The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by rpjazzguitar
    Christian, I'm looking forward to the video on this -- can you apply it to a tune?
    Sure. I’ll do something simple like the A section of autumn leaves or something .

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by christianm77
    if you want some modern voicings, I’ve been working with Jordan/Stephon Harris quadrad idea. I like these a lot because they are basically triads + 1 note and very versatile. There’s a lot of areas of music where I don’t want to be mucking around with modal
    clusters but I want to play interesting and beautiful voicings.

    So it works like this. Say we have a Cm11 chord. We break this down into a shell (1 b3 b7) - so here
    C Eb Bb

    and a us triad (b7 9 11)
    Bb D F

    so far, no big deal, right?

    So now we take one of the notes from the shell and add it in there. In this case we choose the b3. So we get a four note quadrad, which is a Bb triad add 4

    Bb D Eb F

    now what you do is crunch through the permutations and inversions. To make viable guitar voicings, choose two or three note voicings and miss out the penultimate note. So

    Bb D F
    F Bb Eb
    Eb F D
    D Eb Bb

    ill try and post up a vid of this.

    In general I find this type of thinking gives me control over how complex I want the harmony to be.

    One problem with chord scales and intervallic harmony in general is that always adding seven notes can get rid of the specificity of the harmony. Sometimes you really don’t want a seventh in a minor chord for instance.

    this way you get the interesting intervallic sounds without making everything sound like Holdsworth (not that that isn’t cool sometimes!)
    It is much like that thing from Randy Vincent I described above - at least the basic idea of it - just a bit more expanded.

  4. #28

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  5. #29

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    Is there a outline/synopsis of these triad + one note quadrads and how they are applied. I’m interested in the subject but don’t really have a schedule that allows me to tune into hour long videos. I also tend to do much better having a basic outline of a concept and working on it by myself. I think Jordan is a fantastic (and extremely generous) player and educator, I just work better on m own.
    Quote Originally Posted by christianm77
    if you want some modern voicings, I’ve been working with Jordan/Stephon Harris quadrad idea. I like these a lot because they are basically triads + 1 note and very versatile. There’s a lot of areas of music where I don’t want to be mucking around with modal
    clusters but I want to play interesting and beautiful voicings.

    So it works like this. Say we have a Cm11 chord. We break this down into a shell (1 b3 b7) - so here
    C Eb Bb

    and a us triad (b7 9 11)
    Bb D F

    so far, no big deal, right?

    So now we take one of the notes from the shell and add it in there. In this case we choose the b3. So we get a four note quadrad, which is a Bb triad add 4

    Bb D Eb F

    now what you do is crunch through the permutations and inversions. To make viable guitar voicings, choose two or three note voicings and miss out the penultimate note. So

    Bb D F
    F Bb Eb
    Eb F D
    D Eb Bb

    ill try and post up a vid of this.

    In general I find this type of thinking gives me control over how complex I want the harmony to be.

    One problem with chord scales and intervallic harmony in general is that always adding seven notes can get rid of the specificity of the harmony. Sometimes you really don’t want a seventh in a minor chord for instance.

    this way you get the interesting intervallic sounds without making everything sound like Holdsworth (not that that isn’t cool sometimes!)

  6. #30

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    Allan Holdsworth came to mind. Is there any book about his grips and approach to harmony?

  7. #31

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    Quote Originally Posted by whiskey02
    Is there a outline/synopsis of these triad + one note quadrads and how they are applied. I’m interested in the subject but don’t really have a schedule that allows me to tune into hour long videos. I also tend to do much better having a basic outline of a concept and working on it by myself. I think Jordan is a fantastic (and extremely generous) player and educator, I just work better on m own.
    yeah,me too.

    application cheat sheet coming right up. Triad followed by tension tone. So C/2 = C E G + D for example

    Major family
    C - C/2
    C6 - C/6
    Cmaj7 - Em/4
    Cmaj9 - G/6 but I really like G/2
    Cmaj9#11 - D/2
    Cmaj13#11 - Bm/not sure
    Cmaj7#9 - B/4 (my favourite)

    Minor family
    Cm - Cm/2
    Cm6 - Cm/6
    Cm(maj9) - G/b6
    Cm7 - Eb/2
    Cm9 - Gm/4
    Cm11 - Bb/4
    Cm13 - F/4

    Half dim
    Cm7b5 - Ebm/2
    Cm11b5 - Bb/b6

    Dominant
    C7 - C/b7
    C9 - Gm/6
    C9#11 - D/2 I like D/b6
    C13b9 - A/b9
    C7#9b13 - Ab/b6
    C7b5b9 - Gb/#4

    Full Diminished
    Co7 - B/b9

    dunno about C13 (why play C13 though when you could play C13b9, though?)

    dunno about sus chords

    hopefully you can see large number of repeating quadrad types.

    Major/b6 great choice for melodic minor sounds...

    in general we avoid dissonant triads (dim and aug). I think the idea is to have something that sounds at peace with itself rather than wanting to resolve, and that way you bring out the chord colour. The tension note adds movement.

  8. #32

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    Quote Originally Posted by BigDaddyLoveHandles
    Allan Holdsworth came to mind. Is there any book about his grips and approach to harmony?
    ''Melody chords for guitar'' by himself.
    I have a copy of it... it is full of diargams.

    Lot of things are scale-derived but
    there is a lot of quite common shapes and conceptions though

  9. #33

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    I just bought the randy Vincent book
    Jazz guitar soloing cellular approach

    Another one for the collection Great books for modern jazz guitar voicings/chords



    Sent from my Redmi Note 7 using Tapatalk

  10. #34

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    You may have this book already but Ted Greene's Chord Chemistry has a ton of modern, tightly voiced chord voicings. The problem with that book is it does not offer them up in organized sets but they appear among many, many, many standard voicings he offers up.

  11. #35

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    Quote Originally Posted by Roberoo
    You may have this book already but Ted Greene's Chord Chemistry has a ton of modern, tightly voiced chord voicings. The problem with that book is it does not offer them up in organized sets but they appear among many, many, many standard voicings he offers up.
    The answer to this problem might be contained in Ted Greene's book Modern Chord Progressions, Jazz and Classical Voicings for Guitar.

  12. #36

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    Quote Originally Posted by srs
    The answer to this problem might be contained in Ted Greene's book Modern Chord Progressions, Jazz and Classical Voicings for Guitar.
    and on his website tedgreene.com...tons of chord info....

  13. #37

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    Quote Originally Posted by BigDaddyLoveHandles
    Allan Holdsworth came to mind. Is there any book about his grips and approach to harmony?

    "Reaching for the uncommon chord" book and the VHS video booklet for "Just for the curious".

    Both very difficult and both contain mainly song transcriptions, but the "Just for the curious" booklet has some of Holdsworth's ideas for chord scales.

    Mick Goodrick's series of "Almanac Of Guitar Voice-leading" are great for chord voicings, you can to pick the ones you like best from a lot of examples, 450 pages in vol 1.

  14. #38

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    I just made a very brief vid about very small idea

  15. #39

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    Tim Miller has a seemingly simplistic video on creating more modern sounding Major chords.


  16. #40

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    Quote Originally Posted by GuyBoden
    Tim Miller has a seemingly simplistic video on creating more modern sounding Major chords.


    Seems like it is about superimposition also.. the things is that it can be done with anything anyhow...

    ..

  17. #41

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    Quote Originally Posted by David B
    Vic Juris - 'Modern Chords'

    Published by Mel Bay: Modern Chords Book + Online Audio - Mel Bay Publications, Inc. : Mel Bay

    Attachment 71122

    Chapter one: harmonic syllabus

    Chapter two: triads & stock seventh chords
    Root position
    First inversion
    Second inversion
    More root position
    Triad applications: voice leading
    Spread triads
    Compound triads
    The big five / stock seventh chords

    Chapter three: intervallic structures / modal chords
    Structure 1
    Structure 2
    Structure 3
    Structure 4
    Structure 5
    Structure 6
    Structure 7
    Creating three-note structures

    Chapter four: pedal point comping

    Chapter five: chords containing open strings
    A chords
    E chords
    Other chords
    Comping and soloing tips

    I wasn't familiar with this one. Just ordered for some Isolation sheddin'

  18. #42

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    Badd4/C (Cmaj7#9) is a fun one

    8 x 9 8 7 x
    8 x x 8 5 7
    8 x x 9 7 11