4
#4
/
Cmaj7#11
avoid note.
#11 comes out
of lydian scale
6
C6
omitted 7
Minor
2
Cm9
4
Cm11
6
Cm6
omitted 7
Dominant
2
b2
#2
C9
C7(b9)
C7#9
b2 and #2 come
out of the altered scale
4
C7sus4
6
b6
C13
C7(b13)
b6 comes out
of altered scale
1.4.-Jazz Guitar Chord Theory (part 4)
In jazz guitar chord theory part 3 we had a look at chord tensions.
In part 4 we'll summarize the chord formulas and have a look at some examples.
Here's a summary of the chord formulas we covered until now + some additional chord types :
Chord Type
Chord Formula
Major Triad
1 3 5
Minor Triad
1 b3 5
Diminished Triad
1 b3 b5
Augmented Triad
1 3 #5
Major 7
1 3 5 7
Minor 7
1 b3 5 b7
Dominant 7
1 3 5 b7
Half Diminished 7
1 b3 b5 b7
Diminished 7
1 b3 b5 bb7
Augmented 7
1 3 #5 b7
Suspended 4
1 4 5 b7
minor/major 7
1 b3 5 7
In Chord Theory Part 1 we saw the first way to construct chords. Here's a quicker way::
1. The first step is memorizing the chords and chord tones of the C major scale and the chord formula's:
Cmaj7
C E G B
Dm7
D F A C
Em7
E G B D
Fmaj7
F A C E
G7
G B D F
Am7
A C E G
Bm7b5
B D F A
2.You must be able to picture the chord types and chord tones of C major without thinking. 3. Now that you know the chords of C major, it's easy to find chords of other keys.
For example: to find the chord tones of Cm7:
1. You know the chord tones of Cmaj7: C E G B 2. You know the chord formula of Cmaj7: 1 3 5 7 3. You know the chord formula of minor 7: 1 b3 5 b7
4. Adapt the chord tones of Cmaj7 to the formula of minor 7: bring the 3 and the 7 a half step down
5. Conclusion : the chord tones of Cm7 are: C Eb G Bb
Example 2: the chord tones of Ddim7:
6. You know the chord tones of Dm7: D F A C 7. You know the formula of Dm7: 1 b3 5 b7
8. You know the formula of diminished 7: 1 b3 b5 bb7
9. Adapt the chord tones of Dm7 to the formula of diminished 7: bring the 5 and the 7 a half step down
10. Conclusion: the chord tones of Ddim7 are: D F Ab B Example 3: the chord tones of F#7:
11. You know the chord tones of Fmaj7: F A C E
12. To find the chord tones of F#maj7 you just have to raise each chord tone a half step: F# A# C# E#
13. You know the formula of major 7: 1 3 5 7 14. You know the formula of dominant 7: 1 3 5 b7
16. Conclusion : the chord tones of F#7 are: F# A# C# E
1.5.-Jazz Guitar Chord Theory (part 5)
Now you know how to find the notes of a chord, but how do you translate this to the guitar? For starters: here are 2 chord charts that will help you in the process.
The first thing you need to know is that not every chord tone is equally important :
• 3 and 7 are the important notes of a chord because they decide the chord type. They are also important for voice leading.
• The 1 is the least important note, because it is usually played by the bass player. • The 5 is not so important either and can be disturbing sometimes.
• Tensions add color and interest to a chord, so it's preferable to use tensions instead of 1 and 5.
Another thing you need to know is that 1 half step equals one fret on the guitar. Here's an example with chord diagrams:
We'll start with a C triad: C E G (1 3 5) Let's have a look at the chord diagram:
X15135: C
from left to right (from low E string to high E string) we have: • X : the low E-string is not played
• 1 : the 1 or root of the chord is played on the A-string • 5 : the 5th of the chord is played on the D-string • 1 : again the root, but now on the G-string • 3 : the third is played on the B-string
• 5 : the 5th is played again, but this time on the high E-string
You see that it is ok to duplicate chord tones, like the 1 and the 5 in our example, but it may sound a bit sluggish.
This chord doesn't sound very jazzy though, so let's spice it up a bit:
X15735: Cmaj7
Instead of duplicating the root on the G-string, we exchanged it for the 7 of the chord. Now let's add some color:
X1379X: Cmaj9
We exchanged the 5th on the D-string for the 3rd and we changed the 3rd on the B-string to a 9. This would be a nice chord if you're playing bossa nova, solo guitar or in duo setting, but if you play with a bass player and you don't want to get in his way, it's better to omit the root and to play on the higher strings only:
XX3795: Cmaj9/E
Instead of playing the root of the chord, we now play the 5th on the high E-string.
A chord like this is called a chord inversion: a chord that has a note other then the root in the bass. There are three types of chord inversions:
• First inversion: with the 3rd in the bass. • Second inversion: With the 5th in the bass. • Third inversion: with the 7th in the bass.
In our example we have a Cmaj9 chord with the 3rd (E) in the bass.
Now what needs to happen if we want to make this chord dominant? Simple: the 7 has to go a half step down (major is 1 3 5 7, dominant is 1 3 5 b7).
Have a look at the chord diagram:
XX3b795: C9/E
And if we want to make this chord minor? Starting from the dominant chord we have to lower the 3rd a half step, as you can see on the guitar chord diagram:
XXb3b795: Cm9/Eb
A great tool to help you with the constuction of guitar chords is the guitar chord finder.
To conclude our tutorial I'll give you some chord construction exercises. Find the notes of the following chords (the solutions are on the next page):
For example: Fm7: F Ab C Eb Now it's your turn:
• Gm7:
• Abmaj7: • C#maj7: • A9sus4:
• B7: • Edim7: • Gdim7: • D7b9: • D#m7b5: • Dmaj7: