.

'nP

3-1

--

l łl r Ebalł' '

-3-

I

).

b Ł T U T UP U B L | S H | N G / E N 'R] E A C o R D SH o r s tW e b e rG m b H . 9 Used by Permission.

132

E b - 7 0 |3

t-3-

D Dbsu9 s A 18

I

l |b3

_ 7| o' Ą t5

c I

l bł.

ł

}

+.1

lc

,b,

rl

IV

ill

a-Ę|

a)

t3

-l DzSUS v

ln

DbNAb

l

^l

\ ,t)

\

-l

1/-

22

l

G7?Y

I

I

I

tl

al , l'lr r G b A ł t ''

A

27

\

B b _ tI

AAtI"

\t )

1 tb

IV

C_7b13

,l-' vlll

15

Appendlx

IN CLOSING Nowthatwe'vereachedthe "end,"I'verealizedthatthereis still so much whichhas not beencoveredin this book.Basically,I wantedto presentan analysisof howchordsare structured on the guitarfingerboard. Theiruses are limitedonlyby yourimagination. Listento all sorts of musicto develop yourideas,and whenyou learna newchordshape,try to integrateit into tunesyoualreadyknow.Betterstill,try to composea tunearoundthe chordal type,you'vebeenworkingon. Thatway,it will stick in yourmemory. And mostimportant: be patient! guitar The is a versatilebut difficultinstrument that deservesyourdedication. PeterO'Mara

b'"T*** TtrrtqVr-

*J*l-U

Appendix

o o 6 5 m

ABOUT THE AUTHOR AustralianguitaristPeterO'Maramovedto Munich,in 1981. Since then, he has establishedhimselfas a performerand teacher.He presently teaches jazz guitarat the Anton BrucknerKonservatoriumin Linz, Austria, as well as the RichardStrauss Konservatorium in Munich.He also lectures at jazz workshopsthroughout. His performingcredits include Klaus Doldinger's"port," Kenny Wheeler,David Friedman,Mike Nock, RandyBrecker,Albert Mangelsdorff, AdelhardRoidinger, Uli Beckerhoff,CharlieMariano,TonyLakatosand Terry Lyne Carrington. He has a numberof CDs under his own name, including"AvenueU" (ENJA 6046, featuringJoe Lovano,Dave Holland,Adam Nussbaum and Roberto di Gioia), "Stairway"(ENJA 7077, featuringTony Lakatos, Russell Ferrante,AnthonyJackson,Alex Acuna and Tom Brechtlein)and "Symmetry" (EditionCollage 484-2,featuringBob Mintzer,Marc Johnsonand Falk Willis). 155

Cułr+

Łńivb-,,-ęb^(,F, Ę 'fm,Dl,.,4t f".^lJ&;A (.h r . _ / t uCrJ,Ćr uT_ ) t

(q_e,]W U*fL^ ę(-v,"? u*Pcę{p Ć''awtłss,

.Dkł?

*nę",17,"

bv,i ęe^..L*Ą,;w ,o.-{:-',lry

*^"b&JbĄJ\^\/

k1"i*? o,Ą"T.iJ" I

Cv', T

tr / r* *-,aiołź,"

("4 ieitw t.ś,4n

L*(oujtcr^Yo **;

N

trilus

+-':t*Ł'^. B' t G1' f P"."-.,Ł.Ę1*

fuerii&-Fu,",) vl

lln

(T v^ę,\,-d*tu"|/\,,\D/ \r .G.'^ t

! i

ęr4 I y'łI u-Ą.r"łoi, ' la i\l ./)

l i=r"i *v-

, C.5k;+t.r

\ ry;Ąuz,*^,*'-t^
6l,,

,Ex rDn

o 1*A {ęb

F

C++s.[s Nr,^^ĄUĘ^-Ąe.T;ą BL}'{}b-s.T^r z1,'>h*i,,ł,?^ C.I F fn L--t,t.t r f I'

E

lr

---''

f\C

Ll \^4

#v,t

G",lk

A l\-

r

h

(ąff tF'-. r 13tor"*

-L

i.

DN\"-1

Ev"' FVr

T-

o

.+ N J-J t^^^

llui

.n {+

-l-

. 1 L M't-

l/t łt

Ą

B5*i A{- (^

Enni

E1li

1,

Jffi{re.# -) l'..J^'ł;!ztl.,oCłd,,",(v) -> Cv*1 cD),

-S i"il- (u)-* C+ ^ tr.r"'r4'q it'L--> (",J'-> -t'{Ay

l.ĄuV,,s.

ą.gY

tl'

,^r)"

Ep ol^r./

-> B\* \^^rL furtl + ->

ew+ _

ffirY,

Ąu v,dL1vt)-> --t qra. t"*,t(v\ -> C3 ,r,r4 tułx r^*^ -> Ę^ \^-J(tu) -> I . _l \. a. , l',...'\ \L^^,ę^

C"d',c'rvrs- hT -> rCvw t".oLT Ćki{t

klr- h4sl*ryP\

{

CHORDAL CONCEPT JAZZ 6UITA

the prognessive ith

a comprehenchondaI uitan ting

en working hd lth

chords

.

::.

,

stan'dard the

chordal logic

# l,B0l,E

progressions'

presents

concept nather

memorized

order

examples oven

chord

author

chord

relationships

practical 'r,:,,,

thnough

and

then extens i ons ' titution

with

based

than

shapes.

here

just,

on

a