90448 guts ppiii-38.pdf
TRANSCRIPT
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ContentsIntroduction iv
Part I. Chords
1. Moveable 7th Chord Shapes 2
(each on )
Major 7 2Dominant 7 3
Minor 7 3
Minor 7%5 4
Major 6 5
Minor 6 5
Diminished 7 6
Dominant 9 7
Minor 9 7
Minor 11 8
Dominant 13 8
2. Dominant 7th Chords with Alterations: 9
two versions each, with roots on 6 and 5
Dominant 7%5 9
Dominant 7(#11) 9
Dominant 7(9, #9) 10
Dominant 7#5 10
Dominant 7(%9, %13) 11
Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 11
3. Guide Tone Chords 13
Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6, 13
Minor 6, Diminished 7)
Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6, 14
Minor 6, Diminished 7)
4. Triads over Bass-Note Voicings with Roots on 16
V/I 16
%VII/I 16
Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I) 17
5. Inversions (each on ) 19
Major 7 19Dominant 7 20
Minor 7 21
Minor 7%5 23
Major 6 24
Minor 6 25
Part II. Exercises
6. Quartal Voicings Exercises 28
C Dorian Voicings 28
7. Diatonic Exercises 30
B% Major on 30
E% Major on 31
F Major on 32
B% Major on 33
F Harmonic Minor on 34
F Melodic Minor on 35G Major 6 Bebop Scale on 36
G Minor 6 Bebop Scale on 37
About the Author 38
6 4 3 2
6 4 3 2
6 4 3 2
6 4 3 2
5 3 2 1
4 3 2 1
6 4 3 2
5 4 3 2
5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1
5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1
6 5 4
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Introduction
TheBerklee 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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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 notesclearly, 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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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 physicalstrength 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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PART I.CHORDS
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2
Chapter 1.Moveable 7th Chord Shapes
Major 7
3fr
1 3 2 4
CMaj7
10fr
1 3 3 3
CMaj7
3545
10121212
8fr
1 3 42
CMaj7
3fr
1 3 42
CMaj7
8
998
3453
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3
Minor 7
Dominant 7
Minor 7
3fr
1 3 1 4
C7
10fr
1 3 2 4
C7
3535
10121112
8fr
1 2 43
C7
3fr
1 2 43
C7
8
898
3353
C7
3fr
1 3 1 2
C7
10fr
1 4 2 3
3
534
10121111
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4
MOVEABLE 7th CHORD SHAPES
Minor 7%5
C7
8fr
2 3 33
C7
3fr
1 2 43
8
888
3343
C7b53fr
1 3 2 4
C7b510fr
1 2 2 2
3434
10111111
C7b57fr
2 3 41
C7b52fr
2 3 41
8
887
3342
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5
Major 6
Minor 6
2fr
2 3 1 4
CMaj6
10fr
1 3 1 4
CMaj6
3525
10121012
7fr
2 1 43
CMaj6
2fr
2 1 43
CMaj6
8
798
3253
C6
2fr
2 4 1 3
C6
10fr
1 3 1 2
3524
10121011
Minor 6
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6
Diminished 7
C6
7fr
2 1 34
C6
2fr
2 1 43
8
788
3243
C7
2fr
2 3 1 4
C7
10fr
1 3 2 4
3424
10111011
C7
7fr
2 1 31
C7
2fr
2 1 41
8
787
3242
MOVEABLE 7th CHORD SHAPES
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7
Minor 9
Dominant 9
Minor 9
2fr
2 1 3 3
C9
9fr
2 1 4 3
C9
3233
1091110
5fr
3 4 21
C9
2 3 4
C9
8
875
3330
C9
2 1 3 4
C9
8fr
2 1 4 3
3
133
10
81110
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8
MOVEABLE 7th CHORD SHAPES
Minor 11
Dominant 13
C11
6fr
2 3 41
C11
2 3 41
8
886
3341
2fr
2 1 3 3 4
C13
8fr
1 2 34
C13
32335
8
8910
3fr
1 2 44
C13
3
355
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9
Chapter 2.Dominant 7th Chords
with Alterations
Dominant 7%5
Dominant 7(#11)
C7b57fr
2 3 41
C7b52fr
2 3 41
8
897
3352
C7(#11)7fr
2 3 41
C7(#11)2fr
2 3 41
8
897
3352
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10
DOMINANT 7th CHORDS
Dominant 7(9), Dominant 7#9
Dominant 7#5
C9
2fr
2 1 3 3
9
C7(#9)
2fr
2 1 3 4
#9
3233
3234
C7(#9)8fr
1 2 1 4 #9
89811
C7#58fr
1 2 34 #5
C7#53fr
1 2 43 #5
8
899
3
354
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11
Dominant 7 (altered)
Dominant 7 (%9, %13)
Dominant 7(altered)
7%5(%9)
7%5(#9)
C7(b9,b13)8fr
1 2 3 33
C7(b9,b13)2fr
2 1 3 1 4
8
8999
32324
C7b5(b9)7fr
T 2 3 14
C7b5(b9)2fr
2 1 3 1 1
8
8979
32322
8
9
711
323
42
C7 5( 9)
7fr
2314
implied root C7 5( 9)
2fr
21341
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12
DOMINANT 7th CHORDS
7#5(%9)
7#5(#9)
C7 5( 9)
8fr
1222
implied root
8999
32324
89911
32344
C7 5( 9)
8fr
1224
implied root
C7 5( 9)
2fr
21314
C7 5( 9)
2fr
21344
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13
Chapter 3.Guide Tone Chords
Root 3 7
2fr
2 1 3
CMaj7
2fr
2 13
C7
32
4
32
3
C7
2 1 3
C7b5
21 3
(incomplete)
313
313
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14
GUIDE TONE CHORDS
Root 7 3
2fr
3 1 2
CMaj6
C6
31 2
322
312
C7
3 1 2
312
8fr
1 2 3
CMaj7
8fr
1 2 3
C7
8
99
8
89
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15
Root 7 3
C7
8fr
2 3 4
C7b58fr
2 3 4
(incomplete)
8
88
8
88
7fr
2 13
CMaj6
C6
7fr
2 1 3
8
79
8
78
C7
7fr
2 1 3
8
78
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16
Chapter 4.
Triads over Bass-Note
Voicings: Roots on
V/I
%VII/I
7fr
2 1 3 1
GMaj/C
3fr
1 3 2 1
GMaj/C
10fr
1 3 4 1
GMaj/C
8
787
3543
10121210
BbMaj/C6fr
3 4 21
BbMaj/C3fr
1 1 1 1
BbMaj/C10fr
1 1 2 1
8
876
3333
10101110
6 5 4
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17
Other Common Voicings
Other Common Voicings
III/I
II/I
#IV/I
8fr
1 3 33
EMaj/C
3fr
1 2 43
EMaj/C
8
999
3454
7fr
2 1 11
DMaj/C
2fr
2 1 31
DMaj/C
8
777
3232
F#Maj/C6fr
3 1 2 1
F#Maj/C2fr
2 3 11
8
676
3
322
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18
VI/I
VII/I
8fr
1 4 23
AMaj/C
3fr
1 4 23
AMaj/C
8
11910
3655
7fr
2 3 1 1
BMaj/C
7fr
2 4 31
BMaj/C
8
877
8
987
TRIADS OVER BASS-NOTE VOICINGS:ROOTS ON 6 5 4
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19
Chapter 5.Inversions
Major 7
CMaj7
3fr
1 3 2 4
CMaj7/E
5fr
2 4 1 3
CMaj7/G
9fr
2 3 1 4
CMaj7/B
12fr
3 4 1 2
3
54
5
7
95
8
10
109
12
14
1412
13
CMaj7
8fr
1 3 42
CMaj7/E
10fr
2 1 34
CMaj7
8fr
1 3 42
CMaj7/B
5fr
3 1 11
CMaj7/G
3 2 41
8
998
12
101212
8
998
7
555
3
241
5 4 3 2
6 4 3 2
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Dominant 7
20
INVERSIONS
CMaj7
3fr
1 3 24
CMaj7/E
5fr
2 1 43
CMaj9/E
7fr
1 2 43
CMaj7/G
8fr
3 2 41
CMaj7/B
12fr
3 1 21
3453
7587
7787
109128
14121312
CMaj7
10fr
1 3 3 3
CMaj7/B
8fr
2 3 1 1
CMaj7/G
5fr
1 1 1 3
CMaj7/E
2 4 1 3
10121212
9988
5557
2413
C7
10fr
1 3 2 4
C7/Bb8fr
1 2 1 1
C7/G
5fr
1 1 1 2
C7/E
2 3 1 4
10121112
8988
5556
2313
5 3 2 1
4 3 2 1
4 3 2 1
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Minor 7
21
Minor 7
C7
8fr
1 2 43
C7/E
10fr
3 1 42
C7
8fr
1 2 43
C7/Bb17fr
2 1 11
C7/G
3 2 41
8
898
12
101211
8
898
6
555
3
231
C7
3fr
1 2 43
C7/E
5fr
3 1 42
C7/G
8fr
3 2 41
C7/Bb
12fr
2 1 31
3353
7586
109118
13121312
C7
3fr
1 3 1 2
C7/Eb5fr
2 3 1 4
C7/G
8fr
2 3 1 4
C7/Bb12fr
2 3 1 4
3
534
6
858
10
10811
13
131213
5 3 2 1
6 4 3 2
5 4 3 2
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22
INVERSIONS
C7
10fr
1 4 2 3
C7/Bb8fr
1 1 1 1
C7/G
4fr
2 3 1 4
C7/Eb
1 3 1 4
same as
EbMaj6
10121111
8888
5546
1313
C7
8fr
2 3 33
C7/Eb10fr
2 1 43
same as
EbMaj6
C7
8fr
2 3 33
C7/Bb4fr
4 2 31
C7/G
3 1 41
8
888
11
101211
8
888
6
554
3
131
C7
3fr
1 2 43
C7/Eb5fr
2 1 43
same asEbMaj6
C7/G
8fr
3 1 41
C7/Bb11fr
3 2 41
3343
6586
108118
13121311
4 3 2 1
6 4 3 2
5 3 2 1
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Minor 7%5
23
Minor 7%5
C7b5
3fr
1 3 2 4
C7b5/Eb
5fr
2 4 1 3
same asEb6
C7b5/Gb
8fr
2 3 1 4
C7b5/Bb
11fr
2 3 1 4
3434
6857
910811
13131113
C7b510fr
1 2 2 2
C7b5/Bb7fr
2 3 1 4
C7b5/Gb4fr
1 2 1 3
C7b5/Eb
1 3 1 2
same asEb6
10111111
8878
4546
1312
C7b57fr
2 3 41
C7b5/Eb10fr
2 1 34
same as
Eb6
C7b57fr
2 3 41
C7b5/Bb4fr
3 1 21
C7b5/Gb
2 1 31
8
887
11
101111
8
887
6
454
2
131
5 4 3 2
6 4 3 2
4 3 2 1
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Major 6
24
INVERSIONS
C7b52fr
2 3 41
C7b5/Eb5fr
2 1 43
same as
Eb6
C7b5/Gb8fr
2 1 41
C7b5/Bb11fr
2 1 41
3342
6576
98118
13111311
2fr
2 3 1 4
CMaj6
5fr
2 3 1 4
CMaj6/E
CMaj6/G
9fr
2 3 1 4
CMaj6/A
12fr
1 3 1 2
same asA7
3525
7758
1010910
12141213
CMaj6
10fr
1 3 1 4
CMaj6/A
7fr
1 4 2 3
same asA7
CMaj6/G
5fr
1 1 1 1
CMaj6/E
2 3 1 4
10121012
7988
5555
2213
5 4 3 2
5 3 2 1
4 3 2 1
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Minor 6
25
Minor 6
CMaj6
2fr
2 1 43
CMaj6/E
5fr
3 1 41
CMaj6/G
8fr
3 2 41
CMaj6/A
12fr
1 2 43
same asA7
3253
7585
109108
12121312
CMaj6
7fr
2 1 43
CMaj6/E
10fr
3 1 41
CMaj6
7fr
2 1 43
CMaj6/A
5fr
2 3 33
same asA7
CMaj6/G
4 2 31
8
798
12
101210
8
798
5
555
3
221
C6
2fr
2 4 1 3
C6/Eb5fr
2 3 1 4
C6/G
8fr
2 3 1 4
C6/A
12fr
1 3 2 4
same as
A7b5
3524
6758
1010810
12131213
6 4 3 2
5 3 2 1
5 4 3 2
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26
INVERSIONS
C6
10fr
1 3 1 2
C6/A
7fr
1 2 2 2
same asA7b5
C6/G
4fr
2 3 1 4
C6/Eb
1 2 1 4
10121011
7888
5545
1213
C6
7fr
2 1 34
C6/Eb
10fr
2 1 31
C6
7fr
2 1 34
C6/A
4fr
2 3 41
same as
A7b5
C6/G
3 1 21
8
788
11
101210
8
788
5
554
3
121
C6
2fr
2 1 43
C6/Eb5fr
2 1 41
C6/G
8fr
3 1 41
C6/A
11fr
2 3 41
same asA7b5
3243
6585
108108
12121311
4 3 2 1
5 3 2 1
6 4 3 2
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PART II.EXERCISES
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28
Chapter 6.Quartal Voicings Exercises
C Dorian Voicings
(for use on C7 or F7sus4)
3fr
1 1 1 2
5fr
1 1 1 2
6fr
1 2 3 4
3334
5556
6778
8fr
1 1 1 3
10fr
1 1 1 2
12fr
1 1 1 2
13fr
1 1 2 3
88810
10101011
12121213
13131415
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29
C Dorian Voicings
1 2 3 4
3fr
1 1 2 3
5fr
1 1 2 2
1233
3345
5566
7fr
1 1 2 2
8fr
1 1 3 4
10fr
1 1 2 2
12fr
1 1 2 2
7788
881010
10101111
12121313
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Chapter 7.Diatonic Exercises
B%Major on 5 4 3 2
30
BbMaj7
1 3 2 4
C7
3fr
1 3 1 2
D7
5fr
1 3 1 2
EbMaj76fr
1 3 2 4
F7
8fr
1 3 1 4
13
23
35
34
57
56
68
78
810
810
G7
10fr
1 3 1 2
A7b512fr
1 3 2 4
BbMaj713fr
1 3 2 4
A7b512fr
1 3 2 4
G7
10fr
1 3 1 2
10121011
12131213
13151415
12131213
10121011
8fr
1 3 1 4
F7
EbMaj76fr
1 3 2 4
D7
5fr
1 3 1 2
C7
3fr
1 3 1 2
BbMaj7
1 3 2 4
810
810
68
78
57
56
35
34
13
23
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E%Major on 4 3 2 1
31
E% Major
EbMaj7
1 3 3 3
F7
3fr
1 4 2 3
G7
5fr
1 4 2 3
AbMaj7
6fr
1 3 3 3
Bb7
8fr
1 3 2 4
1333
3544
5766
6888
810910
C7
10fr
1 4 2 3
D7b512fr
1 2 2 2
EbMaj713fr
1 3 3 3
D7b512fr
1 2 2 2
C7
10fr
1 4 2 3
10121111
12131313
13151515
12131313
10121111
Bb78fr
1 3 2 4
AbMaj76fr
1 3 3 3
G7
5fr
1 4 2 3
F7
3fr
1 4 2 3
EbMaj7
1 3 3 3
810910
6888
5766
3544
1333
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F Major on 6 4 3 2
32
DIATONIC EXERCISES
FMaj7
1 3 42
G7
3fr
2 3 33
A7
5fr
2 3 33
BbMaj7
6fr
1 3 42
C7
8fr
1 2 43
1
221
3
333
5
555
6
776
8
898
D7
10fr
2 3 33
E7b511fr
2 3 41
FMaj7
13fr
1 3 42
E7b511fr
2 3 41
D7
10fr
2 3 33
10
101010
12
121211
13
141413
12
121211
10
101010
C7
8fr
1 2 43
BbMaj76fr
1 3 42
A7
5fr
2 3 33
G7
3fr
2 3 33
FMaj7
1 3 42
8
898
6
776
5
555
3
333
1
221
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B%Major on 5 3 2 1
33
B% Major
BbMaj7
1 3 42
C7
3fr
1 2 43
D7
5fr
1 2 43
EbMaj76fr
1 3 42
F7
8fr
1 2 43
1231
3
343
5
565
6
786
8
8108
G7
10fr
1 2 43
A7b511fr
2 3 41
BbMaj713fr
1 3 42
A7b511fr
2 3 41
G7
10fr
1 2 43
10
101110
12
121311
13
141513
12
121311
10
101110
8fr
1 2 43
F7
EbMaj76fr
1 3 42
D7
5fr
1 2 43
C7
3fr
1 2 43
BbMaj7
1 3 42
8
8108
6
786
5
565
3
343
1
231
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F Harmonic Minor on 6 4 3 2
34
DIATONIC EXERCISES
F(Maj7)
1 4 23
G7b52fr
2 3 41
AbMaj7#54fr
1 3 33
Bb76fr
2 3 33
C7
8fr
1 2 43
1
211
3
332
4
555
6
666
8
898
DbMaj79fr
1 3 42
E7
11fr
2 1 31
F(Maj7)
13fr
1 4 23
E7
11fr
2 1 31
DbMaj79fr
1 3 42
9
10109
12
111211
13
141313
12
111211
9
10109
C7
8fr
1 2 43
Bb76fr
2 3 33
AbMaj7#54fr
1 3 33
G7b52fr
2 3 41
F(Maj7)
1 4 23
8
898
6
666
4
555
3
332
1
211
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F Melodic Minor on 6 4 3 2
D7b59fr
2 3 41
E7b511fr
2 3 41
F(Maj7)
13fr
1 4 23
E7b511fr
2 3 41
D7b59fr
2 3 41
10
10109
12
121211
13
141313
12
121211
10
10109
35
F Melodic Minor
F(Maj7)
1 4 23
G7
3fr
2 3 33
AbMaj7#5
4fr
1 3 33
Bb7
6fr
1 2 43
C7
8fr
1 2 43
1
211
3
333
4
555
6
676
8
898
C7
8fr
1 2 43
Bb76fr
1 2 43
AbMaj7#54fr
1 3 33
G7
3fr
2 3 33
F(Maj7)
1 4 23
8
898
6
676
4
555
3
333
1
211
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G Major 6 Bebop Scale on 6 4 3 2
36
DIATONIC EXERCISES
GMaj62fr
2 1 43
A74fr
2 1 31
GMaj6/B5fr
3 1 41
C77fr
2 1 31
3
243
5
454
7
575
8
787
GMaj6/D
8fr
4 2 31
D#710fr
2 1 31
GMaj6/E
12fr
2 3 33
same as E7 F#713fr
2 1 31
10
99
8
11
1011
10
12
1212
12
14
1314
13
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G Minor 6 Bebop Scale on 6 4 3 2
37
G Minor 6 Bebop Scale
G62fr
2 1 34
A74fr
2 1 31
G6/Bb5fr
2 1 31
C77fr
2 1 31
3
233
5
454
6
575
8
787
G6/D
8fr
3 1 21
D#710fr
2 1 31
G6/E
11fr
2 3 41
same as E7b5 F#713fr
2 1 31
10
89
8
11
1011
10
12
1212
11
14
1314
13
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38
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 byDownbeatmagazine. 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 releasingModal 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.
Photo
byCra
ig
Reed
Jazz Chord Dict 4/10/07 12:43 PM Page 38