Chord revision

[harpwood_gr]

Hello to every one,

I've recently started writing a chord dictionary. You gonna ask me "why? there's dozen of chord dictionaries around to find...", and you're right! But i want something more practical to read. All the dictionaries i've ever red are not supposed to be memorized, but "to be consulted" when the time "needs to"...

I hope you follow me until now...

Every body knows how important is the chord vocabulary for a jazz guitarist. Specially if you want to make harmonized chord solo arrangements. And we should not forget the comping... So every jazz guitarist should memorize every new chord he might encounter and targets to learn a specific number of new voicings each week.

To make my point, i write my personal dictionary with chord memorization in mind. I categorize each chord quality into 2 groups:

group 1: 4-string
a)upper
b)middle
c)lower
group 2: a) bass on 6th string + 3 note voincing
b) bass on 5th string +3 note voicing

i have finished the C7, Cmaj7 and C6
I am going/trying to cover almost every chord quality (it will take a while i know)...

I wrote a fast memo for reading instructions in last page.

Feel free to download it and check the fingerings. Help me revise and check errors and mistakes. A fresh look might see something i wont... Reply here your revisions...

thank you in advance....

George Harpwood

***UPDATE 22/12/2010 New Page Cm7 & better layout***
3 examples how to use jazz chords (thank you wizard3739 for the idea)
example 1 : some II-Vs and II-V-Is with walking bass
example 2: harmonized watermellon man (very good arrengment for trio [g,b,dr with no pianno for comping] - you may simplify it in performance)
example 3: is an old post of mine. Worth checking it here - harmonized all the things you are

[franco6719]

I would just point out that, memorization is definitely important, but sometimes you memorize a bunch of chords only to forget them later because you aren't actually using them when you play or practice tunes. So it's important to work them into arrangements, comping, soloing whatever. This way they seem to become unconscious and part of what you actually hear.

[Krenwin]

Awsome and good initiative.
I think you gonna make the chord series like C7, C7b5, C13, C7#9 all in one, and another page for minors (Cmi etc.0
Good luck,
Krenwin

[ksjazzguitar]

I think, rather than come up with a comprehensive list of chords, it is better to understand what the function of each note is and how it voice-leads into the next chord.

Peace,
Kevin

[jsepguitar]

It also helps to know what degree each note is in the chord. That way you can raise or lower notes to form new chords. I find that easier than just remembering shapes.

[harpwood_gr]

jsepguitar i agree with you. Also notice that the C6 chords are indentical to Am7 chords and Cmaj7 are indentical to Am9. Later I will cover that similarities so the memorization will be even easier.

ksjazzguitar knowing the chords is one thing and learning to use them is another. As guitarist we should work on both of them

Krenwin thank you for your kind words. I'll try to deliver a new page every week here.

franco6719 I have forgotten many chords that i do not use. So times to times i revise them. Now I write this booklet to make my life easier while i am enjoing the prosses to remember again all that forgotten voicings....

[wolflen]

nice study....

ted greene taught me the "systematic chord inversions" ...which is just what your doing...the key for me was to find ways to use the chords..which takes time to integrate into daily playing...

then the chords "with more than one name" ie G6/Emi7...teds suggestion was to use them in small progressions-I-iii-vi-ii-V..trying all the inversions in all keys (of course) to see how they sound...when your comfortable enough to "mix & match" the chords within a progression and use them in melodic as well as harmonic support-then the effort to learn them becomes priceless...

some other forms--

example: G7 (then move this form to the next set of strings 5 4 2 1)
6-G
5-D
4-x
3-B
2-F
1-x

play well

wolf

[BigDaddyLoveHandles]

I think in patterns. Rather than thinking of these seventeen chords separately:

C7: x323xx (or x323x4)
C9: x3233x (or x32333)
C7b9: x3232x (or x32323)
C7b9b5 (x32322)
C7b9#5: x32324
C13b9: x32325
C9b5: x32332
C9#5: x32334
C13: x32335
C7#9: x3234x (or x32343)
C7#9b5: x32342
C7#9#5: x32344
C13#9: x32345

I think of a single grip with options:

||---|b5-|-5-|#5-|13-|---|---|---|---|---|---|
||---|b9-|-9-|#9-|---|---|---|---|---|---|---|
||---|---|-7-|---|---|---|---|---|---|---|---|
||---|-3-|---|---|---|---|---|---|---|---|---|
||---|---|-R-|---|---|---|---|---|---|---|---|
||---|---|---|---|---|---|---|---|---|---|---|
 

[harpwood_gr]

BigDaddyLoveHandles I am aware of those patterns, because i use them too. But those patterns are covering a small portion of the fretboard. We need at least the same amount of pattern for the 8th fret alone, to cover another one small portion. Not good enough for me, so i adepted this approach...


(PS. This C7: x323xx (or x323x4) could be x3231x too)

[BigDaddyLoveHandles]

Originally Posted by harpwood_gr

BigDaddyLoveHandles I am aware of those patterns, because i use them too. But those patterns are covering a small portion of the fretboard. We need at least the same amount of pattern for the 8th fret alone, to cover another one small portion. Not good enough for me, so i adepted this approach...

I gave one example.

[ksjazzguitar]

Originally Posted by harpwood_gr

ksjazzguitar knowing the chords is one thing and learning to use them is another. As guitarist we should work on both of them

I guess for me, there is no distinction - if you don't understand the notes in the chord or how it is used, then to me you don't really know the chord. Just learning the shapes of the chords let's you pretend to understand harmony (sometimes to good effect) but real harmonic knowledge comes from understanding how the notes are moving, IMHO.

It would be like trying to learn French by memorizing the pronunciation of a bunch of words. But if you don't know the meaning of the words, you still don't know the words. Even if you learn the meaning of the words, you still can't speak French until you can put them together correctly with correct syntax and grammar. True, with a bunch of well pronounced words you might be able to fool someone who doesn't know any French, but not a true francophone.

In the same way, I hear a lot of guys who think they know chords because they've memorized the shapes. I think that people would be better served with fewer chords that they truly understand. You can still learn a lot eventually, but once you truly understand harmony, you can just make up chords as you need them.

Just MHO.

Peace,
Kevin

[wizard3739]

I think your approach for learning chords is very good and would be excellent as a reference library of chords. You might consider adding a few common chord progressions to show how some of the chords might fit together for different voice leading sounds. Good job!

wiz

[M. Smit]

Very useful approach it shows very effectively where and how the different chord forms work.
Looking forward to see the end result!

[harpwood_gr]

Looks like there's several approaches to the subject and all correct! Each one chooses what works best for him!

PS some BONUS chord examples

[gingerjazz]

I could not agree more with Kevin,i have allways found that once you know about chord construction its then easy to take say a major chord drop the seventh a half step and youve got a dominant seventh ,then drop the third youve got a minor seventh,now drop the fifth and its turned into a half diminished chord.To me this way your just modifying one chord rather than thinking of four seperate entities

[Badge]

Hi harpwood gr
What software did you use to document your chord chart?
Cheers

[ksjazzguitar]

I assume your familiar with the terms "drop-2" and "drop-3"? That seems to be how you're organizing them.

Peace,
Kevin

[franco6719]

Totally agree with Kevin and Bigdaddy. I tried the chord dictionaries, encyclopedias and all the possible shape memorization approaches in the world. You end up with the obvious result: fixed shapes that become habitual that you don't really understand and find it extremely difficult to break out of when you have to actually try to comp creatively or improvise. I was stuck in this position for a few years. The goal should be to know where the guide tones are without thinking about it and then be able to build any chord from there.

But I can't say what works for me works for everyone. For me, the danger of rote memorization is always getting stuck with "Fmin7 is here, Bbmin7 is here, Eb9 here on the sixth fret here"...etc...

[harpwood_gr]

franco6719 did you tried to use the root of the chord as refference point on the fretboard? (If you check my chord shapes you will find that i always give the root)

ksjazzguitar The way i organize chords:

Let's take the very first C7 in group 1,a

C7 (3323XX=GCEBbXX) to constract the next inversion we take each note and move it at the next chord tone higher.

So G->Bb, C->E, E->G, Bb->C and the new C7 is (6755XX=BbEGCXX)

If we repeat the prosses Bb->C, E->G, G->Bb, C->E ---> (8.10.89XX=CGBbEXX) wich in fact is the a very famous barred E7 open shape.

Also note that our 3rd chord is indentical voicing with group 1,b first chord. Now you know an uniqe voicing at two places on fretboard...

Badge Depents of my needs, i work with sibelius 4 or/and CorelDraw X5

gingerjazz I agree with you partially. And I have to say this: try immidiately to nail your new learned voicings to your repertory. If you cannot find any use for them maybe because sounds strange to you or because is very hard to finger it, keep in mind that a) as a guitarist you HAVE to know it, b)maybe this chord will be the only suittable to be used in harmonization (or even in reharmonization) if you like to make your own arrangements. This is the way at least I FEEL.

***I would like to thank all of you for your time to check my thread and for the interesting exchange of oppinions...

***If you notice mistakes in the booklet let me know, to make the corrections and repost it.

***New page every week (or at least I'll try to)

[franco6719]

id you tried to use the root of the chord as refference point on the fretboard? (If you check my chord shapes you will find that i always give the root)

Hmm... but the root is not usually important unless you are playing solo. I try to think as much as possible in terms of 3rd and 7ths now to get away from the habit of going always to the root inversions too. But, you know, what works best for one person.

Actually, I think most of the time I am thinking of shapes, but something more like the "patterns" or bases that BD was talking about. You will find an unbelievable number of chords derived from altering just three or four or five shapes. But then the trouble is to know the tones in the shape very well, so you can alter them on the fly.

[ksjazzguitar]

Originally Posted by harpwood_gr

ksjazzguitar The way i organize chords:...

Yes, I understand. My point isn't that you're organizing them incorrectly but that you are kind of reinventing the wheel. What you are calling "Group 1" is commonly referred to as "drop-2 voicings" and what you call "Group 2" is what we usually call "drop-3 voicings." There's nothing wrong with using different terminology, but you may want to let your reader know that you've simplified the name.

Peace,
Kevin

[cosmic gumbo]

Depending on the chord root as a reference point for the fretboard is limiting.

[ksjazzguitar]

Originally Posted by cosmic gumbo

Depending on the chord root as a reference point for the fretboard is limiting.

True. It's a good place to start, but eventually you'll want to move beyond "rooted" voicings. Subs will get you part of the way there, but ultimately you'll have to understand how these chords are build, which notes "define" the chord and where they are. Good point.

Peace,
Kevin

[harpwood_gr]

I believe the root is a good refference point. Even if you do not finger it, you can visualize it. The root is always somewhere very close to the chord shape. (some examples in bitmap bellow - i put some rootless tritone subs among others)

Now if you do not agree with me is ok.
I understand that each one has a personal, different understanding and aweriness of music.

about drop-2 and drop-3 voicings your right,but i do not try to reinvent the wheel. I just dislike the drop-2 and drop-3 names. That's all

[franco6719]

about drop-2 and drop-3 voicings your right,but i do not try to reinvent the wheel. I just dislike the drop-2 and drop-3 names.

I agree with this part. "Drop-2" my tail. I just say "CMaj7 second inversion on these strings here.

[ksjazzguitar]

Originally Posted by harpwood_gr

I believe the root is a good refference point. Even if you do not finger it, you can visualize it.

Yes, I understand, but it was worth being said. And actually, I don't think of my chords from where the root is. I tend to think of them as from where the top note is, whatever extension that is. I guess that I've done cho-mel and chord soloing for so many years that seems a more useful way to me. And actually, when I label chords, I don't use dots, etc, I like to chord tone labels in a circle, like "9," "3," "#11," etc. I find that a lot of people just memorize the patters of the dots and never bother to learn how the notes actually function. I find all this to be a more logical way to think of and label chords, but maybe that's all just me.

Originally Posted by harpwood_gr

about drop-2 and drop-3 voicings your right,but i do not try to reinvent the wheel. I just dislike the drop-2 and drop-3 names. That's all

Again, I'm not saying that you have to use those terms, but you may want to at least acknowledge it with a statement like, "For those of you that are familiar with chord voicing terminology, the category 1 chords are commonly referred to as 'drop-2' voicings and the category 2..."

It just keeps people like me from doing a suspicious double-take and prevents people from assuming that you are ignorant of standard voicing terminology. You don't even have to spend the time explaining what the drop voicings are, just acknowledge that it is the common term for what you are doing.

But your chord diagrams look great.

Peace,
Kevin

[harpwood_gr]

Originally Posted by ksjazzguitar

Yes, I understand, but it was worth being said. And actually, I don't think of my chords from where the root is. I tend to think of them as from where the top note is, whatever extension that is(...)

(...) I'm not saying that you have to use those terms, but you may want to at least acknowledge it with a statement like, "For those of you that are familiar with chord voicing terminology, the category 1 chords are commonly referred to as 'drop-2' voicings and the category 2(...)"

You are right about the top note. I choose my voicings while performing, with the top note of the chord. If you "try to sing" (i now it's impossible but if "you try to sing") the last voicing that you heard, you will just sing the top note. And ofcourse the top note is important for smooth changes - as you already know.
So I agree about the top note and i am used to visualize the root of each chord in msecs to spot it and finger it. We agree but we have different approach.

about drop-2-3 chords you are right. I should have mention them...

see ya & have some nice & creative jam...

[cosmic gumbo]

Can we change the name of the phrygian mode? I really dislike that name.

[ksjazzguitar]

Originally Posted by cosmic gumbo

Can we change the name of the phrygian mode? I really dislike that name.

It's all Greek to me.

[JonnyPac]

Originally Posted by franco6719

Totally agree with Kevin and Bigdaddy. I tried the chord dictionaries, encyclopedias and all the possible shape memorization approaches in the world. You end up with the obvious result: fixed shapes that become habitual that you don't really understand and find it extremely difficult to break out of when you have to actually try to comp creatively or improvise. I was stuck in this position for a few years. The goal should be to know where the guide tones are without thinking about it and then be able to build any chord from there.

But I can't say what works for me works for everyone. For me, the danger of rote memorization is always getting stuck with "Fmin7 is here, Bbmin7 is here, Eb9 here on the sixth fret here"...etc...

I'm on this side of things as well. Memorize all the fretboard interval patterns and then build from formulas and so on.

That said, best of luck with your book!!! It is a lot of work, I know. It looks very nice.