Berklee Jazz Chords

Berklee �ress

Vice President: Dave Kusek

Dean of Continuing Education: Debbie Cavalier Managing Editor: Jonathan Feist

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Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen

ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3 DI.TRJgUTII:D BY

berklee

press

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C.0RP0RA'TI0N

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Vislt Hal Leonard Online at

www.halleonard.com

Copyright© 2007 Berklee Press All Rights Reserved

Contents

Introduction

iv

Part I. Chords

1. Moveable 7th Chord Shapes 2

(each on�@®@ @Q)@(D @@®@ �Q)(j)(D)

Major 7

2

Dominant 7

3

Minor 7

3

Minor 7�5

4

Major 6

5

Minor 6

5

Diminished 7

6

Dominant 9

7

M�or 9

7

Minor 11

8

Dominant 13

8

2. Dominant 7th Chords with Alterations:

9

two versions each, with roots on® and

G)

Dominant 7�5

9

Dominant 7(111)

9

Dominant 7(9, 19)

10

Dominant 715

10

Dominant 7M, �13)

11

Dominant 7(alt ered): 7�5M), 7�5(19), 715(�9), 715(19)

11

3. Guide Tone Chords

13

Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7�5. Major 6,

13

Minor 6, Diminished 7)

Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7�5. Major 6,

14

Minor 6, Diminished 7)

4. Triads over Bass-Note Voicings with Roots on

® (2)@

16

VI I

16

�VIlli

16

Other Common Voicings : (III/I, 11/1, IIV /1, VI

I

I, VIlli)

17

5. Inversions

_{(each on�@®@ @®@(!) @@®@ �®@(!))}

19

Major 7

19

Dominant 7

20

Minor 7

21

Minor 7�5

23

Major 6

24

Minor 6

25

Part II. Exercises

6. Quartal Voicings Exercises 28

C Dorian Voicings

28 7. Diatonic Exercises

30

m Major on �@Q)@

30

B

Major on@®@(!)

31

FMajoron@@Q)@

32

mMajoron�@@(D

33

F Harmonic Minor on@@®@

34

F M elodic Minor on@@®@

35

iv

Introduction

The

Berklee Jazz Guitar Chord Dictionary

is a resource for 7th-chord

voicings and other frequently encountered jazz chord shapes on the

fretboard.

The following diagrams indicate what notes you should use for each

chord voicing. These chord blocks will show you the right shapes, but

as a musician, you owe it to your audience and yourself to hear the

music before you play it. This material will help you to map out the

sounds on your fretboard. With time, you will hear the chords before

you play them.

Strive to play these chords with a solid time feel, a full tone, and attacks

with your "picking hand" that match the level of intensity of the music

you're attempting to play.

Some tips for getting a good chord sound:

•

_{Take special care to play the notes requested-and to}

_{leave out,}

or mute the strings with the

x

symbol above them. Keep the

extra strings out of the sound.

•

_{Use the edges of your fmgers of your fretting hand to mute}

unwanted strings. Focus your strumming (or fmger-picking

attacks) on the indicated strings. Avoid sounding the others.

•

_{When strumming across the strings, make the speed of your}

stroke fast enough to give the illusion of one simultaneous

sound made up of all the chord voices.

•

_{When you're using yom fmgers to pluck chords, take care to}

balance the level of each chord tone. A common tendency is to

hit the outermost notes with the most force, resulting in a

thinner textme. You're working to put those notes on the frets;

make sme that the listener can hear them!

•

_{While forming the chords, make sme that yom fingers are as}

close to the intended frets

as

possible.

•

_{When changing chords, mute the strings by lifting your fmgers}

from the strings, but still touching them, to hold them still

as

you slide to the next chord.

•

_{Make sme all notes ring. If you're not hearing all the notes}

clearly, keep working to cmve yom fingers and adjust yom

hand position on the intended frets to make the sound shine

through yom instrument.

Playing chords effectively takes time, and the learning process requires

practice. There are three common stages of development.

•

_{Physical Stamina:}

_{Building yom hand muscles}

•

_{Muscle Memory:}

_{Memorizing the proper chord-voicing shapes}

•

_{Informed Musical Instincts:}

_{Using these chords to make}

Here are some other things to keep in mind:

•

_{While practicing, stay vigilant, playing in time and using a}

metronome or drum machine. Stay with a musical task tmtil you

can make it groove with a strong time feel.

•

_{Play with other musicians whenever possible, as often as you}

can. Practicing by yourself is only part of the overall plan.

•

_{Make sure that the chords that you play fit well into your}

playing situation. Should your voicings contain a lot of notes

or a few? Listen to the overall texture, and make a musical

decision.

•

_{Listen to the originators of the styles that you love. It's one of}

the best ways to keep yourself inspired-and to help you to

keep the highest musical values in mind.

•

_{Listen to great guitarists, but don't stop there. Focus on}

performers of other instruments as well. Bring it all together

to help you to develop your own unique voice.

Keep working, and be patient with yourself. Having the physical

strength and the knowledge of the shapes provide means to musical

ends. With time, you'll be able to choose from a variety of options.

If you keep at it, you'll definitely get there!

-Rick Peckham

PART I.

'f

Chapter 1.

Moveable 7th Chord Shapes

Major 7

CMaj7

.3fr

1324 1333

()

JJ

_:S:_

u ... u '" T _:r i1i_ ! ': ;;; .n i! .n :�

-... _ll _I"'L ·-c v

CMaj7

.8fr

I 342 I 342

()

__._

_!j_

_1/1_ u - � -� T i' ;; • .n ;:: -... - ., :;) -v

Dominant 7

1314

II

�

-T ..

:;

.Ll

;:'

,.,

:;

g "' I 243

II

• .__; -T

:::

.Ll -

...

"' g ..

-Minor 7

1312

()

I

�

-T

�

;;

ll

::'

-...

:;

g "'

()

� T ! .Ll ,., g

II

� u

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g

()

�

T Ll -... g 1324

�.

"' :� :A :�

·-C7

'lr'

I 243 • -.,

;:

::

-., "'

C-7

imrfr

L I 423

�v

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_::s:

:A '"'

Minor 7

MOVEABLE

yth

CHORD SHAPES

C-7

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2 333

()

_l_/1/l_

�

-'T n ;; il :: P'l -g n

-Minor 7 �5

1324

tJ

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11

_j_

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u T __! Ll --"\_ g I 243 _l_/1/l_ -__.,_ � _.,

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1222

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u IT --'1 LA ... ·---"l 2 341

_1l_

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--E

Minor 6

Major 6

2314 1314

/)

/)

� ._y - ._y n " :::; ::: :::: 1: :�; :;' ow 2 143 2 143

/)

•

/)

• ._y - ._y -T n T r; � ::: ::: ll "' IJ � -... -... ., D �

Minor 6

2413

/)

I

/)

"

� - � T T :.:. � � ! :::: .u r= .u ;::; ... :; ... ,_ D � _D

MOVEABLE

7th

CHORD SHAPES

2 134 2 143

tl

I•

tl

J• u - u -., _n_ r_ _A_ ;; � _5_ Ll -... ., _A _v �

-Diminished 7

2314

tl

I

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b,-u - u jJ, � ;:; :; -�" ;; · -2 131 2 141

tJ

Jk

h _ili_._

u - u ---"l IT .. _"I'_ _:; _ I _:. I _{__,;_} £. :; -... ...ri_ __,._ g n g

-Minor 9

Dominant 9

2133 2143

fl

_fl

u - u 1ft T .,

LI

_l1_

! _X

X

.Q :; .Q .�n -r\ __;_ � ·-D w _D

C9

•

3 421 2 34

fl

fl

u - u -n --"" cr _;: -:: ! � __it w ll -I"" ., --" _w LM

-Minor 9

C-9

•

2134 2143

fl

fl

I u ... u '" T -"- I L<" ! � ! 'n' ll � � _.-..,_ -r\ .; � ow D w _..,

MOVEABLE

7th

CHORD SHAPES

Minor 11

C-11

•

2 341 2 341

()

I

()

I �

-

�

-I! IT ::: I _:: ::: /}. u u _... n _u g u

Dominant 13

21334 I 234

--E

()

-

()

-�

-

-..! -T _oftu '" � ::: -... u � _n u I 244

()

--..! -" T I! :; Ll u ... g u

I-Chapter 2.

Dominant 7th Chords

with Alterations

Dominant 7 �5

2 341

()

b.

()

.__; .... u T ! :. _A ;; IJ -... w -... c " _w ;)

Dominant 7 (#11)

2 341

()

.II

()

.__; .... .__; T .. T :. .Q ;:: .Q ... ... c n c 2 341

b.

.... " ;; ::: w " w 2 341 .II .... " � :; _w ., _w

'f

DOMINAN T

yth

CHORDS

Dominant 7 (9 ) , Dominant 7 #9

C9

tJ

#L

...

'�

#9

�

_/

T 'n' ! ;:; ll � -I'\ w g

Dominant 7 #5

#s

#s

Dominant 7 (�9 , �13 )

C7(�9,�13)

iimrfr

I 2333

(J

!:>!:> ....

-� -n T ;: � ;; ll ;: -... -c

-Dominant 7(altered )

7�5(�9 )

T 2314

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�

i;,

·

.,..

.._

u -n T � � :,. ll. _ii -... -c

-7�5(#9 )

2314

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b��

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Dominant 7 (altered)

21314

(J

-u -IT _!_ L � 1.1 21311

(J

b.

u -_:r --"'. � 21341

h

1.._

u -T I ll. __n_ g

DOMINAN T

yth

CHORDS

7 #5 (�9 )

21314 1222

li

-�+' ...-

tJ

-�+-LL �

--.;

.... ;:: ;:: ii1 u

7 #5 (#9 )

21344 1224

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.

_T_ ','

_{_y_}

! ;:

_4

l!

₄

:::

_ri_

v

_{_ri_}

_:;

_Q

_Q

"

Chapter 3.

Guide Tone Chords

Root 3 7

213 213

tJ

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u - � -I T --"-1l � 1l :; ... __;_ _ft _1i g v _g v

C-7

•

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C-7�5

(incomplete)

213 213

tJ

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GUIDE TONE CHORDS

CMaj6

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312 312

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(J

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Root 7 3

CMaj7

C7

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I 23 I 23

(J

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u - u -n n i\ _� ;; _u n n u u

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udZZ l..IWLU LJ.L<.:L. LJjl.VjVI

Root 7 3

C-7P5

(incomplete)

.8fr

2 34 2 34

()

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()

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[ g n _- g -2 13

()

_j_ � -T ! n ll � Jo\ g n

-Chapter 4.

Triads over Bass-Note

Voicings: Roots on

® ® @

V/1

GMaj/C

.7fr

2 131

tl

-s-

tl

u .... u .., T ;, T � D. D. ... -... g n _- g

�VII/I

3 421

tl

tl

u .... u T T ! � ! Ll. ;, Ll. -... - -... g II _- g

GMaj/C

��3fr

1321 .... ., ':! ;: -1111 .... ::: :; :::

-tl

u T I D. -... g

tl

u T ! Ll. -... g

GMaj/C

��IOfr

1341

:f:

on :::: :� :�

B�Maj!C

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1121 1n :::-:;. ;;; _IW

Other Common Voicings

Other Common Voicings

111/1

EMaj/C

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I 333 I 243

tJ

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tJ

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u .... u .... T --"" � � � ": l1 _A -... - ., t:) _-

-11/1

DMaj/C

DMaj/C

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2 III 2 131

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,w.

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-#IV/I

3 121 2 311

tJ

.w.�-

tJ

,w.

u

_q..-

u

q..-, T _"i _li_ � " :; --... ., g -"-_v

-TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON

0 ® 0

VI/I

()

� T � ll -... c

VII/I

(}

� IT I � .... c

AMaj/C

��8fr

I 423 ....

q-•n 'nv .... v 2 3II

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.... � !, v n "

()

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(}

� T ll -... c

AMaj/C

.3fr

I 423 ....

q-..

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., -2 43I .Of -� ;, )( n "

Chapter 5.

Inversions

Major 7

CMaj7

CMaj7/E

.3fr

.5fr

1324 2413

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tJ

• � - � IT .. T n ! ':: ! ;: 1l ';! 1l :: -... :; -... 'i c u _I;)

CMaj7/E

.. lOfr

I 342 2 134

tJ

•

tJ

u -

�

n T :: ! l1 ;; 1l -... � ... c ₀ c u

CMaj7/G

CMaj7/B

.9fr

��12fr

2314 3412

tJ

.._

_tJ

-_.... � u T _I "' _{'n._} T _I ,., ::: 1l .�n [l :-; -... :;:; ... c 'U _c

--E

CMaj7

.8fr

ct!ii

5fr

I 342 3 Ill 3 241 •

tJ

tJ

-

�

T

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-T n T � IT ;:: ! ;: ! ;:: 1l ::' � � � _... - _r'\ � n c ., c .,

-INVERSIONS

CMaj7/E

_��5fr

CMaj7/B

_.12fr

I 324 2 143 I 243 3 241 3 121

()

•

()

...

()

�

-

�

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CMaj7/B

_.8fr

CMaj7/G

mrr

1333 2311 1113 2413

()

....

(i

..IlL

_(i

_... � � � n .. ft T :: T :. -::: I :: ::! !l ;: .n ::! � -... "' -... " -, c c

@®@(i)

Dominant 7

C7

C7/BD

C7/G

C7/E

imrfr

•

8fr

_IJf'

•

1211 1112 2314

()

7

()

..IlL

_(i

_... � � � .. .. IT :: IT ::! -:::

!

�

!

g

.! .n ;: .n ::! :: -... u _-... " L c c

I 243

()

• � -T n ! ;:: ll ;: -r\ -g n -I 243

()

•

�

-., T ::' :; ll " -r\ ., g

-G)®@(i)

Minor 7

C-7

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1312

tJ

I � -T ! ::

A

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-r\ :; _"

C7/E

.!Ofr

3 142 3 142

tJ

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C-7/EP

()

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.5fr

2314

tJ

• � T n ! ::'

A

"it

-r\ � g u I 243 • -n � ;: u n u

C71BP

•

_17fr

2 Ill

tJ

�

_{� ....}

T .. I ::' n ::' -... ... g � u

C7/G

.Sfr

3 241

tJ

u

n IT .'" .. 'n' ll " -r\ '" g '"

C-7/G

��Sfr

2314

fl

I L

-u

T I 'n' ll J>n -r\ l� 0 IU

tJ

�

tJ

�

tJ

u

T I ll -r\ g

Minor 7

C7/G

•

3 241 -.... � -.. ft "'

C7/BP

��12fr

2 131 -ir ·-l� � ::1 ... ·-'"

C-7/BP

��12fr

2314

1::::

·-�� ]!; l:;' '"'

INVERSIONS

1423

1111

tJ

•

tJ

IT

u u ft T :;' ,, :;' tl ::; :;' I'\ ·- -1;1

@®®CD

C-7

C-7/EP

same as

��Sfr

•

!Ofr

E0M•J6

2 333

2 143

li

•

li '4-

li

u - u u T n ! 0 lA Ll :;' ::; ... " '" 1;1 _{n "}

I 243

2 143

tJ

I •

li

'4-� - � ft � ': T :;' :: I _"I! tl v .tl v ... ., .... .. 1;1 - D "

2314

tJ

I�

u

ft '1 ;! "I! "'

C-7

C-7/BP

��Sfr

.4fr

2 333

4 231

I •

li

I

- u

p...-n . ll ;! :;' :! " " n .. " "

3 141

li

'I'

u ft T ... I _,ft. £ " .... 1n D IU

li

u T I n I·..;

ID

C-7/EP

•

same as EPMaj6

1314

-ft '1 -:r '1

C-7/G

•

3 141

li

u -... T I -:r -n- 'F ... D _...

C-7/BP

.llfr

3 241

li

�$

.... -.;-T I _!� n ... I·..; O ft ID '"'

Minor 7 �5

1324

()

I u -;; ';: v

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C-7P5

.!Ofr

@®Q)<D

C-7P5

tlffr

2 341

()I

b ..

� -I T ..

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;, ll ::: -... v D ft _v

()

u

'f

C-?PS/EP

same as EP-6

��5fr

2413

b ..

.. � ::: � _v

C-7P5/BP

imrr

2314 2314

t..

..IlL u T I _'"' a .� .... ·� g .,

C-7P5/GP

��4fr

1213

()

I

�:;:

fJ

I ..IL � ft T � :. a ::: -... v D

C-7P5/EP

•

same as B-<

!Ofr

2 134

u

� ,.- u i! ll "! -... D

C-7P5

C-7P5/BP

.7fr

��4fr

2 341 3 121

Minor 7�5

C-7P5/EP

same as

ll

EP-6 1312

tJ

� ...

-E

u

ft T � I _.l IJ '1 -... D

C-7P5/GP

•

2 131

tJ

u

� ....

IT I l '1 -,..; D ft

INVERSIONS

!'J

I

� ...

� -n � :: -..

-Major 6

CMaj6

��2fr

2314

tJ

� -T � � :: 1l � -r\ � g u

G>@®@

CMaj6

• !Ofr

1314

-tJ

� � "' T Hi � ::: L1. ;;; -... IU t:)

C-7P5/EP

same as

bfm

m

5

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El>-6 2 143

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,..._

� � ,

!I

:. u -.. "' l -2314

tJ

... � T � � 1l � -... !, g

7fr

ciA�'A'f'

1423

tJ

-7

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tJ

'I' � ft T

.<>;.

_'n' .n u . ... n :l :J

CMaj6/G

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2314 1312

tJ

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---�

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CMaj6/G

_��5fr

CMaj61E

•

II II 2314

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tJ

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� .. IT :! IT -'! I _{::! � A} .n :! l = .... u -... .. g g

Minor 6

CMaj6

CMaj6/E

CMaj6/G

C

i

A"J:'7

llr'

��5fr

lr'

12fr

2 143 3 141 3 241 I 243

tJ

•

tJ

�

tJ

-

tl

...

u

-

u

u u ., 1:: " 'ft IT 1! T ;;' T .� IT ;:; ! :: I _::' I _·� I _:::: � _ll w ll � IJ. '� -... ., -... � ... 'ft ... 'n g w _{g g}

'

" _g ' �

®®@<D

CMaj6

CMaj6/E

CMaj6 C

i

A

";:'7

CMaj6/G

��7fr

��IOfr

��7fr

5fr

•

2 143 3 141 2 143 2 333 4 231

tJ

•

tJ

•

tl

tl

u - u - u

--

u -...

-E

n T IT � T ):( ;;' ! 1! ;, u :; ll :: ll ::' ll � -... ... -... w " "' g _v g ft _v g .-_v g ., _u

Minor 6

2413 2314 2314 1324

tJ

I

tJ

•

tJ

1-

tJ

IT

u - u

u

u

T n T T ! � 1! ! 'n" _:::: u ;; lJ :; u •vn ll :� -... ){ -... -... :::: -... :::: g " _g u _g ou _g ...

INVERSIONS

(i

� � T .:;, � �::: u .:�:; -... OY g

@®®CD

C-6

.7fr

2 134

fil.

�

---T � ;;' ll � -... v

@@®®

C-6

i&r'

2 143

(i

I • u ---... IT '1 � 7; _.. -... ., D v 1222

(i

I

-iJ-

(i

� � ft ;;' T ;;' I

.0.

!I

.0.

-... -... D 0

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PART II.

'f

Chapter 6.

Quartal Voicings Exercises

C Dorian Voicings

(for use on C-7 or F7sus4)

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Chapter 7.

Diatonic Exercises

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G

Major 6 Bebop Scale on

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2 134 2 131 2 131

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3 121 2 341

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About the Author

:---4 Ll ---�

�

a: 0> ·o; 0 >­ __ __, .n ---.! 0 :---.1 0 ,---.J .<:: ..;;;;;:= ... ...t o..

Rick Peckham

is an internationally known jazz guitarist, clinician, composer, and writer. He has performed with George Garzone, Jerry Bergonzi, Mike Gibbs, Hal Crook, Bob Gullotti, John Medeski, and Dave Liebman. His most recent recording,

Left End,

a set of original compositions mixed with collective improvisations, features drummer Jim Black and bassist Tony Scherr and was named one of the best releases of

2005

by

Downbeat

magazine. In addition to extensive work in the U.S., he has led or played on tours of Ireland, Canada, Spain, and Germany. Assistant Chair of the Berklee College of Music Guitar Department, Peckham has been a faculty member since

1986.

He is also a prolific and accomplished writer, recently releasing

Modal Voicing

Techniques,

a best-selling DVD for Berklee Press, and the online course

Guitar Chords

101

(Berkleemusic.com).

For further information on Rick Peckham, please visit his Web site: www.rickpeckham.com.

Musical Instruments/Guitar

Master the chords used

in

jazz.

This chord dictionary includes over a hundred jazz chord forms,from basic 7th

chords with all standard tension substitutions and alterations to guide tone

chords to triads over bass notes. It is organized to reveal relationships between

different types of chords and help you learn the voicings quickly and thoroughly,

in a way that is easy to remember. You will improve your comping and soloing,

develop your fingerboard facility, and add more colors to your harmonic palette.

It includes:

• Traditional notation, fretboard diagrams, and tablature for each chord

• Over 100 movable chord forms

• Multiple versions of barre and 7th chord shapes, with substitutions and

alterations

• Triads over bass notes, inversions, and guide-tone chords

• Diatonic chord exercises

Rick Peckham

_{is Assistant Chair of the Guitar}

Department at Berklee College of Music. He has mentored thousands of guitarists and is author/instructor of the Berkleemusic online

course Guitar Chords

101

_{and the Berklee Press}

DVD Modal Voicing Techniques.

u.s. $9.95

,IIIIJta ml�IJIIII,

BERKLEEPRESS.COM

4_

LEARN MORE AT

"

BERKLEEMUSIC.COM

Berklee Press 1140 Boylston Street Boston, MA 02215 USA 617-7 4 7-2146 berkleepress.com

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college.

Cover by Robert Heath

ISBN-13: 978-0-87639-079-5 ISBN-1 0: 0-87639-079-3