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THE EIGHT CHORDS ARE IN TRIAD FORM. FROM THE GUITARIST POINT OF VIEW, PLAYING TRIADS WILL AVOID CLASHING WITH THE MELODY OR IMPROVISED LINES. ALSO, HAVING THE ABILITY TO PLAY TRIADS WILL ENABLE THE GUITARIST TO BLEND WITH OTHER HARMONIC INSTRUMENTS AND PLAY BIG BAND CHARTS SUCCESSFULLY. The study of jazz guitar has to be from four view points: Soloing (single note & octaves). Accompanist (swing style four in the bar, comping & bass line comping). Vocal accompaniment. Chord melody. Each one of the above is a separate study. This study is from the accompanist point of view and deals with the following: INTRODUCTION. THE EIGHT CHORD SHAPES. FORMING TRIADS. DEVELOPING THE LOCKED KNUCKLE TECHNIQUE, (HENDRIX CHORD). INTERPRETING CHORD SYMBOLS . BREAKING THE CHORD DOWN TO ITS BASIC ELEMENTS, (root, 3rd and 7th). PLAYING IN A BIG BAND. IMPORTANT NOTE! Throughout this study the notes indicated in grey in the chord windows can be fingered but not necessarily played. When playing bass line comping or four in the bar, (Freddie Green style), I advise the use of triads. However, when playing Bossa Nova and when the root note of the chord is on the fifth string the note on the second string indicated in grey is the 9th. If used, the 9th will add a nice colour to the bossa rhythm. When the root note of the chord is on the sixth string the note on the second string indicated in grey is the 5th. I would advise leaving the 5th out as it is the note most likely to clash with melody notes. It is down to personal taste, but to play safe avoiding clashes, leave the 5th out! IMPORTANT NOTE! Western music has three basic sounds, Major, minor and dominant seventh. Both the Major and the minor chords give a feeling of rest. The dominant seventh chord is not a place of rest as it has an unstable feel. There is a fourth chord type which, in jazz, a student has to be immediately aware of, the m7b5, (half-diminished). The m7b5 chord is not a place of rest.
INTRODUCTION.
Overview of the Art of Accompaniment. The guitar, like the piano, is a harmonic instrument, and is used extensively not only as a solo voice
but, because of its harmonic nature, as a means of accompaniment. When playing in a Jazz quartet, (e.g. horn, guitar, bass and drums), the guitarist for most of the time will be playing chords, thereby accompanying. The guitarist in this situation is the harmonic mainstay of the band. Guitarists in general have a weakness in this area. The number of hours spent practising accompaniment, compared to single line technique, are few. To become a good accompanist, the guitarist must develop the ability to play a good four in the bar rhythm, (Freddie Green style), which for today's player is almost a forgotten art. I believe that every guitarist should be able to create a solid pulse. In doing so you are dealing with time. Time is a very neglected area of music. Having the ability to create a pulse by playing even time, i.e. knowing the value of a quarter note, (crotchet), is not only important to the accompanist, but also to the soloist, as knowing where the underlying pulse is means you can correctly divide and sub-divide time into eighth and sixteenth notes etc. This is an area where I believe guitarists have a weakness, but is another subject. Some guitarists are good line players but poor chord players. It is important for each area of study to develop evenly, (parallel studies). A good practice procedure will allow this to happen. Imagine a giant jig-saw puzzle with pieces spread out all over a table. Each piece is an area of study. The object is to create a complete picture, but if one piece is missing this cannot be achieved. When learning the guitar you are faced with memorising hundreds of chords, such as the Major family of chords, the minor family of chords and the dominant seventh family of chords. All these chord families have extended and altered chords. There are also the diminished and augmented chords. Then there is the time factor, learning to create a pulse, gelling with the rhythm section. When you get a call from a horn player it is most probably a time when he cant engage a piano player for a gig! The guitarist gets the gig because the harmonic nature of the instrument can provide accompaniment. In fact, for most of the evening you would be providing harmonic accompaniment, i.e. reading chord charts, which are written with extended and altered notes on almost every chord. You might also get a call for a duo gig, where when you are not playing the melody or soloing you will have to take on the role of the rhythm section, in other words accompanying, which means complementing the soloist with some nice chords and providing a pulse and possibly a bass line. Again you have got a gig that pays money, probably because of your ability to accompany! Bearing all this in mind, why is it that the weakest area for the majority of guitar players is accompanying? In my experience as a player it is most certainly the case! In a guitar duo situation, either with or without a bass, I have experienced a lack of pulse and bad voicing of chords. The simple answer is that guitarists tend to ignore this area when practising because this area of playing is one of the most difficult aspects of guitar playing!
PLEASE NOTE. This study is for the 6 string guitar. Orthodox guitar tuning is used, (from the sixth string), E, A, D, G, B, E. Major is identified by a capital M, minor is identified by a lower case m.
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CM 7 aj x 2 1 3 x x
C7 x 2 1 3 x x
Cm 7 x 2 x 3 4 x
Cdi m x 2 3 1 (4) x
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The root notes are indicated in white. The note indicated in grey is optional. PLEASE NOTE. Four of the chords are with the root note on the sixth string, and four are with the root note on the fifth string. Further fingering options for the eight chord forms is shown on page 7 of this study. Shown above are the eight chord shapes which, from a practical and working point of view, a guitarist needs to accompany most jazz standards. They are in triad form and consist of root, 3rd and 7th (Major, minor and dom7th), and exclude the fifth note of the chord. There are only subtle differences in the fingering and they are all fingered with the second finger on the root note of the chord. IMPORTANT NOTE! The use of triads, root, 3rd and 7th (Major, minor and dom7th), enables the guitarist to play safe, i. e. the notes of the triad will not clash with the melody note or interfere with the improvised line. The fifth note of the chord is omitted as it is the only note which is subject to change, (#5 and b5). The root, 3rd and 7th are always static in Major, minor and dominant seventh chords. The fifth note within certain chords can clash with the melody note, particularly when playing a m7b5, (halfdiminished). For example, the m7b5 chord may have to be changed to accommodate the melody, see page 11 of this study. In the eight chords shown above there is no m7b5, (halfdiminished), as a minor triad, (root, 3rd and 7th), can be used. As previously stated, this study deals with the guitarist as the accompanist, and in my opinion the most effective way to accompany is to play triads, as sometimes too much embellishment, i. e. playing chords with extended and altered notes, can clash with the melody and interfere with the improvisers line.
TRIADS IN JAZZ
In regular music theory a triad consists of root, 3rd and 5th of the scale, ( Major, minor and dominant). When accompanying in jazz and for the purpose of this study a triad will consist of root, 3rd and 7th (Major, minor and dom7th), omitting the fifth note of the chord as the fifth is the only note of the chord that is subject to change i.e. b5 & #5. Triads, consisting of root, 3rd and 7th (Major, minor and dom7th), can be easily formed by adopting my Hendrix Chord System, (see page 5 of this study), and the triad can then be used as a base to add extended and altered notes when required. REMEMBER! This study is from the accompanist point of view I believe that the secret of good accompaniment in jazz is to have the ability to break down the chord to its basic elements, root, 3rd and 7th, and, when required, to use your own harmonic knowledge to enhance the triad as you see fit, (see my Hendrix Chord Study). By adopting my Hendrix Chord System, not only will you have a way of finding every chord you need from a practical and working point of view, but a way of forming triads with the fifth of the chord automatically omitted leaving the essential notes - root, 3rd and 7th. TRIADS. CMaj7 Cm7 C7 Cm6 & Cdim C Root C Root C Root C Root E Maj3rd Eb min3rd E Maj3rd Eb min3rd A 6th or bb7th B Maj7 Bb b7th Bb b7
Triads in jazz are either Major, minor or dominant seventh. Leaving out the fifth note of the chord enables the chords to be played as triads, (root, 3rd and 7th). Having the ability to break a chord down to a basic triad, (root, 3rd and 7th), is a very quick way to learn chords and become a successful accompanist. When learning the guitar, the recognised method of playing chords is to use the barree. It is how beginners learn about fingerboard organisation and also develop strength in their fretting hand. When playing commercial music too, barree chords are used as that is the nature of the music. In rock music power chords are used, root and fifth. But as you gain knowledge and experience as a jazz guitarist you will discover that barree is not always the most efficient way to play chords, particularly when you are required to play a m7b5, (half-diminished), chord! When accompanying in all forms of music the important notes are the root and fifth. A bass player would play the root and fifth throughout the chord chart of a song. In a jazz standard whether it is swing, ballad or Bossa Nova the root and fifth can be played except when a m7b5, (half-diminished), chord is indicated. However, as previously stated, and in my opinion, for the guitarist in jazz when playing chords, the fifth note of the chord should be omitted as it is subject to change (#5 and b5). The root, 3rd and 7th are always static in Major, minor and dominant seventh chords.
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PLEASE NOTE! The dominant seventh sharp ninth chord, (E7#9), which is an altered dominant chord, has become known as the Hendrix Chord.
(Trefor Owen Jazz Guitar Tuition Study 7, "Economical Chord Forms" the Hendrix Chord).
No, Jimi Hendrix did not invent this chord. Jazz players had used the dom7#9 extensively before Hendrix popularised it. When Jimi Hendrix popularised this chord, he introduced the rock fraternity to an altered chord. REMEMBER! Not only does the Hendrix Chord introduce you to the "Locked Knuckle Technique", it enables the guitarist to find triads very quickly, and provides a way of finding most chords youll need from a practical and working point of view. The Hendrix Chord also facilitates the standardisation of your fingering to avoid learning the left hand, (fretting hand), twice. PLEASE NOTE. Not all chords can be fingered with the second finger on the bass note, but many can.
As shown below the Hendrix Chord can easily be converted into Major7th, minor7th and dom7th triads.
C7#9 x 2 1 3 4 x M or 3rd (E) aj Fl at t ened 7t h (Bb) m nor 3rd/#9t h (Eb) i Root (C) CM 7 aj x 2 1 3 4 x M or 3rd (E) aj
3Root (C)
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M or 7t h aj (B nat ural )
3Root ( C)
The root notes are indicated in white. The note indicated in grey is optional. For the complete study of the Hendrix Chord
(Trefor Owen Jazz Guitar Tuition Study 7, "Economical Chord Forms" the Hendrix Chord).
You should consider the Hendrix Chord your basic form. If you are having difficulty with the fingering of any chord that is derived from this form, then always finger the Hendrix Chord first and move to the chord you need. PLEASE NOTE! I stress great importance on the correct fingering of the m7b5 (half-diminished) chord. As you can see below, the m7b5 chord can be achieved from the Hendrix Chord but the b5th note does not have to be played as a minor triad will suffice, root, 3rd and 7th). In my opinion the m7b5 chord is the most misunderstood chord in harmony! By holding the basic form, (the Hendrix Chord), and moving the first finger off the Major third, (fourth string second fret), and placing it on the first string second fret, (Gb), as shown below, a Cm7b5 chord is achieved. When easing your first fingers over towards the first string, this action automatically deadens the fourth string, (do not make a big deal of this). More on the m7b5 chord on pages 10 & 11 of this study.
C7#9 x 2 1 3 4 x Cm 7b5 x 2 x 3 4 1
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Major, minor and dom7th chords derived from the basic form with the root note on the sixth string.
From the basic form, (C7#9), a Cm7th chord can be achieved in the form of a triad, (root, third and seventh). To form a G7th chord, hold the finger pattern and move it over one string as shown below, (Cm7th to G7th). PLEASE NOTE. When the root note is on the sixth string the fifth string is always deadened. Now a dom7th chord with the root note on the sixth string is formed .
C7#9 x 2 1 3 4 x Cm 7 x 2 x 3 4 x G7 2 x 3 4 x x
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The basic form The root notes are indicated in white. The Gdom7th triad with the root note on the sixth string.
G7 2 x 3 4 x x Fl at t ened 7t h Root not e 3M or 3rd aj
The basic form, (which is a G7th triad), is fingered with the second finger on the root note. PLEASE NOTE. The chord form has moved over one string therefore the fifth of the chord will now be on the second string.
G7 2 x 3 4 x x Fl at t ened 7t h Root not e 3M or 3rd aj 3m nor 3rd i Gm 7 2 x 3 4 x x
Dom7th chord.
Maj7th chord.
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The root notes are indicated in white. The CMaj7th, CMaj9th, C6, C6/9 and Cadd9 chords are all Major chords which have been extended by the use of scale tones. When a Major is indicated it can be interpreted as shown in the examples below. It is down to personal taste. However, when the melody of a standard is being played the accompanist has to consider the extended and altered notes of the chords when playing a harmonic sequence, (i.e. when necessary selecting the extended or altered note of the chord to accommodate the melody). When the improvisation is taking place the accompanist has more freedom with the extension or alteration of the chords, but remember, too many altered chords can clash with the improviser's line.
CM 7 aj CM 9 aj C6/9 CM 7 aj x 2 1 3 4 x x 2 1 4 3 x x 2 1 1 3 x 1 x 3 4 2 x C6 2 x 1 4 3 x
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LEARNING THE EIGHT CHORD SHAPES REQUIRED TO ACCOMPANY MOST JAZZ STANDARDS. Now you have the ability to form triads with the use of the Locked Knuckle Technique. Shown below are the eight chord shapes which, from a practical and working point of view, a guitarist needs to accompany any jazz standard. There are only subtle differences in the fingering and they are all fingered with the second finger on the root note. PLEASE NOTE. All the following chords are derived from the Hendrix Chord. Four are with the root note on the sixth string, and four are with the root note on the fifth string. The guitar is a very versatile instrument and one can go on forever finding new voicings and fingerings for chords, but from a working and practical point of view all you need are the eight shown below.
GM 7 aj 2 x 3 4 x x G7 2 x 3 4 x x Gm 7 2 x 3 3 x x Gdi m 2 x 13 x x
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3Cm 7 x 2 x 3 4 x
3Cdi m x 2 3 1 ( 4) x
CM 7 aj x 2 1 3 x x
C7 x 2 1 3 x x
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The root notes are indicated in white. The note indicated in grey is optional. FINGERING OPTIONS. Many experienced guitarists will probably already be fingering some of the above chords with the second finger on the root note. Also, many will finger the GMaj7th shown above with the first finger on the root note. It can be fingered successfully as a triad with the second finger on the root note. The manner in which this chord form is fingered depends on personal taste and on what is required at the time. More about using existing chord forms on page 14 of this study.
GM 7 aj 1 x 3 4 (2) x GM 7 aj 2 x 3 4 x x
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Fl at t ened Fi f t h
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3Fl at t ened Fi f t h
4Fl at t ened Fi f t h
Some of the above chords may be used when playing chord melody or even when comping with a bass player, but even then you have to be careful when accompanying the melody. See next page. When playing straight four in the bar (Freddie Green style) or bass line comping they just do not make sense. These kind of voicings would not be my choice! The guitarist needs to know two fingerings for the m7b5 chord with the root notes on the fifth and sixth strings and, very importantly, the flattened fifth note as the highest note of the chord, as indicated below. There is also another good reason for this. See next page.
Gm 7 2 x 3 3 x x Gm 7b5 2 x 3 4 (1) x Cm 7 x 2 x 3 4 x Cm 7b5 x 2 x 3 4 ( 1)
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7Cm Tri ad 7 x 2 x 3 4 x
7Cm 7b5 x 2 x 3 4 1
7Cm 11 x 2 x 3 4 1
When faced with a m7b5 chord, simply play a minor seventh triad, (root, third and seventh). There is no fifth note present, therefore you are not clashing with any other notes.
5Fl at t ened Fi f t h
When playing chord melody, the above form may be useful, but that is another study.
Chord charts are more often than not written with unnecessary extended and altered notes.
[[ Gm9 / Gm7 / ][ C7#9 / C7b9 / ][ FMaj7 / F6 / ]]
The above can be converted to a regular II V I with the use of triads. See the following: [[ Gm7 / / / ][ C7 / /
Gm 7 2 x 3 3 3 x C7 x 2 1 3 x x
/ ][ FMaj / / / ]]
FM 7 aj FM 7 aj 1 x 3 4 2 x 2 x 3 4 x x
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Alternatively.
Gm 7 x 2 1 3 4 x C7 2 x 3 4 x x FM 9 aj x 2 1 4 3 x
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In the following example a Gb7(b5) chord is substituted for the V chord, C7th. A good example of this is the A section of Jobim's, "The Girl from Ipanema". Note: The notes indicated in grey do not have to be played. [[ Gm7 / / / ][ Gb7(b5) / / / ][ FMaj7 / / / ]]
Gm 7 x 2 1 3 4 x Gb7 x 2 1 3 x x F6/9 x 2 1 1 3 x
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Note: The flattened fifth notes indicated in brackets and grey do not have to be played.
Gm 7 2 x 3 3 3 x Gb7(b5) 2 x 3 4 (1) x FM 7 aj FM 7 aj 1 x 3 4 2 x 2 x 3 4 x x
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The root notes are indicated in white. The note indicated in grey is optional.
CM 7 aj x 2 1 3 4 x
Cdi m x 2 3 1 (4) x
Dm 9 x 2 1 3 4 x
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The root notes are indicated in white. The notes indicated in grey are optional. REMEMBER! By adopting the Locked Knuckle Technique, extended and altered notes can be easily added to the above to enhance the triads. BOSSA NOVA RHYTHM When playing Bossa Nova rhythm and when the root note of the chord is on the fifth string the note on the second string indicated in grey is the 9th. If used, the 9th will add a nice colour to the bossa rhythm. When the root note of the chord is on the sixth string the note on the second string indicated in grey is the 5th. I would advise leaving the 5th out as it is the note most likely to clash with melody notes. It is down to personal taste, but to play safe avoiding clashes, leave the 5th out! Trefor Owen 2012 www.treforowen.com