Contents Introduction Chapter 1 - Triads 9 Major Triads . Minor Triads Major Augmented Triads Major #11 Triads Diminished Triads Triads With Added Ninth Minor #5 Triads A GEORGIA. A STAIRWAY Chapter 2 - Seventh Chords 25 Major 7® Voicing Exercises Major 7412 Shapes & Inversions Major 745 Shapes & Inversions Major 7 Conversion Exercises Diminished 7" Chords Dominant 7% Shapes & Inversions. Minor 7® Shapes & inversions Minor 7% 65 Shapes & inversions Minor Maj 7® Shapes & inversions Major 745 Shapes Root Position Exercises IVA Voicing Exercises Drop-Three Voicings Reduced 7 Chord Forms ‘ThreeNote Comping Using “Stable” Notes Chapter 3 - Extended 7 Chords 45 Major 7 Matrix Minor 7 Matrix Dominant 7% Matrix Extended Diminished 7% Chords . Diminished 7*- Dominant 7 Substitution Rule 4 BODY SOUL . ‘A INYOUR OWN SWEET WAY . Chapter 4 - Extending 7 Chords Using Ascending Relative Thirds 69 Other Substitute Possibilities For 7” Chords Practical Applications: I-41 Combinations lia VA Progressions (Minor) Exotic Examples (Extended Shapes For ~745) Upper Structure 7® Chord Substitutes (No 3) ‘Some Examples Over Standard Chord Progressions ~ Jazz Blues = Standard = Rhythm Changes 10 22 14 245 16 ar 20 24 222 26 22? 28 foal 30 23h 32 233 34 135 36 37 38 40 a2 AG 50. 53 63 66 67 68 70 72 3 75 76 7 7 a7s) 79Chapter 5 ~ 4 Chords (Quartal Harmony) at Examples Of Modal Usage Of 4" Chords. Comping A Minor Blues Using 4" Chords “Miles” 4 Chords Chapter 6 - Clusters 85 Major, Minor & Dominant Cluster Sounds Comping A Standard Using ThreeNote Clusters A THE GIFT ‘A ALL BLUES Chapter 7 ~ Intervatistic Comping 95 Standard Chord Progression Other Possibilities For Chord Construction “Scale Skipping” Harmonic Minor Scale Voicings . Melodic Minor Scale Voicings A SECRET LOVE A. VERY EARLY . 5 ‘A. STELLA BY STARLIGHT Chapter 8 - Stash Chords 109 Major Triads As “Upper Structure” Slash Chords ...... Major Augmented Triads As “Upper Structure” Slash Chords, Minor Triads As “Upper Structure” Slash Chords Diminished Triads As “Upper Structure” Slash Chords Combination Exercises. Standard Chord Progression ‘4 COSTA DEL SOL A LAKES ft ‘A. OMAHA CELEBRATION Append 150 A. EXPRESSIONS A THREE In Closing About The Author 82 83 :84 87 91 92 94 99 100 102 103 104 106 108 110 114 116 119 1123 124 125 126 128 130 132 134 1135INTRODUCTION The idea behind this book is to provide the progressive guitarist with a com- prehensive overview of chordal structures on the guitar fingerboard. Starting with triads, then working through 7® and 9 chords and further extensions, chord substitution relationships and practical examples over standard chord progressions, I've tried to present here a chordal concept based on logic rather than just memorized shapes. This book is not for beginners! However, after many years of performing and teaching jazz gultar, I've ‘come to some conclusions about learning chords and hope that this book will make it easier for today’s guitarist to understand the complex chordal structures used in contemporary jazz. Peter O'MaraChapter 1 TRIADS Going back to our first days of playing guitar, we learned a few basic chords to be able to play those songs we were heating on the radio. Those chords often used open strings, so we were stuck when a song was in the key of “F'! To overcome this problem, we learned a few “bar-chords." Now we were set! But then along came those more complex jazz chords and we forgot about the basic triads we had learned at the beginning. Let's take a new look at them. Cc E D A The “bar-chord” fingerings were: major major major ‘One problem with these chords is that they often double a note: two roots or fifths. That's a good “fat” sound for pop guitar but we don’t necessarily want to “waste” a note when playing contemporary music. The fingerings on the following pages show various possibilities for triads without doubling notes.‘tog MAJOR TRIADS Close Position © Root Position c F Bb & " “a “ie “a @ First Inversion © Second Inversion F 8b a wages vyiad Wide Form inversions © Root Positions & Inversions c cre 6 2 vn gag x “ ee ~ . HF H iH va — i > H i xn - “en ] VEER A Turnaround Exercises i ce oc F Bb ebB> FA Bb Byo oc FIC BG F Bh Ebb AC Bb ne era aa ERE eng) Wn BER ER ney wn ah ae 3ose MINOR TRIADS Close Position © Root Position ce FE eb © First Inversion o- “ti Ee et © Second Inversion F Bb Ee ‘A Turnaround Exercise I-IV-V-I CRG GC fF bh GC F Bh ERB EA BB 2Wide Form inversions © Root Positions & Inversions c cath cs onan “ay - Ws care vo a H > > # ‘if = —___. —_+ ‘A Turnaround Exercises Toc re Gh ce FBR Ch Bh EhyBh FIA Be VERE vigeE) vgn VERE VERE WHER vie vj ” aR MEER w HH TE ee te d * | ial 4 ue if Gh C- DA G/B Cth FH GAD C+D Fab Bb CHG FAD a] ee he 8) ER "HS “| RS b, 3 Fy Bhwh c- FIC BLE EbuGh FF Bhar EbyBb AbIC> Bh Eb /Bb vier ving y vu wy wt y| wo ue xg “ vil Se ne EI *"g f ute Fe ree / 8ods No study of triads would be complete without looking at altered forms: major aug- mented (25), major 35, diminished and minor #5. By now, we should be getting familiar with triads, so that we can convert the shapes to get other sounds. Let's start with major augmented (#5). MAJOR AUGMENTED TRIADS (5) An augmented triad is made up of two major third intervals. The chromatic scale contains three major third intervals. Therefore, the inversions of the ‘augmented triad are always “mirror images” of each other. However, the gui tar fingerboard does offer us a number of fingerings. © Close Position Coug Foug Bhaug ebaug vg wing uses] vu © First & Second Inversion Coug Caugle C ougiG$ Caug “gh “ae © Wide Form Inversions F aug Ebaug vu 11 ii A Connecting Exercise 6 Gas ¢ Caw F Fug th Bau 8 EA “eR ouge ' EW FRR vay ii i it AE fq iH Tianspose this exercise to other string groups, too!Tieds MAJOR HI TRIADS ()5) © Close Position cay FM) sheen), eM) : “a a i © First Inversion sam cay Fe shar wang " ™ “ ait © Second Inversion abd) Fai agin) ety wn ng 8 @ Wide Form Inversions Fann Beg) "aE - ‘eR ebginy vw ‘aa TR A Connecting Exercise can i) Fqin ox EE 7 YEN “He uw 0Mods DIMINISHED TRIADS A diminished triad is made up of two minor third intervals. The chromatic scale contains four minor third intervals. This symmetry will be of great use to us later when we look at diminished seventh chords. Here are some shapes: © Close Position Be ao pe @ First Inversion Be ee veg ay og Nt © Second Inversion Be ee ac aug on xu xi @ Wide Form Inversion fo ae be ae eae) a "E is 6A Connecting Exercise Fo Fy 1 ey wages TRIADS WITH ADDED NINTH Another common sound associated with triads Is the “added ninth,” used in country music, but also in pop, fusion, and contemporary jazz. Here, we can add the ninth to the triad shapes we have just seen. Major Add 9 Voicings © Root Position Codd? Bhadd > 3 Voicing ads rf 77613) Bhadag/> (= 0-713) Ebodd 916 Ge oe =e — = : @ 5-9-3-1 Voicing Fadd9iC (= Césus) Bhadd 9F ‘6sus) Ebadd9/B> (= Bhésus) © Other Forms Gods? ( = A9sus) Codd9 (= €-7513) Fodd9 (= a-713) Codd " wear ry VAR it * af a (© 9-3-5 Forms (no root) Casio Fada Bhadd 9 thoad9 ia ‘= ‘ Minor Add 9 Voicings © Root Position Caddo Fi adé9 Bh add__tads © 1-5-9-3 Voicings de D-edd9 G- odd9 ° © 5-1-9.5 Voicings Foadd9iay (= Aba!) Bb add9iD (= Deal) eb addr (= ha) = a “a bo bo © 5-9.3-1 Voicings Feodd9IC ¢ Bb. odd9IF (= Foust !3) eh odd9/@h ( =Bbsus?™3) " "i weg id bo bo = — © Other Forms G-ada9 c-add9 (= ea!) F-add9 abal3) ©9.3-5 Forms (no root} cada F odd Bb odd Ee add9 F- oad? Bb oddTose @ Add 9 #11 Voicings (1- Gocas#!! #11) ¢ Lydian ° © Add 9 Suspended Voicings(1-5-9-11/sus4} Gadag!! i OTHER ADD 9 VOICINGS or Mixolydian #11 Codao#!! Fadag#!! Eo“ lied ‘@ Cadag!! Fadag!! weer v v A fH o © Triad Sus 9 Voicings (Root Position) * No 3rd Csus9 Fsus9 vite veer + © Triad Sus 9 Voicings (1-5-8-9) * No 3rd Bhsus 9 Ehsus 9 Gaus9 caus Fsus9 te is oe = o == 2 a ee) MINOR #5 TRIADS We can think of a “minor #5 triad” as an inversion of a major triad a thir lower (example 1). This means, of course, that we don't have to learn ¢ whole new set of fingerings, just reinterpret existing ones. This sort 0 “overlapping” is one of the wonders of chordal harmony, as we can see i example 2. 1 2 fad c e- —> A F —-> 0-7 b tS‘tiaas APPLICATION OF TRIADS: GEORGIA 1 sucing the chords of a tune to triads, as in the following example ‘Georgia.” These aren't necessarily the most advanced harmonic substitu- tions but this sort of exercise helps us to get the various triad shapes into Music: Hoagy Carmichael ‘our “everyday” repertoire. Triads can also create a purity, through their sim- Texts Stuart Gorell blicity, which can be an advantage when playing without bass and drums ~ meee {great for introductions or duo accompaniment! Fo eo Ay DAT DTIC Bo BT AT Abe 7 7 Fa by or cle Fa Fo AT D-? D-7ic Be Bh? AT ae G7 a Fa Bb? Fa be 1 1900 Pee rteratona Corpration, Hew Yo (9198007 Poo ushvelg Gm, Hamu, ur Deuscland, Polen und Techie Reb Usd oy Pemison 2STAIRWAY Peter O'Mara fe by eer O'Mara on “Staiay” The versatility of triads will become apparent as we move on to more com: plicated harmony. The next tune, “Stairway,” features a lot of “added 9th” triads. The minor 745 chords are just inversions of major “added 9th” triads with the third in the bass. in the "A" section the chords progress through all seven steps in the B major scale, = ele oof 7 Eadd9 Fiads9 Eodd91G$ Frade iat — Dae a VE BCS Sp tt a og 745) Eadd9 Fhadd? | Eadd9/G$ Feodd9/Ag Badd? ) ee =, os — | oR joa fos SSS — | SS = ‘ { \— See Sa a See eS \é op 745) Eodd9 Fada lesbaee pep, aoe. oe Eodd 9164 co go SS © by TUTU PUBLISHING,/ENIA RECORDS Host Weber Gr Used by Permission 2‘tiogs 2Chapter 2 SEVENTH CHORDS ur first “jazz chord” fingering was probably the major 7° (A). Let's take & new look at its possibilities on the guitar fingerboard: © Root Position ca Ba ca Fa © Lower 4-String Group Inversions Boa a ea ae i - #F - ‘§ © Middle 4-String Group Inversions Bhs BoD Bhvr ae “Be @Upper 4-String Group Inversions a ehaG EhavB> v a vm > bo = 25Seventh Chords MAJOR 7™ VOICING EXERCISES &2-Chord Connections ca Fac cate Fa cus Faia cae Fac DAA GAB Dact GAD Da Gare Dare Ga A Random Connections ca ADC EAB ANCE Da BhvF Gare Ease Dhvay Aa Fala Dac Bs Gap hash ‘A Major 7 Inversions Counterpoint Ga eb CAG Abi Da shyD Faia Daa Bhs 26‘Seventh Choras MAJOR 7H SHAPES & INVERSIONS ‘A.common extension to the major 7 chord is the #14, from the Lydian mode (sometimes written as *major 745"): © Root Position cat! att! iat!) “ity Ge ©1-5-7-3 Voicing caf! Fadl! haf! © Lower 4-String Group Inversions Fafl! Fata rate Fate - "e - “RE -" 2 Ss 7 8 © Middle 4-String Group Inversions abl! Bhat!) ahaa ye bata, oe ae - “Fi bo © Upper 4-String Group Inversions atl eh?! iG eal! eR -_ arSeventh Chords MAJOR 715 SHAPES & INVERSIONS. Yet another possibility is the major 745, the third step of both the melodic and harmonic minor scales. It is also the first step of the harmonic major scale (b13). © Root Position cats Fats what “ie vag eke 9 ve © Lower 4-String Group Inversions Fats Fabia FatBicy rabie F: ~ "EE -_~ - "8 © Middle 4-String Group Inversions Bhat Bhat5ip Bha Fie Bhatia ‘te - "By — © Upper 4-String Group Inversions bak eat g eat, ebaf5)0 28Seventh choras We can see that by raising or lowering the fifth in these chord shapes, the whole texture of them can be changed, The following exercise should encourage us to think about the function of the fifth, rather than just memorizing the chord shapes alone. MAJOR 7 CONVERSION EXERCISES © Lower 4-String Group Ga ald atl! Ga Ga cats catl! Ga ao “te a a tie Ga ats atl! Ga Ga cats atl! Ga ee © Middle 4-String Group ca caf cat! ca “ep “ety ity mye “i 2‘Seventh Chords © Upper 4-String Group Fa Fabs Gy “i “ae “EEE em ty ey chat a ay ao © Diminished 7" Chords 6 DIMINISHED 7™ CHORDS Here is a layout of diminished 7 shapes: ap | | © Wide Form Inversions 2 i ‘fe yas eo . 2 ‘8 "ee ‘ a sh he Ge SS — = E o 2 1B ° = Because of the symmetry of the diminished 7% chord, the voicings (and fingerings) within a given string group are identical. This saves us a lot of work memorizing chord shapes.Seventh choses DOMINANT 7™ SHAPES & INVERSIONS Here is a layout of dominant 7 shapes: © Root Position 7 1a $8 8 2 aa © Laver 4 String Group inversions °7 FTA FIC F7IEb ‘q ag _ ae © Middle 4-String Group Inversions oh sh BT abriab ‘We a ~ "HE ~ Ht 5 bo © Upper 4-String Group Inversions Br 76h E710» a wy) vm xa > > _Seventh Chords MINOR 7 SHAPES & INVERSIONS Here is a layout of minor 7 shapes: © Root Position c7 ay if) if za © 1-7-5-3 Voicing © Lower 4-String Group Inversions F-7 F-7IAb FA7IC F-7/e : : x iF i OE Hi > ; = ¢ = vg ig vo © © Middle 4-String Group Inversions B7 Bb-7/Db Bh 7iF Bb~7/A> 1 m vl ee x ne > ie > # > © Upper 4-String Group Inversions BT 716 eb-71Bb Eb 7i0b i 7 Ee . "an -* bo 2‘Seventh Chords MINOR 7TH b5 SHAPES & INVERSIONS, Here is a layout of minor 7% 55 shapes: © Root Position co Fo Bho "FF say nt “HE “i with root! ©1-7-5-3 Voicing bo Ce Fo 7 © Lower 4-String Group Inversions fe Fain Foch Faith eh . "ah eu: 4 \ ° = = log a o 8 cS ° ° @ Middle 4-String Group Inversions Be tho /Db Bho Fo abo ab my © Upper 4-String Group Inversions ee £bo (Gb a ‘a iy TS‘Seventh chords MINOR MAJOR 7TH SHAPES & INVERSIONS. Here is a layout of minor chord shapes with a major 7: © Root Position ca a aa “ie © 1-7-5-3 Voicing ca b a i © Lower 4-String Group Inversions FAIA FAC Foe ite - "ER - " - ey e ° © Middle 4-String Group Inversions Bh BhA/D> BhAr BAA es ~ “El - ‘8 oe be © Upper 4-String Group Inversions ed Eb AiG Ss = bSeventh Chora MINOR 7#5 SHAPES. Minor 745 shapes can also be thought of as inversions of a “major add 9° fon the #5. For example: Fodd9 a7 Here are some frequentllyused shapes: art o-785 “e “a e785 ia a7 p-745 35‘Seventh Chords ROOT POSITION EXERCISES Here are some exercises using the chord shapes we have just seen: ‘A Major 7 Colours Fa rats al a eral ha hal ia! hat! * # £ kh & & & 3 A Minor Colours “a A Dominant 7 Colours 7 oS 63 75 c7 75 cis 75 “ay a a ‘= “EE A Scale Step Skipping afd Ga atl! vu viata a: & @ & & -e 4 fu — tp — tg =i 12 — 36Il-V-l VOICING EXERCISES A Lower 4-String Group Inversions G7 C716 Fa G-7/B> C718 Faia “ptt ie 4 "ie ‘A Middle 4-String Group Inversions c7 FIC Bho F7eb BbvD "Hi "BER HH aE "Es F7 Bhat 718 F7IA ahva e716 " E ny on ey fit Apper 4-String Group Inversions 7 Bo7/F Ba F-7IAb Bb7/Ab evs 87 EbBb mah : “Ee x 7Seventh Choras DROP-THREE VOICINGS Another voicing commonly used on the guitar is the “drop three”: the third voice in a close four-note voicing (from the top, any inversion) is dropped one ‘octave to produce a full and resonant sound. © Major 7 Forms cas ca cut ws . eo Ga Gap “i © Dominant 7 Forms 7G 7b o7 G78 G70 ore A c7e wenn “ee “Ty ER = “tk H x @ Minor 7 Forms G7 G-7/Bb G7 GF c7 ws “ana va “ei peng = F a © Minor 765 Forms Go Goth GaiDb ; ColGh CoB co Core ee “ER A Exercise: Major Colours Ga Gal? cate Gat! ca cat call! on i RY me "i "f 38A Exercise: Dominant 7 Colours o7 Gia G75 7H! 7 “tHE BHF A A Exercise: Minor Colours Gis G7 6-713 ‘A Exercise: II-V-1 Combinations <3 JOP-THREE” COLOURS Seventn Chora ° AT o7 Ga £7 AT D7 Ga 7 EGER u " vag ugg vere v ay ff a tat} 30Seventh Chores. REDUCED 7™ CHORD FORMS ‘The various extensions (9, 11, 13) used in jazz harmony make it necessary to leave out notes that don't add colour to the chord, for example the fifth: © 1-3-7 Voicings Ge AA AT Ab “a 4" st: " ae wes “OE ca 7 ce ba D-7 “BE " Ee gies ne i AE ‘A Major Scale Exercise Ca -6 D7 6 EF 6 FA 6 G7 6 AT 6 Be “ae eT Vi ne man) x oT 5 Transpose this exercise to other keys and fingerings, too!Seventh chords -3 Voicings Ga G7 co ad AT A6 ERT wer “ge VS vee ™ ny 7 ce Da D7 uggs ge vay | AMajor Scale Exercise Ga 6 AT -b6 GA 6 B-7 -b6 Ca -6 D7 oreeezer Transpose this exercise to other keys and fingerings as welll a‘Seventh Choras _ THREE-NOTE COMPING USING “STABLE” NOTES: Let's look at a more modally-oriented concept of reduced 7" chord comping. Perhaps this vamp from Herbie Hancock’s "Cantaloupe Island” is familiar: F7 It uses diatonic thirds with a “stable” upper voice to express the chordal sound of F7 Mixolydian. If we decide on a strong “stable” voice (here the root) we could experiment with this concept further: caf!) (uydion) There are only a handful of possible combinations, although you can extend them by using other intervals for your basic chord shapes, e.g., the fourth (see chapter 5). The combinations also transfer to other chords within a dia- tonic scale. For example: ATorD7sus aSeventh choras The “stable” voice can also be underneath: call! 9 A-7, of D7sus The same concept applied to the melodic minor scale can produce interest- Ing results: 3 A-4 or Ab7alt. of D9#IT We see here also the emergence of “cluster” voicings which will be discus sed in chapter 6. These should be transferred to other string groups. 43Chapter 3 EXTENDED 7™ CHORDS. Now that we've omitted the fifth, we have room for other colours, for exam- ple, the ninth: 1.3.7.9 Voicings Ga? Go G6? tg ARE fate Fa? Fo Fo? Gag G9 © Dominant 7 Voicings with Altered 9' (1-3-7-9) or? oP 7? oP? ert ee “aE ‘aap "ane 7 “aR ra 8Extended 7th Chores. MAJOR 7TH MATRIX The next step in chord reduction is to omit the root. That leaves us with just the third and seventh. Now we are free to experiment with the colours avail- able to us around these notes. Let's look at Ga: = After omitting the root and fifth, we are left with B and Ft. Let's see where we can place these two notes on the fingerboard, so that we can look for the colours available to us around them, "| vuExtendes 71h choras (©3474 D-String Colours 2 2 — . Ga? ua — te = ae © 7% +3 + G-String Colours Gatl! Ga cats ald ae oer —— = © 744 3114 B-String Colours cat! Ga oat ea in! a‘Extended 7th Chords © 7% 434 + G-String Colours ca? oat! whe wae at! ve + be @ 34+ 7 + G-String Colours ati cabs Gal a His ; * @ 34 + 7+ E-String Colours Ga? © 3% + 74 + B-String Colours atl! ca oats cal? a a] iy 5 7 oExtended 71h Chora ASome Interesting Combinations 13 13 13 13 13 a4! Ga? Gard! Ga? Gat? atl! wpe "By “aay “eR vaste Bs 3 rn 3 3 atl! cal? art cat! ca? _ - v i att 13 13 Gafl! art Ga? Ga? 13 9 13 afl! a?tl! Gat Ga? A © 3% + b7% + E-String Colours n a7 a7? a a? an ae 7 " wR ‘ i ft fe & = © G-String + 67 + 3% Colours 69 path 49 art? an azall Aris AN3 ee A i jet ss 4 + * - = rr = te # © G-String + 3% +67 Colours 10 et e7hl3 E13 67°97 £9 vu x vin ne * | Eat af . £ 7 a. °a9 Aon ers Extended 7th Chords =XTENDED DIMINISHED 7™ CHORDS So far, we haven't looked at extended diminished 7 chords. Let's do it! The scale that is commonly used with diminished chords is the “whole step- half step” scale, or “symmetrical diminished” scale. It offers us the follow- ing extensions on a diminished 7" chord: o fete We can see that, as in all other scales, the “upper structures” form a chord, arpeggio ~ in this case another diminished 7® chord. This is again a result of the symmetry of the diminished scale and means we can use any imi ished 7% chord as a substitute for another, as long as it belongs to the same scale (there are only three possibilities). This looks good on paper but doesn’t always work in reality, because the “ear” needs to hear at least a minor third for a chord shape to function as an extended diminished 7 A29 001 l3 SEB: $ = Keeping this in mind, I've tried to see how many shapes | could find, Remember, these are not diminished 7% chords — they are “reduced” forms. with extensions then added. They are not symmetrical and therefore don't produce the same colours when moved up or down in minor thirds, as the diminished 7® chords do. However, the changing textures, they offer us, are always within the given scale: Aob13 Aca wp “fi SS HE 6Extended 7th Chords, a°9 “aE EXTENDED DIMINISHED 7™ CHORDS es. ‘- penn ei E G9 Aci gt pes. @9 eon 99 pee. aR GoExtended 7h Chords A Combining Exercises Anghl3 chia ona Fppb13 ™ wang i vag Aogh ld wor eral! ee7 coal! cor call a7 acg A°7 cs 7 Beg 97 FPS Fo76 DIMINISHED 77H ~ DOMINANT 77H SUBSTITUTION RULE Now that we've gone into quite a lot of detail with extended diminished 7 chords, let's look at another important use for them. I'm sure that most of us have noticed the similarity between dominant 7 + 9/11/13 shapes (from the dominant 7 matrix) and the extended diminished 7%. They both come from the same scale (symmetrical diminished) but starting on differ- ent notes one half step apart. This means we can use a diminished 7 shape (with or without extensions) also as a dominant 7" + 9/11/13 a half step lower. 13 78 poghlS abr? Ao eA o o 2 ko =) be) te bs) Everything we just learned about diminished 7® chords can also be applied to dominant 7® £11/13 chords with altered 9, Don’t underestimate the value of this rule! It provides us with an enormous array of chordal colours.Extended 7h Chords BODY & SOUL | tre rich colour of fournote voicings is well suited to ballads, like “Body & Soul.” Green/Sour/Heymann/Eaton (ar Beer Mara) a 413 413, 41 13 choleb9 | con 6787 | abt cho Az? |e7 iz? |] obeado e-9 a7? 1g bg ve? eg!! Dedig G9! F757 7! “i p-A9p-9 G9! ca? fs 7 cia. 674 co DCol O © by Choose a co. Fur Devtachand, Gsterech, Schwo und ale oteuopaiscnen Lender Used by Permission orExtended 7th Chords IN YOUR OWN SWEET WAY Dave Brubeck (ar Bt Mara) Dal % ol fine (Ist ending) 41956 by Dery Music Go. San Francisco, USA ‘Alinghi fore wor, ex USK, Canaaa a Jno: The Valentine Muse Group, 7 Gari Steet, Covent Gare, London WC2E OAR, Erand Fr Beutschiand une Osterec Valorie Muse. Ebperaorer Weg 7.20259 Kamburg. Uses by permission,Chapter 4 @A9: use -7 on the 34 ca onian) EXTENDING 7™4 CHORDS USING ASCENDING RELATIVE THIRDS We've built up quite a chord vocabulary by now, but I'm sure there's some we've missed. By leaving out the root and fifth, we were able to extend our 7 chords with 9, (#)14, and 13 colours. Another way to extend 7" chords Is to use parallel thirds. That is, to get a 9 colour, we move up to the chord on the third step of the scale, our original chord comes from. For example, we want to find voicings for CA9: we move up to the third step of the C major scale (where the CA9 comes from) and we find E-7. o This means that we can use any E-7 voicing as CA9 as long as our voicing is not too close to our bass note “C.” This substitution system works for every type of 7% chord, so here are some more applications of the system (white circles show the position of the original root): © Dom 9: use ~765 6 (or any E-7 voicing (or any Ba voicing higher up) #1 higher up) (Mixolydian) © 6,9: use At11 0-6? (Dorian) (or any FA voicing higher up) 6Extending 7h Chords Using Asconding Relctve Sed © 7,11: use ~45 on the Si @ -A9: use AES on the 34 D-n aa7h pag Fabs (Dorian) a (Mel, Minor) “i © -715,9: use ~A7 on the 3% Ded FA {Locrian #2) He OTHER SUBSTITUTE POSSIBILITIES FOR 7™ CHORDS (INCLUDING 574, b7™ AND b97#) @ Dom 9,13: use A#11 on the b7th @ Dom $9,45: use #11 on the 3rd 69! eat! e7t5t9 vat! (Mixolydicn) a (Altered - from ” a Fine ino aE © Dom 49,45: use ABS on the 3rd (no b7*1) © Dont $5 (613),b9: use ~7b5 on the b7'* 78549 aad 7913 (Altered) ™ (Altered — from | ‘Ab Mel. Minor) | © Dom 7,sus9: use -7 on the 5! © Dom 7,5us9,13: use A7 on the b7% ° ern ey Fa oe G7sus? i (Mixclycion)Extending 7th Chords Using Asconding Relative 5rss © Dom 7.51349 use AETT on the bo" © Dom 7,susb9)p13: use A on the b9"* 9 " 13 G7sus Abt 3 ca B7sus' ware © Dom 7,susb9,13: use ~A on the b7% © Dom 7,susb9,13: use ABS on the 9" 13 A 13 45 ab. B cal c7sus?? “ERE B7sus! “ane @ Dom 7,susb9: use -765 on the 5!* Tsu? Ge “TE‘2ending 7th Chores Using Ascending Relative Ss PRACTICAL APPLICATIONS: I-V-| COMBINATIONS, I've always found it helpful to integrate new chord shapes into I-VI progressions, as these appear often in jazz standards in all keys. Here are a few exampies, but don't forget to transpose them to other keys! 13 2. 2 b- ca? “He " A "E He t p-9 —_G7bshis ca? Du co? wwe veg) were vm Ga? Ao 07°99 afl! a = 5 l “ Ao 75H!) Ga2dl) AS 749513 Ga2!3 nRExtonding 7th Chords Using Ascending Relative Side 13 Ad o7 Ga? aag!!p7b9ilt Gartl! “elie “ay Se p74! es? am go Big x noo 079413 Ga? wwe) bp ce . |0-V-1 PROGRESSIONS (MINOR) 709613 pes!! — g7hl3 an “ate eee “Hd p75? Gag Aes p79b13 G6? i wa “ea :‘Exienaing Th Chords Using Ascending Relative Srds nog!! 749713 Gag | Ae p7t9ht3 G8 ie a ay! ‘ E " Ae 78913 G-ag!3 Ae 7494! G49 a ‘iB “ * noo p33 6-8 p7b9bi3 Aad G-Agh3 413 Aol) 079811 Gg!3 “ie AR wag a ae ™Extending 7th Chords Using Ascending Relative 3ics EXOTIC EXAMPLES (EXTENDED SHAPES. FOR -7)5) o7b9#1I GAG Asli p7b9tll G-Ag9!3 - 9 a Aol! — 07 #913 Att 78913 G-A9 “oe “g ‘ae ag e7h9t9 AM 6Extenaing 7th chords Using Ascenaing Rolotive Seas UPPER STRUCTURE 7™ CHORD SUBSTITUTES (NO 3°) Because of the complexity of some jazz chords, we often find that we don’t have ‘enough strings to cover all the notes required. In some cases it is possible to do away with the third and still “approximately” cover the chordal extensions required. For example: @ A9,411: use A7 on the 5% @ Dom 9,411: use -A on the 5% call Ga coal ca © -765; use AAS on the b5t* © 49,411, 13: use -7 on the 7% Des!! Abst 13 FLT u dt Gael! w: ti © Dom 9,411,13: use AES on the b7% 13 5 Fa! of! Ww 1%Extending 7th Chords Using Asconaing Relative Srés SOME EXAMPLES OVER STANDARD CHORD PROGRESSIONS Here are a few practical examples of the shapes we have learned so far: ‘A Comping A Jazz Blues Using Extended 7** Chords ee eose abs. Fg! co9 — p7h9t3 13 39 e913 rofl! 074913 3 ea obs F913 py 9411 ofl! cyt913 3 2 F918 ais! rot! co e7tt® a abst! eb9 rofl! p7t9#l! 13 13 eu cyt oo p7h913 6988Extending 7h Chords Using Ascending Relative rds Comping A Standard Using Ascending 3 Relationships & Extended 7" Chords F9l3 Fe9 (G-4) ar? c-9 (ea) ie vil vi 7 vi 13 F-9 (Abay eb7>9 Ba? (G-7) aig !3 © 7 ye vv Wi m aM 13 Bha? (D-7) E011 (aha) a7>? D-9 (FA) ab-9 (Dba) eb 4l! © v Ww v v 79613 bo Fa? (A-7) G-9 (ha) aed (C4) G79? 793 6? bat!) 49 cehat5) _9. mow wy wl Mm 3 abot (ebay abril) (abat5) Bhs? (D-7) _ ML vw vil vw lo E011 (Bhat) Artois pert —(AbafS) 2 be wll vin 7 coo (eb-4) FP? Bla? (0-7) %Extending 7h Chote Using Rsconding Relative Sra ‘Comping “RHYTHM CHANGES" Using Extended 7® Chords 13 i913 G7b9bl3 co rh p-9 — G7b9b3 c9 ry sel 13 F9 ab7? ea? Eo p73 g7!8 co e7h9bl3 slo G7? 79813 gyi9ba pg! gzi9i3 coli! gyH9bi3 b. 5 b, v vill vu vi vit vl v v 13 Fo ai7'? Ea? Aigl3 co r7t9IT Big !3 eal cyst ei 74941 bo a fi i pig!3—Gpb9bI3 coo rrthn3 7b? gpt9b13 ttl) gy bbs , bg ab Pi vl vill 13 13 F-9 poot!l eb l! gob p7#l! 4 vi vw vi vu vil vil 13 Cpe cia eh? Bhs vu vin * x vill vit viChapter 5 4th CHORDS (QUARTAL HARMONY) ‘A popular chordal sound in progressive jazz and fusion is the 4. Here are some applications of this concept on the fingerboard: © Diatonic 4% Chords in C Major @ Major Shapes oe ca? rye] oy xa ues 0 3 : rat 1 atl! a sig ting met ae vant] adie my ea Ht or or © Minor Shapes o-n p-6? D-13, p-9 “ qa RE “og “ER a © Dominant Mixolydian Shapes G7sus ce? 9l3 ou : “99 eR “ENE ym a4m choras (Ovartat Harmony) SOME OTHER POSSIBLE 47 CONFIGURATIONS Our examples again are C Ionian. inversions and combinations yield 5° voicings and cluster sounds also (see next chapter). stretch | EXAMPLES OF MODAL USAGE OF 41H CHORDS Try these progressions with other modes (Phrygian, Aeolian, Locrian, etc.). The lonian mode doesn't work too well because of the dissonance between third and eleventh (59). G7 Mixoldion ("Milestones") D-7 Dorian (“impressions”) eatl) dion a2‘th Chords (Quartal Harmony) COMPING A MINOR BLUES USING 4™ CHORDS cl en8 co 73 (C7olt F9!3 Fu Fe? 913 A759 a'3 ab p7t5b9 gy ¥9b13 8? A789 p7i9h13— gyH9bi3 mM b phe: b bee1 Chords (Qvarat Hormony) “MILES” 4™ CHORDS In the music of Miles Davis from the 1980s we can see an interesting use of 4m chords. A “modal” vamp, let’s say F7 Mixolydian, would be comped with chromatic 4th chords, with an additional top note remaining fixed on a significant chordal tone. For example: FI (Mixolydion) This device can also be applied to minor 7» vamps: D-7— orian} 8Chapter 6 13 Abatl 3 ea? Boodd? G7sus 13 Fa? D7sus 3 phat! ATsus e7 Coad CLUSTERS Clusters are voicings in which at least one 2° interval is present. The ten- sion arising through this 2"! interval creates a special chordal character. We've already seen a number of voicings that can be classified as clusters, for example: cate 7! Let's look at a specific three-note cluster, consisting of a 2» and a 3 inter- val and how it moves through the C major scale: An interesting effect is that any cluster with an “F” in it could be a O minor chord of some sort, because “F” is the minor third. I've made up a list of possible applications for these 24 and 3+ clusters which can represent a vast array of chordal colours in many keys. 13 can on iat ain? Gog Hert eal) RT Fa raze Fodd9 E7sus pg!! D-9 G7 AT cal3 cA Clusters are a way of creating interesting chord colours without using a lot of notes. The tension created by the 2 intervals, as well as the modal unity when moving a cluster through a scale, can be very useful in comping, 85custers We can also build clusters with other intervals, but a 2°¢ must always be present: © 2h + ath 2H ath a ae © 24 5m © 2m + 6H @ 34 y 2nd © ahs 208 O44 2 eadciustors 3 4 bth 4 Dnt ab oe bw = = = = O54 2 4 ah oes 2 $ ae oe te a So a = — = oo ia a ~ MAJOR, MINOR & DOMINANT CLUSTER SOUNDS ‘The following pages feature a number of cluster sounds that can be applied ‘to major (Lydian), minor and dominant harmonies. In four-note clusters top and bottom notes may be omitted, whereas in three-note clusters notes may be added on top or underneath. Alot of these voicings do not feature a 7th or even a 3rd which makes them very ambiguous and applicable to other modes. © MAJOR 7 SOUNDS (LYDIAN) Csus 941! Csus9 Csus9!3 Casus9 2 13 cous 913 sus 913 ca?cwsters 13 cat! cag! ca94l] Cad 11 Ca9add$11 Codd#1 2 sus 913 Codd9"3 Csus 981 call cat! call D MINOR 7" SOUNDS p93 p-9!! on p-g!! D-odd11 D-13 p-9!3 p-g!! D-addl1 2-6 b-9 D-eddi1 88cwsters b-7 D-add9 p-u!3 b-13 p-9!3 bai b-9 p-g!! D-addi1 p-413 p-ag D MINOR 7H b5 SOUNDS: Dell Den Des!! Den Dell Dell Dell De Deo Dent G DOMINANT 77 SOUNDS. 13 os G13sus 7 or? G7add 13 13, 613 G79 col3 613 Gi3sus cof! on 69 G7sus 7! 7 29ctusters G DOMINANT 7™ SOUNDS (CTD.) G7 G7sus G7il! 67 G73 Gi3 679M Gsus!? 79613 or? on? G78 or? or? g7i9bt3 oo? G9sus Gus’? Godd11 G9sus Gadai!3 G7sus Gsus Gaddbo!! G9sus 3 grill g7ft! gyi! 794) oof! g7i9tl G7sus Gsus aus G9 sus Don't forget to transpose these voicings to other keys and check them for more ‘modal applications. 90cuusters COMPING A STANDARD USING 3-NOTE CLUSTERS Fo 8-9 ean An? Dba? Dba 13 pet! G7 ca ca? 9 c- F7 Ft Bi!3 Biz? vm v WT wl Vv ro bat!) gba Abn? oll 07°99 Ga? Gal cal Ga an 7? call! Ga? Ga Fell 7a! ea? ea? 7549 7? Fu eb exh? ehh Aba Aba bbs ha 79H cs Be oH oho abn el) aba? eolipeerecr bocustors THE GIFT thistune combines a lot of the concepts we have discussed so far: clusters, quartal harmony, extended 7" chords. Peter O'Mara ‘Ae played on eter O’Mare “Syme” kon Collage 84-2 dirt hy Sy Moon) oe 1 na a al W 1 ivageeee (© 1006 GLA Georg Lotter Mustwerg, Mincnen, Used by Permission 2clusters a Caddo 3x 3rd x D.C. al ©) v vet vi Ebadd 916 vere: 93custers ALL BLUES. tre “tune of tne chapter” is by Miles Davis, of course. The quiet floating character of this tune lends itself very much to modal cluster comping. Miles Davis (ar Ptr O'Mar) G7 (Mixolydian) C7 (Mixolydion) G7 (Mixolydion) (© by Jaz Hor Musi Iie Reet tr /CH/GUS + osteuopseene Lnder bat NEUE WELT MUSIKVERLAG GOB, Minchon. Used by Poisson %Chapter 7 INTERVALISTIC COMPING If we look at contemporary jazz guitarists and their comping styles, we see a strong tendency towards note reduction ~ let’s call it “intervalistic comp- ing." It's not only easier to comp with fewer notes, it also helps create “space” in the music. The old saying “too many cooks spoil the broth” could be interpreted musically as “too many notes kill the soloist.” It's often bet ter to comp with chords using three notes (or less!) than to fill everything up with thick voicings. You may not need to comp at all! ‘The space that a soloist has to develop melodic ideas is very much de- pendent on the comping, A lot of soloists even prefer playing without chords behind them all the time. Guitarists like Bill Frisell or John Scofield often use intervals to express a chordal sound. This sort of comping is also popular in rock and country music. For example, to get a “major” sound we can use various intervals: cs ° ‘To get a major 7 sound with extensions we can also try these: 13 a 9 yr HTT ga HTT Experiment by changing the order of the intervals used: ca caf! carat Clydion (49, 411, 13) d eS tg gg va 98Intervie Comping Here are some other chordal sounds: D MINOR SOUNDS o odd 9 o7 D MINOR 7" b5 SOUNDS De Ded Dell bo G7 WITH EXTENSIONS bo 79 bo 9 gi $501) 7 b9 9 79 7 be fo bg ; ©. = “bg — bo — fo — to — 8 =3 no 7 7 7B 3 7 a 1S oe eee a) eee ole bo) = a es = 6S feo be bee We can see that there are unlimited possibilities for this kind of comping as long as we know what the “important” notes in a given chord are. To gain this sort of knowledge, it’s important to practice arpeggios, as well as inter- valistic sequences based on scales. For example, playing the C major scale in thirds gives us that sweet “country” sound: = 2 —2- 2 48 %Intervatistic Comping Applying the same intervals to the dominant-diminished scale produces ‘completely different sound. For example, £7: © 3M, © 65: Here’s the same principle applied to the melodic minor scale. Using F melo- dic minor, we can get sounds that are useful as F-A (I), Bb7; and E7 altered (Vil) just to name a few of the possible uses. #11,13 (1) 3%; © 6ths:Intervouste Comping 7 Here's an example of a standard chord progression using intervalistic comp- ing: ha Bho eb? Doll G7! cy Abs c7 cll Ao 078? Godd9 Ga. Ab7 abo 7 Bis co c-978b Mod p7?5h13 caf! G7sus e7tll Gosus 13 3 F7l e7bottt F7sus Ee ane 13 13 ehg#!l AT p7bsho 87 ev pay ch Fy? B-7E A-SI 8-9 ALTE bat 5heb Ds rl! coIntervalistic Comping OTHER POSSIBILITIES FOR CHORD CONSTRUCTION Note that there is no third in the first row of voicings! @ Fifths ce? oe? sabia £6? ce? gh absbobia gg me RD ES ED CA EG. ee a © 2 2 Ss 2 = ° © Possible Uses co? bn 6? el wm G7sus @ Sixths construction: @ Some Possible Uses Cada9!! Codd 11'3 cal cag! ca? p-g!! p-9!! p-n!3 D-9 Fatt) F498] roel! ratil 13 o7!! G13(n0 3rd) 6913 (n03rd) Geaso!!