Cool Jazz Chords

COOL JAZZ CHORDS
Ever hear a really good jazz guitarist playing a chord solo based on a
familiar tune? You know the tune and you recognize it, yet there is
something different about it. It sounds somehow more interesting, a
little bit off center, kind of edgy. Did you ever wonder why?
The answer lies in altered chords. I love jazz chords for the same
reason I love alternate tunings: In both cases, the standard chord
formations are altered to form new, fresh, and interesting alternatives.
Jazz chords are based on the traditional chords we all learn when we
start to play:
Major: 1-3-5 Minor: 1-3b-5 Dominant 7th: 1-3-5-7b
The difference is, that these chords are transformed into jazz chords
by altering the tones (making selected tones sharp or flat) and by
adding additional tones (for example, the 9th, the 11th, and/or the
13th). These added tones can, in turn, be made sharp or flat, further
altering the sound of the original chord.
Perhaps what makes jazz chords so interesting is that they challenge

our expectations, particularly when they are used to accompany a
piece based on traditional harmonies that we know very well. (You'll
see what I mean later when you try my jazz arrangement of "Twinkle,
Twinkle Little Star.") It's kind of like biting into an apple and
discovering that, while it looks and feels like an apple, it tastes like a
pear. The textures might be the same, but there is something different
about the taste!
The harmonic theory upon which jazz chords and jazz chord
substitutions are based is difficult and complex, and can easily fill a
lifetime of study. We're not going to get that "technical" here. (You
were worried, weren't you!) What I would like to do is to present a few
of these chords so that you can get a sense of how they differ from
standard harmonies, and then present you with a piece of traditional
and well known music that I have re-harmonized into a jazz
arrangement.
I think you'll like it, and, at the same time, add to your arsenal of
music tools and knowledge! So, let's get going!
TUNING YOUR GUITAR

All of these chords are in standard tuning--EADGBE--for two reasons:
1) They demonstrate the interesting effects that, with a little
creativity, standard tuning is capable of producing; and 2)since most
players are most familiar with standard tuning, the differences
between traditional and jazz chords will be most readily apparent.
A FINGERPICKING APPROACH TO THESE CHORDS
There are several ways in which the harmonizations and fingerings of

jazz chords can be approached. Many guitarists, particularly those who
prefer using a pick, opt for thicker sounding chords containing 4-6
notes. These of course, are easily strummed with a pick. In fact,
chords containing only three tones, particularly when those chords
have muted strings intervening between them, are problematic for all
but the most advanced pick users.
Yet, I prefer the sparser, three-toned chords because of the spacious

quality of the resulting harmonies, and because they provide an
opportunity to more easily use passing tones on the inner voicings (not
the melody or the bass) achieving a really wonderful and jazzy effect.
So, I think, fingerpickers have a distinct advantage in this particular

technique, not only because of the movable inner voicings, but also
because all the notes can be picked with the fingers without worrying
about muting certain strings that a pick must go over in order to
embrace the full chord.
Finally, I have chosen chords that are fully moveable over the entire
neck of the guitar. So this should really add to your store of available
guitar chords.
Oh, and by the way, don't limit these chords to strictly jazz
arrangements. Including a few in your rock, folk, and pop
arrangements adds a nice dash of spice to the mixture.
CHORDS
OK, so let's get to the chords. One of the most common and useful
"jazz" chords is the major seventh. It consists of the 1-3-5-7 tones of
the major scale. In fact, it's such a popular "jazz" chord that it's often
substituted for the major (1-3-5) chord in jazz arrangements and is
often the basis of many jazz compositions as well as improvised solos.
Let's try one. Play just the three strings that you are fingering, using
the thumb, index finger, and middle finger of your right hand:
1|||||||
2||||P|||
3|||M||||
4|||||||
5||I|||||
6|||||||
Sounds nice, doesn't it? In this chord, the root (or scale tone upon
which the chord is based) is found on the fifth string. The seventh is
found on the third string, and the third is found on the second string.
Since the note being played on the fifth string is a Bb, this would be a
BbMaj7 chord. You'll notice that, despite containing only three tones,
the chord is quite "fat" and rich sounding. The absence of the fifth,
which is the missing tone, does not do any damage at all to the chord.
This chord is movable, which means you can play it at any position on
the neck. In each case, the note being played on the fifth string
determines the name of the chord. Try it in a few positions!
What's also neat about using chords utilizing fewer tones is that
playing any given chord in several positions becomes easier. And,
because the top note changes when you change positions, chord solos
become easier.
(Positions are the various configurations available to play the same

chord. For example, a major chord consists of 1-3-5, but can also be
played as 3-5-1, or 5-3-1. Varying positions not only enables you to
play the same chord with different melody notes on top, but also lets
you add variety to your accompaniments.)
The following is another Major 7th position. This time, however, the
chord does not contain the root tone. Instead, the fifth, third, and
seventh are used. You might have to stretch a bit to get this one in the
first position. Try it higher up on the neck. It's a lot easier:
1|||||||
2|||||P||
3||I|||||
4|||||||
5|||M||||
6|||||||
Now, try the BbMaj7 chord you learned above, and follow it with the
new position you just learned executed as if the first fret in the
diagram above were actually the seventh fret. You're now playing
another BbMaj7 chord, but in another position. Go back and forth
between the two a few times. Can you hear the similarity?
Now let's try another popular jazz chord--the minor 7th--which,

ideally, consists of 1-3b-5-7b. However, we're only going to use the 1
(on the fifth string), the 7b (actually, lowered 1/2 step would be more
accurate) (on the third string), and the 3b (on the second string).
Once again, the fifth is eliminated in this position. This chord, too, is
completely movable:
1||---|---|---|---|---|--
2||---|---|-P-|---|---|--
3||---|-R-|---|---|---|--
4||---|---|---|---|---|--
5||---|-M-|---|---|---|--
6||---|---|---|---|---|--
In this case, we have a BMin7 chord, since the B is the note being
played on the fifth string. I love the way that sounds! This is also one
chord where the inner voicing can be easily changed (because of the
availability of the left hand index finger) producing a different, but
complimentary chord. In fact, it produces the chord into which the
minor 7th naturally resolves--in other words, the chord that it seems
to be heading for, that gives a sense of finality. You'll see what I mean
when you play it:
1||---|---|---|---|---|--
2||---|---|-P-|---|---|--
3||-I-|---|---|---|---|--
4||---|---|---|---|---|--
5||---|-M-|---|---|---|--
6||---|---|---|---|---|--
Just changing that one note, changes the BMin7 into an E7--with the
5th on the fifth string, the 3rd on the third string, and the 7th on the
second string. Try going back and forth between these two chords
without lifting your middle finger or pinky. Not only is this a great
exercise for left hand strength and finger independence, it will also
help you to play more smoothly!
MORE JAZZ CHORDS

Now, believe it or not, those few simple chords are enough to enable
you to play my jazz arrangement of "Twinkle, Twinkle, Little Star,"
which concludes this lesson.
But the more adventurous of you will, just for fun, want to try the
following chords, which are among the coolest, and most common, in
use by jazz guitarists. Don't be discouraged if some of them seem
pretty tough. A few of them are! So play the ones you can (you'll be
able to play them all eventually), and with the chords you already
know, you will be well on your way to playing in the jazz style!
Because these chords are movable, I'll just use X to indicate the tonal
name of the chord and provide the location of the root where
appropriate:
X9 (ROOT IS ON THE 5TH)
1||---|---|-R-|---|---|--
2||---|---|-R-|---|---|--
3||---|---|-R-|---|---|--
4||---|-I-|---|---|---|--
5||---|---|-M-|---|---|--
6||---|---|---|---|---|--
X13 (ROOT IS ON THE 2ND; USE YOUR INDEX FINGER AS A BARRE)
1||---|---|---|---|---|--
2||---|---|-I-|---|---|--
3||---|---|---|-M-|---|--
4||---|---|---|-M-|---|--
5||---|---|-I-|---|---|--
6||---|---|---|---|---|--
ANOTHER X13 (ROOT ON THE 6TH)
1||---|---|---|---|---|--
2||---|---|---|---|-P-|--
3||---|---|---|-R-|---|--
4||---|---|-M-|---|---|--
5||---|---|---|---|---|--
6||---|---|-I-|---|---|--
X7b5 (ROOT IS ON THE 6TH)
1||---|---|---|---|---|--
2||---|-I-|---|---|---|--
3||---|---|---|-P-|---|--
4||---|---|-R-|---|---|--
5||---|---|---|---|---|--
6||---|---|-M-|---|---|--
X11 (ROOT ON THE 2ND)
1||---|---|---|---|---|--
2||---|---|-I-|---|---|--
3||---|---|---|---|-P-|--
4||---|---|---|---|-R-|--
5||---|---|---|---|---|--
6||---|---|---|---|-M-|--
X6/9 (A GOOD ENDING CHORD)
1||---|---|-R-|---|---|--
2||---|---|-R-|---|---|--
3||---|-I-|---|---|---|--
4||---|-I-|---|---|---|--
5||---|---|---|---|---|--
6||---|---|---|---|---|--
OK. Having grappled with a few of those tough chords, you're ready
for something easier, but still very satisfying. I promised you an easy
jazz arrangement, and here it is. See if you can identify the chords and
techniques we went over earlier in preparation for this piece. So turn
down the lights, get a lounge mood going, and play this very mellow,
very cool jazz arrangement of:
TWINKLE, TWINKLE LITTLE STAR
1|||
2|66|8866|
3|3355|7754|
4|||
5|1155|6655|
6|||
1|||
2|4433|1|
3|3221|053|
4||4|
5|3322|001|
6|||
1|||
2|66|8866|
3|3355|7754|
4|||
5|1155|6655|
6|||
1|||
2|4433|1|
3|3221|053|
4||4|
5|3322|001|
6|||
1|||
2|6644|331|
3|5432|210|
4||4|
5|5533|2200|
6|||
1|||
2|6644|331|
3|5432|210|
4||4|
5|5533|2200|
6|||
1|||
2|66|8866|
3|3355|7754|
4|||
5|1155|6655|
6|||
1|||
2|4433|1|
3|3221|053|
4||4|
5|3322|001|
6|||

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COOL JAZZ CHORDS

Major: 1-3-5 Minor: 1-3b-5 Dominant 7th: 1-3-5-7b

Perhaps what makes jazz chords so interesting is that they challenge

TUNING YOUR GUITAR

A FINGERPICKING APPROACH TO THESE CHORDS

There are several ways in which the harmonizations and fingerings of

Yet, I prefer the sparser, three-toned chords because of the spacious

So, I think, fingerpickers have a distinct advantage in this particular

(Positions are the various configurations available to play the same

Now let's try another popular jazz chord--the minor 7th--which,

MORE JAZZ CHORDS

X9 (ROOT IS ON THE 5TH)

X13 (ROOT IS ON THE 2ND; USE YOUR INDEX FINGER AS A BARRE)

ANOTHER X13 (ROOT ON THE 6TH)

X7b5 (ROOT IS ON THE 6TH)

X6/9 (A GOOD ENDING CHORD)

TWINKLE, TWINKLE LITTLE STAR

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