Master the Chords Used in Jazz

Musical Instruments/Guitar RICK PECKHAM BERKLEE JAZZ GUITAR CHORD DICTIONARY 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: I Traditional notation, fretboard diagrams, and tablature for each chord I Over 100 movable chord forms I Multiple versions of barre and 7th chord shapes, with substitutions and alterations I Triads over bass notes, inversions, and guide-tone chords I Diatonic chord exercises

Berklee Press 1140 Boylston Street berklee jazz guitar chord Boston, MA 02215 USA 617-747-2146 berkleepress.com DICTIONARY Rick Peckham is Assistant Chair of the Guitar Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available Department at Berklee College of Music. He proceeds from the sales of our products are contributed to has mentored thousands of guitarists and is the scholarship funds of the college. author/instructor of the Berkleemusic online Cover by Robert Heath course Guitar Chords 101 and the Berklee Press DVD Modal Voicing Techniques. U.S. $14.95

ISBN 0-7935-1083-8 U.S. $9.95 ISBN-13: 978-0-87639-079-5 rick peckham

ISBN-10: 0-87639-079-3 BERKLEE PRESS #73999-FABBHj +84088-BAECFc ,!7IA8H6-djahjf!:p;K;t;t;P HL50449546HL00000000 90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page i

edited by jonathan feist 90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page ii

Berklee Press Vice President: Dave Kusek Dean of Continuing Education: Debbie Cavalier Managing Editor: Jonathan Feist Director of Business Affairs: Robert F. Green Senior Designer: Robert Heath Editorial Assistants: Rajasri Mallikarjuna, Jonathan Whalen

ISBN-13: 978-0-87639-079-5 ISBN-10: 0-87639-079-3

1140 Boylston Street Boston, MA 02215-3693 USA (617) 747-2146 Visit Berklee Press Online at Visit Hal Leonard Online at www.berkleepress.com www.halleonard.com

No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. Jazz Chord Dict 4/10/07 12:43 PM Page iii

Contents Introduction iv Part I. Chords 1. Moveable 7th Chord Shapes 2 (each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 ) Major 7 2 Dominant 7 3 Minor 7 3 Minor 7%54 Major 6 5 Minor 6 5 Diminished 7 6 Dominant 9 7 Minor 9 7 Minor 11 8 Dominant 13 8 2. Dominant 7th Chords with Alterations:9 two versions each, with roots on 6 and 5 Dominant 7%5 9 Dominant 7(#11) 9 Dominant 7(9, #9) 10 Dominant 7#510 Dominant 7(%9, %13) 11 Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 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 6 5 4 16 V/I 16 %VII/I 16 Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I) 17 5. Inversions (each on 5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1 ) 19 Major 7 19 Dominant 7 20 Minor 7 21 Minor 7%523 Major 6 24 Minor 6 25 Part II. Exercises 6. Quartal Voicings Exercises 28 C Dorian Voicings 28 7. Diatonic Exercises 30 B% Major on5 4 3 2 30 E% Major on4 3 2 1 31 F Major on6 4 3 2 32 B% Major on5 3 2 1 33 F Harmonic Minor on6 4 3 2 34 F Melodic Minor on6 4 3 2 35 G Major 6 Bebop Scale on6 4 3 2 36 G Minor 6 Bebop Scale on6 4 3 2 37 About the Author 38 Jazz Chord Dict 4/10/07 12:43 PM Page 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 fingers of your fretting hand to mute unwanted strings. Focus your strumming (or finger-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.

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¥When you’re using your fingers 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 texture. You’re working to put those notes on the frets; make sure that the listener can hear them!

¥While forming the chords, make sure that your fingers are as close to the intended frets as possible.

¥When changing chords, mute the strings by lifting your fingers from the strings, but still touching them, to hold them still as you slide to the next chord.

¥ Make sure all notes ring. If you’re not hearing all the notes clearly, keep working to curve your fingers and adjust your hand position on the intended frets to make the sound shine through your instrument.

Playing chords effectively takes time, and the learning process requires practice. There are three common stages of development.

¥ Physical Stamina: Building your hand muscles

¥ Muscle Memory: Memorizing the proper chord-voicing shapes

¥ Informed Musical Instincts: Using these chords to make music

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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 until 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

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PART I. CHORDS Jazz Chord Dict 4/10/07 12:43 PM Page 2

Chapter 1. Moveable 7th Chord Shapes

Major 7

CMaj7 CMaj7 3fr 10fr

1324 1333       

12 5 12 4 12 5 10  3 

CMaj7 CMaj7 8fr 3fr

1 342 1 342        

3 8 5 9 4 9   3 8

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Minor 7

Dominant 7

C7 C7 3fr 10fr

1314 1324      

12 5 11 3 12 5 10  3 

C7 C7 8fr 3fr

1 243 1 243      

3 8 5 9 3 8   3 8

Minor 7

CÐ7 CÐ7 3fr 10fr

1312 1423        

11 4 11 3 12 5 10  3 

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MOVEABLE 7th CHORD SHAPES

CÐ7 CÐ7 8fr 3fr

2 333 1 243          

3 8 4 8 3 8   3 8

Minor 7%5

CÐ7b5 CÐ7b5 3fr 10fr

1324 1222         

11 4 11 3 11 4 10  3 

CÐ7b5 CÐ7b5 7fr 2fr

2341 2341        

2 7 4 8 3 8   3 8

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Minor 6

Major 6

CMaj6 CMaj6 2fr 10fr

2314 1314      

12 5 10 2 12 5 10  3 

CMaj6 CMaj6 7fr 2fr

2 143 2 143        

3 8 5 9 2 7   3 8

Minor 6 CÐ6 CÐ6 2fr 10fr

2413 1312       

11 4 10 2 12 5 10  3 

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MOVEABLE 7th CHORD SHAPES

CÐ6 CÐ6 7fr 2fr

2 134 2 143        

3 8 4 8 2 7   3 8

Diminished 7

C¼7 C¼7 2fr 10fr

2314 1324       

11 4 10 2 11 4 10  3 

C¼7 C¼7 7fr 2fr

2131 2141        

2 7 4 8 2 7   3 8

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Minor 9

Dominant 9

C9 C9  2fr 9fr

2133 2143      

10 3 11 3 9 2 10  3 

C9 C9 5fr

3 421 2 34      

0 5 3 7 3 8   3 8

Minor 9

CÐ9 CÐ9 8fr

2134 2143       

10 3 11 3 8 1 10  3 

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MOVEABLE 7th CHORD SHAPES

Minor 11

CÐ11 CÐ11 6fr

2 341 2 341          

1 6 4 8 3 8   3 8

Dominant 13

C13 C13  2fr 8fr

21334 1 234        

5 3 10 3 9 2 8  3  8

C13 3fr

1 244    

5 5 3  3

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Chapter 2. Dominant 7th Chords with Alterations

Dominant 7%5

C7b5 C7b5 7fr 2fr

2 341 2 341          

2 7 5 9 3 8   3 8

Dominant 7(#11)

C7(#11) C7(#11) 7fr 2fr

2 341 2 341      

2 7 5 9 3 8   3 8

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DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

C9 C7(#9)  2fr 2fr

2133 2134 §9 #9      

3 4 3 3 2 2  3  3

C7(#9) 8fr

1214  #9  

11 8 9  8

Dominant 7#5

C7#5 C7#5 8fr 3fr

1 234 1 243  #5  #5        

4 9 5 9 3 8   3 8

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Dominant 7 (altered)

Dominant 7 (%9, %13)

C7(b9,b13) C7(b9,b13) 8fr 2fr

12333 21314         

9 4 9 2 9 3 8 2   3 8

Dominant 7(altered) 7%5(%9) C7b5(b9) C7b5(b9) 7fr 2fr

T2314 21311         

9 2 7 2 9 3 8 2   3 8 7%5(#9) implied root C7 5( 9) C7 5( 9) 2fr 7fr

21341 2314        

11 2 7 4 9 3 8 2   3

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DOMINANT 7th CHORDS

7#5(%9)

implied root C7 5( 9) C7 5( 9) 2fr 8fr

21314 1222         

9 4 9 2 9 3 8 2   3

7#5(#9)

implied root C7 5( 9) C7 5( 9) 2fr 8fr

21344 1224        

11 4 9 4 9 3 8 2   3

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Chapter 3. Guide Tone Chords

Root 3 7

CMaj7 C7 2fr 2fr

213 213      

4 3 2 2  3  3

CÐ7 CÐ7b5 (incomplete)

213 213        

3 3 1 1  3  3

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GUIDE TONE CHORDS

CMaj6 CÐ6 2fr

312 312      

2 2 2 1  3  3

C¼7

312   

2 1  3

Root 7 3

CMaj7 C7 8fr 8fr

1 23 1 23      

9 9  9  8 8 8

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Root 7 3

CÐ7 CÐ7b5 (incomplete) 8fr 8fr

2 34 2 34          

8 8  8  8 8 8

CMaj6 CÐ6 7fr 7fr

2 13 2 13      

9 8  7  7 8 8

C¼7 7fr

2 13    

8  7 8

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Chapter 4. Triads over Bass-Note Voicings: Roots on 6 5 4

V/I GMaj/C GMaj/C GMaj/C 7fr 3fr 10fr

2 131 1321 1341          

7 10 8 3 12 7 4 12 5 10   3  8

%VII/I

BbMaj/C BbMaj/C BbMaj/C 6fr 3fr 10fr

3 421 1111 1121          

10 6 3 11 7 3 10 8 3 10   3  8

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Other Common Voicings

III/I EMaj/C EMaj/C 8fr 3fr

1 333 1 243        

4 9 5 9 4 9   3 8

II/I DMaj/C DMaj/C 7fr 2fr

2111 2 131      

2 7 3 7 2 7   3 8

#IV/I F#Maj/C F#Maj/C 6fr 2fr

3121 2 311        

6 2 7 2 6 3   3 8

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TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6 5 4

VI/I AMaj/C AMaj/C 8fr 3fr

1 423 1 423      

5 10 5 9 6 11   3 8

VII/I BMaj/C BMaj/C 7fr 7fr

2311 2431        

7 7 7 8 8   9 8 8

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Chapter 5. Inversions

Major 7

CMaj7 CMaj7/E CMaj7/G CMaj7/B 3fr 5fr 9fr 12fr

1324 2413 2314 3412               

5 8 12 13 4 5 9 12 5 9 10 14  3  7  10  14

5 4 3 2

CMaj7 CMaj7/E CMaj7 CMaj7/B CMaj7/G 8fr 10fr 8fr 5fr

1 342 2 134 1 342 3 111 3 241                   

8 12 8 5 1 9 12 9 5 4  9  10  9  5  2 8 12 8 7 3 6 4 3 2

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INVERSIONS

CMaj7 CMaj7/E CMaj9/E CMaj7/G CMaj7/B 3fr 5fr 7fr 8fr 12fr

1 324 2 143 1 243 3 241 3 121                   

3 7 7 8 12 5 8 8 12 13 4 5 7 9 12  3  7  7  10  14

5 3 2 1

CMaj7 CMaj7/B CMaj7/G CMaj7/E 10fr 8fr 5fr

1333 2311 1113 2413               

12 8 7 3 12 8 5 1 12 9 5 4  10  9  5  2

4 3 2 1

Dominant 7 C7 C7/Bb C7/G C7/E 10fr 8fr 5fr

1324 1211 1112 2314               

12 8 6 3 11 8 5 1 12 9 5 3  10  8  5  2

4 3 2 1

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Minor 7

C7 C7/E C7 C7/Bb C7/G 8fr 10fr 8fr 17fr

1 243 3142 1 243 2 111 3 241                 

8 11 8 5 1 9 12 9 5 3  8  10  8  5  2 8 12 8 6 3 6 4 3 2

C7 C7/E C7/G C7/Bb 3fr 5fr 8fr 12fr

1 243 3 142 3 241 2 131               

3 6 8 12 5 8 11 13 3 5 9 12  3  7  10  13

5 3 2 1

Minor 7

CÐ7 CÐ7/Eb CÐ7/G CÐ7/Bb 3fr 5fr 8fr 12fr

1312 2314 2314 2314                

4 8 11 13 3 5 8 12 5 8 10 13  3  6  10  13

5 4 3 2

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INVERSIONS

CÐ7 CÐ7/Bb CÐ7/G CÐ7/Eb same as 10fr 8fr EbMaj6 4fr

1423 1111  2314 1314                

11 8 6 3 11 8 4 1 12 8 5 3  10  8  5  1

4 3 2 1

same as CÐ7 CÐ7/Eb EbMaj6 CÐ7 CÐ7/Bb CÐ7/G 8fr 10fr 8fr 4fr

2 333 2143 2 333 4 231 3 141                      

8 11 8 4 1 8 12 8 5 3  8  10  8  5  1 8 11 8 6 3

6 4 3 2

same as CÐ7 CÐ7/Eb EbMaj6 CÐ7/G CÐ7/Bb 3fr 5fr 8fr 11fr

1 243 2 143 3 141 3 241                 

3 6 8 11 4 8 11 13 3 5 8 12  3  6  10  13

5 3 2 1

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Minor 7%5

same as CÐ7b5 CÐ7b5/Eb EbÐ6 CÐ7b5/Gb CÐ7b5/Bb 3fr 5fr 8fr 11fr

1324 2413 2314 2314                     

4 7 11 13 3 5 8 11 4 8 10 13  3  6  9  13

5 4 3 2

CÐ7b5 CÐ7b5/Bb CÐ7b5/Gb CÐ7b5/Eb same as EbÐ6 10fr 7fr 4fr

1222 2314 1213 1312                 

11 8 6 2 11 7 4 1 11 8 5 3  10  8  4  1

4 3 2 1

CÐ7b5 CÐ7b5/Eb same as CÐ7b5 CÐ7b5/Bb CÐ7b5/Gb EbÐ6 7fr 10fr 7fr 4fr

2 341 2 134 2 341 3 121 2 131                       

7 11 7 4 1 8 11 8 5 3  8  10  8  4  1 8 11 8 6 2 6 4 3 2

23 Jazz Chord Dict 4/10/07 12:43 PM Page 24

INVERSIONS

CÐ7b5 CÐ7b5/Eb same as CÐ7b5/Gb CÐ7b5/Bb EbÐ6 2fr 5fr 8fr 11fr

2 341 2 143 2 141 2 141                  

2 6 8 11 4 7 11 13 3 5 8 11  3  6  9  13

5 3 2 1

Major 6

CMaj6 CMaj6/E CMaj6/G CMaj6/A same as AÐ7 2fr 5fr 9fr 12fr

2314 2314 2314 1312              

5 8 10 13 2 5 9 12 5 7 10 14  3  7  10  12

5 4 3 2

CMaj6 CMaj6/A same as CMaj6/G CMaj6/E AÐ7 10fr 7fr 5fr

1314 1423 1111 2314               

12 8 5 3 10 8 5 1 12 9 5 2  10  7  5  2

4 3 2 1

24 Jazz Chord Dict 4/10/07 12:43 PM Page 25

Minor 6

CMaj6 CMaj6/E CMaj6/G CMaj6/A same as AÐ7 2fr 5fr 8fr 12fr

2 143 3 141 3 241 1 243              

3 5 8 12 5 8 10 13 2 5 9 12  3  7  10  12

5 3 2 1

CMaj6 CMaj6/E CMaj6 CMaj6/A same as CMaj6/G AÐ7 7fr 10fr 7fr 5fr

2 143 3 141 2 143 2 333 4 231                   

8 10 8 5 1 9 12 9 5 2  7  10  7  5  2 8 12 8 5 3 6 4 3 2

Minor 6

same as CÐ6 CÐ6/Eb CÐ6/G CÐ6/A AÐ7b5 2fr 5fr 8fr 12fr

2413 2314 2314 1324              

4 8 10 13 2 5 8 12 5 7 10 13  3  6  10  12

5 4 3 2

25 Jazz Chord Dict 4/10/07 12:43 PM Page 26

INVERSIONS

same as CÐ6 CÐ6/A AÐ7b5 CÐ6/G CÐ6/Eb 10fr 7fr 4fr

1312 1222 2314 1214               

11 8 5 3 10 8 4 1 12 8 5 2  10  7  5  1

4 3 2 1

CÐ6 CÐ6/Eb CÐ6 CÐ6/A same as CÐ6/G AÐ7b5 7fr 10fr 7fr 4fr

2 134 2131 2 134 2 341 3 121                  

8 10 8 4 1 8 12 8 5 2  7  10  7  5  1 8 11 8 5 3

6 4 3 2

same as CÐ6 CÐ6/Eb CÐ6/G CÐ6/A AÐ7b5 2fr 5fr 8fr 11fr

2 143 2 141 3 141 2 341                 

3 5 8 11 4 8 10 13 2 5 8 12  3  6  10  12

5 3 2 1

26 Jazz Chord Dict 4/10/07 12:43 PM Page 27

PART II. EXERCISES Jazz Chord Dict 4/10/07 12:43 PM Page 28

Chapter 6. Quartal Voicings Exercises

C Dorian Voicings

(for use on CÐ7 or F7sus4)

3fr 5fr 6fr

1112 1112 1234            

4 6 8 3 5 7 3 5 7  3 5 6

8fr 10fr 12fr 13fr

1113 1112 1112 1123           

10 11 13 15 8 10 12 14 8 10 12 13 8 10 12 13

28 Jazz Chord Dict 4/10/07 12:43 PM Page 29

CDorian Voicings

3fr  5fr

1234 1123 1122            

3 5 6 3 4 6 2 3 5  1 3 5

 7fr 8fr  10fr  12fr

1122 1134 1122 1122             

8 10 11 13 8 10 11 13 7 8 10 12 7 8 10 12

29 Jazz Chord Dict 4/10/07 12:43 PM Page 30

Chapter 7. Diatonic Exercises

B%Major on 5 4 3 2

BbMaj7 CÐ7 DÐ7 EbMaj7 F7 3fr 5fr 6fr 8fr

1324 1312 1312 1324 1314                   

3 4 6 8 10 2 3 5 7 8 3 5 7 8 10  1 3 5 6 8

GÐ7 AÐ7b5 BbMaj7 AÐ7b5 GÐ7 10fr 12fr 13fr 12fr 10fr

1312 1324 1324 1324 1312           

11 13 15 13 11 10 12 14 12 10 12 13 15 13 12 10 12 13 12 10

F7 EbMaj7 DÐ7 CÐ7 BbMaj7 8fr 6fr 5fr 3fr

1314 1324 1312 1312 1324                 

10 8 6 4 3 8 7 5 3 2 10 8 7 5 3 8 6 5 3 1

30 Jazz Chord Dict 4/10/07 12:43 PM Page 31

E% Major

E%Major on 4 3 2 1

EbMaj7 FÐ7 GÐ7 AbMaj7 Bb7 3fr 5fr 6fr 8fr

1333 1423 1423 1333 1324               

3 4 6 8 10 3 4 6 8 9 3 5 7 8 10  1 3 5 6 8

CÐ7 DÐ7b5 EbMaj7 DÐ7b5 CÐ7 10fr 12fr 13fr 12fr 10fr

1423 1222 1333 1222 1423                 

11 13 15 13 11 11 13 15 13 11 12 13 15 13 12 10 12 13 12 10

Bb7 AbMaj7 GÐ7 FÐ7 EbMaj7 8fr 6fr 5fr 3fr

1324 1333 1423 1423 1333             

10 8 6 4 3 9 8 6 4 3 10 8 7 5 3 8 6 5 3 1

31 Jazz Chord Dict 4/10/07 12:43 PM Page 32

DIATONIC EXERCISES

F Major on 6 4 3 2

FMaj7 GÐ7 AÐ7 BbMaj7 C7 3fr 5fr 6fr 8fr

1 342 2 333 2 333 1 342 1 243                 

1 3 5 6 8 2 3 5 7 9  2 3 5 7 8 1 3 5 6 8

DÐ7 EÐ7b5 FMaj7 EÐ7b5 DÐ7 10fr 11fr 13fr 11fr 10fr

2 333 2341 1 342 2341 2 333           

10 11 13 11 10 10 12 14 12 10 10 12 14 12 10 10 12 13 12 10

C7 BbMaj7 AÐ7 GÐ7 FMaj7 8fr 6fr 5fr 3fr

1 243 1 342 2 333 2 333 1 342                

8 6 5 3 1 9 7 5 3 2 8 7 5 3 2 8 6 5 3 1

32 Jazz Chord Dict 4/10/07 12:43 PM Page 33

B% Major

B%Major on 5 3 2 1

BbMaj7 CÐ7 DÐ7 EbMaj7 F7 3fr 5fr 6fr 8fr

1 342 1 243 1 243 1 342 1 243                 1 3 5 6 8 3 4 6 8 10 2 3 5 7 8  1 3 5 6 8

GÐ7 AÐ7b5 BbMaj7 AÐ7b5 GÐ7 10fr 11fr 13fr 11fr 10fr

1 243 2 341 1 342 2 341 1 243           

10 11 13 11 10 11 13 15 13 11 10 12 14 12 10 10 12 13 12 10

F7 EbMaj7 DÐ7 CÐ7 BbMaj7 8fr 6fr 5fr 3fr

1 243 1 342 1 243 1 243 1 342                8 6 5 3 1 10 8 6 4 3 8 7 5 3 2 8 6 5 3 1

33 Jazz Chord Dict 4/10/07 12:43 PM Page 34

DIATONIC EXERCISES

F Harmonic Minor on 6 4 3 2

FÐ(Maj7) GÐ7b5 AbMaj7#5 BbÐ7 C7 2fr 4fr 6fr 8fr

1 423 2 341 1 333 2 333 1 243               

1 2 5 6 8 1 3 5 6 9  2 3 5 6 8 1 3 4 6 8

DbMaj7 E¼7 FÐ(Maj7) E¼7 DbMaj7 9fr 11fr 13fr 11fr 9fr

1 342 2131 1 423 2131 1 342             

9 11 13 11 9 10 12 13 12 10 10 11 14 11 10 9 12 13 12 9

C7 BbÐ7 AbMaj7#5 GÐ7b5 FÐ(Maj7) 8fr 6fr 4fr 2fr

1 243 2 333 1 333 2 341 1 423              

8 6 5 2 1 9 6 5 3 1 8 6 5 3 2 8 6 4 3 1

34 Jazz Chord Dict 4/10/07 12:43 PM Page 35

F Melodic Minor

F Melodic Minor on 6 4 3 2

FÐ(Maj7) GÐ7 AbMaj7#5 Bb7 C7 3fr 4fr 6fr 8fr

1 423 2 333 1 333 1 243 1 243                 

1 3 5 6 8 1 3 5 7 9  2 3 5 6 8 1 3 4 6 8

DÐ7b5 EÐ7b5 FÐ(Maj7) EÐ7b5 DÐ7b5 9fr 11fr 13fr 11fr 9fr

2341 2 341 1423 2 341 2341           

9 11 13 11 9 10 12 13 12 10 10 12 14 12 10 10 12 13 12 10

C7 Bb7 AbMaj7#5 GÐ7 FÐ(Maj7)

8fr 6fr 4fr 3fr

1 243 1 243 1 333 2 333 1 423              

8 6 5 3 1 9 7 5 3 1 8 6 5 3 2 8 6 4 3 1

35 Jazz Chord Dict 4/10/07 12:43 PM Page 36

DIATONIC EXERCISES

G Major 6 Bebop Scale on 6 4 3 2

GMaj6 A¼7 GMaj6/B C¼7 2fr 4fr 5fr 7fr

2 143 2 131 3 141 2 131               

3 4 5 7 4 5 7 8  2 4 5 7 3 5 7 8

GMaj6/D D#¼7 GMaj6/E same as EÐ7 F#¼7 8fr 10fr 12fr 13fr

4 231 2 131 2 333 2 131          

8 10 12 13 9 11 12 14 9 10 12 13 10 11 12 14

36 Jazz Chord Dict 4/10/07 12:43 PM Page 37

G Minor 6 Bebop Scale

G Minor 6 Bebop Scale on 6 4 3 2

GÐ6 A¼7 GÐ6/Bb C¼7 2fr 4fr 5fr 7fr

2 134 2 131 2 131 2 131              

3 4 5 7 3 5 7 8  2 4 5 7 3 5 6 8

GÐ6/D D#¼7 GÐ6/E same as EÐ7b5 F#¼7 8fr 10fr 11fr 13fr

3 121 2 131 2 341 2 131              

8 10 11 13 9 11 12 14 8 10 12 13 10 11 12 14

37 Jazz Chord Dict 4/10/07 12:43 PM Page 38

About the Author Photo by Craig Reed

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.

38 Musical Instruments/Guitar RICK PECKHAM BERKLEE JAZZ GUITAR CHORD DICTIONARY 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.

ISBN 0-7935-1083-8 U.S. $9.95 ISBN-13: 978-0-87639-079-5 rick peckham

ISBN-10: 0-87639-079-3 BERKLEE PRESS #73999-FABBHj +84088-BAECFc ,!7IA8H6-djahjf!:p;K;t;t;P HL50449546HL00000000