Methods:
1. Tell the student that they are going to need to become familiar with a particular pattern of notes on the lower two strings of the guitar as they are the main reference points for much of the work they will be doing in learning jazz guitar. 2. Demonstrate the circle of fourths pattern:
e--- B--- G--- D--- A---12---10---8---6---4---2---12----etc. E–-12---10---8---6---4---2---12---10----
3. Have them play the root note pattern using only their 2nd finger while you play through the whole arpeggio pattern (see below). In effect they will join you at the start of each arpeggio. This helps them map out the basic root note pattern first.
Objective 2. Student able to play the basic major arpeggio set and understanding the resultant chord names.
Methods:
1. Demonstrate the major arpeggio set pattern to them :
e--- B--- G--- D---14---13---12--- A---11-14----14-11----11–14----14–11----11-14----14-11--- E–12---12---12--- e--- B--- G--- D---11--- A---11-14----14-11–--- E–12---
2. Have them play through this pattern using a sensible fingering sequence.
3. Ask them to tell you the formulas of the arpeggios as they play them they should come out with:
I III V VIII I III V VII I III V bVII I III V VI
4. Have them guess at the name of each arpeggio (major, major seventh, dominant seventh, major sixth respectively). Help them out where they don't know, or can't guess right. Re-test them.
Objective 3. Student able to play the basic major arpeggio set round the circle of fourths.
Methods:
1. Demonstrate the major arpeggio set played round the circle of fourths:
e--- B--- G--- D---14---13---12--- A---11-14----14-11----11–14----14–11----11-14----14-11--- E–12---12---12--- e--- B--- G---14---13--- D---11---11-14----14-11----11-14----14-11-- A---11-14----14-11–-12---–---12--- E–12--- e--- B--- G---12---11--- D---11-14----14-11----11-14----14-11---12--- A--12---12---9-12----12--9- E–---10--- e--- B--- G--- D---11---10---9--- A---9-12----12-9----9-12----12-9----9-12---12-9--10-etc E–-10---10---10---
2. Have them play through the entire set round the circle of fourths a couple of times. Accompany them by playing the appropriate chord against each arpeggio. I.e.: E EMaj7 E7 E6 A AMaj7 A7 A6 D DMaj7 D7 D6 G GMaj7 G7 G6 C CMaj7 C7 C6 F etc…
3. Continue with this exercise until you are sure they have got it and can name the chords as they play the arpeggios.
Objective 4. Student able to play the basic major chord set round the circle of fourths. Methods:
1. Ask the student to notice how the sound of the chords you are playing against their arpeggios fits. Explain that that is because you are playing the identical chord to each arpeggio.
2. Tell them you are now going to swap roles and they are going to play chords while you play the arpeggios.
3. First get them to look at the normal open E chord and identify the lower octave pattern (Open 6th string, 4th string 2nd fret).
4. Point out that, in the same way that the highest note is lowered by a semitone for each arpeggio, so it is with the chord. This can be clearly seen if we tab the chords: e---0---0---0---0--- B---0---0---0---2--- G---1---1---1---1--- D---2---1---0---2--- A---2---2---2---2--- E–--0---0---0---0--- E EMaj7 E7 E6 Note that we are taking the note on the 4th string down a semitone at a time just like we did in the arpeggio, but when we get to the Maj6th chord, because we are in open position, we run off the end of the fretboard and have to find the VI (C#) an octave higher on the 2nd string. 5. Point this out to your student. The important thing is that they connect the chord formulas to the arpeggios. 6. Now have them try to work out the same chord types rooted on A. Once again they will have to jump up an octave to accommodate the VI note: e---0---0---0---2--- B---2---2---2---2--- G---2---1---0---2--- D---2---2---2---2--- A---0---0---0---0--- E–--0---0---0---0--- A AMaj7 A7 A6 7. By all means have your student look at alternative fingerings such as: e---0---4---3---2---0---0---0---0-- B---2---2---2---2---0---4---3---2-- G---2---2---2---2---1---1---1---1-- D---2---2---2---2---2---2---2---2-- A---0---0---0---0---2---2---2---2-- E–--0---0---0---0---0---0---0---0-- A AMaj7 A7 A6 E EMaj7 E7 E6 8. Continue with D, G, C e---2---2---2---2---3---2---1---0---0---0---0---0--- B---3---2---1---0---0---0---0---0---1---0---1---1--- G---2---2---2---2---0---0---0---0---0---0---3---2--- D---0---0---0---0---0---0---0---0---2---2---2---2--- A---0---0---0---0---2---2---2---2---3---3---3---3--- E–---3---3---3---3---3---3---0---0--- D DMaj7 D7 D6 G GMaj7 G7 G6 C CMaj7 C7 C6
In each case ask the student to try to work the shapes out. The thought processes that occur when this is attempted are valuable in themselves, regardless of whether the student comes up with the most viable results or not. There is often more than one alternative to fingering each chord.
Guide the student carefully with suggestions here and there. The important thing is that they are learning to think about chord and arpeggio construction.
9. By the time we get to F in the circle of fourths we may choose to switch to barre chords although F can be played as an open chord:
e---1---0---1---1--- B---1---1---4---3--- G---2---2---2---2--- D---3---3---3---3--- A---3---3---0---0--- E–--- F FMaj7 F7 F6 10. Eb will generally be played as an 'A' shaped barre: e---6----6---6---8--- B---8----8---8---8--- G---8----7---6---8--- D---8----8---8---8--- A---6----6---6---6--- E–--6----6---6---6---
Eb EbMaj7 Eb7 Eb6 11. Ab as an 'E' shape barre chord: e---4----4---4---4--- B---4----4---4---6--- G---5----5---5---5--- D---6----5---4---6--- A---6----6---6---6--- E–--4----4---4---4---
Ab AbMaj7 Ab7 Ab6 12. You can then get your student to work round the remainder of the circle using the same barre chord patterns or their dead string or four-note equivalents (fingerstyle jazz chords): e---x----x---x---x---x---x----x----x--- B---4----4---4---4---6---6----6----6--- G---5----5---5---5---6---5----4----3--- D---6----5---4---3---6---6----6----6--- A---x----x---x---x---4---4----4----4--- E–--4----4---4---4---x---x----x----x--- Ab AbMaj7 Ab7 Ab6 Db DbMaj7 Db7 Db6
13. Whichever approach(es) you choose the important thing is that the student gets to play through the circle of fourths continuously for several minutes playing the chords against your arpeggios. Then swap roles.
14. Encourage your student to work on both elements in their practice. Check them through both the arpeggios and chords on their next visit.
Objective 5. Student able to play the basic minor arpeggio and chord set round the circle of fourths.
Methods:
1. Ask the student to tell you the difference between a major triad and a minor triad.
2. Tell them that the exercise you have just worked through with major chords can equally be worked out for minor.
3. Have them try to guess the names of the chords thus produced. They should be:
Em EmM7 Em7 Em6 Am AmM7 Am7 Am6 and so on…
4. Talk a bit about the rather odd sounding 'minor major seventh' chord which is often called 'minor natural seventh' to make it sound less confusing!
5. Take them through exactly the same process as with the major set. Note that the minor arpeggios are best started on the 1st finger and that there is a bit of a finger shift necessary on the 6th chord:
e--- B--- G--- D---14---13---12--- A---14----14---–14----14–---14----14--- E–12-15---15-12-15---15-12-15---15--- Fg.1 4 3 3 3 4 1 4 3 2 3 4 1 4 3 1 3 4 e--- B--- G---14---13--- D---14----14---14----14--- A---14-16-14---–-12-15--–---15-12-15---15-- E–12-15---15--- Fg.1 4 2 4 2 4 1 ……….etc..
6. Have the student play through these arpeggios while you accompany them by playing the chords.
7. Once they have managed that two or three times through then swap roles. 8. Once again have them at least attempt to work out the chord fingerings from the arpeggio patterns.
9. Note that for the sets: Em EmM7 Em7 Em6 Am…. Dm….open position chords are used. From there on they are really forced into barre chords as open Gm and Cm chords are just too difficult for most players to finger.
10. This lesson plan is complete once the student can effortlessly play round several continuous circles of fourths playing the arpeggios or the chords for the major or minor sets. It is also essential the can tell you the correct names for each chord or arpeggio. It will often take a few weeks to achieve this, but the time is well invested.
Lesson plan 44:
INTELLIGENT JAZZ CHORD FINGERING Suitable for:
Students with an interest in developing Jazz guitar skills. Prerequisites:
Section 4 (Beginning Theory) completed. Lesson plan 43 (Arpeggios and chords) completed.
General Objective:
To build a foundation from which the student can work out their own voicings of more complex chords in an intelligent manor.
Summary of this lesson plan:
The student is shown a number of approaches to fingering the more commonly used jazz chords. These are each related to the shapes of the CAGED system.
Stress:
This is not so much about learning chord shapes as it is about learning how to figure
out chord shapes by applying the basic principals thus far learned. Once again it is
vital to get the student to do the brainwork. Materials required:
None
Special equipment required: None
Objectives and methods:
Objective 1. Student able to derive chords from the 'C' shape. Methods:
1. Have the student play an E major chord using a 'C'shape rooted on 5th string at 7th fret.
2. Now from the basic major shape have them figure out which finger to shift to turn it into the other main triads: minor, augmented, diminished, sus4, sus 2:
e---x---x----x---x----x---x--- B---5---5----5---5----5---5--- G---4---4----5---3----4---4--- D---6---5----6---5----7---4--- A---7---7----7---7----7---7--- E–--x---x----x---x----x---x--- E Em E+ Edim Esus4 Esus2
3. Next have them work out the rest of the major set based on the basic major chord shape. There are different possibilities but the set that suits my fingers comes out as:
e---x----x----x---x--- B---5----5----5---5--- G---4----8----7---6--- D---6----6----6---6--- A---7----7----7---7--- E–--x----x----x---x--- E EM7 E7 E6 4. Once they have settled on fingerings that suit them have them practice over and over. Work out a couple of sequences that combine these shapes and have them play them while you improvise over them. 5. Now have them work out a minor set for example: e---x----x----x---x--- B---5----4----5---5--- G---4----4----7---6--- D---5----5----5---5--- A---7----7----7---7--- E–--x----x----x---x---
Em EmM7 Em7 Em6 6. Again, make up progressions that use these chords and have the student play them while you improvise over them. 7. Show the student a set of dominant ninth chords pointing out that these are commonly used as substitutions for the dominant seventh of which they are extensions. The minor ninth can be included in this as it is easy to see its relationship to the dominant ninth, but it should be pointed out that only where a song is based around the natural minor scale would this work as a substitute for the dominant chord. It is more often found as a minor chord substitution. e---x----x----x---x--- B---8----7----6---7--- G---7----7----7---7--- D---6----6----6---5--- A---7----7----7---7--- E–--x----x----x---x--- E7#9 E9 E7b9 Em9
8. Once again it is important to get the student using these chords in a musical context so create a sequence to improvise over.
9. Stress to the student that so many chords are used in jazz that there is little point in trying to memorize them all. Better to see them as logical extensions of the basic chords. By the above learning method, the student is not so much taught the chords, as how to understand them and thereby gain the ability more or less to create their own versions of chords as needed. This is what is meant by an 'intelligent' approach.
Objective 2. Student able to derive chords from the 'A' shape. Methods:
1. Apply exactly the same approach as used in the previous objective, but to 'A' shapes. To see these clearly I recommend working halfway up the fretboard again. So I have shown below some of the shapes I use for chords rooted on D at the 5th fret on the 5th string:
Basic triads: e---x---x----x---x----x---x--- B---7---6----7---6----8---5--- G---7---7----7---7----7---7--- D---7---7----8---6----7---7--- A---5---5----5---5----5---5--- E–--x---x----x---x----x---x---
D Dm D+ Ddim Dsus4 Dsus2 Major set: e---x---x----x---7--- B---7---7----7---7--- G---7---6----5---7--- D---7---7----7---x--- A---5---5----5---5--- E–--x---x----x---x--- D DM7 D7 D6 Minor set: e---x---x----x---7--- B---6---6----6---6--- G---7---6----5---7--- D---7---7----7---x--- A---5---5----5---5--- E–--x---x----x---x--- Dm DmM7 Dm7 Dm6 Some other useful chords: e---x----x---x--- B---6----6---7--- G---5----4---5--- D---6----6---8--- A---5----5---5--- E–--x----x---x--- Dm7b5 Ddim7 D+7
Objective 3. Student able to derive chords from the 'E' shape. Methods:
1. At this stage I would suggest leaving out the 'G' shaped chords. This Octave pattern tends to lend itself far more readily to useful arpeggio-based runs and a brief look at these with the student would be of more immediate and practical use. Explain the point to your student that the 'G' shaped chords tend to be a bit muddy sounding if rooted on the bottom string and a bit thin if rooted on the 3rd string. This means that there are nearly always better sounding (and easier to finger) alternatives to be found in the 'E' or 'A' shapes either side.
2. Get your student to work out their basic triads using the 'E' shape. Here are some possibilities:
Lower root (6th string):
e---x---x----x---x----x---x--- B---5---5----6---4----5---5--- G---6---5----6---5----7---4--- D---7---7----7---7----7---7--- A---x---x----x---x----x---x--- E–--5---5----5---5----5---5---
A Am A+ Adim Asus4 Asus2 Higher root (4th string): e---5---5----5---5----5---5--- B---5---5----6---4----5---5--- G---6---5----6---5----7---4--- D---7---7----7---7----7---7--- A--- E–---
A Am A+ Adim Asus4 Asus2 3. Now have them work out a couple of sets of major four-note chords perhaps like these: Lower root (6th string): e---x---x----x---x--- B---5---5----5---5--- G---6---6----6---6--- D---7---6----5---4--- A---x---x----x---x--- E–--5---5----5---5--- A AM7 A7 A6
Higher root (4th string): e---5---4----5---5--- B---5---5----8---7--- G---6---6----6---6--- D---7---7----7---7--- A--- E–--- A AM7 A7 A6 4. And a couple of Minor sets: Lower root (6th string): e---x---x----x---x--- B---5---5----5---5--- G---5---5----5---5--- D---7---6----5---4--- A---x---x----x---x--- E–--5---5----5---5---
A AmM7 Am7 Am6 Higher root (4th string): e---5---4----5---5--- B---5---5----8---7--- G---5---5----5---5--- D---7---7----7---7--- A--- E–---
A AmM7 Am7 Am6 5. Also have your student look at these useful chords: e---7---x----x---x---7---8----6----x---x---7---7----x-- B---5---3----7---6---5---5----5----3---7---5---7----4-- G---5---4----6---6---6---6----6----4---6---5---5----5-- D---6---6----6---5---5---5----5----5---5---5---5----5-- A---x---x----x---x---x---x----x----x---x---x---x----x-- E–--5---5----5---5---5---5----5----5---5---5---5----5-- AM9 AM11 AM13 A7+ A9 A7#9 A7b9 A11 A13 Am9 Am13 Am7b5
6. In each case get them to play the chord, but also to figure out how the notes they are playing define the chord. So they will be holding down the Am7b5 for example and tell you: 'Here's the root 'A' under my 2nd finger on the 6th string, here's the flat seventh on the 4th string, the minor third on the 3rd string and the flatted fifth under my 1st finger here on the 2nd string. So that's I bIII bV b7 – A minor seventh flat five or A half-diminished as it is sometimes called'!
7. Now write out a number of chord sequences that use some of these chords and have the student 'use them in anger' while you improvise along over the top of them. At this stage you can begin to teach them a few jazz standards to play along to.
Objective 4 Student able to derive chords from the 'D shape. Methods:
1. Have the student work out their basic triads using the 'D' shape:
e---7---6----7---6----8---5--- B---8---8----8---8----8---8--- G---7---7----8---6----7---7--- D---5---5----5---5----5---5--- A--- E–---
G Gm G+ Gdim Gsus4 Gsus2 2. And their major and minor sets: e---7---7----7---7----6---6---6---6-- B---8---7----6---5----8---7---6---5-- G---7---7----7---7----7---7---7---7-- D---5---5----5---5----5---5---5---5-- A--- E–--- G GM7 G7 G6 Gm GmM7 Gm7 Gm6 3. And these sundry jazz chords: e---6---6----7---5----4--- B---6---6----6---6----6--- G---6---7----8---7----7--- D---5---5----5---5----5--- A--- E–--- Gm7b5 G7#9 G+7 G9 G7b9
4. Once again it is important to find an application so that your student can hear how these chords sound. This group of shapes works particularly well as second guitar part chords played over a vanilla sequence of simpler chords rooted on lower strings. They make great jazz-funk chords. Note that in this case the root is often dropped and the chord is just played on the top three strings (the first guitar can take care of the root!).
Objective 5. Student able to play diminished seventh chords. Methods:
1. Have the student study the diminished seventh chord as a separate case. Due to its symmetry (the chord consists of four minor thirds) any one of its notes can be considered the root note so it doesn't easily fit into the CAGED system in quite the same way as the other chords.
2. Have them play each of these three commonly used shapes: e---6--- B---6---5--- G---5---4---6--- D---4---6---5--- A---6---5--- E–--5--- Adim7 Ddim7 Gdim7 Ebdim7 Abdim7 Dbdim7 Gbdim7 Bdim7 Edim7 Cdim7 Fdim7 Bbdim7
3. Find as many applications as you can that using a variety of the chords from this lesson plan. Give your student plenty of practice at changing these shapes. It takes quite a while to get physically used to them and for most students it is a bit like being a beginner guitarist all over again!
Lesson plan 45: II-V-I CHORDS Suitable for:
Students with an interest in developing Jazz guitar skills. Prerequisites:
Section 4 (Beginning theory) completed. Lesson plan 44 (Jazz Chords) completed.