The Jazz Guitar Chord Dictionary
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  1. #1

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    I’m collecting G melodic minor grips

    any mode of Gmelmin will do

    (I’m not that bothered what we call them
    as we know they all sub for one another)

    so far I’ve got ......

    xx2332
    xx8775
    xx8755
    3x433x
    x 10 12 11 10 x
    x 10 12 11 11 x

    thanks for any contributions

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  3. #2

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    Helluva question, pingu!

    It's not really as simple as that, is it? Depends on the use. Do you want root chords or inversions? Which inversions? How many notes, 2, 3, 4, 5? All over the neck?

    You need a chord dictionary. But, better than that, a tune to use them for. That'll cut down the options because your mel m grips will have to fit in with the other changes you're using. If that's what you're doing.

    And only in Gm? What about all the other keys? Because it'll affect your options when playing. What sounds good on one tune may not with another.

    So...

    It might be easier to write out the notes of each chord, then, in context, find them on the neck where they sound/feel right. Make your own, so to speak. It'll be easier in the long run.

    Failing all that...

    Google is your friend :-)

  4. #3

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    By the way, most people, when thinking melodic minor, probably think Gm6. But there's no m6 in the mel m scale. The first chord is Gm/M7.

    Little things like that.

  5. #4

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    Quote Originally Posted by ragman1
    By the way, most people, when thinking melodic minor, probably think Gm6. But there's no m6 in the mel m scale. The first chord is Gm/M7.

    Little things like that.
    I don't get this.

    G melodic minor is G A Bb C D E F# G

    We have sixth chords:
    G Bb D E
    A C E F#
    Bb D F# G (heh)
    C E G A
    ...

  6. #5

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    Quote Originally Posted by ragman1
    By the way, most people, when thinking melodic minor, probably think Gm6. But there's no m6 in the mel m scale. The first chord is Gm/M7.
    If you want to build a Gm6 chord by take a note/skip a note then you need to start with the Gm6dim scale:

    G A Bb C D Eb E F#

  7. #6

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    x 13 12 11 10 x

  8. #7

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    Start with something like this
    X12232

    And then move it up the neck diatonically.
    X34353
    X55575
    X77786
    X989.10.8
    X10.10.11.11.10
    X12.12.12.13.12

  9. #8

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    If sixth chords are outlawed... only outlaws will play sixth chords!

  10. #9

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    Quote Originally Posted by BigDaddyLoveHandles
    If sixth chords are outlawed... only outlaws will play sixth chords!
    I am a sixth chord FANATIC.

  11. #10
    thanks for the shapes everyone
    again , I don’t mind what we call them

    I just want some nice grips innit !
    Last edited by pingu; 01-26-2022 at 03:57 PM.

  12. #11

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    Quote Originally Posted by setemupjoe
    Start with something like this
    X12232

    And then move it up the neck diatonically.
    X34353
    X55575
    X77786
    X989.10.8
    X10.10.11.11.10
    X12.12.12.13.12
    nice chords! being that an augmented triad is embedded in the MM..the augmented scale and its six chords .. inversions and melodic patterns take the MM for a nice harmonic/melodic ride

  13. #12

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    X 5 7 3 7 x

    maybe a bit easier up the octave

    x x 12 14 11 14

    the other inversions are cool, but that’s my favourite. Sort of a drop 2 Daddb6 chord

    x 1 4 2 3 x
    x 5 7 3 5 x
    x 9 8 7 10 x
    x 12 12 11 11 x

  14. #13

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    Quote Originally Posted by wolflen
    nice chords! being that an augmented triad is embedded in the MM..the augmented scale and its six chords .. inversions and melodic patterns take the MM for a nice harmonic/melodic ride
    Yeah aug triad is the classic Strayhorn voicing

    Like C+ on D7 etc

    just a step away from whole tone

  15. #14

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    Quote Originally Posted by setemupjoe
    Start with something like this
    X12232

    And then move it up the neck diatonically.
    X34353
    X55575
    X77786
    X989.10.8
    X10.10.11.11.10
    X12.12.12.13.12
    i’m going to invert your shit. Chop it down a little though cos who can play five notes? Not me bruv.

    X 1 2 2 3 x (or Bb E A D)
    x 5 7 3 5 x
    x 7 8 7 10 x
    x 12 12 9 11 x

    Then plane these through the scale, for instance
    x 12 12 9 11 x
    x 10 10 7 10 x
    x 9 8 5 8 x
    x 7 7 3 7 x
    etc

    You can do that for any of your voicings thus generating more

    MOOOOOARRR!!!!

  16. #15

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    Quote Originally Posted by setemupjoe
    Start with something like this
    X12232

    And then move it up the neck diatonically.
    X34353
    X55575
    X77786
    X989.10.8
    X10.10.11.11.10
    X12.12.12.13.12
    This is the concept!

    Mark Levine wrote that, because melodic minor doesn't have an avoid note, all chords from melodic minor are the same chord.

    So, if you start with a grip, apparently, of any 4 notes from the scale, you can move that grip up the scale. What that means is that you look at the note on each string and move it up the neck to the next note in the Gmelmin scale.

    Say you start with xx2233,which I just picked at random. Move each note up to the next note in the scale. You get xx3355. Then xx5576..

    Don't like those? Pick a different starting grip. If there's a problem here it is that the choices are vast. It may make more sense to start with a grip you already use for Gm6 or Gminmaj7. But, it could be any grip you know for any chord that occurs within Gmelmin.

    Commonly used: Gminmaj7 A7susb9 Bbmaj7#5 C7#11 D7b13 Em7b5 F#alt. So you could start with any grip you know for any of those.

    Here's a way to check if they work. I use a tune called Rapaz De Bem. First chord is, say, Gmaj7, next chord is C7#11. (This tune is usually played in F, but I transposed it for this post).

    C7#11 can be considered a chord from Gmelmin. Meaning, per Levine, that it's the same as every other chord from Gmelmin.

    Play two bars of Gmaj7 followed by two bars of C7#11. Get the sound in your mind. Now substitute any grip you came up with earlier. They'll all work at some level, although you'll like some better than others.

    One question I still have is the best way to get this multitude of options under your fingers. Certainly, you can pick a few and work on them.

    What I've been trying to do, with some success, is knowing which melmin scale I'm operating in and picking notes from it that work with the harmonic flow/voice leading of the tune.

    So, if I start, say, with Gmaj7 played xx8 11 10x, that's a B F# and A (Gmaj9, with the bassist playing the root and without a 5th). So, if I want to change that to Gmelmin, what do I do? The only note that has to be changed is the B. It can go to any note within Gmelmin, but, to nail the sound of the minor, it will sound good, to me, to lower it to Bb.

    So, my second grip is xx7 11 10x. The point is that I didn't get there by learning that grip. I got there by knowing a grip of Gmaj9 and moving a note.
    Last edited by rpjazzguitar; 01-26-2022 at 09:48 PM.

  17. #16

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    Pingu, notice that two of the examples Christian offered - x1223x and x1423 - can also be thought of as Bbmaj7 with a flattened and raised 5th degree respectively. Many people view extended and altered chords as four-note voicings over an assumed root. Bret Willmott's classic tome, Complete Book of Harmony, Theory and Voicing is exclusively based around manipulating drop-2 chords in this manner.

  18. #17

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    Quote Originally Posted by BigDaddyLoveHandles
    I don't get this.

    G melodic minor is G A Bb C D E F# G

    We have sixth chords:
    G Bb D E
    A C E F#
    Bb D F# G (heh)
    C E G A
    ...
    I meant the standard chords derived from stacking 3rds. But I'm sure there's no law against making 6 chords :-)

  19. #18

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    Quote Originally Posted by PMB
    Pingu, notice that two of the examples Christian offered - x1223x and x1423 - can also be thought of as Bbmaj7 with a flattened and raised 5th degree respectively. Many people view extended and altered chords as four-note voicings over an assumed root. Bret Willmott's classic tome, Complete Book of Harmony, Theory and Voicing is exclusively based around manipulating drop-2 chords in this manner.
    Yeah, my first examples are what Jordan Klemons would call a quadrad - a triad + an extra tone. I’ve been practicing these for ages but it’s only when I wrote it down for the forum I realised it can be considered as a D6 chord with a lowered 6th. i mean, duh, of course it is. But I’d been taking the triad, adding the tone, dropping the 2 etc.

    instead you can take a familiar chord, identify the relevant note and put it up or down a semi tone. Different procedure leading to same chord.

    Of course I am pretty familiar with the D6 chord being a Barry guy, so it’s fun to see that connection. On the other hand it is also as you say an inversion of Bbmaj7#5.

    So the same stuff pops up in different forms.

    Anyway once you have a few basic procedures; inversion, manipulation, planing through the mode, the possibilities are basically endless.

  20. #19

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    don't get this.

    G melodic minor is G A Bb C D E F# G

    We have sixth chords:
    G Bb D E
    A C E F#
    Bb D F# G (heh)
    C E G A

    I you build up by 3rds thereis maj7

    It is the same thing as with C6 in C major... if you build up by 3rds it Cmaj7 but C6 is used a lot for I...
    Some consider it borrowing, some like go to Barry's stuff or various 6th/dim stuff mods... bebop scale... there you have additional note that allows to come to 6th chord 'legally'

    I just think of it as of a sub to maj7 that sounded too harsh for their ear - so they dropped down half-step - does not work, makes it dominant. Then half-step more.... seems ok

    But if one uses MM strictly it is of course min maj7 there -

  21. #20
    Quote Originally Posted by rpjazzguitar
    This is the concept!

    Mark Levine wrote that, because melodic minor doesn't have an avoid note, all chords from melodic minor are the same chord.

    So, if you start with a grip, apparently, of any 4 notes from the scale, you can move that grip up the scale. What that means is that you look at the note on each string and move it up the neck to the next note in the Gmelmin scale.

    Say you start with xx2233,which I just picked at random. Move each note up to the next note in the scale. You get xx3355. Then xx5576..

    Don't like those? Pick a different starting grip. If there's a problem here it is that the choices are vast. It may make more sense to start with a grip you already use for Gm6 or Gminmaj7. But, it could be any grip you know for any chord that occurs within Gmelmin.

    Commonly used: Gminmaj7 A7susb9 Bbmaj7#5 C7#11 D7b13 Em7b5 F#alt. So you could start with any grip you know for any of those.

    Here's a way to check if they work. I use a tune called Rapaz De Bem. First chord is, say, Gmaj7, next chord is C7#11. (This tune is usually played in F, but I transposed it for this post).

    C7#11 can be considered a chord from Gmelmin. Meaning, per Levine, that it's the same as every other chord from Gmelmin.

    Play two bars of Gmaj7 followed by two bars of C7#11. Get the sound in your mind. Now substitute any grip you came up with earlier. They'll all work at some level, although you'll like some better than others.

    One question I still have is the best way to get this multitude of options under your fingers. Certainly, you can pick a few and work on them.

    What I've been trying to do, with some success, is knowing which melmin scale I'm operating in and picking notes from it that work with the harmonic flow/voice leading of the tune.

    So, if I start, say, with Gmaj7 played xx8 11 10x, that's a B F# and A (Gmaj9, with the bassist playing the root and without a 5th). So, if I want to change that to Gmelmin, what do I do? The only note that has to be changed is the B. It can go to any note within Gmelmin, but, to nail the sound of the minor, it will sound good, to me, to lower it to Bb.

    So, my second grip is xx7 11 10x. The point is that I didn't get there by learning that grip. I got there by knowing a grip of Gmaj9 and moving a note.
    thanks yes I get you
    very useful

    but is there a typo ?
    should it say
    xx9 11 10 x
    to
    xx8 11 10x

  22. #21
    thanks everyone I’m esp liking

    x9 8 7 10 x
    xxx 12 11 14
    x7 8 7 10 x
    (thanks Christian top man)

    xx 8 11 10 x thanks RP
    ———-
    plus inspired be you all i found these

    xx 5776
    6 x 777x
    x5433x

    groovy .....
    these will give me enough to munch
    on for a while

    cheers
    love this place

  23. #22

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    Quote Originally Posted by Jonah
    I you build up by 3rds thereis maj7

    It is the same thing as with C6 in C major... if you build up by 3rds it Cmaj7 but C6 is used a lot for I...
    Some consider it borrowing, some like go to Barry's stuff or various 6th/dim stuff mods... bebop scale... there you have additional note that allows to come to 6th chord 'legally'

    I just think of it as of a sub to maj7 that sounded too harsh for their ear - so they dropped down half-step - does not work, makes it dominant. Then half-step more.... seems ok

    But if one uses MM strictly it is of course min maj7 there -
    Yes, I assume what makes the most sense is that practice came before theory. You add E to a Gm chord and it sounds good -- that works for me.

    Add 2 chords (major and minor) sound good to me, too:

    xx7333: Gm(add 2)

    What does Barry say about Add2 chords?

  24. #23

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    Quote Originally Posted by BigDaddyLoveHandles
    Yes, I assume what makes the most sense is that practice came before theory. You add E to a Gm chord and it sounds good -- that works for me.

    Add 2 chords (major and minor) sound good to me, too:

    xx7333: Gm(add 2)

    What does Barry say about Add2 chords?
    And put the E on the bottom of that beauty too...

    x 7 7 3 3 3

    One of my favorite "stretchies."

  25. #24

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    Quote Originally Posted by BigDaddyLoveHandles
    What does Barry say about Add2 chords?
    He probably wouldn’t have called them Add2 but used them as an example of borrowing within the scale. Of course, Barry was not about grips but about movement.

  26. #25

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    2 is a borrowed diminished note, so it would be a minor chord with a diminished note.