Killer Joe Jazz Guitar Chord Study

A fun and interesting chord progression, the tune Killer Joe is a commonly called jazz standard on jam sessions and gigs. While the tune looks easy from an initial look at the chords, especially the A sections which are only two chords, it can be tricky to keep things from becoming monotonous when playing over these changes.

Below you will find a chord study written out over the changes to Killer Joe that uses melodic comping phrases to outline the changes. This keeps things interesting and prevents the tune from becoming predictable.

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What’s In this Killer Joe Chord Study

There is text written under many of the chords in the tune. This text is to indicate the chords used in that part of the chord study.

Here is a bit of background on each of these chord concepts that you can use to understand the underlying theoretical building blocks of the chord study. From there, you can use these concepts to build chord studies over this tune and other tunes.

Lenny Breau Chords – These chords are inspired by the playing of the late, great Lenny Breau. They use the 3rd and 7th as the lowest two notes, or 7th and 3rd, with one color note placed on top of those notes to form the whole chord shape.

Rootless 13th Chords – Built by taking the root out of the 7th chord, and adding the 13th and most of the time the 9th, these shapes were a favorite of Joe Pass and are a great way to spice up your comping ideas.

7alt Chords – When playing over dominant 7th chords, and you want to add a level of tension to your playing, you can add in the altered notes to your chords (b9-#9-b5-#5). This will create a sense of tension that you can then resolve to the next chord in the tune.

Drop 2 Chords – Built with the interval structure R-5-7-3, with inversions created from that root-position shape, drop 2 chords are some of the most commonly used shapes in jazz guitar.

4th ChordsQuartal chords are built by stacking 4th intervals, rather than the traditional 3rd intervals, to create three and sometimes four-note shapes on the guitar.

Closed Chords – Closed shapes are built by placing all of the chords in the order that they appear, such as 1-3-5-7, and are sometimes inverted from that beginning position.

Dim7 Chords – When outlining 7b9 shapes, you can play dim7 chords from the b9, 3, 5 and b7 of the dominant 7th chord in order to build a rootless 7b9 sound in your playing.

Bluesy Drop 2 Chords – These shapes are built by adding blues and other diatonic notes on top of drop 2 chords in order to create a bluesy sound in your comping ideas.

Killer Joe Chord Study

Here is the full chord study for you to practice.

Each 8-bar phrase has been written to be a unique part of the tune as a whole, which means that you will be able to isolate each 8-bar phrase, learn it on its own, and then combine them all to form the tune as a whole.

You can use your fingers to play these chords, or a pick, or hybrid pick-fingerpicking when learning this chord study.

Whatever works for you and is the most comfortable will work as long as it allows you to play the chords smoothly and accurately.

 

Killer Joe Jazz Guitar Comping

 

 

Killer Joe Jazz Guitar Comping 2-

Killer Joe Backing Track

To help you learn this Killer Joe Jazz Guitar Chord Study in the woodshed, here is a short backing track that you can use to play along with in the practice room.

Note that the track is at a performance tempo, a bit quick when first learning the study, so work these chords with a metronome first and then move on to this track when you have the study memorized at a good tempo.

 

 

Further Reading

Summertime Jazz Guitar Chord Study

Take the A Train Jazz Guitar Chord Study

Blue Bossa Jazz Guitar Chord Study

 

Do you have any questions about this Killer Joe Jazz Guitar Chord Study? Share your thoughts in the comments section below.

 

The Easy Guide to Jazz Guitar Chords

  • Floris says:

    Great stuff !

  • milkmannnv says:

    Another cool jazz guitar chord comping etude.Thanks Matt,I can’t thank you enough for these great lessons that are bringing back the fun and very much worth working on.

  • Ivan says:

    Hey Matt, I had a question about the second rootless 13th chord played in the 7th bar.
    It’s spelled out G#, C, D, G. If applicable to an E chord it would the 3rd, minor 6th, dom 7th, and then a minor 3rd (is that correct? not my question) I was wondering why the minor 3rd in place of a 9th other than having an interesting tonal property. Or are you basing rootless 13th off of another chord? Thank you

    Ivan

    • Matt Warnock says:

      Hey Ivan. That chord is actually spelled with an Ab not G#, that’s probably what’s causing the confusion. If you look at it with an Ab it becomes a Bb13 rootless chord, which fits the Bb7 chord that’s in the progression at that point. Hope that helps!

      • Ivan says:

        Sometimes it takes that outside eye to help! Thank you very much, Matt. I had one more question for you about the 18th bar of this piece. I can’t hear the Ebm11 chord played in the recording at all. Can you shed any light on this? Thanks again and as always great work!

        • Ivan says:

          My mistake, Matt I heard a the chord (In a different register maybe? seemed rather high pitched than it would normal at that register of the neck.) Sorry about that.

  • antonio says:

    I love all the lessons.
    I am an amateur musician and I have no words to classify your work.
    Thank you very much.

  • J-strings says:

    honestly i did nt understand d lesson how i wish u can put me through tnx

  • Tom K says:

    Thanks so much . Fun tune to play .

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