Jazz Guitar Chord Bible by Warren Nunes

[GBRow]

The introduction of this book says, it has no Root notes in all the chords so it could give out different voicing for each chords.
Does this make sense? Isn't Root note important element in any chords when played?

[grahambop]

Depends on the context, if you are comping in a group or with a bass player, there is no need to play the roots. In fact it may sound better not to.

[GBRow]

Depends on the context, if you are comping in a group or with a bass player, there is no need to play the roots. In fact it may sound better not to.

But if you are playing alone? OK, depends on the context. Fair enough.

[grahambop]

Actually the book just says ‘many’ of the chords do not have roots (I looked at the kindle sample), so it’s quite possible the common root-position forms are included.

[GBRow]

That's cool, then. Thanks for confirmation. Just ordered a copy of the book, and I do looking forward working with the book. Nunes seems to be a good jazz book writer.

[mr. beaumont]

By omitting the roots those shapes might have multiple applications, which is cool.

I always like at least knowing where the root is in relationship to the chord, whether I'm playing it or not.

[rpjazzguitar]

One of the notable things about Warren was that he often had a bassist in the room when he taught. When I started with him in Hayward he didn't, but when he moved to Castro Valley, he usually did. Sometimes drums and keys as well.

I recall being confused because I thought I heard a second guitar comping but there wasn't a second one in the room. Eventually, I realized it was a keyboard, playing Warren's exact guitar voicings.

When he was comping, I think he used the voicings that he had in the Chord Bible.

When he played chord melody, he used all kinds of things. He'd play a brilliant chord melody and then, when I asked him to show me it slowly so I could learn the voicings, he'd play a completely different one for the same tune, as brilliant as the first.

I think he was known mostly for his single note soloing (blistering in speed, clearly articulated, jackhammer attack and his harmonic palette). But he was also great at chord melody -- if much of that was ever recorded, I'm unaware of it.

[pauln]

Isn't Root note important element in any chords when played?

As Mr B said, it's so important it's important even when it is not played;
it is not always important to be played, but it is always important.

[mr. beaumont]

As Mr B said, it's so important it's important even when it is not played;
it is not always important to be played, but it is always important.

Important enough sometimes I'll fret it even though I don't play it!

[GBRow]

If one knows the fretboard very well, then it would be quick and easy to find the Root note fret for the chord when seeing a chord?

[GBRow]

The book arrived, and it looks like a nice resource book. It has the basic chord forms and then basic chord progression examples. No explanations, but good arrangements on the chords.

Now the questions is, how many chords would I be able to remember in the book? Or would it be just for reference uses?

[Cunamara]

You will internalize the chords over time naturally through repetition. One of the fastest ways is to play through songs using each set of voicings that you are studying, listening to what's happening. Eventually you will see playing the chords not as "chord grip" to "chord grip" to "chord grip" but as harmonizing voices moving through the song. That's when it gets really interesting and flow enters your music.

[rpjazzguitar]

I agree with Cunamara. It seems to work well to learn chords as you play tunes.

I'd add this though.

If you learn, say, a G7 played like xx3433, that's a useful chord on the highest four strings. G6 is one note away. So you can move the F (on the D string) one fret down to an E.

If you start with G7 and move the B to a Bb, you get Gm7.

Move them both to get Gm6. And move other notes to get Gmaj7, Gminmaj7 etc. I think it helps to know that they're a kind of adjustment to the original G7.

Then, move each note in xx3433 up to the next chord tone on the same string. So, the F goes to G, the B does to D etc. And you get xx5767. Then, you do the adjustments again.

There are two more inversions of G7 and you repeat the procedure. At that point you have grips for each chord in four places on the neck. And, with a little ingenuity, you can get just about any note at the top of any chord.

This is from Chuck Wayne's approach, as I understand it.

Chuck then did it on the middle four strings and the lowest four strings. And, of course, you can start with any grip, so it doesn't have to be 4 consecutive strings.

I also agree with Cunamara that eventually you relate to this as harmony and not grips.

[Gilpy]

I've had this book for years and can confirm that many of the chord forms have the root. There are also sections on ascending and descending passing chords and examples of progressions for each type of chord.

The index makes it easy to look up chord types when needed, but I often just open it at random and work on whatever I find. A good way to get new ideas.

[GBRow]

Yes, it does. It looks like some chords don't have root notes in the chord progression examples, which makes sense. As someone pointed out, in some compings, guitar doesn't need root notes all the time.

I feel the book is very nice with clear and accurate diagrams for the chords, arrangements and progression examples. A great buy book. I would recommend it to anyone looking for Jazz chord book.

[2bornot2bop]

Wait…I bought that book like 12 years ago. Gotta find it

[acoustic_archtop]

The book arrived, and it looks like a nice resource book. It has the basic chord forms and then basic chord progression examples. No explanations, but good arrangements on the chords.

Now the questions is, how many chords would I be able to remember in the book? Or would it be just for reference uses?

Learn to recognize your intervals (from the root) and you'll find you won't need any written chord materials at all. You'll be able to play inversions, rootless voicings, shell voicing, etc.

You can use that book to get you going and even help you learn your intervals but, it will only serve a crutch long term. Don't spend time memorizing any exotic chords or voicing. Your time will REALLY be well spent learning intervals.

BTW, that will help you with your solos too, i.e., chord tone soloing.

[GBRow]

Yes, my aim is to be able to play with guitar any song or tune as I hear them - melodies and harmony trying to sound interesting and musical. Not sure when it will be achieved by me, but I have my goal for practicing, and will just keep going.

But yes, as your suggestion, I find the knowledge of intervals between notes very important. A Modern Methods for Guitar book 123, and Jazz Guitar Complete by Fisher have substantial amount of pages for interval exercises, which are great.

[acoustic_archtop]

Yes, my aim is to be able to play with guitar any song or tune as I hear them - melodies and harmony trying to sound interesting and musical. Not sure when it will be achieved by me, but I have my goal for practicing, and will just keep going.

But yes, as your suggestion, I find the knowledge of intervals between notes very important. A Modern Methods for Guitar book 123, and Jazz Guitar Complete by Fisher have substantial amount of pages for interval exercises, which are great.

FWIW, I started in earnest around COVID, and feel like I'm just starting to feel fluent. But JUST starting to feel that way. Practice time is EXTREMELY limited for me though. Not sure of your situation.

[GBRow]

FWIW, I started in earnest around COVID, and feel like I'm just starting to feel fluent. But JUST starting to feel that way. Practice time is EXTREMELY limited for me though. Not sure of your situation.

I have started on August 2025, so it is about 6 months since I have started guitar practicing. It is tough going, but I feel it will be worth the effort. I practice about 1-2 hours on playing, and spend about 1 hour reading books and watching YT videos on most days.