Jazz Chording for Mandolin © 2008 by Pete Martin Feel free to copy and distribute this .pdf file to others. See my web site for other ion materials for fiddle and mandolin instruc www.petimarpress.com pete(@petimarpress.com Pete Martin PO Box 33482 Seartle, WA 98133Jazz Chording For Mandolin Intreduction Playing Jazz can be very intimidating to players playing non traditional Jaze instruments, With limited cxamptes of players of your instrament to listen to and leam from, figuring out how to play can be a tough tasl an introduction to the languae of haw Jazz charding can he applied to the mandolin. It is intended to give players an introduction to Jazz chord voicings from which they can further study ihe subject in depth. A knowledge of music theory, especially Jazz chord construction is a big help in learning this material. See appendix $, Materials For Further Study, page 200, for recommended baoks, One can use this book in almost any order. Lf you just want to learn chords for the tunes presented here, that works fine, When you are learning a tune, print out the chord progression page and the voicings page of that tune, That way you can put them side by side on a music stund, One can start at the beginning of the book and progress through the chapters in ord This will give the student a good understanding of how mandolin chords are constructed and used in Jazz. Special Thanks The author wishes to thank Greg Glassman for sharing his knowledge of Jazz and patience in attempting to teach me to play the music, Thanks to Larry Brandoa, Stephen Burwell, Jack McKellar, Terry O'Brien, Terry Ludiker and Gary Lewandowski for proof reading and feedback. ‘To Scott Spadafora, Dave Smith, Rod Backman, Rich Levine and all my other Jazz music friends. To Phineas for the scratches and bite marks on my fingers. Ta Carol for love, support and guidanee. And of cqurse, thanks Mom!! Jazz Chording For Mandolin Table of Contents Tatroduction 1 ft and Chapter | Easy Tunes Using 4 String Rooted Woicings Lady Be Good Honeysuckle Rose Exactly Like You Chapter 2 More Tunes Using 4 String Rooted Voicings In A Mellow Tone 1Got Rhythm Stompin ai Blue Moon Sweet Georgia Brown Take the A Train the Savoy Chapter 3 Common Swing Era Chord Types Major Seventh Sixth Dominant Seventh Minor Seventh Half Diminished Diminished Chapter 4 More Ways To Play Lady Be Good Chapter § Finding Multiple Voicings For Each Chord Section Two: Bebop (40s and 50s) Chapter 6 Common Bebop Tunes Using Three String Rooted Voicings All The Things You Are 12 Bar Blues in F Au Privave Donna Lee Groovin’ Hi ‘Ornitholog Scrappl rom The Apple seas IS 15 is a i 27 29 3 iM a5 36. vw a8 » 4 4" 53 56 63 a 66 oo 74 9Chapter 7 Common Three String Bebop Style Rooted Voieings Major Seventh Sixth Dominant Seventh Minor Seventh Half Diminished Diminished Chapter 8 Tunes Using 3 String Rootless Voi Ceora Jeannine Lary Bird Like Someone in Love Minority Stella by S There Will Never Be Another You Whisper Not ‘Chapter 9 Multiple Woicings For 3 String Rootless Chords Major Dominant Seventh Minor Seventh Minor/Majar Minor Seven Flat Five (Half Diminished) Diminished Chapter 10 Chord Extensions and Alterations Minor Eleventh Major Seven Sharp Eleven Major Seven Sharp Five Dominant Seven Flat Nine Dominant Seven Sharp Nine Dominant Seven Sharp Five Dominant Seven Sharp Eleven Altered Dominant Chapter 1 Other Chord Types Sus Chords Phrygian (Susb9) Chords Slash Chords a 92 97 ina 10s, 113 16. 121 126 132 132 139 142 145 148 151 135 159 160) 16L 162 Ty 164 165 168 168 (on Chord Progression Bl jor Turnarounds Circle of Filths IV 1 minor “nidix Appendix 1: Chord Spellings Appendix 2: Notes Names Gn The Mandolin Fingerboard Appendix 3; Two Octave Major Scale Note Names and Numbers Appendix 4: Blank Fingerboard Chart ‘Appendix 5: Materials For Further Study 178 6 182 187 19 195 197 108 199. 201Section One Swing Tunes (20s and 30s) In the early days of Jazz, pianists and guitarists would offen play 4 string rooted chord voicings, These voicings give a full sound to the harmony. You hear this all the time by guitarists in Django Reinhardt ~ Stephane Grappelli style Ciypsy Jazz, Later in the late 1950s pianists such as Ahmad Jamal, Bill Evans, Red Ga Kelly and others were playing 3 and 4 note rootless voicings. We will look into t three land, Wynton s in section Chapter I Easy Tunes Using 4 String Rooted Voicings 7 sounds as diverse as Rugtin rom the tac 1890540 the very moder pest bop ures of today (Wikipedia definition at en wikioedal beth). This book will focus of the music of the Swing (1930s), Bebop (1940s) and the Post Bop (1950s and early 196s) eras, Muck of jazz was developed, written and perfected during these years ‘AS an introduction, especially for those who have never played Jaze before. let's look at some easy tunes ane how to play the chards needed for those tunes. Lady Be Good is a very common tune. [we lank at example L. we see the chores needed for the tune. Example | Lady Be Good chords Go C7 D7 C#dim (diminished) A7 Lady Be Good features three different types af chords: a Sixth chord, a Dominant Seventh chord, and « Diminished chord, [f you don’t know what these terms mean, we will Jook at this in more depth Tater, but you should study some music theory (see Appendix 5, Materials For Further Study, page 2011. Example 2 shows the chord pragression far Lady Be Good and example 3 shows the chord voicings. Learn these. For now, strum each chord ance foreach slash mark indicated in example 2. Each slash is one beat, four heats per measure. Practice making the changes slowly. playing each note individually until you can hear all four notes of each chordExample 3 Lady Be Good ehord voieings Example 2 - Lady Re Good . bo Cédim 6B cr G6 os cr as "» GF DS PIF IPF PII SF - ov 36 ALS LL LEE LLL ES fa P RP ee — ae When you play these chords, notice how eaich chord leads to the next. Learning to hear this, if movement will eventually mean you can make up your own logical chord voicings, making the | movement of sound from one chord to the next come out the Way you Want, By ft A tf LO mfortable playing the chords to Lady Be Good, learn the next tune shown in example 4, features the three different types af chards we've already seen, plus a Mino Seventh chord oF fff cs er oe = OP DPD AD PAP PPA PPP SP PF Example “ Honeysuckle Rose chars or ob re Gm7 C7 Fo FT Bbé G7 a ll te | PPSExample 5 - Honeysuckle Rose foe Fe Gm oF Fe a a a a aE om cy) om? CT Gm mh 6D FFI FD GT F5 (aaa 7 ale Bf fF PN A PS er cr | ar ae ae eee | Example 6 Honeysuckle Rose chord yoicings Fr Bbo a? cr te Afier you feel comfortable playing the chords to Lady Be Good and Honeysuckle Rose, tear the next tune. Exactly Like You as shown an example 7, features the fone different types of chords we've already seen, plus a Minor Sixth chord, Example 7 Exactly Like You chords Co D7 G7 Cidim Dm? C7 F6 Fm6é Em7 A7Example §- Exactly Like You PPP PP PP APP P| PP PE PP PPP PP ft ar ce cr PDAS PI IDPS Fe Fig ca SS kK y s N \ N N K Ik K S N \ K N iS Dm? GT SS PP PPL LP Of PA oT ce LLL LE DLL DL DL | FD PF Example 9 Exactly Like You chord voicingsTo Do Chapter 1 y play and cleanly exeeute the chards to Lady Be Gina, Honeystickle Rose and Exactly Like You. 2) Beable ta comfortably play, name and cleanly execute the chords found in chapter | A? Bbo C6 C7 Cadim D7 Dm? Em 7 F6 FT Fm6 G6 G Gm7T Chapter 2 More Tunes Using 4 String Rooted Voicings Now that you can play a few tunes and a handful of string rooted jazz chords, let's expand . learning new chords, voieings and chord types along the way. So far, we've used the following chord types on th Major (Sixth) Dominant Seventh Minor Seventh Minor Sixth Diminished In this chapter, there will be six new tunes, some in keys mandolinists don’t often play Don’t tet a new key intimidate you, To quove jazz fiddle great Paul Anastasio, difficult ka , “There are no just unfariliur ones". Spend enough ume in these unfamiliar keys und they become as comforiable as any key. In A Mellow Tone is in Ab and uses the following chords, Example 1 In A Mellow Tone chords. AbMaj7 Ab7 Bb7 DbMaj7 Db7 Ddim Eb? Ebm7 F7 There is a new chord type in this piece, a Major Seventh chord, We u chord like we use the st the major seventh ixth chord, asa major chord. In many places, the two are interchangeable. For example in Lady Be Good, we could play a Gi major seventh chord instead of a G sixth, For In A Mellow Tone, we could play Ab sixth and Db sixth chords in place of AbMaj7 and DbMaj? Example || is the progression and example 12 are the vaicings to use for In A Mellow Tone.Example 11 - In A Mellaw Tone a7 Ew AbMal? BOL LAL PLA LEE? e QL LLL DD LL PDL OPAPP PA . QLALD DP PPP PEE? . QLDD DLA DPA AD DAT QL ASS SDSS LSPS : QPP PP PPP PPE? o 28 Elm? AT DbMaj? Dor Darn abhtay 7 Bb? EW Bi? Er Abhtaj7 Eh? ar ObMal7 a? Daim Abhlaj 7 Bi? eT AlMaj7 677 TT FTF LF Lt SF a fa ASS | ZZ 2 Ina Mellow Tone Example 12 Bh? Eb7 AbMaj? Ebm7 Ab? DbMaj7‘The next tune is the Swing standard Got Rhythm. 11 became a tune often used in the Bebop era as a chord progression to which many: “heads” (melodies) were written, Moose The Monche, Anthropology, Thriving On A Riff, An Oscar For Treadwell, Stufly, Webb City, Good. Bait and countless others use some or all af the chords of | Got Rhythm, Example 13 1 Got Rhythm chords BbMaj7 Bb7 C7 Cm7 D7 Ebé Edim F7 G7 Gm7 Example 14 is the progression and example 15 are the voicings to use for | Ciot Rhythm. Example 14-1 Got Rhythm Boa ome cm? FT Bia Gm? Sm a ' Aer 7s PP PO Ot FS : Be Bir ES Edm Cm? F7 BlB FT 8 be AP FF PF PF OF PS PF OP SP SF SF , Be Gm7 cmt FT Be. Gm? cm FT ar BS Edm cm7 FT PAPA IP PIPPI PPS SF BB LADP DAD LD PDP A SD DP SPS az oF GT ee FPF PF PFE SPP PP Fr Sa a Gm? Cm? FT Bhe Gm? cm? fT1Got Rhythm Exaniple 16 Example 15 Stompin’ at the Savoy chords Ab7 AT Bb7 B7 C7 DbMaj7 née. A ( sa Db7 Ebm7 E7 F7 Fm7 F#7 G7 © 17 is the progression and example 18 are the vaicings to use far Stompin At The Savoy. Notice the chromatic movement in the BS part (up and down in half steps), EdimExample 17 - Stompin at the Savay Stompin’ At The Savoy Example 18 Dial? abr DiMaj7 Fm? Bi? OPEL EP Bb? Ebm7 Ddim En? for DiMaj? Dam Eb? AGT SSS SS Se Se * Dla)? Abr ObMay7 Fm? Br @ a a ee ee . Elm Aor Diba]? oF 4 = See . Fr s7 Fer a7 Gr a7 w 2 a a a ee ri Fy er ar Aur er a QPP DDD DD DPA AD A a PP nl DMs)? Aur DbMaj7 Fm? air = OFA PPS PAP TD PPP PSP PP . Epm7 aby Domaj7 a (Sa SS 4p Sp le pr .Stompin’ At The Savoy Example 18 Continued FT Aq i ie Example 19 Blue Moon chords Abm7 Bb7 Cm7 Db7 EbMaj7 Fm7 F7 GbMaj7 Example 20 is the pr Although in a diffeeent key, i and example 21 are the voicings to use for Blue Moon, vory similar to parts of | Got Rhythm Example 20 - Blue Moon Fm? BST ElbMaj? Cm? Fm? BOF Fm7 Bit E\Maj?_ Cm7 Fm? Bir PPP PP Ebmaj? Cm Fm? aby Elma? Cm Fm7 Bor 2 QP DDD DDD DIDS DD DAT , EoMaj? Cm7 Fmz BT EbMaj7 Or LAA AA SP SP APS SP SP SP SPS | Fm? 87 EbMaj7 Cm7 Fm7 Br Maj? PD PP DP PF PF SF SS D7 Ghidaj7 cmr FT fA LS AD DP IL SDL FS TS E-Maj? Cm? Fz BLT EMaj? Cm? Fmt BT = Pe EEE eee , EbMaj7 cma FF Br EMaj7 OLA AD DAD LADD PPI SP FT 3Blue Moon Example 21 EbMaj? Cm7 Fm? Bb? Example 22 Sweet Georgia Brown chords AT C7 D7 Dm7 F6 G7 is the progression and example 24 arc the voicings to use for Sweet Geor, ple of a “eirele of fifihs” progression, a comman eceurrence in Jazz, Our root D, If we descend from Da fifth, we have G, the root of the second chord Jing another fifth, we have C, then another fitth down to F, Notice the chords D7 G7 C7 are all dominant seventh chads, When we reach the F chord (the key of the tute is F), it is a 2 PS, major chord, in this ca If the preceding paragraph makes no sense to you, we will cover many of these topics in more detail in chapter 12Example 23 - Sweet Georgia Brown D7 ' GOP DDD LID DD PPP PE PPP s or & PP Pe eet 7 cr PDD DP DPD ADD PPP = ° Fe Ar Fy Sweet Georgia Brown Example 24 Bett PAP ALD oD tt FP oF? QPP DDD DD DD DADA PP © Gr ” az ff ff ff © ar Dm AT Om = QPP PPI SS = Fe b? ar c? FG a ee ee | A Po Ls Example 25 Take the A Train chords C6 D7#1l Dm7 FMaj7 G7 There is a new chond in this piece, D7#EL (say D seven sharp eleven). Sharp 11 is the same thing as a flat five, so this chord is also called to as DBS. It is just anormal D7 chord where the fifth of the D scale (the note A} is lowered one note (Ab), This sound was only used sparingly in the Swing era, but was used a lot in the Bebop era and later. Example 26 is the progression and example 27 are the voicings to use for Take The A Train, ‘Notice how sintilar this progression is to Exactly Like You, chapter | example 8.Take The A Train Example 27 Example 26 - Take The A Train cé DTeit GOA DPD PDA PD APA PLP PPA ° Om? GT ce Om7 G7 pS aay cB bret 62D DDD AD AP APP A ff pf E ¢ Om? G7 cé c7 fff 2 es Dmr a QP DDD AAD ADD AAD PP 3 co pve) = aa PP PP Pt © Ome ar ce = Oe PATI AA ASP A AAP OF | oTo Do Chapter 2 1) Be able to comfortably play and cleanly execute the chords to: Ina Mellow Tone IGot Rhythm Stompin at the Savay Blue Moo Sweet Georgia Brown Take the A Train 2) Ga back and review all tunes in chapter 1. Ai this paint you should know and be able to, comfortably play the following chords: AbMaj? Ab7 AbmT AT BbMaj? Bb? Bbs BF C6 C7 CT Cédim DbMaj7 Db? DT Dm? Ddim EbMaj7 Eb6 Eb7 Ebm7 ET Em? Edim Fo F7 Fm? Fie FA2 GbMaj? G6 GT Gm? Chapter 3 Common Swing Era Chord Types Every style of music has chard types common to that music. Folk music uses mainly major, minor and dominant seventh chords. Swing era Jazz uses mainly major, minor, dominant seventh chords and diminished chords, occasionally using a half diminished. or minor seventh flat five chord. We will focus an these chords in this chapter Chord Type Chords Used Major Major 7, Sixth Dominant 7 Dom? Minor m7 Half Diminished m7b5 or @ Diminished dim or® While it is not the intent of this book to teach music theory, knowledge of chord Construction is essential to playing Jazz. If you don't understand the following, study some Jazz muste the specially the area of chard construction. Recommendations for theory books are made in Appenclix 3, Materials For Further Study. page 201, Let's louk at how each chord is constructed. When we play a majer seale, we ean as numbers to positions in the scale, This is done for the key of C as follows: Example 28 C Major Seale Note cob Fo G A B C Solfize Da Re Fa Sol La Ti Do Number 1 2 3 4 5 6 7 WS From the above table, the fifth note in the key of € is the note G. We therefore say G is the fifth in the key of C. Another way to look at itis the musical distance from C to G is a fifth, or five notes of a majar scale, We can use these numbers to help us construct chords. In example 29 we spell out how basic major and minor chords are constructed. Example 29 Chord Spelling Major 13.5 Minor 1,63, 5 The notes i major chord would be C41), 3), and G (5). The notes ina C minorchord would be € (1), Eb (b3), and G (5). We-can apply this number system to a major scale in anty key. ‘As discussed on the previous page, the two most common Jazz major chords wre the sixth and major seventh, We have seen both of these in the tunes learned up to this polit, The spellings are given in example 30. ample 30 Major Chords. Used In Jazz Chord spelling Example Major Seventh 1.3.5.7 CMaj?, BbMaj?, Fe Sixth Lao (6, Fé, Dob The notes ina © major seventh chord would be C(1), 2 (3), G (5) seventh vaicings are shown in Example 31, 4B (7), Four major :xample 31 Four Common Rooted Major Seventh Chord Voicings RS 275 275K SRT3 R | | | I /? | | | LU The numbers at the top of each fretboard are the position of that note in the chord, R is the root, 3 is the third, § is the fifth, and 7 is the seventh of each chord. It is very important lo learn these. ‘You will eventually wish to alter and extend these chords in many ways. Leamiing which finger is what number will be a great aid in that, The notes in a € sixth chord would be C (1). E(3), G((S) and A (6). Four voisings for sixth chords are shown in Example 32 Example 32 Four Common Rooted Sixth Chord Voicings We have seen the doriinant seventh chord used in a number of tunes. Ik may be the sing most used chord. Because it is used way more often then the major seventh chord, we just call the dominant seventh “seventh”. A letter SC” followed by the number “7” is commonly called “C seven" or °C seventh", not “C dominant seventh". As it is the more common seventh chord, the word “dominant” is deapped, The spelling is given in example 33. Example 33 Chard Spelling Example Do inant Seventh 1,3,5,b7 CT, Bb7, FAT Ther Four dominan sina C (dominant) seventh chord would be C (1), E (3), G (5) and Bb (67), enth voicings are shawn in Example 34Example 34 Four Common Rooted Dominait Seventh Chord Voie RSibT SRD The most common minor sound we hear in Jazz is the minor seventh This is a dominant seventh chord with a flat third, There are other minor chords, but for now we will just look at the minor seventh. The spelling is given in example 35. Example 35 Chord Spelling Example Minor Seventh — 1. b3, §,b7 Cm?, Bom, Fém7 The notes in a C minor seventh chard would be C (1), Eb (b3}, G (5) ane Bb (b7), Four minor Seventh yoicings are shown in Example 36. Example 36 Four Common Rooted Minor Seventh Chord Vaicir BS bphe SRB TRE RS bi b7SR A chard We have not played thus far (hut will in later chapters) is the minor seventh flat five, also called a half diminished. Just as the name iraplics, this is a minor seventh chord with fifth, The symbol for half diminished is a circle with a slash through it, “", “Cm7b: ‘C half diminished” and “C minor seven Mlat five” are all the same chord The spelling és given imexample 37 Example 37 Spelling, Example Flat Five 1, ba, BS, b7 Cmi7bs, BOO, FRO The notes in a C half diminished chord would be C (1), Eb (b3), Gb (b5) and Bb (b7) Four half diminished voicings are shown in Exaraple 38.Example 38 Four Common Rooted Half Diminished Chord Voicings BbSbI BT bs RbTH b7h3 RBS The last chord we will look at in this chapter is one we have seen a few times, @ diminished, The symbol for diminished is a small circle, usually up and to the right of the letter, similar to a degree sign used by weather forecasters, ‘The spelling is given in example 39 Example 39 Chord Spelling Example Diminished 1, b3, 65, bh7 C°, Bbdim, Fe” The notes in a C diminished chard would be C (1), Eb (b3), Gb (b5) and B double fat or A (bb). The double flat seven is really the same as the six. Two full voicings for a diminished chord are shown in Example 40, Example 40 Two Common Rooted Diminished Chord Voicings An interesting fact about diminished chords is the notes are all 11 steps apart. Due to this equal distance between all notes, no note seems stronger sounding than any other, so there is really no true root ina musical sense. Because of this, any note in a diminished chord can function as aroot, Thus, a C diminished chord (notes C, Fb, Gb, and A) can alse be called an Eb diminished, a Gb diminished and a A diminished. Because of this, cach chord repeats itself 3 frets higher. Play a diminished voicing and write down the note names under your fingers, Nos move that same voieing up or down three frets and play it again, Write down the note names under your fingers at the new voicing Jocution, Notice they ure the same four note names’ As swing guitarist great Rich Levine would say, “cool!”To Do Chapter 3 1) Leam four ways to play cach of the following chords: Major 7 Sixth Dominant 7 Minor Seventh Half Diminished 2) Learn two ways to play the following chord: Diminished 3) Go back and review chapters | and 2. Chapter 4 More Ways To Play Lady Be Good nd 2 we demonstrated one way to play cach tune. In chapter 3, we saw four ways ta construct cach chord {except diminished ), If we have four ways t@ construct each chord, tunes can be very different each time through, In chapter t, example 1.we learned the chords to Lady Be Good, It is reprinted here. In chapters 1 Example | Lady Be Good chords G6 C7 D? C#dim A? Our first chord is G6. We saw in example 32, reprinted here, four ways to play a sixth chon. Example 32 Four Common Rooted Sixth Chord Voieings Rs ie EROS 633 SR Let's find four examples 41 - 45. alys to play Ge and all the other chords for Lady Be Good, shown intExample 41 G6 Chord Voicings $R6} GIRS Let’s find four ways to play C7, shown in example 42, Example 42 C7 Chord Voicings RS3b7 3b7SR Example 43 D? Chord Voicings b73R5 RS3b7 3b75R SRb73 our ways to play Cédim, shown in example 44. Example 44 C#dim Chard Vaicings ways to-play AZ, shown in example 45cumple 45 AT Chord Voicings RS3b7 3b75R SRb73 b73IRS T T I EB Now that we have four ways to play each chord, let's find some different ways to play Lady Be Good. First, review the progression, example 2, reprinted here, Example 2 - Lady Be Good cr Ge 1 609 SSS FSS . o7 ® SS Sat * cr 38 Ge FLD DIDI DD PP PP . 8 Of APA LP PIT a or Co B68 7 es Gz Pe oe oe Se ae ee ee ee ee ee * a ar D7 (2S LLL Pf fh cB cr 36 (aS a a ‘ or G6 And here is the original way we learned it, example 3 rk.Example 3 Leama third set of voicings for Lady Be Good, example 47, Lady Be Good. Voicing Example 47 Cc? D7? Cédim Lady Be Good, Voi . Gh cr by Cidim ¢ eas iva Sut bi br bs bbs Leimn a second set of voicings fur Lady Be Good. example 46 Example 46 Lady Be Good, Voicings #2 6 Db? Cédim: Al Ls ae Lbsbabbt 3 1 brs ! T and mi: all three versions of Lady Be Good. go back, mix and match the chords Tr 2 . You could find a fourth with the next set of higher inversions, but it | is higher on the fingerboard than usually sounds good, However, if you are curious what those oO chords would be. | rH «| eile | | ] |To Do Chapter 4 |) Learn four ways to play each of the follawing, chords: Ge cr D7 CHdim AT 2) Learn three ways to play the chords to Lady Be Good. Mix and match these to make many more versions. 3) Go back and review chapters | and 2. Chapter 5 Finding Multiple Rooted Four String Voicings For Each Chord most important skills we can acquire is finding out how ta construct and voice be life long study and while no text on this ean be complete, if you follow this method, you can figure aut any chord, First we will review some music theory. In chapter 3, examples 28 and 29, we saw how ‘we can put numbers to the major scale, In addition, we ean lok at the scale in two octaves, as 48, For a more complete list of two octave scales see appendix 3, page 198. Example 4& ‘Two Octave Major Seale One Octave 1 2 sarge 12345671 Two Octuves 1 2 3 456 910 11 19 13 14 15 Key ofC CDEFGABCDEFGABC Key of F FGABbCD EF G ABC DEF Key of G GABCDEFRGA BC DE FRG In chapter 3. we suw how to spell the construction of some chords. Example 49 Chord Spellings —— Chord Type __Symbol__ Spelling Major x 135 Minor Xm 1b3 5 Sixth XO 1356 Major Seventh XMaj7 1357 xT 13507 Minor Sev Xm? | b3.§ b? Diminished Xdim X*° 1 b3 bS bb7 (6) Half Diminished X@ Xm7bS 1 -b3 bs bT Minor Seventh Flat Fifth = X@ Xm7b$ 1 -b3 bS b7 One ore notice the half diminished and the minor seven flat five are the same chord, For a more complete list of chord spellings see appendix 1, page 195. Now, if we knew the names ef the notes on the mandolin fingerboard, we could map ‘out all the notes in each chord, # snggest that every mandolinist fearn the note nanres on theentire fingerboard. The first seven frets are listed in example 30, Fora more complete list of note names see appendix 2, page 197, Example 50 Note Names On The Fingerboard Fret String Name ————_ t__ Gp AE CaiAb DAEb ARIBb F l 2 A E B wGb 3 APBD F cC G 4 B FaiGb cHDb GHAb 5 £ G D A 6 CHD. GAD DHED AW/BD 2A 8 DAED AHIBD F : 9 B B FHGD cHDb Lo F c G Db. C#Db GRIAB DeEb 3 G D E Now we can combine what we leamed in example 48, 49 and 50 to map out chords on the fingerboard, Let's find a C minor seventh chord, First look at example 49 to see what numbers make this chord. Example 49 Chord Spellings Sym! 5 ins Minor Seventh Xm7 1b3 § b7 Now example 48 tells us what the nunibers mean in the key of € Example 48 Twa Oviave Major Seale One Octave 1 3 45671 ‘Two Octaves. \ 14 OU) 12 13 J4 15 Key of C c FGOABC We can deduce the following: Key of C lis¢ b3is Eb SisG bTis Bo gut on the fingerboard using example 50, shown in example 51. Example $1 Cm7 Notes on the Fingerboard Now, narrow down the voicings to have 4 different notes each, There are four of them. just as we saw in example 36.