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$s {1-5-9.i11}. Lydian o.rMixolydian ł11 G o dddd9gi li llIl l
Coddgilll ilrmn or Fffi TTr--t
VFFiTT] ttJaal
fl-T rrl trrtrT-n
trT-trFFl
F o d d g #Il
V FTM ffi tattal
TrrrTl
O Addg :Suspend ed Voicings{1,-5 -9 -11/ sus4) G oddgl
I
Coddgl
1
V Til;il ffi ffi
o Triąd Sus9 Voicings (Root Position)C No 3rd C s u s9
F s u s9
tipsusy
O Triad Susg Vaieings {7.'5-8-9). No 3rd Gsus9
F s u s9 ilti-r.TT.
H+tH FFFFF ffi
MINOR {5 T{TIADS
We can think of a ..minorł5 triad" as an inversionof a majortriad a thir lower(example1). This means, of course,that we don't have to learn e whole new set of fingerings,just reinterpretexisting ones. This sort o .,over|apping'' is one of the wonders of chorda|harmony,aS We can se€ example2.
I
-b6
20
2 E
+CA
F
+D-7
APPLICATION OF TRIADS
OEOROIA
Try reducingthe chords of a tune to triads, as in the followingexample "Georgia."These aren't necessarilythe most advancedharmonicsubstitutions but this sort of exercise helps us to get the varioustriad shapes into our "everyday"repertoire.Triadscan also create a purity,throughtheir simplicity,which can be an advantagewhen playingwithoutbass and drums great for introductionsor duo accompaniment!
Music:H oagy Cąrmichael Text:StuąrtGorreII ttn
Peter O'Mara1
Es
FA
A7
D_7
D_7/C
r\?
-3-
Bs
Bb-7
Bo
eb-tob
"----
a G_lBb
FIA
F
^lCł
D_
FIC
ll
tl
rl
o
A-7
Abo
G-7
a
C7
FA
CIE
F
Et'io
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STAIRWAY
The versatilityof triads will become apparentas we move on to more corn plicatedharmony.The next tune, "Stairway,"features a lot of "added 9thtriads.The minor7f5 chordsarejust inversionsof major"added9th" triads withthe third in the bass. In the "A" sectionthe chords progressthroughal seven steps in the B majorscale.
Petero,Mąrą (as played by PeterO'Mara on "Stairway", ENJA CD 7077-2)
Eodd9 Ff,odd9
E odd 9/Gf, Ff,odd9/A$
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. Remember,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
_-?_-
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IN YOUR OWN
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Ab-7
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cbne
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san Francisco, usA.
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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
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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 €}
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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?/
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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
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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 cplay 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
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łbl
bp-. I
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óv/
Bb7
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|
F7
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@ 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 remember:"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|cPUBLlsHlNGGER|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
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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.
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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
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ABOUT THE AUTHOR AustralianguitaristPeterO'Maramovedto Munich,Germanyin 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 workshopsthroughoutGermany. His performingcredits include Klaus Doldinger's"Passport," 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
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