Typos in Randy Vincent's "A Guitarist's Introduction to Jazz"

[Maroonblazer]

I'm working through this Vincent book (loving it, btw) and this section (screenshot below) Ex. 1-28 says to play the first chord at the 9th fret. However that would be either a C# (6th string) or F# (5th string).

Instead it seems like the first chord should start on the 11th fret, sounding notes G# B and E (5th, 4th and 3rd strings respectively).

Am I missing something? I've come across a few instances of the words not matching up with the fretboard.

Thanks!

[grahambop]

Instead it seems like the first chord should start on the 11th fret, sounding notes G# B and E (5th, 4th and 3rd strings respectively).

No, that’s at the 9th fret. Fret positions for chords are usually given by reference to the lowest fret used in the chord (regardless of which string it’s on).

[Strbender]

I have the same book and I find that, at times, you need to anylize what Randy writes out. For me, it helps to remember it. But it can also be a head scratcher at times. It's deffinately an excellent book for getting started with jazz.
I'm using it as a refresher course

[wolflen]

I'm working through this Vincent book (loving it, btw) and this section (screenshot below) Ex. 1-28 says to play the first chord at the 9th fret. However that would be either a C# (6th string) or F# (5th string).

Instead it seems like the first chord should start on the 11th fret, sounding notes G# B and E (5th, 4th and 3rd strings respectively).

Am I missing something? I've come across a few instances of the words not matching up with the fretboard.

Thanks!

yeah its a bit confusing...I had to re-read it...its correct though..and as noted for chords its usually the lowest fret that determines the location
the first chord is E/G#

note fret
E 9
B 9
G# 11

the diagram is for the D6/9

D 5
E 2
B 4

hope this helps

[Reg]

Yes no typo... normal chord study with common tones

Personally... the E/G# is not really a variation of C-7...
E/G# is an inversion of E maj. Triad.

Emaj can be a Diatonic Functional Sub. for C-7... And I'm sure Randy is well aware of that.

The D's are a little rough on Gma7.

[wolflen]

Yes no typo... normal chord study with common tones

Personally... the E/G# is not really a variation of C-7...
E/G# is an inversion of E maj. Triad.

Emaj can be a Diatonic Functional Sub. for C-7... And I'm sure Randy is well aware of that.

The D's are a little rough on Gma7.

Reg..its a C#-7..so its the vi7 in E maj. (a typo perhaps reg - wolfgrin)

to me this is a descending progression -- the bass note in whole steps resolving in DMA .. in place of diatonic movement iii7 vi7 ii7 V7 I resolving in G MA

cant comment beyond this -- not knowing how this is used in context of the overall lessons ..

[Rainer Göllner]

I'm just in the middle of chapter 1 and do have the very same impression already:

I've come across a few instances of the words not matching up with the fretboard.

The last two bars of exercise 1-16 on page 11 seem to be meant to be the same I VI II V turnaround as the start of exercise 1-8. If that's the case, A7 should be a minor, A-7, I assume? Or what else is the theoretical background I'm missing?
Furthermore, the text says, everything should be played with root on the 6th string except for A7 [sic!], but what about the G7? For my ears, it sounds ugly if I play just this last chord way up the fretboard.

[Mick-7]

I'm just in the middle of chapter 1 and do have the very same impression already:

The last two bars of exercise 1-16 on page 11 seem to be meant to be the same I VI II V turnaround as the start of exercise 1-8. If that's the case, A7 should be a minor, A-7, I assume? Or what else is the theoretical background I'm missing?
Furthermore, the text says, everything should be played with root on the 6th string except for A7 [sic!], but what about the G7? For my ears, it sounds ugly if I play just this last chord way up the fretboard.

I was waiting for someone familiar with this book to reply to your question but this is an old thread and no one has so....

I think the last A7 is correct because all of the other min.7 chords in the example are preceded by dominant chords, and the last two bars have essentially the same chord progression as the two bars that precede them. That is, Em7 (sub for C^7) - Eb7 (sub for A7) / Dm7 - Db7 (sub for G7).

The final G7, in root position, would be on the 3rd fret. Did he say all of the chords should be in root position or just have the their bass notes on the 6th string? Because it wouldn't make sense to play all of these chords in root position - maybe if the entire 4 bars is descending.

For example, the last 4 chords, ascending, could be:
C^7 | 8-x-9-9-8-x | > A7/C# | 9-x-7-9-8-x | > Dm7 | 10-x-10-10-10-x | > G7/D | 10-x-9-10-8-x |

[Rainer Göllner]

I was waiting for someone familiar with this book to reply to your question but this is an old thread and no one has so....

The title's just perfect, so why double it?

... Em7 (sub for C^7) - Eb7 (sub for A7) / Dm7 - Db7 (sub for G7).

Without your explanation, that seems kind of sophisticated for an example 1-16 (or rather, the 7th distinct sequence) in a book that is "for guitarists who are new to jazz, but not beginners on guitar"...

I should have mentioned the context: So far, all examples are kind of a warm up to get used to a "jazz sound". Just shell chords consisting of the root on string 5 or 6, a 3rd and a 7th; diminished chords equal minor 6th chords. This is the sentence just before the example: "All of the voicings in this example have roots on the 5th string except for the A7 in bar seven which has the root on the 6th string."

[Mick-7]

The title's just perfect, so why double it?

Yes, I commend you for taking the time to use the forums search engine and not starting a new thread to clutter up the forum like most people do.

This is the sentence just before the example: "All of the voicings in this example have roots on the 5th string except for the A7 in bar seven which has the root on the 6th string."

Oh, o.k., before you said that all the chords had their roots on the 6th string.... I'm gonna have to assume then that the progression in the first 4 bars of that example is ascending and the last 4 bars is descending. However, if that's the case, contrary to the instructions, the final G7 (like the A7) would have to have it's root on the 3rd fret/6th string.

By the way, the dim.7th chords in the example are also 7b9 chords, that's how I usually think of them (as having a dominant function). For example, C#o7 = A7b9, the V7(b9) of the following Dm7 chord, and D#o7 = B7(b9), the V7(b9) of the E7 it precedes, etc. That's probably not considered kosher theory but I find it makes it easier to remember the chord progressions.

[Rainer Göllner]

Oh, o.k., before you said that all the chords had their roots on the 6th string....

Sorry, that was a typo...

I'm gonna have to assume then that the progression in the first 4 bars of that example is ascending and the last 4 bars is descending. However, if that's the case, contrary to the instructions, the final G7 (like the A7) would have to have it's root on the 3rd fret/6th string.

I think so. Except for the last two bars, there's some kind of alternating movement.

By the way, the dim.7th chords in the example are also 7b9 chords, ...

I'll finish chapter 1 first

Thanks alot!

[Mick-7]

I'll finish chapter 1 first

For future reference, as an example: C#o7, Eo7, Go7 & Bbo7 [Notes: C#(Db)-E-G-A#(Bb)] = A7b9, C7b9, Eb7b9 & F#7b9 (all with root omitted). That will come in handy if you're ever accosted by a gang of Dim.7 chords at a jam session.

[Rainer Göllner]

I'll keep your hints on that ever-growing pile I just labeled "for future reference"
Thank you very much!