The Jazz Guitar Chord Dictionary
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  1. #1

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    I know that there are many different ways to learn jazz and I am in the discovery phase of learning what works for me. With that stated I just wanted to get some opions/advice on chords and comping. I am leaning towards just developing some skill using shell chords 1-3-7 using the root on 6th, 5th and 4th string to start with while learning my first standards. This approach seems to really simplify things and appears to me to provide a great base to a greater understanding of the form and being able to hear the movement better of the key chord tones. Are there any downsides to this approach that I will regret later.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    You can pretty much drop the 6th string if you’re playing with keys or a bass player.

    obligatory blanket statement: Learn songs, so the chords aren’t abstract and you can get really far with a few shapes. Music is about playing songs with people, not about the number of chords or scales you know.




  4. #3

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    drop 2 voicings should be your best friend. Drop 2 means taking any chord, for example a Cmajor6. C E G A. On the guitar that would be

    Lowest note to highest note
    C -4th string 10th fret
    E - 3rd string 9th fret
    G - 2nd string 8th fret
    A - 1st string 5th fret.

    This is a hard stretch, but a drop 2 allows you to play all the notes in the voicing. You simply take the 2nd note from the top of the chord. In this case, that is the note G, and we place it down an octave. Now the chord will look something like this on the guitar:

    Lowest to highest
    G - 4th string 5th fret
    C - 3rd string 5th fret
    E - 2nd string 5th fret
    A - 1st string 5th fret.

    This voicing should be familiar as it is also an Aminor7 chord. C6=Am7. Now your next task is to take that through all the inversions on the whole fretboard from lowest possible starting point to highest possible point on the fretboard. Now you will know all the inversions for c6 and Am7 on the fretboard. Rinse and repeat in all 12 keys.

  5. #4

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    Quote Originally Posted by don_oz
    drop 2 voicings should be your best friend. Drop 2 means taking any chord, for example a Cmajor6. C E G A. On the guitar that would be

    Lowest note to highest note
    C -4th string 10th fret
    E - 3rd string 9th fret
    G - 2nd string 8th fret
    A - 1st string 5th fret.

    This is a hard stretch, but a drop 2 allows you to play all the notes in the voicing. You simply take the 2nd note from the top of the chord. In this case, that is the note G, and we place it down an octave. Now the chord will look something like this on the guitar:

    Lowest to highest
    G - 4th string 5th fret
    C - 3rd string 5th fret
    E - 2nd string 5th fret
    A - 1st string 5th fret.

    This voicing should be familiar as it is also an Aminor7 chord. C6=Am7. Now your next task is to take that through all the inversions on the whole fretboard from lowest possible starting point to highest possible point on the fretboard. Now you will know all the inversions for c6 and Am7 on the fretboard. Rinse and repeat in all 12 keys.
    Agreed, but there is also a lot to be said for related 3-note voicings, which are generally easier to grab on the fly than full drop-2 voicings. Barry (and Alan Kingstone) called them “shorts,” Tommy Echols has taken to calling them “shells” but they are not the 3-7 shells familiar from Lenny Breau’s comping etc. Think of a 6-chord arpeggiated on 3 adjacent strings, 2 notes on the middle string. There are two “short” or “shell” voicings, one with the upper middle string note, the other with the lower. Take these forms through the 6-dim (or m6dim) scale, which gives alternating inversions of C6 (or Cm6) and Bdim7 chords:

    C6 = C E G A

    Shorts:
    C E A and C G A
    D F B and D Ab B
    E G C and E A C
    etc.

  6. #5
    Quote Originally Posted by don_oz;[URL="tel:1211046"
    1211046[/URL]]drop 2 voicings should be your best friend. Drop 2 means taking any chord, for example a Cmajor6. C E G A. On the guitar that would be

    Lowest note to highest note
    C -4th string 10th fret
    E - 3rd string 9th fret
    G - 2nd string 8th fret
    A - 1st string 5th fret.

    This is a hard stretch, but a drop 2 allows you to play all the notes in the voicing. You simply take the 2nd note from the top of the chord. In this case, that is the note G, and we place it down an octave. Now the chord will look something like this on the guitar:

    Lowest to highest
    G - 4th string 5th fret
    C - 3rd string 5th fret
    E - 2nd string 5th fret
    A - 1st string 5th fret.

    This voicing should be familiar as it is also an Aminor7 chord. C6=Am7. Now your next task is to take that through all the inversions on the whole fretboard from lowest possible starting point to highest possible point on the fretboard. Now you will know all the inversions for c6 and Am7 on the fretboard. Rinse and repeat in all 12 keys.
    Do this, then go and buy Randy Vincent's "Drop 2 Voicings" and fall in love with drop 2 voicings.

  7. #6

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    Quote Originally Posted by mdale10128
    I know that there are many different ways to learn jazz and I am in the discovery phase of learning what works for me. With that stated I just wanted to get some opions/advice on chords and comping. I am leaning towards just developing some skill using shell chords 1-3-7 using the root on 6th, 5th and 4th string to start with while learning my first standards. This approach seems to really simplify things and appears to me to provide a great base to a greater understanding of the form and being able to hear the movement better of the key chord tones. Are there any downsides to this approach that I will regret later.
    I think that's a perfectly good way to proceed.

    Bear in mind that there are plenty of other ways. It's possible to have your brain turned to mush if you think about too many alternatives (don't ask me how I know this).

    So, pursue your approach.

    I particularly like the advice to apply the approach to songs right away.

    Here's my list to start:

    All of Me
    Don't Blame Me
    Blue Bossa
    A Train
    Girl From Ipanema
    You'd Be So Nice To Come Home To

    Then, Alone Together.

    When you've done those tunes you'll be so busy with gigs that you probably won't come on here very often.

  8. #7

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    Quote Originally Posted by pcjazz
    Agreed, but there is also a lot to be said for related 3-note voicings, which are generally easier to grab on the fly than full drop-2 voicings. Barry (and Alan Kingstone) called them “shorts,” Tommy Echols has taken to calling them “shells” but they are not the 3-7 shells familiar from Lenny Breau’s comping etc. Think of a 6-chord arpeggiated on 3 adjacent strings, 2 notes on the middle string. There are two “short” or “shell” voicings, one with the upper middle string note, the other with the lower. Take these forms through the 6-dim (or m6dim) scale, which gives alternating inversions of C6 (or Cm6) and Bdim7 chords:

    C6 = C E G A

    Shorts:
    C E A and C G A
    D F B and D Ab B
    E G C and E A C
    etc.
    100% agree. Three notes are way easier to move around, and especially with how the guitar works, sonically it's difficult to tell when you move the chords faster, or use three notes to comp at uptempo. They are still drop 2s though! I just thought it to be easier to learn drop 2s then experiment with leaving one note out of each inversion to see which sounds the fullest and feels the easiest to grab.

  9. #8

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    I must be lowering my expectations as the years roll on but these days I’m quite into 2 note voicings

  10. #9

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    No, there is no downside to learning the chord tones that 'hold it down'. You need to know that. Especially if you're playing solo. When you're playing solo, you need to know the basic chord tones, then you will want to learn the extensions to sound sophisticated and learn the real jazz colors. If ur playing in a combo, the shortcut is to learn the guide tones plus 1 or 2 extensions. But no, you need to know the base chord tones, then later you can learn the color tones.

  11. #10

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    Quote Originally Posted by pcjazz
    Agreed, but there is also a lot to be said for related 3-note voicings, which are generally easier to grab on the fly than full drop-2 voicings. Barry (and Alan Kingstone) called them “shorts,” Tommy Echols has taken to calling them “shells” but they are not the 3-7 shells familiar from Lenny Breau’s comping etc. Think of a 6-chord arpeggiated on 3 adjacent strings, 2 notes on the middle string. There are two “short” or “shell” voicings, one with the upper middle string note, the other with the lower. Take these forms through the 6-dim (or m6dim) scale, which gives alternating inversions of C6 (or Cm6) and Bdim7 chords:

    C6 = C E G A

    Shorts:
    C E A and C G A
    D F B and D Ab B
    E G C and E A C
    etc.
    I recall Barry saying he was often teaching in three voices later on (actually I think Don_oz was there)

    Nothing wrong with incomplete voicings!

  12. #11

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    I started paying attention to, and eventually using, shell voicings from listening to Jim Hall, especially his work with Sonny Rollins. I use them in jam sessions when there’s a busy piano player or in a duo with a bass player on quiet parts, and sometimes when playing solo. I use mainly a 3rd and 7th with the index and middle fingers on the A and D strings. The low E and G string are muted. The ring and pinky fingers are free to add melody or upper extensions on the B and the high E strings. That gives a wide open sound but also retains somewhat of the minimalist vibe of those two note shell voicings. This works for cycling through dominant 7th chords and substitutions. Keeping that approach in mind, one can also change the tritone 3rd and 7th on the A and D strings into a perfect 4th or major 3rd for voice leading or to provide other types of chord tones, and still be able to use the two fingers to add melody notes, etc.

  13. #12

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    The biggest issue with playing shell voicings properly is that they remain within the tonal center of the song. Too often, guitarists will play a chord for convenience(especially when cold-reading a gig) rather than musicality which destroys the feel of the music. As a simple example: Playing a piece in A major-Fifth Position, one would not want to use a shell voicing that is out of sync when playing the Fifth(E) at the 12th fret 6th string vs. the 7th fret fifth string which rides along the tonal center and has a better sound. Contra-wise, a shell voicing, at times, will not give your ears the depth the music needs in a particular passage when its bigger brother(extended chord) does a better job. Shell voicings, for me, are just another tool in a musician's bag of tricks. We are musicians. Everything is based on sound. . . not convenience.
    Marinero

  14. #13

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    OP... yea the approach will end up sounding like shit or more commonly ... no one will know your playing.

    If your just trying to learn the fretboard, that's a different question.

    If your going to learn or teach your hands to play chords, You need better starting References. Using the 6th, 5th and 4th strings as reference points is great... most also add the 3rd.

    Just because you're fingering a large voicing or chord... doesn't mean you need to play all the notes. Eventually when you learn how to comp... your going to create lead lines and voice them below with chords.

    Don't mean to rag.... but most guitarist suck at comping and there are reasons why.

  15. #14

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    "If your going to learn or teach your hands to play chords, You need better starting References. Using the 6th, 5th and 4th strings as reference points is great... most also add the 3rd." Reg


    Yes!
    Marinero

  16. #15

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    Peter Bernstein uses a lot of shells in just about the most creative and swinging way I’ve seen



    i also very much like Cecil Alexander’s super straightforward but swinging way of comping using shells. It’s not fancy but you just know you’d enjoy playing over that and it sounds great.

    Shells are versatile too, can be built out into other things.

    What chord voicings you play obviously depends on the situation you are in. Shells are a good start though.
    Last edited by Christian Miller; 07-30-2022 at 04:43 PM.

  17. #16

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    Quote Originally Posted by Christian Miller
    Peter Bernstein uses a lot of shells in just about the most creative and swinging way I’ve seen



    i also very much like Cecil Alexander’s super straightforward but swinging way of comping using shells. It’s not fancy but you just know you’d enjoy playing over that and it sounds great.

    Shells are versatile too, can be built out into other things.

    What chord voicings you play obviously depends on the situation you are in. Shells are a good start though.

    Hi, C,
    That's a tough way(video) to make a living!
    Marinero

  18. #17

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    Quote Originally Posted by Marinero
    Hi, C,
    That's a tough way(video) to make a living!
    Marinero
    Probably took him a little while to do, but some people are serious about learning from the musicians they admire. It’s simply the sort of thing you do if you are serious. I mean jazz guitar is not economical rational activity in any sense is it?

    For the rest of us, it’s a great resource to have for free. Thanks Jordan!

    When it comes to comping on guitar Peter’s the best in the business.

    Jordan used to hang out on this forum a lot, and it’s amazing how much he’s got done since he left: There’s a moral in there for all of us I’m sure.

  19. #18

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    " I mean jazz guitar is not economical rational activity in any sense is it?" C. Miller

    Hi, C,
    Unless you are truly bitten by the bug, it's difficult to understand how a rational human being could devote so much time, energy, and resources to something that has so little financial reward for most. And, today, the prospects for live, paid performances are becoming increasingly scarce. Years ago, there were some musicians who criticized Moody for going to Vegas and playing in the pit bands for years. However, he had a family to support and the money was great for musicians. It was an easy call. So, as long as we're talking about shell voicings, I've been going over some old horn charts and if you're familiar with Billie's Bounce in C Major(guitar/piano), the opening chord/measure is F7(played shell-VIII-5th string) followed by Bb7(played partial barre-VI)-2 beats then B diminished-2 beats. Most options for the B diminished with B in the root sound muddy or disjointed. So, I've been playing the B diminished as a second inversion(played 5th string-VIII)--F, B, D which gives it more clarity for the average alley cat. Any other ideas, or substitutions you like for the B diminished chord?
    Marinero

  20. #19

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    Yea Peters great musician.... but that is hardly what most would call shell voicings. And I wouldn't call him the best in the business. Up there but not best... His rhythmic skills and feels are somewhere in the middle etc... The example you posted starts then stops, never goes anywhere and doesn't have much shape etc... I'm guessing it's some type of exercise. Kind of felt like falling off a cliff in slow motion. etc... And I dig Peter's playing... who doesn't
    If your trying to help guitarist learn how to comp, shell voicings are like learning the notes on the guitar, an OK way to start.... but not even near where one needs to get. And what usually happens is they become habit etc.... and then you think you know how to comp etc...

    Here's a vid I posted somewhere on this forum back in 2015...of comping on But Not For Me... nothing worked out... well I worked it out as I played it... like what actually happens LOL when playing. I'm only posting it because someone commented on it and I got email... etc... but it's at least an example of not using shell voicings and you can see and hear my approach etc...

  21. #20

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    you're a funny dude

  22. #21

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    Quote Originally Posted by Marinero
    " I mean jazz guitar is not economical rational activity in any sense is it?" C. Miller

    Hi, C,
    Unless you are truly bitten by the bug, it's difficult to understand how a rational human being could devote so much time, energy, and resources to something that has so little financial reward for most. And, today, the prospects for live, paid performances are becoming increasingly scarce. Years ago, there were some musicians who criticized Moody for going to Vegas and playing in the pit bands for years. However, he had a family to support and the money was great for musicians. It was an easy call. So, as long as we're talking about shell voicings, I've been going over some old horn charts and if you're familiar with Billie's Bounce in C Major(guitar/piano), the opening chord/measure is F7(played shell-VIII-5th string) followed by Bb7(played partial barre-VI)-2 beats then B diminished-2 beats. Most options for the B diminished with B in the root sound muddy or disjointed. So, I've been playing the B diminished as a second inversion(played 5th string-VIII)--F, B, D which gives it more clarity for the average alley cat. Any other ideas, or substitutions you like for the B diminished chord?
    Marinero
    Jazz remains a Labour of love even for those who can scratch a living from it. I can’t imagine any of the working players I know criticising a fellow player for doing what moody did.

    Re Billies Bounce it would really depend on whether or not there’s a bass player and what octave the melody is being played in. On tenor or guitar starting on the C below middle C it does get muddy to play chords under. You run out of space. You could try playing the chords above the head so on the top four strings for example, treating the head as a ‘bass solo’.

    Often on gigs I’ll just play unison.

    For alto it sounds gorgeous to play unison on guitar but it’s also easier to play chords under.

    In a big band or larger jazz ensemble I’d probably play mostly on the middle two strings, low in the mix with a percussive attack. I also have the bass pole pieces rolled off on my usual old style jazz box (the es175) Herb Ellis style so the bass isn’t so dominant/muddy when playing shells or big band rhythm. maybe bigger voicings in spaces (if there’s no piano because that’s where they usually like to play) and for written stabs and hits in the score.

    But it really depends on the style and instrumentation.

  23. #22

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    Quote Originally Posted by Christian Miller
    Jazz remains a Labour of love even for those who can scratch a living from it. I can’t imagine any of the working players I know criticising a fellow player for doing what moody did.

    Re Billies Bounce it would really depend on whether or not there’s a bass player and what octave the melody is being played in. On tenor or guitar starting on the C below middle C it does get muddy to play chords under. You run out of space. You could try playing the chords above the head so on the top four strings for example, treating the head as a ‘bass solo’.

    Often on gigs I’ll just play unison.

    For alto it sounds gorgeous to play unison on guitar but it’s also easier to play chords under.

    In a big band or larger jazz ensemble I’d probably play mostly on the middle two strings, low in the mix with a percussive attack. I also have the bass pole pieces rolled off on my usual old style jazz box (the es175) Herb Ellis style so the bass isn’t so dominant/muddy when playing shells or big band rhythm. maybe bigger voicings in spaces (if there’s no piano because that’s where they usually like to play) and for written stabs and hits in the score.

    But it really depends on the style and instrumentation.
    Hi, C,
    Thanks for your response. So, 1st time melody(Billy'sBounce) played in 1st position; repeat: in V or VII(up one octave) beginning on 3rd string-c or 4th string c. So, I've been playing with the progression and the B dim that follows Bflat7 in the second measure comes to life as a Bdim6 followed by F7-8th position. When you play the F7, add C/Sixth String in the root. However, that's enough shells for me . . . I prefer mine with clams in wine sauce.
    Marinero

  24. #23

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    Quote Originally Posted by Reg
    Yea Peters great musician.... but that is hardly what most would call shell voicings. And I wouldn't call him the best in the business. Up there but not best... His rhythmic skills and feels are somewhere in the middle etc... The example you posted starts then stops, never goes anywhere and doesn't have much shape etc... I'm guessing it's some type of exercise. Kind of felt like falling off a cliff in slow motion. etc... And I dig Peter's playing... who doesn't
    If your trying to help guitarist learn how to comp, shell voicings are like learning the notes on the guitar, an OK way to start.... but not even near where one needs to get. And what usually happens is they become habit etc.... and then you think you know how to comp etc...

    Here's a vid I posted somewhere on this forum back in 2015...of comping on But Not For Me... nothing worked out... well I worked it out as I played it... like what actually happens LOL when playing. I'm only posting it because someone commented on it and I got email... etc... but it's at least an example of not using shell voicings and you can see and hear my approach etc...
    Great video! I think that most guitarists, at any level, could learn something.

    To my ear, all the planets line up.

    The rhythmic feel is propulsive, precise, sharp and puts me in mind of a classic jazz sound.

    That works especially well because the sound (tone, timbre, whatever you call it) is just the right combination of attack and depth.

    The comping has it's own melody, which works perfectly with the original melody, which you can hear echoed in the comping. And.
    Every voicing and placement-in-time supports the melody-of-the-comping.

    I hear it as classic use of extensions (consonant to some tension), tritone subs, and some other judicious substitutions. I find all of it to be harmonically smooth, meaning nothing that doesn't fit or feels jagged.

    So, it's a combination of great rhythm, great harmony, both put together with a lot of melodic content.

  25. #24

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    Quote Originally Posted by Billie's Bounce in C Major(guitar/piano), the opening chord/measure is F7(played shell-VIII-5th string) followed by Bb7(played partial barre-VI)-2 beats then B diminished-2 beats. Most options for the B diminished with B in the root sound muddy or disjointed. So, I've been playing the B diminished as a second inversion(played 5th string-VIII)--F, B, D which gives it more clarity for the average alley cat. Any other ideas, or substitutions you like for the B diminished chord?
    Marinero [/FONT
    [/COLOR]
    The move of Bb7 to Bdim is common. The bassist is probably going to include a Bb going to B.

    The chords are Bb7: Bb D F Ab to Bdim7: B D F Ab.

    So, all you need to do is play Bb7 and then raise the root a half step.

    Or, perhaps better, play a rootless Bb7 and don't change it. The bassist will turn your same grip from Bb7 to Bdim7. And, since you're not doubling the root, less chance for mud. If that sounds too stagnant, you can turn to the usual bag of tricks. Different voicings of Bb7. Reharm. Etc. Put the roots on top of the chords. Whatever sounds good to you.

    Depending on a lot of variables (your rig, the band, the room), the note on the A string might sound too low and make mud. Some players stick to D and G strings for 3rd and 7ths. Sometimes I've found that G and B strings sound better. Freddie Green used lower strings, but not everybody can make that work as well as he did.

    Not everybody will agree and not everybody has the problem, but sometimes archtops can reinforce the low notes more than you think. My impression is that the player on stage next to his amp hears something a lot different than the audience. That is, the player may hear the chords as having clarity that gets lost in the audience.

  26. #25

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    Quote Originally Posted by Marinero
    Hi, C,
    Thanks for your response. So, 1st time melody(Billy'sBounce) played in 1st position; repeat: in V or VII(up one octave) beginning on 3rd string-c or 4th string c. So, I've been playing with the progression and the B dim that follows Bflat7 in the second measure comes to life as a Bdim6 followed by F7-8th position. When you play the F7, add C/Sixth String in the root. However, that's enough shells for me . . . I prefer mine with clams in wine sauce.
    Marinero
    Somethings it’s just easier to demonstrate on guitar, I find it a bit difficult to explain on a forum