Guitar League Chords Workshop

Home , Guitar chord, Passing chord

Chords Workshop by Mark Fowler Based mostly on: – 2 straight-forward articles by David Hamburger in Acoustic Guitar Magazine (August & September 2003) • http://acousticguitar.com/lessons/Chord_Names/1.html • http://acousticguitar.com/lessons/Chord_Names2/1.html – What Makes Music Work, a book by P. Seyer, A. Novick, & P. Harmon • http://www.lovemusiclovedance.com/what_makes_music_work.htm • An amazingly simple but effective little book!! – Chords & Progressions for Jazz and Popular Guitar, a book by Arnie Berle – Wikipedia Entry • http://en.wikipedia.org/wiki/Chord_notation Got Questions? [email protected] Get Full-Size, Full-Color Handout: Next http://www.ws.binghamton.edu/fowler (Click on “Other”) 1/44 What We’ll Cover • Part Ia – What notes are in the “normal” chords? • Part Ib – What notes are in the “weird” chords? • Part II – How do you play the “weird” chords? • Part III – When do you use the “weird” chords?

2/44 Part Ia What Notes Are In The “Normal” Chords?

3/44 What is a Chord? •Threeor more different notes played together What Makes a Certain Chord? • It depends on the “Intervals” (i.e., distance) between the notes What Is an Interval? • A measure of the distance between two notes • Interval names are based on positions in scales – Actually, they are really based on the # of “half steps” between the notes Note: 2 notes a half step Next apart are one fret apart 4/44 Intervals within the C Major Scale

C H Major “b7th” B th (Minor 7th) 7 W Bb Major A 6th W G#

G Perfect 5th W F# Perfect 4th F H Major E Minor 3rd rd b 3 W E Major nd D 2

C# W Next C 5/44 Intervals Between Strings On The Guitar A 4th “up” is ¾ 4ths a 5th “down” ¾ 5ths ¾ Maj 3rds ¾ Min 3rds Adjacent Strgs Skipped Strgs

Next 6/44 Triads – Simplest Chords There are only 4 types of triads:

¾ Major ¾ Minor ¾ Diminished ¾ Augmented R 3 5 R b3 5 R b3 b5 R 3 #5

C C C C B B B B Bb Bb Bb Bb A A A A Sharp 5th G# Perfect 5th G# Perfect 5th G# G# G G G G th Gb Gb Gb Flat 5 Gb F Major 3rd F F F Major 3rd E E Minor 3rd E Minor 3rd E Eb Eb Eb Eb D D D D C# C# C# C# C C C C

These constitute about 99% of the chords We won’t be needing these! you see traditionally in a fiddle tune Next 7/44 Triads-Based Guitar Chords: An Example C Major C Minor 3 2 0 1 0 4 1 0 1 x Note: In a typical Guitar Chord-Form we often repeat triad notes

C E G C E C Eb G C b R 3 5 R 3 R 3 5 R

¾ Major ¾ Minor R 3 5 R b3 5 C C B B Bb Bb A A G# Perfect 5th G# Perfect 5th G G Gb Gb F Major 3rd F E E Minor 3rd Eb Eb D D Next C# C# C C 8/44 Triads-Based Guitar Chords: Another Example D Major D Minor 0 0 1 3 2 0 0 2 3 1 In some Guitar Chord- Forms the triad notes don’t appear “in order”

A D A D F# A D A D F 5 R 5 R 3 5 R 5 R b3

¾ Major ¾ Minor R 3 5 R b3 5

D D C# C# C C B B Bb Perfect 5th Bb Perfect 5th A A G# G# G Major 3rd G F# F# Minor 3rd F F E E Next Eb Eb D D 9/44 Part Ib What Notes Are In These “Weird” Chords?

10/44 Bigger Intervals (shown relative to C in C major scale)

C D E F G A B C D E F G A B C 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

11/44 Nearly-Complete Jazz Chord “Family Tree” For Jazz Chords: sequentially add other notes to a maj/min triad Note the main pattern: 1 3 5 7 9 11 13 b3 b7 These are the Major Triad “Dominants” Minor Triad Dim Triad Add b7 bb Add 6 Add 7 Add 6 Add b7 Add 7 Add 7 Maj6 Maj7 7 m6 m(maj7) m7 dim 7 1 3 5 6 1 3 5 7 1 3 5 b7 1 b3 5 6 1 b3 5 7 1 b3 5 b7 1 b3 b5 bb7

Maj6/9 Maj9 9 m6/9 m(maj9) m9 1 3 5 6 9 1 3 5 7 9 1 3 5 b7 9 1 b3 5 6 9 1 b3 5 7 9 1 b3 5 b7 9 Notes in ( ) are Maj11 11 usually omitted. m11 = 6!! 1 (3) 5 7 9 11 1 (3) 5 b7 9 11 1 b3 5 b7 9 11 It is common to leave out other Maj13 13 notes too, m13 b b b 1 3 5 7 9 (11) 13 1 3 5 7 9 (11) 13 especially on 1 3 5 7 9 (11) 13 guitar Next Altered Chords (e.g., A7#5b9): Raise or Lower the 5, 9, 11, or 13 12/44 Part II How Do You Play These “Weird” Chords?

13/44 An Example C Major C7 3 2 0 1 0 3 2 4 1 x This now For this becomes form we sacrifice “Movable” th 7 C E G C E C E Bb C the 5 ! D R 3 5 R 3 R 3 b7 R 3 2 4 1 x

¾ Major ¾ Dom 7 R 3 5 R 3 5 b7 C C b th B B 7 D F# CD Bb Bb R 3 b7 R A A 7 G# Perfect 5th G# Perfect 5th E G G 3 2 4 1 x Gb Gb V F Major 3rd F Major 3rd E E Eb Eb D D # Next C# C# E G DE R 3 b7 R C C 14/44 A Structure-Based Approach: Find a Root and Keep Lowering It A AMaj7 A7 0 2 1 3 0 0 2 1 3 0 0 2 0 3 0

A E A C# E A E G# C# E A E G C# E R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5

Make It Movable:

C CMaj7 C7 1 2 3 4 1 1 3 2 4 1 1 3 1 4 1

III III III

C G C E G C G B E G C G Bb EG R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5 Next

15/44 More Examples of that Rule: Find a Root and Keep Lowering It G Gmaj7 G7 G6 3 2 0 0 0 4 3 2 0 0 0 1 3 2 0 0 0 1 3 2 0 0 0 0

G B D G B G G B D G B F# G B D G B F G B D G B E R 3 5 R 3 R R 3 5 R 3 7 R 3 5 R 3 b7 R 3 5 R 3 6

D Dmaj7 D7 D6 0 0 1 3 2 0 0 1 1 1 0 0 2 1 3 0 0 2 0 3

A D A D F# A D A C# F# A D A C F# A D A C F# 5 R 5 R 3 5 R 5 7 3 5 R 5 b7 3 5 R 5 6 3

16/44 Another Structure-Based Rule: Find a 5th and Keep Raising It G G6 G7 1 3 4 2 1 1 1 3 x 2 1 1 1 3 x 2 1 1

III III

G D G B D G G D B E G G D B F G R 5 R 3 5 R R 5 3 6 R R 5 3 b7 R

Or Use Our 1st Rule: Lowering a Root G Gmaj7 G7 G6 1 4 3 2 1 4 2 1 1 2 4 3 2 1 4 3

III III III III

G D G B D G G F# BD G F B D G E B D R 5 R 3 5 R R 7 3 5 R b7 3 5 R 6 3 5 Gray Circles = notes left out to make the new Next chords playable playable!!! 17/44 And More: A 1 3 4 2 1 1

rd A E A C# E A Find the Maj 3 R 5 R 3 5 R and lower it

Am Ammaj7 Am7 Am6 1 3 4 1 1 1 1 3 2 1 1 1 1 3 1 1 1 1 2 x 1 3 3 3

V V V V

A E A C E A A E G# C E A A E G C E A A F# C E A R 5 R b3 5 R R 5 7 b3 5 R R 5 b7 b3 5 R R 6 b3 5 R

2 x 3 3 3 3

Find a Root and V “Certified keep lowering it Jazzer’s A G C E A Form” Next R b7 b3 5 R 18/44 Another Rule: Making the dom 9th Chord C7 Find a Root and Raise It 3 2 4 1 x ¾ Dom 9 Recall: R 3 5 b7 9 For this This form is movable form we D9 9th sacrificed 2 1 3 3 3 D C E Bb C the 5th ! b C# R 3 7 R IV C B b7th Bb 9 9 C C D F# C E A A 2 1 3 4 x 2 1 3 3 3 R 3 b7 9 5 G# 5th G 9 Gb E 2 1 3 3 3 F 3rd V E Eb C E Bb D C E Bb D G D R 3 b7 9 R 3 b7 9 5 C# C Here we E G# DF# B gain back R 3 b7 9 5 the 5th ! Next 19/44 Part III How Do You Use These “Weird” Chords?

20/44 Triads Harmonize the Scale Choose triad type so that each chord uses only scale tones

I:G ii:Am iii:Bm IV:C V:D vi:Em vii:F#o

C b5th B B 5th Bb Bb A 5th A A b3rd G# G# G# G G G G G G G th b rd F# F# F# F# 5 F# F# 3 F# th rd F F F 5 F F 3 F F E E E E E E E th 3rd Eb Eb 5 Eb Eb Eb Eb Eb D 5th D D b3rd D D D D C# C# C# C# C# C# C# C C C C C C C b3rd B B B B B B B rd Bb 3 Bb Bb Bb Bb Bb Bb A A A A A A A G# G# G# G# G# G# G# G G G G G G G Next

21/44 Typical Places to Use Jazz Chords Recall: Number System for Chords (Example - Key of G) I ii iii IV V vi vii G Am Bm C D Em F#o Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7)

IV Maj7, Maj6, (… in blues the IV is played as Dom7)

V Dom7

ii, iii, vi min7

To see why… see next two slides…

Numbered Chords with Replacements:

I ii iii IV V vi vii Next GM7 Am7 Bm7 CM7 D7 Em7 F#o7 22/44 Pick Extensions to Stay in Scale Why I is either Maj7 or Maj6: Why IV is either Maj7 or Maj6:

I:Gmaj7 I:Gmaj6 IV:Cmaj7 IV:Cmaj6

Maj 7th B B Bb Bb Maj 6th A A G# G# G th G G G Maj 7 th th F# F# F# 5 F# 5 F F Maj 6th F F E E E 3rd E 3rd Eb Eb Eb Eb D D D D 5th 5th C# C# C# C# C C C C B B B B rd rd Bb 3 Bb 3 Bb Bb A A A A G# G# G# G# Next G G G G 23/44 Pick Extensions to Stay in Scale Why the V chord is Dom7: Why ii, iii & iv chords are min7:

V:D ii:Am iii:Bm vi:Em Eb b7th D C# th b7 C# C B B th th 5 Bb Bb b7 Bb A th A A 5 G# G# b7th G# G# G G G G b rd F# F# F# F# 3 rd th F 3 F F 5 F E E E E th Eb Eb 5 Eb Eb D D D D b3rd C# C# C# C# C C C C b3rd B B B B Bb Bb Bb Bb A A A A Next G# G# G# G# G G G G 24/44 Golden Slippers in G: Standard Progression Let’s use our replacement rules (and a couple other jazz ideas) to spice up the chords for this tune….

IV I A Part: | G / / / | / / / / | / / / / | D / / / | / / / / | / / / / | G / / / |

IIVV I B Part: | G / / / | / / / / | C / / / | / / / / | D / / / | / / / / | G / / / | / / / / |

I IV V I | G / / / | / / / / | C / / / | / / / / | D / / / | / / / / | / / / / | G / / / |

A good place to start is with the V chords…

25/44 First Step: Change V to dom7

Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7)

IV Maj7, Maj6, (… in blues the IV is played as Dom7)

V Dom7 ii, iii, vi min7

This first step doesn’t make things too jazzy

26/44 Some Jazz Dom7 Chord Forms for the V in G 7 D7 D7 D 1 2 4 3 1 3 1 4 1 3 2 4 1 x This one isn’t quite X V as “jazzer-approved” III as the other two

# D F# CD D C F# A D A C F A b R 3 b7 R R b7 3 5 R 5 7 3 5

A simpler form to use for now… but it just doesn’t have that nice jazz texture:

D7 0 0 2 1 3

A D A C F# Next 5 R 5 b7 3 27/44 Golden Slippers in G: w/ Dom 7th on V

7 D 7 D Could use this, for now 3

IV I A Part: | G / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / |

Could use this, for now 7 D 7 D 3

IIVV I B Part: | G / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G / / / | / / / / |

I IV V I | G / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / | Next 28/44 Second Step: Change I to Maj6

Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7)

IV Maj7, Maj6, (… in blues the IV is played as Dom7)

V Dom7 ii, iii, vi min7

Changing the I chord to Maj7 makes things very “loungy-jazzy”… not so good for fiddle tunes.

Changing the I chord to Maj6 makes things

more “western-swingy-jazzy” Next

29/44 Some Jazz Maj6 Chord Forms for the I in G

G6 G6 1 3 x 2 1 1 2 1 4 3 Leave out the gray circles… III III they are there only to show where this G D B E G G E B D came from! R 5 3 6 R R 6 3 5

A simpler form to use for now… but it just doesn’t have that nice jazz texture: G6 3 2 0 0 0 0

G B D G B E Next R 3 5 R 3 6 30/44 Golden Slippers in G: w/ Maj 6th on I

G 6 G 6 Could use this, for now 1 3x241 3 20000 3 D 7 Could use this, for now

IV I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

IIVV I B Part: | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / |

I IV V I | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / | Next 31/44 3rd Step: Change IV to Maj6… with a “twist”

Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7)

IV Maj7, Maj6, (… in blues the IV is played as Dom7)

V Dom7

ii, iii, vi min7

Changing the IV chord to Maj6 gives: C6 = C E G A

But… imagine re-arranging these same notes: A E C G

Hey… that is an Am7 … which is the iim7 of G!!!

Can substitute iim7 for IVmaj6!!! Next 32/44 Some Jazz min7 Chord Forms for the ii in G Am7 Am7 2 x 3 3 3 3 x 0 3 3 3 3

V V

A G C E A A G C E A R b7 b3 5 R R b7 b3 5 R

A simpler form to use for now… but it just doesn’t have that nice jazz texture:

Am7 x 0 2 0 1 0

A E G C E R 5 b7 b3 5 Next

33/44 Golden Slippers in G: w/ ii min7th sub for IV G 6 3 20000 for now

IV I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

for now for now 6 G Am7 Am7 3 20000 7 2 x3333 x 02010 D for now

5 Iii7 VI B Part: | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / |

I ii7 VI | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

Next 34/44 4th Step: Insert Passing Chords

For now lets forget that we substituted iim7 for IV6 Notice how in the B part we have IV = C going up to V = D:

IIVV I B Part: | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / |

I IV V I | G6 / / / | / / / / | C / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

A cool thing would be to go chromatically up through C#!! But what chord type??!!

35/44 Dim7 Chord Forms So… let’s take a C7 chord and move the root up to a C# but leave everything else the same… that gives us a “passing chord” that provides some chromatic motion: C7 C#o7 1 3 1 4 1 1 3 1 4 1

III III Everything but the root from a C7 C G Bb EG C# G Bb E chord… plus the C# R 5 b7 3 5 R b5 bb7 b3

C7 C#o7 3 2 4 1 x 3 2 4 1 x Cool Things about Dim7 Chords 1. Root can be taken as ANY note in the chord.

2. Shift it three frets and you get the C E Bb C E Bb C# G same chord again!!! R 3 b7 R b3 bb7 R b3

Next 36/44 Golden Slippers in G: w/ dim7 passing chords Example #1 IV I A Part: | G / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G / / / |

C#° 7 C#° 7 Could use this, for now 3

IIVIV#°7 I B Part: | G / / / | / / / / | C / / / | / / C#°7 / | D7 / / / | / / / / | G / / / | / / / / |

I IV IV#°7 V I | G / / / | / / / / | C / / / | / / C#°7 / | D7 / / / | / / / / | / / / / | G / / / |

Next 37/44 4th Step Revisited: Insert Passing Chords But… we substituted iim7 for IV6… So our B part looks like this: Iii7 VI B Part: | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / |

I ii7 VI | G6 / / / | / / / / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

A cool thing would be to go chromatically up through G#!! But what chord type??!! G7 G7 o7 G#o7 G# 1 2 4 3 0 0 0 2 0 1 0 2 2 1 3 1

III III

G F B D D G B F b b Next R 7 3 5 5 R 3 7 38/44 Golden Slippers in G: w/ dim7 passing chords 6 G D 7 3 20000 for now for now Example #2

IV I A Part: | G6 / / / | / / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

for now for now for now 6 G G#°7 Am7 3 20000 7 x x0102 x 02010 D for now

IiI#°7 i7 VI B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D7 / / / | / / / / | G6 / / / | / / / / |

I I#°7 ii7 VI |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D7 / / / | / / / / | / / / / | G6 / / / |

Next 39/44 5th Step: Further Jazzify the Chords

Our first step didn’t make things too jazzy We made the V chords dom7…

Jazzy Replacements I Maj7, Maj6 (… in blues the I is played as Dom7)

IV Maj7, Maj6, (… in blues the IV is played as Dom7)

V Dom7 ii, iii, vi min7

Now… to make things even jazzier… use jazzy extensions: add in the 9 (& maybe 11, 13) Next

40/44 A Jazz Dom9 Chord Forms for V in G

D9 2 1 3 3 3

D F# C E A R 3 b7 9 5

A simpler form to use for now… but it just doesn’t have that jazz texture: D7 0 0 2 1 0

A D A C E Next 5 R 5 b7 9 41/44 Golden Slippers in G: w/ Dom 9th on V G 6 3 20000 for now D9 D9 for now

5 IV I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / |

6 G D9 D9 3 20000 for now for now

IIVV I B Part: | G6 / / / | / / / / | C / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / |

I IV V I | G6 / / / | / / / / | C / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / | Next 42/44 Golden Slippers: “Complete” “For Now” Forms G 6 D9 G 6 3 20000 3 20000

IV I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / |

The ii – V – I progression shows up all over in Jazz!!!

6 G G#°7 Am7 G 6 3 20000 x x0102 x 02010 D9 3 20000

IiI#°7 i7 VI B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / |

I I#°7 ii7 VI |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / |

Next 43/44 Golden Slippers: “Complete” “To Work On” Forms

G 6 9 D G 6 3 3 5 IV I A Part: | G6 / / / | / / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / |

The ii – V – I progression shows up all over in Jazz!!!

G 6 G#°7 Am7 D9 G 6 3 3 3 5 5 IiI#°7 i7 VI B Part:| G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | G6 / / / | / / / / |

I I#°7 ii7 VI |G6 / / / | / / G#°7 / |Am7 / / / | / / / / | D9 / / / | / / / / | / / / / | G6 / / / |

STOP44/44