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e t er 0tllara

itOI )tJ
FOR JATZ GUITAR
,t- /

O 1996 by ADVANCEMUSIC

No parts of this publicationmay be reproduced,


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Music typesettingand |ayout:Hans-JrgRudiger

Cover Art by 10e9, Oberhausen

Printedby TC Druck,Tubingen

Order No. tOOt2


lntroduction ....7

Chopter I - Triods

MajorTriads ...;.. ........10


MinorTriads ...L2
MajorAugmentedTriads ....L4
Major11Triads. ...:. .....15
DiminishedTriads. ..... ....16
TriadsWithAddedNinth . . . .t7
MinorSTriads. ....2o

A C'EOROIA .......2I
S T A T RYV .......22

Chopter 2 - Seventh Chords 25

Major7tnVoicingExercises . . .26
M a j o r 7 1 1 S h a p e s|&n v e r s i o n s ....27
Major75Shapes&lnversions ' ', '28
MajorTthConversion Exercises .. -..29
DiminishedTtt'Chords .......30
D o m i n a n t T t t ' S h a p lensv&e r s i o n s ........31
M i n o r 7 t t ' S h a p e Is n&v e r s i o n s ......32
MinorTtt'b5Shapes&lnversions ....33
MinorMajTthShapes&lnversions ........34
Major75 Shapes . . .35
R o o t P o s i t i oEnx e r c i s e s .....36
f f - VV- fo i c i n g E x e r c i s e s .....37
DropThreeVoicings . . .38
Reduced7tnChordForms . . .4O
ThreeNoteCompingUsing"Stable"Notes .........42

Chopter 5 - Extended 7n Chords 45

fixiil.Ylih,il::
:: : ::: .......::
ExtendedDiminished7tnChords . . . .63
DiminishedTtt'-DominantTtnSubstitutionRule ......66

^l BoDY , soUL , . . .67


INYOUROWNSWEETVAY.. .....68

Chopter 4 - Extending 7n Chords Using


Ascendlng RetotiveThirds 9
OtherSubstitutePossibilitiesFor 7tnChords . . .7O
PracticalApplications:ll-V-lCombinations . . .72
fl6v-lProgressions(Minor) ....73
Exotic Examples(ExtendedShapes For -7b5) . . .75
UpperStructure7thChordSubstitutes(No 3d) . . . . . .76
Some ExamplesOverStandardChordProgressions . . . . . . . . .77
-JazzBlues .-......77
-Standard ........78
-RhythmChanges ....79
Chopter 5 - 4thChords (QuortotHormong)
8t

ExamplesOf ModalUsageOf 4tnChords t


CompingA MinorBlues Using4tnChords a
"Miles" 4tnChords

Chopter - Ctusters 85

Major,Minor& DominantClusterSounds t
CompingA StandardUsingThreeNote Clusters ,:

THE GIFT . .
^' ALLBLUES

Chopter 7 - Intervotistic Comping 95

StandardChordProgression. t
OtherPossibilitiesForChordConstruction t
"ScaleSkipping"
AlteredScale Voicings . . . .

, STELLA BY STARLIGHT . . .
A SECRETLOVE .
' VERY EARLY . !!

Chopter 8 - Stosh Chords 109

MajorTriadsAs "UpperStructure"Slash Chords


MajorAugmentedTriadsAs "UpperStructure"Slash Chords
MinorTriadsAs "UpperStructure"Slash Chords
DiminishedTriadsAs "UpperStructure"Slash Chords
CombinationExercises
StandardChordProgre..'"" . : : : : . : : : . : : .

A cosTAD L soL
A LAKS T

A OMA}IACELEBRATION. . . . .J

Appendlx 150

^, EXPRESSIONS -t
A THRE

InClosing -*
AboutTheAuthor -r
!NTRODUCTION
The idea behindthis bookis to providethe progressive
guitaristwitha com-
prehensiveoverviewof chordalstructureson the guitarfingerboard.Starting
withtriads,thenworkingthrough7thand 9thchordsand furtherextensions,
chordsubstitutionrelationshipsand practicalexamplesoverstandardchord
progressions,I've tried to presenthere a chordalconceptbased on logic
ratherthanjust memorizedshapes.
This book is not for beginners!
However,after manyyears of performingand teachingjaz guitar,I've
cometo some conclusionsaboutlearningchordsand hopethatthis book
will make it easierfor today'sguitaristto understand
the complexchordal
structuresused in contemporary jau,.

Peter O'Mara
Chapter1

TRIADS

Going back to our first days of playingguitar,we learneda few basic chords
to be able to play those songs we were hearingon the radio.Those chords
often used open strings,so we were stuck when a song was in the key of
"F"! To overcomethis problem,we learneda few "bar-chords."Now we were
set! But then along came those more complexjazz chords and we forgot
about the basic triads we had learned at the beginning.Let's take a new
look at them.

The "bar-chord"fingeringswere:

mofor molor molor

One problemwith 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 playingcontemporarymusic. The fingeringson
the followingpages show various possibilitiesfor triads without doubling
notes.
I
i
MAJOR TRIADS
' Ctose Position

vtttrn u'm
ffi
l...I..]'.m ffi
t-I-n-n TT-TT-N

^l
v
v+m v rrr-T.1 vrFFtl
ffi F]++] l-i-+fl-l
H]]T ffi
TtrFT-N ffi
?a_

V||lm
l...I...|T
vilffi V|||FEIT] vilrffi1
ffi
F]]
TtrN-N
ffi
t-I-n-n
RUU
N_TTN
HUU
TN-TN

abc Bb Eb rb ab sb

10
Wide Form lnversions

) Root Positions l Inpersions

Yill
ffiffi
#
ffi t l ffi
--rTTT-l
H]T ffi
ffi TtrTTN ffi
ill
ffi TR-II I X ffi
tatal t-a1-T-]-1 rll-m
T]T
-rTrn ffi
TTTTN
ffi
TI-TTN

ffi TT-TT-] TT-T-]


:Fm l-fiHt I...I...]..m
FUtl
]] ffi
TT]-TN ffi

l- tF
} lurnrouna LXerc!ses

l. FlC GIB BbIF CIE ^l


v EbIBb FIA D
v'||EE V|lFm V rliln V|||m V|||m|n Vl|EFf] VmfI V|||ffi]l V|lfflm I VF E H
Trt1-l r-it-r-i
----rH ffi
ffi j++l ffi
fr-fffr Frf, H+H
FF
H+H H+H H+# ffi
H# ffi
H+# ffi
ffi

I c/B DlA GIB GID FIA ^l


D CIG FIA
V-T-il Vmn IVTFH V EFF-II vrrran VFF|rt] IVETfTl vFFm vr ffim tx Fffm v fffm vt EEfr-l
ffi
i+#
l-l-li-n
?+l+-{-l ffi
l....l....JJ
attatl raTl-n Trtrrn
ffi] H+H tT1t H#]-] Tml
H+ffiH+Hffiffiffi
TTIT-]
l]-]_H
TTTTT]
.--T-m F]] rT TTN
n-FTn TTTTN TI-TT-N TT-TT-1 ffi

. FIC B'ID C BbIF -t ,^


BbIF
E_V/U EbIBb AbIC Bb EbIBb
vil;lTF vrrrffivrrtffivrrm vilEFFfF vilrFFFfF vilrFm vilm vilrEm rxffim vilrEm vilrm
---+N ffiTnT+ffiffiffiffiffiffiffiEtt++tsrff-H
t_t_l_t_|]
|l_|||]H-]] H+ffi H++F H++| H+H
---T-Tl
'HJH H+H H+H H+ffi
Wide Form lnversions

p ..rs.
} R oor osttii. : I.n.e.i:
i.i1s

ffi
tffiN ffi il ffi
i..]'..]..m
a-rTTT-l
ffi r+Tl
t]] TTTTN HUfl
ill
ffit a t a l trm tx ffil
'...l..]..m t-aTTTl
ffi ffi
Ttlu TtrTT-N HUfl
ffi ffi tT-T-l

Htffi g]]] I...I...|..m


TTTTN

T]] FUfi l-+.]_H


t-Tu-n

} T,, no, ou |d...E)


b iii s:e:s

l. F/C G/B BbIF CIE Bb Eb/Bb FIA Bb


vilrsE vil FFm v FFm vilrEEEN vilrFFm vilFtm vFf|rll vilrm vrmn
rrn-H rffil
=++FF] fFffi ffi
ffi
H++ TflTl Tflfl
H++HH+H H+H H+H H+# H+H H+# H+++

I G/B DlA GIB CIF GID C/E FIA Bb CIG FIA


v -Tfil V TilfI IVTF?lll V EFEE v rrT-n v rflil] rvFtm vFFm vr mt rx FF|F v fffm vr m
TFrn Tijt] Ftt1tl HJ+H
H+H H+# TT]t
TTT1]]tJ]
{:ffi TTTTN
ffi Ht+]-]
l....l'...JJ
tra-rT-n
:T+F IH+N
TTT]_N F]] ffi+l l-|++]
Trn-n H+H H+H H+H H+ffi H+H

) ,,, BbtD c FIC BbIF E-D/V BbIF EbIBb A\IC Bb Eb/Bb


Yil -Tffl vilr[frmvilrffi vil vil vilrEm vilrEm vil Em vilr lff|fl rxmTfl vilrfffffl vilr m
=il ffi trr- nr-n ffi ffi FflTl ffi T1+l
::FE R]] H+IF H]+F "-;
H#fl F]+ +H+ H++fl
frr-Tn
ffi ffi]
ffi
FFt
F]]T
TT-n-n
Ff+l-u
bT- rtrtrtrn
(|I

Triods

MINOR TRIADS

Ctose Position

V TtrT'N
t-f+fl-l vrffi
ffiFF t-f+t-H
TI-TTTI ffiTfl

VTrr|] Vm
H] ffi
HUil H]]

#.**

F- Bb-
-r
L- r- u- L- C- Bb- Ab- Bb-
-l
EV-

7 7

12
Wide Form lnversions

) Root PositionsG Inaersions


C- C_IG

ffi
ffi ffi
ffi
ffi
fT+F
l11 TTTI-N Htffi
-a-rTTl
ill
Hffi vill ffirF
i+ffi trrTrn
ffi
utT H-.H+l
TTTTN
-TTTN
ltttal

TT-T-I
ffi I..]...]T I V ffi
ffi H]]] I...I...IT

FFFM
lu+ F]]T -rTrn

ITrrroround Exercises
I c- F-tc G-tBb C _ F- Bb-tF L_/tP F_
^l
v_ eb-teb F-t^b -l
D_

v :Etr
--LLI.].J
vl r-r.Trr v rT--rT-l v [T--r v lftFn vr[flfTl VET|rn VI|IFII vl ffi vil ffim vrlffTfl vrm
ffiffi
LLLLIJ E-]_LLIJ LLLLIJ
-H+H ?]-]_I-H F|+N tH+H FFFFF ffi ffi ffiffiHffi
ffi F]t F]] ffi ffi FFFH ffiffi ffi ffiffiffi
I
?
7e

v
)' G-/Bb c- D-lA G_IBb C_IE! F- G_ID C_IEb F -tAb Bb- C_IG F_IA!
v rT--rTtvFm |||m VTI[-fl vElm vT[fTl ilrm vEm VIFFrlT] vt fffm rvmm vrm
r+H-l t++t| fT| ffi ffiffiffi TT-TT-N
ffi
F]]1 TT-TI-T' ffiffi
H]]
TTTTN ffi Ht+ ffi ffi ffi F]] F|++]
TtrTtrN R]] ffi E]]T F]]

B F-tc Bb-tDb c- 7_lr Eb-/Gb Bb-tF eb-nb ^b-tcb Bb- Eb-/Bb


V|FFFTV|||5FFFF
V[[m V||fflf|] vrm vilrEm v[I[fT] vr[TffTl vil mm rxn-flflvrrrm vil ffim
fTffi Hffi tTI| fTT+| ffiffiF]]ffi ffi ffiffi ffi
ffiffiffiHUt ffiffiffiEUT ffi ffi TTm ffi
7 3
r
No study of triads wouldbe completewithoutlookingat altered forms:ma.: '
mented (5),major b5, diminished and minor s. ay now, We should be ,.
familiarwith triads, so that we can convert the shapes to get other sounds -
start with major augmented(/'5).

MAJOR AUGMENTED TRIADS (il5)


An augmentedtriad is made up of two majorthird intervals.The chro^
scale contains three majorthird intervals.Therefore,the inversionsc'
augmentedtriad are always "mirrorimages" of each other.However,tl-..
tar fingerboarddoes offer us a numberof fingerings.

) CIose'Position

-l
C oug F oug B bo u g EPOug
VIEIFH vrffi vilffi
r+H-l
I...I...|..m tTtm tftm
TT'TT-N t-l-H-H l-Ft-l-H

t) First 8 Second lnoersion

C oug C oug/E C oug/G C oug


VIEIIFFI vrrr-n VM tv n-rrra
ffi l-+H.] t-r-l-t-t-l
F|+]
ffil
l....|....l....|T

ffi ffi
ffi H+IH TT-TT.N

o Wde Fartn lnoercioas

F oug Bboug E bo u g
rffi ilrm u,ffi ffi ilrFIFll vrffi rttrn 'vffi
vilrFEF
TT-trT--
ttt o
ffi ffi TrTrtra
ITfl-n Elt--n Eul ffiF H++t-.] ffi
|..1...]T
-TTT-
FH-H-I H+l+l Fl'rH-l I..]:..]..m
N_TTN HUfl T|-TT'N TI-TTN TT.TTN

L Connecting Exercise

G G oug C oug F oug Bb B bo u g FI


fo
ilrttil |||tt ||ffF ||FFm ilrlflm iltfffm iltffi
|Vtffm vF m
l++t+ LLLLLJ LLLLIJ 1lH ttllll FH+|] l-l++]-] I.].ffi

ffi l-iH+l
TTTTn
Ht+N
n-n-n
?+J+N
ffi ffi
TtrTtrN
ffi
TTTTN
f+I|
FTT]_N
f+]|
I-TTI'N
TTT'T]
ffi

Transposethis exercise to other stringgroups, too!


MAJoRilrrrnlaos (b5)

) CIot, Positib,i
C(il11) F ( l l ) a b t ll l
rvfmn
FTFFFI
f-+-]+
Trtrrn

} F;rst Invi:is.ii
G(illl) c(#ll) F(ilr r) abtilr rl
IVTITTI rv+lll rvmn TTTT-]
r-r'rrn
H++fl H+TH
LLLLL'
TT-trT-n
?++++
TT'-I-N
f?-l-l+
-I-TI-N ffi ffi
3 |rI

} S econ d tr:itt
F (ll) rbt#r rl btfil
ll
vtl
viltm
ffi
TTTTN

bs

p t,.:;.it;i;on;
} w i a, 6.|,
F(illl) B b ( ll )
vilFFTfn vil ml
nFFEI vtrffi ilrrffll l......]+
Ft-]-t-H ilrtTrJ
Trtrrn
TTTT-N
ro ffi T'TTTI
ffi I...I...]..m H+H
LLLLLJ
++Hl n-n-n
TTTT-N
ffi
TTTT-N
FFFFF
TTTTN

}Co,,,iis}:E...Eic,|ii;;i
G(illl) F ( ll ) rx lfflfl]
lxm tx[m
vTT-Trr
- trrtr-n TtrTT-n V ll la l | l..# VTI-TT-I ffi
attttt tt tat I tfrm FH-I-H H+H TTTTTI
TT-TTN
I..1...]T
Hll+
l..]...]-..m
r-r-r-Fn FH+]
TTTTT]
TTTTN ffi
TI-TTN

15
trr DIMINTSHEDTRIADS
A diminishedtriad is made up of
two minorthird intervars.The cnrom
scare containsfour minorthird intervars.
This symmetrywi, be or great r
when we took at oiminished seventh
:iJ."J:*, chords. Here are so

)'Clpse Fasiticn

Bo rn
E- O
ilrFfTfl
rll-1T1
ilrTTrn
Tf--Ftl
'um Do
VIMTB
aTT-t.ti
rTn-n FT+FF
rT.FTN
|T-TT-1 rTTT-1
Iffi
rTITN +f++-l
n-n-n
b

) First'inai:eision
RO
tr" AO
vlllr.Trn Do
H+l+ villETlfl
vilrmTfl lxrn-r-l
TTTt-rJ
TII-E TT]TI Hl+]
H+H rfTn
ffi
r]_ftl-l
t-t-ffi
TTIT.H n-n-H
o

) See:oad:Inversipn
Ro
tr'
xilFrffl Ao Do
xilmTfl xilrffim
T[r TTTE xilBTf-Fl
H+ffi ffi
TTF]-N R+m rmT-]
F+-t+l--l
t-Tl-t-n mn-rl
a Bro

C Wide Form lnaersion

Fo
,ffi trrEffi vrFm
Bbo
'ffi EbU
llrBnrn
ffiffi
F]_Hl
H++F TNT t|
fTt-Tf l Hl+l

t
L Connecting Exercise
trlo c u- Bo C- Bo C- Bo
il flm ilrFFm vilr fflfll ||Ff,t] ilr[Fml rvEm vEtF+ vil[m
Trtrrn
ffi
tr-trT-n
ffi
a1-t-ttl
TI-TT-N ffi ffiffiffiffi
TTTT- TTTTN
tttatl
trT-trrn ffiffi ffiffiffiffi

Eo
Eo - Eo vrm vilr flfm IXFTFM
TTTI-T' I...I...|..m tTrT-n
IIFf;IdI ilrH+B V TT-T-I r-r'Trrl
ftEtr
TTTTT]
t-Fl-l-H
rT-tr-n H+H trrFT-tr4
TT-TTN Trn-n
FT+
ffi lttl
TRl] FFFFE
Fil-i-n .TTTN . trrtrT-Tl ._o
b I

bo

TRIADS WITH ADDED NINTH


Anothercommonsound associatedwithtriadsis the "addedninth,"used in
countrymusic, but also in pop, fusion, and contemporary1azz.Here,we can
add the ninthto the triad shaoes we have iust seen.

Mojor Add 9 Voicings

O Root Position
Codd9 Fodd9 B b o d d9
v+m vr[Tm]
T'T'T] rrraTt
ffi
-TTT-N
ttatta
ffi
t-1-t-1-H
>

) t-s-s-s voicing
Aodd9 Dodd9 Godd9
V fFTII ilmE VTrTI | | TTrT-l-a V ITITTI vil f,l::m
rrT-T1
Effi or I+IFT l....l'...]J

ffior
I ttata l....]'...1....]T
or rfi-tfr
'T--rn
a-rT-rT-l
ffi TTfF
tottal
ITrrn
tttl
F]]T
IT'TT-I ITffn
tttttl

rl

17
W

iw.#ffi
)tA ,: o-tbls, BboddglD
v r-r-n
(: D-7b13) Ebaddg/G , _ n _ r b l s,
tj+al v rT-TT'l
trrtrrn |.]-t]4
r-r--rT-l
ffiTl t-+-l+-l-l
t-t-t-t-t-l
7o

;ffi
(: Csus ) BboddglF ( : Fsus) Ebodd9lBb (: Bbsusl
vil SFFFF vil Em vlll
ffi
TTTT-N
l...I...]..m
rT-TT]
,I ++t+t I
bs
79

{:iiaittFi;.}::*1;i
, _ ,_rbls,
t,^
Godd9 (:A9sus) Coddg Fodd9 t -- a zPlJr
\ -l ) Codd9
VITlIr]
FFffi] (str.
ffi
rtrrTl- y
_o

Fodd9 Bbdd9 Ebodd 9


vrmfl vrH-fft
ffi trFIfl
ffi Htfi
b

7|t,

Minor Add 9 Voicings

C- odd9
VM F- odd9 Bb- oddg
vr EffIfl
l||
H+]+'
ffiFF ffi
TtrTTN
{E}

18
A- odd9 G- odd9
YEtr VIEEM
ffim l#
ffi ffi
Pd)

"m
F_ dd9lAb ( : bll3 ) Bb- oddgiD ( -
IY
ohll3) Eb- oddglG
IVFF?TII

I
F|+..]+
Htffi
2 -O.
(: cbll3)

F- odd9lC ( : C s u s ) Bb- add9lF tt F s u s) Eb_ dd9lBb ( : Bbsus)


vl FFFIT VIFFl-fTl
t
vil FEt
ftfm )) 4 |+-+]-.
tffi <.l?,
L I
FF}FH
r-rrT-1 |
2
' ttF|
+|-.'l-t
{E}"""
7JD

C- odd9 ( : rbrl3) F_odd9 (- bal3)


ilFm
ffi
rH-1-n

F- odd9 Bb- oddg Eb- odd9


VFEffi vrml vrm
ffi ffi
ffi Hffi F]H
b
r l-T-l-T-l-1

F- odd9 Bb-oddg
rvl-r---lf VFFT]
H+IH H+FH
ffi] | ffi ,\
?9-
?o

19
r
I OTHER ADDg VOICINGS

Voicin$s {1-5-9.i11}. Lydian o.rMixolydian 11


).Ad.d?.11"

G o dddd9gi li llIl l Coddgilll F o d d g #Il


ilrmn VFFiTT] V FTM
Fffi
TTr--t
or ttJaal
fl-T rrl ffi
tattal
trT-trFFl trrtrT-n TrrrTl

O Addg :Suspend ed Voicings{1,-5 -9 -11/ sus4)


I 1
G oddgl Coddgl
V Til;il
ffi
ffi

o Trid Sus9 Voicings (Root Position)C No 3rd

C s u s9 F s u s9 tipsusy

O Triad Susg Vaieings {7.'5-8-9). No 3rd

Gsus9 F s u s9
ilti-r.TT.
H+tH
ffi

FFFFF

MINOR {5 T{TIADS

We can think of a ..minor5 triad" as an inversionof a majortriad a thir


lower(example1). This means, of course,that we don't have to learn e
whole new set of fingerings,just reinterpretexisting ones. This sort o
.,over|apping''
is one of the wonders of chorda|harmony,aS We can se
example2.

I 2
-b6 E
+CA F +D-7

20
APPLICATION OF TRIADS

OEOROIA Try reducingthe chords of a tune to triads, as in the followingexample


"Georgia."These aren't necessarilythe most advancedharmonicsubstitu-
tions but this sort of exercise helps us to get the varioustriad shapes into
Music:H oagy Crmichael our "everyday"repertoire.Triadscan also create a purity,throughtheir sim-
Text:SturtGorreII plicity,which can be an advantagewhen playingwithoutbass and drums -
ttn Peter O'Mara1
great for introductionsor duo accompaniment!

FA Es A7 D_7 D_7/C Bs Bb-7


r\?
-3- "----

a
F FIA G_lBb ^lC D_ FIC Bo eb-tob
tl ll rl

A-7 Abo G-7 C7 FA D7 G-7 C7

a lr

A-7lC Bo Do B'IO CIE F Et'io -


\f-
^ d
b"

.)^ e ? ? ,?

FA Ea A7 D-7 D_7lC Bs D_ /
-\--
-3- '-----

o
FIA B'IF tr' AIE D_ FIC D-IF D'IF
n e -lr e ,be

.Q

A-7 Ab' G-7 a-7 FA


^t-
v/ FA

a I
trtc
- BbIF tr' F B'ID DO
? e I
io
o
B t93O by Peer lnternationalCorporation,New york.
c 1959 by Peer MusikverlagGmbH, Hamburg,fur Deutschland,potenund rschechischeRepublik.
-s d by Permission.
STAIRWAY The versatilityof triads will become apparentas we move on to more corn
plicatedharmony.The next tune, "Stairway,"features a lot of "added 9th-
Petero,Mr triads.The minor7f5 chordsarejust inversionsof major"added9th" triads
(as played by PeterO'Mara on "Stairway", withthe third in the bass. In the "A" sectionthe chords progressthroughal
ENJA CD 7077-2)
seven steps in the B majorscale.

Eodd9 Ff,odd9 E odd 9/Gf, Ff,odd9/A$ C { - 11 ( n o3

olTl 7

of-z(ils) E o d d9 F f o d d9 E add9lGl Ff odd9/Af Bodd9


At\, ,\lL t\\

.__-+ . Tr'
tl -t' V||-.--
VI vl

E odd9 Ffiodd9 E odd e/G$ Fflodd9/A{ C f i -I 1 ( n o3 .

a) 7 I 7 I

of-z(fs) E o d d9 F f o d d9 E odd 9/G{ Ff,odd9/Afi Bsus


At\, ,\r\ t\,\ I

1 1 O. .
'vl
rr
.
rtJ-
|i'J ::
lt fl vt f,J_ vll
@ b y T U T UP U B L I S H I N G / E N JRAE C O R D SH o r s tW e b e rc m b H . U s e d b y p e r m i s s i o n .

22
c-715 F_715

r{zsusbg

E odd 9 FlE
SEVENTH CHORDS
Our first "jazz chord" fingeringwas propablythe major 7th (A). Let's take a
new look at its possibilitieson the guitarfingerboard:

F BbA
V TTT--I v rn-rFa
FFfr]
T-trrn
LLLL'J
LT-L'-LJ

Ht]fl Fffl#
TTTTN

.,,,:.::;;,1.-t,;,:-.,
Yoicing
FA BbA
vilrFFET vilrf|Fm
H+ffl Fffi
ffi ffi
-o-
}

g Group,

FNC FNE

-+ --+
vrffi -
xlTlfn
tL|H
I...|...|..m
TTTTN Hffi

anu.@|iia,#,;.i
Bb^/F BbNA
BbND
ilrm vrrffi
xffi
--+ ffi->
ffi
iT'if

Ft]fl
il -
ffi
bo

)s b;ns ciA# :{ t$$t&::l{ii


'm -+
A
'"m-+ Eh^/G EbLlBb
vilrl-ff,ifl
H]:E -+
t-t-t-FH ",m
EbND

TtrtrTN Hllfl
7o
cl rb;
2C
MAJOR 7Ifl VOICING EXERCISES

L2-Chord Connections

cA FAIC CAIE FA CA/G

DA/A GA/B DC GAID DA G^/F# D^/Ff GA

L, R.an.d.1ataC a n et {aa.s,

c^ Ab^tc EA/B A^/Cil DA BbAIF G^/F# EbNG

FNA

\^,{
J- (^Orrir,
7thlnaersionscounterpoint

GA Eb^IG CA/G ^bNG DA BbA/D

GAID Eb^ID AA FA/A DA/A BbA/A


,l
,|
lr
| b
MAJoRz#rrsnapes & rNVERsroNs

A common extensionto the major 7thchord is the 11, from the Lydian mode
(sometimeswrittenas "major7b5"):

Fall Bbl l l
rvffi vffi

ffi ffi
TTt-rn

Flill I BblilI I
vilrmll vilrm
t-f+t+] ffi
H]Tfi TTTTN
-o.
<} >

rll l/
rrtffi
---+ -+
ffiTN

{E} o

ablf,llD abl]l'' l l'o


Bba
-+
ilrm
ffi -+ u"ffi --+
rxmn
ffi
Hffi ffi
> bT

-+
rballlc
lv f-T-rT-r
|-+l+l ---+
rbll ll
TTTT-N
vil EFfF --+
,.m
rblf,ll/o

ET]IT t-fl-t-t-a
TN-TN 1ffiN
t-ii-l-fJ (t 2<>
MAJOR 7il5 SHAPES & INVERSIONS

Yet anotherpossibilityis the major 7il5, the third step of both the melodic
and harmonicminorscales:

I Roof Position

CA'iI'

) 1-5-7^3Voicing

cai'r- Fai't- BbLn'


vlil r-rrn vlil rTaTrr
H+iH
tttatl
IT-TT-'
trrtrT-n trT-rT-n
ffi ml:
ttttl

t) Lower 4-String Group lnaersions

tr A lJlA

---> -j>

O Middle 4-String Group Inaersions

sbt#s BbLr'/D BbLr-lFil BbLi-lA


I ra-rTr] rx[Rfl
F|l# -.+
ill
-+ y11FFffi
ffi+
IT-TTN
trarri
TTTT-]
- FnT-l
taatl
E]E
i
fT-Trn
I
{} 20

) Upper 4-Strin'gGroup Inursi.ons.,

eb#5 rbn|.src E'L"IB EbAr-ID


-+
lv rrrT-t
tta

IT-T'TI
ta
trT-trrtr] -> vrffi -
Xt|TTTl
LLLLL'
tm
tTrnl
l-H++t rrTTN
L |

ttlltl I
2o""

28
Seventh Chords

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

',::,tinii,il?
O Lower 4!.."':Wtj+

Glf,l I G^#s G a + l ''


l'l l
cA c^i5 GA GA GA
Iilffi ilrm |||f,I|
FtrtrFTI
ilrffiIf
tr-Trn
V TF[F]
a-rTaTl
V TFITI vm V FFFFF
5ffi
ffi FFFF ffi TFIIF ffi ffi ffi ffi
TT-TTN TTTTN TtrTtrN -Tl_I-n TT-TtrN ffi TTTTN trT-trrn

c^fs Gal't' ' Gfl l


l'l l
GA GA GA G^5 GA
rrrtrn
|xlt|-l TTTT-N
rxtlfl-H xil|m
55t1fi
XII FFFFE
Q!-LL!
TTIT] Errn F]|N
H] t-l-t-t-H H+IH n-FrFl

O Middle 4'string Group

clfil I
l'l
cA
ll l
cA c^l'r" CA'l- CA
ilrmn ilrml ilrml vFtm vffiTl
rT-T-t TrrT-1 TT-T-I T'TTT]
H++H H+HI I...I...I...m ttttal ffi
TT.TI-N TTTTN F]] r-r--rT-l
TtrTtrN ffi

''m cA

ffi
cA'l. cailll cA
rxFtffi
taottl
HT
xil ml
cA
r-a-rTt
trFil
c^5 Cll t
xil ml
CA
T--TT]
ffiF
t-Tt-Tn TTTTN TT-TTN TTTTN

29
seventh Chords

. U p p e r 4 - S t r i n gG r a u p
ll l
' t l1 r
FA FAII" FAT' FA FA FA " FA', FA
IlIrTm
l.../...]!
lll ilrFlffl VI MTfl vr m vrmm
I I taaa

trtrn
ffi
t I taaa

ffi
TTTTT'
frT--n
l-++. ffi
ttttll Trr-rn FFffi Ffl-TN ffi
|
TI

FA F^{s Fll
l
FA FA FAI,I" Fl l
X IT*FE xm xuffi X|||FlTfil
EEIIH Ft+]] H+F
ffi#
TTTTN F]] TTTTN
ffi
TTTTN

DIM!NISH ED 7THCH O RD S

Here is a lavoutof diminished7t' shaoes:

) Diminiihid 7th,Cha'rds

"m
Go Co Fo
ilEm ilrffifl
IEE
ffi +fl-H
Trn-n
FFFFF
TTTTN

b*

C Wide Form lnpersions

Lr" Go co
rffi rmB ITru rTI5T
TTfn ?-u-l+ L+]-H
+ffi|
FTH+]
ft-fiH Ht+fl TT-n-n Hl]

\ (pr"arvimprocticol!)

Because of the symmetry of the diminished 7tn chord, the voicings (and
fingerings)within a given string group are identical.This saves us a lot of
work memorizingchord shapes.

50
DoMINANT TrHsHAPEs I
INVERSIONS
Here is a layoutof dominant7tnshapes:

'm
c7 F7
'um
ffi
TtrTTN
abt
IVffiM
ffifl
ffi

c7 Bb7

ffi
vilrml
|-|+]
H+F
_o

'm
F7
-+ -
FTIC
vil J;FEI
rrFrn
+FFF
-.+
FTIEb
x SFtl
ffi
ffi]

> }

'ffi
Bb7

--+ --+ -+
sbztab
*ffi
ffi
FTTTN

bo

Eb7lG rbzBb EbTlDb


IVFEF] vlllrr---r xrmTl
-.> - Fftt+? -+ l...I...I..m
FFFF|'
trTTTN
ffiF
nTTn FFFFF
r Frl-T-l-l
l
7.O |b
P. O
r
MlNoR 7THsHAPEs I lNVERsloNs

Here is a layoutof minor7tnshapes:

I Rost Positi:o.n
V_ /
c_7 F-7
rvFFm
Fffif5]
ffi
TT-TtrN

) 1:7-5.3 Vaicing
Bb-7
c-7 F-7 vr||ffllll
VIIIIFFEE vilr FEE+I TTT'T]
EFFFH r-ra-rT-t ffi
FFffi ffi . TTTf-N
TN-TN N-TtrN
'b.
b- DA

4'String.Graup Inversio.ns.:
) Lo.r:.er
--.-l

F-7 F -7lAb t-/lLv


t ataa I

EFFftl
l-.I...]...m
tT-t-r-t-l
ttltl

4,S trin g. Gra.up Inuersins . .


)....Mi:d.dLe
Bb-7tF Bb-7lAb
Bb-7 sb-ttob
vr|Tflfl Xm]
I r-T-Tl
tj+a I
taattl
.rTT-l FFffi
T?TT]
ffi-tl ffi Fl]T
b- bo
n-TTn

J Uppe,i,4'S,iiin g C.raup lntser sions


Eb-7tcb
-L-,-l
-l
LV- / Eb_/ lv Eb-7lDb
I TT-TTI
I | | laa
IVffi vil mEIfl xrffi
I-rTn-]
TR-ll + rrr+n' - TTTTN
F]] FFFffi FFffi .FFffi
'[
bo D.a

52
MlNoR 7THb5 sHAPEs I
INVERSIONS

Here is a lavoutof minor 7tnb5 shapes:

R , o o tP o s i t i o l

Cs Fa va
|l|m tvITtIfl |VFff[l
ffi
TT--TT"]
TTtrTN ffi
TT--rT-l
tfffi (propoblyu n p l o y o b l e
T--Trn TT.']TN
TT-TTN
with root!) b

7-7-5-3 Voicing
Va
Ca Fa vilrm]l
vrrEm vil rFtFill ffi
ffi
TTTTN
FUll F]]
ffi n-Trn
rbo
b* DA

Lower 4-String Croup Inversions

Fa FalAb FalCb
r ataatl

rnrn
ffi
l-l-u-n

Middle4-String Croup Inpersions


BbslFb BbalAb
oa
VIETiT] rxlflFfl
I T-r-Tl
TT'TTI r--T-t
ffi ffi
Lt
ttatal
TTTT-N
l..]...l.]T TI-TT-N Tr-Trn
t-l'ti-n
b- bo

Upper 4.String G r o u p I n o e r s i o n s
EbslBh E b al D b
EbslGb
EVA
V||l-|l+] xmF
I TT-TT'] IVITITfl TT-I-T'
F]]
rrtm
| | taaa
rrT-ra ffi
I FUfr
- N-TTN
ffi
ffi
IT'TTN
bo ?o
M|NOR MAJoR 7rH sHAPEs r
INVERSIONS

7tn:
Here is a layoutof minor chord shapes with a major

cA Bb-^
v rrr--l vm
ffi Fffi
FTTTN
TTTTN

Bb-^
p-A vill FFm
vilrtEm V|||mT] TI-r5-t
Ftffi
FFTTN
t+11+l Trr'r-n
ffi Ip-o
F]]T
}

c Arr
r-^/b F_AIC
rm 4
F?]+N 4
F]]

Bb-^lA
ab-ttob Bh-^
Bb-^ VIF|frll xmF
rmTl ilrffi rim -+ l+1++1
t-f+t-H 4 l-T-fT-l
4 Fl-l-FH
N_TTN F]]
F]]T Fffl-H
b-o.

Eb-^ Eb-^/D
vrrFEI]F xrm
I FFiTB FFffi FFFFF
+ F]lfl
b
I TTTTn
n--r-rn -
ffi _o
Seventh Chords

MINOR 7{5 SHAPES

Minor7f,5shapescan also be thoughtof as inversionsof a "majoradd 9"


on the stn.Forexamo|e:

^_75 Fodd9

Hereare somecommonly-used
shapes:

l'tr
D_7T5 G-7 tu
vtffi
l.t.*at
v|TflTl
TrrTF
H+HI TrT--n
rffff1 ffi
7D

l'l
A,-7t" A-715 D-7ils ^-75
ilr [fffl?
FFnJtl
vfmF
TTt-rn
Vffi Vffi
l-H-+]
TT-TTN
TTIII-I
t-t-t-FH
FFFFF
TT-TTN
FFFFF
TTTI-N

po,

55
Seventh Chords

ROOT POSITION EXERCISES

Here are some exercisesusingthe chordshapes we havejust seen:

LMajor 7 Colours
'
FAl3 r # ll
I i'lr r
aba Bbarf' '
t\
FA FA1'I" BbA,i. abll3
V trTTT-] v rT-rrra VElE
Fl_FFl
IT]T
H+fl
ffi
TT'T'TI
ttatal
TTTTN
TTTTN H]]T I..]...]..m
TT--r'Tl

L Minor Colours
A
G_A G_7 G-6 Ga c-7 C_ Ca
vtl VI IEFFE vil FFEI+rl vr[f[m tttaal
v I rrrrra
H+l]
Fl_lFl
-TTTN Hffi TTTTN
TT5-TTT ffi
at
TTTTN
tl
Ell Trarn trrtrT-Tl

b b

LDominant 7 Colours
t'r
cr3
l'
G7 G7J (J IJ ctb5 a-7 c7n- c7b5
VIFFTIfl vrm
Hffi El#
ffi TT--rT-l
TTTTN

L ScIe|tep Skipping
tr* -7
i'lr 1
'
DA DAiI" E-7 g-A Fil_^ GA GAt'
rt rTTIfl viltTFt
l.|tfi P-ffi
tr-rT-n tTfl-n
H+H-] FH+H

r-rT_
\L# 1_:
5______________

GA GAT' A-7 4_A B-7 g_A CA Cilll


|VFFFFI v||FFt V||FFFFB
tttatl
TTIII FH# H+tH
t-l-TFn F]] H]]fl

36
II.V.IVOICINO EXERCISES
r 4-String Croup Inoersions

G_7 CTIG FA CTIBb FA/A


lt t trTrTn v rT-an ilr FFfp
T:lTl LLt!_.lJ Q-EdJ

---'-1-H l-iH# tatttl


I-rn-T.]
attati
ffi
_._ti f'rffl H+H.I TTTTN

o
e

G-7ID C7 FNC FA/E


vilr -TTTI vilr EEf;ll vrrffi X T?III x Tn-|
EFN TNT rTTln TT.T] a-TTT-l
rTNT
=1 F]]# trtrH
tr-trT-n
TTN-N t-l-t-t-H

e 4 - S t r i n g G r o u p fuywe|siai.s .

c-7 gb | /tEv Bb^/D


ilt i-T-n rTE-| V TT--'TI ilrtTfIn
#fl
tattal L||||
TT-T-I ffi tatltl
Trrrn
t] Errfn TTTT-I
H+IH trTTT-N
ttattl
TT-trrn

F7 BbNF L_ / lV Bb^/A
vilr [TffTl x rfR-Il
vu FFffi r5-TTt
TT--r-l
EE
taattt
TTTTN TNT
H++H ttltal
TTTT-N
I
t-l-ti-n

} 2-O

4-Strtnq, ttroup Inaeistons

F-7 BbTtF tbt BbTlAb EbNG


| trTm
l....]....JJ
vrmfr rvmm
TTTtrT'
I I taaa
r-r-trrn ffi F|+N
FTTTN
n-Trn ffi ,TtrTtrN
; b;

F _7IC D/ EbL/Bb r-/la7


- ! - |

BbTtD EbND
rxFFrEI vilrlfflfl xlll ITlIIl xr FFffi
ttlata rlTrn I...I...]T ttaatl
ffi ffi
TTTI-N |Ttm
TTTTN trTTtrN ffi ,l-li-l-H
_o 'Dbii
b A
v

DROP THREE VOICINGS


Anothervoicingcommonlyused on the guitaris the "dropthree":the third
voicing(fromthetop,anyinversion)
voicein a closefour-note is dropped one
octaveto oroducea full and resonantsound.

O Major 7 Forms
C^/G CA/B
GA GA/B G^/Ff, CA CAIE V|||FFEIP X||m
ilrffi+fl v TilT V||lFm XII IITIFI ilr mT V FFIfF ffiffi
$fffi ffi
ffi aTT--t
ffi ffi ffi
tattta
r-r-r-r-l Fllf, ffi
ffi -trTT-n ffi F]Tfl n-Ffl-1 FFFFF

O Dominant 7 Forms
CTIBb
a-7
G7 GTIB X||[I-m
ilrFFtlfl ilr[ffflP l..]...]-m
Tmt
ffi-J_H
|_I].Til
ffi
Fllu
TTTtrN
n-FI-n TT-I-N

) Minar 7 Forms
C_7IG c-7lBb
G-7 G-7tBb G_7ID G_7IF vilrI:]:E
vilrtTlTll XITIITI t+H#
a-rTTT-l
ffi ffi ffi
TT-trN F]]
b

O Minor 7bSForms
CslGb
Ga GslBb GslDb GslF Cs CslEb viltlTl-ffl
IIFTIfl tv arTaTn xrmfi
rT-rTT
|||m I_5IFFI
trrrT-l
T-ttn
ttaal

ffi ffi ffi ffi


F]]T F]] Tl--trn ffi

b b
TtrTT-N

L E x e r c i se : M a j o r ' C o l o u r s
r3
GA '' G a r ' r''
l]'l
GA CA cal'l'
|||FElfl |||FEI| ilrmT
ffi ffi rrn-n
TTTT-I

FFFFF FFFFF ffiffi


seventh Chords

.DROP THREE' COTOURS

Dominnt 7 Colours

G 13 G7r" c z i l lI c z lt

a
"J

F"setci s e: M in g.r. :.a


urs
|5
G-13 G-7 G-11 c-7 c-7?
rr(Elt lllfFFEtr ilEm ilr[Fml
-.Jl l_l_l_l_H TT-TTN
--tl TrTT-l rftm
ataatl
Ff+++t
=:: ffi I-f1ff] TT-TtrN

..
F.xcrcise:u -V:I.,..Ca?.biation
A-7 D7 GA E7 A,-7 D7 GA E7
.'EE ilrtm |||ftIfl ilffi vilFFm V FFfTJl V TT[il
.TT'T]
attatl
Fffi F]]T ffi attatl
trT-trrn irttn
*+-l
---+l FFFF
TT-TT-N ffi TTTTN Fl]T ffi t-Ft-t-l-l

G-7 C7 FA D7 DA B7
vtil ElEm ilr fFf,lfl vrtm vilI-Fm viltTlIll rxT?TSI
fiTfr] FFFFF
Hffi
AILLLJ
|-|+.]-.]
LLLLIJ
l-...]-+.]-.]
tsfffTl
TTTTN
FFFFF
-TT'T]
ffi
]]fl fH-fH rfftH n-Trn

D-7 G7 CA G7 CA 4,7
'ffi |||m |||m
rrrm
ilm V||EFm v|+il V FTM
T'TT-N
T'-T-T-T..]
r.+-]+
lattta
...ffi
ffi F++-]+l l-|++1 ffiffi TT]TI
Fffi t-l-u-n
l#
tt-trl t-l-u-n TTN-N n-rff1 Ft-rTn

c-7 F7 G7 A-7 D7 GA E7
IXffi vil lfffB vil ffflIl rx[Tfm
VIII EEFEFi VIII FEFEFI ffi T'TT T1
tr-trT-n l-fH-51
Trn-n E]l ffi ffi ffi ffi
F]]
TTTT-]
t-I]-T-n
,ffi
l..]...].-m
T!_TTN
TTTTN
FFFFF ffi
;

39
REDUCED 7THCHORD FORMS

The variousextensions(9, tL, 13) used in jazz harmonymake it necessil)


to leave out notes that don't add colourto the chord,for examplethe fifth:

O 7-3-7 Voicings

GA G7 G6 A-
lr Tf[|] iltm il JTll-ll ruffi
rT--rT-l
TI_TF
I..]...t..m
TNT Fffi rflTt
tfFffl FFni-l Ff++# ffH

CA C7 C6 p_A
il ESn IIEffi ilrFFFffi
"ffi
tTtm
rTNT ffi ffi
l-Ft-t-H H+IH F]] ffi

FA F7 F6 6_A
IIFEM il Ftm il Fttl ilr FFm
TTTTN
l-|++1
LLLLIIJ
t-f+H ffi ffi
TTTtrN I-l'n-n
TTTTN
TTTTN ffifl

Bb7 Bb6 c-7


IIFFIT?I ilm ilITFFFi ilrFtEfl
ffiF ffi TTTTT]
TTTTN
ttltta

ffi ffi
|..]...]T
TTT]-N H]]
b 7

LMajor SceExercise

cA -6 D-7 -6 -bo FA -6 G7 -6 A-7 -6 B o ( ll ) _bs C^ -


ilEm vilml IX ETJN xrvEFm
Trtr-n I..]...]T ffi
tTt+l ffi FTTM TM
t-t-t-t-H TTTTN fffl-ft t-l-u-n

Transposethis exercise to other keys and fingerings.td


|.7-3 Voicitgs

GI G7 G6
",t ilrfFEl rffi
.'...--
'--'-'-1-1 ffi TtrTTN
--l
l..]"-]m
TTTTN H+H.]

; io'

CJ C7 C
'tt ilrm
l-i-ff-]
Ttm
"ffi
TtrTT-I
fffi-fr ffi

FI F7 F6 g-- G-6
--i ilr[fm] ilrTrTfl v rT--rT-l rvF|rm
Fffi
ttttla
TrrTSl
trT-Trtr- TTTT-tr- rfn-n
- ffi l..]...]...m
trt-l-f1 ffi
N_TTN F]]
e } ? bo

|{aj o r S ca l e. E*;eiib,..e;.......;
:....

G"\ -6 A-7 -6 B-7 -bO CA A D7 -6 -6 F, _bd -6


.rt vl||FE[| xmn XIVIFEEtr XVftI+
---:-n
--_-_-T.]
ffi
ffi
ffi
ffi
TTTTN ffi rTTrn
ffi
TTTT-N

Transposethis exercise to other keys and fingeringsas well!

41
r

Seventh Chords

THREE.NOTE COMPINO USINO


"STABLE'' NOTES

conceptof reduced7tnchord comping.


Let's look at a more modally-oriented
Perhapsthis vamp from HerbieHancock's"Cantaloupelsland" is familiar:

F7

It uses diatonicthirds with a "stable" uppervoice to express the chordal


sound of F7 Mixolydian.lf we decide on a strong "stable"voice (herethe
root)we could experimentwith this conceptfurther:

6ailll lLyaron)

Thereare onlya handfulof possiblecombinations, althoughyou can extend


them by using other intervalsfor your basic chord shapes, e.9., the fourth
(see chapter5). The combinationsalso transferto otherchordswithina dia
tonic scale. For examole:

A-7 or DTsus

42
The "stable"voice can also be underneath:

c l f i l I or A-7, or DTsus

The same concept appliedto the melodic minorscale can produceinterest-


ing results:

l3
o r A b T o l to. t . D 9 { l l

We see here also the emergenceof "cluster"voicingswhich will be discus-


sed in chapter6. These should be transferredto other stringgroups.

43
EXTENDED FII CHORDS
Now that we've omitted the fifth, we have room for other colours, for
exam-
ple, the ninth:

,tffi
Ga9 G9
iltim
FTTTN
HUU
TTTTN

"m"m
ca9 c9

ffi
TT-TTN

rd,9 F9

ffi
G-69
ilFtm
ilr l-fl+.1-.1
l-FH+i
Hil ffi
H]tfl
}

t^
ezle GTvY
IEFII
r9
ffiil
HUfl
tl
ffi
H]
MAJOR 7TH MATRIX

The next step in chord reductionis to omit the root. That leaves us withjust
the third and seventh. Now we are free to experimentwith the colours avail-
able to us around these notes. Let's took at GA:

After omittingthe root and fifth, we are left with B and Fil. Let's see wherg
we can place these two notes on the fingerboard,so that we can look fu
the colours availableto us aroundthem.

vil FFm rvml il [Ffm rx EiFm rvmn I t-f+l-H


ffi IIIF ffi ffi FHl]] TTTTN
ffi FI?N]
ffi ET]
ffi
Ft-t-rn ffi TTTTN

r x mF vllffim rvml IIHTTI


ffi H# ffi Tf-l-aT1
ffi F]] FFFTN
ffi
TI-TTN

46
7th Chords

# + 7 t n + D - S t r i n gC o l o u r s

GA GA9 G a i r '' GA
Y -TttI VIIIFEEtr vilfFm
.ltltl t-5t-t-H
l..]...].--m
ffi
N-]TI E]17 ffi

) 3'r + 7th+ A,Stri,n.gC.ours


ll ]
. GA
GAt'
lv rvEm
TtrTTN
?]-+-.]
H_fH

o 3'd + /tk .$..:$1riL8..CoLour,s

GA GA9 Glill I
rTrn ilffi
il l-?l-fH ffi
Fffi
TTTTN l-l-fl-H

o 7th+ 3,a.i GStrirg ot.out:s


'l

G a r ' r''
l' l
GA
vnffi
taattl

Fffi

O 7th + :1rt,,,i,p,',5tri.ug',Crd*ui,
cAl 3
'l
G a r ' r''
l'l r
GA

"rffi
Fffi
FT-TTN

47
Eended 7th chords

-
-
/,,'+
7r'lr
. -vA - r,
J'" + L,-bfrznK Loloo(rs

GA GA9
nTn] oo

rr-rrYr
VM l-H++l
V TT-TT]
IiJ+H rr TrFl
TtrTTN

O 3 , d+ 7 t h+ B - S t r i n gC o l o u r s
-U ^
A
cA9 Gafll
vilrTJTF rxFflfTt
rrrrn
Hl+i-l
Tlt-r-n
ffiil
rT-rm
tttlal

O 3'd + 7th + G*String Calours


J'lr r
'
GAi'
GA G^#s
vrffi
Tr--Ft-l
rrrn-l
ffi

O 3 ' d + 7 t h+ E - S t r i n gC o l o u r s
-^
U1\
-^9
gL\

O 3'd + 7th + B-String Calours

Gl#ll GA
il llrft GA+I'
llr-r.r.Il
| LLLLIJ
H-t+.{-l
f++l H]]

a
7th Chords

S o m e I n t e r es t i ng C o m b i n a t i o n s

l3 l3 t3
G t 9 { rr cA9 GA9 c ^ 9 #r r
il TTI5]
-Ta-rT-l xffi
]]tll
--]-T-TTI ffi
ffi

t3 l? t3 13
Gair' ' GAII- Gat'r- cA9
o o
Effi
trrlm
il lff[fl lv rT-.n
rT-aTl
ffi
rum HH+I
H]17
TI-TI-T] TtrTTN

t3 t3 t3 l3 l3
clf,tl G a r ''
l] ]
GAN- Ga+'r" .^9
UA
v t l fa rTTl
rTL-r] ilIT.TT?
TT'-TTI tttaal
rT-trr-n I l...]T
-TTT-|-] ffi

13 13
Gall' ' c n 9 l cA9 GA9
v l ll rrr-r-l
tlatla
tr\=rFn
XTM
rrT-n
rxmfll
r-rT-Tl
Xffi
H++H
rT'n-rl
TTTTN
ffi
trT-trTTA
I...l.."]T Eu
TTTT-N fi-TtrN

l3 9 t3
Glll c^eilI GAiI- cA9
x||rrr5T
tattal
TTTT-N
tlat I
TtrTTN

49
Extended 7th Chords

MINOR 7IH MATRIX

Now let's do the same with minor 7thchords - for example D-7:

.*;Wl*:,...,bs
::6;$|:sg;iiai
D-t 1 ^ rl3

}.|b7|b .+.b,3 ti :..


1;...Q.:.$.y|,in g....
C.aa

D-1I D-713
ffi
ilrfflffl
FFFFF

O b 3 , d+ b 7 , h+ G - S t r i n g C o l o u r s

D-7 D-9 D-l I


vll

lFfrb....
i:,:bea':}l:: tii*::eiipni'
i...,8::.s
D-7 D-9 D-t I

1..yi,.y.;.......$7i;...{',.
.$.|;g.:.ctl.|;s
D-t I D-7 D-713
Extended 7th Chords

+ D->trtng LoLours

D-7 D-713

G,Stin.g CIatrs
D-7 .' tl3

T A-StringColours

I ",,H D-t I D-713


n7

l-ffi -T-a-T.]
I
I ffi

l#
l':;"
I
1i D - S t r i n gC o l o u r s
l2
D-t I Fl 7 T\ 7IJ

tffi

l+
I T-rm

+bs,d g,;:(,p,!;{,
9".$i1,,v;1x rirs
f.rr.
T

D-7 o-z l3
lr,,,H'
I Tffrl
lffi

l# =

E;{ttig ea..a.as
l;,,,,ar,3rd
D-11 D-7 n
'I
7 rr
2

I ilrtTlf|
I
rrr-n

,#
I
i l-|++]
nTrn

51
Extended 7th Chords
_
L Some lnterestingCombinations

D-9 l3 D-9ll
D-9 l3 D-911
vlllr-TTn
H++]l
rTrrn
H+ffl

D-913
u-t3
u-t5 D-9ll
vil r-i-rn
+H+
ffi
rnTn

D-911
rnf-
ilrFrn]
ffi

H++fl

D-9 l3
D-913 D-9 l3
7th Chords

DOMINANT 7THMATRIX

Dominant7tnchords have a wider array of extensionpossibilitiesthan any


otherchordtypes we have seen so far - b9,ilg, tt/bs,ls/bts,13. ',Tritone
substitution"makes it possiblefor us to use each dominant7ti'chord shaoe
in two differentsituations.For example, if we take G7 and Db7 in their re-
duced forms, we have:

G7 Db7

As we can see, these two chords have the same third and (b)seventh,only
reversed.To be able to applythe "dominant7tnmatrix,"we have to learn to
see each dominant7thshape in two ways simultaneously.For example:

t3
A79
ilITEFE
rT-raTt
H+HI
TtrTtrN

(o)
o,rbs A9 A7T9 lr r
A7t', ',
rvmfF
TrrT-n

FFI-IH
,um
TFTFN
Hfl

A7beile nbs 13
ATbeirl azbe
ItrTFI ilrffi A7b9bt3 atb9
E] ilr BTT|I ilr m
Hffl tFug
H]] FFFI-+.I
FTN-N
t-t#l
r-fl-ffJ

ilFm
A9

ffi
ffiix
q1l , q fl l
'um
FFFTII
m-n-l
rvm
ffi
ffi
m-ff1
A9
'"m
onbls

ft-t-fH

azgl l l?
azsbls
rvm
Ffi-fi-l
lffi
'um rvt+il
al9
rn-rn
H++il Ht]+.
n-n-n

ne l3
atlsss Aqfll Ie 13
A9 A75b9 az9s
ilmfF
rvm+ ,um
I FEIFEI
E#fl ffi
Ffl r-r-t-t-t-l ffi
FTFffl
r-r-t-Fn
ffi

54
ObTrL + 3,d + G-String Colours
t
rtfr1 E7
rr .:rTTl
-.TTT] rvFFF
-']+
=rm ffil
ffi1fl

O J,r + b7th+ il.,jrh+ B-Siring Colours


13
E z 5 fl l rz#lt .rfl1 ,l'l r l
E9'l''

) 3,d + b7th:.+Sttl + B - S t r i n g C o l o u r s

Et3 E7 E7
l^
r-VY

'vm E9 E7|"e
EI
lll r-r-rr-r
FSITH IVET-II
ffi
TT-I_TN
mtl
Trt-ll-l
rTaTT]
H+t?]
rtrTTN

o 3,d + b7,h.+...th
+ B-String Colours
J'l J'l 9
E7tu E 7t '
E7 '
t ETie
ffi
t+] ffi
rn-l_n ffi
TI-TT-N

) 3,a+b7tu.
i]i3l..n B.StnY..C.sIaurs
Et3 13
Et3 E9l3
ill
E7ile
!'' Extended

E75b9
7th Chords

tt tttaa
I
#,t

|_FFfI
TtrTT-N
tattt
IT-TTI
I
}"
|;{.:
*;t#.y*"i%#'.l.m#t$:::i:":""
*:-H!.;:l
t5
E 9 t ''
ll'l

:
E7
trlttl
LIILIJ
H+HJ
FUfl
,rbeYt
ilrm
rfTTN
I tataa

TTTTN

l ' rr IJ t3
l,t''
,rbeillt rfrsas ,rbeYt e q # lI rgl3
rvEm v'tT-T-t
T-r-r] vffi
I t aaaa
v r-rrFl
ttaatl
ttataa FTTTF
Trrrr] t+-]J-?-?
trfiTEl-
HUfl ffi
TTTT-N ITffn
tttttl
Fl-l-fFI
TTN_N

t3
l rr
ATtt' ' A q i l lI zil5 Ar3
Vm V Til] V TTM V TFIN
ffi ffi TTTTN
totttl
TT-TT-N
.TTTTI
TT-TTN ffi ri-H-H a)t I ) t

*e*jzl-J$l.s;$$r*i.gue"olr;.vr,,.
13
t
t z#9ilt atile als|"s ttle
V TT-TTI VITfTn V IFFEtr Vtl-fTn
trF
tagtl
T-TTT"I
Iffi
Trtrrn
latrtl
l-fT+H
frrrn
rFFFH trTTF ?JJ-l--]
lttttl
aat
trTTTN
ttl

{ l3
Al l p1l ll9 9 A7 n'
l'

'vTffff ITffn rrnT


v FfffiH v ft-1-f1
TtrT'T'] trrtr-n trTTa-t
ffi Hl]fl ffi

5
l3
A7l1
il m
ffi

I'lrl
A7t',', at{tt
ruffi 'um rvFtm
As#ll al9|l
rvEm
ffifTt
rn-Fn
LL]-tIJ
FHJ_I{ ffi
r-t-fffJ
ffi

FTTTN T|H

At3 A7 A7 azbe A9 az9


il Fff[R
t-ffi
lll F|TITI
ffi ffi Vtr?lT{
ffi vmt
ffi ffi FF'|
u-t-t-F1
H+IN
FFB H+ilJ
FFN-H
Trn-n
|-.H+
rTFTN

D tl

p5 9
l^zls eilsbs atil5
vm
I-TTTFI
TTTF
b

xr t3
Al3 Ar3 arbe g l3 Ar3
ffi
FF|-+?
VMTI
F++] VffiI
ffiFF l-.|-.-# +ft-?]
FTFft]
ffi+fr
D ,|
lll
*...#i.t iii.;

A7
A9
ilm
ffi
ilmn
HITI FI]
ffiTF

}.$t:::;9:y:;!;1.1
E-String Colours,
l3
o , b bls t^
n zvY

,::f?.ih.',.:g: . . r,.:.,ii6a
t,^
AgV| 4913 A9 A9
ll rrrT-l il Ffmi
FIIH
LLLLI!

ffi
FTN_N FFI_TN

l3
atiebts ATle
orbeXo
rrmFl
ffi
D

r z # tl
E9
v'm Eil
V'M
TI-TH
FTFFN
rrrTr]
H+ffl

58
Extended 7th Chords

O 3'd + b7'h+ 1-+ E-String Colours

E z ll
E9 E7 EA* | |
L/ E7b13
il ffm |V[Im vmm v rarT-l
ttattt
trT-T-n
rrTrn
TT'TI-N
l tttal Fffi TTT'T'
ffi
trT-TT-tra
TTTT-N
Hffi Ft# TT-TTN

o 3 , d + b T t h+ b g t h+ E-String Co!aurs t3
t^
r -?Y
ln
l1
E tbeil
la
EI
E7b9fre r-Va
E/
r-V
tt
rrffir
IV t vt l a t a o Iffi
TTTT-N
F|+N trrtrT-tra
FU+
TT-I-N
I...I...I...m
t-t-tT-n

O 3 , d + b 7 t h+ g t h+ E - S t r i n g C o l o u r s
t.^
E9 -E A^ 1 t E 9 t ' r' ' E9 EgP
tr E9l3
rvm VI LIffi
I I taaa
Fffi rr-trFtr
| ].]m
ffi TTTI-N
tttttt

O 3 , d + t T t h1 ! 9 t u + E - s t r i n g C o l o u r s l3
ETie e l 1 9 ll E79 7| 9 b l s ETie E79
VIFITJTI vrm E
-TTT-I
TTTT-'
TTTT-N l-H+f?
ffi -TTT-N

a b 7 ' h+ D - S t r i n g + 3 , d C o l o u r s

A7 A7b9 A9 ATte
VIFTIFF VIFf[r[]
ffi
T'TT-T-1
TTTTN
I attl
trrTrTl ffiFF
Extended 7th Chords

a b T t h + b g t h+ 3 , d+ B - S t r i n g C o l o u r s

IJ
t^
atbe ATvv A7o'

a b7th I jth I j,rd :, B-String Colours


]'
AgetJ A9 l3 A9 A9
vrFFm VIH#N
TT-|T-l
ttattr Fffi
Ta-r-r-l
FiH+] TTTT-N

. b7th+ 9,,
+ 3,d+ B.String Colou,rs
13
ntlsvt3 A7I9 ^79 ATle
vt Er-r-fl
ETII]]
t-t&FH
N_TTN

t) 3rd+ D-String + bTthColours


]'

Etl ez i l l l E7 E7nu El3
vtl vtl vil FFm
TiTN
t-}Fl-H
m-Trn

O 3 , d + D - S t r i n g + b T t h+ 9 ' h C o l o u r s

E9l I E 9 i ' r ''


I'll I
E9V| E9l3
vtl vtl
xtended 7th C

,rbeYt E79b13
vrmfl
ffi
ffi

z # ll

curot$aff!ffi
ETPY E9
vrm
tr-Trn
ffi]fl

'l
t' l t,^
E7n" E7 E7vt5
ilrmm
ffi
TtrTTN

eqll ezlsl l rtie 7{ebr c


IITTffi ffi ill I ttlaa
ffi ilr FFm
ffi ffi ffi ffi
ffi ffi ffi H]]
O D - s t r i n g + b 7 , h+ 3 , d C o l o u r s

Ell rzll E7 E7V| Et3


vtl vtl vil lfnp vilF
ttatal
TNT FFFE
N_FFH F

O b T t h+ 3 , d + E - S t r i n g C o l o u r s

Eil E7n" E7 E7?| El3


vll ffi vlr+lr
FUq Tl-T-.
Ft-r
FFFFF TTTT'*
+,1
ll

O D-String + 3,n+ v / " , L o l o u r s


l^
A7 alDY
A9 ATie Al3
VIEETI vl ITfFn
TrrT-1 t-t-Ft-H
I...l...]..m
HUf, Iffil#
Trtrr-n

O 3,d+ bTth+ E-String Colours


t^ y''7. ',
A7 ATVY A9 ATIe
VIFFIT*
vmr. Vl ffi VIFF|rB FF|=
|-+.]+.]l l_l-||l TT-TT-I
t-l-f1-.1 rrTT-n
ffi Fr=
trrffi i]-rm Fn-rn

O G-String + bZth + 3d Co/ours


t^
tzvY l t
A9 ^79 All A7t' ' ^ 1 v |5
,13
V|||FFFI
tmn v i l l rrriTr v l t l tftF
H+-] H+H l#
rtt+t I..]...].-m
Tft-
,l.l H]]T TTI|-
|

O G-String + 3,d+ bTthColours


r z i l lI t,-

vllrffiT
E7?t5 El3 r-?
rI ft E7ile
ffi+ IXFFITB
R]] H+TH
l....m
f]-t-Fn

2
Extended 7th Chords

EXTENDED DIMTNISHED 7THCHORDS

So far, we haven't looked at extendeddiminished7thchords. Let's do it!


The scale that is commonlyused with diminishedchords is the "whole
step-half step" scale, or "symmetricaldiminished"scale. lt offers us the
followingextensionson a diminished7tnchord:

t,-
7tJ mol/

We can see that, as in all otherscales, the "upperstructures"form a chord


arpeggio- in this case anotherdiminished7tnchord.This is againa result
of the symmetryof the diminishedscale and means we can use any dimi-
nished 7tnchord as a substitutefor another,as long as it belongs to the
same scale (thereare onlythree possibilities).This looksgood on paperbut
doesn't always work in reality,because the "ear" needs to hear at least a
minorthirdfor a chordshape to functionas an extendeddiminished7tn:
t,-
Aog AollPlJ

Keeping this in mind, I've tried to see how many shapes lcould find.
Remember,these are not diminished7tnchords - they are "reduced"forms
with extensionsthen added. They are not symmetricaland thereforedon't
producethe same colours when moved up or down in minor thirds, as the
diminished7tnchords do. However,the changingtextures,they offer us, are
alwayswithinthe given scale:

Aog Aoll A o b1 3 AOA


,ilm vrffi ilm
TT-T-'
Il-tm
H]]T t-t-t-t-H I_FI_FH
TtrTT-N

63
Extended 7th Chords

EXTENDED DIMINISHED 7TH


CHORDS

Aog
Dog
IVlTllr] Gog
lv rT-n
raTT-fi
ffi+F Fiffl v rT-n--a
H++]
rrrrn
sil
rT TT I-1
rrn-n
rrr|n
}

Aolt Go11
um
ffiH
ITFTN

Dog
v rltrTl Vffi
l-|t]-]
FTIF Hfl+
n-n-n

Goll

Vrfffir
H+?+l
trFF
trrTrTl

Go9
vilrFEt
Ft-+fl
ffi1fl
#e

64
^ t- tu
LomblrtmS'Lxerc$es

Aobt3 F o bl 3

|vm VIFflJI Vm |||[fl] ilEml V Et Ea a I t l |V5FE


ffi ffi ffi TtrTT-N TT-T-] TTT'T]
ffi
I..]...]"m trrrrt-]
ffi H++] ffiul trT-trT-n
trrtrT-n ffi
tttttl
N_TTN trtrTtrN TT]]_N TtrTtrN

Vf,m rrmJl uffi u'mE rvffi


ffi fT--rT-l
TTTT-N
F]] ffi ffi
TT'TTN
FFFFF
FFFFN
ffi
fl-Tt-n
odended 7th Chords

DIMINISHED'ITH - DOMINANT 7TH


SUBST|TUT|oN RUL

Now that we've gone into quite a lot of detail with extended di
chords,let's lookat anotherimportantuse for them.I'm surethat
us have noticedthe similaritybetweendominant7tht g/Itt/I3
(from the dominant 7thmatrix)and the extended diminished 7th.The,y
come fromthe same scale (symmetrical diminished)but startingon
ent notes one half step apart. This means we can use a di
shape (withor withoutextensions)a|so as a dominant 7tnt 9/tl/L3
step lower.

l3
Ao + Al7b9 4o9bl3 + xbz9

we just learnedaboutdiminished7tnchordscan also be


Everything
to dominant 7th 7l/73 chords with altered 9trr.Don't
valueof this rule!lt providesus withan enormousarrayof chordal

Extended 7th Chords

BODY J sout The rich colourof four-notevoicingsis well suitedto ballads,like "Body &
Soul."
G r ee nI S o u r/ H e y m a n nI E a t o n
{arr. Peter O'Maral

_-?_-
-3----r

a I 7
bls
Eb-7 BbTbe Eb-e tbtbe obre cbql3 F_9II Eo9
le | a l.!

:f

br: 13
rb-g1trb-s sb-rI Eb-e AbTbe Dboddg E-9 ntbg

-?-

_
{E}
ie be 13
D69 E _ 9 11 Doddg c*9 II rXzils B7?5 E-s A7',s D69
r[ e e e t,e

IQ

a-l

7
.u-/f i|l'l -l ^
T\ 7 t- 9 bls
tb"a
D _ ^ 9 D _ 9 ra
ol3 CA9 ,u-' G13 GTtl Ce BTts ebql3 ebzie
r\t
J* 1,, e', ,. ) | ? ,? '|? l. I

D . C .o l S

D^l3 ll
Db#
b!'chapp|| & Co.. Ltd

Used 5, Pe'ar,ssron

67
IN YOUR OWN
_gIvEEr wAY
?,ffi:,,,::

A- l l orbg G-l I c9 C_9 Fl3

Ab-7 obtbe cbne cbne czil9 F7b13

c zil9 rzbg
E-9 Al3

E-7 orbs ol3 o#ll D-7 Gzlt t

rb-g bl:
D'ol X ol fine(lst ending)

@ Wortdcopyright1956bv I
Arrrightsforthewortd. i".tjt x:::,:"- san Francisco,
usA.
r.l'ui""nruni;;.Ja":.l;'l'".i.
'T::i:""il1,ji:?;l|?J;""*T?"y'l'
";
gAR.,
9l11i;i':jliil"1i,"J;f;l Wc2E Eng|and.
il.i.1xu,;';.,onoon
8
Chapter4

EXTENDING 7THCHORDS USING


ASCEN DING RELATIVE TH IRDS
We've builtup quite a chordvocabularyby now,but I'm sure there's some
we've missed. By leavingout the root and fifth,we were able to extendour
7t' chords with 9, (il)11,and 13 colours.Anotherway to extend 7tnchords
is to use parallelthirds.That is, to get a 9thcolour,we move up to the chord
on the thirdstep of the scale, our originalchordcomes from. For example,
we want to find voicingsfor CA9: we move up to the third step of the C major
scale (wherethe CA9 comes from) and we find E-7.

ct9

This means that we can use any E-7 voicingas CA9 as long as our voicing
is not too close to our bass note "C". This substitutionsystem works for
everytype of 7tnchord, so here are some more applicationsof the system
(whitecircles show the positionof the originalroot):

j9t utu -7 on the 3,d O Dom 9: use -7bS

cn9 (Jv Bs
(lonion) ||| r-n_.l (Mixolydion) Vlm
(or ony t_/ voicing
LLi!-l-J
ffi
ffi
++r.] (or ony Bo voicing
rl-rTn htgher up) Effi hishei up)

): use L7 O *6,9:use L*11

Falr' '
l'l l
D-9 FA D-69
(Dorion) V TTll (Dorion) ilrmn
H-]-] (or onv FA voicino ffi (ondso on...)
TFFN I...I...]T
n-rrn higher up) TTTTN

}
G T s u sb 9 Ablill I
lil trEEFFt v||FFFE
TrT--n
lffi ffi
ffi ffi
trT-TtrN

l3 l3 c^ils
CTrrrb9 BTsusb9 vil fFtm
Trr--l
ffi
m-Tn

c7ru.b9 Gs
lilm
ffi
ffi
[.ti?lijt!^tr'".i?'IoNS:
|'vealwaysfound it
helpfultointegratenew chgr!
as theseappearoften shapes into ll.V.|p.:{
in;".r .iJnlu'roJ"inarr
but don't forgetto
transposethem to
keys.
Hereuruu r"r.*l
other xevsl

D_9

"'m
bv'" l3
ct9

'''m
V ITITE rv fE-n D_9
T.Ir] t-Fl-++-j GTDY
ca9
rrn-n
ffi

ffi fta-Fti
rrrrn
VfEE
.l-fffi lvETn
i1tffi
tfl ffi# FF

D-9 G 7 b 9b t3
vrlffi ct9
vill
vu Fn D-ll s
67 frcbt
E#fi Ttl] vlrffi co9
+FH Tml
v l l f-n
l-t--H+-l
ffi
mrff1
n-n-n
Tf-IH

l^
A_9 D7 DY .^9
vmm
FiIIIJ 'vm o,ben c # ll
H+ffi .til
rrn-n
vl P-Tr-F
vl Er--n
ffiE i-l-Fftl
ffiH ffi

A_9 olsil t II
um r[Irm c^e#
A-9 D 7i e b ' t 3
F#ff
FTN-H ffi vffi rvmX c-09
rftrH fj-tfH
l-i--i-++t
Efl# ffi
b

72
Jrds

t3 t3
DTVY cA9 A_91l o,bpl G ^ e fI I
vll rrrr-. V FfTTI'
tl ta*
V rT-rr.
Fi+]
Iffi
T-TTT
|-.+-.{-+.]
LLLI-IJ

ffi TT--TT'1
TT-FTN
H#

t^
DTDI' G A I3 A-9ll oz9il l -U A^l 3
vll rfrr-r vllrr-rr-r
l - l t 4l I lx rrrT-r IXEFMJ
EHtIl
LLLLIJ

ffi
LI-LL]
H+l f+++-l-l
ffftfJ t-ft-ffJ L]-LL]]I ffi
irtltl TTTN

eTlebts
rxEm
t-+++]
'*m \f l\

H]+fl ETI
fltfH

!lg:v-lPRoGREsstoNs (MrNoR)

)s9 t,^
G7b9bt3 Da9ll tJ
c-^9
tET]
G7D
lv rrraTr
trI---rT-l vlllrrrr--r v i l l rffir VIFFTII
ffi
LLJ:II]
H+I-N ++]+
._--11 trffi FH+ir
FTTTN
t+Tl ftr|n F+HI

olsbq c-49 D7b9b13 G-69


IXFEH vilr Fm ilrffi I r-rrn
ffifl
l...I...I..m
rrrrn HJI#
H-H+] fll+H F+m
r-r']i-n t-t-Fi-fl
T]-TTN
As91 1 97ebls c-^9 As c-49
lv rrrT-l
LLLI-IJ vm
ltal tl rT-TT]
&.]-]_H
TtrTT-N H+f?-l
r-r-trT-n

As Q-A9l 3 Aa9 D 7 # el l# G-^9


o-
I tT-T-l
'f-.ffi I ra-rT-n
&13t
|||FFt ttatJa

FFB
ffi
rTTTN ottatl
TtrTTT] ffi
H]] ffi ltal tl
TT-TTN ffi

As9 D7b9b13 c-69 Aa9 G A9l3


rvm lvffi rrdrfi
ffi vt
trT.]-rFa rrTaTl
I_I_FFH
I...I...]T
TT-TTN
ffi
TtrT]-N
H++#
ITTTN

b }

As11 D7b9 c-^13 Aal1 o,bfrlt G-913


rxFFm vilrFffTfl
ffi
lttata
Tl-Tt Ffi-rfil
IT-TTN
ln-rm
3e g

t3
As91 1 D79 G-^9 As1 1 G-r I
VIIIFFEFtr X|ttI rffi
ffi-H
ffi ffi Hl-t+l
N-TTN ffi FFF
TTTTN
b
Extending 7th Chords Using Ascending Retotive 3rds

EXOTIC EXAMPLES (EXTENDED SHAPES


FOR -7b5)

Aa11 orbeYt c-^9 ,,byl Q - A 9 I3


ITRII vilrEml
r-rTTl T.-rT.]
tlatal

ffi+N FF]
trT-trrn

olgbls eTlebts
rxffi rvmn
TTTT-'
m-m ffi
FI_I_FH frtrrn

b 7

t^
0
D7 c-69
Xm X FFM
trT-TT-n
ttatal
I...I...]T
ffi
TT-TT"]
TT-TtrN TT-TTN

bs

t,^
,rbexv u,bxv
t.^
A?|3 B a Dt s A-At3
YrfTffSl ilr fffff? ll rrrrra
ffi rffi
TTTT-1
TtrTTN
i".]...]..m ottaal
.iF.TT] -r.TT-] ffi
TTTTN trT-trrn

75
UPPER STRUCTURE 7Til CHORD
SUBSTITUTES (NO 5no1

Because of the complexityof some jazz chords, we often find that


enoughstringsto coverall the notes required.ln some cases it b
do awaywith the third and still "approximately"
coverthe chordal
required.Forexample:

c ^ 9 ll c q i l lI

Da9ll l3
G ^ 9 ll

76
Extending 7th Chords Using Ascending Retotive Srds

SOME EXAMPLES OVER


STANDARD
CHORD PROORESSIONS

Here are a few practicalexamplesof the shapes we have learnedso far:

I CompintgA' Jazz Blues llsing Ertended TthChords

I Fe13 F9l3 c-9 F7b9b13

VI

Bbe

IV ilt v
t3
,,bx F9l3 ozil9ll Gqll 7sbls

IV

l?

a b sl 3 F9t', ', rzisle


ll.l
c-9
}

VI VI

1?

ol 9ll
lr l
F9l''
-t^
EVY
I
?4.

V VI IV

t3 t3
t^
, rbeY t As9 D7b9b13 c9l3 c70'

b
Comping A Stondord Using Ascending
5rd
Retotionships & Extended 7n Chrds

l3
t^
Eo9 ( G-^) A7D' c-e ( eba) pql3

(AYh;ffil
F-e (AbA) ,a,13 rbf rc-7) b sl 3

sbte .o-t)
IJ
E o r l ( a b a f 5 )a z b e D-9 (FA) ab-s,DbD ebyfl I
b o

V V

rf (t-t) G- 9 rab ) Ao9 (c-^) ,,b b ts

nrbvxv clgbls c _ o 9 ( eb i llll c-aq rEhafl


b bo

IV VI
VI
l?
Abqilll (Eb-^) ^bzll tcbr #s
l sbt9 (D-7)

IV
VI

l; sbls Da|| rba#51 G7b9b13


vill vill
'|
2
t^
Ca9 (Eb-A) F 7vY abne r-7)

78
Extendino 7th Chords Usino Ascendino Retotive Srds

Comping "RHYTHMCHANGES" Using


Extended 7tnChords

13
t^
s b ql 3 c7b9b13 r -DY
D-9 c7b9b13 c-9 F7b9111
b

IV V vlll

t3 t^
l3
F-9 eblvY LVL' t- tl 97ilbls -u / - b 9 L-v

IV ltl V ill I
l3
Bb9 G7b9b13 7ilbll F7b9b13 D-9ll 7|bts c9'' 7| 9 b l s

t3
rt lelt t
t^
F-9 BbTvY rbn9 b ql 3 c-9
b b

A-9 o,bbls G9 --lgbi3

P_o

vtl VI VI

G-9ll C 7 b 9 11 rl9ll
bo

vll VI

s b s1 3 G7b9b13 Cs9 rl gbls orbene 67 i9bts 7lbls


b b

VI
t3 r3 l?
.u -/ b 9 b \ 3 t^ B b 3r
B b q iIlI E b q iIl l E o b r 3
1 ' ll
F*s D7r'', LIJ
?-oY
Tl

.a b b;
Chapter5
4th CHORDS (QUARTAL HARMONY)

A popularchordalsound in progressive jazz and fusion is the 4t'. Here are


some applicationsof this concepton the fingerboard:

) Diatonic 4th Chords in C Maior

I ttrio, Shapes
t3
c69 c69 LA

I I TT-TT''] xil ml vrrml ''il Ta-aTt XITNE


tt taa
trTTTN
TTTTN ffi r rfn_n trT-TT-l
ffi rfn-n
trtrn
EIftr
ttlttl E]]T TT--trn F]] ffi
TTTtrN

e CI
>

l3 t3
rillt F69 rll Fillt F69 rn9
ilrFFtll xil Ftl vil ffmJ V|TnT] VTil |T-Tfi Vl|[|fTI] l|m]
or l-l-Hf?
l..]...]..m
ll-H#
I..]...].m
or ll-H#
l...|...]..m
or FFFFFI
|..]...]..m
Fffi
I..]...]..m
or FFffi
l...|.] m
FFffi
I
-I...1T or FFffi
ffi
TI-TTN TTTTN IT-TI-N -I-TTN TI-TTN TT-TTN TT--I-N TT-TTN

Minor Shapes
l3
D9
xlrFml vill ilrTm X TFT V[T-5l |||m X TNT]
OT |..]...]..m
FFFFF or FFF -I-Tr-1
ffi FHffi ffi ffi
TTTTN
-t-n-H
-TTtrN N-TtrN FUfl FUT F]]

Dominant Mixolydian Shapes


t2
G69 \f7 Gll
vtl vilr[flfl ilrFFqn X Tff]I VTPl
TTTT-] t-TfT-a TTTT-I IT-TTT'
trrTrn orffi ffi ffi
ffi TTTTN TTTTN -trTrn

} C)
soME oTt| R PosslBLE 4TH
CONFIOURATIONS
Our examples again are C lonian. Inversionsand combin&a
voicingsand cluster sounds, too (see next chapter).

stretch !

EXAMPLES OF MODAL USAGE OF 4TH


CHORDS

Trythese progressions
withothermodes,too (Phrygian,
Aeolian,
etc.). The lonian mode, however,does not work too well because d
dissonance betweenthird and eleventh(b9).

G7 Mixolydion ("Milestones")

D-7 Dorion("tmpressions")

l,
\

Faf I I Lydion
gg!?!!c A MtNoRBLUES usrNc
4rH Ct-toRDS

c-il13
C79b|3
1C7olt )

atlsbs

bo

D75b9 czlsbts c-69 at|"svg ozilsbts 67fies


tb t b.
7t vuT:. b ? b.

85
4th chords (ouoot Hormonu)

"MILES" 4rfr cHoRDS

In the music of Miles Davis from the 1980's we can see an interestingLC
of 4tnchords. A "modal" vamp, let's say F7 Mixolydian,would be conf
with chromatic4th chords,with an additionaltop note remainingfixed or t
significantchordaltone. For example:

F7 (Mixolydion)

Thls devicecan also be appliedto minor7t'vamps:


Chapter6

CLUSTERS
Clusters are voicingsin which at least one 2ndintervalis present.The ten-
sion arising throughthis 2no interval creates a special chordal character.
We've alreadyseen a numberof voicingsthat can be classified as clusters,
for example:

cA/E --l1l
u/ "

Let's look at a specificthree-notecluster,consistingof a 2ndand a 3rointer-


val and how it moves throughthe C major scale:

An interestingeffect is that any cluster with an "F" in it could be a D minor


chord of some sort, because "F" is the minor third. I've made up a list of
possible applicationsfor these 2noand 3roclusters which can representa
vast arrayof chordalcolours in many keys.

l3
FA9
t3 B-7
ll l
' l3
AiAl' DTsus
EbafI I cgll A-9
t3 t? G9 l3 9 l?
, l r l' G odd9 rlatl
Ebn9 Bb^t' Bs 1l Ebar" sbne l3
r l # lI
Bzodd9 A Tsus Bbl l D-t Il3 DTsus r illl l?
G Tsus E-7 FA F ^ 9 ll Fodd9 ETsus Dg ll
D-7 C odd9 D-9 G7 A-7 cAl 3 cA

Clustersare a wayof creatinginteresting


chordcolourswithoutusinga lot
of notes.The tensioncreatedby the 2nointervals,as well as the modal
unitywhenmovinga clusterthrougha scale,can be veryusefulin comping.

85
I
We can also build clusters with other intervals,however,a 2nomust {
be present.

) 2na I 5ti
Ctusters

+ 4th+ znd

+ 2nd

t+2nd+4th

)* 2"'

MAJOR' MlNoR I DOMINANT


CLUSTER SOUNDS
The followingpagesfeaturea numberof clustersoundsthat can be applied
to major(Lydian),minorand dominantharmonies.In four-noteclusterstop
and bottomnotes may be omitted,whereasin three-noteclusters notes may
be addedon too or underneath.
A lot of these voicingsdo not featurea 7th or even a 3rd which makes them
very ambiguousand applicableto othermodes.

SOUNDS (LYDIAN)
C MAJOR 7T+I

: s u ,9 l l C s u s9 C r u .9 1 3 C A s u s9

l3
r.r.9l3 C.u,913 cA9
CAl''
l l

C A s u s{ l I C A s u s9 ,o d d f iI I C o d d $ lI
}

r3
C o d d9 1 3
}

l3
l3
cA9 cAl3 cafl I cAl3

Cll clfl I clfll

D MINOR 7rH SOUNDS

D-913

D-oddl I

u-oodt I D-6 D-9 D-oddl I

88
D-7 D - o d d9 D-lll3 D- 13 D-9 l3 D-l I

D-9 D-9l t D-oddl 1 D-At3

D MINOR 7THb5 SOUNDS

Dall Dall Da911 Ds11 Dsll

Da11
Ds Ds9

G DOMINANT 7THSOUNDS

13
Gr3 Gl3sus ctilt t GTie G T o d dI I

l3
t^ l3
-D
u tJ
c9l3
G 9 | ,,
J'lr r
\J lJ G l3sus

r -?Y
U/ lrr
GTsus G7t"
G DOMINANT7rHSOUNDS
(CTD.)
GTsus
l,-
G7?|

o r b en tt G z.u.b9
67fiebts

orbebts

G9sus

Goddlll3

13
czit t GzIl t
Gzfr1t o r b e Xtt
b*
COMPING A STANDARD USING
5.NOTE CLUSTERS

E.V/

Aa o r b'

DToY G # ll

Ss
e

-t-
a?/
c7'Y
}
TH E O IFT rhis tunecombines
a totof theconcepts
we havediscussedso far:cru
Ltuc'L.'narmOny,extended7tnChOrdS.
Petero,Mr
e d m : P et er o , M a r a , ' S y m m e t
! s , ' I av ry,,'
484-2, distribuicd
|::::,;,,,', si,,ny

nl
upsus y
o
r|) I
). tDt!

bll13 |
r.Jpsus y

Bb-odd9

Ab/Bb abz'9

1il. '/
e.'

Lff|er
3.13ii S"lY.;.leorg lvlusikverlag,
Mrinchen

92
B b z . ul.3 D"zIJ

G7 olt

3x (3rdx: D.C.ot S)
7

A7.J bBb BA13 c-l1

-=t
=!

E ,lDb EbID ]'



Ail"
b_sll Gil/A
b

93
ALL BLUES The "tune of the chapter"
is by
Mires Davis, of course. The
character
of thistunelendsits;lfV;;' quiet floa
Miles Dzis u.n .o '"l;i.,;;i"-, JJ'o'n..
{arr. Peter O,Mara}

@ by )azz Horn Music.


Alle Rechteflir D/CHIGUS
, - - - + or
-steuropischeLnder
Used by Permission. bei: NEUE WELTMUs|KVERLAG
GMBH, Munchen.
Chapter7
i
I

IN

lf we look at contemporaryjazz guitaristsand their compingstytes,we see


a strong tendencytowards note reduction- let's call it "intervalisticcomo-
ing." lt's not only easier to comp with fewer notes, it also helps create
"space" in the music.The old saying"too manycooks spoilthe broth"could
be interpretedmusicallyas "too many notes kill the soloist." lt's often bet-
ter to comp with chords usingthree notes (or less!)than to fill everythingup
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-
pendenton the comping.A lot of soloists even preferplayingwithoutchords
behindthem all the time.
Guitaristslike Bill Frisellor John scofield often use intervalsto express
a chordalsound.This sort of compingis also popularin rock and country
music. For examp|e,to get a,,mor,,soundWe can use variousinterva|s:

To get a major7thsound with extensionswe can also trv these:

l3
nilll ^ 9 i l ll ll l

Experimentby changingthe order of the intervalsused:

C A I ''
l l

c^eilll

Here is an examplecombiningsome of these ideas:

C L y d i o n( ^ 9 , l l , l 3 )
Here are some otherchordal
sounds:

D MINORSOUNDS

D MINOR 7THb5 SOUNDS

uay

G7 WITH.EXTENSIONS

#s(bt3) #e
}

tit t -7
*J

bsl3 bsl3
b-

we can see that there are unrimited


possibiritiesfor this kind
rong as we know what the "important" of compingas
notes in a givenchord are. To gain
this sort of knowredge,it.'simportunt
io practicearpeggios,as we,
valisticsequences based on as inter-
scares. ro, exumpre,prayingthe
in thirds gives us that sweet ,,country,, c majorscare
souno:

A similar effect can be achieved


by 6t intervals:
IntervotisilcComDlno

Applyingthe same intervalsto the dominant-diminished


scale producesa
completelydifferentsound.Forexample,E7:

='1r;#f#ri5#Fi

ile

Here'sthe same principleappliedto the melodicminorscale.UsingF melo-


dic minor,we can get soundsthat are usefu|as F-A (|),Bb7,9,11,13
(lV)
and E7 altered(Vll)justto namea few of the possibleuses.
.:ia'ai;:lffi

bo > o.
?O
an examp|eof a standard
chord progressionusing intervalistic
':'. co

Bb-9 rbu9
Gtitt

Godd 9 .l

B b 13
c- sBb Ao9

G#]l

l3
rlll
FTsus
A7b9

l3
Ebsitt 13
A-7 o-,bsb
rtil t

13
t^
?Y
tr+-7

rb#5 AhA lJltrL


OTHER POSSIBITITIESFOR
CHORD CONSTRUCTION
Note that there is no third in the first row of voicings!
ifths
^t,. t-t^t.^

c69 D69 Eb9b13 F69 G69 A9br3 B v S v v v|3


vil;TflE
--TTrn
ilrErm rxsEm vrfTlfl xTnfl vrEFm rfFmvilrEm ilffim xffi rvm xilErm vlJill rrrir-l
rr-rr. rrrrtr
TfTflor T[f[
-tfn TfTflol.
ro
FTT|I
TlTn
FIFH or EEt
TtTTI
!-rriE
Tffi o, fftfE'
Tffi
LLLLI]
TfTFlo,
LLLI{
TITII
u{tr IIEEE
m! or FFFFF
'T-T-T1
m
m or Lr-.re
FFffi
FffFn Fn-Ff] Frffi-l rrrrn i-rFFr] FFrrn Fffi-n FFrTn TTTTn rT-rr1 Trrr-t rrrrr-1

}
e

>

ible Uses
c69 D-rI a, ^9 Eil l l GTsus

>
> b o

a x (e) x tol

construction: dl

ltl VI vltl X xll

sible Uses
Coddgll C o d dI I 1 3 cA l3 cA9l3 cA9
dr cre

D-9ll D-9ll D-t Il3 D-9


dr

t?

Fl9f,r r FA9f,rr r o { lI F a i r ''


l'l l

(P
rl

(o)

t3
--11 Gl3(no3rd) G 9 l 3 ( n o3 r d ) Goddgll

tol

99
Intervolistic Compino

"SCALE SKIPPING''

A lot of us are familiar with the voicings within the major scale ant
soundsthat theycan producein a "modal"setting(Ex.l-).The idea is t
low a particularvoicingthroughthe scale (inthis case a "rootposition-
ing)whilekeepinga steadyor "pedalpoint"bass line.

C E x a m p l eL : " M i l e s t o n e s "V a m p

CTsus

rt9

It is importantto emphasizethat any voicingcan be taken throughall :


degrees of the scale to produce a unity of sound-texturewhich a randc
change of chord voicing cannot simulate. The advantageof this sort
compingis that the voicingslead to each other,ratherthan jumpingaroL'
melodicallv:

) Example2: Quartal Voicing (Dorian)

A_7

O Eample3: Cluster Voicing (Lydian)

C i l ll

We have lookedat many possiblevoicingcombinationsin the previouscha


ters, from "four-note4tnchords"to "four-noteclusters."Let's see what ha
pens, when we change the source scale from the typical major scale '
somethinglike the melodicminorscale:

) Example4: Root Position(Melodic Minor)

4_A
This sort of "scare skipping" is a good option
to have, especialry when we
want to connect chords melodically with eacn
other:

C-7 (Dorion)

4-A (Melodic Minor)

_o

It can also be reducedto intervalswhich is a conceptwe exploredin chap-


ter 6:

| e i n..Wb.d.rt ea d.,!
A I.c

(^A
G7 FA Ba

.-b9ttl

br'

G7 CA

101
r
lltervotistic Compinq

ALTERED SCALE VOICINGS


Here are some examplesfor alteredscale voicings(E7 alteredfrom F n
dic minorVll):
O E7 Altered Scale Voicings

C E7 Daminant Diminished Scale Voicings

102
CD and book "l HearA Rhapsody"
STETLA BY
play-along
Thtsexampleis takenfromthe comps a bass
howJohnAbercrombie
(AdvanceMusic 145O7CD)and shows
rnnLloHT s o l o o n " s t e l l a B y S t a r l i $ h t " ' T h e f r e q u e n t u s e the
o f e ssoloist
s e n t i atol cplay
h o r dover'
tones'like
foundationfor
the 3,dand the 7,n,creales a sorid
-. lohnAberrrombiej

A7
^

F7

F-7

A7
BlrA Ea^
tba Ab7

a1

'o (F7 )
G7 rJ |,
e7{9uls

'o
F-7 E-7b13 A7r',
bz]l

105
-
sEcREtThisisaJohnScofie|darrangementof,,SecretLove.,,Notetheuseofinlel
- !

.- ,
bammy Latnlt'aul o.Wrtr*
vals in the "A" sectionand three-note
voicingsin the ,,8" section.
(asplayedby IohnScolield)

[m - l
tba D 2 , /S U S -l
tba D2l SUS

-l
fDL F-9 Bb3
l -l
tta e b sl -l
LDA bl
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A||eRechteflir D/CHIGUS + osteuropischeLnder bei:
NEUE WELTMUS|KVERLAGG|V]BH,
Munchen.
Used by Permission.

104
Bb-7 Eb7 bl
,N N I |.
b{r, ')>_). b)--j b) b)

E Bbr3 cz9bls C79


EbA F-9

b) il )-.1

ebt rbl
--
JXJ IJ J J^J

105
r
I Intervotistic Comping

I
I l tFnrr -- -
VERY EARLY
::,,:j:?,f::ompins tune,,veryEarty,,*r",,* rec.
ortheBilrEvans
i
cu 'irq nas a strong contrapuntar erement.Note the frequentuse of hig-i
(as played by Bitl FriseLl) extensionsat the cost of even omitting
the third (if impriedin the mero:,
creatinga rather ..abstract''atmosphe.

abzilt , t
b3

O FOLKWAYSr\4USIC
PUB. CO, INC.
sterreich,
Schwelzundosteuropa:
ESsExMUslKVERTRIEB
3.::.#?:*i:ltsch|and, GMBH,HAMBURG.

10
'3'

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--4-

'3r
SLASH CHORDS

"Slashchords"are namedaftertheirnotation:a triadand a singlerootdivid-


ed by a slash ("/").Theyare a convenient way to expresspolychord-like
soundson the guitar.
Polychordsare, literallyspeaking,two chordssuperimposedon each other.
However, the limitednumberof notesavailablefor guitarvoicingsmake it
necessaryfor us to be economical.This sort of voiceeconomyis usefulin
producing new"sounds,"for example:

Polychord:G/C
cA9 Gtc

Althoughwe'veleftoutthe third(E),the resultis still a "C major7, 9 (CAg)"


sound,becauseourear fills in the gap betweenthe rootandthe fifth.That
meanswe can use any G majortriadto createa CA9:

ilrffi vilrffiH ilrffi xFFm


ffi] FFTTtr EniF-l
H++l ffi t-t-n-n
l--t.t-t|
FTTTN

Here, our knowledgeof triad shapes (see chapter 1) comes to fruition!Also,


slash chords providethe guitaristwith very resonantand "modern"sounds
and voicings for the majorityof modes as will be shown on the following
pages.

t09
Stosh Chords

MAJOR TRIADS AS "UPPER


STRUCTURE" SLASH CHORDS
One way to learn to understandpolychordsis to take a triad, let's say 'C
major"and try every possible bass note under it. We can then analyzethe
chordalcoloursoroducedand establishthe suitablescales for them.

MAJOR TRIAD WITH THE b2ND(bgTH)IN THE


aAss
CIDb obl9 l l
(no 5th) F Hormonic Minor Vl Ab Hormonic Mojor lV

obol
ut utmtntsneo

MAJoR TRIAD wlTH TH 2ND(9TH)lN THE


BASS
CID Dg ll
(no 5th) D Mixolydion

D-9ll (no5th,
D Dorion
no 3rd)

MAJOR TRIAD WITH ISNO1f,9TI1IN THE


BASS
t3
c/Dil Eb7b9 go 7th,
no 5th) Eb Dominont Diminished Ab HormonicMolorV
}

.rl9
(no root,
no 7th) C Dominont Diminished

c^ile (no root,


no 7th) E H o r m o n i cM i n o r C Hexotonic

110
Stosh Chords

MAJOR TRIAD WITH THE 5RD IN THE BASS

Herewe have a "firstinversion"triad,that is, the thirdis underneath.


There
are many possible chord-scales,dependingon the harmoniccontext:

l C Mixolydion
E-b6 (no5th) C | o n i o n( m o i o r ) C A C Lydion Cll C7

I
C Lydionil9 cnf,9l l C Mixolydion
66 ,rblZ C Mixolydion
$11 Clil

C Mixo|ydionb2 b c7b9b13 C DominontDiminished ,,b!;

C Hormonic Moior a o bt : C Hexotonic

F Hormonic Minor V F HormonicMoiorV Ab Hormonic Mojor lll

MAJOR TRIAD WITH THE 4THIN THE BASS

ctE FA9
(no 3rd) F lonion (moior) F Lydion F Hormonic Mojor

cAo
(no 3rd) F Melodic Minor F Hormonic Minor C Hormonic Mojor lV
MAJOR TRIAD WITH THE bsTH(ilIlrt)IN THE
BASS

ClF Fl7beillI
(no 3rd) Ff Dominont Diminished Fil Altered

C A { ''
l r

(no 7th) C Lydion E Hormonic Minor Vl

|t{oRTRIAD wlTH T}|E 5THlN THE BAss

Here, just as with "c/E" we have an inversionof the triad, this


time the
second inversionwith the fifth underneath.The possible chord-scares
are
the same as with "C/E".

CIG Gsus
(no 3rd)

MAJoR TRIAD wlTH THE bTH(ilsT}')lN THE


BASS

I lR Ab Lydion Augmented Ab Mojor il5


Abat'r" ( F M e l o d i cM i n o r l l l ) ( F H o r m o n i cM i n o r l l l )

Ab Hormonic Mojor Ab Hexotonic

112
\^.t.TH -r+lE 6TH rN T.,E BAss
b,{A'oR.TRIAD

A Dorion A Aeolion A Phrygion

E H o r m o n i cM i n o r l V G M e l o d i cM i n o r l l
(Dorion4)
. ]Dz)
\
\uoflon

MAJOR TRIAD WITH THE bTTHIN THE BASS

l3
Bb9 I'l' '

This chord is not as easy to define,because it has no Jrd ep /th.Therefore,


it could be a major7th(A),minor-major 7,h(-A),dominant7rh(7) or a minor
7tn(7) chord. Naturally, there are common uses, like saying it's just an
inversionof "C7 Mixolydian"and thereforemakingit a "BbALydian"sound
- both share the same signature:1 b (F major).But a close look at the
scale oossibilitiesrevealsa lot more:

Bb Lydion Bb LydionAugmented Bb Mixo|ydion4

l3
9ll F H o r m o n i cM i n o r l V

t3
e#ll F Hormonic Mojor lV

t3
^l
Va 9'i" Ab Hormonic Mojor ll

115
Stosh Chords

!qR TRIAD w|TH THE 7rH lN THE BAss

B Locrion B Phrygion

C Hexotonic C Hormonic Mojor Vll

This polychordtype can arso be seen as a "dominant7rhsus (11),


bg, br3'

bl3
,rbctt (no 5th,
E H o r m o n i cM i n o r V
no 7th)

some of these sca/es we have just seen may seem strange


to the ear. Jus
remember:"Rome wasn't built in a day." what we ,.hear,,is
a resultof what we
have "heard,"so let's keep our earsopen!

MAJOR AUGMENTED TRIADS AS


..UPPER
STRUCTURE'
SLASH CHORDS

MAJOR AUGMENTED TRIAD WITH THE


b2ND(bgrH)lN THE BASS

C ous/Db
Db Melodic Minor Db Hormonic Minor F Hormonic Minor Vl

Ab Hormonic Mojor lV Db Hexotonic


MAJOR AUGMENTED TRIAD WITTITHE 2ND
(9rH) IN THE BASS

l'f Lr
C o ug/D D9fi'' (no 3rd, D M i x o | y d i o n l 1

Da9 D Locrionf2 A Hormonic Minor lV C H o r m o n i cM o j o r l l


(no 3rd)

MA]oR AUGMENTED TRIAD wlTH TH


(9TH)
b5RD |N THE BAss

Eatr- C Me|odic Minor || C{ Hormonic Minor ll E Hexotonic

MAJOR AUGMENTED TRIAD WITH THE 5RD


IN THE BASS

Because of the symmetryof the majoraugmentedtriad,the third or the f,Sth


in the bass only representinversionsof the same triad. The same follows
for all otherremainingbass notes:

Coug/ Coug/ C o u gI

bz40 \2 ll b7 ilqs\7
identicol! identicol! identicoll

115
Stosh Chords

MINOR TRIADS AS 'UPPER.


STRUCTURE" SLASH CHORDS
we have tried all the possible bass notes under majortriads - now let's do
the same for minortriads.

MINOR TRIAD WITH THE b2ND(bgT}I)


IN T+{E
BASS

D-tEb ,;oe{l I (no3rd,


Eb Lydion Eb Lydion Augmented
no 5th)

Althoughthe most common use of this polychordis as a Lydian(or Lydian


augmented)sound, it does also have a use as an extendeddiminished
chord:

EboA9(no 3rd,
Eb Diminished
no th)

MINOR TRIAD WITH THE 2ND(9rH)IN T+tE


BASS

t^
n/tr E _ 7 V ' ' (no
3rd, E Phrygion E Locrion
no 5th)

D Melodic Minor ll D Hormonic Minor ll

As a "dominant7tnsus (11) b9" chordthere are more possibilities:

ll
sbe (no 5th) A Hormonic Minor V A Hormonic Mojor V

t1
MINOR TRIADS AS "UPPER.
sTRUcTURE"sLAsH clnos
we havetriedail the possibrebass notesundermajor
triads- nowret,sdo
the same for minortriads.

MINOR TRIAD WITH TI{E b2ND(b9TH)IN THE


BASS

D_tEb I1
Eb^e# (no 3rd, EbLydion
no 5th) Lydion Augmented

Althoughthe most commonuse of this porychordis as a Lydian(or Lydian


augmented) sound,it does arso have a use as an extended
diminished
chord:

EboL9 (no
3rd,
no th)

MTNOR TRIAD W|TH THE 2ND(9ru; ," ,*a


BASS

t^
D_/E E-7DY
(no 3rd, E Phrygion
no 5th) E Locrion

D Melodic Minor ll D H o r m o n i cM i n o r l l

As a "dominantTtrrsus (11) b9" chord there are


more possibirities:
1l
rlbg ( n o5 t h ) A Hormonic Minor V
A Hormonic Mojor V

1|
MINOR TRIAD WITH THE b5RDIN THE BASS

Becauseth\St(\ad\s a "firstinversion"triad,we couldtheoreticallyuse any


scale that fits to a D minor tr\ad. Aga\n,the mus\ca\contex\vl\\\usua\\y
determinewhichsca\eis correct,but here are a few to try:

F lonion (moior) F Lydion F Mixolydion

F Lydion Augmented D H o r m o n i cM i n o r l l l A Hormonic Minor Vl

C Melodic Minor V D Hexotonic lll


A Hormonic Mojor Vl

MlNoR TR|AD w|TH THE 5RD|N THE BAss

G Mixolydion il11
G Mixolydion C Melodic Minor
(no 3rd)

MINOR TRIAD WITH THE 4THIN THE BASS

D-lG G9 G Mixolydionil11 C Melodic Minor


G Mixolydion
(no 3rd)
r
Stosh Chords

MtNoR TRIAD V/ITH THE b5Tf|(11TH)


!N THE
BASS

D-lAb tbobs (no b3rd)


A Hormonic Minor Vll A Hormonic Moior Vll

(o)
{E}

t3
fro
= og'beXu(no
3rd, Ab Dominont Diminished
no 7th)

MINOR TRIAD WITH THE 5THIN THE BASS

This is another invertedtriad. so we can use anv scale that contains a D


minortriad.

D-/A

MlNoR TRIAD v/lTH THE bTH|N THE BAss

Here we can use any scale that fits a "BbL" chord (see "Major Triad With
The 3,0In The Bass").

D-IBb sbl

M|NoR TRIAD wlTH THE THIN THE BAss

D_/B Ba
B Locrion B Locrion!2

A Hormonic Mojor ll A H o r m o n i cM i n o r l l

118
MINOR TRIAD WITH THE bTTHIN THE BASS

This is an inversionof D-7. Therefore,


our scarepossibirities
are anyscare
thatcontainsa minor7tnchord(see"MajorTriadwith
rhe 6thInTheBass,,).

D_/C D-7

MlNoR TRIAD wlTH THE 7rHlN THE BAss

D_/C D_A
D Melodic Minor D Hormonic Minor D Hexotonic

cxzsbe
Cil Altered

PIIINISHED TRTADSAS .UPPER


sTRUcTUf,lE"sLAsH cloo

DIMINISHED TRIAD V/ITH THE b2ND(bgTH)


IN THE BASS

we mightbe wondering
aboutthe musicarvarueof chordsrikethisr

Eb Symmetricol Diminisheo

ll
Eb-^e (no
5th,
no 3rd) Eb Hormonic Minor

119
Slosh Ch(

Here'sone exampleof theirusage:

DotEb roEb Eb-g

DIMINTSHED TRIAD WITH THE 2ND19rr')tN


THE BASS

DO/E E7v'
E Dominont Diminished A Hormonic Minor V A HormonicMoiorV

DIMINISHED TRIAD WITH THE b5RDIN THE


BASS

This is, as we know,identicalto a firstinversion


triad.

DIMINISHED TRIAD WITH THE 4THIN THE


BASS

t^
G7?,
G Dominont Diminished C Hormonic Minor V C Hormonic Moior V

or 1l
t^
r -?Y
u/
G Phrygion

DIMINISHEDTRIAD WITH THE b5THIN THE


BASS

120
DIMINISHED TRIAD WIT}I THE 5THIN THE
BASS

bls
ll l
A HormonicMoior b2 A Hormonic Moior

bls
= A-All
A Hormonic Minor

oal

DIM|NIS{EDTRIAD wtTt| T|{E bTH(ils.')


IN THE BASS

DolBb Bb7

This is reallyno big deal, but let'sjust file this knowledgeawayfor the sake of it!.

D|M|NISH D TR|AD wlT{"|THE TH lN TflE


BASS

DO/B Bo7

See chapters 2, 3 and 4 for a discussion of diminished 7tnchords.

IA
Slosh Chords

DIMINISHED TRIAD WITH THE bTTHIN THE


BASS

F Melodic Minor V C Hormonic Minor

C HormonicMoior

DIMINISHEDTRIAD WITTITHE f,7TH


IN THE
BASS

(no 7th) Cl Dominont Diminished Ffi HormonicMinorV Fil Hormonic Mojor \


Slosh Chords

DIMINTSHED TRIAD WITH TilE bTTHIN THE


BASS

F Melodic Minor V C Hormonic Minor

C Hormonic Mojor

DIMINISHED TRIAD WITH THE il7THIN THE


BASS

C Dominont Diminished F Hormonic Minor V F Hormonic Mojor V


COMBINATION EXERCISES
severalslash chordscan produceinteresting
Combining results:

(: CA9) ( : c o e i lll, FlC ( =Csus) ( : ca5,

(: D-7) EblD ( : D- Phrysion; (: o-bs, BbtD ( : D-2il5y

l3
( : csll) oblc 1=67brXll, rbrc(:czobls, Etc (: czbe,

o = =

FIC Etc Dblc

l3
Gtc 1: ca9y F/A (: ^7b9) FID ( : D-7) obrct:o,bxlt, (: CA9)

l,
( = D - A b 5) ( = G T s u s b 9) t : co9l
Here are some examplesof slash chord usage on a standardchord pr
gression. The originalprogressionis notated underneaththe system,
il
slash chords are writtenabove.Try some variationsstartingfrom differe
posltionson the guitar!

(^A

GIC

G7

AbIF GIE DIE

rIa ra

F/D EIG

DPl SUS DP,/SUS

BIBb EIBb DIC GIC

D2./SUS o/

ctFil AbIF

ta
Ebo

C/D ^t,-
UVlg

124
Stosh Chords

COSTA DEL SOL Here's one of my own tunes for you to have more fun with slash chords.
Again,the "scale-chords"
behindthe slash chords are writtenunderneath.
Peter O'Mara
(as played on Peter O'Mara's "Aoenue LJ", ENIA
604,ENIA_ruTU)

G-9

Csus F n ll

^tcil

ATolt ebp

o ol3

E9sus A9 sus

- ,-l
EbIAb r lEV

l
Cll

@ by TUTU PUBLISHING/ENJA
RECORDSHorst WeberGmbH D.C.
Usedby Permission.

125
Stosh Chords

LAKES A totof pat Metheny's Here'sone for you


tunesuse slashchordharmony.
to try. Note how the eight-barmelodyis totallyredefinedharmonicallythree
Pat Methenu times.
t fr o m P n t M e t h e i t y ' s " W a t e r c a l o r s " a l b u n t l

D AiD GID A/D

^ ll} } e

o ,'
t+'-,t
l r r l J

1'.--,
Dodd9 Aodd9/C{ D/B DiA Eodd9lGl GIA Dsus FVbl3

^ \- | r-l lul \ )^4.


\r \
ar

\-/- Tr - t
al 7 J

"o'

B-ll E_7 GIA A,IG D oddg/F$ E-91I ctA sbtilllA

A -l +, 4: \| , r,b^r. I"
9

-
o '', , ' fr'.-,
l r r l J

A ^IBb B_7 DIC \/ vl.


t v. l v/n D/G Ff,/Gf,
\t l
^ .l' [ | )))- -rr!rl)
,

-. il-
-+.
730) ''-t |'---, --rt- l-'v

O by Pat l\'4eth Music Corp.


u n d a l l e o s t e u r o p a i s c h eLne n d e r :E M | | \ 4 U S |PcU B L | S H I N G E R M A N YG M B H .
o F 0 r D e u t s c h | a n d s, t e r r e i c h ,S c h W e i Z
Usedby Permission.

126
t

a- l-v

FAir''
l l
.
-7
L B_7 CID DIG D odd9/Ffl

) -
lt .^ -^- \\

'a

tr lt Ffic E odd9/Gfl EblA

I
_t. h_ r .lxt )-
-+J
u'-- '
-tJ

- _v_
T' o\Jo' f |
o

DIBb CIB BbIC A odde/Cf CID DlEb

I IN | \ 'j,!:

-f

E_7 F^l3 D/F G GIA D

'd. \

ll

127
O MAHA - in a simitarvein!
MoreMetheny
CELEBRATION
Pat Metheny

BT s u s Btcl CID

G odd9/B DICI BbIC BbIC CID

'rr' .
l\vl

/r
'
'F-( r
E7 AA CID Gadd9 FIGb B7Dt3

urr
AIB Btci

Cl
Goddg ebrc FA rBb

*. ,
nt)-l

O by Pat Meth lvlusicCorp.


@ Fur Deutsch|and,sterreich,schweiz und a|IeosteuropaischenLnder:
E|V]|
|VUs|cPUBLlsHlNGGER|V]ANY
G|\4BH
Used by Permission.

128
J-].^.)J )--;

Fil/c# nbpb
DIG GTsus

r J l''l
a^.)e
\r \
?-

G7
E-lr r b z o a aIt

|\
tl
e

. 1?. .e
vrl 2-l
Cb/Db cbl AIB E odd9
A b T D |3

Fl/G EAPIJ l
UV
F7?tr

r--.3-__

^i

cbtab AbIDb

129
Appendix

APPENDIX
EXPRESSIONS
The two tunes that conc|udethis book featurea |ot of the chorda|conceot
Peter O'Mara we have discussedas they appearin "real life."They are just here for yor
to enjoyand to get a feel for the sounds introducedin the previouschapters
in a musicalcontext.

L r' 2u
D- odd9"

2)
ll L r' "2
D-9 " D- odd9" CIBb
--.}--
A a' ta

5Q) lll v v Dd.

D-odd9bl3

c
CIBb DIG B-9ll
lr

l5
v Dd. tl I tl

2)
It
B-odd9bl3 B-9ll B-odd9zrr
A

20
_ Georg Lffler |\4usikver|ag,
o 1994 GL|\i] |\4unchen.
Used by Permission

150
B
t

a
ll
obf,5f, a 1') Ba Bytc - l
LbL/l
\
| ) '. |J ---l \r
-1,-\ -l \

:,Q lv\r," / lll ( ) I ttt lllr-:r-'--

b b

a l-

Rl.A lJ/tr DAIF abtc DblilI I Ebill l al|"9


L ,#e'. ,I --1. \l
-l,-,1 .

rQ VII Yl a'--'
V. |YV.''-_-. || IV ill

q
J-

o
t,^
D_l I D-odd9bl3 D-9ll D- oddgPlr

t*? =-=- a > h. t: o

ill V

eb*pll

l'
rJ
D- oddgP

151
THREE
Petero,Mar
; (),Mra,s,,
Aaenue U,',ENJA
i;'i : ;w^;.i
;,

Ci. 3-1
--

Ebal' '
l l r

'nP
-3- I E b - 7 0 |3
).

b T U T UP U B L | S H | N G / E N 'R] E
A C o R D SH o r s tW e b e rG m b H .
9
Used by Permission.

132
t-3-

Dbsu9
s c _ 7| o'
t5
I
,b,
I
A l |b3 l b. } +.1 lc rl

18
IV ill

a-|

a)
t3
ln
-l
DzSUS v DbNAb G7?Y
\
^l l ,t) \
1/- -l l I I

22
tl I

al
, l'lr r
G b A t '' AAtI" B b _ tI C_7b13

A \ \t ) 1 ,l-'

27
tb IV vlll

15
Appendlx

IN CLOSING

Nowthatwe'vereachedthe "end,"I'verealizedthatthereis still so much


whichhas not beencoveredin this book.Basically,I wantedto presentan
analysisof howchordsare structured on the guitarfingerboard. Theiruses
are limitedonlyby yourimagination. Listento all sorts of musicto develop
yourideas,and whenyou learna newchordshape,try to integrateit into
tunesyoualreadyknow.Betterstill,try to composea tunearoundthe chor-
dal type,you'vebeenworkingon. Thatway,it will stick in yourmemory.
And mostimportant: be patient!
The guitaris a versatilebut difficultinstrument that deservesyourde-
dication.

PeterO'Mara

b'"T***
TtrrtqVr-
*J*l-U
Appendix

o
o
6
5
m

ABOUT THE AUTHOR


AustralianguitaristPeterO'Maramovedto Munich,Germanyin 1981. Since
then, he has establishedhimselfas a performerand teacher.He presently
teaches jazz guitarat the Anton BrucknerKonservatoriumin Linz, Austria,
as well as the RichardStrauss Konservatorium in Munich.He also lectures
at jazz workshopsthroughoutGermany.
His performingcredits include Klaus Doldinger's"Passport," Kenny
Wheeler,David Friedman,Mike Nock, RandyBrecker,Albert Mangelsdorff,
AdelhardRoidinger, Uli Beckerhoff,CharlieMariano,TonyLakatosand Terry
Lyne Carrington.
He has a numberof CDs under his own name, including"AvenueU"
(ENJA 6046, featuringJoe Lovano,Dave Holland,Adam Nussbaum and
Roberto di Gioia), "Stairway"(ENJA 7077, featuringTony Lakatos, Russell
Ferrante,AnthonyJackson,Alex Acuna and Tom Brechtlein)and "Symmetry"
(EditionCollage 484-2,featuringBob Mintzer,Marc Johnsonand Falk Willis).

155
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CHORDAL CONCEPT
JAZZ 6UITA
the prognessive

ith a comprehen-

chondaI

uitan

ting with

en working thnough

hd lth chords and

then extens i ons ' chord

titution relationships

practical examples oven


'r,:,,,
. ::.
,

stan'dard chord progressions'

the author presents here a

chordal concept based on

logic nather than just,

memorized shapes.

order # l,B0l,E