The Jazz Guitar Chord Dictionary
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  1. #1
    I find myself making mistakes when I have to grab slash chords on the fly. Some exercises or practice tips would me much appreciated.

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  3. #2

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    My suggestions here are only for major and minor triads over bass notes.

    Below my post is a list of all major and minor triads, including different enharmonic spellings.

    You could paste that list into this site, hit randomize on the left, and then you have a list of random major and minor triads.

    With or without a metronome, you could go through the list trying to voice all the triads over a C bass note, then over a G bass note, then a D, etc.

    Alternatively, you could also include a list of all possible root notes, then combine two lists, maybe side to side, with the first column being the chord and the second column being the bass note. You'll have truly random slash chords, and then when you finish that list you can repeat the process again and have a totally different list of truly random slash chords.

    Alternative to that but less comprehensive, you could make a list of the most common slash chords and randomize those, trying to read through with or without a metronome.



    A
    A
    A#
    Bb
    B
    B
    Cb
    C
    C
    C#
    Db
    D
    D
    D#
    Eb
    E
    E
    F
    F
    F#
    Gb
    G
    G
    G#
    Ab
    Ab
    Am
    Am
    A#m
    Bbm
    Bm
    Bm
    Cbm
    Cm
    Cm
    C#m
    Dbm
    Dm
    Dm
    D#m
    Ebm
    Em
    Em
    Fm
    Fm
    F#m
    Gbm
    Gm
    Gm
    G#m
    Abm

  4. #3

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    I would say to play through the cycle of fourths over a static bass

    C, F/C , Bb/C, Eb/C, Ab/C etc

    Use C on the 6th then 5th and lastly see how many you can play with the C bass on the 4th string. You could even dictate what finger palys the root. First time use 1 or 2nd finger then 3 or 4 ( C= 8 x 10 9 8 x or 8 x 555 x)

    Do this with the minors then diminished/augmented

    This should get them all under your fingers pretty well.

    The next step would be to figure out what each one can be used for (ie. F#/C = C7b9#11, G/C = Cma9, E/C = Cma7#5 etc)

    Once you figure that out then take any standard and rewrite the chords as slash chords.

    Here's some ii-V examples in C (Dmi7-G7-Cma7)

    C/D, Db/G, D/C
    F/G, E/G, G/C
    Am/D, Bbmi/B , D/C

  5. #4

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    Once you figure that out then take any standard and rewrite the chords as slash chords.
    John, that's a really cool exercise, thanks.

    I've just tried it a little bit and was wondering if, when you do this, you only use major and minor triads on top (as opposed to diminished or augmented), and also if you exclude structures that are basic seventh chords like F/D, Gm/E, etc. (or inverted triads)

    I tried doing this quickly for Beautiful Love (in Dm) trying to keep the melody in mind:

    D/Bb - - - | C/Db - - - |C/D - - - |Ab/D - - -

    F/G - - - |A/C - - - |C/F - - - |Bb/E - G/A -

    C#dim/D - C/D - |???

    I tried to just do the first 16 but got stumped here for something that sounded good. Maybe my ear just doesn't want to hear T/B for a whole tune, but I'm interested in what might be possible there for Gm...I keep on wanting the top triad to be C or Am but it starts to sound annoying...

    It would be cool to have a thread maybe of specifically T/B reharms...

    Thanks...

  6. #5

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  7. #6

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    Quote Originally Posted by JakeAcci

    I've just tried it a little bit and was wondering if, when you do this, you only use major and minor triads on top (as opposed to diminished or augmented), and also if you exclude structures that are basic seventh chords like F/D, Gm/E, etc. (or inverted triads)

    I tried doing this quickly for Beautiful Love (in Dm) trying to keep the melody in mind:

    D/Bb - - - | C/Db - - - |C/D - - - |Ab/D - - -

    F/G - - - |A/C - - - |C/F - - - |Bb/E - G/A -

    C#dim/D - C/D - |???

    I tried to just do the first 16 but got stumped here for something that sounded good. Maybe my ear just doesn't want to hear T/B for a whole tune, but I'm interested in what might be possible there for Gm...I keep on wanting the top triad to be C or Am but it starts to sound annoying...

    It would be cool to have a thread maybe of specifically T/B reharms...

    Thanks...

    You could throw dim/aug in to the mix.

    For say, A child is Born (Bbma- Ebmi6):

    Gm/Bb - Cdim/Bb - F/Bb- Gb/Bb Gm/Bb Ebmi/Bb Ab/A Gb+/Ab (D7+/-5/Ab)


    I might voice them: 6432

    6x533x
    6x454x
    6x756x
    6x867x
    6x878x
    6x887x
    5x654x
    4x433x


    I'll give you one of my favorites

    Db/D = Bb7#9 or E13b9 as well as Db7b9 and G7#11b9

    or use Eb/B and Db/B as alt sounding G7's

    other used for triads would be to move the bass to the soprano voice(or double the bass in the sopranos voice) and see what new chords you find:

    3x7563 to 3x6453 is one of my favorites


    Lastly, you could apply a similar technique to quartal and quintal but keeping a static bass and moving them chromatically. I found a lot of useful voicings that way.

    One I found that I really like is 35x252 or GDAE F#, A four note quintal chord with a second on top.

    At this point I'll be waiting for Bako to post some of what he's found.

  8. #7

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    Good suggestions already. I'll add playing 3 5 7, 5 7 9, 7 9 11, 9 11 13 off of every mode of the 4 seven note scales.
    D/C is a common lydian sounding C major chord, so is D/E, D/G, D/B.

    Here's a quick attempt at Beautiful Love melody, first phrase.
    One chord per melody note except the last 3 filler chords to resolve (sort of)

    -----G/A---------------A/F-----------------Db/Eb--------//-------D/G---------------G/Eb------//
    A-X-G-B-D-X-----X-F-A-C#-E-X-----X-Eb-Ab-Db-F-X // X-X-G-D-F#-A-----X-X-Eb-B-D-G //


    ------F/B---------------C/Db---------------Bb/C---------------A/D-------//-------Bb/Gb--------------Dm/Eb------------Fsus/D----//
    X-B-X-A-C-F-----X-Db-G-C-E-X-----X-C-F-Bb-D-X-----X-D-A-C#-E-X // X-Gb-Bb-D-F-X-----X-Eb-A-D-F-X-----X-D-Bb-C-F-X-//

    Hey John, a little flashback to the Voicing Compendium Workshop days.
    Jake, I have no doubt I will find some use for that Randomizer tool, thanks for the link.

  9. #8

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    2nd phrase Beautiful Love

    ----Dm/Gb---------------Eb/F----------------D/E-------//-----F/Bb-----------------Gb/C-------//
    X-X-Gb-A-D-F-----X-X-F-Bb-Eb-G-----X-E-X-D-F#-A // X-X-Bb-F-A-C-----X-X-C-Db-Gb-Bb //


    ------F/Eb-----------------C/Ab-----------Bdim/Eb-------------C/D------//------F#m/B---------------D/Eb--------------A+/G---------//
    X-Eb-X-C-F-A-----X-X-Ab-C-E-G------X-X-Eb-B-D-F-----X-D-X-C-E-G // X-X-B-C#-F#-A-----X-Eb-X-D-F#A-----X-X-G-C#-E#-A //
    Last edited by bako; 05-20-2012 at 07:48 PM. Reason: added 2 last chords

  10. #9

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    Thanx for some new ideas guys...

  11. #10

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    3rd phrase of Beautiful Love


    ----Asus/F#--------------E/F---------------F+/B------ //------A/Bb-----------------G/Eb---------------F#m/G---- //
    X-F#-D-E-A-X-----X-F-X-E-G#-B-----X-X-B-F-A-C# // X-Bb-X-A-C#-E-----X-X-Eb-G-B-D-----X-X-G-C#-F#-A //


    -------C/F----------------Gb/Ab----------------D/Eb------ //------A/B-----------------E/D----------------C/Db----- //
    X-F-X-E-G-C-----X-X-Ab-Db-Gb-Bb-----X-Eb-F#-A-D-X // B-X-A-C#-E-X-----X-D-G#-B-E-X-----X-Db-G-C-E-X //

  12. #11

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    Bako, that's a very cool harmonization, thanks. But I'm finding the format pretty hard to read. I put your first post into what is, to me, a little more forum-friendly notation:

    A x G B D x

    X F A C# E X

    X Eb Ab Db F X

    X X G D F# A

    X X Eb B D G

    B X A C F X

    X Db G C E X

    X C F Bb D X

    X D A C# E X

    X Gb Bb D F X

    X Eb A D F X

    X D Bb C F x

  13. #12

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    Beautiful Love (triad/bass practice study)

    A X G B D X

    X F A C# E X

    X Eb Ab Db F X
    --------------------
    X X G D F# A

    X X Eb B D G
    --------------------
    X B X A C F

    X Db G C E X

    X C F Bb D X

    X D A C# E X
    ----------------------
    X Gb Bb D F X

    X Eb A D F X ***

    X D Bb C F X ***
    -----------------------
    X X Gb A D F

    X X F Bb Eb G

    X E X D F# A
    --------------------
    X X Bb F A C

    X X C Db Gb Bb
    ---------------------
    X Eb X C F A

    X X Ab C E G

    X X Eb B D F

    X D X C E G
    ---------------------
    X X B C# F# A

    X Eb X D F# A ***

    X X G C# E# A ***
    ---------------------
    X F# D E A X

    X F X E G# B

    X X B F A C#
    -----------------------
    X Bb X A C# E

    X X Eb G B D

    X G C# F# A X
    ------------------------
    X F X E G C

    X X Ab Db Gb Bb

    X Eb F# A D X
    --------------------------
    B X A C# E X

    X D G# B E X ***

    X Db G C E X ***
    ---------------------------
    Bb X G C E X

    X Eb Ab Db F X

    X E Bb Eb G X
    -----------------------------1st ending
    X X B C F A

    X X Bb C F A ***

    X X Bb C# E A ***
    ------------------------------
    G X F Ab Db X

    X B E A C# X ***

    X Bb F# A D X
    --------------------------------
    X F G C E X

    Bb X G# B E X ***

    X C# G Bb E X ***
    ---------------------------------- DC
    ------------------------------------2nd ending
    X X B C F A

    X X Bb C F A ***

    X B E A C# X

    X Bb F# A D X
    ---------------------------------------
    X B X A D F

    X X Eb Bb D F ***

    X C G# B E X

    X C# G Bb E X ***
    ---------------------------------------------
    X Eb G B D X

    Ab X Gb Bb D X ***

    G X F A D X ***
    -----------------------------------------------
    ---------------------------------------------------


    It is not as easy as I thought it would be to harmonize a song with triad/bass voicings exclusively.
    15-20 minutes to voice each phrase is not the speed of light and it's not the speed of improvisation either.
    Last edited by bako; 05-21-2012 at 04:41 PM.

  14. #13

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    Thanks Bako. Still going to take me a while to work through it and hear your intention, but the bit I've already done is very interesting. I've never done that before, harmonized a melody in that way, especially not with (what I presume is) so little related to the original harmony.

    Related back to my original post, I just took the time to list every major and minor triad over every possible bass note, including different enharmonic spellings (as we're talking about sight reading and most people probably find Eb easier than D#.)

    Here is one randomized sample :


    Am/B
    Em/B
    Bm/F
    A/F
    A/Gb
    C#/E
    G#/G#
    A/C
    Gbm/D
    Gbm/Gb
    Em/Ab
    C/D
    D#m/A#
    Em/G
    Eb/B
    G#m/F#
    Cm/C#
    Abm/Bb
    B/B
    Am/C
    Abm/D#
    Eb/A
    Bbm/C
    Dm/F
    Dbm/B
    Fm/C#
    F/Db
    Bm/F#
    Db/D#
    Am/F#
    Dbm/C#
    Fm/Ab
    E/B
    Bm/A#
    E/D#
    Eb/Bb
    D#/Gb
    Dm/A#
    F#/C#
    C#/B
    Dm/D#
    D/E
    Gbm/E
    Bm/A#
    Cm/G#
    A/A
    G#/Cb
    Cb/A#
    G/Cb
    Dm/G#
    B/D#
    D#/A
    G#m/Ab
    Cb/F#
    A/Gb
    C/Bb
    A#m/G
    C/E
    D#/G
    C#/G#
    Bm/C#

    If anyone is interested in the entire list I can share it, it's very long. Unfortunately, this process results in some redundant structures, either things like Abm/G# or something that is just a basic seventh chord (Em/C, Eb/C, Ebm/C, etc) but the way I see it, that's not so bad because sometimes you might have to read something like that (i.e. D/C to Eb/C to E/C or something)

  15. #14

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    Quote Originally Posted by JakeAcci
    Thanks Bako. Still going to take me a while to work through it and hear your intention, but the bit I've already done is very interesting. I've never done that before, harmonized a melody in that way, especially not with (what I presume is) so little related to the original harmony.
    Hey Jake,

    I edited the completed "Beautiful Love" study into the previous post.

    I can say that I was aware of the original harmony at all times. I referenced it as often as I could in ways discernible and some less so.
    Balancing between the choice of "same old" or "holds some interest to me" I confess to favoring the latter.
    I found working solely with triad/bass to be very constraining but I learned a bit from the effort.
    I would be very curious to check out another persons version.

  16. #15

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    || D/Bb , Gmi/A| Bb/A A/Bb Gmi/A A/G | Dmi/A| Dmi/C C/F Ami/D| F/G Bb/C |A/Bb Eb/E Bbmi/C# C/C# |A/F | D/Bb G/A A/G|


    Xx8775 D/Bb


    Xx7333 Gmi/A


    5x876x Bb/A


    6x765x A/Bb


    5x533x Gmi/A


    3x765x A/G


    5x776x Dm/A


    X3776x Dmi/C


    X8 10 98x C/F


    10x10 9 10 x Am/D


    X10x10x10 8 F/G


    Xx10 766 Bb/C


    Xx9 655A /Bb


    X7888x Eb/E


    9x866x Bbm/C#


    9x10 98x C/C#


    X8 11 9 10x A/F


    Xx8775D/Bb


    Xx7787G/A


    X10x9 10 9 A/G




    About as far as I got so far although I haven't really put too much time into it . Also I stayed away from augmented and diminished and kept it to major / minor









  17. #16

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    Thanks John, that's great.
    The 2 versions are quite different.
    You manage to bring in some nice colors within the smaller Ma/mi palette where I had to even resort to using a few sus chords.
    Last edited by bako; 05-24-2012 at 10:28 AM.

  18. #17

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    just learn how to play omaha celebration by pat metheny- i was doing just that this morning

  19. #18

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    Hey!

    Thank you for the workout suggestions! This is really helpful to my practice