Professional Documents
Culture Documents
itOI )tJ
FOR JATZ GUITAR
,t- /
O 1996 by ADVANCEMUSIC
cal, photocopying,
recording,or otherwise,withoutpriorwrittenper^-
of AdvanceMusic.
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Copyrightsecured.
Printedby TC Druck,Tubingen
Chopter I - Triods
A C'EOROIA .......2I
S T A T RYV .......22
Major7tnVoicingExercises . . .26
M a j o r 7 1 1 S h a p e s|&n v e r s i o n s ....27
Major75Shapes&lnversions ' ', '28
MajorTthConversion Exercises .. -..29
DiminishedTtt'Chords .......30
D o m i n a n t T t t ' S h a p lensv&e r s i o n s ........31
M i n o r 7 t t ' S h a p e Is n&v e r s i o n s ......32
MinorTtt'b5Shapes&lnversions ....33
MinorMajTthShapes&lnversions ........34
Major75 Shapes . . .35
R o o t P o s i t i oEnx e r c i s e s .....36
f f - VV- fo i c i n g E x e r c i s e s .....37
DropThreeVoicings . . .38
Reduced7tnChordForms . . .4O
ThreeNoteCompingUsing"Stable"Notes .........42
fixiil.Ylih,il::
:: : ::: .......::
ExtendedDiminished7tnChords . . . .63
DiminishedTtt'-DominantTtnSubstitutionRule ......66
Chopter - Ctusters 85
Major,Minor& DominantClusterSounds t
CompingA StandardUsingThreeNote Clusters ,:
THE GIFT . .
^' ALLBLUES
StandardChordProgression. t
OtherPossibilitiesForChordConstruction t
"ScaleSkipping"
AlteredScale Voicings . . . .
, STELLA BY STARLIGHT . . .
A SECRETLOVE .
' VERY EARLY . !!
A cosTAD L soL
A LAKS T
A OMA}IACELEBRATION. . . . .J
Appendlx 150
^, EXPRESSIONS -t
A THRE
InClosing -*
AboutTheAuthor -r
!NTRODUCTION
The idea behindthis bookis to providethe progressive
guitaristwitha com-
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
structuresused in contemporary jau,.
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:
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
i
MAJOR TRIADS
' Ctose Position
vtttrn u'm
ffi
l...I..]'.m ffi
t-I-n-n TT-TT-N
^l
v
v+m v rrr-T.1 vrFFtl
ffi F]++] l-i-+fl-l
H]]T ffi
TtrFT-N ffi
?a_
V||lm
l...I...|T
vilffi V|||FEIT] vilrffi1
ffi
F]]
TtrN-N
ffi
t-I-n-n
RUU
N_TTN
HUU
TN-TN
abc Bb Eb rb ab sb
10
Wide Form lnversions
Yill
ffiffi
#
ffi t l ffi
--rTTT-l
H]T ffi
ffi TtrTTN ffi
ill
ffi TR-II I X ffi
tatal t-a1-T-]-1 rll-m
T]T
-rTrn ffi
TTTTN
ffi
TI-TTN
l- tF
} lurnrouna LXerc!ses
p ..rs.
} R oor osttii. : I.n.e.i:
i.i1s
ffi
tffiN ffi il ffi
i..]'..]..m
a-rTTT-l
ffi r+Tl
t]] TTTTN HUfl
ill
ffit a t a l trm tx ffil
'...l..]..m t-aTTTl
ffi ffi
Ttlu TtrTT-N HUfl
ffi ffi tT-T-l
Triods
MINOR TRIADS
Ctose Position
V TtrT'N
t-f+fl-l vrffi
ffiFF t-f+t-H
TI-TTTI ffiTfl
VTrr|] Vm
H] ffi
HUil H]]
#.**
F- Bb-
-r
L- r- u- L- C- Bb- Ab- Bb-
-l
EV-
7 7
12
Wide Form lnversions
ffi
ffi ffi
ffi
ffi
fT+F
l11 TTTI-N Htffi
-a-rTTl
ill
Hffi vill ffirF
i+ffi trrTrn
ffi
utT H-.H+l
TTTTN
-TTTN
ltttal
TT-T-I
ffi I..]...]T I V ffi
ffi H]]] I...I...IT
FFFM
lu+ F]]T -rTrn
ITrrroround Exercises
I c- F-tc G-tBb C _ F- Bb-tF L_/tP F_
^l
v_ eb-teb F-t^b -l
D_
v :Etr
--LLI.].J
vl r-r.Trr v rT--rT-l v [T--r v lftFn vr[flfTl VET|rn VI|IFII vl ffi vil ffim vrlffTfl vrm
ffiffi
LLLLIJ E-]_LLIJ LLLLIJ
-H+H ?]-]_I-H F|+N tH+H FFFFF ffi ffi ffiffiHffi
ffi F]t F]] ffi ffi FFFH ffiffi ffi ffiffiffi
I
?
7e
v
)' G-/Bb c- D-lA G_IBb C_IE! F- G_ID C_IEb F -tAb Bb- C_IG F_IA!
v rT--rTtvFm |||m VTI[-fl vElm vT[fTl ilrm vEm VIFFrlT] vt fffm rvmm vrm
r+H-l t++t| fT| ffi ffiffiffi TT-TT-N
ffi
F]]1 TT-TI-T' ffiffi
H]]
TTTTN ffi Ht+ ffi ffi ffi F]] F|++]
TtrTtrN R]] ffi E]]T F]]
) CIose'Position
-l
C oug F oug B bo u g EPOug
VIEIFH vrffi vilffi
r+H-l
I...I...|..m tTtm tftm
TT'TT-N t-l-H-H l-Ft-l-H
ffi ffi
ffi H+IH TT-TT.N
F oug Bboug E bo u g
rffi ilrm u,ffi ffi ilrFIFll vrffi rttrn 'vffi
vilrFEF
TT-trT--
ttt o
ffi ffi TrTrtra
ITfl-n Elt--n Eul ffiF H++t-.] ffi
|..1...]T
-TTT-
FH-H-I H+l+l Fl'rH-l I..]:..]..m
N_TTN HUfl T|-TT'N TI-TTN TT.TTN
L Connecting Exercise
ffi l-iH+l
TTTTn
Ht+N
n-n-n
?+J+N
ffi ffi
TtrTtrN
ffi
TTTTN
f+I|
FTT]_N
f+]|
I-TTI'N
TTT'T]
ffi
) CIot, Positib,i
C(il11) F ( l l ) a b t ll l
rvfmn
FTFFFI
f-+-]+
Trtrrn
} F;rst Invi:is.ii
G(illl) c(#ll) F(ilr r) abtilr rl
IVTITTI rv+lll rvmn TTTT-]
r-r'rrn
H++fl H+TH
LLLLL'
TT-trT-n
?++++
TT'-I-N
f?-l-l+
-I-TI-N ffi ffi
3 |rI
} S econ d tr:itt
F (ll) rbt#r rl btfil
ll
vtl
viltm
ffi
TTTTN
bs
p t,.:;.it;i;on;
} w i a, 6.|,
F(illl) B b ( ll )
vilFFTfn vil ml
nFFEI vtrffi ilrrffll l......]+
Ft-]-t-H ilrtTrJ
Trtrrn
TTTT-N
ro ffi T'TTTI
ffi I...I...]..m H+H
LLLLLJ
++Hl n-n-n
TTTT-N
ffi
TTTT-N
FFFFF
TTTTN
}Co,,,iis}:E...Eic,|ii;;i
G(illl) F ( ll ) rx lfflfl]
lxm tx[m
vTT-Trr
- trrtr-n TtrTT-n V ll la l | l..# VTI-TT-I ffi
attttt tt tat I tfrm FH-I-H H+H TTTTTI
TT-TTN
I..1...]T
Hll+
l..]...]-..m
r-r-r-Fn FH+]
TTTTT]
TTTTN ffi
TI-TTN
15
trr DIMINTSHEDTRIADS
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
:iJ."J:*, chords. Here are so
)'Clpse Fasiticn
Bo rn
E- O
ilrFfTfl
rll-1T1
ilrTTrn
Tf--Ftl
'um Do
VIMTB
aTT-t.ti
rTn-n FT+FF
rT.FTN
|T-TT-1 rTTT-1
Iffi
rTITN +f++-l
n-n-n
b
) First'inai:eision
RO
tr" AO
vlllr.Trn Do
H+l+ villETlfl
vilrmTfl lxrn-r-l
TTTt-rJ
TII-E TT]TI Hl+]
H+H rfTn
ffi
r]_ftl-l
t-t-ffi
TTIT.H n-n-H
o
) See:oad:Inversipn
Ro
tr'
xilFrffl Ao Do
xilmTfl xilrffim
T[r TTTE xilBTf-Fl
H+ffi ffi
TTF]-N R+m rmT-]
F+-t+l--l
t-Tl-t-n mn-rl
a Bro
Fo
,ffi trrEffi vrFm
Bbo
'ffi EbU
llrBnrn
ffiffi
F]_Hl
H++F TNT t|
fTt-Tf l Hl+l
t
L Connecting Exercise
trlo c u- Bo C- Bo C- Bo
il flm ilrFFm vilr fflfll ||Ff,t] ilr[Fml rvEm vEtF+ vil[m
Trtrrn
ffi
tr-trT-n
ffi
a1-t-ttl
TI-TT-N ffi ffiffiffiffi
TTTT- TTTTN
tttatl
trT-trrn ffiffi ffiffiffiffi
Eo
Eo - Eo vrm vilr flfm IXFTFM
TTTI-T' I...I...|..m tTrT-n
IIFf;IdI ilrH+B V TT-T-I r-r'Trrl
ftEtr
TTTTT]
t-Fl-l-H
rT-tr-n H+H trrFT-tr4
TT-TTN Trn-n
FT+
ffi lttl
TRl] FFFFE
Fil-i-n .TTTN . trrtrT-Tl ._o
b I
bo
O Root Position
Codd9 Fodd9 B b o d d9
v+m vr[Tm]
T'T'T] rrraTt
ffi
-TTT-N
ttatta
ffi
t-1-t-1-H
>
) t-s-s-s voicing
Aodd9 Dodd9 Godd9
V fFTII ilmE VTrTI | | TTrT-l-a V ITITTI vil f,l::m
rrT-T1
Effi or I+IFT l....l'...]J
ffior
I ttata l....]'...1....]T
or rfi-tfr
'T--rn
a-rT-rT-l
ffi TTfF
tottal
ITrrn
tttl
F]]T
IT'TT-I ITffn
tttttl
rl
17
W
iw.#ffi
)tA ,: o-tbls, BboddglD
v r-r-n
(: D-7b13) Ebaddg/G , _ n _ r b l s,
tj+al v rT-TT'l
trrtrrn |.]-t]4
r-r--rT-l
ffiTl t-+-l+-l-l
t-t-t-t-t-l
7o
;ffi
(: Csus ) BboddglF ( : Fsus) Ebodd9lBb (: Bbsusl
vil SFFFF vil Em vlll
ffi
TTTT-N
l...I...]..m
rT-TT]
,I ++t+t I
bs
79
{:iiaittFi;.}::*1;i
, _ ,_rbls,
t,^
Godd9 (:A9sus) Coddg Fodd9 t -- a zPlJr
\ -l ) Codd9
VITlIr]
FFffi] (str.
ffi
rtrrTl- y
_o
7|t,
C- odd9
VM F- odd9 Bb- oddg
vr EffIfl
l||
H+]+'
ffiFF ffi
TtrTTN
{E}
18
A- odd9 G- odd9
YEtr VIEEM
ffim l#
ffi ffi
Pd)
"m
F_ dd9lAb ( : bll3 ) Bb- oddgiD ( -
IY
ohll3) Eb- oddglG
IVFF?TII
I
F|+..]+
Htffi
2 -O.
(: cbll3)
F- odd9 Bb-oddg
rvl-r---lf VFFT]
H+IH H+FH
ffi] | ffi ,\
?9-
?o
19
r
I OTHER ADDg VOICINGS
C s u s9 F s u s9 tipsusy
Gsus9 F s u s9
ilti-r.TT.
H+tH
ffi
FFFFF
MINOR {5 T{TIADS
I 2
-b6 E
+CA F +D-7
20
APPLICATION OF TRIADS
a
F FIA G_lBb ^lC D_ FIC Bo eb-tob
tl ll rl
a lr
.)^ e ? ? ,?
FA Ea A7 D-7 D_7lC Bs D_ /
-\--
-3- '-----
o
FIA B'IF tr' AIE D_ FIC D-IF D'IF
n e -lr e ,be
.Q
a I
trtc
- BbIF tr' F B'ID DO
? e I
io
o
B t93O by Peer lnternationalCorporation,New york.
c 1959 by Peer MusikverlagGmbH, Hamburg,fur Deutschland,potenund rschechischeRepublik.
-s d by Permission.
STAIRWAY The versatilityof triads will become apparentas we move on to more corn
plicatedharmony.The next tune, "Stairway,"features a lot of "added 9th-
Petero,Mr triads.The minor7f5 chordsarejust inversionsof major"added9th" triads
(as played by PeterO'Mara on "Stairway", withthe third in the bass. In the "A" sectionthe chords progressthroughal
ENJA CD 7077-2)
seven steps in the B majorscale.
olTl 7
.__-+ . Tr'
tl -t' V||-.--
VI vl
a) 7 I 7 I
1 1 O. .
'vl
rr
.
rtJ-
|i'J ::
lt fl vt f,J_ vll
@ 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
c-715 F_715
r{zsusbg
E odd 9 FlE
SEVENTH CHORDS
Our first "jazz chord" fingeringwas propablythe major 7th (A). Let's take a
new look at its possibilitieson the guitarfingerboard:
F BbA
V TTT--I v rn-rFa
FFfr]
T-trrn
LLLL'J
LT-L'-LJ
Ht]fl Fffl#
TTTTN
.,,,:.::;;,1.-t,;,:-.,
Yoicing
FA BbA
vilrFFET vilrf|Fm
H+ffl Fffi
ffi ffi
-o-
}
g Group,
FNC FNE
-+ --+
vrffi -
xlTlfn
tL|H
I...|...|..m
TTTTN Hffi
anu.@|iia,#,;.i
Bb^/F BbNA
BbND
ilrm vrrffi
xffi
--+ ffi->
ffi
iT'if
Ft]fl
il -
ffi
bo
TtrtrTN Hllfl
7o
cl rb;
2C
MAJOR 7Ifl VOICING EXERCISES
L2-Chord Connections
L, R.an.d.1ataC a n et {aa.s,
FNA
\^,{
J- (^Orrir,
7thlnaersionscounterpoint
A common extensionto the major 7thchord is the 11, from the Lydian mode
(sometimeswrittenas "major7b5"):
Fall Bbl l l
rvffi vffi
ffi ffi
TTt-rn
Flill I BblilI I
vilrmll vilrm
t-f+t+] ffi
H]Tfi TTTTN
-o.
<} >
rll l/
rrtffi
---+ -+
ffiTN
{E} o
-+
rballlc
lv f-T-rT-r
|-+l+l ---+
rbll ll
TTTT-N
vil EFfF --+
,.m
rblf,ll/o
ET]IT t-fl-t-t-a
TN-TN 1ffiN
t-ii-l-fJ (t 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
tr A lJlA
---> -j>
IT-T'TI
ta
trT-trrtr] -> vrffi -
Xt|TTTl
LLLLL'
tm
tTrnl
l-H++t rrTTN
L |
ttlltl I
2o""
28
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.
',::,tinii,il?
O Lower 4!.."':Wtj+
clfil I
l'l
cA
ll l
cA c^l'r" CA'l- CA
ilrmn ilrml ilrml vFtm vffiTl
rT-T-t TrrT-1 TT-T-I T'TTT]
H++H H+HI I...I...I...m ttttal ffi
TT.TI-N TTTTN F]] r-r--rT-l
TtrTtrN ffi
''m cA
ffi
cA'l. cailll cA
rxFtffi
taottl
HT
xil ml
cA
r-a-rTt
trFil
c^5 Cll t
xil ml
CA
T--TT]
ffiF
t-Tt-Tn TTTTN TT-TTN TTTTN
29
seventh Chords
. U p p e r 4 - S t r i n gG r a u p
ll l
' t l1 r
FA FAII" FAT' FA FA FA " FA', FA
IlIrTm
l.../...]!
lll ilrFlffl VI MTfl vr m vrmm
I I taaa
trtrn
ffi
t I taaa
ffi
TTTTT'
frT--n
l-++. ffi
ttttll Trr-rn FFffi Ffl-TN ffi
|
TI
FA F^{s Fll
l
FA FA FAI,I" Fl l
X IT*FE xm xuffi X|||FlTfil
EEIIH Ft+]] H+F
ffi#
TTTTN F]] TTTTN
ffi
TTTTN
DIM!NISH ED 7THCH O RD S
) Diminiihid 7th,Cha'rds
"m
Go Co Fo
ilEm ilrffifl
IEE
ffi +fl-H
Trn-n
FFFFF
TTTTN
b*
Lr" Go co
rffi rmB ITru rTI5T
TTfn ?-u-l+ L+]-H
+ffi|
FTH+]
ft-fiH Ht+fl TT-n-n Hl]
\ (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 F7
'um
ffi
TtrTTN
abt
IVffiM
ffifl
ffi
c7 Bb7
ffi
vilrml
|-|+]
H+F
_o
'm
F7
-+ -
FTIC
vil J;FEI
rrFrn
+FFF
-.+
FTIEb
x SFtl
ffi
ffi]
> }
'ffi
Bb7
--+ --+ -+
sbztab
*ffi
ffi
FTTTN
bo
I Rost Positi:o.n
V_ /
c_7 F-7
rvFFm
Fffif5]
ffi
TT-TtrN
) 1:7-5.3 Vaicing
Bb-7
c-7 F-7 vr||ffllll
VIIIIFFEE vilr FEE+I TTT'T]
EFFFH r-ra-rT-t ffi
FFffi ffi . TTTf-N
TN-TN N-TtrN
'b.
b- DA
4'String.Graup Inversio.ns.:
) Lo.r:.er
--.-l
EFFftl
l-.I...]...m
tT-t-r-t-l
ttltl
52
MlNoR 7THb5 sHAPEs I
INVERSIONS
R , o o tP o s i t i o l
Cs Fa va
|l|m tvITtIfl |VFff[l
ffi
TT--TT"]
TTtrTN ffi
TT--rT-l
tfffi (propoblyu n p l o y o b l e
T--Trn TT.']TN
TT-TTN
with root!) b
7-7-5-3 Voicing
Va
Ca Fa vilrm]l
vrrEm vil rFtFill ffi
ffi
TTTTN
FUll F]]
ffi n-Trn
rbo
b* DA
Fa FalAb FalCb
r ataatl
rnrn
ffi
l-l-u-n
Upper 4.String G r o u p I n o e r s i o n s
EbslBh E b al D b
EbslGb
EVA
V||l-|l+] xmF
I TT-TT'] IVITITfl TT-I-T'
F]]
rrtm
| | taaa
rrT-ra ffi
I FUfr
- N-TTN
ffi
ffi
IT'TTN
bo ?o
M|NOR MAJoR 7rH sHAPEs r
INVERSIONS
7tn:
Here is a layoutof minor chord shapes with a major
cA Bb-^
v rrr--l vm
ffi Fffi
FTTTN
TTTTN
Bb-^
p-A vill FFm
vilrtEm V|||mT] TI-r5-t
Ftffi
FFTTN
t+11+l Trr'r-n
ffi Ip-o
F]]T
}
c Arr
r-^/b F_AIC
rm 4
F?]+N 4
F]]
Bb-^lA
ab-ttob Bh-^
Bb-^ VIF|frll xmF
rmTl ilrffi rim -+ l+1++1
t-f+t-H 4 l-T-fT-l
4 Fl-l-FH
N_TTN F]]
F]]T Fffl-H
b-o.
Eb-^ Eb-^/D
vrrFEI]F xrm
I FFiTB FFffi FFFFF
+ F]lfl
b
I TTTTn
n--r-rn -
ffi _o
Seventh Chords
^_75 Fodd9
Hereare somecommonly-used
shapes:
l'tr
D_7T5 G-7 tu
vtffi
l.t.*at
v|TflTl
TrrTF
H+HI TrT--n
rffff1 ffi
7D
l'l
A,-7t" A-715 D-7ils ^-75
ilr [fffl?
FFnJtl
vfmF
TTt-rn
Vffi Vffi
l-H-+]
TT-TTN
TTIII-I
t-t-t-FH
FFFFF
TT-TTN
FFFFF
TTTI-N
po,
55
Seventh Chords
LMajor 7 Colours
'
FAl3 r # ll
I i'lr r
aba Bbarf' '
t\
FA FA1'I" BbA,i. abll3
V trTTT-] v rT-rrra VElE
Fl_FFl
IT]T
H+fl
ffi
TT'T'TI
ttatal
TTTTN
TTTTN H]]T I..]...]..m
TT--r'Tl
L Minor Colours
A
G_A G_7 G-6 Ga c-7 C_ Ca
vtl VI IEFFE vil FFEI+rl vr[f[m tttaal
v I rrrrra
H+l]
Fl_lFl
-TTTN Hffi TTTTN
TT5-TTT ffi
at
TTTTN
tl
Ell Trarn trrtrT-Tl
b b
LDominant 7 Colours
t'r
cr3
l'
G7 G7J (J IJ ctb5 a-7 c7n- c7b5
VIFFTIfl vrm
Hffi El#
ffi TT--rT-l
TTTTN
L ScIe|tep Skipping
tr* -7
i'lr 1
'
DA DAiI" E-7 g-A Fil_^ GA GAt'
rt rTTIfl viltTFt
l.|tfi P-ffi
tr-rT-n tTfl-n
H+H-] FH+H
r-rT_
\L# 1_:
5______________
36
II.V.IVOICINO EXERCISES
r 4-String Croup Inoersions
o
e
e 4 - S t r i n g G r o u p fuywe|siai.s .
F7 BbNF L_ / lV Bb^/A
vilr [TffTl x rfR-Il
vu FFffi r5-TTt
TT--r-l
EE
taattt
TTTTN TNT
H++H ttltal
TTTT-N
I
t-l-ti-n
} 2-O
BbTtD EbND
rxFFrEI vilrlfflfl xlll ITlIIl xr FFffi
ttlata rlTrn I...I...]T ttaatl
ffi ffi
TTTI-N |Ttm
TTTTN trTTtrN ffi ,l-li-l-H
_o 'Dbii
b A
v
O Major 7 Forms
C^/G CA/B
GA GA/B G^/Ff, CA CAIE V|||FFEIP X||m
ilrffi+fl v TilT V||lFm XII IITIFI ilr mT V FFIfF ffiffi
$fffi ffi
ffi aTT--t
ffi ffi ffi
tattta
r-r-r-r-l Fllf, ffi
ffi -trTT-n ffi F]Tfl n-Ffl-1 FFFFF
O Dominant 7 Forms
CTIBb
a-7
G7 GTIB X||[I-m
ilrFFtlfl ilr[ffflP l..]...]-m
Tmt
ffi-J_H
|_I].Til
ffi
Fllu
TTTtrN
n-FI-n TT-I-N
) Minar 7 Forms
C_7IG c-7lBb
G-7 G-7tBb G_7ID G_7IF vilrI:]:E
vilrtTlTll XITIITI t+H#
a-rTTT-l
ffi ffi ffi
TT-trN F]]
b
O Minor 7bSForms
CslGb
Ga GslBb GslDb GslF Cs CslEb viltlTl-ffl
IIFTIfl tv arTaTn xrmfi
rT-rTT
|||m I_5IFFI
trrrT-l
T-ttn
ttaal
b b
TtrTT-N
L E x e r c i se : M a j o r ' C o l o u r s
r3
GA '' G a r ' r''
l]'l
GA CA cal'l'
|||FElfl |||FEI| ilrmT
ffi ffi rrn-n
TTTT-I
Dominnt 7 Colours
G 13 G7r" c z i l lI c z lt
a
"J
..
F.xcrcise:u -V:I.,..Ca?.biation
A-7 D7 GA E7 A,-7 D7 GA E7
.'EE ilrtm |||ftIfl ilffi vilFFm V FFfTJl V TT[il
.TT'T]
attatl
Fffi F]]T ffi attatl
trT-trrn irttn
*+-l
---+l FFFF
TT-TT-N ffi TTTTN Fl]T ffi t-Ft-t-l-l
G-7 C7 FA D7 DA B7
vtil ElEm ilr fFf,lfl vrtm vilI-Fm viltTlIll rxT?TSI
fiTfr] FFFFF
Hffi
AILLLJ
|-|+.]-.]
LLLLIJ
l-...]-+.]-.]
tsfffTl
TTTTN
FFFFF
-TT'T]
ffi
]]fl fH-fH rfftH n-Trn
D-7 G7 CA G7 CA 4,7
'ffi |||m |||m
rrrm
ilm V||EFm v|+il V FTM
T'TT-N
T'-T-T-T..]
r.+-]+
lattta
...ffi
ffi F++-]+l l-|++1 ffiffi TT]TI
Fffi t-l-u-n
l#
tt-trl t-l-u-n TTN-N n-rff1 Ft-rTn
c-7 F7 G7 A-7 D7 GA E7
IXffi vil lfffB vil ffflIl rx[Tfm
VIII EEFEFi VIII FEFEFI ffi T'TT T1
tr-trT-n l-fH-51
Trn-n E]l ffi ffi ffi ffi
F]]
TTTT-]
t-I]-T-n
,ffi
l..]...].-m
T!_TTN
TTTTN
FFFFF ffi
;
39
REDUCED 7THCHORD FORMS
O 7-3-7 Voicings
GA G7 G6 A-
lr Tf[|] iltm il JTll-ll ruffi
rT--rT-l
TI_TF
I..]...t..m
TNT Fffi rflTt
tfFffl FFni-l Ff++# ffH
CA C7 C6 p_A
il ESn IIEffi ilrFFFffi
"ffi
tTtm
rTNT ffi ffi
l-Ft-t-H H+IH F]] ffi
FA F7 F6 6_A
IIFEM il Ftm il Fttl ilr FFm
TTTTN
l-|++1
LLLLIIJ
t-f+H ffi ffi
TTTtrN I-l'n-n
TTTTN
TTTTN ffifl
ffi ffi
|..]...]T
TTT]-N H]]
b 7
LMajor SceExercise
GI G7 G6
",t ilrfFEl rffi
.'...--
'--'-'-1-1 ffi TtrTTN
--l
l..]"-]m
TTTTN H+H.]
; io'
CJ C7 C
'tt ilrm
l-i-ff-]
Ttm
"ffi
TtrTT-I
fffi-fr ffi
FI F7 F6 g-- G-6
--i ilr[fm] ilrTrTfl v rT--rT-l rvF|rm
Fffi
ttttla
TrrTSl
trT-Trtr- TTTT-tr- rfn-n
- ffi l..]...]...m
trt-l-f1 ffi
N_TTN F]]
e } ? bo
|{aj o r S ca l e. E*;eiib,..e;.......;
:....
41
r
Seventh Chords
F7
6ailll lLyaron)
A-7 or DTsus
42
The "stable"voice can also be underneath:
c l f i l I or A-7, or DTsus
l3
o r A b T o l to. t . D 9 { l l
43
EXTENDED FII CHORDS
Now that we've omitted the fifth, we have room for other colours, for
exam-
ple, the ninth:
,tffi
Ga9 G9
iltim
FTTTN
HUU
TTTTN
"m"m
ca9 c9
ffi
TT-TTN
rd,9 F9
ffi
G-69
ilFtm
ilr l-fl+.1-.1
l-FH+i
Hil ffi
H]tfl
}
t^
ezle GTvY
IEFII
r9
ffiil
HUfl
tl
ffi
H]
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 avail-
able 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.
46
7th Chords
# + 7 t n + D - S t r i n gC o l o u r s
GA GA9 G a i r '' GA
Y -TttI VIIIFEEtr vilfFm
.ltltl t-5t-t-H
l..]...].--m
ffi
N-]TI E]17 ffi
GA GA9 Glill I
rTrn ilffi
il l-?l-fH ffi
Fffi
TTTTN l-l-fl-H
G a r ' r''
l' l
GA
vnffi
taattl
Fffi
O 7th + :1rt,,,i,p,',5tri.ug',Crd*ui,
cAl 3
'l
G a r ' r''
l'l r
GA
"rffi
Fffi
FT-TTN
47
Eended 7th chords
-
-
/,,'+
7r'lr
. -vA - r,
J'" + L,-bfrznK Loloo(rs
GA GA9
nTn] oo
rr-rrYr
VM l-H++l
V TT-TT]
IiJ+H rr TrFl
TtrTTN
O 3 , d+ 7 t h+ B - S t r i n gC o l o u r s
-U ^
A
cA9 Gafll
vilrTJTF rxFflfTt
rrrrn
Hl+i-l
Tlt-r-n
ffiil
rT-rm
tttlal
O 3 ' d + 7 t h+ E - S t r i n gC o l o u r s
-^
U1\
-^9
gL\
Gl#ll GA
il llrft GA+I'
llr-r.r.Il
| LLLLIJ
H-t+.{-l
f++l H]]
a
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
l3 l3 t3
G t 9 { rr cA9 GA9 c ^ 9 #r r
il TTI5]
-Ta-rT-l xffi
]]tll
--]-T-TTI ffi
ffi
t3 l? t3 13
Gair' ' GAII- Gat'r- cA9
o o
Effi
trrlm
il lff[fl lv rT-.n
rT-aTl
ffi
rum HH+I
H]17
TI-TI-T] TtrTTN
t3 t3 t3 l3 l3
clf,tl G a r ''
l] ]
GAN- Ga+'r" .^9
UA
v t l fa rTTl
rTL-r] ilIT.TT?
TT'-TTI tttaal
rT-trr-n I l...]T
-TTT-|-] ffi
13 13
Gall' ' c n 9 l cA9 GA9
v l ll rrr-r-l
tlatla
tr\=rFn
XTM
rrT-n
rxmfll
r-rT-Tl
Xffi
H++H
rT'n-rl
TTTTN
ffi
trT-trTTA
I...l.."]T Eu
TTTT-N fi-TtrN
l3 9 t3
Glll c^eilI GAiI- cA9
x||rrr5T
tattal
TTTT-N
tlat I
TtrTTN
49
Extended 7th Chords
Now let's do the same with minor 7thchords - for example D-7:
.*;Wl*:,...,bs
::6;$|:sg;iiai
D-t 1 ^ rl3
D-1I D-713
ffi
ilrfflffl
FFFFF
O b 3 , d+ b 7 , h+ G - S t r i n g C o l o u r s
lFfrb....
i:,:bea':}l:: tii*::eiipni'
i...,8::.s
D-7 D-9 D-t I
1..yi,.y.;.......$7i;...{',.
.$.|;g.:.ctl.|;s
D-t I D-7 D-713
Extended 7th Chords
+ D->trtng LoLours
D-7 D-713
G,Stin.g CIatrs
D-7 .' tl3
T A-StringColours
l-ffi -T-a-T.]
I
I ffi
l#
l':;"
I
1i D - S t r i n gC o l o u r s
l2
D-t I Fl 7 T\ 7IJ
tffi
l+
I T-rm
+bs,d g,;:(,p,!;{,
9".$i1,,v;1x rirs
f.rr.
T
D-7 o-z l3
lr,,,H'
I Tffrl
lffi
l# =
E;{ttig ea..a.as
l;,,,,ar,3rd
D-11 D-7 n
'I
7 rr
2
I ilrtTlf|
I
rrr-n
,#
I
i l-|++]
nTrn
51
Extended 7th Chords
_
L Some lnterestingCombinations
D-9 l3 D-9ll
D-9 l3 D-911
vlllr-TTn
H++]l
rTrrn
H+ffl
D-913
u-t3
u-t5 D-9ll
vil r-i-rn
+H+
ffi
rnTn
D-911
rnf-
ilrFrn]
ffi
H++fl
D-9 l3
D-913 D-9 l3
7th Chords
DOMINANT 7THMATRIX
G7 Db7
As we can see, these two chords have the same third and (b)seventh,only
reversed.To be able to applythe "dominant7tnmatrix,"we have to learn to
see each dominant7thshape in two ways simultaneously.For example:
t3
A79
ilITEFE
rT-raTt
H+HI
TtrTtrN
(o)
o,rbs A9 A7T9 lr r
A7t', ',
rvmfF
TrrT-n
FFI-IH
,um
TFTFN
Hfl
A7beile nbs 13
ATbeirl azbe
ItrTFI ilrffi A7b9bt3 atb9
E] ilr BTT|I ilr m
Hffl tFug
H]] FFFI-+.I
FTN-N
t-t#l
r-fl-ffJ
ilFm
A9
ffi
ffiix
q1l , q fl l
'um
FFFTII
m-n-l
rvm
ffi
ffi
m-ff1
A9
'"m
onbls
ft-t-fH
azgl l l?
azsbls
rvm
Ffi-fi-l
lffi
'um rvt+il
al9
rn-rn
H++il Ht]+.
n-n-n
ne l3
atlsss Aqfll Ie 13
A9 A75b9 az9s
ilmfF
rvm+ ,um
I FEIFEI
E#fl ffi
Ffl r-r-t-t-t-l ffi
FTFffl
r-r-t-Fn
ffi
54
ObTrL + 3,d + G-String Colours
t
rtfr1 E7
rr .:rTTl
-.TTT] rvFFF
-']+
=rm ffil
ffi1fl
) 3,d + b7th:.+Sttl + B - S t r i n g C o l o u r s
Et3 E7 E7
l^
r-VY
'vm E9 E7|"e
EI
lll r-r-rr-r
FSITH IVET-II
ffi
TT-I_TN
mtl
Trt-ll-l
rTaTT]
H+t?]
rtrTTN
o 3,d + b7,h.+...th
+ B-String Colours
J'l J'l 9
E7tu E 7t '
E7 '
t ETie
ffi
t+] ffi
rn-l_n ffi
TI-TT-N
) 3,a+b7tu.
i]i3l..n B.StnY..C.sIaurs
Et3 13
Et3 E9l3
ill
E7ile
!'' Extended
E75b9
7th Chords
tt tttaa
I
#,t
|_FFfI
TtrTT-N
tattt
IT-TTI
I
}"
|;{.:
*;t#.y*"i%#'.l.m#t$:::i:":""
*:-H!.;:l
t5
E 9 t ''
ll'l
:
E7
trlttl
LIILIJ
H+HJ
FUfl
,rbeYt
ilrm
rfTTN
I tataa
TTTTN
l ' rr IJ t3
l,t''
,rbeillt rfrsas ,rbeYt e q # lI rgl3
rvEm v'tT-T-t
T-r-r] vffi
I t aaaa
v r-rrFl
ttaatl
ttataa FTTTF
Trrrr] t+-]J-?-?
trfiTEl-
HUfl ffi
TTTT-N ITffn
tttttl
Fl-l-fFI
TTN_N
t3
l rr
ATtt' ' A q i l lI zil5 Ar3
Vm V Til] V TTM V TFIN
ffi ffi TTTTN
totttl
TT-TT-N
.TTTTI
TT-TTN ffi ri-H-H a)t I ) t
*e*jzl-J$l.s;$$r*i.gue"olr;.vr,,.
13
t
t z#9ilt atile als|"s ttle
V TT-TTI VITfTn V IFFEtr Vtl-fTn
trF
tagtl
T-TTT"I
Iffi
Trtrrn
latrtl
l-fT+H
frrrn
rFFFH trTTF ?JJ-l--]
lttttl
aat
trTTTN
ttl
{ l3
Al l p1l ll9 9 A7 n'
l'
5
l3
A7l1
il m
ffi
I'lrl
A7t',', at{tt
ruffi 'um rvFtm
As#ll al9|l
rvEm
ffifTt
rn-Fn
LL]-tIJ
FHJ_I{ ffi
r-t-fffJ
ffi
FTTTN T|H
D tl
p5 9
l^zls eilsbs atil5
vm
I-TTTFI
TTTF
b
xr t3
Al3 Ar3 arbe g l3 Ar3
ffi
FF|-+?
VMTI
F++] VffiI
ffiFF l-.|-.-# +ft-?]
FTFft]
ffi+fr
D ,|
lll
*...#i.t iii.;
A7
A9
ilm
ffi
ilmn
HITI FI]
ffiTF
}.$t:::;9:y:;!;1.1
E-String Colours,
l3
o , b bls t^
n zvY
,::f?.ih.',.:g: . . r,.:.,ii6a
t,^
AgV| 4913 A9 A9
ll rrrT-l il Ffmi
FIIH
LLLLI!
ffi
FTN_N FFI_TN
l3
atiebts ATle
orbeXo
rrmFl
ffi
D
r z # tl
E9
v'm Eil
V'M
TI-TH
FTFFN
rrrTr]
H+ffl
58
Extended 7th Chords
E z ll
E9 E7 EA* | |
L/ E7b13
il ffm |V[Im vmm v rarT-l
ttattt
trT-T-n
rrTrn
TT'TI-N
l tttal Fffi TTT'T'
ffi
trT-TT-tra
TTTT-N
Hffi Ft# TT-TTN
o 3 , d + b T t h+ b g t h+ E-String Co!aurs t3
t^
r -?Y
ln
l1
E tbeil
la
EI
E7b9fre r-Va
E/
r-V
tt
rrffir
IV t vt l a t a o Iffi
TTTT-N
F|+N trrtrT-tra
FU+
TT-I-N
I...I...I...m
t-t-tT-n
O 3 , d + b 7 t h+ g t h+ E - S t r i n g C o l o u r s
t.^
E9 -E A^ 1 t E 9 t ' r' ' E9 EgP
tr E9l3
rvm VI LIffi
I I taaa
Fffi rr-trFtr
| ].]m
ffi TTTI-N
tttttt
O 3 , d + t T t h1 ! 9 t u + E - s t r i n g C o l o u r s l3
ETie e l 1 9 ll E79 7| 9 b l s ETie E79
VIFITJTI vrm E
-TTT-I
TTTT-'
TTTT-N l-H+f?
ffi -TTT-N
a b 7 ' h+ D - S t r i n g + 3 , d C o l o u r s
A7 A7b9 A9 ATte
VIFTIFF VIFf[r[]
ffi
T'TT-T-1
TTTTN
I attl
trrTrTl ffiFF
Extended 7th Chords
a b T t h + b g t h+ 3 , d+ B - S t r i n g C o l o u r s
IJ
t^
atbe ATvv A7o'
. b7th+ 9,,
+ 3,d+ B.String Colou,rs
13
ntlsvt3 A7I9 ^79 ATle
vt Er-r-fl
ETII]]
t-t&FH
N_TTN
O 3 , d + D - S t r i n g + b T t h+ 9 ' h C o l o u r s
,rbeYt E79b13
vrmfl
ffi
ffi
z # ll
curot$aff!ffi
ETPY E9
vrm
tr-Trn
ffi]fl
'l
t' l t,^
E7n" E7 E7vt5
ilrmm
ffi
TtrTTN
O b T t h+ 3 , d + E - S t r i n g C o l o u r s
vllrffiT
E7?t5 El3 r-?
rI ft E7ile
ffi+ IXFFITB
R]] H+TH
l....m
f]-t-Fn
2
Extended 7th Chords
t,-
7tJ mol/
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:
63
Extended 7th Chords
Aog
Dog
IVlTllr] Gog
lv rT-n
raTT-fi
ffi+F Fiffl v rT-n--a
H++]
rrrrn
sil
rT TT I-1
rrn-n
rrr|n
}
Aolt Go11
um
ffiH
ITFTN
Dog
v rltrTl Vffi
l-|t]-]
FTIF Hfl+
n-n-n
Goll
Vrfffir
H+?+l
trFF
trrTrTl
Go9
vilrFEt
Ft-+fl
ffi1fl
#e
64
^ t- tu
LomblrtmS'Lxerc$es
Aobt3 F o bl 3
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/tl/L3
step lower.
l3
Ao + Al7b9 4o9bl3 + xbz9
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 I 7
bls
Eb-7 BbTbe Eb-e tbtbe obre cbql3 F_9II Eo9
le | a l.!
:f
br: 13
rb-g1trb-s sb-rI Eb-e AbTbe Dboddg E-9 ntbg
-?-
_
{E}
ie be 13
D69 E _ 9 11 Doddg c*9 II rXzils B7?5 E-s A7',s D69
r[ e e e t,e
IQ
a-l
7
.u-/f i|l'l -l ^
T\ 7 t- 9 bls
tb"a
D _ ^ 9 D _ 9 ra
ol3 CA9 ,u-' G13 GTtl Ce BTts ebql3 ebzie
r\t
J* 1,, e', ,. ) | ? ,? '|? l. I
D . C .o l S
D^l3 ll
Db#
b!'chapp|| & Co.. Ltd
Used 5, Pe'ar,ssron
67
IN YOUR OWN
_gIvEEr wAY
?,ffi:,,,::
c zil9 rzbg
E-9 Al3
rb-g bl:
D'ol X ol fine(lst ending)
@ Wortdcopyright1956bv I
Arrrightsforthewortd. i".tjt x:::,:"- san Francisco,
usA.
r.l'ui""nruni;;.Ja":.l;'l'".i.
'T::i:""il1,ji:?;l|?J;""*T?"y'l'
";
gAR.,
9l11i;i':jliil"1i,"J;f;l Wc2E Eng|and.
il.i.1xu,;';.,onoon
8
Chapter4
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):
cn9 (Jv Bs
(lonion) ||| r-n_.l (Mixolydion) Vlm
(or ony t_/ voicing
LLi!-l-J
ffi
ffi
++r.] (or ony Bo voicing
rl-rTn htgher up) Effi hishei up)
Falr' '
l'l l
D-9 FA D-69
(Dorion) V TTll (Dorion) ilrmn
H-]-] (or onv FA voicino ffi (ondso on...)
TFFN I...I...]T
n-rrn higher up) TTTTN
}
G T s u sb 9 Ablill I
lil trEEFFt v||FFFE
TrT--n
lffi ffi
ffi ffi
trT-TtrN
l3 l3 c^ils
CTrrrb9 BTsusb9 vil fFtm
Trr--l
ffi
m-Tn
c7ru.b9 Gs
lilm
ffi
ffi
[.ti?lijt!^tr'".i?'IoNS:
|'vealwaysfound it
helpfultointegratenew chgr!
as theseappearoften shapes into ll.V.|p.:{
in;".r .iJnlu'roJ"inarr
but don't forgetto
transposethem to
keys.
Hereuruu r"r.*l
other xevsl
D_9
"'m
bv'" l3
ct9
'''m
V ITITE rv fE-n D_9
T.Ir] t-Fl-++-j GTDY
ca9
rrn-n
ffi
ffi fta-Fti
rrrrn
VfEE
.l-fffi lvETn
i1tffi
tfl ffi# FF
D-9 G 7 b 9b t3
vrlffi ct9
vill
vu Fn D-ll s
67 frcbt
E#fi Ttl] vlrffi co9
+FH Tml
v l l f-n
l-t--H+-l
ffi
mrff1
n-n-n
Tf-IH
l^
A_9 D7 DY .^9
vmm
FiIIIJ 'vm o,ben c # ll
H+ffi .til
rrn-n
vl P-Tr-F
vl Er--n
ffiE i-l-Fftl
ffiH ffi
A_9 olsil t II
um r[Irm c^e#
A-9 D 7i e b ' t 3
F#ff
FTN-H ffi vffi rvmX c-09
rftrH fj-tfH
l-i--i-++t
Efl# ffi
b
72
Jrds
t3 t3
DTVY cA9 A_91l o,bpl G ^ e fI I
vll rrrr-. V FfTTI'
tl ta*
V rT-rr.
Fi+]
Iffi
T-TTT
|-.+-.{-+.]
LLLI-IJ
ffi TT--TT'1
TT-FTN
H#
t^
DTDI' G A I3 A-9ll oz9il l -U A^l 3
vll rfrr-r vllrr-rr-r
l - l t 4l I lx rrrT-r IXEFMJ
EHtIl
LLLLIJ
ffi
LI-LL]
H+l f+++-l-l
ffftfJ t-ft-ffJ L]-LL]]I ffi
irtltl TTTN
eTlebts
rxEm
t-+++]
'*m \f l\
H]+fl ETI
fltfH
!lg:v-lPRoGREsstoNs (MrNoR)
)s9 t,^
G7b9bt3 Da9ll tJ
c-^9
tET]
G7D
lv rrraTr
trI---rT-l vlllrrrr--r v i l l rffir VIFFTII
ffi
LLJ:II]
H+I-N ++]+
._--11 trffi FH+ir
FTTTN
t+Tl ftr|n F+HI
FFB
ffi
rTTTN ottatl
TtrTTT] ffi
H]] ffi ltal tl
TT-TTN ffi
b }
t3
As91 1 D79 G-^9 As1 1 G-r I
VIIIFFEFtr X|ttI rffi
ffi-H
ffi ffi Hl-t+l
N-TTN ffi FFF
TTTTN
b
Extending 7th Chords Using Ascending Retotive 3rds
ffi+N FF]
trT-trrn
olgbls eTlebts
rxffi rvmn
TTTT-'
m-m ffi
FI_I_FH frtrrn
b 7
t^
0
D7 c-69
Xm X FFM
trT-TT-n
ttatal
I...I...]T
ffi
TT-TT"]
TT-TtrN TT-TTN
bs
t,^
,rbexv u,bxv
t.^
A?|3 B a Dt s A-At3
YrfTffSl ilr fffff? ll rrrrra
ffi rffi
TTTT-1
TtrTTN
i".]...]..m ottaal
.iF.TT] -r.TT-] ffi
TTTTN trT-trrn
75
UPPER STRUCTURE 7Til CHORD
SUBSTITUTES (NO 5no1
c ^ 9 ll c q i l lI
Da9ll l3
G ^ 9 ll
76
Extending 7th Chords Using Ascending Retotive Srds
VI
Bbe
IV ilt v
t3
,,bx F9l3 ozil9ll Gqll 7sbls
IV
l?
VI VI
1?
ol 9ll
lr l
F9l''
-t^
EVY
I
?4.
V VI IV
t3 t3
t^
, rbeY t As9 D7b9b13 c9l3 c70'
b
Comping A Stondord Using Ascending
5rd
Retotionships & Extended 7n Chrds
l3
t^
Eo9 ( G-^) A7D' c-e ( eba) pql3
(AYh;ffil
F-e (AbA) ,a,13 rbf rc-7) b sl 3
sbte .o-t)
IJ
E o r l ( a b a f 5 )a z b e D-9 (FA) ab-s,DbD ebyfl I
b o
V V
IV VI
VI
l?
Abqilll (Eb-^) ^bzll tcbr #s
l sbt9 (D-7)
IV
VI
vill vill
'|
2
t^
Ca9 (Eb-A) F 7vY abne r-7)
78
Extendino 7th Chords Usino Ascendino Retotive Srds
13
t^
s b ql 3 c7b9b13 r -DY
D-9 c7b9b13 c-9 F7b9111
b
IV V vlll
t3 t^
l3
F-9 eblvY LVL' t- tl 97ilbls -u / - b 9 L-v
IV ltl V ill I
l3
Bb9 G7b9b13 7ilbll F7b9b13 D-9ll 7|bts c9'' 7| 9 b l s
t3
rt lelt t
t^
F-9 BbTvY rbn9 b ql 3 c-9
b b
P_o
vtl VI VI
G-9ll C 7 b 9 11 rl9ll
bo
vll VI
VI
t3 r3 l?
.u -/ b 9 b \ 3 t^ B b 3r
B b q iIlI E b q iIl l E o b r 3
1 ' ll
F*s D7r'', LIJ
?-oY
Tl
.a b b;
Chapter5
4th CHORDS (QUARTAL HARMONY)
I ttrio, Shapes
t3
c69 c69 LA
e CI
>
l3 t3
rillt F69 rll Fillt F69 rn9
ilrFFtll xil Ftl vil ffmJ V|TnT] VTil |T-Tfi Vl|[|fTI] l|m]
or l-l-Hf?
l..]...]..m
ll-H#
I..]...].m
or ll-H#
l...|...]..m
or FFFFFI
|..]...]..m
Fffi
I..]...]..m
or FFffi
l...|.] m
FFffi
I
-I...1T or FFffi
ffi
TI-TTN TTTTN IT-TI-N -I-TTN TI-TTN TT-TTN TT--I-N TT-TTN
Minor Shapes
l3
D9
xlrFml vill ilrTm X TFT V[T-5l |||m X TNT]
OT |..]...]..m
FFFFF or FFF -I-Tr-1
ffi FHffi ffi ffi
TTTTN
-t-n-H
-TTtrN N-TtrN FUfl FUT F]]
} C)
soME oTt| R PosslBLE 4TH
CONFIOURATIONS
Our examples again are C lonian. Inversionsand combin&a
voicingsand cluster sounds, too (see next chapter).
stretch !
Trythese progressions
withothermodes,too (Phrygian,
Aeolian,
etc.). The lonian mode, however,does not work too well because d
dissonance betweenthird and eleventh(b9).
G7 Mixolydion ("Milestones")
D-7 Dorion("tmpressions")
l,
\
Faf I I Lydion
gg!?!!c A MtNoRBLUES usrNc
4rH Ct-toRDS
c-il13
C79b|3
1C7olt )
atlsbs
bo
85
4th chords (ouoot Hormonu)
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)
CLUSTERS
Clusters are voicingsin which at least one 2ndintervalis present.The ten-
sion arising throughthis 2no interval creates a special chordal character.
We've alreadyseen a numberof voicingsthat can be classified as clusters,
for example:
cA/E --l1l
u/ "
l3
FA9
t3 B-7
ll l
' l3
AiAl' DTsus
EbafI I cgll A-9
t3 t? G9 l3 9 l?
, l r l' G odd9 rlatl
Ebn9 Bb^t' Bs 1l Ebar" sbne l3
r l # lI
Bzodd9 A Tsus Bbl l D-t Il3 DTsus r illl l?
G Tsus E-7 FA F ^ 9 ll Fodd9 ETsus Dg ll
D-7 C odd9 D-9 G7 A-7 cAl 3 cA
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"'
SOUNDS (LYDIAN)
C MAJOR 7T+I
: s u ,9 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
CAl''
l l
C A s u s{ l I 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
cA9 cAl3 cafl I cAl3
D-913
D-oddl I
88
D-7 D - o d d9 D-lll3 D- 13 D-9 l3 D-l I
Da11
Ds Ds9
G DOMINANT 7THSOUNDS
13
Gr3 Gl3sus ctilt t GTie G T o d dI I
l3
t^ l3
-D
u tJ
c9l3
G 9 | ,,
J'lr r
\J lJ G l3sus
r -?Y
U/ lrr
GTsus G7t"
G DOMINANT7rHSOUNDS
(CTD.)
GTsus
l,-
G7?|
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 o r b'
DToY G # ll
Ss
e
-t-
a?/
c7'Y
}
TH E O IFT rhis tunecombines
a totof theconcepts
we havediscussedso far:cru
Ltuc'L.'narmOny,extended7tnChOrdS.
Petero,Mr
e d m : P et er o , M a r a , ' S y m m e t
! s , ' I av ry,,'
484-2, distribuicd
|::::,;,,,', si,,ny
nl
upsus y
o
r|) I
). tDt!
bll13 |
r.Jpsus y
Bb-odd9
Ab/Bb abz'9
1il. '/
e.'
Lff|er
3.13ii S"lY.;.leorg lvlusikverlag,
Mrinchen
92
B b z . ul.3 D"zIJ
G7 olt
3x (3rdx: D.C.ot S)
7
-=t
=!
93
ALL BLUES The "tune of the chapter"
is by
Mires Davis, of course. The
character
of thistunelendsits;lfV;;' quiet floa
Miles Dzis u.n .o '"l;i.,;;i"-, JJ'o'n..
{arr. Peter O,Mara}
IN
l3
nilll ^ 9 i l ll ll l
C A I ''
l l
c^eilll
C L y d i o n( ^ 9 , l l , l 3 )
Here are some otherchordal
sounds:
D MINORSOUNDS
uay
G7 WITH.EXTENSIONS
#s(bt3) #e
}
tit t -7
*J
bsl3 bsl3
b-
='1r;#f#ri5#Fi
ile
bo > o.
?O
an examp|eof a standard
chord progressionusing intervalistic
':'. co
Bb-9 rbu9
Gtitt
Godd 9 .l
B b 13
c- sBb Ao9
G#]l
l3
rlll
FTsus
A7b9
l3
Ebsitt 13
A-7 o-,bsb
rtil t
13
t^
?Y
tr+-7
}
e
>
ible Uses
c69 D-rI a, ^9 Eil l l GTsus
>
> b o
a x (e) x tol
construction: dl
sible Uses
Coddgll C o d dI I 1 3 cA l3 cA9l3 cA9
dr cre
t?
(P
rl
(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 "rootposition-
ing)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
A_7
C i l ll
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)
_o
| e i n..Wb.d.rt ea d.,!
A I.c
(^A
G7 FA Ba
.-b9ttl
br'
G7 CA
101
r
lltervotistic Compinq
102
CD and book "l HearA Rhapsody"
STETLA BY
play-along
Thtsexampleis takenfromthe comps a bass
howJohnAbercrombie
(AdvanceMusic 145O7CD)and shows
rnnLloHT 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
A7
BlrA Ea^
tba Ab7
a1
'o (F7 )
G7 rJ |,
e7{9uls
'o
F-7 E-7b13 A7r',
bz]l
105
-
sEcREtThisisaJohnScofie|darrangementof,,SecretLove.,,Notetheuseofinlel
- !
.- ,
bammy Latnlt'aul o.Wrtr*
vals in the "A" sectionand three-note
voicingsin the ,,8" section.
(asplayedby IohnScolield)
[m - l
tba D 2 , /S U S -l
tba D2l SUS
-l
fDL F-9 Bb3
l -l
tta e b sl -l
LDA bl
bp-.
I
a
v/
Bb7 trf
rD/
I
D,g
F7 sba
,\ \ |
b^,)
.D--i
@ by Remick M. Corp.
A||eRechteflir D/CHIGUS + osteuropischeLnder bei:
NEUE WELTMUS|KVERLAGG|V]BH,
Munchen.
Used by Permission.
104
Bb-7 Eb7 bl
,N N I |.
b{r, ')>_). b)--j b) b)
b) il )-.1
ebt rbl
--
JXJ IJ J J^J
105
r
I Intervotistic Comping
I
I l tFnrr -- -
VERY EARLY
::,,:j:?,f::ompins tune,,veryEarty,,*r",,* rec.
ortheBilrEvans
i
cu 'irq nas a strong contrapuntar erement.Note the frequentuse of hig-i
(as played by Bitl FriseLl) extensionsat the cost of even omitting
the third (if impriedin the mero:,
creatinga rather ..abstract''atmosphe.
abzilt , t
b3
O FOLKWAYSr\4USIC
PUB. CO, INC.
sterreich,
Schwelzundosteuropa:
ESsExMUslKVERTRIEB
3.::.#?:*i:ltsch|and, GMBH,HAMBURG.
10
'3'
L3J
--4-
'3r
SLASH CHORDS
Polychord:G/C
cA9 Gtc
t09
Stosh Chords
obol
ut utmtntsneo
D-9ll (no5th,
D Dorion
no 3rd)
.rl9
(no root,
no 7th) C Dominont Diminished
110
Stosh Chords
l C Mixolydion
E-b6 (no5th) C | o n i o n( m o i o r ) C A C Lydion Cll C7
I
C Lydionil9 cnf,9l l C Mixolydion
66 ,rblZ C Mixolydion
$11 Clil
ctE FA9
(no 3rd) F lonion (moior) F Lydion F Hormonic Mojor
cAo
(no 3rd) F Melodic Minor F Hormonic Minor C Hormonic Mojor lV
MAJOR TRIAD WITH THE bsTH(ilIlrt)IN THE
BASS
ClF Fl7beillI
(no 3rd) Ff Dominont Diminished Fil Altered
C A { ''
l r
CIG Gsus
(no 3rd)
112
\^.t.TH -r+lE 6TH rN T.,E BAss
b,{A'oR.TRIAD
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
(Dorion4)
. ]Dz)
\
\uoflon
l3
Bb9 I'l' '
l3
9ll F H o r m o n i cM i n o r l V
t3
e#ll F Hormonic Mojor lV
t3
^l
Va 9'i" Ab Hormonic Mojor ll
115
Stosh Chords
B Locrion B Phrygion
bl3
,rbctt (no 5th,
E H o r m o n i cM i n o r V
no 7th)
C ous/Db
Db Melodic Minor Db Hormonic Minor F Hormonic Minor Vl
l'f Lr
C o ug/D D9fi'' (no 3rd, D M i x o | y d i o n l 1
Coug/ Coug/ C o u gI
bz40 \2 ll b7 ilqs\7
identicol! identicol! identicoll
115
Stosh Chords
EboA9(no 3rd,
Eb Diminished
no th)
t^
n/tr E _ 7 V ' ' (no
3rd, E Phrygion E Locrion
no 5th)
ll
sbe (no 5th) A Hormonic Minor V A Hormonic Mojor V
t1
MINOR TRIADS AS "UPPER.
sTRUcTURE"sLAsH clnos
we havetriedail the possibrebass notesundermajor
triads- nowret,sdo
the same for minortriads.
D_tEb I1
Eb^e# (no 3rd, EbLydion
no 5th) Lydion Augmented
EboL9 (no
3rd,
no th)
t^
D_/E E-7DY
(no 3rd, E Phrygion
no 5th) E Locrion
D Melodic Minor ll D H o r m o n i cM i n o r l l
1|
MINOR TRIAD WITH THE b5RDIN THE BASS
G Mixolydion il11
G Mixolydion C Melodic Minor
(no 3rd)
(o)
{E}
t3
fro
= og'beXu(no
3rd, Ab Dominont Diminished
no 7th)
D-/A
Here we can use any scale that fits a "BbL" chord (see "Major Triad With
The 3,0In The Bass").
D-IBb sbl
D_/B 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
118
MINOR TRIAD WITH THE bTTHIN THE BASS
D_/C D-7
D_/C D_A
D Melodic Minor D Hormonic Minor D Hexotonic
cxzsbe
Cil Altered
we mightbe wondering
aboutthe musicarvarueof chordsrikethisr
Eb Symmetricol Diminisheo
ll
Eb-^e (no
5th,
no 3rd) Eb Hormonic Minor
119
Slosh Ch(
DO/E E7v'
E Dominont Diminished A Hormonic Minor V A HormonicMoiorV
t^
G7?,
G Dominont Diminished C Hormonic Minor V C Hormonic Moior V
or 1l
t^
r -?Y
u/
G Phrygion
120
DIMINISHED TRIAD WIT}I THE 5THIN THE
BASS
bls
ll l
A HormonicMoior b2 A Hormonic Moior
bls
= A-All
A Hormonic Minor
oal
DolBb Bb7
This is reallyno big deal, but let'sjust file this knowledgeawayfor the sake of it!.
DO/B Bo7
IA
Slosh Chords
C HormonicMoior
C Hormonic Mojor
l3
( : csll) oblc 1=67brXll, rbrc(:czobls, Etc (: czbe,
o = =
l3
Gtc 1: ca9y F/A (: ^7b9) FID ( : D-7) obrct:o,bxlt, (: CA9)
l,
( = D - A b 5) ( = G T s u s b 9) t : co9l
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
rIa ra
F/D EIG
D2./SUS o/
ctFil AbIF
ta
Ebo
C/D ^t,-
UVlg
124
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
604,ENIA_ruTU)
G-9
Csus F n ll
^tcil
ATolt ebp
o ol3
E9sus A9 sus
- ,-l
EbIAb r lEV
l
Cll
@ by TUTU PUBLISHING/ENJA
RECORDSHorst WeberGmbH D.C.
Usedby Permission.
125
Stosh Chords
^ ll} } e
o ,'
t+'-,t
l r r l J
1'.--,
Dodd9 Aodd9/C{ D/B DiA Eodd9lGl GIA Dsus FVbl3
\-/- Tr - t
al 7 J
"o'
A -l +, 4: \| , r,b^r. I"
9
-
o '', , ' fr'.-,
l r r l J
-. il-
-+.
730) ''-t |'---, --rt- l-'v
126
t
a- l-v
FAir''
l l
.
-7
L B_7 CID DIG D odd9/Ffl
) -
lt .^ -^- \\
'a
I
_t. h_ r .lxt )-
-+J
u'-- '
-tJ
- _v_
T' o\Jo' f |
o
I IN | \ 'j,!:
-f
'd. \
ll
127
O MAHA - in a simitarvein!
MoreMetheny
CELEBRATION
Pat Metheny
BT s u s Btcl CID
'rr' .
l\vl
/r
'
'F-( r
E7 AA CID Gadd9 FIGb B7Dt3
urr
AIB Btci
Cl
Goddg ebrc FA rBb
*. ,
nt)-l
128
J-].^.)J )--;
Fil/c# nbpb
DIG GTsus
r J l''l
a^.)e
\r \
?-
G7
E-lr r b z o a aIt
|\
tl
e
. 1?. .e
vrl 2-l
Cb/Db cbl AIB E odd9
A b T D |3
Fl/G EAPIJ l
UV
F7?tr
r--.3-__
^i
cbtab AbIDb
129
Appendix
APPENDIX
EXPRESSIONS
The two tunes that conc|udethis book featurea |ot of the chorda|conceot
Peter O'Mara 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.
L r' 2u
D- odd9"
2)
ll L r' "2
D-9 " D- odd9" CIBb
--.}--
A a' ta
D-odd9bl3
c
CIBb DIG B-9ll
lr
l5
v Dd. tl I tl
2)
It
B-odd9bl3 B-9ll B-odd9zrr
A
20
_ Georg Lffler |\4usikver|ag,
o 1994 GL|\i] |\4unchen.
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{
CHORDAL CONCEPT
JAZZ 6UITA
the prognessive
ith a comprehen-
chondaI
uitan
ting with
en working thnough
titution relationships
memorized shapes.
order # l,B0l,E