A Chordal Concept for jazz guitar.pdf

5/19/2018 A Chordal Concept for jazz guitar.pdf

1/133

er 0tllara

itOI

)tJ

FOR

JATZ

GUITAR


2/133

,t-

O 1996 byADVANCEMUSIC

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ay

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orm

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3/133

ln t roduct ion . . . .7

Chopter I - Triods

Ma jo rT r i ad s . . . ; . .

. . . . . . . . 1 0

M inorTr iads

. . . L2

MajorAugmentedTriads

. . . .L4

Ma jo r 1 1T r i ad s . . . . : . . . . . . 1 5

D im in i s hedT r i ad s . . . . . .

. . . . 1 6

TriadsWithAddedNinth . . . .t7

M i no r ST r i a ds . . . . . 2 o

A C 'EOROIA

. . . . . . . 2 I

STATRV . . . . . . . 2 2

Chopter

2

-

Seventh Chords

25

Major

7tnVoicing

xercises . . .26

Major7 11Shapes&nvers ions . . . .27

Major7 5Shapes&nversions

' ' , '28

MajorTthConversion

xercises

..

-..29

D im in i s hedT t t ' Cho rd s . . . . . . . 3 0

Dom inan tT t t ' Shapes&

nve r s i ons . . . . . . . . 3 1

M inor7 t t ' Shapes&nvers ions

. . . . . . 32

M inorTt t ' b5Shapes& lnve rs ions . . . . 33

M ino rMa jT thShapes& lnve r s i ons . . . . . . . . 3 4

Major7 5 Shapes . . .35

RootPos i t ionxerc ises . . . . .36

f f -V- foic ingExerc ises . . . . .37

Drop

ThreeVoicings . . .38

Reduced

7tnChordForms . . .4O

Th reeNo teComp ingUs i ng "S tab l e "No te s

. . . . . . . . . 4 2

Chopter 5

-

Extended

7n Chords 45

fixiil.Ylih,il::: : :: .......::

xtended

Diminished tnChords

. . . .63

D imin ishedTtt ' -DominantTtnSubst i tut ionRule . . . . . .66

^l BoDY

soUL , . . .67

INYOUROWNSWEETVAY . . . . . . . 68

Chopter

4

-

Extending

7n Chords Using

Ascendlng Retotive

Thirds 9

OtherSubstitute ossibilities or 7tnChords . . .7O

Practical

pplications:l-V-l

ombinations . .

.72

fl6v- l rogressions(Minor) ... .73

Exotic Examples

Extended

hapes For

-7b5)

. .

.75

UpperStructure thChordSubstitutes No3d) . . . . . .76

Some ExamplesOverStandard

hord

Progressions . . . . . . . . .77

- J a z zB l ue s

. - . . . . . . 7 7

- S tanda rd

. . . . . . . . 7 8

-Rhy thmChanges

. . . . 79


4/133

Chopter

5

-

4thChords

(Quortot

Hormong)

8t

Examples

f

ModalUsageOf 4tnChords

Comping MinorBluesUsing tnChords

"Miles"

4tnChords

Chopter

-

Ctusters

85

Major,Minor

&

Dominant luster ounds

Comping

StandardUsing

ThreeNote

Clusters

THE GIFT . .

^' ALLBLUES

Chopter

7

-

Intervotistic

Comping 95

StandardChordProgression

Other ossibilities orChordConstruction

"Scale

Skipping"

Altered

Scale Voicings .

.

.

,

STELLA BY STARLIGHT

.

. .

t

,:

t

a

t

t

A

SECRETLOVE

.

' VERY EARLY

.

Chopter 8

-

Stosh Chords 109

MajorTriadsAs

"Upper

Structure" lash Chords

MajorAugmented riadsAs

"Upper

Structure" lash Chords

MinorTriads s "Upper tructure" lashChords

Diminished riads s

"Upper

tructure" lashChords

Combination

xercises

StandardChordProgre..'"" . : : : : . : : : . : : .

A cosTADsoL

A

LAK

A

OMA}IA ELEBRATION . . .

Appendlx

150

^,

EXPRESSIONS

A THRE

T

.J

- t

In

Closing

-*

About he

Author

-r


5/133

NTRODUCTION

The deabehind

his book

s to

provide

he

progressive

uitarist

witha com-

prehensive

verview f chordal tructures n he

guitar

ingerboard.tarting

with

riads,

hen

workinghrough th nd 9th hordsand urther xtensions,

chord ubstitutionelationships nd

practical

xamples ver

tandard

hord

progressions,'ve ried o presenthere a chordal onceptbased on logic

rather

han

ust

memorized

hapes.

This book s not or beginners

However, fter many

years

of

performing

nd

teaching

az

guitar,

've

come o someconclusions

bout

earning

hordsand hope hat his book

will make t

easier

or

oday's

uitarist

o understandhe complex hordal

structures sed

n

contemporary

au,.

Peter O'Mara


6/133

Chapter

1

TRIADS

Goingback to

our

irst

days

of

playing uitar,

we learneda few basic chords

to be

able

to

play

hose songs

we were

hearing n the

radio.Those

chords

often used open strings,so we were stuck when a song was in the key of

"F"

To

overcome his

problem,

we learned

a

few

"bar-chords."

owwe were

set But then

along

came those more

complex

azz

chords

and

we forgot

about the basic triads we had learned at the beginning. et's take a new

look at

them.

The

"bar-chord"

ingerings

were:

mof

or

molor molor

One problemwith hese chords s t hat they often doublea note: wo roots

or fifths.That's

a

good "fat"

sound

for

pop guitar

but we don't necessarily

want

o

"waste"

a notewhen

playing

ontemporarymusic.The ingerings

n

the

following

pages

show

various

possibilities

or triads withoutdoubling

notes.


7/133

I

i

'

MAJOR

TRIADS

Ctose Position

vtttrn

ffi

l...I..]'.m

t-I-n-n

u'm

ffi

TT-TT-N

v+m

ffi

H]]T

v

rrr-T.1

F]+ +]

ffi

TtrFT-N

^ l

v

vrFFtl

l-i-+fl-l

ffi

?a_

V||

lm

...I...|T

F]]

TtrN-N

vilffi

ffi

t-I-n-n

V|

FEIT]

fi

RUU

N_TTN

abc

Bb

Eb

vilrffi1

HUU

TN-TN

rb ab sb

10


8/133

Wide Form

lnversions

)

Root Posit ions

Inpersions

L

l

Y i l l

ffi

#

ffi

ffi

t a t a l

T]T

rTrn

ffi

:Fm

]]

il l

l - t F

}

lu rn rouna LXerc ses

l .

ffiffi

--rTTT-l

H]T

TtrTTN

TR-II

t-a1-T-]-1

ffi

TTTTN

TT-TT-]

l-fiHt

ffi

TT]-TN

t l

^ l

v

EbIBb

ffi

ffi

ffi

ffi

rll-m

ffi

TI-TTN

TT-T-]

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

FUtl

ffi

I X

FlC

GIB

D

IE

bIF

F IA

F IA

IV

EH

ffi

ffi

v'||

EE

V|lFm

V

rliln

V|||

m

V|||m|n

Vl|EFf] VmfI

V|||ffi]l

V|lfflm

ffi ffi Frf,

ffi

FF

Trt1-l

r-it-r-i

ffi ffi

---rHfr-fffr j++l H+H H+H H+H H+# H# H+#

I

c/B

V-T - i l

Vmn

ffi

l-l-li-n

i+# ?+l+-{-l

--T-m

n-FTn

V

EFF-II

l....l....JJ

a t t a t l

TTTTT]

rT TTN

TTTTN

V

FF|rt]

Trtrrn

l ]-]_H

TT-TT-1

vFFm

vr

ffim

tx

Fffm

v

fffm

vt

EEfr-l

H+H tT1t H#]-]

Tml

H+ffiH+Hffiff iff i

DlA

IVTFH

ffi

F]]

vrrran

raTl-n

TTIT-]

TI-TT-N

GID

IVETfTl

ffi]

ffi

GIB

^ l

D

CIG F IA

.

FIC

vil;lTF

---+N

---T-Tl

B'ID

C

BbIF

- t , ^

E_V/U

BbIF

EbIBb

AbIC

Bb

EbIBb

vrrrff ivrrtff ivrrm

vilEFFfF

vi lrFFFfF

i lrFm

vilm

vilr

Em

rxff im vi lrEm

vilrm

f f iTnT+ff i f fi f f i f f i f f i f f i f f iEt t++ tsrf f-H

_t_l_t_|]

l_|||]

H-]]

H+ffi

H++F

H++|

H+H

'HJ H

H+H

H+H

H+ffi


9/133

Wide

Form lnversions

} R oo

p

os tii. :

.rs

I.n .e.i:i.i1s

L

il

Bb

Eb/Bb

F IA

ffi

r+Tl

HUfl

ffil

ffi

HUfl

tT-T-l

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

TTTTN

l- +.]_H

t-Tu-n

tx

ffi

a-rTTT-l

ffi

TTTTN

trm

-aTTTl

ffi

TtrTT-N

ffi

g]]]

FUfi

ffi

tffiN

i..]'..]..m

t]]

ffi

t a t a l

...l..]..m

Ttlu

ffi

Htffi

T]]

il l

}

T,, n

o,

ou | ..E)

ii

s: :

l.

F

C

G/B

Bb

I E

bIF

vilr

sE

vil

FFm

v

FFm

vilr

EEEN

vilrFFm

vil

Ftm

vFf|rll

vilrm

vrmn

ffi

F]

fFffi

ffi TflTl

rrn-H

rffil

Tflfl H+++

++F ++++H +H H+H H+H H+# H+H H+#

I

G/B

v

-Tfil

{:ffi

:T+F

V

TilfI

TTTTN

IH+N

TTT]_N

V

EFEE

l....l...JJ

Ht+]-]

ffi+l

C I F

v

rrT-n

tra-rT-n

l-|++ ]

Trn-n

GID

C/E

lA

IVTF?lll

ffi

F]]

GIB

F IA

Bb

CIG F I A

v

rflil]

rvFtm

vFFm

vr

mt

rx

FF|F

v

fffm

vr

m

TFrn

TTT1]]tJ] TT]t Tijt]

Ftt1tl

HJ+H

H+H

H+H

H+#

H+H

H+H

H+ffi H+H

E-D/V

,,,

BbtD

c

BbIF

IC

BbIF

EbIBb

Eb/Bb

\IC

Bb

rx

mTfl

vilrfffffl

ffi] FFt

ffi F]]T

Yil

-Tffl

vilr[frmvilrffi

vil

ffi

vil

ffi

vilrEm

vilrEm

vil

Em

=il

ffi

trr-

nr-n

"-;

FflTl

ffi T1+l

:FE

R]]

H+IF

H]+F

H#fl

F]+

+H+

H++fl

vilr

lff|fl

frr-Tn

ffi

bT-

vilr

m

TT-n-n

Ff+l-u

rtrtrtrn


10/133

Triods

MINOR

TRIADS

Ctose

Position

V

TtrT'N

t-f+fl-l

ffiFF

TI-TTTI

vrffi

t-f+t-H

ffiTfl

VTrr|]

H]

HUil

Vm

ffi

H]]

#.**

- r

L - r - u - L -

F- Bb- C- Bb-

- l

EV-

7

Bb-

b-

7

12


11/133

Wide Form lnversions

) Root Posit ions Inaersions

C-

C_IG

ffi

ffi

l11

-a-rTTl

i+ffiutT

ffi

ffi

lu+

il l

ITrr roround

Exerc ises

I

c-

F-tc

G-tBb

ffi

ffi

TTTI-N

Hffi

trrTrn

H-.H+l

TTTTN

TT-T-I

I..]...]T

H]]]

F]]T

ffi

fT+F

Htffi

ffirF

ffi

-TTTN

l t t t a l

ffi

I...I...IT

FFFM

-rTrn

IV

VET|rn VI|IFII

f f i f f i

f f i f f i

vil

fim

vrlffTfl

vrm

f f i f f iH f f i

f f i f f i f f i

vil l

C_

F -

v

ftFn

FFFFF

ffi

Bb-tF

vr

flfTl

ffi

FFFH

L _ / t P F _

^ l

v_

ffi

ffi

ffi

I

7e

eb-teb F-t^b

- l

D_

v

:Etr

vl

r-r.Trr

v

rT--rT-l

v

[T--r

--LLI.].J

LLLLIJ E-]_LLIJ LLLLIJ

-H+H ?]-]_I-H F|+ N tH+H

ffi F] t F]] ffi

v l

?

v

)'

G-/Bb

v

rT--rTt

r+H-l

H]]

TTTTN

G_IBb F

-tAb

VI

FFrlT]

F]]1

R]]

Bb -

vt

fffm

ffi

TT-TI-T'

ffi

c-

D- lA

v F m

|||m

t++t| f T|

ffi Ht+

C_IE

F-

G_ID

vElm

vT[fTl

ilrm

f f i f f i f f i

ffi ffi F]]

C_IG

F_IA

_IEb

VTI[-fl

ffi

ffi

vEm

TT-TT-N

F|++ ]

TtrTtrN

rvmm vrm

f f i f f i

E]]T F]]

B

F

tc

Bb-tDb

c-

7_lr

Eb-/Gb

Bb-tF eb-nb

vil

mm

ffi

ffi

Eb-/Bb

b-tcb Bb-

rxn-flf l

rrrm

f f i f f i

ffi

TTm

V|FFF T

|||5FFFF[[m V||fflf|]

fTffi Hffi t TI| fTT+|

f f i f f i f f iHUt

vrm

vilrEm v[I[fT] vr[TffTl

f f i f f i F] ] f f i

f f i f f i f f i EUT

7 3

vil

ffim

ffi

ffi


12/133

No study

of triads

would

be completewithout ookingat altered orms:ma.:

mented

( 5),

major

b5, diminished and

minor

s.

ay now, We should be

,.

familiarwith

riads, so that

we

can convert he shapes to

get

other sounds

-

start with major augmented

/'5).

MAJOR AUGMENTED TRIADS

(il5)

An augmented

riad s made up of

two

major

hird

ntervals.The

chro^

scale contains hree major

hird ntervals.Therefore,

he

inversions '

augmented riadare

always

mirror

mages"of each other.However,l-..

tar fingerboard

oes offer us a numberof fingerings.

Bb

ug

) CIose'Posit ion

C oug

VI

EIFH

r+H-l

...I...|..m

TT'TT-N

t)

First 8 Second noersion

C oug

VI

EIIFFI

ffi

ffi

vrffi

tTtm

t-l-H-H

vilffi

tftm

l-Ft-l-H

F

oug

C oug/E

vrrr-n

l- +H.]

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

ffi

ffi

C oug/G

VM

t-r-l-t-t-l

H+IH

C oug

tv

n-rrra

F|+]

ffil

TT-TT.N

- l

E P O u g

o W de Fartn lnoercioas

F oug

rffi

ilrm u,ffi

ITfl-n Elt--n Eul

FH-H-I

H+l+l Fl'rH-l

Bb ug

ffi

ffi

I..]:..]..m

N_TTN

ilrFIFll

ffi

HUfl

rttrn

TrTrtra

H++t-.]

TI-TTN

'vffi

ffi

TT.TTN

vrffi

ffiF

T|-TT'N

vilrFEF

TT-trT--

t t t o

|..1...]T

-TTT-

Eb ug

F

oug Bb

Bb

ug

L Connecting

Exercise

G

ilrttil

l++t+

ffi

G oug

C oug

F I

f o

ilrlflm

iltfffm iltffi

tffm

1lH ttllll

FH+|]

|V

-l++]-]

ffi ffi f +I| f +]|

TtrTtrN TTTTN FTT]_N I-TTI'N

|||tt

||ffF ||FFm

LLLLLJ LLLLIJ

?+J+N

l-iH+l Ht+N

TTTTn n-n-n ffi

Transpose

his exercise

to other

string

groups,

too

vFm

I.].ffi

TTT'T]

ffi


13/133

F

(

l )

MAJoR

lrr

nlaos

(b5)

)

CIot,

Positib,i

C ( i l 11 )

rvfmn

FTFFFI

f-+-]+

rtrrn

}

F;rst

Invi:is.ii

G ( i l l l )

IVTITTI

r-r'rrn

?++++

TT'-I-N

c (# l l )

}

S eco

n d t r : itt

F

( l

)

rv+lll

TT-trT-n

f?-l-l+

-I-TI-N

rvmnH++fl

ffi

B b( l)

ilrrffll

T'TTTI

ffi

TTTT-N

vilFFTfn

l... ...]+

Ft-]-t-H

ffi

F

(il

r) abtil rl

3

b tf ill

viltm

ffi

TTTTN

bs

TTTT-]

LLLLL'

H+TH

ffi

|rI

v t l

}

w i a,

p

6.|,,.

;.it;i;

on;

F ( i l l l )

ilrtTrJ

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

FFFFF

TTTTN

vil

ml

Trtrrn

TTTT-N

H+H

a bt l

rbt#rl

nFFEI

vtrffi

ro ffi

LLLLLJ TTTT-N

++Hl n-n-n

}Co,,,iis}:E...Eic,|ii;;i

G( i l l l )

F

( l

)

vTT-Trr

lxm

-

trrtr-n

TtrTT-n

a t t t t t t t t a t I

I..1...]T l..]...]-..m

Hll+

r-r-r-Fn

tx[m

V l l l a l | l . . #

tfrm FH-I-H

FH+]

TTTTN

TTTTT]

VTI-TT-I

H+H

ffi

TI-TTN

rx

fflfl]

ffi

TTTTTI

TT-TTN

15


14/133

trr

A

diminished

riad

s

made

up

of

two

minor

hird

ntervars.

he

cnro

care

contains

our

minor

hird

ntervars.

his

symmetry

wi,

be

or

great

:iJ."J:*,

when

we

took

at

oiminished

seventhchords. Here are so

ilrTTrn

Tf--Ftl

FT+FF

rT.FTN

'um

|T-TT-1

Iffi

rTITN

Do

VIMTB

rTTT-1

+f++-l

n-n-n

r n

E -

)'Clpse

Fasiticn

Bo

ilrFfTfl

rll-1T1

aTT-t.ti

rTn-n

)

First'inai:eision

R O

vlllr.Trn

H+l+

TTTt-rJ

ffi

r]_ftl-l

villETlfl

TII-E

H+H

vilrmTfl

TT]TI

t-t-ffi

TTIT.H

Ao

xilrffim

R+m

t-Tl-t-n

O

t r"

b

Do

lxrn-r-l

Hl+]

rfTn

n-n-H

o

A O

)

See:oad:Inversipn

R o

xilFrffl

T[r

H+ffi

t r '

xilmTfl

TTTE

ffi

TTF]-N

Do

xilBTf-Fl

rmT-]

F+-t+l--l

mn-rl

Bro

C

Wide

Form

lnaers ion

Fo

,ffi

F]_Hl

H++F

Bbo

DIMINTSHED

RIADS

t

trrEffi

vrFm

ffiffi

'ffi

TNT

fTt-Tf l

llrBnrn

t|

Hl+l

EbU


15/133

L Connect ing

Exercise

t r lo c

il

flm

ilrFFm

Trtrrn tr-trT-n

ffi ffi

TTTT- TTTTN

u -

vilr

fflfll

a1-t-ttl

TI-TT-N

t t t a t l

trT-trrn

Boo

- C -

Eo

V

TT-T-I

H+H

FT+

trrtrT-Tl

vrm

TTTI-T'

r-r'Trrl

ftEtr

l t t l

vilr

flfm

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

TTTTT]

trrFT-tr4

TT-TTN

Eo

-

IIFf;IdI

ffi

TRl]

Fil-i-n

ilrH+B

rT-tr-n

FFFFE

.TTTN

Eo

b

TRIADS WITH

ADDED

NINTH

Another

ommon oundassociated ith

riads

s the

"added

ninth," sed n

countrymusic,

but also in

pop,

usion,

and contemporary

azz.

Here,we can

add the ninth o the triad shaoes we have ust seen.

Mojor Add

9

Voicings

O

Root Pos i t ion

C o d d 9

v+m

T'T'T]

ffi

-TTT-N

Bbodd

vr[Tm]

rrraTt

t t a t t a

ffi

t-1-t-1-H

>

Bo

||Ff,t]

ffi

ffiffi

ilr[Fml rvEm

vEtF+ vil[m

f f i f f i f f i f f i

f f i f f i f f i f f i

IX

FTFM

tTrT-n

t-Fl-l-H

Trn-n

. _o

bo

F o d d 9

)

t-s-s-s voicing

A o d d 9

V

fFTII

f f ior

T--rn

D o d d 9

V

TrTI

Effi

or

TTfF

G o d d 9

V

ITITTI

l....l'...]J

I t t a t a

F]]T

IT'TT-I

l

i lmE

rrT-T1

a-rT-rT-l

ffi

| | TTrT-l-a

I+IFT

t o t t a l

ITrrn

t t t l

vil f,l::m

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

or

rfi-tfr

ITffn

t t t t t l

17


16/133

iw.#ffi

) tA

, :

o - tb l s ,

;ffi

(

:

Csus

)

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

( : A 9 s u s )

C od d g

BboddglD

v

r-r-n

t j + a l

trrtrrn

r-r--rT-l

ffiTl

BboddglF

vil

Em

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

rT-TT]

,

++t+t

I

7 9

( :

D - 7b 13 )

(

:

Fsus )

Ebaddg/G

v

rT-TT'l

|.]-t]4

t-+-l+-l-l

t-t-t-t-t-l

7 o

,

_

n_rbls

Ebodd9lBb

(:

Bbsus l

vil

SFFFF

ffi

TTT-N

v l l l

I

bs

t , ^

t

-

a z P l J r

\

-

- l

)

_

,_ rb l s ,

C o d d 9

VITlIr]

FFffi]

(str.

ffi

rtrrTl-

y

_o

Bbdd9

Ebodd

vrH-fft

trFIfl

Htfi

vrmfl

ffi

ffi

7|t,

b

Minor

Add

9 Voicings

C-

odd9

VM

ffiFF

Bb-

oddg

vr

EffIfl

l | |

H+]+'

ffiTtrTTN

G o d d 9

F o d d 9

F o d d 9

18

F-

odd9

{E}


17/133

A- odd9

YEtr

ffim

ffi

Bb-

oddgiD

(

-

oh l l3 )

IY

G-

odd9

VIEEM

l#

ffi

Pd)

Eb-

oddglG

IVFF?TII

F|+..]+

I

Htffi

2

-O.

Eb_

dd9lBb

vil

FEt

'

tt F|

| +|-.'l-t

2

{ E } " " "

(

:

cb l l3 )

(

:

Bbsus

F_

dd9lAb

(

:

b ll3

)

"m

F-

odd9lC

vl

FFFIT

ftfm

tffi

(

:

Csus

)

) ) 4


18/133

I

OTHER

ADDg

VOICINGS

).Ad.d?. 11" oicin$s

{1-5-9.i11}

Lydian o.r

Mixolydian

11

Goddg i l l l C oddg i l l l

i l rmn

Fffi or

TTr--t

trT-trFFl

VFFiTT]

t t J a a l

fl-T rrl

trrtrT-n

V

FTM

ffi

t a t t a l

TrrrTl

Foddg# l

G

odd9i l l

O

Addg

:S

uspended Voicin

s

{1,

5

-9 -11

sus4)

G oddg l

I

C o d d g l

1

o Tr i d Sus9

Voic ings

(Root

Pos i t ion)

C

No

3rd

V

Til;il

ffi

ffi

Csus

Fsus

t i p sus

y

Gsus9

O Triad Susg Vaieings

{7.'5-8-9)

No 3rd

I

- b6

F s u s

ilti-r.TT.

ffi

H+tH

FFFFF

MINOR

{5

T{TIADS

We can thinkof a

..minor

5

triad"as an

inversion f a major riada thir

lower

example

). This means, of course, hat we don't

have o learn

whole new set of

fingerings,

ust

reinterpret xisting ones.

This sort o

.,over|apping''

is one of the

wonders

of chorda|

harmony, S

We

can se

example .

2

E

20

+CA

F

+D-7


19/133

OEOROIA

APPLICATION

OF TRIADS

Try reducing

he

chords

of a

tune to

triads,

as in the

following

example

"Georgia."

These

aren't

necessarily

he

most

advanced

harmonic

ubstitu-

tions

but

this sort

of exercise

helps

us

to

get

the various

riad

shapes into

our

"everyday"

epertoire.

riads

can

also

create

a

purity,

hrough

heir sim-

plicity,whichcan be an advantagewhen playingwithoutbass and drums-

great

or ntroductions

r duo

accompaniment

A 7

D_7

D_7/C

Bs

Bb-7

- 3 -

r \ ?

"----

G- 7

G -7

C 7

Music:H

oagy Crm

chael

Text: turtGorreII

ttn

Peter

O'Mara1

E s

A

A-7

A - 7

Abo

D7

A

7

A7

a

A

D-7

D_7lC

- 3 -

Bs

D_ /

-\--

'-----

Ab'

G- 7

FA

A

- 7

^ t -

v/

a

F

F I A

G_lBb

^lC

t l

D_

FIC

l l

B

o

eb-tob

r l

o

a

A-7lC

B

o

Do

l r

B'IO

CIE

. )^

F

e

Et'io

?

- ^ d

\ f -

b "

? , ?

a

o

F

A

B'IF

t r '

n

AIE

e

D_

FIC

-lr

D-IF

D'IF

e ,be

. Q

a

-

I

BbIF

?

t r '

B'ID DO

I

F

e

trtc

i o

o

B t93O by Peer

nternational

orporation,

ew

york.

c 1959 by Peer

Musikverlag

mbH, Hamburg,

ur

Deutschland,

oten

und rschechische

Republik.

-s by Permission.


20/133

STAIRWAY

Peter

,Mr

(as

played

by

Peter

O'Mara

on

"Stairway",

ENJA

CD 7077-2)

The

versatility

f

triads will

become

apparent

as we

move on

to more

corn

plicated

harmony.

he

next

une,

"Stairway,"

eatures

a lot

of

"added

9th-

triads. he

minor7f5

chords

are

ust

nversions

f

major

added

th"

riad

with

he

third n the

bass. In

he

"A"

section

he chords

progress

hrough

l

seven

steps in

the B

major

cale.

Eodd9 Ff ,odd9

E

odd9/Gf, Ff,odd

/A$

C{- 11(no

o l T l

of-z

ils)

A t \ ,

7

Eodd

Ffodd

, \ l L

E

add9lGl Ff

odd9/Af

t \ \

B o d d 9

tl

.__-+ . Tr

- t '

v l

I

V|| - . - -

E

odd

9

Ffiodd

E

odd

e/G$

Fflodd

/A{

Cf i -

1(no

.

a)

of-z

f

)

A t \ ,

7

E

odd Ffodd

, \ r \

I

7

E odd9/G{

Ff,odd

/Afi

t \ , \

I

Bsus

I

11O

.

| i ' J

' v l

: :

r

r t J -

.

vt

f ,J_

lt

fl

22

@ by TUTU UBLISHING/ENJA

ECORDS

orstWeber

mbH.

Usedby

permission.

vl l


21/133

c-715

F_715

r{zsusbg

E

odd

9

F lE


22/133

SEVENTH

CHORDS

Our first "jazz

chord" fingeringwas

propably

he

major 7th

(A).

Let's take a

new ook

at its

possibilities

n the

guitar

ingerboard:

F

V TTT--I

FF fr]

T-trrn

Ht]fl

FA

vilrFFET

H+ffl

ffi

v

rn-rFa

LLLL'J

LT-L'-LJ

Fffl#

TTTTN

BbA

vilrf|Fm

Fffi

ffi

-o-

BbA

Yoicing

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

g

Group,

-+

anu.@|ii a,#,;.i

BbND

vrffi

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

TTTTN

xlTlfn

- tL|H

Hffi

FNC

Bb^/F

FNE

--+

--+

i l rm

f f i ->

ffi

vrrff i

iT'if il -

Ft]fl

BbNA

xffi

ffi

bo

)s

b;n

ciA#

:{

t$$t&::l{ii

A Eh^/G

'm -+ '"m-+

EbLlBb

vilrl-ff,ifl

H]:E

t-t-t-FH

TtrtrTN

cl

EbND

",m

llfl

7o

-+

rb;

2C


23/133

MAJOR

7Ifl

VOICING

EXERCISES

L2 -Cho rd Connec t i on s

cA

FAIC

DA/A

GA/B

CAIE

D C

GAID

CA/G

DA

G^/F#

D^/Ff

GA

FA

L, R.an.d.1ata

a

n

e t {aa.

s,

c^ Ab^tc

EA/B

A^/Cil

G^/F# EbNG

A

BbAIF

7

\^ , {

J-

(Ôrrir,

7th naersions

ounterpoint

EbÎG

A

FN A

CA/G ^bNG

DA

BbA/D

AA

FA/A

DA/A

BbA/A

AID

EbÎD

,l

,|

lr

|

b


24/133

MAJoR #rr

napes

& rNVERsroNs

A

common

extension o the

major 7th hord s the

11,

rom

the Lydian mode

(sometimes

written s

"major

7b5"):

F a l l

Bbl

l

rvffi

ffi

v ff i

ffi

Tt-rn

F l i l l I

vi lrmll

t-f+t+]

H]Tfi

r l l

l /

---+

-+

rrtffi

-+

ffiTN

{E}

ab l f , l lD

--+

o

i l rm

ffi

-+

Hffi

a bl ] l ' '

u"ffi

ffi

>

Bba

l' o

rxmn

ffi

bT

rblf,l

/o

,.m

1f f iN

2

rba l l lc

rbl l

l

TTTT-N

vil EFf F

t-fl-t-t-a

TN-TN

(t

-+

lv f-T-rT-r

|-+l+l ---+

ET]IT

t-ii-l-fJ

--+


25/133

MAJOR

7il5

SHAPES

& INVERSIONS

Yet

another

possibility

s the

major

7il5,

he

third

step of

both

the melodic

and

harmonic

minor

cales:

I Roof Posit ion

CA'iI '

) 1-5-7^3

oicing

cai'r-

vlil

r-rrn

H+iH

trrtrT-n

ffi

Fai't-

BbLn'

vlil

rTaTrr

t t t a t l

IT-TT-'

trT-rT-n

ml:

t t t t l

o

t )

Lower

4-St r ing

Group

lnaers ions

--->

-j>

t r A l J l A

O Midd le

4-St r ing

Group

Inaers ions

sbt#s

BbLr- Fil

y11FFffi

t r a r r i

-

TTTT-]

fT-Trn

{

BbLr'/D

-+

BbLi - lA

rx

[Rfl

FnT-l

t a a t l i

E]E

I

ra-rT ]

F|l #

ffi+

IT-TTN

i l l

-.+

I

2 0

) Upper

4-Strin'g

Group

Inursi.ons.,

e #5

rbn|.src

E 'L " IB

EbAr-ID

Xt|TTTl

LLLLL'

-

tm

I

rrTTN

2o " "

28

-+

lv rrrT-t

t t a t a

trT-trrtr]

IT-T'TI

tTrnl

t t l l t l

->

vrffi

L

|

l-H++t


26/133

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 fif th, rather than

ust

memorizing

the chord shapes

alone.

MAJOR 7 CONVERSION EXERCISES

O Lower

4 .."':Wtj+

,::,

inii,il?

cA c^i5

GA

GA

A

Ii lff i i lrm

ffi FFFF

TT-TTN TTTTN

|||

,I|

FtrtrFTI

ffi

TtrTtrN

ilrffiIf

tr-Trn

TFIIF

-Tl_I-n

V

TF[F]

a-rTaTl

ffi

TT-TtrN

vm

ffi

TTTTN

V

FFFFF

5ffi

ffi

trT-trrn

Gl f , l

I

G^#s

V

TFITI

ffi

ffi

l ' l l

Ga+ l '

c^f

l ' l l

Ga l ' t '

GA

A

A

A

G f l

l

rrrtrn

|xlt|-l

H]

TTTT-N

rx

lfl-H

TTIT]

t-l-t-t-H

x i l |m

55t1fi

Errn

H+IH

XII

FFFFE

Q -LL

F ] |N

n-FrFl

G^ 5

O Middle

4'string

Group

l'l

cA c^l'r"

ilr

mn

ilrml

rT-T-t

TrrT-1

H++H H+HI

TT.TI-N TTTTN

i l rm l

TT-T-I

I...I...I...m

F]]

l l l

CA

A

vFtm

T'TTT]

t t t t a l

r-r--rT-l

TtrTtrN

vffiTl

ffi

ffi

CA ' l -

clf i l

I

cA ' l.

ca i l l l

A

''m

ffi

t-Tt-Tn

CA

A

A

rxFtffi

t a o t t l

HT

TTTTN

xil

ml

r-a-rTt

trFil

TT-TTN

xil

ml

T--TT]

ffiF

TTTTN

c^ 5

C l l

t

29


27/133

seventh Chords

FAI I "

l l l

F A T '

'

. Upper4-Str ing

Graup

FA

I l IrT m

ll l

l.../...]

I I t a a a

ffi

trtrn

t t t t l l

FA "

vrm

l- ++.

Ffl-TN

FA

A

A

vr

mm

ffi

ffi

|

TI

X

IT*FE

EEIIH

ffi#

TTTTN

xm

Ft+]]

F]]

xuffi

H+F

TTTTN

FAI,I"

X|||FlTfi l

ffi

TTTTN

ilrFlffl

t I t a a a

ffi

Trr-rn

VI

MTfl

TTTTT'

frT--n

FFffi

FAA

A

DIM NISHED 7TH

CHORDS

Here

s a lavoutof diminished

7t'

shaoes:

) Diminiihid 7th

Cha'rds

Go

"m

ffi

C Wide

Form lnpersions

Lr "

i lEm

IEE

+fl-H

Trn-n

F o

ilrffifl

FFFFF

TTTTN

b*

I

Tru

L+]-H

+ffi|

TT-n-n

co

rTI5T

FTH+]

Hl]

\

(pr"arv

mprocticol )

Because of the symmetry

of the diminished

7tnchord,

fingerings)

ithin

a

given

string

group

are

identical.

hi s

work memorizing hord shapes.

Co

G o

rffi

TTfn

ft-fiH

rmB

?-u-l+

Ht+fl

the

voicings

(and

saves us a

lot of

t l r

F A ' ,

F^{s

F l l

l

F l


28/133

50

DoMINANT

TrH

sHAPEs

INVERSIONS

Here s

a layout

of dominant

7tn

hapes:

'um

ffi

TtrTTN

abt

7

c7

ffi

c7

'm

'm

>

'ffi

IVffiM

ffifl

ffi

Bb7

v i l rml

|-|+ ]

H+ F

F7 FTIC

rbzBb

vlllrr---r

Fftt+?ffiF

l

nTTn

7.O

_o

-.+

-+

EbTlDb

xrmTl

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

FFFFF

r

Frl-T-l-l

FTIEb

-+

--+

vil

J;FEI

-

rrFrn

+FFF

x

SFtl

ffi

ffi]

Bb7

sbztab

*ffi

ffi

FTTTN

bo

--+

Eb7lG

-.>

IVFEF]

FFFF|'

-

trTTTN

-+

|b

P . O


29/133

I

Rost

Positi:o.n

c _ 7

MlNoR

7TH

HAPEs

lNVERsloNs

Here

s a

layout f

minor

7tn hapes:

V_ /

rvFFm

Fffif5]

ffi

TT-TtrN

)

1:7-5.3

Vaicing

c -7

VIII

FFEE

EFFFH

FFffi

TN-TN

) Lo.r :.er

'String.Graup

Inversio.ns.

F 7 F -7lAb

t a t a a I

EFFftl

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

tT-t-r-t-l

t t l t l

F -7

vilr

FEE+I

r-ra-rT-t

ffi

N-TtrN

Bb-7

vr

fllll

TTT'T]

ffi

. TTTf-N

'b.

DA

)....

i:d.dLe

,S trin

g.

Gra.up

Inuersins

.

.

Bb-7

sb-ttob

I r-T-Tl

t j + a I

T?TT]

ffi-tl

n-TTn

b-

Bb-7

F

vr|Tflfl

t a a t t l

.rTT-l

ffi

- - . - l

t - / l L v

Bb-7lAb

X

m]

FFffi

Fl]T

bo

-

J

Uppe,i,4'S,ii

ng

C.raup

- l

LV- /

lntser sio

ns

Eb-7tcb

IV f f i

rrr+n'

-

FFFffi

- L - , - l

Eb_

v

Eb-7lDb

x r f f i

I-rTn-]

TTTTN

.FFffi

bo

F -7

52

I

TT-TTI

I | | l a a

TR-ll

+

F]]

vil

mEIfl

FFffi

' [

D . a


30/133

MlNoR

7TH

5

sHAPEs

INVERSIONS

R,oot

Posi t io l

Here

s a

lavoutof

minor

7tn

b5

shapes:

tvITtIfl

TT--TT"]

TTtrTN

T--Trn

TT-TTN

Fa

vil r

FtFill

TTTTN

FUll

n-Trn

b*

Cs

|l|

m

ffi

tfffi

(propobly

with

root )

F a

va

|V

Fff[ l

ffi

TT--rT-l

TT.']TN

b

Va

vi l rm]l

ffi

F]]

rbo

DA

unployob le

7-7-5-3 Voic ing

Ca

vrr

m

ffi

ffi

Lower 4-Str ing Croup Invers ions

F a

r

a t a a t l

ffi

rnrn

l-l-u-n

Fa l Ab

F a l C b

o

Midd le

4-St r ing

Croup

Inpers ions

oa

I T-r-Tl

Lt

t t a t a l

TTTT-N

l..]...l.]T

t-l'ti-n

Upper

4.String

E V A

Group

Inoers ions

Bbs Fb

VI

ETiT]

TT'TTI

ffi

TI-TT-N

b-

Bba Ab

rx

flFfl

r--T-t

ffi

Tr-Trn

bo

Ebs Gb

Ebs

Bh

V||l-|l+ ]

TT-I-T'

ffi

N-TTN

Eba

Db

xmF

F]]

I

FUfr

? o

I

TT-TT']

| | t a a a

rrtm

ffi

IT'TTN

IVITITfl

-

rrT-ra

ffi

bo


31/133

M|NOR

MAJoR

7rH

sHAPEs

INVERSIONS

Here

s

a

layout

of

minor

chord

shapes

with

a

major

7tn:

c A

Bb-^

v

rrr--l

ffi

TTTTN

p-A

V|||m T]

Trr'r-n

ffi

vm

Fffi

FTTTN

vilr

Em

t+11+l

F]]T

Bb-^

vill

FFm

TI-r5-t

Ft ffi

FFTTN

I

p- o

rm

F?]+N

F]]

Bb-^

4

4

r-^/ b

ab-ttob

4

-+

Bb-^lA

xmFl+1++1

F]]

mTl

t-f+t-H

F]]T

ilrffi

l-T-fT-l

Fffl-H

VIF|frll

rim

4

Fl-l-FH

N_TTN

Bh-^

b-o.

Eb-^

vrrFEI]F

FFffi+

F]lfl

Eb-^/D

xrm

FFFFF

I TTTTn

F_AIC

c Arr

IFFiTB

n--r-rn

-

ffi

_o

b


32/133

Seventh Chords

MINOR 7{5

SHAPES

Minor7f,5 hapes an also be thought f as

inversions f a

"major

dd 9"

on the

stn.

orexamo|e:

^ _7 5 Fodd9

Here

are somecommonly-usedhapes:

D_7T5

vtff i

l . t . * a t

H+HI

rffff1

7D

A-715

l' r

G - 7

t u

v|TflTl

TrrTF

TrT--n

ffi

ilr

[fffl?

FFnJtl

l-H-+ ]

TT-TTN

vfmF

TTt-rn

TTIII-I

t-t-t-FH

l'l

A,-7

"

D-7i ls

Vffi

FFFFF

TT-TTN

po,

^ -7 5

Vffi

FFFFF

TTTI-N

55


33/133

Seventh Chords

ROOT POSITION EXERCISES

Hereare some exercises sing he

chord hapeswe have

ust

seen:

ab l l 3ba

LMajor 7 Colours

t \

FA FA1'I"

V trTTT-]

Fl_ FFl

IT]T

TTTTN

TTTTN

L Minor Colours

A

G _ A G _ 7

v

rT-rrra

H+ fl

ffi

H]]T

VE l E

TT'T'TI

t t a t a l

I..]...]..m

TT--r'Tl

Ga

c - 7

vr

f[m

t t t a a l

TTTTN

TT5-TTT

Trarn

C a

v I

rrrrra

H +l]

ffi

trrtrT-Tl

VI

IEFFE

Fl_ lFl

-TTTN

a t t l

TTTTN

vil

FFEI+rl

Hffi

Ell

b b

LDominant

7

Colours

t'

G 7 G 7 J

l '

c7n -

cr3

c7b5

VI

FFTIfl

Hffi

ffi

vrm

El#

T--rT-l

TTTTN

L ScIe tep Skipping

DA DAiI"

E - 7

g-A

GA

rt

rTTIfl

l.| tfi

tr-rT-n

H+H-]

viltTFt

P- ffi

tTfl-n

FH+H

CA

C i l l l

v t l

( J

I J

c t b 5

a -7

GA

r # lFA

3

'

BbA , i.

I i ' l r r

Bbarf

'

G-6

C _

tr*

-7

Fil_^

i ' l r 1

G A t '

r-rT_

\L#

5______________

_:

G A T '

36

|V

FFFFI

t t t a t l

TTIII

t-l-TFn

A-7 4_A B -7

g_A

v||FFt V||

FFFB

FH # H+tHF]] H]]fl


34/133

II.V.I

OICINO

EXERCISES

r 4-St r ing

Croup Inoers ions

G_7

CTIG

FA

lt

T:lTl

---'-1-H

_._ti

trTrTn

LLt _.lJ

l-iH#

f'rffl

CTIBb

v

rT-an

Q-EdJ

t a t t t l

I-rn-T.]

H+H.I

X

T?III

TT.T]

tr-trT-n

TTN-N

FA/A

ilr

FFfp

a t t a t i

ffi

TTTTN

G-7ID

C 7

e

FNC

o

FA/E

vilr

-TTTI

vilr

EEf;ll

EFN

TNT

=1

F]]#

vrr

fi

TTln

trtrH

x

Tn-|

-TTT-l

rTNT

t-l-t-t-H

e 4-St r ing Group

c -7

e

fuywe|siai.s

.

gb

rTE-|

TT-T-I

Errfn

H+IH

ilt

i-T-n

#fl

t]

V

TT--'TI

t a t t a l

ffi

Trrrn

trTTT-N

i lrtTfIn

L | | | |

t a t l t l

TTTT-I

t t a t t l

TT-trrn

Bb^/A

x

rfR-Il

r5-TTt

TNT

t-l-ti-n

I

2- O

| / t E v Bb^/D

F 7 BbNF

vu

FFffi

t a a t t t

TTTTN

t t l t a l

TTTT-N

L _ / V

vilr

[TffTl

TT--r-l

EE

H++H

4-Str tnq, t t roup Inaeistons

F

7

BbTtF tbt

|

rTm

....]....JJ

I I t a a a

r-r-trrn

FTTTN

n-Trn

- - |

r - / l a 7

xlll ITlIIl

I...I...]T

TTTI-N

ffi

BbTlAb

vrmfr

ffi

ffi

;

EbNG

rv

mm

TTtrT'

F|+ N

,TtrTtrN

b;

EbND

xr FFffi

t t a a t l

|Ttm

,l-li-l-H

D /

EbL/Bb

vilrlfflfl

rlTrn

ffi

trTTtrN

_o

F

_7IC

rxFFrEI

t t l a t a

ffi

TTTTN

b

BbTtD

' bii

DA


35/133

v

I

DROP

THREE

VOICINGS

Another

oicing ommonly

sed

on the

guitar

voice n a close

our-note

oicing

from

he

op,

octave o oroduce

fulland

resonant ound.

is the

"drop

hree":

he hird

any nversion)

s dropped

ne

O Major 7 Forms

GA

GA/B

O Dom inan t

7

Fo rms

G7 GTIB

ilr

FFtlfl

Tmt

ffi-J_H

n-FI-n

CA

CAIE

ilrffi+fl

ffi

ffi

v

TilT

aTT--t

ffi

-trTT-n

V||l

m

ffi

ffi

XII

IITIFI

$fffi

ffi

F]Tfl

ilr

mT

ffi

n-Ffl-1

V

FFIfF

t a t t t a

r-r-r-r-l

FFFFF

V|||FFEIP X||m

f f i f f i

Fllf, ffi

G^/Ff,

C^/G

CA/B

CTIBb

X||[I-m

l..]...]-m

Fllu

TTTtrN

C_7IG

c-7lBb

a -7

G_7ID

vilrtTlTll

a-rTTT-l

ffi

TT-trN

G_7IF

XITIITI

ffi

F]]

b

ilr[ffflP

|_I].Til

ffi

TT-I-N

|||m

T-ttn

ffi

TtrTT-N

vilrI:]:E

t+H#

ffi

b

) Minar

7

G-7

Forms

G-7tBb

O Minor 7bSForms

Ga GslBb

II

FTIfl

ffi

F]]T

tv

rTaTn

a t t a a l

ffi

F]]

GslDb GslF

xrmfi

rT-rTT

ffi

Tl--trn

CslEb

CslGb

viltlTl-ffl

I_5IFFI

trrrT-l

ffi

b

C s

b

L Ex

er

cis : Maj

or 'Col our

s

r 3

G A G A

'

CA

] ' l

Gar ' r '

cal'l '

||| Elfl ||| EI|

ffi ffi

FFFFF FFFFF

i l rmT

TTTT-I

rrn-n

ffiffi


36/133

seventh

Chords

.DROP

THREE'

COTOURS

Dominnt

7 Colours

G

13

G 7 r "

F"set

ci

s e

M in

g.

.

:.aurs

G - 13

G -7

rr(Elt lllfFFEtr

-.J l

l_l_l_l_H

--tl

TrTT-l

=::

ffi

i lEm

a t a a t l

rftm

I-f1ff]

a

"J

u

-V:I.,..Ca?.biation

D7

GA

c-7

ilr[Fml

TT-TTN

Ff+++t

TT-TtrN

b

A,-7

D7

G - 1

1

c - 7 ?

|

5

F.xcrcise:

A-7

.'EE

*+- l

---+l

i l r tm

a t t a t l

FFF F

TT-TT-N

|||

tIfl

Fffi

ffi

ilffi

F]]T

TTTTN

vilFFm

ffi

Fl]T

V

FFfTJl

a t t a t l

trT-trrn

ffi

GA

7

DA

7

A

E7

V

TT[il

.TT'T]

irttn

t-Ft-t-l-l

vtil

ElEm

fiTfr]

]]fl

ilr

fFf,lfl

FFFFF

Hffi

vr

m

vil

-Fm

AILLLJ LLLLIJ

| -|+.]-.] l-. ..]-+.]-.]

fH-fH rfftH

G-7

C7

D -7

G7

viltTlIll

tsfffTl

TTTTN

FFFFF

B7

rx

T?TSI

-TT'T]

ffi

n-Trn

'ffi

...ffi

l#

tt-trl

|||m

ffi

Fffi

|||m

rrrm

F++-]+l

t-l-u-n

i lm

T'-T-T-T..]

l-|++ 1

TTN-N

V||EFm

ffiffi

n-rff1

v|+il

l a t t t a

TT]TI

Ft-rTn

V

FTM

T'TT-N

r .+-]+

t-l-u-n

4, 7

A

7

A

E7

A

-7

VIII

EEFEFi

tr-trT-n

TTTT-]

,ff i

F 7

G7

A -7

D7

cz i l l

c z l

;

VIII

FEFEFI

l-fH-51

Trn-n

l..]...].-m

T _TTN

IXffi

E]l

TTTN

ffi vil lfffB

ffi ffi

FFFFF ffi

vil ffflIl

ffi

F]]

rx Tfm

T'TT T1

ffi

t-I]-T-n

39


37/133

REDUCED 7TH

CHORD

FORMS

The

various

extensions

9,

tL, 13) used in

azz

harmony

make t necessil)

to leave out notes hat don't add colour o the chord,

or

example

he

fifth:

A-

ruffi

rflTt

ffH

O 7-3-7 Voicings

GA G7

LMajor

Sc e

xercise

cA

-6

D-7

-6

lr

Tf[|]

rT--rT-l

TI_TF

tfFffl

i l tm

I..]...t..m

TNT

FFni-l

il

JTll-ll

Fffi

Ff++#

"ffi

tTtm

l-Ft-t-H

il

ESn

rTNT

H+IH

IIEffi

ffi

F]]

ilr

FFFffi

ffi

ffi

G6

a

C 67A

p_A

F67A 6_A

c -7

ilrFtEfl

t t l t t a

H]]

7

G 7

- 6

A - 7

- 6

Bo( l

)

_bs

IIFEM

TTTTN

l-|++ 1

TTTtrN

il

Ftm

LLLLIIJ

t-f+H

I-l'n-n

il

Fttl

ffi

TTTTN

TTTTN

ilr

FFm

ffi

ffifl

Bb7

i lm

ffi

ffi

II

FIT?I

ffiF

ffi

ilITFFFi

TTTTT]TTTTN

|..]...]T

TTT]-N

b

Bb6

FA

bo

C^

-

xrvEFm

ffi

TM

t-l-u-n

IX

ETJN

I..]...]T

FTTM

fffl-ft

i lEm

Trtr-n

tTt+l

t-t-t-t-H

vilml

ffi

TTTTN

- 6

Transpose

his exercise to other keys and fingerings. d


38/133

GI

",t

--'-'-1-1

.'...--

--l

|.7-3

Voici tgs

G6

B-7

-bO

CA

A

ilr

FEl

ffi

l..]"-]m

TTTTN

rffi

TtrTTN

H+H.]

G7

C

7

;

io'

i l rm

l-i-ff-]

Ttm

fffi-fr

"ffi

trTT-I

ffi

F6

ilrTrTfl

TTTT-tr-

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

F]]

CJ

' t t

F I

--i

-

e

F7

g - -

v

rT--rT-l

t t t t l a

TrrTSl

rfn-n

trt-l-f1

?

G -6

rvF|rm

Fffi

ffi

bo

- 6

F ,

_ bd

XIV

FEEtr

ffi

i lr[fm]

trT-Trtr-

ffi

N_TTN

|{aj

o

r

S

ca e. E*;

ib,..e;.......;

....

G"\

-6

A-7

-6

.rt

---:-n

--_-_-T.]

D7

- 6

- 6

vl||FE[|

ffi

ffi

xmn

ffi

ffi

TTTTN

XV

tI+

rTTrn

ffi

TTTT-N

Transpose

his exercise

to other

keys and

fingerings

s

well

41


39/133

r

Seventh Chords

THREE.NOTE

COMPINO USINO

"STABLE''

NOTES

Let's look

at

a more modally-orientedonceptof reduced

7tn

hordcomping.

Perhaps his vamp rom

Herbie

Hancock's

Cantaloupe

sland" s famil iar:

It

uses diatonic hirds

with

a

"stable"

upper

voice

o express he

chordal

sound of F7 Mixolydian.

f we

decideon a strong

stable"

voice

(here

he

root)

we

could experiment

with

his concept

urther:

F 7

6a i l l l l Lyaron)

Thereareonlya handful f possible ombinations,lthough oucan extend

them by using other ntervals or

your

basic

chord shapes, e.9., he

fourth

(see

chapter

).

The

combinations lso ransfer o

other hords

within dia

tonicscale. Forexamole:

A-7

or

DTsus

42


40/133

c l f i l

I

or

A-7,

or DTsus

l 3

or

AbTolt .

t.

D9{l l

The

"stable"

oice

can also be

underneath:

The same

conceptapplied o the melodic

minorscale can

produce

nterest-

ing results:

We

see here also

the emergence

of

"cluster"

voicings

whichwill be

discus-

sed in chapter6. These should be transferred o otherstringgroups.

43


41/133

Ga9

,tffi

iltim

FTTTN

HUU

TTTTN

G9

EXTENDED

FII

CHORDS

Now

that

we've

omitted

the

fifth,

we

have

room

for

other

colours,

for

exam-

ple,

he

ninth:

G-69

ilr

l-fl+.1-.1ffi

H]tfl

a

ca9

"m

"m

fi

TT-TTN

c9

rd,9

ffi

F 9

ilFtm

l-FH+i

Hil

t ^

GTvY

IEFII

ffi il

HUfl

r 9

ffi

H]

t l

ezle


42/133

MAJOR

7TH

MATRIX

The

next

step in

chord

reduction

s

to omit

the root.

That

eaves

us with

ust

the

third

and seventh.

Now we

are free

to experiment

with

the colours

avail-

able

to us

around

these

notes. Let's

took

at

GA:

After

omitting

he root

and fifth,

we

are left

with B

and Fil.

Let's

see wherg

we

can

place

these

two

notes

on the fingerboard,

o

that we

can look

fu

the

colours

available

o us

around

hem.

I

t-f+l-H

TTTTN

FI?N]

TTTTN

vil FFm

ffi

ffi

rvml

II IF

fi

Ft-t-rn

il [Ffm

ffi

ffi

rx

EiFm

ffi

ffi

rvmn

FHl]]

ET]

rxmF

ffi

ffi

vllffim

H#

F]]

rvml

ffi

FFTN

IIHTTI

Tf-l-aT1

ffi

TI-TTN

46


43/133

7th Chords

#+7 tn

GA

Y

-TttI

.ltltl

N-]TI

VII

FEEtr

t-5t-t-H

l..]...].--m

E]17

vilfFm

ffi

ffi

+ D-Str ing

Colours

GA9

GA

)

3'r

+ 7th

+

A,Stri,n.g

. ou r s

l l ]

G A t '

GA

l v

rv

Em

TtrTTN

?]-+ -.]

H_fH

Ga i r '

o

3'd

+

/tk

.$..:$1ri L8..CoLour,s

GA

rTrn

il

l-?l-fH

Fffi

TTTTN

GA9

ilffi

ffi

l-l-fl-H

Gl i l l

I

o

7th

+ 3,a.i

G Strirg

ot.out:s

l '

'l

Gar ' r '

GA

vnffi

t a a t t l

Fffi

O

7

h

+

:

1rt,,,i,p,',5tri.ug',Crd*ui,

l'l r

'l

Gar ' r '

GA

cA l

3

"rffi

ffi

FT-TTN


44/133

47

Eended

7th

chords

- 7 r ' l r .

- v A

- r ,

- / , , ' +

J ' "

+

L , - b f r z n K

L o l o o ( r s

o o

nTn]

VM

IiJ+H

GA9

rr-rrYr

l-H++l

V TT-TT]

rr TrFlTtrTTN

GA

O

3,d

+

7th

+

B-Str ing

Colours

-^

U A

vilrTJTF

rrrrn

Hl+i-l

Tlt-r-n

O

3'd

+

7th

+

G*String

Calours

J ' l r r

G A i '

'

cA9

Ga f l l

rx

FflfTt

ffiil

rT-rm

t t t l a l

GA

G^#s

-^ 9

L\

vrffi

Tr--Ft-l

ffi

rrrn-l

O

3'd

+

7th

+

E-Str ing

o lours

-^

U 1 \

O

3'd +

7th

+

B-String

Calours

G l # l l

GA

llr-r.r.Il

LLLLIJ

H-t+.{-l

H]]

GA+I'

a

il

llrft

|

f++l


45/133

7th

Chords

Some Int

e re t i n

Combin

a i ons

il

TTI5]

-Ta-rT-l

]]tll

-]-T-TTI

Gt9{r

l 3

cA9

l 3

GA9

t 3

Gat'r-

t 3

c^9#r

xffi

ffi

ffi

l 3

. ^9

U A

t 3

G a i r '

o

trrlm

il

lff[fl

rT-aTl

ffi

l ?

GAI I -

o

13

cA9

t3

c l f , t l

Effi

rum

TI-TI-T]

t 3

Ga+'r"

lv

rT-.n

HH+I

H]17

TtrTTN

l 3

l ] ]

G a r '

t 3

GAN-

fa rTTl

rTL-r]

TT'-TTI

rT-trr-n

-TTT-|-]

v t l

ilIT.TT?

t t t a a l

I ...]T

ffi

G a l l '

'

c n9

XTM

rrT-n

TTTTN

ffi

13

cA9

13

GA9

v

l l

rrr-r-l

t l a t l a

tr\=rFn

H++H

rT'n-rl

rxmfll

r-rT-Tl

trT-trTTA

I...l.."]T

TTTT-N

Xffi

Eu

i-TtrN

l 3

G l l l

9

GAi I -

t 3

cA9

^eil

x||rrr5T

t a t t a l

TTTT-N

t l a t I

TtrTTN

49


46/133

Extended

7th

Chords

MINOR 7IH MATRIX

Now et's do the same with

minor 7th hords for example

D-7:

.*;Wl*:,. ..,bs

::6;$|:sg;iiai

D- t 1

^ r l 3

}.|b7|b

.

+.b,

t :..

;..

Q.

.

.y ,in

g....

.

aa

D -1

ffi

ilrfflffl

FFFFF

D-713

O b3,d+ b7,h+ G-String Colours

D - 7

v l l

D-9

D - l I

i:,:be a':}l::

Ffr

....

...,8::.s ii*::eiip

i'

D-7

D -9

D - t I

1..yi,.y.;... ....$7i;...{',.

$.|;g.:.ctl. |;s

D - t I D -7 D - 713


47/133

Extended

7th

Chords

D->tr tng LoLours

G,St in.g

C Iat rs

D-713-7

D-7

. ' t l 3

A-Str ingColours

D - t I

n 7

D - 713

+

T

1i

T

=

I

",,H

- f f i

I

-T-a-T.]

I ffi

l#

I

l':;"

ffi

I

T-rm

l+

f.rr.

+bs,d

lr,,,H'

I Tffrl

l f f i

l#

l;,,,,ar,3rd

I

D-11

I ilrtTlf|

I

rrr-n

i

l-|++ ]

nTrn

,#

D-Str ing

Colours

l 2

T \ 7 I J

l 7

D - t I

9".$i

,,v;1x

,;

(,

, ;{,

i s

D-7

o- z

l 3

'I

2

n 7

r r

D-7

E;{ttig ea. .a.a s

51


48/133

Extended

7th

Chords

_

L

Some

nteresting

Combinations

D - 9

l 3

D -9

l 3

vll lr-TTn

H++]l

rTrrn

H+ffl

D - 913

D - 9 1 1

rnf-

ffi

ilrFrn]

H++fl

D - 9 l l

D - 911

u - t 3

u - t 5

D - 9 l l

vil

r-i-rn

+H+

ffi

rnTn

D-9

l 3

D - 913

D - 9

l 3


49/133

7th Chords

DOMINANT 7THMATRIX

Dominant

7tn hords have

a wider arrayof extension

possibilities

han any

otherchord ypes we have

seen so far

-

b9,

lg, tt/bs,ls/bts,13.

',Tritone

substitution"

makes t

possible

or

us to use each dominant ti' hord

shaoe

in two different ituations.For example, f we take G7 and Db7 n their re-

duced orms,

we have:

G7

As we

can see, these

two chords have he

same thi rd and

(b)

eventh,

only

reversed. o

be able to applythe

"dominant

tnmatrix,"we

have o learn o

see each dominant7th hape in two ways simultaneously. orexample:

Db7

t3

A79

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50/133

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51/133

ObTrL +

3,d

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rtfr1

rr

.:rTTl

-.TTT]

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=rm

E7

rvFFF

ffil

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G-String

Colours

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J,r

+

b7th

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il.,jrh

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Colours

13

r z# l t . r f l 1 ,l'l

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b7th:.+

tt l

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+

B-Str ing

Co lour s

E7

l ^

r - V Y

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7

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o 3,d +

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J'l

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u

+

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52/133

t 5

l l ' l

E 9 t '

Extended 7th Chords

*;t#.y*"i%#'.l. m#t$::: i :" :""

*:-H

";{.:

.;:l

#,t

E 7 5 b 9

t t t t t a a

|_FF fI

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:

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vff i

I t a a a a

Trrrr]

ITffn

t t t t t l

t 3

Aq i l l

r g l 3

z il 5

v

r-rrFl

t t a a t l

t+-]J-?-?

Fl-l-fFI

TTN_N

Ar3

*e* jz l-J $ l.s;$$r *i .gue"olr;.vr,,.

t z#9ilt

V

TT-TTI

t a g t l

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V

TTM

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t o t t t l

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TFIN

TT-TT-N

a ) t I ) t

al s|"s

V

IFFEtr

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l a t r t l

?JJ-l- -]

l t t t t l

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a a t t t l

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53/133

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54/133

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55/133

Extended

7th Chords

O 3'd

+

b7'h

+ 1-+ E-String

Colours

E A *

| |

L /

E z l

E7

9

il

ffm

TT'TI-N

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|V[Im

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v

rarT-l

t t a t t t

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o 3,d

+

bTth

+ bgth+

E-String

Co aurs

l n

r - V a

E /

O 3,d

+

b7th

+

gth

+ E-St r ing Colours

E

tv

l 1

-^1 t

E A

E9 t ' r '

tbeil

t l a t a o

F|+N

FU+

T-I-N

I V

l a

r - V

t t

t 3

t ^

r - ? Y

E I

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r

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t t t t t t

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t

Tth 9tu + E-s t r ing

Colours

l 3

ET ie

ET ie e l1 9 l

E7 9

7

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56/133

Extended 7th Chords

abTth+bgth 3,d+ B-Str ingColours

I J

atbe

t ^

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A 7 o '

a b7th I

jth

I

j,rd

:,

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A9

3

A99

vr

FFm

TT-|T-l

t t a t t r

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+

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13

ntlsvt3 A7I9

vt Er-r-fl

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t-t&FH

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^ 7 9 ATle

t)

3rd+ D-String

E t l

+

bTth

olours

e

i l l l

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]'

E 7

n u

E l 3

v t lt l

vil

FFm

TiTN

t-}Fl-H

m-Trn

O 3,d + D-String +

bTth

+

E 9 l

I

9'h Colours

I ' l l I

E 9 i ' r '

v t l v t l

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E 9 l 3


57/133

xtended

7th C

E7 9b13

rbeYt

vrmfl

ffi

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vrm

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r t i e

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58/133

O

D-string

+

b7,h+

3,d

Colours

E l l

r z l l

E 7

v t l

t l

Co lour s

E 7n "

vil

lfnp

t t a t a l

TNT

N_FFH

A9

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v i l F

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F

E l 3

vlr+lr

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+

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+

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v / " , L o l o u r s

l ^

a l D Y

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+

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v i l l

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9

rrriTr

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59/133

Extended 7th Chords

Aog

,ilm

H]]T

A o l l

EXTENDED

DIMTNISHED 7TH

CHORDS

So far, we haven't

ookedat

extendeddiminished

7th hords. Let's

do

it

The

scale that is

commonlyused with

diminished hords s

the

"whole

step-half

step"

scale, or

"symmetrical

iminished"

cale. lt offers us

the

fol lowing

xtensions n a diminished tn

hord:

t , -

7 t J m o l /

We

can see that,

as

in

all otherscales,

the

"upper

tructures" orm

a chord

arpeggio in this case another iminished tn hord.This s againa result

of the

symmetry f the diminished

cale and meanswe

can use any

dimi-

nished 7tn

chord as a substitute

or another,as long

as

it

belongs o the

same scale

(there

re only hree

possibi l it ies).

his ooks

good

on

paper

but

doesn't always

work n reality,

ecause the

"ear"

needs

to

hear

at least

a

minor

hird

or

a chord hape

o

function

s an extended iminished tn:

Aog

t , -

A o l l P l J

Keeping

his in mind, I 've

tried to see how many

shapes lcould f ind.

Remember,

hese are not

diminished tn hords

they are

"reduced"

orms

with

extensions hen

added.

They

are not symmetrical

nd therefore

don't

produce

he same colours when

moved up or down n minor

hirds, as the

diminished tn

hords do. However,

he changing extures, hey

offer us, are

alwayswithin

he

given

scale:

AOA

i l m

TT-T-'

I_FI_FH

TtrTT-N

vrffi

Il-tm

t-t-t-t-H

A ob 3

63


60/133

Extended

7th

Chords

EXTENDED

DIMINISHED

7TH

CHORDS

Aog

IV

Tllr]

raTT-fi

ffi+F

rrrrn

lv

rT-n

Fi ffl

rT TT I-1

rrn-n

D o g

G o g

v

rT-n--a

H+ +]

sil

rrr|n

G o11

um

ffiH

ITFTN

A o l t

Dog

v

rltrTl

l- |t]-]

FTIF

Vffi

Hfl+

n-n-n

G o l l

Vrfffir

H+?+l

trFF

rrTrTl

Go9

vilrFEt

Ft-+fl

ffi1fl

#e

64


61/133

^ t - t u

LomblrtmS'Lxerc$es

Aob t3

F o b

3

|vm

ffi

I..]...]"m

N_TTN

VIFflJI

ffi

trrrrt-]

trrtrT-n

V m

ffi

ffi

|||[fl]

TtrTT-N

H++ ]

trtrTtrN

ilEml

TT-T-]

ffiul

TT]]_N

VEE

t a a I t l

TTT'T]

trT-trT-n

t t t t t l

TtrTtrN

|V

5FE

ffi

ffi

Vf,m

ffi

F]]

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fT--rT-l

TTTT-N

ffi

uffi

u'mE

ffi FFFFF

TT'TTN

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rvffi

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fl-Tt-n


62/133

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, et's ook

at anothermportant

se or

hem. 'msure

hat

us have

noticed he

similarity etween

ominant7th

g/Itt/I3

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

come rom he same scale

(symmetrical

iminished) ut starting n

ent

notes one

half step apart. This means we

can use a di

shape

(with

or

without

extensions)a|so as a

dominant 7tn 9/ tl/L3

step

lower.

Ao

+

Al7b9

l 3

4o9bl3

+

xbz 9

Everything e

ust

learned bout

diminished

tn

hords

an also

be

to dominant 7th

7l/73

chords with altered

9trr.Don't

value

of

this rule t

provides

s

withan enormous

rray

of chordal


63/133

Extended

7th Chords

BODY

sout

G re n S

our H eymann Eaton

{arr.

Peter

O'Maral

-3----r

- ? -

The

rich

colourof four-note

oicings s

well suited

o ballads, ike

"Body

&

Soul . "

_ - ? _ -

a

Eb-7

BbTbe

b l s

Eb-e

tbtbe

I

obre

cbql3

l e

7

F _9

I

Eo9

| a l.

: f

s

rb-g1t b-s

br:

sb-r

Eb-e

AbTbe

13

Dboddg

E-9

ntbg

D69

E_9

11

r [ e e

Doddg

c*9

I I

e t , e

_

i e

be

13

rXz

ls

B7?5

E-s

A7',s

{E}

D69

I Q

a -l

. - f i l l

D_^9D_9

o l 3

u/

| '

ra

r\ t

J*

1,, e', ,.

)

|

7

- l ^

CA9

tb"a

? ,?

T \ 7 t -

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G 1 3 G T t l

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9

b l s

Ce BTts

ebql3

ebzie

I

o

D.C.

l

S

67

a

D^l3

Db #

l

b ' chapp|

& Co. . L td

Used 5,

Pe 'ar,ssron


64/133

IN

YOUR

OWN

_gIvEEr

wAY

?,ffi:, ,,::

A-

orbg

G - l

I

c9

C _9

F l 3

Ab-7

obtbe

cbne

cbne

cz i l 9

F7b13

czi l9

rzbg

E -9

A l 3

E-7 orbs

o l 3

o # ll

D -7

Gz l t

t

rb-g

bl:

D'ol X ol f ine ( st ending)

@

Wortdcopyright

956

bv

Arr

ights

or

he

wortd.

";

i".tjt

x:::,:"-

san

Francisco,

sA.

r.l'

ui""nruni;;.Ja":.l;'l'".i.

T::i:""il1,ji:?;l|?J;""*T?"y'l'

9l11i; i':jliil"1i,"J;f;l

il.i.1xu,;';.,onoon

c2E

AR.,

ng|and.

8


65/133

Chapter

j9t

utu

7

on the3,d

cn9

( lon ion)

EXTENDING 7TH HORDS USING

ASCEN DING

RELATIVE TH RDS

We've

builtup

quite

a chordvocabulary

y

now,

but

I'm

sure here'ssome

we've missed. By leavingout the root and fifth,we were

able to extendour

7t'

chords with 9,

(il)11,

and 13 colours.Another

way to extend

7tn

hords

is

to use

parallel

hirds.That s,

to

get

a 9th olour,we

move

up to the chord

on the third tep of the

scale,our original hordcomes

rom.For

example,

we want

o

findvoicings

or CA9: we move up to the

thirdstep of the C

major

scale

(where

he

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 substitution ystem works

fo r

everytype

of

7tn

hord,so here are some more

applications f the system

(white

ircles show

the

position

of the original oot):

|

r-n_.l

LLi -l-J

ffi

(or

ony t_/ voicing

ffi

rl-rTn

htgher

up)

O Dom 9: use

-7bS

( Jv

(Mixolydion)

Bs

Vlm

++ r.]

(or

ony

Bo voicing

Effi

hishei up)

):

use

L7

D-9

(Dorion)

FA

O

*6,9:

use L*11

D-69

(Dorion)

l ' l l

F a l r '

i lrmn

ffi

(ond

oon...)

I...I...]T

TTTTN

V

TTll

H - ] -]

(or

onv FA

voicino

TFFN

n-rrn

higher up)


66/133

G

Tsus

9

l 3

CTrrrb9

c7ru.b9

Ablill

lil

trEEFFt

TrT--n

lffi

ffi

l i lm

ffi

ffi

l 3

B

Tsus

9

v||FFFE

ffi

fi

trT-TtrN

c^ils

vil

fFtm

Trr--l

ffi

m-Tn

Gs


67/133

[.ti?lijt ^tr '".i?'IoNS:

|'ve

always

ound

t

helpfulto

ntegrate

ew

chgr

shapes

nto l.V.| .:{

s

these ppear ftenn;".r .iJnlu'roJ"inrr eys.Here

ru

u

r"r.

*l

ut

don't

forget

o

transpose

hem

to

other

xevsl

D _ 9

V

ITITE

T .Ir]

fi

rrn-n

D_9

VfEE

.l-fffi

tfl

l 3

G T D Y

b v ' "

ct9

rv

E-n

t-Fl-++-j

ffi

"'m

ta-Fti

rrrrn

ca9

lvETn

i1tffi

ffi#

'''m

FF

D- 9

vrlffi

E#fi

G 7b 9

t

o l s il

t

ct9

vu

Fn

T tl]

+FH

. ^9

67

rcbt

vlrffi

Tml

mrff1

vil l

co9

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UPPER

STRUCTURE

7Til

CHORD

SUBSTITUTES

(NO

5no1

Because

of

the complexity

of some

jazz

chords,

we

often find

t

Documents

A Chordal Concept for jazz guitar.pdf