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Hey. Im having trouble finding some grip charts of the 5/9/11/13 notes of shell voicing where the root is on A string. I can work them out by myself, but there's multiple possibilities. So seeing a chart with what is custom and sounds the best and friendliest to play would be good.
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10-23-2023 07:41 PM
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So do it. Work it out. That is the fun part. You're smart, musical, experienced.
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You'll learn a great deal more if you work it out for yourself.
Originally Posted by jazzpazz
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You guys must really start reading my thread post better! I now copy my own last sentence, from my own post. "I can work them out by myself, but there's multiple possibilities. So seeing a chart with what is custom and sounds the best and friendliest to play would be good." Originally Posted by A. Kingstone
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01010001100001111111000101010101001110011001001 Originally Posted by jazzpazz
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Your post inspired me to do my own search. I never knew there were so many chords and so many resources! Here are a couple I found. I hope they're helpful. I know where my Amazon budget is going this month! Originally Posted by jazzpazz
Thanks for this thread jazzpazz
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That Bill Bay book was foundational for me though it could have been reduced to about 15 pages. Guitar chords are redundant.
I learned the Rhythm Chord (drop 3) 2/5/1's in all inversions.
If OP is serious they may take that or the good advice from their previous 2 posts on the same subject and check back in again October 2024 and let us know how it went.
Otherwise - 010011000101010101010100
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Ask reg he knows a bunch of jazz guitar tricks, I hope he's got time.
I doubt he can understand the question but he will do something.
Wait wait, ragman1 is going to post something.
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01010001010010101010101001010001011010010101
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Which ones do you have so far? Originally Posted by jazzpazz
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You are a pianist that knows
- the notes on the guitar
- the chord types (or see below)
- the transposition of keys
This below does not account for voicing, rootless, inversions, missing 5ths, etc.
You may (and should) discover those things for yourself as you explore the various usable fingerings.
C Major (C E G)
C Minor (C Eb G)
C Augmented (C E G#)
C Diminished (C Eb Gb)
C Dominant 7th (C E G Bb)
C Major 7th (C E G B)
C Minor 7th (C Eb G Bb)
C Minor Maj 7th (C Eb G B)
C Aug 7 (C E G# Bb)
C Aug Maj 7 (C E G# B)
C Half Dim 7 (C Eb G Bb)
C Full Dim 7 (C Eb Gb Bbb)
C Dim Maj 7 (C Eb Gb B)
C 9 (C E G Bb D)
C b9 (C E G Bb Db)
C #9 (C E G Bb D#)
C Maj 9 (C E G B D)
C Maj b9 (C E G B Db)
C Maj #9 (C E G B D#)
C Min 9 (C Eb G Bb D)
C Min b9 (C Eb G Bb Db)
C Min Maj 9 (C Eb G B D)
C Min Maj b9 (C Eb G B Db)
C Min Maj #9 (C Eb G B D#)
C Aug 9 (C E G# Bb D)
C Aug b9 (C E G# Bb Db)
C Aug #9 (C E G# Bb D#)
C Aug Maj 9 (C E G# B D)
C Aug Maj b9 (C E G# B Db)
C Aug Maj #9 (C E G# B D#)
C Half Dim 9 (C Eb Gb Bb D)
C Half Dim b9 (C Eb Gb Bb Db)
C Dim 9 (C Eb Gb Bbb D)
C Dim b9 (C Eb Gb Bbb Db)
C Dim Maj 9 (C Eb Gb B D)
C Dim Maj b9 (C Eb Gb B Db)
C 11 (C E G Bb D F)
C b9 11 (C E G Bb Db F)
C #9 11 (C E G Bb D# F)
C #11 (C E G Bb D F#)
C b9 #11 (C E G Bb Db F#)
C #9 #11 (C E G Bb D# F#)
C Maj 11 (C E G B D F)
C Maj b9 11 (C E G B Db F)
C Maj #9 11 (C E G B D# F)
C Maj #11 (C E G B D F#)
C Maj b9 #11 (C E G B Db F#)
C Maj #9 #11 (C E G B D# F#)
C Min 11 (C Eb G Bb D F)
C Min b9 11 (C Eb G Bb Db F)
C Min #9 11 (C Eb G Bb D# F)
C Min #11 (C Eb G Bb D F#)
C Min b9 #11 (C Eb G Bb Db F#)
C Min #9 #11 (C Eb G Bb D# F#)
C Min Maj 11 (C Eb G B D F)
C Min Maj b9 11 (C Eb G B Db F)
C Min Maj #9 11 (C Eb G B D# F)
C Min Maj #11 (C Eb G B D F#)
C Min Maj b9 #11 (C Eb G B Db F#)
C Min Maj #9 #11 (C Eb G B D# F#)
C Aug 11 (C E G# Bb D F)
C Aug b9 11 (C E G# Bb Db F)
C Aug #9 11 (C E G# Bb D# F)
C Aug #11 (C E G# Bb D F#)
C Aug b9 #11 (C E G# Bb Db F#)
C Aug #9 #11 (C E G# Bb D# F#)
C Aug Maj 11 (C E G# B D F)
C Aug Maj b9 11 (C E G# B Db F)
C Aug Maj #9 11 (C E G# B D# F)
C Aug Maj #11 (C E G# B D F#)
C Aug Maj b9 #11 (C E G# B Db F#)
C Aug Maj #9 #11 (C E G# B D# F#)
C Half Dim 11 (C Eb Gb Bb D F)
C Half Dim b9 11 (C Eb Gb Bb Db F)
C Dim 11 (C Eb Gb Bbb D F)
C Dim b9 11 (C Eb Gb Bbb Db F)
C Dim Maj 11 (C Eb Gb B D F)
C Dim Maj b9 11 (C Eb Gb B D F#)
C 13 (C E G Bb D F A)
C b9 11 13 (C E G Bb Db F A)
C #9 11 13 (C E G Bb D# F A)
C #11 13 (C E G Bb D F# A)
C b9 #11 13 (C E G Bb Db F# A)
C #9 #11 13 (C E G Bb D# F# A)
C Maj 13 (C E G B D F A)
C Maj b9 11 13 (C E G B Db F A)
C Maj #9 11 13 (C E G B D# F A)
C Maj #11 13 (C E G B D F# A)
C Maj b9 #11 13 (C E G B Db F# A)
C Maj #9 #11 13 (C E G B D# F# A)
C Min 11 13 (C Eb G Bb D F A)
C Min b9 11 13 (C Eb G Bb Db F A)
C Min #9 11 13 (C Eb G Bb D# F A)
C Min #11 13 (C Eb G Bb D F# A)
C Min b9 #11 13 (C Eb G Bb Db F# A)
C Min #9 #11 13 (C Eb G Bb D# F# A)
C Min Maj 13 (C Eb G B D F A)
C Min Maj b9 11 (C Eb G B Db F A)
C Min Maj #9 11 13 (C Eb G B D# F A)
C Min Maj #11 13 (C Eb G B D F# A)
C Min Maj b9 #11 13 (C Eb G B Db F# A)
C Min Maj #9 #11 13 (C Eb G B D# F# A)
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Is this true? Originally Posted by jazzpazz
Using C E Bb as a shell voicing, w the root on the A string, I don’t think there are multiple ways to play any of those extensions. The playable range for those upper extensions is on two strings and is almost certainly less than an octave, let alone two.
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First, you know that a scale really needs two octaves to be the foundation for chords with extensions and their alterations. If you write the chord in normal form (ascending by scale degree) then this happens:
- there is an octave of chord tones that includes the 7th
- there is an octave of extensions (and their alterations)
However, on the guitar some chords are formed so that there is an octave below the chord tone octave which just has the root and fifth, or even less. When that happens, sometimes the notes in the chord tone octave play the role of the extension octave, and the sub octave with just the root and fifth or whatever play the role of the chord tone octave... which means in the former case it's 9th would be considered it's 2nd in the latter case.
Further however, the extensions don't have to be above the chord tones; any of the scale degrees of the notes in the chord (chord tones and extensions and their alterations) may be in any ascending order. They can also appear in the sub octave which may or may not shift the chord tone octave to an extension octave.
You already should know this from piano scores. Sometimes the left hand is the chord tone octave and the right hand is the extensions, but sometimes the left hand is more like a virtual bass and the right hand is the chord tone octave (with stretches to extension octave), right?
Once you allow the inversions, the octave distinctions become unclear, and when you change the order of the notes with various voicing the distinction is really gone.
This is why people are urging you to discover these things; playing the guitar has a built-in compositional aspect (fingering chord forms) even when you are playing something straight by the score.
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What song are you working on? What do you want the melody Note to be? You have to make decisions and change the chord accordingly for each beat.
If you’re really doing chord melody or comping, then you’re past grips we can share with no context.
You can’t really be asking for this right?
C9 x3233x
C11 x3333x
C13 x32335
I’m not trying to be rude, but this is in the basic chord lessons on this webpage. That you said you worked through….Last edited by AllanAllen; 10-24-2023 at 09:12 AM.
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x12 in up to 7 inversions. Done. Originally Posted by pauln
Next?
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102 chords, but 585 inversions... x 12 = 7020 Originally Posted by princeplanet
Could learn all in less than a year, 20 per day
Near the end it would take almost 2 hours to
play through them, at one chord per second
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An oldie but a goody...
Last edited by dot75; 10-24-2023 at 06:21 AM.
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Oh, god, not another thread...
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Q: How many jazz guitar forum members does it take to change a lightbulb? Originally Posted by ragman1
A: What kind of changes are we talking about? Played where? Which inversion? Can you write them out in TAB? Why are you still using TAB? Is that a legitimate substitution? Is that a legitimate voicing? Can you even play that? Why would you even play that? Who said you could alter that? What would Joe Pass do?
And post #4,373 asks "Why are we still in the dark?"
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I know, right, I mean c'mon people, it's only one year! It's not like you have anything better to do.... Originally Posted by pauln
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The thing is, if you don't do the hard work, you'll never get better. You can watch youtube and argue semantics here all you want but it won't make you play any better. Originally Posted by princeplanet
Not you personally... I'm just not the kind of guy to say one all the time. I tried it and I didn't like it.
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