(Berklee Guide) Peckham Rick - Berklee Jazz Guitar Chord Dictionary (Berklee Guide) - Berklee College - Licensed (2007)

BERKLEE JAZZ GUITAR CHORD DICTIONARY
Musical Instruments/Guitar
Master the chords used in jazz.

This chord dictionary includes over a hundred jazz chord forms, from basic 7th
chords with all standard tension substitutions and alterations to guide tone
chords to triads over bass notes. It is organized to reveal relationships between
different types of chords and help you learn the voicings quickly and thoroughly,
in a way that is easy to remember.You will improve your comping and soloing,
develop your fingerboard facility, and add more colors to your harmonic palette.
It includes:
I Traditional notation, fretboard diagrams, and tablature for each chord
I Over 100 movable chord forms
I Multiple versions of barre and 7th chord shapes, with substitutions and
alterations
I Triads over bass notes, inversions, and guide-tone chords
I Diatonic chord exercises
RICK PECKHAM
Berklee Press
1140 Boylston Street
berklee jazz guitar chord
Boston, MA 02215 USA
Rick Peckham is Assistant Chair of the Guitar

617-747-2146
berkleepress.com
Berklee Press, a publishing activity of Berklee College of
Music, is a not-for-profit educational publisher. Available
DICTIONARY
Department at Berklee College of Music. He proceeds from the sales of our products are contributed to
the scholarship funds of the college.
has mentored thousands of guitarists and is
Cover by Robert Heath
author/instructor of the Berkleemusic online
course Guitar Chords 101 and the Berklee Press
DVD Modal Voicing Techniques.
U.S. $14.95
ISBN 0-7935-1083-8
U.S. $9.95 ISBN-13: 978-0-87639-079-5 rick peckham
ISBN-10: 0-87639-079-3
#73999-FABBHj
BERKLEE PRESS
+84088-BAECFc ,!7IA8H6-djahjf!:p;K;t;t;P
HL50449546
HL00000000
90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page i
edited by
jonathan feist
90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page ii
Berklee Press
Vice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath
Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen
ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3
1140 Boylston Street

Boston, MA 02215-3693 USA
(617) 747-2146
Visit Berklee Press Online at Visit Hal Leonard Online at
www.berkleepress.com 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.
Jazz Chord Dict 4/10/07 12:43 PM Page iii
Contents
Introduction iv
Part I. Chords
1. Moveable 7th Chord Shapes 2
(each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 )
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
Minor 9 7
Minor 11 8
Dominant 13 8
2. Dominant 7th Chords with Alterations: 9
two versions each, with roots on 6 and 5
Dominant 7%5 9
Dominant 7(#11) 9
Dominant 7(9, #9) 10
Dominant 7#5 10
Dominant 7(%9, %13) 11
Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 11
3. 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 6 5 4 16
V/I 16
%VII/I 16
Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I) 17
5. Inversions (each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 ) 19
Major 7 19
Dominant 7 20
Minor 7 21
Minor 7%5 23
Major 6 24
Minor 6 25
Part II. Exercises
6. Quartal Voicings Exercises 28
C Dorian Voicings 28
7. Diatonic Exercises 30
B% Major on 5 4 3 2 30
E% Major on 4 3 2 1 31
F Major on 6 4 3 2 32
B% Major on 5 3 2 1 33
F Harmonic Minor on 6 4 3 2 34
F Melodic Minor on 6 4 3 2 35
G Major 6 Bebop Scale on 6 4 3 2 36
G Minor 6 Bebop Scale on 6 4 3 2 37
About the Author 38
Jazz Chord Dict 4/10/07 12:43 PM Page iv
Introduction
The Berklee Jazz Guitar Chord Dictionary is a resource for 7th-chord
voicings and other frequently encountered jazz chord shapes on the
fretboard.
The following diagrams indicate what notes you should use for each
chord voicing. These chord blocks will show you the right shapes, but
as a musician, you owe it to your audience and yourself to hear the
music before you play it. This material will help you to map out the
sounds on your fretboard. With time, you will hear the chords before
you play them.
Strive to play these chords with a solid time feel, a full tone, and attacks
with your “picking hand” that match the level of intensity of the music
you’re attempting to play.
Some tips for getting a good chord sound:
• Take special care to play the notes requested—and to leave out,

or mute the strings with the x symbol above them. Keep the
extra strings out of the sound.
• Use the edges of your fingers of your fretting hand to mute

unwanted strings. Focus your strumming (or finger-picking
attacks) on the indicated strings. Avoid sounding the others.
• When strumming across the strings, make the speed of your

stroke fast enough to give the illusion of one simultaneous
sound made up of all the chord voices.
iv
Jazz Chord Dict 4/10/07 12:43 PM Page v
• When you’re using your fingers to pluck chords, take care to

balance the level of each chord tone. A common tendency is to
hit the outermost notes with the most force, resulting in a
thinner texture. You’re working to put those notes on the frets;
make sure that the listener can hear them!
• While forming the chords, make sure that your fingers are as
close to the intended frets as possible.
• When changing chords, mute the strings by lifting your fingers

from the strings, but still touching them, to hold them still as
you slide to the next chord.
• Make sure all notes ring. If you’re not hearing all the notes
clearly, keep working to curve your fingers and adjust your
hand position on the intended frets to make the sound shine
through your instrument.
Playing chords effectively takes time, and the learning process requires
practice. There are three common stages of development.
• Physical Stamina: Building your hand muscles
• Muscle Memory: Memorizing the proper chord-voicing shapes
• Informed Musical Instincts: Using these chords to make

music
v
Jazz Chord Dict 4/10/07 12:43 PM Page vi
Here are some other things to keep in mind:
• While practicing, stay vigilant, playing in time and using a

metronome or drum machine. Stay with a musical task until you
can make it groove with a strong time feel.
• Play with other musicians whenever possible, as often as you

can. Practicing by yourself is only part of the overall plan.
• Make sure that the chords that you play fit well into your
playing situation. Should your voicings contain a lot of notes
or a few? Listen to the overall texture, and make a musical
decision.
• Listen to the originators of the 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

performers of other instruments as well. Bring it all together
to help you to develop your own unique voice.
Keep working, and be patient with yourself. Having the physical

strength and the knowledge of the shapes provide means to musical
ends. With time, you’ll be able to choose from a variety of options.
If you keep at it, you’ll definitely get there!
—Rick Peckham
vi
Jazz Chord Dict 4/10/07 12:43 PM Page 1
PART I.
CHORDS
Chapter 1.
Moveable 7th Chord Shapes
Major 7
CMaj7 CMaj7
3fr 10fr
1324

1333
 
  

12
5 12
4 12
 
5 10
3
CMaj7 CMaj7
8fr 3fr
1 342 1 342
 
   
3
8 5
9 4
 
9
3
8
2
Minor 7
Dominant 7
C7 C7
3fr 10fr
 
1314 1324

   
12
5 11
3 12
 
5 10
3
C7 C7
8fr 3fr
1 243 1 243
 
 
  

3
8 5
9 3
 
8
3
8
Minor 7
C–7 C–7
3fr 10fr
 

1312 1423

    
11
4 11
3 12
 
5 10
3
3
MOVEABLE 7th CHORD SHAPES
C–7 C–7
8fr 3fr
2 333 1 243
 
   
3
8 4
8 3
 
8
3
8
Minor 7%5
C–7b5 C–7b5
3fr 10fr
  
1324 1222
 
    

11
4 11
3 11
 
4 10
3
C–7b5 C–7b5
7fr 2fr
2 341 2 341
   
   
2
7 4
8 3
 
8
3
8
4
Minor 6
Major 6
CMaj6 CMaj6
2fr 10fr
2314
1314
 
  
12
5 10
2 12
 
5 10
3
CMaj6 CMaj6
7fr 2fr
2 143 2 143
 
   
 
3
8 5
9 2
 
7
3
8
Minor 6
C–6 C–6
2fr 10fr
 
2413 1312
 
   
11
4 10
2 12
 
5 10
3
5
C–6 C–6
7fr 2fr
2 134 2 143
 
   
3
8 4
8 2
 
7
3
8
Diminished 7
Cº7 Cº7
2fr 10fr

2314 1324
 
   
11
4 10
2 11
 
4 10
3
Cº7 Cº7
7fr 2fr
2 131 2 141
 
   
2
7 4
8 2
 
7
3
8
6
Minor 9
Dominant 9
C9 C9
 2fr 9fr
 
2133 2143
   

10
3 11
3 9
 
2 10
3
C9 C9
5fr
3 421 2 34
 
   

0
5 3
7 3
 
8
3
8
Minor 9
C–9 C–9
8fr

2134 2143
 
  

10
3 11
3 8
 
1 10
3
7
Minor 11
C–11 C–11
6fr
2 341 2 341
 
    

1
6 4
8 3
 
8
3
8
Dominant 13
C13 C13
 2fr 8fr
21334 1 234
 
   

5
3 10
3 9
 
2 8
3
8
C13
3fr
1 244

 


5
5
3
 3
8
Chapter 2.
Dominant 7th Chords
with Alterations
Dominant 7%5
C7b5 C7b5
7fr 2fr
2 341 2 341
 
 
  

2
7 5
9 3
 
8
3
8
Dominant 7(#11)
C7(#11) C7(#11)
7fr 2fr
2 341 2 341
 
     
2
7 5
9 3
 
8
3
8
9
DOMINANT 7th CHORDS
Dominant 7(9), Dominant 7#9

C9 C7(#9)
 2fr 2fr
2133 2134
§9 #9
   
 
3 4
3 3
 
2 2
3 3
C7(#9)
8fr

1214
 #9

 
11
8
9

8
Dominant 7#5
C7#5 C7#5
8fr 3fr
1 234 1 243
 #5  #5
 
  

4
9 5
9 3
 
8
3
8
10
Dominant 7 (altered)
Dominant 7 (%9, %13)

C7(b9,b13) C7(b9,b13)
8fr 2fr
 
1 2333 21314
  
    

9 4
9 2
9 3
 
8 2
3
8
Dominant 7(altered)
7%5(%9)
C7b5(b9) C7b5(b9)
7fr 2fr
 
T 2314 21311
 
   

9 2
7 2
9 3
 
8 2
3
8
7%5(#9)
implied root C7 5( 9)
C7 5( 9)
2fr
7fr
21341
2314
    
    

11 2
7 4
9 3
 
8 2
3
11
DOMINANT 7th CHORDS
7#5(%9)
C7 5( 9)
2fr
8fr
21314
1222
   
    

9 4
9 2
9 3
 
8 2
3
7#5(#9)
C7 5( 9)
2fr
8fr
21344
1224
   
    

11 4
9 4
9 3
 
8 2
3
12
Chapter 3.
Guide Tone Chords
Root 3 7
CMaj7 C7
2fr 2fr
213 213
   

4 3
 
2 2
3 3
C–7 C–7b5 (incomplete)
213 213
   
3 3
 
1 1
3 3
13
GUIDE TONE CHORDS
CMaj6 C–6
2fr
312 312
   

2 2
 
2 1
3 3
Cº7
312
 

1
3
Root 7 3
CMaj7 C7
8fr 8fr
1 23 1 23
 
   
9 9
 
9 8
8 8
14
Root 7 3
C–7 C–7b5 (incomplete)

8fr 8fr
2 34 2 34
 
    

8 8
 
8 8
8 8
CMaj6 C–6
7fr 7fr
2 13 2 13
 
 
 
9 8
 
7 7
8 8
Cº7
7fr
2 13

 

8

7
8
15
Chapter 4.
Triads over Bass-Note
Voicings: Roots on 6 5 4
V/I
GMaj/C GMaj/C GMaj/C
7fr 3fr 10fr

2 131 1321 1341

  
    
7 10
8 3 12
7 4 12
  
5 10
3
8
%VII/I
BbMaj/C BbMaj/C BbMaj/C

6fr 3fr 10fr
 
3 421 1111 1121

   
  
10
6 3 11
7 3 10
  
8 3 10
3
8
16
Other Common Voicings
Other Common Voicings
III/I
EMaj/C EMaj/C
8fr 3fr
1 333 1 243
 
   
4
9 5
9 4
 
9
3
8
II/I
DMaj/C DMaj/C
7fr 2fr
2 111 2 131
 
   
 
2
7 3
7 2
 
7
3
8
#IV/I
F#Maj/C F#Maj/C
6fr 2fr
3 121 2 311
  
    

6 2
7 2
6 3
 8
 3
17
TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6 5 4
VI/I
AMaj/C AMaj/C
8fr 3fr
1 423 1 423
 
   
 
5
10 5
9 6
 
11
3
8
VII/I
BMaj/C BMaj/C
7fr 7fr

2 311 2 431
 
  

7
7 7
8 8
 
9
8 8
18
Chapter 5.
Inversions
Major 7
CMaj7 CMaj7/E CMaj7/G CMaj7/B

3fr 5fr 9fr 12fr
1324

2413

2314
 3412
 
       
5 8 12 13
4 5 9 12
   
5 9 10 14
3 7 10 14
5 4 3 2
CMaj7 CMaj7/E CMaj7 CMaj7/B CMaj7/G

8fr 10fr 8fr 5fr

1 342 2 134 1 342 3 111 3 241
  
         
 
8 12 8 5 1
9 12 9 5 4
    
9 10 9 5 2
8 12 8 7 3
6 4 3 2
19
INVERSIONS
CMaj7 CMaj7/E CMaj9/E CMaj7/G CMaj7/B

3fr 5fr 7fr 8fr 12fr
1 324

2 143

1 243

3 241
 3 121
 
 
        
3 7 7 8 12
5 8 8 12 13
4 5 7 9 12
 3  7  7  10  14
5 3 2 1
CMaj7 CMaj7/B CMaj7/G CMaj7/E

10fr 8fr 5fr
 1333 2311
 
1113 2413
  
    
 
12 8 7 3
12 8 5 1
12 9 5 4
   
10 9 5 2
4 3 2 1
Dominant 7
C7 C7/Bb C7/G C7/E
10fr 8fr 5fr
  
1324 1211 1112 2314
 
 
       
12 8 6 3
11 8 5 1
12 9 5 3
   
10 8 5 2
4 3 2 1
20
Minor 7
C7 C7/E C7 C7/Bb C7/G

8fr 10fr 8fr 17fr
 
1 243 3 142 1 243 2 111 3 241
  
 
    
    
 
8 11 8 5 1
9 12 9 5 3
    
8 10 8 5 2
8 12 8 6 3
6 4 3 2
C7 C7/E C7/G C7/Bb

3fr 5fr 8fr 12fr
1 243
 
3 142
 
3 241
 2 131
 
 

      

3 6 8 12
5 8 11 13
3 5 9 12
 3  7  10  13
5 3 2 1
Minor 7
C–7 C–7/Eb C–7/G C–7/Bb
3fr 5fr 8fr 12fr

1312 2314 2314 2314
     
   
     
4 8 11 13
3 5 8 12
   
5 8 10 13
3 6 10 13
5 4 3 2
21
INVERSIONS
C–7 C–7/Bb
C–7/G C–7/Eb same as
10fr 8fr EbMaj6
4fr
1423 1111
  
2314 1314
   
      
11 8 6 3
11 8 4 1
12 8 5 3
   
10 8 5 1
4 3 2 1
same as
C–7 C–7/Eb EbMaj6
C–7 C–7/Bb C–7/G
8fr 10fr 8fr 4fr
2 333 2 143 2 333 4 231 3 141
    

    
     
 
8 11 8 4 1
8 12 8 5 3
    
8 10 8 5 1
8 11 8 6 3
6 4 3 2
same as
C–7 C–7/Eb EbMaj6
C–7/G C–7/Bb
3fr 5fr 8fr 11fr
 
1 243 2 143 3 141 3 241
  
 

       

3 6 8 11
4 8 11 13
3 5 8 12
 3  6  10  13
5 3 2 1
22
Minor 7%5
Minor 7%5
same as
C–7b5 C–7b5/Eb Eb–6
C–7b5/Gb C–7b5/Bb
3fr 5fr 8fr 11fr

1324 2413 2314 2314
      

     
    
4 7 11 13
3 5 8 11
   
4 8 10 13
3 6 9 13
5 4 3 2
C–7b5 C–7b5/Bb C–7b5/Gb C–7b5/Eb same as

Eb–6
10fr 7fr 4fr
  
1222 2314 1213 1312

       
     

11 8 6 2
11 7 4 1
11 8 5 3
   
10 8 4 1
4 3 2 1
C–7b5 C–7b5/Eb same as C–7b5 C–7b5/Bb C–7b5/Gb

Eb–6
7fr 10fr 7fr 4fr
2 341 2 134 2 341 3 121 2 131
       

           
 
7 11 7 4 1
8 11 8 5 3
    
8 10 8 4 1
8 11 8 6 2
6 4 3 2
23
INVERSIONS
C–7b5 C–7b5/Eb same as C–7b5/Gb C–7b5/Bb

Eb–6
2fr 5fr 8fr 11fr

2 341 2 143 2 141 2 141
       

       
2 6 8 11
4 7 11 13
3 5 8 11
 3  6  9  13
5 3 2 1
Major 6
CMaj6 CMaj6/E CMaj6/G CMaj6/A same as
A–7
2fr 5fr 9fr 12fr
2314 2314
 
2314
 1312
 
       
5 8 10 13
2 5 9 12
   
5 7 10 14
3 7 10 12
5 4 3 2
CMaj6 CMaj6/A same as CMaj6/G CMaj6/E

A–7
10fr 7fr 5fr
 1314

1423 1111 2314
   
      
12 8 5 3
10 8 5 1
12 9 5 2
   
10 7 5 2
4 3 2 1
24
Minor 6
CMaj6 CMaj6/E CMaj6/G CMaj6/A same as

A–7
2fr 5fr 8fr 12fr
2 143 3 141

3 241
 1 243
   
       
3 5 8 12
5 8 10 13
2 5 9 12
 3  7  10  12
5 3 2 1
CMaj6 CMaj6/E CMaj6 CMaj6/A same as CMaj6/G

A–7
7fr 10fr 7fr 5fr

2 143 3 141 2 143 2 333 4 231
  
         
 
8 10 8 5 1
9 12 9 5 2
    
7 10 7 5 2
8 12 8 5 3
6 4 3 2
Minor 6
same as
C–6 C–6/Eb C–6/G C–6/A A–7b5
2fr 5fr 8fr 12fr

 
2413 2314 2314 1324
  
      
4 8 10 13
2 5 8 12
   
5 7 10 13
3 6 10 12
5 4 3 2
25
INVERSIONS
same as
C–6 C–6/A A–7b5 C–6/G C–6/Eb
10fr 7fr 4fr
13 1 2 
1222 2314 1214
    
     
11 8 5 3
10 8 4 1
12 8 5 2
   
10 7 5 1
4 3 2 1
same as
C–6 C–6/Eb C–6 C–6/A A–7b5
C–6/G
7fr 10fr 7fr 4fr
2 134 2 131 2 134 2 341 3 121
     

          
 
8 10 8 4 1
8 12 8 5 2
    
7 10 7 5 1
8 11 8 5 3
6 4 3 2
same as
C–6 C–6/Eb C–6/G C–6/A A–7b5
2fr 5fr 8fr 11fr
2 143 2 141 3 141 2 341
  
   
       
3 5 8 11
4 8 10 13
2 5 8 12
 3  6  10  12
5 3 2 1
26
PART II.
EXERCISES
Chapter 6.
Quartal Voicings Exercises
C Dorian Voicings
(for use on C–7 or F7sus4)
3fr 5fr 6fr
1112 1112 1234
  
     



 

4 6 8
3 5 7

3 5 7
3 5 6
8fr 10fr 12fr 13fr

1113 1112 1112 1123
 

 
 
 

 
    
10 11 13 15
8 10 12 14
8 10 12 13
8 10 12 13
28
C Dorian Voicings
3fr  5fr
1234 1123 1122
  

 

 
 

 

3 5 6
3 4 6
2 3 5

1 3 5
 7fr 8fr  10fr  12fr

 

1122 1134 1122 1122

  




  
   
8 10 11 13
8 10 11 13
7 8 10 12
7 8 10 12
29
Chapter 7.
Diatonic Exercises
B%Major on 5 4 3 2
BbMaj7 C–7 D–7 EbMaj7 F7
3fr 5fr 6fr 8fr
1324 1312 1312 1324 1314

  

      






 
  
3 4 6 8 10
2 3 5 7 8

3 5 7 8 10
1 3 5 6 8
G–7 A–7b5 BbMaj7 A–7b5 G–7


1312

1324

1324
 
1324 1312

 
  
 
 
    

11 13 15 13 11
10 12 14 12 10
12 13 15 13 12
10 12 13 12 10
F7 EbMaj7 D–7 C–7 BbMaj7

8fr 6fr 5fr 3fr
1314 1324 1312 1312 1324

 
   
 
 
 
 
 
   

10 8 6 4 3
8 7 5 3 2
10 8 7 5 3
8 6 5 3 1
30
E% Major
E%Major on 4 3 2 1
EbMaj7 F–7 G–7 AbMaj7 Bb7
3fr 5fr 6fr 8fr
  
1333 1423 1423 1333 1324
 
  

 
 
  

  
     
3 4 6 8 10
3 4 6 8 9
3 5 7 8 10

1 3 5 6 8
C–7 D–7b5 EbMaj7 D–7b5 C–7

1423

1222
 1333

1222 1423
 

 
  

 
  


 
  
11 13 15 13 11
11 13 15 13 11
12 13 15 13 12
10 12 13 12 10
Bb7 AbMaj7 G–7 F–7 EbMaj7

8fr 6fr 5fr 3fr
 
1324 1333 1423 1423 1333
 


  
  




 
    

10 8 6 4 3
9 8 6 4 3
10 8 7 5 3
8 6 5 3 1
31
DIATONIC EXERCISES
F Major on 6 4 3 2
FMaj7 G–7 A–7 BbMaj7 C7
3fr 5fr 6fr 8fr
1 342 2 333 2 333 1 342 1 243
  

  



 
 

   
 
1 3 5 6 8
2 3 5 7 9

2 3 5 7 8
1 3 5 6 8
D–7 E–7b5 FMaj7 E–7b5 D–7


2 333 2 341 1 342 2 341 2 333

 
  
 

  
 
   


10 11 13 11 10
10 12 14 12 10
10 12 14 12 10
10 12 13 12 10
C7 BbMaj7 A–7 G–7 FMaj7

8fr 6fr 5fr 3fr
1 243 1 342 2 333 2 333 1 342


 
 
   
 





    
8 6 5 3 1
9 7 5 3 2
8 7 5 3 2
8 6 5 3 1
32
B% Major
B%Major on 5 3 2 1
BbMaj7 C–7 D–7 EbMaj7 F7

3fr 5fr 6fr 8fr
1 342 1 243 1 243

 
1 342

1 243
 
 

 
 
 

     

1 3 5 6 8
3 4 6 8 10
2 3 5 7 8
 1 3 5 6 8
G–7 A–7b5 BbMaj7 A–7b5 G–7

1 243

2 341

1 342

2 341 1 243


 


 
 


     
10 11 13 11 10
11 13 15 13 11
10 12 14 12 10
10 12 13 12 10
F7 EbMaj7 D–7 C–7 BbMaj7

8fr 6fr 5fr 3fr
 1 243

1 342 1 243 1 243 1 342

 
 

 

 

    
 
8 6 5 3 1
10 8 6 4 3
8 7 5 3 2
8 6 5 3 1
33
DIATONIC EXERCISES
F Harmonic Minor on 6 4 3 2
F–(Maj7) G–7b5 AbMaj7#5 Bb–7 C7

2fr 4fr 6fr 8fr

1 423 2 341 1 333 2 333 1 243
     
  


 
 
 
   

1 2 5 6 8
1 3 5 6 9

2 3 5 6 8
1 3 4 6 8
DbMaj7 Eº7 F–(Maj7) Eº7 DbMaj7

  
1 342 2 131 1 423 2 131 1 342

 


 
 

 
   


9 11 13 11 9
10 12 13 12 10
10 11 14 11 10
9 12 13 12 9
C7 Bb–7 AbMaj7#5 G–7b5 F–(Maj7)

8fr 6fr 4fr 2fr
1 243 2 333 1 333 2 341 1 423


  
 
 
 
 

 


    
8 6 5 2 1
9 6 5 3 1
8 6 5 3 2
8 6 4 3 1
34
F Melodic Minor
F Melodic Minor on 6 4 3 2
F–(Maj7) G–7 AbMaj7#5 Bb7 C7

3fr 4fr 6fr 8fr

1 423 2 333 1 333 1 243 1 243
     
  
 


 
 
    
1 3 5 6 8
1 3 5 7 9

2 3 5 6 8
1 3 4 6 8
D–7b5 E–7b5 F–(Maj7) E–7b5 D–7b5

  
2 341 2 341 1 423 2 341 2 341

  
  

    
    
9 11 13 11 9
10 12 13 12 10
10 12 14 12 10
10 12 13 12 10
C7 Bb7 AbMaj7#5 G–7 F–(Maj7)

8fr 6fr 4fr 3fr

1 243 1 243 1 333 2 333 1 423
  
 
 
 
 

 


    
8 6 5 3 1
9 7 5 3 1
8 6 5 3 2
8 6 4 3 1
35
DIATONIC EXERCISES
G Major 6 Bebop Scale on 6 4 3 2
GMaj6 Aº7 GMaj6/B Cº7

2fr 4fr 5fr 7fr
2 143 2 131 3 141 2 131
  

 
   
   
  
3 4 5 7
4 5 7 8

2 4 5 7
3 5 7 8
GMaj6/D D#º7 GMaj6/E same as E–7 F#º7

8fr 10fr 12fr 13fr
4 231 2 131
 
2 333

2 131


 



 

   
8 10 12 13
9 11 12 14
9 10 12 13
10 11 12 14
36
G Minor 6 Bebop Scale
G Minor 6 Bebop Scale on 6 4 3 2
G–6 Aº7 G–6/Bb Cº7

2fr 4fr 5fr 7fr
2 134 2 131 2 131 2 131
  

  
  
 
 



 
3 4 5 7
3 5 7 8

2 4 5 7
3 5 6 8
G–6/D D#º7 G–6/E same as E–7b5 F#º7

8fr 10fr 11fr 13fr
3 121 2 131
 
2 341

2 131

 
 
 

 

   
8 10 11 13
9 11 12 14
8 10 12 13
10 11 12 14
37
About the Author
Photo by Craig Reed

Rick Peckham 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, Left End, 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 2005 by Downbeat magazine. 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 1986. He is also
a prolific and accomplished writer, recently releasing Modal Voicing
Techniques, a best-selling DVD for Berklee Press, and the online course
Guitar Chords 101 (Berkleemusic.com).
For further information on Rick Peckham, please visit his Web site:
www.rickpeckham.com.
38

(Berklee Guide) Peckham Rick - Berklee Jazz Guitar Chord Dictionary (Berklee Guide) - Berklee College - Licensed (2007)

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

(Berklee Guide) Peckham Rick - Berklee Jazz Guitar Chord Dictionary (Berklee Guide) - Berklee College - Licensed (2007)

Uploaded by

Copyright:

Available Formats

BERKLEE JAZZ GUITAR CHORD DICTIONARY

Master the chords used in jazz.

Rick Peckham is Assistant Chair of the Guitar

1140 Boylston Street

Copyright © 2007 Berklee Press

No part of this publication may be reproduced in any form or by

Some tips for getting a good chord sound:

• Take special care to play the notes requested—and to leave out,

• Use the edges of your fingers of your fretting hand to mute

• When strumming across the strings, make the speed of your

• When you’re using your fingers to pluck chords, take care to

• When changing chords, mute the strings by lifting your fingers

• Physical Stamina: Building your hand muscles

• Muscle Memory: Memorizing the proper chord-voicing shapes

• Informed Musical Instincts: Using these chords to make

Here are some other things to keep in mind:

• While practicing, stay vigilant, playing in time and using a

• Play with other musicians whenever possible, as often as you

• Listen to great guitarists, but don’t stop there. Focus on

Keep working, and be patient with yourself. Having the physical

MOVEABLE 7th CHORD SHAPES

MOVEABLE 7th CHORD SHAPES

MOVEABLE 7th CHORD SHAPES

DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

Dominant 7 (%9, %13)

DOMINANT 7th CHORDS

C–7 C–7b5 (incomplete)

GUIDE TONE CHORDS

C–7 C–7b5 (incomplete)

BbMaj/C BbMaj/C BbMaj/C

Other Common Voicings

Other Common Voicings

TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6 5 4

CMaj7 CMaj7/E CMaj7/G CMaj7/B

CMaj7 CMaj7/E CMaj7 CMaj7/B CMaj7/G

CMaj7 CMaj7/E CMaj9/E CMaj7/G CMaj7/B

CMaj7 CMaj7/B CMaj7/G CMaj7/E

C7 C7/E C7 C7/Bb C7/G

C7 C7/E C7/G C7/Bb

2 333 2 143 2 333 4 231 3 141

      

C–7b5 C–7b5/Bb C–7b5/Gb C–7b5/Eb same as

C–7b5 C–7b5/Eb same as C–7b5 C–7b5/Bb C–7b5/Gb

2 341 2 134 2 341 3 121 2 131

       

C–7b5 C–7b5/Eb same as C–7b5/Gb C–7b5/Bb

       

CMaj6 CMaj6/A same as CMaj6/G CMaj6/E

CMaj6 CMaj6/E CMaj6/G CMaj6/A same as

CMaj6 CMaj6/E CMaj6 CMaj6/A same as CMaj6/G

2 134 2 131 2 134 2 341 3 121

     

2 143 2 141 3 141 2 341

(for use on C–7 or F7sus4)

3fr 5fr 6fr

1112 1112 1234

8fr 10fr 12fr 13fr

1234 1123 1122

 7fr 8fr  10fr  12fr

1324 1312 1312 1324 1314

G–7 A–7b5 BbMaj7 A–7b5 G–7

F7 EbMaj7 D–7 C–7 BbMaj7