The Jazz Guitar Chord Dictionary
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  1. #26

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    Using the major scale as a source...

    play a melodic pattern before playing the chord..using the scale degrees of the chord..

    G major 2 3 1 5 A B G D...now find that pattern in as many positions on the neck and follow it with some from ot the G chord

    and to make it a bit more harmonic/melodic do the same with the third degree of the scale

    B minor 2 3 1 5 C D B F#...and then the fifth degree of the scale

    D major 2 3 1 5 E F# D A

    now the same with the 7th degree..then the two four and six degrees and back to the tonic G an octave higher

    of course finish this pattern until you have all the chords in the scale ..using every other degree give a nice break to the flow of chords/patterns

    this also helps developing some connecting lines to other chords and patterns outside of the scale..

    and then ..there are countless patterns to develope and use in this kind of exercise..this also helps alot in developing solo lines

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    I think triad knowledge is of enormous use.

    Three note comping helps get the guitarist out of the all-or-nothing grip-type (Thynne ) chord shapes the newbie find themselves limited by.

    Using the CAGED system, or as I think of it, C/D shape, A shape and E shape to play the same chord yields all three inversions directly. You can go up and down the neck playing inversions - Pete Townsend obviously shedded this, witness 'Substitute'. Or Cissy Strut. It's also a great entry into chord melody thinking, even if it's God Save The Queen, or my favourite, In The Bleak Midwinter.

    They are invaluable in playing the Blues when bending notes becomes tiresome. The certainty of chord IV's 3rd when normally beginners will go for the tonic's flat 7 is great, and their little eyes light up when I show them. The 7th can be introduced then and some great Blues sounds come out and we haven't needed to burn at all.

    I always think of the guitar as a visual instrument and locate chords within visual scale patterns - but it also happens in reverse, so the triad can pin you to a secure place harmonically and your scale knowledge will allow you to play notes surrounding the triad tones. You don't have to use them in the intervals supplied by their shape. This is where some structural knowledge is necessary, but nothing is free.

    I generally use major shapes. I sometimes derive tonality by changing notes, to make minor, find the 7th etc. but I haven't spent much time at all looking at minor shapes - I find them less rewarding harmonically as triads. I know Dave Cliff, a guitarist in the UK, has handouts for all chord types on adjacent string sets (1,2,3 - 2,3,4) in three scale types (this was a while ago and the 4th hadn't been discovered yet). I've had them for years but have never bothered to learn them all, but I know he has, which is why he's Dave Cliff...

  4. #28

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    I'm waiting for the OP to show up again...

  5. #29

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    Quote Originally Posted by Hugo Gainly
    I think triad knowledge is of enormous use.

    Three note comping helps get the guitarist out of the all-or-nothing grip-type (Thynne ) chord shapes the newbie find themselves limited by.

    Using the CAGED system, or as I think of it, C/D shape, A shape and E shape to play the same chord yields all three inversions directly. You can go up and down the neck playing inversions - Pete Townsend obviously shedded this, witness 'Substitute'. Or Cissy Strut. It's also a great entry into chord melody thinking, even if it's God Save The Queen, or my favourite, In The Bleak Midwinter.

    They are invaluable in playing the Blues when bending notes becomes tiresome. The certainty of chord IV's 3rd when normally beginners will go for the tonic's flat 7 is great, and their little eyes light up when I show them. The 7th can be introduced then and some great Blues sounds come out and we haven't needed to burn at all.

    I always think of the guitar as a visual instrument and locate chords within visual scale patterns - but it also happens in reverse, so the triad can pin you to a secure place harmonically and your scale knowledge will allow you to play notes surrounding the triad tones. You don't have to use them in the intervals supplied by their shape. This is where some structural knowledge is necessary, but nothing is free.

    I generally use major shapes. I sometimes derive tonality by changing notes, to make minor, find the 7th etc. but I haven't spent much time at all looking at minor shapes - I find them less rewarding harmonically as triads. I know Dave Cliff, a guitarist in the UK, has handouts for all chord types on adjacent string sets (1,2,3 - 2,3,4) in three scale types (this was a while ago and the 4th hadn't been discovered yet). I've had them for years but have never bothered to learn them all, but I know he has, which is why he's Dave Cliff...
    Right. Dave Cliff isn't simply 'a guitarist in the UK', he is one of my favourite players full stop.


    Name a more swinging bop/straightahead player. He's up there.

  6. #30

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  7. #31

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    I like triads, and they will take some work, sure. It is nice, however, when that work is laid out in a coherent and meaningful manner. Personally, I really liked the approach to systematic inversions as presented by Dana Rasch in some of his courses (in my case Time Works, but I think his deepest treatise is Chord Melody Program...funny, he now offers access to all of them), both horizontally and vertically.

    Now, as a bass player, it really solidified my understanding of the fingerboard and seeing in advance where to move when targeting certain notes in walking lines etc. Sure, they aren't be all end all kind of tool, but they are an important one.

  8. #32

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    Quote Originally Posted by christianm77
    Right. Dave Cliff isn't simply 'a guitarist in the UK', he is one of my favourite players full stop.


    Name a more swinging bop/straightahead player. He's up there.
    Well, yes, but my point was that he had some handouts. He doesn't play much now - you know he's not well?

  9. #33

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    Quote Originally Posted by Hugo Gainly
    Well, yes, but my point was that he had some handouts. He doesn't play much now - you know he's not well?
    Yes.

    I last saw him last year (November) at a Pasquale Grasso gig, hope is doing OK with all this lockdown stuff.

    I just that I feel he should be bigged up at every possible opportunity for those unfamiliar with him. He's obviously well known in the UK but in the states etc, maybe not so much.

  10. #34

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    Quote Originally Posted by christianm77
    Right. Dave Cliff isn't simply 'a guitarist in the UK', he is one of my favourite players full stop.

    Name a more swinging bop/straightahead player. He's up there.
    i love bop maestro Dave Cliff !

    I had only one lesson with Dave ....
    when I was starting out with jazz

    it was the BEST lesson I ever had ....
    he turned some kind of key for me and opened the door to functional harmony
    how he might play a line through changes .... whilst outlining those changes

    he listened to me play for a few minutes
    then he said .... hmm ok .... and got a piece of paper
    and wrote out a line for me to practice
    (just one line ...)
    It was EXACTLY what I needed at that moment
    i took it home and had gone that direction ever since

    a total genius .... yes

    carry on

  11. #35

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    Quote Originally Posted by SloeGin
    Hey guys,

    I'm new here.

    I have a basic knowledge of the CAGED system and how triads and seventh chords are constructed.
    Now i wonna learn triads and inversions across the whole fretboard.

    What would be the best way to learn what notes are exactly in a triad and how to visualise them across the neck?
    How did you learn triads?

    Thanks for the help!
    1. Firstly, learning the notes is theory/harmony so you simply have to understand intervals and interval qualities, and how to build and name chords. It's easy with triads because there are only 3 notes to deal with.

    2. Regarding the guitar, yes there are ways to learn triads using visualization. One very effective method for learning closed position or "close voicing" triads is found in William Leavitt's Modern Method For Guitar, Volume 2. It shows three ways to learn triads of all qualities, and in all inversions:

    1. "across the fingerboard",
    2. "across and up the fingerboard", and
    3. "up and down the fingerboard". This last one uses one "string set" at a time to move up and down on. (String sets 6-5-4, 5-4-3, 4-3-2, 3-2-1).


    Learn "across the fingerboard" first, with just the major triad, and you'll get the hang of it. Then keep going.

    Leavitt's book uses many chord diagrams but not for this. You can do without but it really helps to use a visual aid when it comes to learning guitar chords. An ex-student at Berklee showed me some visualization charts that the folks at Berklee use for this. You can make these charts on your own - four of them in fact, one each for Maj, Min, Dim, Aug.

    The charts look like the following:

    1 page with 16 fretboard diagrams, 4 rows of 4.
    • The bottom row starts with the major triad in root position on the 6th string. Reading to the right from that first chord across the bottom row has you playing the 1rst inversion, then 2nd, then root position again (12 frets higher) - all on string set 6-5-4.
    • The row above that starts with 1rst inversion on string set 5-4-3, then reading to the right covers 2nd inversion, root position, then 1rst inversion again
    • The next row up starts with 2nd inversion on string set 4-3-2
    • The top row starts with root position on string set 3-2-1.


    Finally, you play this chart in two ways:
    1. Each column from bottom to top (across the fingerboard). Draw an arrow on the right side of the page pointing up.
    2. Each row from left to right (up and down the fingerboard on a single string set). Draw an arrow on the bottom of the page pointing to the right.

    I realize that's a lot of words. "A picture tells a thousand words", and all that. Charting these is well worth your time if you're serious about this. Again, charting ALL guitar chord "grips" speeds learning by a very significant degree. If you put in the work - and maintain it - you won't need the diagrams after a while.
    Last edited by GTRMan; 07-28-2020 at 09:27 PM.