Jazz Chord Dict

4/10/07

12:43 PM

Page iii

Contents
Introduction
Part I. Chords
1. Moveable 7th Chord Shapes
(each on 5 4 3 2
5 3 2 1 )
4 3 2 1
6 4 3 2
Major 7
Dominant 7
Minor 7
Minor 7%5
Major 6
Minor 6
Diminished 7
Dominant 9
Minor 9
Minor 11
Dominant 13
2. Dominant 7th Chords with Alterations:
two versions each, with roots on 6 and 5
Dominant 7%5
Dominant 7(#11)
Dominant 7(9, #9)
Dominant 7#5
Dominant 7(%9, %13)
Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9)
3. Guide Tone Chords
Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6,
Minor 6, Diminished 7)
Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6,
Minor 6, Diminished 7)
4. Triads over Bass-Note Voicings with Roots on 6 5 4
V/I
%VII/I
Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I)
5
4 3 2 1
6 4 3 2
5. Inversions (each on 5 4 3 2
Major 7
Dominant 7
Minor 7
Minor 7%5
Major 6
Minor 6
Part II. Exercises
6. Quartal Voicings Exercises
C Dorian Voicings
7. Diatonic Exercises
B% Major on 5 4 3 2
E% Major on 4 3 2 1
F Major on 6 4 3 2
B% Major on 5 3 2 1
F Harmonic Minor on 6 4 3 2
F Melodic Minor on 6 4 3 2
G Major 6 Bebop Scale on 6 4 3 2
G Minor 6 Bebop Scale on 6 4 3 2
About the Author

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3 2 1

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Introduction
The Berklee Jazz Guitar Chord Dictionary is a resource for 7th-chord
voicings and other frequently encountered jazz chord shapes on the
fretboard.
The following diagrams indicate what notes you should use for each
chord voicing. These chord blocks will show you the right shapes, but
as a musician, you owe it to your audience and yourself to hear the
music before you play it. This material will help you to map out the
sounds on your fretboard. With time, you will hear the chords before
you play them.
Strive to play these chords with a solid time feel, a full tone, and attacks
with your picking hand that match the level of intensity of the music
youre attempting to play.
Some tips for getting a good chord sound:

Take special care to play the notes requestedand to leave out,

or mute the strings with the x symbol above them. Keep the
extra strings out of the sound.

Use the edges of your fingers of your fretting hand to mute

unwanted strings. Focus your strumming (or finger-picking
attacks) on the indicated strings. Avoid sounding the others.

When strumming across the strings, make the speed of your

stroke fast enough to give the illusion of one simultaneous
sound made up of all the chord voices.

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Page v

When youre using your fingers to pluck chords, take care to

balance the level of each chord tone. A common tendency is to
hit the outermost notes with the most force, resulting in a
thinner texture. Youre working to put those notes on the frets;
make sure that the listener can hear them!

While forming the chords, make sure that your fingers are as
close to the intended frets as possible.

When changing chords, mute the strings by lifting your fingers

from the strings, but still touching them, to hold them still as
you slide to the next chord.

Make sure all notes ring. If youre not hearing all the notes
clearly, keep working to curve your fingers and adjust your
hand position on the intended frets to make the sound shine
through your instrument.

Playing chords effectively takes time, and the learning process requires
practice. There are three common stages of development.

Physical Stamina: Building your hand muscles

Muscle Memory: Memorizing the proper chord-voicing shapes

Informed Musical Instincts: Using these chords to make

music

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Page vi

Here are some other things to keep in mind:

While practicing, stay vigilant, playing in time and using a

metronome or drum machine. Stay with a musical task until you
can make it groove with a strong time feel.

Play with other musicians whenever possible, as often as you

can. Practicing by yourself is only part of the overall plan.

Make sure that the chords that you play fit well into your
playing situation. Should your voicings contain a lot of notes
or a few? Listen to the overall texture, and make a musical
decision.

Listen to the originators of the styles that you love. Its one of
the best ways to keep yourself inspiredand to help you to
keep the highest musical values in mind.

Listen to great guitarists, but dont stop there. Focus on

performers of other instruments as well. Bring it all together
to help you to develop your own unique voice.

Keep working, and be patient with yourself. Having the physical

strength and the knowledge of the shapes provide means to musical
ends. With time, youll be able to choose from a variety of options.
If you keep at it, youll definitely get there!
Rick Peckham

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Page 1

PART I.
CHORDS

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Page 2

Chapter 1.
Moveable 7th Chord Shapes
Major 7

CMaj7

CMaj7
3fr

10fr

1324

1333

5
4
5
3

CMaj7

12
12
12
10

CMaj7
8fr

1 342

8
9
9
8

3fr

1 342

3
5
4
3

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Page 3

Minor 7

Dominant 7
C7

C7
3fr

1314

1324

10fr

5
3
5
3

C7

12
11
12
10

C7
8fr

1 243

1 243

3fr

8
9
8

3
5
3
3

Minor 7
C7

C7
3fr

1312

4
3
5
3

10fr
1423

11
11
12
10

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Page 4

MOVEABLE 7th CHORD SHAPES

C7

C7
8fr

2 333

1 243

3fr

8
8
8

3
4
3
3

Minor 7%5
C7b5

C7b5
3fr

10fr

1324

1222

4
3
4
3

C7b5

11
11
11
10

C7b5
7fr

2 341

7
8
8
8

2fr

2 341

2
4
3
3

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Page 5

Minor 6

Major 6
CMaj6

CMaj6
2fr

2314

1314

10fr

5
2
5
3

CMaj6

12
10
12
10

CMaj6
7fr

2fr

2 143

2 143

8
9
7

3
5
2
3

Minor 6
C6

C6
2fr

2413

4
2
5
3

10fr

1312

11
10
12
10

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Page 6

MOVEABLE 7th CHORD SHAPES

C6

C6
7fr

2 134

2 143

2fr

8
8
7

3
4
2
3

Diminished 7
C7

C7
2fr

2314

1324

10fr

4
2
4
3

C7

11
10
11
10

C7
7fr

2 131

7
8
7
8

2fr

2 141

2
4
2
3

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Page 7

Minor 9

Dominant 9
C9

C9
2fr

2133

2143

9fr

3
3
2
3

C9

10
11
9
10

C9
5fr

3 421

5
7
8

2 34

0
3
3
3

Minor 9
C9

C9
8fr

3
3
1
3

2143

2134

10
11
8
10

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Page 8

MOVEABLE 7th CHORD SHAPES

Minor 11
C11

C11
6fr

2 341

6
8
8

2 341

1
4
3

Dominant 13
C13

C13
2fr

21334

1 234

5
3
3
2
3

10
9
8

C13
3fr

1 244

8fr

5
5
3
3

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Page 9

Chapter 2.
Dominant 7th Chords
with Alterations
Dominant 7%5
C7b5

C7b5
7fr

2 341

2 341

2fr

7
9
8

2
5
3
3

Dominant 7(#11)
C7(#11)

C7(#11)

7fr

2 341

7
9
8
8

2fr

2 341

2
5
3
3

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Page 10

DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

C9

C7(#9)
2fr

2133

2fr

3
3
2
3

2134

#9

4
3
2
3

C7(#9)
8fr

1214

#9

11
8
9
8

Dominant 7#5
C7#5

C7#5
8fr

1 234

10

9
9
8
8

3fr

#5

1 243

4
5
3
3

#5

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Page 11

Dominant 7 (altered)

Dominant 7 (%9, %13)

C7(b9,b13)

C7(b9,b13)

8fr

2fr

9
9
9
8

4
2
3
2
3

1 2333

21314

Dominant 7(altered)
7%5(%9)
C7b5(b9)

C7b5(b9)

7fr

T 2314

9
7
9
8

2fr

21311

7%5(#9)

implied root

2
2
3
2
3

C7 5( 9)

C7 5( 9)

2fr
7fr
21341
2314

11
7
9
8

2
4
3
2
3

11

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Page 12

DOMINANT 7th CHORDS

7#5(%9)
implied root

C7 5( 9)

C7 5( 9)

2fr

8fr
21314
1222

9
9
9
8

4
2
3
2
3

7#5(#9)
implied root

C7 5( 9)

C7 5( 9)

2fr

8fr
21344
1224

12

11
9
9
8

4
4
3
2
3

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Page 13

Chapter 3.
Guide Tone Chords
Root 3 7
CMaj7

C7
2fr

2fr

213

213

4
2
3

3
2
3

C7

C7b5

213

213

3
1
3

3
1
3

(incomplete)

13

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Page 14

GUIDE TONE CHORDS

CMaj6

C6
2fr

312

312

2
2
3

2
1
3

C7

312

2
1
3

Root 7 3
CMaj7

C7
8fr

8fr

1 23

14

9
9
8

1 23

9
8
8

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Page 15

Root 7 3

C7

C7b5 (incomplete)
8fr

2 34

8fr

2 34

8
8

8
8

CMaj6

C6
7fr

7fr

2 13

2 13

9
7

8
7
8

C7
7fr

2 13

8
7
8

15

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Page 16

Chapter 4.
Triads over Bass-Note
Voicings: Roots on 6 5 4
V/I
GMaj/C

GMaj/C

7fr

1341

7
8
7

10fr

1321

131

GMaj/C

3fr

3
4
5
3

10
12
12
10

%VII/I
BbMaj/C

BbMaj/C

6fr

3 421

16

6
7
8
8

BbMaj/C

3fr

1111

3
3
3
3

10fr

1121

10
11
10
10

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Page 17

Other Common Voicings

Other Common Voicings

III/I
EMaj/C

EMaj/C

8fr

1 333

1 243

9
9
9

3fr

4
5
4
3

II/I
DMaj/C

DMaj/C

7fr

2fr

2 111

2 131

7
7
7

2
3
2
3

#IV/I
F#Maj/C

F#Maj/C

6fr

121

2fr

2 311

6
7
6

2
2
3

17

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Page 18

TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6

VI/I
AMaj/C

AMaj/C

8fr

3fr

1 423

1 423

10
9
11

5
5
6
3

VII/I
BMaj/C

BMaj/C

7fr

18

7fr

2 431

311

7
7
8
8

7
8
9
8

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Page 19

Chapter 5.
Inversions
Major 7
CMaj7

CMaj7/E

3fr

1324

8
5
9
7

12fr

12
9
10
10

13
12
14
14

2314

5
4
5
3

CMaj7/B

9fr

2413

CMaj7/G

5fr

3412

5 4 3 2

CMaj7

CMaj7/E
8fr

1 342

8
9
9
8

CMaj7

10fr

2 134

12
12
10
12

CMaj7/B
8fr

1 342

3 111

8
9
9

5
5
5

CMaj7/G

5fr

3 241

1
4
2
3

6 4 3 2

19

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Page 20

INVERSIONS

CMaj7

CMaj7/E

3fr

1 324

3
5
4

CMaj7/B

8fr

12fr

7
8
5

7
8
7

8
12
9

12
13
12

CMaj7/G

7fr

2 143

CMaj9/E

5fr

1 243

3 241

3 121

10

14

5 3 2 1

CMaj7

CMaj7/B

10fr

1333

2311

12
12
12
10

CMaj7/G

8fr

CMaj7/E

5fr

1113

8
8
9
9

7
5
5
5

2413

3
1
4
2

4 3 2 1

Dominant 7
C7

C7/Bb
10fr

C7/G
8fr

12
11
12
10

8
8
9
8

6
5
5
5

1324

4 3 2 1

20

1211

C7/E
5fr

1112

2314

3
1
3
2

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Page 21

Minor 7

C7

C7/E
8fr

3 142

8
9
8

C7/Bb
8fr

1 243

C7
10fr

1 243

11
12
10

2 111

8
9
8

5
5
5

12

C7/G
17fr

3 241

1
3
2

6 4 3 2

C7

C7/E
3fr

1 243

3
5
3

12fr

6
8
5

8
11
9

12
13
12

C7/Bb
8fr

3 142

C7/G
5fr

3 241

2 131

10

13

5 3 2 1

Minor 7
C7

C7/Eb
3fr

1312

4
3
5
3

C7/G

5fr

2314

8
5
8
6

C7/Bb
8fr

12fr

11
8
10
10

13
12
13
13

2314

2314

5 4 3 2

21

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Page 22

INVERSIONS

C7

C7/Bb
10fr

C7/G

8fr

1423

1111

11
11
12
10

8
8
8
8

6
4
5
5

C7/Eb
4fr

2314

same as
EbMaj6

1314

3
1
3
1

4 3 2 1
same as
EbMaj6
10fr

C7

C7/Eb
8fr

2 333

2 143

8
8
8

C7/Bb
8fr

11
12
10

4 231

8
8
8

4
5
5

11

C7/G

4fr

2 333

C7

3 141

1
3
1

6 4 3 2
same as
EbMaj6
5fr

C7

C7/Eb
3fr

1 243

3
4
3
3

5 3 2 1

22

C7/G

C7/Bb
8fr

11fr

6
8
5

8
11
8

11
13
12

2 143

3 141

10

3 241

13

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Page 23

Minor 7%5

Minor 7%5
C7b5

C7b5/Eb
3fr

C7b5/Gb

5fr

1324

2314

7
5
8
6

11fr

2314

4
3
4
3

C7b5/Bb

8fr

2413

same as
Eb6

11
8
10
9

13
11
13
13

5 4 3 2

C7b5

C7b5/Bb

10fr

7fr

1222

C7b5/Gb

11
11
11
10

1213

8
7
8
8

6
4
5
4

Eb6

4fr

2314

C7b5/Eb same as

1312

2
1
3
1

4 3 2 1

C7b5

C7b5/Eb

7fr

2 341

7
8
8
8

same as
Eb6

C7b5

10fr

2 134

11
11
10
11

C7b5/Bb

7fr

2 341

3 121

7
8
8

4
5
4

C7b5/Gb

4fr

2 131

1
3
1
2

6 4 3 2

23

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Page 24

INVERSIONS

C7b5
2fr

2 341

2
4
3

C7b5/Bb

8fr

11fr

6
7
5

8
11
8

11
13
11

C7b5/Gb

5fr

2 143

same as
Eb6

C7b5/Eb

2 141

2 141

13

5 3 2 1

Major 6
CMaj6

5fr

2314

CMaj6/G

CMaj6/E
2fr

5
2
5
3

8
5
7
7

10
9
10
10

13
12
14
12

2314

1312

5 4 3 2

CMaj6

CMaj6/A

10fr

CMaj6/G

same as
A7

7fr

CMaj6/E

5fr

12
10
12
10

8
8
9
7

5
5
5
5

3
1
2
2

1314

4 3 2 1

24

1423

1111

same as
A7

12fr

2314

CMaj6/A

9fr

2314

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Page 25

Minor 6

CMaj6

CMaj6/E
2fr

2 143

3
5
2

5
8
5

CMaj6/A

8fr

3 141

CMaj6/G

5fr

8
10
9

12
13
12

3 241

same as
A7

12fr

1 243

10

12

5 3 2 1

CMaj6

CMaj6/E
7fr

CMaj6

10fr

8
9
7

10
12
10

8
9
7

2 143

3 141

CMaj6/A
7fr

2 143

12

same as
A7

2 333

4 231

5
5
5

1
2
2

CMaj6/G

5fr

6 4 3 2

Minor 6
C6

C6/Eb
2fr

2413

4
2
5
3

C6/G

5fr

8fr

8
5
7
6

10
8
10
10

2314

C6/A

2314

same as
A7b5
12fr

1324

13
12
13
12

5 4 3 2

25

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Page 26

INVERSIONS

same as
A7b5
7fr

C6

C6/A
10fr

13 1 2

C6/Eb
4fr

1222

11
10
12
10

C6/G

2314

1214

8
8
8
7

5
4
5
5

3
1
2
1

4 3 2 1

C6

C6/Eb
7fr

2 134

10fr

2 131

2 134

8
8
7

10
12
10

8
8
7

C6/A

C6/G

2 341

3 121

7fr

same as
A7b5
4fr

C6

11

4
5
5

1
2
1

6 4 3 2

C6

C6/Eb
2fr

5fr

2 143

2 141

3
4
2

5
8
5

5 3 2 1

26

C6/G

C6/A
8fr

3 141

2 341

8
10
8

11
13
12

10

12

same as
A7b5
11fr

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Page 27

PART II.
EXERCISES

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Page 28

Chapter 6.
Quartal Voicings Exercises
C Dorian Voicings
(for use on C7 or F7sus4)
3fr

5fr

1112

1112

6fr

4
3
3
3

8fr

1234

6
5
5
5

8
7
7
6

10fr

12fr

13fr

1113

1112

1112

10
8
8
8

11
10
10
10

13
12
12
12

15
14
13
13

28

1123

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Page 29

C Dorian Voicings

5fr

3fr

1123

1234

7fr

8
8
7
7

6
6
5
5

5
4
3
3

3
3
2
1

1122

1122

10fr

8fr

1134

10
10
8
8

1122

11
11
10
10

12fr

1122

13
13
12
12

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Chapter 7.
Diatonic Exercises
B%Major on
BbMaj7

C7

D7
3fr

1324

1312

1312

4
3
5
3

6
5
7
5

G7

3
2
3
1

A7b5
10fr

EbMaj7
5fr

BbMaj7

12fr

F7

6fr

8fr

1324

8
7
8
6

10
8
10
8

A7b5

13fr

1314

G7

12fr

10fr

1312

1324

1324

1324

11
10
12
10

13
12
13
12

15
14
15
13

13
12
13
12

11
10
12
10

F7

EbMaj7
8fr

1314

10
8
10
8

30

D7

6fr

1324

8
7
8
6

C7
5fr

1312

6
5
7
5

1312

BbMaj7
3fr

1312

4
3
5
3

1324

3
2
3
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E% Major

E%Major on

EbMaj7

F7

G7
3fr

1333

5fr

1423

1423

C7

D7b5
10fr

1333

8fr

1324

10
9
10
8

8
8
8
6

EbMaj7

12fr

Bb7

6fr

6
6
7
5

4
4
5
3

3
3
3
1

AbMaj7

D7b5

13fr

C7

12fr

10fr

11
11
12
10

13
13
13
12

15
15
15
13

13
13
13
12

11
11
12
10

1423

Bb7

1222

AbMaj7
8fr

1324

10
9
10
8

1333

G7

6fr

1333

8
8
8
6

1222

F7
5fr

1423

6
6
7
5

1423

EbMaj7
3fr

1423

4
4
5
3

1333

3
3
3
1

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DIATONIC EXERCISES

F Major on
FMaj7

G7

2
A7

3fr

1 342

2 333

6fr

1 342

8fr

1 243

1
2
2

3
3
3

5
5
5

6
7
7

8
9
8

D7

E7b5
10fr

2 333

FMaj7
11fr

E7b5
13fr

2 341

1 342

D7
11fr

2 341

10fr

2 333

10
10
10

11
12
12

13
14
14

11
12
12

10
10
10

10

12

13

12

10

C7

BbMaj7
8fr

1 243

32

5fr

C7

2 333

BbMaj7

A7

6fr

1 342

G7
5fr

2 333

FMaj7
3fr

2 333

1 342

8
9
8

6
7
7

5
5
5

3
3
3

1
2
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B% Major

B%Major on

BbMaj7

C7

D7
3fr

1 342

1 243

EbMaj7
5fr

F7

6fr

8fr

1 243

1 342

1 243

1
3
2

3
4
3

5
6
5

6
8
7

8
10
8

G7

A7b5

10fr

BbMaj7

11fr

A7b5

13fr

G7

11fr

10fr

1 243

2 341

1 342

2 341

10
11
10

11
13
12

13
15
14

11
13
12

10
11
10

10

12

13

12

10

F7

EbMaj7
8fr

D7

6fr

1 243

C7
5fr

BbMaj7
3fr

1 243

1 342

1 243

8
10
8

6
8
7

5
6
5

3
4
3

1
3
2

1 243

1 342

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DIATONIC EXERCISES

F Harmonic Minor on
F(Maj7)

G7b5

AbMaj7#5

2fr

1 423

2 341

2
Bb7

4fr

1 333

C7
6fr

2 333

8fr

1 243

1
1
2

2
3
3

5
5
5

6
6
6

8
9
8

DbMaj7

E7

9fr

F(Maj7)
11fr

2 131

E7

DbMaj7

13fr

1 342

11fr

1 423

2 131

9fr

1 342

9
10
10

11
12
11

13
13
14

11
12
11

9
10
10

12

13

12

C7

Bb7
8fr

1 243

34

AbMaj7#5
6fr

2 333

G7b5

4fr

1 333

F(Maj7)

2fr

2 341

1 423

8
9
8

6
6
6

5
5
5

2
3
3

1
1
2

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F Melodic Minor

F Melodic Minor on
F(Maj7)

G7

AbMaj7#5
3fr

1 423

2 333

1 333

C7
6fr

8fr

1 243

1 243

Bb7

4fr

1
1
2

3
3
3

5
5
5

6
7
6

8
9
8

D7b5

E7b5
9fr

2 341

2 341

F(Maj7)

11fr

E7b5

13fr

2 341

1 423

D7b5

11fr

9fr

2 341

9
10
10

11
12
12

13
13
14

11
12
12

9
10
10

10

12

13

12

10

C7

Bb7

AbMaj7#5

G7

F(Maj7)

8fr

1 243

6fr

1 243

4fr

1 333

3fr

2 333

1 423

8
9
8

6
7
6

5
5
5

3
3
3

1
1
2

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DIATONIC EXERCISES

G Major 6 Bebop Scale on 6

GMaj6

A7

2fr

2 143

GMaj6/B
4fr

2 131

C7

5fr

3 141

7fr

2 131

3
4
2

4
5
4

5
7
5

7
8
7

GMaj6/D

D#7

8fr

4 231

36

GMaj6/E same as E7
10fr

2 131

F#7

12fr

13fr

2 333

2 131

8
9
9

10
11
10

12
12
12

13
14
13

10

11

12

14

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G Minor 6 Bebop Scale

G Minor 6 Bebop Scale on 6

G6

A7
2fr

2 134

G6/Bb
4fr

2 131

2 131

C7

5fr

7fr

2 131

3
3
2

4
5
4

5
7
5

7
8
7

G6/D

D#7

8fr

3 121

G6/E same as E7b5

10fr

2 131

F#7

11fr

13fr

2 341

2 131

8
9
8

10
11
10

11
12
12

13
14
13

10

11

12

14

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Photo by Craig Reed

About the Author

Rick Peckham is an internationally known jazz guitarist, clinician,

composer, and writer. He has performed with George Garzone, Jerry
Bergonzi, Mike Gibbs, Hal Crook, Bob Gullotti, John Medeski, and
Dave Liebman. His most recent recording, Left End, a set of original
compositions mixed with collective improvisations, features drummer
Jim Black and bassist Tony Scherr and was named one of the best
releases of 2005 by Downbeat magazine. In addition to extensive work
in the U.S., he has led or played on tours of Ireland, Canada, Spain, and
Germany. Assistant Chair of the Berklee College of Music Guitar
Department, Peckham has been a faculty member since 1986. He is also
a prolific and accomplished writer, recently releasing Modal Voicing
Techniques, a best-selling DVD for Berklee Press, and the online course
Guitar Chords 101 (Berkleemusic.com).
For further information on Rick Peckham, please visit his Web site:
www.rickpeckham.com.
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