Berklee �ress

Vice President: Dave Kusek
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ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3
DI.TJgUID B
berklee
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HAL• LEONARD,
C0RP0RA'I0N
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MILWAUKE� WIINaiN 113
Vislt Hal Leonard Online at
www.halleonard.com
Copyright© 2007 Berklee Press
All Rights Reserved
No part of this publication may be reproduced in any form or by
any means without the prior written permission of the Publisher
Contents
Introduction iv
Part I. Chords
1. Moveable 7th Chord Shapes 2
(each on
�@®@ @Q@(
@@®@ �Q((
)
Major 7 2
Dominant 7 3
Minor 7 3
Minor 7�5 4
Major 6 5
Minor 6 5
Diminished 7 6
Dominant 9 7
M�or 9 7
Minor 11 8
Dominant 13 8
2. Dominant 7th Chords with Alterations: 9
two versions each, with roots on® and @
Dominant 7�5 9
Dominant 7(111) 9
Dominant 7(9, 19) 10
Dominant 715 10
Dominant 7M, �13) 11
Dominant 7( alt ered): 7�5M), 7�5(19), 715(�9), 715(19) 11
ò. Guide Tone Chords 13
Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7�5. Major 6, 13
Minor 6, Diminished 7)
Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7�5. Major 6, 14
Minor 6, Diminished 7)
4. Triads over Bass-Note Voicings with Roots on ___ 16
VI I 16
�VIlli 16
Oter Common Voicings : (III/I, 11/1, IIV /1, VI/I, VIlli) 17
p. Inversions (each on
�@®@ @®@(
@
@®@ �®@(
) 19
Major 7 19
Dominant 7 20
Minor 7 21
Minor 7�5 23
Major 6 24
Minor 6 25
Part II. Exercises
0. Quartal Voicings Exercises 28
C Dorian Voicings 28
7. Diatonic Exercises 30
m Major on �@Q@ 30
Í Major on@®@
( 31
FMajoron@@
Q@
32
mMajoron

@
@
( 33
F Harmonic Minor on@@®
@
34
F M e lodc Minor on@@
®
@ 35
G Major 6 Bebop Scal e on@@®@
36
G Minor 6 Bebop Scal e on@
@
@@ 37
About the Author 38
iv
Introduction
The Lcr|Icc10¸¸ OuII0r ChorJÌIcIIon0r) is a resource for 7t-chord
voicings ad oter fequently encountered jazz chord shapes on te
fretboard.
The following diagras indicate what notes you should use for each
chord voicing. These chord blocks will show you te right shapes, but
as a musicia, you owe it to your audience and yourself to hear the
music before you play it. This material will help you to map out te
sounds on your fetboard. With time, you will hea te chords before
you play them.
Strive to play tese chords with a solid time feel, a fll tone, and attcks
wit your "picking hand" tat match te level of intensity of the music
you're atempting to play.
Some tips for geting a good chord sound:

Tae special care to play te notes requested-and to Ic0vc ouI,
or mute te strings wit the X symbol above them. Keep te
exta strings out of te sound.

Use the edges of your fmgers of your fetting had to mute
unwated strings. Focus your strumming (or fmger-picking
attacks) on te indicated stings. Avoid sounding the others.

When stmming across the stings, make te speed of your
stroke fast enough to give te illusion of one simultaneous
sound made up of all the chord voices.
l

When you're using yom fmgers to pluck chords, take cae to
balace the level of each chord tone. A common tendency is to
hit the outermost notes wit the most force, resulting in a
thinner textme. You're working to put tose notes on the fets;
make sme that the listener ca hea them!

While foring the chords, make sme that yom fngers are as
close to te intended fets 8 possible.

When chaging chords, mute the stings by lifing your fmgers
from the stings, but still touching tem, to hold tem still 8
you slide to te next chord.

Mae sme all notes ring. If you're not hearing all the notes
clearly, keep working to cmve yom fngers and adjust yom
had position on the intended frets to make the sound shine
through yom instument.
Playing chords efectively taes time, and te leaing process requires
practice. There are tree common stages of development.

1hjsìcu¡ S!umìnu: Building yom hand muscles

Nusc¡cNcm0rj: Memorizing the proper chord-voicing shapes

1nl0rmcd Nusìcu¡ 1nsIìnc!s: Using tese chords to mae
music
v
vi
Here are some other tings to keep in mind:

While practicing, stay vigilant, playing in time ad using a
metonome or drum machine. Stay wit a musical task ttil you
can make it groove wit a stong time feel.

Play wit other musicias whenever possible, as ofen as you
can. Practicing by yourself is only part of te overall pla.

Mae sure that te chords that you play ft well into your
playing sitation. Should your voicings contain a lot of notes
or a few? Listen to the overall texture, ad mae a musical
decision.

Listen to the originators of te styles that you love. It's one of
the best ways to keep yourself inspired-and to help you to
keep the highest musical values in mind.

Listen to great guitarists, but don't stop there. Focus on
perforers of oter instuments as well. Bring it all together
to help you to develop your own unique voice.
Keep working, and be patient wit yourself. Having te physical
strength and te knowledge of the shapes provide means to musical
ends. Wit time, you'll be able to choose fom a variety of options.
If you keep at it, you'll defnitely get there!
-Rick Peckha
-
HPHT I.
LMLHLb
'
Chapter 1.
Moveable 7th Chord Shapes
Major 7
CMaj7

ÅO2¬ ÅOOO
D J ¼
4 M 9
LO
3
¯ ±
Î J ±E
Õ Ë M 1�
`m . .
fA
C
U
CMaj7

Å O¬2 Å O¬2
D . . .
4 M � Æ

3 E
É •
Ö Ë

=
O
D
w
u
2
Dominant 7
ÅOŬ
'
� æ
3 c
õ
Õ ë
r õ
O
U
Å 2¬O
/ •
9 w
3
h
Ö
¬
u
O
o
o
Minor 7
ÅOÅ2
0 |
� w
3
� J
B r
¬ X
L
Q
D

3
Ì
Ö
Ë
O
/

Æ
¬
C
0

3
D
x
L
ÅO2¬
�Æ
L
�
Ìn
�
ÎÂ
C7

Å 2¬O

w
n
L
X
o
n
O
C-7

'
¬2O

æ
4
¡n
tQ
Minor 7
3
MOVEABLE /'' CHORD SHAPES


2 OOO
D .
� w
'¯ D
ô
Õ E
Æ
o
O
¿
o
Minor 7�5
ÅO2¬
^
� w
|¯ a
Ï
n
M •
m n
|+
o
2 O
. ¹ �+
� w
¯ r
Î ×
M E
Ë
D
O
¿
O
4
'
.
9
Æ
.
M
'
L
Å 2¬O
=
w
.

=
o


Å222


¯
. J
9

U U
m

Æ
2 O
J.J
9 w
=
¯
7
. m
M
o
� .
L
o
-
Minor 6
Major 6
2OŬ ÅOŬ
` ` �
¤ M ¤
O
C Íñ
ß ÍR
Ê Í�
6
ÎÂ
2 ŬO 2 ŬO
` • ` •
¤ w ¤ w
¯ p Æ Ë
� R ß
M 5 M

m m o
W

Minor 6
2O
` | ` æ
� w �
3 3 l¬
� � Ì iÉ
D £ D ¡R
¥ õ ¥
ÏÄ
O

O
5
MOVEABLE /'' CHORD SHAPES
2 ÅO¬ 2 ŬO
0 |• Û l•
¤ w 9 w
n
= 3 =
n �
. Û
.
m n
- �
o
u
Diminished 7
2OŬ
^ l D uæ
9 w ¤
U
� iT
J ¬
n
fA
o
2 ÅOÅ 2 ŬÅ
ù U ´ .
9 w ¤ w
.
|O a .
Ï
n
t
=
Ö ±
=
m
Æ =
O
p L
o
6
Minor 9
Dominant 9
2ÅOO 2ŬO
D J
4 M 9
tT
3 n
| ·
Í . ´
Õ É M d�0
m . �
fA
C
U
O
C9

O ¬2Å 2 O¬
0 D
¤ w 9 w
0
. L .
5 Ì �
. Ü
o
W
|¥ n
. L
o
W
Minor 9
C-9

2ÅO¬ 2ŬO
D D l
¤ w ¤

¯ m ¯ m
Î � Ì
¹
¿
'
M � � ×
m ú �
ÎÂ
W
O
L
7
MOVEABLE /'' CHORD SHAPES
Minor 11
C-11

2 O 2 O
0 ' 0 '
� æ � æ
£ |Ö
ñ
Ï
Â
n Ö
W
O
m
p
O
U
U
Dominant 13
2ÅOO¬ Å 2O¬ -
`
æ
'
æ
� æ # w
¯ lØ

� Ê

U

O
Å 2¬¬
'
w
# w
B
¯ E
ö
M
U
m
O
U
8
~
Chapter 2.
Dominant 7th Chords
with Alterations
Dominant 7�5
2 O
D aæ D
4 w ¤
3
Î n
U ô M
m
W

C
n D
_
Dominant 7(#11)
2 O
D r D
# w #
3 ¬ 3
Ì
M Ê Õ
m
±
O
D
O
2 O

w
D
É
5
W
D
O
2 O
m
w
Ð

õ
U
O
W
9
'
DOMINANT /'' CHORDS
Dominant 7(9) , Dominant 7#9
C9
D �
#L
#9


/
3
¹¹
Ì Ë
Õ �
M
_
O
Dominant 7#5
#s #s
10
Dominant 7 (�9, �13 )
��

¸

Å 2OOO
D '
'
¯
M
� w
O
3 Ê
� õ
Õ Ë

o
C
o
Dominant 7(altered)
7�5(�9)
Š2OŬ
D

�æ
¤ w
O
3 �
� n
¼
m
o
C
o
7�5(#9)
ZO¹4
L
_�


3 �'
Î
n
Ö n
m
O
O
Dominant 7 (altered)
2ÅOŬ
Ù
w
¤ w

.
D

&
2ÅOÅÅ
L L
¤ w
¯
U

Z¹O4¹
J .
¤ w
Æ
t
¼
M
L
1 1
DOMINANT /'' CHORDS
7#5(�9)
ZÀOÀ4
ÀZZZ
' r=
D

M
� ¯ m
X
Ê
X
Q
7#5(#9)
ZÀO44
ÀZZ4
. c± . Læ
� � w
.
¯
\
O
Î n
Æ
f
D
6

u

È
Æ Æ
O
12
Chapter 3.
Guide Tone Chords
Root 3 7
2ÅO 2ÅO
D J
4 M � w
l 3
-
M � M õ
± . O .
C
U
O
U


� ,inconp|eæ)

2ÅO 2ÅO
ù
9 w ¤ w
|O L
Ï
= =
M å æ å
m
� .
O
U
O
U
13
GUIDE TONE CHORDS
CMaj6
C-6


OÅ2 OÅ2
D D
9 w ¤ w
3
¯
Î o Î o
Ö � Ö �
± 5 m o
C
U
C
O
OÅ2
L
¤ w

f
Ö �
d ó
O
U
Root 7 3
CMaj7 C7

Å 2O Å 2O
0 '
9 w 9 w
O g
È Ë
� O
¿ D
O O
14
I
.<YY 'ìJ1¹ t'J´' u,3','·
Root 7 3
(incompIctc)

2 O¬ 2 O¬
D . . .
� w � w
¯ Æ
Ì O
M õ æ õ
Æ
o
M
o
O
p |
L
¿
o o
2 ÅO 2 ÅO
D D ¡
-
¤ w 9 w
¯ ¯
Î O Ì
|# O .
�m O
l
C
p L
o o
2 ÅO
D ¹
� w
3
Ì O
Õ �
J
O
p
o
15
Chapter 4.
Triads over Bass-Note
Voicings: Roots on ¸¸¸
V/1
.

2 ÅOÅ
^ Å ^
¤ w ¤
¬
O n O

Ö Ö
m m
O
p
O
o
�VII/I
O ¬2Å
D D
4 w 4
3 3
Î � Î
Æ n Æ
m
o
m
C
O
C
o
16
.

ÅO2Å
w
o
Y
Ë
o
ÅÅÅÅ
w
6
ö
6
o
^
¤
O
Î
Ö
m
O
D
4
3
Î
Æ
m
C
.

ÅO¬Å
:
±O

�
¡�
�.

ÅÅ2Å
tg
|1
|n
Ú
tM
Other Common Voicings
Other Common Voicings
111/1
EMaj/C
@

Å OOO Å 2¬O
D L æ D L æ
¤ w 9 w
3 . �
� � 1
M ½

o
O
O
.
o
11/1
DMaj/C DMaj/C

2 ÅÅÅ 2 ÅOÅ
` e D ë
9 w ¤ w
-
� c .
û � É
. Ñ
=
|m
. L
o
u
#IV/I
O Å2Å 2 OÅÅ
` m D ë
¢
·*
¤
·*
n
¯ . .
� L È
o
m O
L
æ
o
u
1 7
TRIADS OVER BASS- NOTE VOICINGS: ROOTS ON
0
®
0
VI/I
D

¯

Ö

C
VII/I
ù

|O
f

v
O
18
.

Å ¬2O
M
·*
•O

D
ø
4"
u
2 OÅÅ
.�
M

û
u
D
D
D

3

B
m
O
ù

O
Ö
m
O
.

Å ¬2O
M
·*
c
L

b
o
2 ¬OÅ
.r
W

n
ñ
n
O
Chapter 5.
Inversions
Major 7
CMaj7 CMaj7/E

ÅO2¬ 2¬ÅO
Û Û •
� W �
|O r O p
Î a Î Ã
Ö Ë Ö E
ö Æ ±
C
U
O
CMaj7/E

Å O¬2 2 ÅO¬
` • D
¤ w �
¿ 3
Ë Ì
M Å
Õ
m

m
C
D
C
W
CMaj7/G CMaj7/B

2OŬ O¬Å2
ù
æ
w
ù
W
� ¤
O L Ö tn
Ï !
g
~ Ï

Ô
_

_
Ü i2
m |X m
O
ÎÂ
O
-
CMaj7


Å O¬2 O ÅÅÅ O 2¬Å
• D D
w �
¯

.
¯
Î 3 � |¯
ñ Ì É Í
Ê Õ E � �

m
o
Ë

n
C
v
O
o
o
19
INVERSIONS
. .

Å O2¬ 2 ŬO Å 2¬O O 2¬Å O Å2Å
D • D Å `
� æ � �
o ~ n
¯
ð |R |R
_
1
Î J Î � Î 'n¯
M
D Ü
o
n m ¬ m tn
C
O
C C
IM
. .

@

ÅOOO 2OÅÅ ÅÅÅO 7¬ÅO
D
æ ^
æ
^ æ
� � �
@
¬
%
O ñ R ê 1
1
X ¥
Û Ë Õ F �
~
o
w
o ¯
C C
Ú¹¹¹
Dominant 7

_

¯


Å2ÅÅ ÅÅÅ2 7OŬ
D æ D
æ
^ æ
� � �
n c
|R ñ |R Ï 7
Ï � ! Ë
Å
Õ Õ
w

w
o
C C
20
Å 2¬O
Û •
� w
O p
Î
ñ
M Ê

o
C ¿
o
Å 2¬O
D •
� w
n
R F
5
Õ
Q
m o
O
o
¯¹¹¹
Minor 7


ÅOÅ2
` l
� w
3
Î Â
Å �
m 5
Q

O Ŭ2
O Ŭ2
D æ

|R
Î �
Û
Q
m ¬
C

Û

|O
Î
Õ
m
C

2OŬ
¨ •

¯ p
Î F
Å

W
T
Å 2¬O

w
p

Ê
O
¿
T


2 ÅÅÅ
^

�=
O c
1
Þ
Õ Ë
m
o
C �
T

O 2
^
¢
p
|R a
¹
g
¹
Ö
O
¥ lW
L
lM


2OŬ
` |
æ
¯
3
I ¹¹
Ö J
v 4�
Ö
IT
^

^

^
+
R
I
Ö
v
W
Minor 7


O 2
.
¯

z
%
¯


2 ÅOÅ
m
4W
�
�X
tz
f#
lQ


2OŬ
¬
ð×
��

l6
IT
2 1
INVERSIONS
ÅÅÅÅ
D • D |æ
¤ ¤
-
3 ñ
Ío
X
Ö 1R ñ
Ë
fA o
O
Ú¹¹¹

8BDC B8

•I|M•j(


' • ' ´± '
9 w 9 9
3
¿
Ì ã

M õ ÌÉ
m
o to
O
D
o

¨ | • ' 'Æ
� w �
o �
2 3 ñ
é
I
F

U

U
n e
O
o
T
u
22

` .�
¢
Z
Ï
7
ë
o



| • /
w 4

¿ e
6 7
õ
¤
o o
p c
o o

' ´·
¤
-
3 <
Ï
'-'
Ü
o
v tH
T
IM
/
¤
3
Ï
Õ
l+
¹
8BDC B8
•I|Maj6

æ
%
1

1



'
9
.
W
R
Ï
¯
¯ ¯
+
O
o

'

4
æ

3
I
�
D
:z
|+ Å%
|T
to
Minor 7�5
ÅO2¬
D I
¤ w
À
J
U
�½''

Ú¹¹¹

@

2 O
`. ræ
� w
| 3 ~
� n
Õ ñ

u
W n
u
D
¤
'

8BDC B8
I|-(

2O
u æ
~

ñ

U

2OŬ
2OŬ
^
æ
¤
3
Ï
'-'
Õ a�
+ ×
O
o


Å2ÅO
` l �æ ` l
æ

É
¯
� ò
Ö X
m
u
W

8BDC B8
• j~p

2 ÅO¬
+

|
T
É
Ö 1
m
W


2 O¬Å O Å2Å
Minor 7�5
8BDC d
©
I|-(
ÅOÅ2
` �æ
-
+
n
^ �
I
ó
Ö 7
m
W


2 ÅOÅ
`
+
�×
|^
I
Ü 1
+
W P
23
INVERSIONS
` , �a
� M
O

n
u
n
u
Major 6
.

2OŬ
D
� w
¯ �
� ñ
Õ �
m �
O
O
Û½'¹
.

ÅOŬ
w
0 �

t
3 ±
� lÉ
M +ñ
m
ÎÂ
O
24

8BDC B8
b
I|
-(

2 ŬO
^ �´Ø


3 1
È
Q
e e
L
o
2OŬ
D æ

¯
� �
Õ �
¥ ~
C


Ŭ2O
^ æ

n
X
F
D 1

L
2 ŬÅ
^
*
,
º

n
¯ +
[
¿
[
Ö
T
Î
Ö
O
.

1
2OŬ ÅOÅ2
D
w
^
w
m
� �
¯ I
Ý f %
� 'n¯ | 6
Ö ¯ Í�
lÉ m |�
C
¡M
O
rz
. .


ÅÅÅÅ 2OŬ
^
w
^ •
� �
� n
|" X |¯
I
F � Å
Ö X Ö ¯
m
U
m
¿
W L
Minor 6
. . .
_

-
±

©

2 ŬO O ŬŠO 2¬Å Å 2¬O
D • D � D
w
' W
¢ M ¢ ¤ ¤
o S D
t<
|O E O õ Õ ± |Õ Ìõ
Ì
õ
Ï
F
Ï
H
I
Í6

M
W
M

M
t�
m n
m � m tm m Ê*
C
O
O O
. 4
O
Ï �
¯¹¹¹
. . .
_

.
� � �

2 ŬO O ŬŠ2 ŬO 2 OOO ¬ 2OÅ
D • D •
` '
¤ w ¤
w
¤
.
¬
¤
.
W
-
D
¯ l¯ � ¯
6 Ë Î E n
M å
Õ 5 Õ F Õ �
m ¥
W
Ë
Z
L C g O
c
O
o
u u æ Q
Minor 6
2¬ÅO 2OŬ 2OŬ ÅO2¬
` l D • D .
¬
D .æ
¤ w ¤ ¢ ¢
3 D
¯ ¯
Î � Ë Î
¹
p
4
Ìñ
M Ê M ± Æ

æ
Õ Ì�
õ m m ÍR m Í6
L
O
L
M
L
¡M
C
tz
25
INVERSIONS
0 �

3 ±
� �E
Ñ +
m

L
Ú'¹Û

2 ÅO¬
D.¬
� w
R
� ö
Õ �
m
u
<½¹¹

±
2 ŬO
D | •
4 w
o
|R
Y
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29
Chapter 7.
Diatonic Exercises
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DIATONIC EXERCISES
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DIATONIC EXERCISES
Ö Major 6 Bebop Scale on @
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36
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37
38
About the Author
¯ T

U
C
C
Ò
>
I
C
E
· J

HìCk ¡cCkham is an internationally known jazz guitarist, clinician,
composer, and writer. He has performed with George Garzone, Jerry
Bergonzi, Mike Gibbs, Hal Crook, Bob Gullotti, John Medeski, and
Dave Liebman. His most recent recording, LejtInd, a set of original
compositions mixed with collective improvisations, features drummer
Jim Black and bassist Tony Scherr and was named one of the best
releases of ZUU3 by Downbeatmagazine. In addition to extensive work
in the U.S., he has led or played on tours of Ireland, Canada, Spain, and
Germany. Assistant Chair of the Berklee College of Music Guitar
Department, Peckham has been a faculty member since I¹ö0. He is also
a prolific and accomplished writer, recently releasing Modal\oicing
Iec/niques, a best-selling DVD for Berklee Press, and the online course
Guitar C/ords101 (Berkleemusic.com).
For further information on Rick Peckham, please visit his Web site:
www.rickpeckham.com.
-
Musical Instruments/Guitar
Master the chords used in jazz.
This chord dictionary includes over a hundred jazz chord forms,from basic 7th
chords with al standard tension substitutions and alterations to guide tone
chords to triads over bass notes. It is organized to reveal relationships between
diferent types of chords and help you learn the voicings quicky and thoroughly,
in a way that is easy to remember. You will improve your comping and soloing,
develop your fngerboard facility, and add more colors to your harmonic palette.
It includes:
• Traditional notation, fretboard diagrams, and tablature for each chord
• Over 100 movable chord forms
• Multiple versions of barre and 7th chord shapes, with substitutions and
alterations
• Triads over bass notes, inversions, and guide-tone chords
• Diatonic chord exercises
Rck Peckha is Assistant Chair of the Guitar
Department at Berklee College of Music. He
has mentored thousands of guitarists and is
author/instructor of the Berkleemusic online
course Guitar Chords 101 and the Berklee Press
DVD Modal Voicing Techniques.
u.s. $9.95
,IIIIJta m�IJIIII,
HL50449546
BERKLEEPRESS.COM
LEARN MORE AT
ëëMM
Berklee Press
1140 Boylston Street
Boston, MA 02215 USA
617-7 4 7-2146
berkleepress.com
Berklee Press, a publishing activity of Berklee College of
Music, is a not-for-profit educational publisher. Available
proceeds from the sales of our products are contributed to
the scholarship funds of the college.
Cover by Robert Heath
ISBN-13: 978-0-87639-079-5
ISBN-1 0: 0-87639-079-3
111111111 1111 111111 11111 llfllilililfl
9 780876 390795

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