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Master the chords used in jazz. This chord dictionary includes over a hundred jazz chord forms, from basic 7th chords with all standard tension substitutions and alterations to guide tone chords to triads over bass notes. It is organized to reveal relationships between different types of chords and help you learn the voicings quickly and thoroughly, in a way that is easy to remember.You will improve your comping and soloing, develop your fingerboard facility, and add more colors to your harmonic palette.

BERKLEE JAZZ GUITAR CHORD DICTIONARY

Musical Instruments/Guitar

It includes: I Traditional notation, fretboard diagrams, and tablature for each chord I Over 100 movable chord forms I Multiple versions of barre and 7th chord shapes, with substitutions and alterations I Triads over bass notes, inversions, and guide-tone chords I Diatonic chord exercises RICK PECKHAM

berklee jazz guitar chord

Berklee Press 1140 Boylston Street Boston, MA 02215 USA 617-747-2146 berkleepress.com

Rick Peckham is Assistant Chair of the Guitar Department at Berklee College of Music. He has mentored thousands of guitarists and is author/instructor of the Berkleemusic online course Guitar Chords 101 and the Berklee Press DVD Modal Voicing Techniques.

DICTIONARY

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college. Cover by Robert Heath

U.S. $14.95

ISBN 0-7935-1083-8

U.S. $9.95

HL50449546 HL00000000

,!7IA8H6-djahjf!:p;K;t;t;P

rick peckham BERKLEE PRESS

#73999-FABBHj +84088-BAECFc

ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3


90448 Berklee JazzGuitarChord Guts:Layout 1

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Page i

edited by jonathan feist


90448 Berklee JazzGuitarChord Guts:Layout 1

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Berklee Press Vice President: Dave Kusek Dean of Continuing Education: Debbie Cavalier Managing Editor: Jonathan Feist Director of Business Affairs: Robert F. Green Senior Designer: Robert Heath Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen

ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3

1140 Boylston Street Boston, MA 02215-3693 USA (617) 747-2146 Visit Berklee Press Online at www.berkleepress.com

Visit Hal Leonard Online at www.halleonard.com

Copyright Š 2007 Berklee Press All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher.


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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

iv 2 2 3 3 4 5 5 6 7 7 8 8 9 9 9 10 10 11 11 13 13 14

3 2 1

)

16 16 16 17 19 19 20 21 23 24 25 28 28 30 30 31 32 33 34 35 36 37 38


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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 you’re attempting to play. Some tips for getting a good chord sound: •

Take special care to play the notes requested—and 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 you’re 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. You’re 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 you’re 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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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. It’s one of the best ways to keep yourself inspired—and to help you to keep the highest musical values in mind.

Listen to great guitarists, but don’t 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, you’ll be able to choose from a variety of options. If you keep at it, you’ll definitely get there! —Rick Peckham

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PART I. CHORDS


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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

   

2

8 9 9 8

3fr

1 342

   

3 5 4 3


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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

8

3 5 3 3

Minor 7 C–7

C–7 3fr

1312

    

4 3 5 3

10fr 1423     

11 11 12 10

3


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MOVEABLE 7th CHORD SHAPES

C–7

C–7 8fr

2 333

1 243

    

3fr

   

8 8 8

8

3 4 3 3

Minor 7%5 C–7b5

C–7b5 3fr

10fr

1324

1222

      

   

4 3 4 3

C–7b5

11 11 11 10

C–7b5 7fr

2 341

     4

7 8 8 8

2fr

2 341

    

2 4 3 3


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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

8

   3 5 2 3

Minor 6 C–6

C–6 2fr

2413

   

4 2 5 3

10fr

    

1312

11 10 12 10

5


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MOVEABLE 7th CHORD SHAPES

C–6

C–6 7fr

2 134

2 143

   

2fr

  

8 8 7

8

3 4 2 3

Diminished 7 Cº7

Cº7 2fr

  

2314

1324

    

10fr

4 2 4 3

Cº7

11 10 11 10

Cº7 7fr

2 131

    6

7 8 7 8

2fr

2 141

   

2 4 2 3


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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

   

8

0 3 3 3

Minor 9 C–9

C–9 8fr

   

3 3 1 3

  

2143

2134

 

10 11 8 10

7


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MOVEABLE 7th CHORD SHAPES

Minor 11 C–11

C–11 6fr

2 341

    6 8 8

2 341

    1 4 3

8

3

Dominant 13 C13 

C13 2fr

  

   

5 3 3 2 3

10 9 8

21334

1 234

C13 3fr

    

1 244

 8

8fr

5 5 3 3

8


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

C7b5 7fr

2 341

2 341

    

2fr

   

7 9 8

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

9


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DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9 C9 

C7(#9) 2fr

2fr

2133

2134

§9

   

3 3 2 3

#9

   

4 3 2 3

C7(#9) 8fr

    

1214

#9

11 8 9 8

Dominant 7#5 C7#5

C7#5 8fr

3fr

1 234

     10

9 9 8 8

1 243

#5

    

4 5 3 3

#5


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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

8

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

C7b5(b9)

7fr

   

2fr

T 2314

     

9 7 9 8

21311

8

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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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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Chapter 3. Guide Tone Chords Root 3 7 CMaj7

C7 2fr

 

2fr

213

213

 

 

4 2 3

3 2 3

C–7

C–7b5

213

213

 

 

3 1 3

3 1 3

(incomplete)

13


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GUIDE TONE CHORDS

CMaj6

C–6 2fr

312

 

312

 

2 2 3

 2 1 3

Cº7

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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Root 7 3

C–7

C–7b5 (incomplete) 8fr

2 34

8fr

2 34

   

   

8 8

8 8

8

CMaj6

8

C–6 7fr

7fr

2 13

 

2 13

 

9 7

8

  8 7 8

Cº7 7fr

2 13

 

   8 7 8

15


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

GMaj/C

7fr

2

 

1341

  

7 8 7

8

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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Other Common Voicings

Other Common Voicings III/I EMaj/C

EMaj/C

8fr

1 333

1 243

  

  

9 9 9

3fr

8

4 5 4 3

II/I DMaj/C

DMaj/C

7fr

2fr

2 111

2 131

  

7 7 7

8

   2 3 2 3

#IV/I F#Maj/C

F#Maj/C

6fr

2fr

    

    

6 7 6

2 2 3

3

121

8

2 311

3

17


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TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6

5

4

VI/I AMaj/C

AMaj/C

8fr

  

3fr

1 423

10 9 11

  

1 423

8

5 5 6 3

VII/I BMaj/C

BMaj/C

7fr

    2

18

7fr

2 431

311

7 7 8 8

 

  7 8 9 8


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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

8

CMaj7/G

5fr

7

3 241

   

1 4 2 3

6 4 3 2

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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

3

CMaj7/G

7fr

2 143

    

CMaj9/E

5fr

1 243

7

3 241

7

3 121

10

14

5 3 2 1

CMaj7

CMaj7/B

10fr

  

1333

 

CMaj7/E

5fr

 

  

8 8 9 9

7 5 5 5

2311

12 12 12 10

CMaj7/G

8fr

1113

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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Minor 7

C7

C7/E 8fr

3 142

    8 9 8

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

8

3 241

   1 3 2

6

3

6 4 3 2

C7

C7/E 3fr

1 243

3 5 3

12fr

   

    

6 8 5

8 11 9

12 13 12

3

C7/Bb 8fr

   

3 142

     

C7/G 5fr

3 241

7

2 131

10

13

5 3 2 1

Minor 7 C–7

C–7/Eb 3fr

1312

    

4 3 5 3

C–7/G

5fr

2314

     

8 5 8 6

C–7/Bb 8fr

12fr

   

    

11 8 10 10

13 12 13 13

2314

2314

5 4 3 2

21


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12:43 PM

Page 22

INVERSIONS

C–7

C–7/Bb 10fr

C–7/G

8fr

   

   

  

11 11 12 10

8 8 8 8

6 4 5 5

1423

1111

C–7/Eb 4fr

2314

same as EbMaj6

1314

   3 1 3 1

4 3 2 1 same as EbMaj6 10fr

C–7

C–7/Eb 8fr

   

2 333

2 143

    

8 8 8

8

C–7

C–7/Bb 8fr

2 333

11 12 10

4 231

   

   

8 8 8

4 5 5

11

8

C–7/G

4fr

3 141

   1 3 1

6

3

6 4 3 2 same as EbMaj6 5fr

C–7

C–7/Eb 3fr

1 243

    

3 4 3 3

5 3 2 1

22

C–7/G

C–7/Bb 8fr

11fr

   

  

     

6 8 5

8 11 8

11 13 12

2 143

6

3 141

10

3 241

13


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Page 23

Minor 7%5

Minor 7%5 C–7b5

C–7b5/Eb 3fr

C–7b5/Gb

5fr

1324

2314

7 5 8 6

11fr

   

2314

   

    

4 3 4 3

C–7b5/Bb

8fr

2413

     

same as Eb–6

11 8 10 9

13 11 13 13

5 4 3 2

C–7b5

C–7b5/Bb

10fr

7fr

   

1222

 

C–7b5/Gb

11 11 11 10

1213

   

   

8 7 8 8

6 4 5 4

Eb–6

4fr

2314

C–7b5/Eb same as

1312

     2 1 3 1

4 3 2 1

C–7b5

C–7b5/Eb

7fr

2 341

    

7 8 8 8

same as Eb–6

C–7b5

10fr

2 134

    

11 11 10 11

C–7b5/Bb

7fr

2 341

3 121

    

    

7 8 8

4 5 4

8

C–7b5/Gb

4fr

6

2 131

    

1 3 1 2

6 4 3 2

23


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Page 24

INVERSIONS

C–7b5 2fr

2 341

2 4 3

C–7b5/Bb

8fr

11fr

    

  

    

6 7 5

8 11 8

11 13 11

3

C–7b5/Gb

5fr

2 143

    

same as Eb–6

C–7b5/Eb

2 141

6

2 141

9

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 A–7

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 A–7

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

3

CMaj6/A

8fr

3 141

   

CMaj6/G

5fr

   

   

8 10 9

12 13 12

3 241

7

same as A–7

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

8

CMaj6/A 7fr

2 143

12

same as A–7

2 333

4 231

   

  

5 5 5

1 2 2

8

CMaj6/G

5fr

5

3

6 4 3 2

Minor 6 C–6

C–6/Eb 2fr

2413

   

4 2 5 3

C–6/G

5fr

8fr

  

   

8 5 7 6

10 8 10 10

2314

C–6/A

2314

same as A–7b5 12fr

 

1324

 

13 12 13 12

5 4 3 2

25


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Page 26

INVERSIONS

same as A–7b5 7fr

C–6

C–6/A 10fr

13 1 2  

C–6/Eb 4fr

  

   

  

8 8 8 7

5 4 5 5

3 1 2 1

1222

11 10 12 10

C–6/G

2314

1214

4 3 2 1

C–6

C–6/Eb 7fr

10fr

  

   

8 8 7

10 12 10

8 8 7

2 131

8

C–6/A

C–6/G

2 341

3 121

7fr

   

2 134

same as A–7b5 4fr

C–6

2 134

11

   

   

4 5 5

1 2 1

8

5

3

6 4 3 2

C–6

C–6/Eb 2fr

5fr

2 143

2 141

  

  

3 4 2

5 8 5

3

5 3 2 1

26

C–6/G

6

C–6/A 8fr

3 141

2 341

   

    

8 10 8

11 13 12

10

12

same as A–7b5 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 C–7 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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12:43 PM

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

29


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12:43 PM

Page 30

Chapter 7. Diatonic Exercises B%Major on BbMaj7

5

4

3

2

C–7

D–7 3fr

1324

     

1312

1312

4 3 5 3

6 5 7 5

G–7

   

   

3 2 3 1

A–7b5 10fr

EbMaj7 5fr

BbMaj7

12fr

8fr

1324

   

8 7 8 6

10 8 10 8

    

A–7b5

13fr

   

F7

6fr

1314

G–7

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

D–7

6fr

1324

     8 7 8 6

C–7 5fr

1312

    6 5 7 5

1312

BbMaj7 3fr

1312

    4 3 5 3

1324

    3 2 3 1


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Page 31

E% Major

E%Major on

4

3

EbMaj7

2

1

F–7

G–7 3fr

1333

        

5fr

   

1423

1423

    

C–7

D–7b5 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

D–7b5

13fr

C–7

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

G–7

6fr

    

1333

8 8 8 6

1222

F–7 5fr

1423

    6 6 7 5

1423

EbMaj7 3fr

1423

     4 4 5 3

1333

    3 3 3 1

31


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Page 32

DIATONIC EXERCISES

F Major on FMaj7

6

4

G–7

3

2 A–7

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

1

3

5

6

8

D–7

E–7b5 10fr

2 333

FMaj7 11fr

E–7b5 13fr

   

2 341

1 342

   

    

D–7 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

A–7

6fr

1 342

   

G–7 5fr

2 333

   

FMaj7 3fr

2 333

1 342

   

   

8 9 8

6 7 7

5 5 5

3 3 3

1 2 2

8

6

5

3

1


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Page 33

B% Major

B%Major on

5

3

BbMaj7

2

1

C–7

D–7 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

1

3

5

6

8

G–7

A–7b5

10fr

BbMaj7

11fr

A–7b5

13fr

G–7

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

    

D–7

6fr

1 243

C–7 5fr

BbMaj7 3fr

1 243

   

1 342

1 243

8 10 8

6 8 7

5 6 5

3 4 3

1 3 2

8

6

5

3

1

   

1 243

   

1 342

   

33


Jazz Chord Dict

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12:43 PM

Page 34

DIATONIC EXERCISES

F Harmonic Minor on F–(Maj7)

G–7b5

6

4

AbMaj7#5

2fr

1 423

       

2 341

   

2 Bb–7

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

1

3

4

6

8

DbMaj7

Eº7

9fr

F–(Maj7) 11fr

2 131

    

Eº7

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

9

12

13

12

9

C7

Bb–7 8fr

1 243

     

34

3

AbMaj7#5 6fr

2 333

   

G–7b5

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

8

6

4

3

1


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Page 35

F Melodic Minor

F Melodic Minor on F–(Maj7)

G–7

6

4

3

AbMaj7#5 3fr

1 423

       

2

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

1

3

4

6

8

D–7b5

E–7b5 9fr

   

2 341

2 341

    

F–(Maj7)

11fr

E–7b5

13fr

   

2 341

   

1 423

D–7b5

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

G–7

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

8

6

4

3

1

35


Jazz Chord Dict

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Page 36

DIATONIC EXERCISES

G Major 6 Bebop Scale on 6 GMaj6

Aº7

2fr

2 143

     

3

2

GMaj6/B 4fr

2 131

   

Cº7

5fr

3 141

   

7fr

2 131

   

3 4 2

4 5 4

5 7 5

7 8 7

3

5

7

8

GMaj6/D

D#º7

8fr

4 231

    

36

4

GMaj6/E same as E–7 10fr

2 131

   

F#º7

12fr

13fr

   

   

2 333

2 131

8 9 9

10 11 10

12 12 12

13 14 13

10

11

12

14


Jazz Chord Dict

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Page 37

G Minor 6 Bebop Scale

G Minor 6 Bebop Scale on 6 G–6

Aº7 2fr

2 134

       

4

3

2

G–6/Bb 4fr

2 131

2 131

   

   

Cº7

5fr

7fr

2 131

   

3 3 2

4 5 4

5 7 5

7 8 7

3

5

6

8

G–6/D

D#º7

8fr

3 121

     

G–6/E same as E–7b5 10fr

2 131

   

F#º7

11fr

13fr

   

   

2 341

2 131

8 9 8

10 11 10

11 12 12

13 14 13

10

11

12

14

37


Jazz Chord Dict

4/10/07

12:43 PM

Page 38

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. 38


Master the chords used in jazz. This chord dictionary includes over a hundred jazz chord forms, from basic 7th chords with all standard tension substitutions and alterations to guide tone chords to triads over bass notes. It is organized to reveal relationships between different types of chords and help you learn the voicings quickly and thoroughly, in a way that is easy to remember.You will improve your comping and soloing, develop your fingerboard facility, and add more colors to your harmonic palette.

BERKLEE JAZZ GUITAR CHORD DICTIONARY

Musical Instruments/Guitar

It includes: I Traditional notation, fretboard diagrams, and tablature for each chord I Over 100 movable chord forms I Multiple versions of barre and 7th chord shapes, with substitutions and alterations I Triads over bass notes, inversions, and guide-tone chords I Diatonic chord exercises RICK PECKHAM

berklee jazz guitar chord

Berklee Press 1140 Boylston Street Boston, MA 02215 USA 617-747-2146 berkleepress.com

Rick Peckham is Assistant Chair of the Guitar Department at Berklee College of Music. He has mentored thousands of guitarists and is author/instructor of the Berkleemusic online course Guitar Chords 101 and the Berklee Press DVD Modal Voicing Techniques.

DICTIONARY

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college. Cover by Robert Heath

U.S. $14.95

ISBN 0-7935-1083-8

U.S. $9.95

HL50449546 HL00000000

,!7IA8H6-djahjf!:p;K;t;t;P

rick peckham BERKLEE PRESS

#73999-FABBHj +84088-BAECFc

ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3


Berklee jazz guitar chord dictionary