GUITARISTS! BE GOOD ACCOMPANISTS!TRIADS.

ACCOMPANY MOST JAZZ STANDARDS WITH ONLY EIGHT CHORD SHAPES.

by Trefor Owen.

THE EIGHT CHORDS ARE IN TRIAD FORM. FROM THE GUITARIST POINT OF VIEW, PLAYING TRIADS WILL AVOID CLASHING WITH THE MELODY OR IMPROVISED

LINES. ALSO, HAVING THE ABILITY TO PLAY TRIADS WILL ENABLE THE GUITARIST TO BLEND WITH OTHER HARMONIC INSTRUMENTS AND PLAY BIG

BAND CHARTS SUCCESSFULLY. The study of jazz guitar has to be from four view points: Soloing (single note &

octaves). Accompanist (swing style four in the bar, comping & bass line comping). Vocal accompaniment. Chord melody.

Each one of the above is a separate study.

This study is from the accompanist point of view and deals with the following:

INTRODUCTION.

THE EIGHT CHORD SHAPES.

FORMING TRIADS.

DEVELOPING THE LOCKED KNUCKLE TECHNIQUE, (HENDRIX CHORD).

INTERPRETING CHORD SYMBOLS .

BREAKING THE CHORD DOWN TO ITS BASIC ELEMENTS, (root, 3rd and 7th).

PLAYING IN A BIG BAND.

IMPORTANT NOTE!Throughout this study the notes indicated in grey in the chord windows can be

fingered but not necessarily played. When playing bass line comping or four in the bar, (Freddie Green style), I advise the use of triads. However, when playing Bossa

Nova and when the root note of the chord is on the fifth string the note on the second string indicated in grey is the 9th. If used, the 9th will add a nice colour to

the bossa rhythm.

When the root note of the chord is on the sixth string the note on the second string indicated in grey is the 5th. I would advise leaving the 5th out as it is the note most

likely to clash with melody notes. It is down to personal taste, but to play safe avoiding clashes, leave the 5th out!

IMPORTANT NOTE! Western music has three basic sounds, Major, minor and dominant seventh.

Both the Major and the minor chords give a feeling of rest. The dominant seventh chord is not a place of rest as it has an unstable feel.

There is a fourth chord type which, in jazz, a student has to be immediately aware of, the m7b5, (half-diminished). The m7b5 chord is not a place of rest.

INTRODUCTION.

Overview of the Art of Accompaniment.The guitar, like the piano, is a harmonic instrument, and is used extensively not only as a solo voice

but, because of its harmonic nature, as a means of accompaniment.

When playing in a Jazz quartet, (e.g. horn, guitar, bass and drums), the guitarist for most of the time will be playing chords, thereby accompanying. The guitarist in this situation is the harmonic

mainstay of the band. Guitarists in general have a weakness in this area. The number of hours spent practising accompaniment, compared to single line technique, are few.

To become a good accompanist, the guitarist must develop the ability to play a good four in the bar rhythm, (Freddie Green style), which for today's player is almost a forgotten art. I believe that every guitarist should be able to create a solid pulse. In doing so you are dealing with time. Time is a very

neglected area of music.

Having the ability to create a pulse by playing even time, i.e. knowing the value of a quarter note, (crotchet), is not only important to the accompanist, but also to the soloist, as knowing where the underlying pulse is means you can correctly divide and sub-divide time into eighth and sixteenth

notes etc. This is an area where I believe guitarists have a weakness, but is another subject.

Some guitarists are good line players but poor chord players. It is important for each area of study to develop evenly, (parallel studies). A good practice procedure will allow this to happen. Imagine a

giant jig-saw puzzle with pieces spread out all over a table. Each piece is an area of study. The object is to create a complete picture, but if one piece is missing this cannot be achieved.

When learning the guitar you are faced with memorising hundreds of chords, such as the Major family of chords, the minor family of chords and the dominant seventh family of chords. All these chord families have extended and altered chords. There are also the diminished and augmented chords. Then there is the time factor, learning to create a pulse, gelling with the rhythm section.

When you get a call from a horn player it is most probably a time when he can’t engage a piano player for a gig! The guitarist gets the gig because the harmonic nature of the instrument can

provide accompaniment. In fact, for most of the evening you would be providing harmonic accompaniment, i.e. reading chord charts, which are written with extended and altered notes on almost every chord. You might also get a call for a duo gig, where when you are not playing the

melody or soloing you will have to take on the role of the rhythm section, in other words accompanying, which means complementing the soloist with some nice chords and providing a

pulse and possibly a bass line. Again you have got a gig that pays money, probably because of your ability to accompany!

Bearing all this in mind, why is it that the weakest area for the majority of guitar players is accompanying? In my experience as a player it is most certainly the case! In a guitar duo situation,

either with or without a bass, I have experienced a lack of pulse and bad voicing of chords. The simple answer is that guitarists tend to ignore this area when practising because this area of playing

is one of the most difficult aspects of guitar playing!

PLEASE NOTE.This study is for the 6 string guitar.

Orthodox guitar tuning is used, ( from the sixth string ) , E, A, D, G, B, E.

Major is identified by a capital M, minor is identified by a lower case m.

THE EIGHT CHORD SHAPES REQUIRED TO ACCOMPANY MOST JAZZ STANDARDS

2 x 3 4 x x GMaj 7

3-

2 x 3 4 x x G7

3-

2 x 3 3 x x

3-

Gm7

2 x 1 3 x x Gdi m

3-

x 2 1 3 x x CMaj 7

3-

x 2 1 3 x x C7

3-

x 2 x 3 4 x

3-

Cm7

x 2 3 1 (4) x

3-

Cdi m

The root notes are indicated in white. The note indicated in grey is optional.

PLEASE NOTE. Four of the chords are with the root note on the sixth string, and four are with the root note on the fifth string. Further fingering options for the eight chord forms is

shown on page 7 of this study.

Shown above are the eight chord shapes which, from a practical and working point of view, a guitarist needs to accompany most jazz standards. They are in triad form

and consist of root, 3rd and 7th (Major, minor and dom7th), and exclude the fifth note of the chord. There are only subtle differences in the fingering and they are all

fingered with the second finger on the root note of the chord.

IMPORTANT NOTE!The use of triads, root, 3rd and 7th (Major, minor and dom7th), enables the guitarist

to play safe, i. e. the notes of the triad will not clash with the melody note or interfere with the improvised line. The fifth note of the chord is omitted as it is the only note which is subject to change, (#5 and b5). The root, 3rd and 7th are always static in Major, minor and dominant seventh chords. The fifth note within certain chords can clash with the melody note, particularly when playing a m7b5, (half-

diminished). For example, the m7b5 chord may have to be changed to accommodate the melody, see page 11 of this study. In the eight chords shown above there is no m7b5, (half-

diminished), as a minor triad, (root, 3rd and 7th), can be used.

As previously stated, this study deals with the guitarist as the accompanist, and in my opinion the most effective way to accompany is to play triads, as sometimes too

much embellishment, i. e. playing chords with extended and altered notes, can clash with the melody and interfere with the improviser’s line.

TRIADS IN JAZZ

In regular music theory a triad consists of root, 3rd and 5th of the scale, (Major, minor and dominant). When accompanying in jazz and for the purpose of this study a triad will consist of root, 3rd and 7th (Major, minor and dom7th), omitting the fifth note of the chord as the fifth is the only note of the chord that is subject to change i.e. b5 & #5. Triads, consisting of root, 3rd and 7th (Major, minor and dom7th), can be easily formed by adopting my Hendrix Chord System, (see page 5 of this study), and the triad can then be used as a base to add extended and altered notes when required.

REMEMBER!This study is from the accompanist point of view

I believe that the secret of good accompaniment in jazz is to have the ability to break down the chord to its basic elements, root, 3rd and 7th, and, when required, to use your own harmonic knowledge to enhance the triad as you see fit, (see my Hendrix Chord Study). By adopting my Hendrix Chord System, not only will you have a way of finding every chord you need from a practical and working point of view, but a way of forming triads with the fifth of the chord automatically omitted leaving the essential notes - root, 3rd and 7th.

TRIADS.

CMaj7 C E B Root Maj3rd Maj7

Cm7 C Eb Bb Root min3rd b7th

C7 C E Bb Root Maj3rd b7

Cm6 & Cdim C Eb A Root min3rd 6th or bb7th

Triads in jazz are either Major, minor or dominant seventh. Leaving out the fifth note of the chord enables the chords to be played as triads, (root, 3rd and 7th). Having the ability to break a chord down to a basic triad, (root, 3rd and 7th), is a very quick

way to learn chords and become a successful accompanist.

When learning the guitar, the recognised method of playing chords is to use the barree. It is how beginners learn about fingerboard organisation and also develop strength in their fretting hand. When playing commercial music too, barree chords are used as that is the nature of the music. In rock music power chords are used, root and fifth. But as you gain knowledge and experience as a jazz guitarist you will discover that barree is not always the most efficient way to play chords, particularly when you are required to play a m7b5, (half-diminished), chord!

When accompanying in all forms of music the important notes are the root and fifth. A bass player would play the root and fifth throughout the chord chart of a song. In a jazz standard whether it is swing, ballad or Bossa Nova the root and fifth can be played except when a m7b5, (half-diminished), chord is indicated. However, as previously stated, and in my opinion, for the guitarist in jazz when playing chords, the fifth note of the chord should be omitted as it is subject to change (#5 and b5). The root, 3rd and 7th are always static in Major, minor and dominant seventh chords.

THE HENDRIX CHORD ACHIEVING THE CORRECT FINGERING OF TRIADS WHICH ALSO OMITS THE FIFTH

NOTE OF THE CHORD AND ENABLES THE STANDARDISATION OF YOUR FINGERING

An ideal way to introduce you to the fingering of triads which omits the fifth notes of chord is to introduce you to the “Hendrix Chord” which also enables the guitarist to

play chords with the second finger on the root note. This is known as the "Locked Knuckle Technique".

My Hendrix Chord System automatically introduces the guitarist to the “Locked Knuckle Technique”.

The "Locked Knuckle Technique" is a method of left hand fingering which is based on forming Major, minor and dom7th triads, (root, third and seventh), and the root note is fingered with the second finger. This method gives the guitarist the facility to form many chord forms out of one basic fingering pattern, thereby "Establishing

Economical Chord Forms", thus giving economy of movement and is, in my opinion, a desirable method of chord fingering when accompanying in a jazz

situation. Most guitarists will already be familiar with the “Hendrix Chord”.

THE HENDRIX CHORD

x 2 1 3 4 x E7#9

7-

PLEASE NOTE!The dominant seventh sharp ninth chord, (E7#9), which is an altered dominant

chord, has become known as the “Hendrix Chord”. (Trefor Owen Jazz Guitar Tuition Study 7, "Economical Chord Forms" the “Hendrix Chord”).

No, Jimi Hendrix did not invent this chord. Jazz players had used the dom7#9 extensively before Hendrix popularised it.

When Jimi Hendrix popularised this chord, he introduced the rock fraternity to an altered chord.

REMEMBER!Not only does the “Hendrix Chord” introduce you to the "Locked Knuckle

Technique", it enables the guitarist to find triads very quickly, and provides a way of finding most chords you’ll need from a practical and working point of view. The

“Hendrix Chord” also facilitates the standardisation of your fingering to avoid learning the left hand, (fretting hand), twice.

PLEASE NOTE.Not all chords can be fingered with the second finger on the bass note,

but many can.

As shown below the “Hendrix Chord” can easily be converted into Major7th, minor7th and dom7th triads.

3-

x 2 1 3 4 x C7#9

Maj or 3rd (E)

Fl at tened 7th (Bb)

Root (C)

mi nor 3rd/#9th (Eb) 3-

x 2 1 3 4 x CMaj 7

Maj or 7th

Maj or 3rd (E)

(B natural )Root (C)

The basic form

3-

x 2 x 3 4 x Cm7

Fl at t ened 7th (Bb)

mi nor 3rd (Eb)

Root (C)

3-

x 2 1 3 x x C7

Maj or 3rd (E)

Fl at tened 7th (Bb)

Root (C)

The root notes are indicated in white. The note indicated in grey is optional.

For the complete study of the “Hendrix Chord” (Trefor Owen Jazz Guitar Tuition Study 7, "Economical Chord Forms" the “Hendrix Chord”).

Other relevant studies:(Trefor Owen Jazz Guitar Tuition Study 8, "Know your Chords"). (Trefor Owen Jazz Guitar Tuition Study 13,

"Developing the Bossa Nova Rhythm").

You should consider the “Hendrix Chord” your basic form. If you are having difficulty with the fingering of any chord that is derived from this form, then always

finger the “Hendrix Chord” first and move to the chord you need.PLEASE NOTE!

I stress great importance on the correct fingering of the m7b5 (half-diminished) chord.

As you can see below, the m7b5 chord can be achieved from the “Hendrix Chord” but the b5th note does not have to be played as a minor triad will suffice, root, 3rd and 7th). In my opinion the m7b5 chord is the most misunderstood chord in harmony!

By holding the basic form, (the Hendrix Chord), and moving the first finger off the Major third, (fourth string second fret), and placing it on the first string second fret, (Gb), as shown below, a Cm7b5 chord is achieved. When easing your first fingers over towards the first string, this action automatically deadens the fourth string, (do not make a big deal of this). More on the m7b5 chord on pages 10 & 11 of this study.

x 2 1 3 4 x C7#9

3-

x 2 x 3 4 1 Cm7b5

3-

Major, minor and dom7th chords derived from the basic form with the root note on the sixth string.

From the basic form, (C7#9), a Cm7th chord can be achieved in the form of a triad, (root, third and seventh). To form a G7th chord, hold the finger pattern and move it over one string as shown below, (Cm7th to G7th).

PLEASE NOTE.When the root note is on the sixth string the fifth string is always deadened.

Now a dom7th chord with the root note on the sixth string is formed.

x 2 1 3 4 x C7#9

3-

x 2 x 3 4 x Cm7

3-

2 x 3 4 x x

3-

G7

The basic formThe root notes are indicated in white.

The Gdom7th triad with the root note on the sixth string.

2 x 3 4 x x

3-

G7

Fl at tened 7th

Maj or 3rdRoot note

The basic form, ( which is a G7th triad ) , is fingered with the second finger on the root note. PLEASE NOTE.

The chord form has moved over one string therefore the fifth of the chord will now be on the

second string.

2 x 3 4 x x

3-

G7

Fl at tened 7th

Maj or 3rdRoot note

2 x 3 4 x x Gm7

3-mi nor 3rd

The root notes are indicated in white.

2 x 3 4 x x

3-

G7

Maj or 3rd

Fl at tened 7th

2 x 3 4 x x

3-

GMaj 7

Maj or 7th

Dom7th chord. Maj7th chord.

Optional fingering for the Maj7th chord is shown on page 9.

INTERPRETING CHORD SYMBOLS Standardise your chord forms and fingerings to avoid learning the left hand twice.

A harmonic sequence can be interpreted in many ways and your taste may differ from what is written. When you are faced with a new chord chart look carefully at the chords which have extensions and alterations indicated as the extended and altered notes may not be necessary. The ability to break the chords down to their basic form, Major, minor, dom7th is imperative. You can then colour them to your taste. (Colouring the chord means adding extended and altered notes to the basic triad and is down to personal taste).

As previously stated, the art of accompanying is often best achieved through simplicity. Occasionally a chord has to be played to maintain the nature of the melody or to create a desired effect, therefore an altered chord is adopted, but more often than not the bare essentials (triads, root, 3rd and 7th) are all that are required.

A chord can be indicated with many extensions and alterations. For example, as shown below, a chord written as D minor can be extended and played as Dm7 or Dm9, or vice versa depending on taste. When the melody of a jazz standard is being played the accompanist has to consider the extended and altered notes of the chords as they may clash with the melody note. Also, too many altered and extended chords may clash with the improviser's line. For example: Four ways of fingering the Dm7 Chord. The Dm9 is a Dm7 chord with

the ninth note added and can be used in place of the Dm7 chord.

x 1 3 1 2 1

5-

Dm7

5-

x 2 1 3 4 x Dm7

x 2 x 3 4 x

5-

Dm7

5-

x 2 1 3 4 x Dm9

The root notes are indicated in white.

The CMaj7th, CMaj9th, C6, C6/9 and Cadd9 chords are all Major chords which have been extended by the use of scale tones. When a Major is indicated it can be interpreted as shown in the examples below. It is down to personal taste. However, when the melody of a standard is being played the accompanist has to consider the extended and altered notes of the chords when playing a harmonic sequence, (i.e. when necessary selecting the extended or altered note of the chord to accommodate the melody). When the improvisation is taking place the accompanist has more freedom with the extension or alteration of the chords, but remember, too many altered chords can clash with the improviser's line.

3-

x 2 1 3 4 xCMaj 7

x 2 1 4 3 x CMaj 9

3-

x 2 1 1 3 xC6/9

3-

1 x 3 4 2 x CMaj 7

8-

2 x 1 4 3 x C6

8-

LEARNING THE EIGHT CHORD SHAPES REQUIRED TO ACCOMPANY MOST JAZZ STANDARDS.

Now you have the ability to form triads with the use of the “Locked Knuckle Technique”. Shown below are the eight chord shapes which, from a practical and

working point of view, a guitarist needs to accompany any jazz standard. There are only subtle differences in the fingering and they are all fingered with the second

finger on the root note.

PLEASE NOTE.All the following chords are derived from the “Hendrix Chord”. Four are with the

root note on the sixth string, and four are with the root note on the fifth string.

The guitar is a very versatile instrument and one can go on forever finding new voicings and fingerings for chords, but from a working and practical point of view

all you need are the eight shown below.

2 x 3 4 x x GMaj 7

3-

2 x 3 4 x x G7

3-

2 x 3 3 x x

3-

Gm7

2 x 1 3 x x Gdi m

3-

x 2 1 3 x x CMaj 7

3-

x 2 1 3 x x C7

3-

x 2 x 3 4 x

3-

Cm7

x 2 3 1 (4) x

3-

Cdi m

The root notes are indicated in white. The note indicated in grey is optional.

FINGERING OPTIONS.Many experienced guitarists will probably already be fingering some of the above chords with the second finger on the root note. Also, many will finger the GMaj7th shown above with the first finger on the root note. It can be fingered successfully as a triad with the second finger on the root note. The manner in which this chord form is fingered depends on personal taste and on what is required at the time.

More about using existing chord forms on page 14 of this study.

1 x 3 4 (2) x GMaj 7

3-

2 x 3 4 x x GMaj 7

3-

The m7b5 (half-diminished) chord. In my experience as a teacher and player, it has become evident that the most misunderstood chord in harmony is the m7b5 (half-diminished), and consequently for many guitarists it is a nightmare chord. For example, when a Gm7b5 chord is indicated, most will ignore the altered note, (the flattened fifth), and play a regular Gm7th chord. A Gm7th has a natural fifth and is not a Gm7b5 chord.

The modern term for the m7b5 is half-diminished. I do not favour the term half-diminished as it does not tell you anything. Using the term m7b5 tells you that the fifth note of the chord, which is the most important note in the chord is flattened. However, it is not important to play the flattened fifth note of the m7b5 chord from the accompanist point of view, if you adopt playing triads. The previous page showed the eight chord forms required to accompany any jazz standard with the use of triads. You will notice that there is one very important chord missing, the m7b5 (half-diminished). As previously stated, triads are either Major, minor or dom7th, (root, 3rd and 7th), as there is no fifth present, therefore playing a m7th triad will suffice. See below and the next page for a full analysis.

IMPORTANT NOTE!A minor triad, root, 3rd and 7th will suffice when a m7b5 chord is indicated.

REMEMBER!When using triads derived from the “Hendrix Chord”, the fifth note of the chord is omitted. The fifth note of the chord is subject to change (#5 and b5). The root, 3rd

and 7th are always static in Major, minor and dominant seventh chords. To many guitarists the Dm7b5 chord indicated below is the only fingering for the m7b5, (half-diminished), chord in their vocabulary. In my opinion there is a dissonance when the altered note, (the flattened fifth), is sounded next to the root note. The Gm7b5 indicated, which I have seen used, is an attempt to convert a regular minor seventh chord to a m7b5. The F#m7b5 also has the flattened fifth next to the root note.

x 1 2 1 3 x Dm7b5

5-Fl at tened

Fi f th

1 3 1 1 x x Gm7b5

3-

Fl at tened Fi f th

x x 1 2 2 2 F#m7b5

4-

Fl at tened Fi f th

Some of the above chords may be used when playing chord melody or even when comping with a bass player, but even then you have to be careful when accompanying the melody. See next page. When playing straight four in the bar (Freddie Green style) or bass line comping they just do not make sense. These kind of voicings would not be my choice! The guitarist needs to know two fingerings for the m7b5 chord with the root notes on the fifth and sixth strings and, very importantly, the flattened fifth note as the highest note of the chord, as indicated below. There is also another good reason for this. See next page.

2 x 3 3 x x

3-

Gm7 2 x 3 4 (1) x

3-

Gm7b5x 2 x 3 4 x

3-

Cm7

x 2 x 3 4 (1) Cm7b5

3-

Why is it that the m7b5 is the most misunderstood chord in jazz?The answer to this question is that it is important to have control over the flattened

fifth note of the chord and that you do not play the natural fifth note in a m7b5 chord! See the following.

ACCOMMODATING THE MELODYAs stated above, control over the flattened fifth note is essential and when the flattened fifth note is the highest note of the chord, then you have control! For example, when the melody of a jazz standard is being played and the chord indicated is the m7b5, beware, as the melody note at that point may be the fourth/eleventh note. This happens in many standards! See the analysis below.

The accompanist has to consider the extended and altered notes of the chords when playing a harmonic sequence, (i.e. when necessary selecting the extended or altered note of the chord to accommodate the melody). When the improvisation is taking place the accompanist has more freedom with the extension or alteration of the chords, but remember, too many altered and extended chords can clash with the improviser's line. Play triads, (root, 3rd and 7th), and you will not clash!

The Luis Bonfa standard "Gentle Rain" is a good example of this issue. (For copyright reasons I cannot print the melody). Look for the music of "Gentle Rain". The chord indicated in bar three in most song sheets is Bm7b5. At this point the sustained melody note is E natural and is not one of the notes in the Bm7b5 chord. The flattened 5th note of Bm7b5 is F natural, therefore if the E natural melody note were played against the Bm7b5 chord there would be a dissonance. In order to avoid this clash, either play the chord as a triad, (root, 3rd and 7th), without a flattened (or natural) 5th, or play Bm11 chord, (the fourth and eleventh notes of the B minor scale, E natural, are the same), to accommodate the melody note. See the chord forms below.

Using the "Locked Knuckle Technique" automatically leaves out the fifth of the chord and gives the guitarist instant access to triads, root, third and seventh.

Standardise your chord forms and fingerings to avoid learning the left hand twice.In both m7b5 chords indicated below, move the first finger down one fret from a

flattened fifth note to the eleventh note thereby achieving a minor eleventh chord.

2 x 3 4 x x Bm7 Tri ad

7-

2 x 3 4 1 x Bm7b5

7-

Fl at tened f i f th

2 x 3 4 1 x Bm11

7-

El eventh

x 2 x 3 4 x

3-

Cm7 Tri ad

x 2 x 3 4 1 Cm7b5

3-

Fl at tened f i f th

x 2 x 3 4 1 Cm11

3-

El eventh

When faced with a m7b5 chord, simply play a minor seventh triad, (root, third and seventh). There is no fifth note present, therefore you are not clashing with any

other notes.

PLAYING RHYTHM IN A BIG BAND

The ability to play a good four in the bar rhythm is essential as it is the basis of good accompaniment, and very importantly we are dealing with time. To phrase successfully, the jazz musician must know where the underlying pulse is, as phrasing is, in reality, taking liberty with time. This is not only important for the accompanist, but is also important for the soloist. Developing a good feel for the one of the bar and the underlying pulse, crotchet time (1/4 notes), enables the soloist and accompanist to divide and sub-divide time into quavers (1/8 notes) and semi-quavers (1/16 notes) accurately.

Time is one the most neglected areas of music. Work on it!

When reading harmonic sequences in fake books and chord charts, the chords are mostly indicated with extended and altered notes which are, more often than not, surplus to requirement as far as playing four in the bar rhythm is concerned. In jazz, and particularly when playing four in the bar swing rhythm in a Big Band, or playing in a smaller outfit with another harmonic instrument, (piano or guitar), having the ability to break the chords down to their basic elements is essential. If two harmonic instruments are playing all kinds of altered or extended chords there is going to be some clashing, therefore someone has to take the initiative and play the chords as triads. The chord only needs to consist of the root, 3rd and 7th. When playing with a bass player, the root note can be omitted, playing only the 3rd and 7th, but that is down to personal taste.

When playing with piano players, it is normally the guitarist who has to adapt!

A chord is formed by extracting the root, 3rd, 5th and 7th from the scale, (Major, minor and dominant 7th). The three notes which are always static are the root, 3rd and 7th. The fifth note of the chord is subject to change, (b5, #5). Also, the fifth is not necessary to state the chord type, ( Major, minor and dominant 7th ). The diminished chord can also be played as a triad, root, 6th and 3rd, see later in this study. The augmented chord is also a triad, (hardly ever used these days), root, 3rd and #5.

When playing Freddie Green style four in the bar, using the chord form indicated below, in my opinion, does not sound good!

x 1 2 1 3 x Dm7b5

5-Fl at tened

Fi f th

When playing chord melody, the above form may be useful, but that is another study.

Chord charts are more often than not written with unnecessary extended and altered notes.

[[ Gm9 / Gm7 / ][ C7#9 / C7b9 / ][ FMaj7 / F6 / ]]

The above can be converted to a regular II V I with the use of triads. See the following:

[[ Gm7 / / / ][ C7 / / / ][ FMaj / / / ]]

3-

2 x 3 3 3 x Gm7

3-

x 2 1 3 x x C7

1 x 3 4 2 x FMaj 7

2 x 3 4 x x FMaj 7

Alternatively.

10-

x 2 1 3 4 x Gm7

8-

2 x 3 4 x x C7

x 2 1 4 3 xFMaj 9

8-

In the following example a Gb7(b5) chord is substituted for the V chord, C7th. A good example of this is the A section of Jobim's, "The Girl from Ipanema".

Note: The notes indicated in grey do not have to be played.

[[ Gm7 / / / ][ Gb7(b5) / / / ][ FMaj7 / / / ]]

10-

x 2 1 3 4 x Gm7

9-

x 2 1 3 x x Gb7

x 2 1 1 3 x F6/9

8-

Note: The flattened fifth notes indicated in brackets and grey do not have to be played.

3-

2 x 3 3 3 x Gm7

2-

2 x 3 4 (1) x Gb7(b5)

1 x 3 4 2 x FMaj 7

2 x 3 4 x x FMaj 7

USING EXISTING FINGERING.

As mentioned in page 8 of this study, some of you may already be utilising the “Locked Knuckle Technique”, (root note fingered with the second finger on the root note). Using your existing fingering, and any chord which has its root note on the sixth and is fingered with the second finger string incorporating the second string, don’t change your fingering, just become selective with the right hand to obtain triads. See the following examples:

The following are examples of chord fingering that you may already be using.If you already finger the following chords with the second finger on the root note and incorporating the second string, use your existing fingering and become selective with the right hand to form triads.

1 x 3 4 (2) x GMaj 7

3-

2 x 3 4 x x GMaj 7

3-

2 x 3 3 3 x

3-

Gm7

The root notes are indicated in white. The note indicated in grey is optional.

3-

x 2 1 3 4 x CMaj 7

x 2 3 1 (4) x

3-

Cdi m

5-

x 2 1 3 4 x Dm9

The root notes are indicated in white. The notes indicated in grey are optional.

REMEMBER!By adopting the “Locked Knuckle Technique”, extended and altered notes can be

easily added to the above to enhance the triads.

BOSSA NOVA RHYTHMWhen playing Bossa Nova rhythm and when the root note of the chord is on the fifth string the note on the second string indicated in grey is the 9th. If used, the 9th will

add a nice colour to the bossa rhythm.

When the root note of the chord is on the sixth string the note on the second string indicated in grey is the 5th. I would advise leaving the 5th out as it is the note most likely to clash with melody notes. It is down to personal taste, but to play safe avoiding clashes, leave the 5th out!

Trefor Owen 2012www.treforowen.com