1--berklee jazz guitar chord dictionary

berklee jazz guitar chord

DICTIONARY

rick peckham

U.S. $14.95

ISBN 0-7935-1083-8

#73999-FABBHjHL00000000

Master the chords used in jazz. This chord dictionary includes over a hundred jazz chord forms, from basic 7thchords with all standard tension substitutions and alterations to guide tonechords to triads over bass notes. It is organized to reveal relationships betweendifferent 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 andalterations

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

� Diatonic chord exercises

Musical Instruments/Guitar

Rick Peckham is Assistant Chair of the GuitarDepartment at Berklee College of Music. Hehas mentored thousands of guitarists and isauthor/instructor of the Berkleemusic onlinecourse Guitar Chords 101 and the Berklee PressDVD Modal Voicing Techniques.

Berklee Press, a publishing activity of Berklee College ofMusic, is a not-for-profit educational publisher. Availableproceeds from the sales of our products are contributed tothe scholarship funds of the college.

Cover by Robert Heath

Berklee Press1140 Boylston StreetBoston, MA 02215 USA617-747-2146berkleepress.com

U.S. $9.95

+84088-BAECFcHL50449546

,!7IA8H6-djahjf!:p;K;t;t;P

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

BER

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edited byjonathan feist

90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page i

Berklee PressVice 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: 978-0-87639-079-5ISBN-10: 0-87639-079-3

Copyright © 2007 Berklee PressAll Rights Reserved

No part of this publication may be reproduced in any form or byany means without the prior written permission of the Publisher.

1140 Boylston StreetBoston, MA 02215-3693 USA(617) 747-2146

Visit Berklee Press Online atwww.berkleepress.com

Visit Hal Leonard Online atwww.halleonard.com

90448 Berklee JazzGuitarChord Guts:Layout 1 4/4/07 12:23 PM Page ii

ContentsIntroduction ivPart I. Chords1. Moveable 7th Chord Shapes 2

(each on )Major 7 2Dominant 7 3 Minor 7 3 Minor 7%5 4Major 6 5Minor 6 5Diminished 7 6Dominant 9 7Minor 9 7Minor 11 8Dominant 13 8

2. Dominant 7th Chords with Alterations: 9two versions each, with roots on 6 and 5

Dominant 7%5 9Dominant 7(#11) 9 Dominant 7(9, #9) 10Dominant 7#5 10Dominant 7(%9, %13) 11Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 11

3. Guide Tone Chords 13Root 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 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 ) 19Major 7 19Dominant 7 20Minor 7 21Minor 7%5 23Major 6 24Minor 6 25

Part II. Exercises6. Quartal Voicings Exercises 28

C Dorian Voicings 287. Diatonic Exercises 30

B% Major on 30E% Major on 31F Major on 32 B% Major on 33F Harmonic Minor on 34F Melodic Minor on 35G Major 6 Bebop Scale on 36G Minor 6 Bebop Scale on 37

About the Author 38

6 4 3 2

6 4 3 2

6 4 3 2

6 4 3 2

5 3 2 1

4 3 2 1

6 4 3 2

5 4 3 2

5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1

5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1

6 5 4

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

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.

iv

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

• 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

v

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

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

vi

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

PART I.CHORDS

Jazz Chord Dict 4/10/07 12:43 PM Page 1

2

Chapter 1.Moveable 7th Chord Shapes

Major 7

3fr

1324

CMaj7

10fr

1333

CMaj7

3545

10121212

8fr

1 342

CMaj7

3fr

1 342

CMaj7

8

998

3

453


3

Minor 7

Dominant 7

Minor 7

3fr

1314

C7

10fr

1324

C7

3535

10121112

8fr

1 243

C7

3fr

1 243

C7

8

898

3

353

C–73fr

1312

C–710fr

1423

3534

10121111


4

MOVEABLE 7th CHORD SHAPES

Minor 7%5

C–78fr

2 333

C–73fr

1 243

8

888

3

343

C–7b53fr

1324

C–7b510fr

1222

3434

10111111

C–7b57fr

2 341

C–7b52fr

2 341

8

887

3

342


5

Major 6

Minor 6

2fr

2314

CMaj6

10fr

1314

CMaj6

3525

10121012

7fr

2 143

CMaj6

2fr

2 143

CMaj6

8

798

3

253

C–62fr

2413

C–610fr

1312

3524

10121011

Minor 6


6

Diminished 7

C–67fr

2 134

C–62fr

2 143

8

788

3

243

Cº72fr

2314

Cº710fr

1324

3424

10111011

Cº77fr

2 131

Cº72fr

2 141

8

787

3

242



7

Minor 9

Dominant 9

Minor 9

2fr

2133

C9

9fr

2143

C9

3233

109

1110

5fr

3 421

C9

2 34

C9

8

875

3

330

C–9

2134

C–98fr

2143

3133

108

1110


8


Minor 11

Dominant 13

C–11

6fr

2 341

C–11

2 341

8

886

3

341

2fr

21334

C13

8fr

1 234

C13

32335

8

89

10

3fr

1 244

C13

3

355


9

Chapter 2.Dominant 7th Chords

with Alterations

Dominant 7%5

Dominant 7(#11)

C7b57fr

2 341

C7b52fr

2 341

8

897

3

352

C7(#11)7fr

2 341

C7(#11)2fr

2 341

8

897

3

352


10

DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

Dominant 7#5

C92fr

2133

§9

C7(#9)2fr

2134

#9

3233

3234

C7(#9)8fr

1214 #9

898

11

C7#58fr

1 234 #5

C7#53fr

1 243 #5

8

899

3

354


11

Dominant 7 (altered)

Dominant 7 (%9, %13)

Dominant 7(altered)

7%5(%9)

7%5(#9)

C7(b9,b13)8fr

1 2333

C7(b9,b13)2fr

21314

8

8999

32324

C7b5(b9)7fr

T 2314

C7b5(b9)2fr

21311

8

8979

32322

897

11

32342

C7 5( 9)

7fr

2 3 1 4

implied root C7 5( 9)

2fr

2 1 3 4 1


12

DOMINANT 7th CHORDS

7#5(%9)

7#5(#9)

C7 5( 9)

8fr

1 2 2 2

implied root

8999

32324

899

11

32344

C7 5( 9)

8fr

1 2 2 4

implied root

C7 5( 9)

2fr

2 1 3 1 4

C7 5( 9)

2fr

2 1 3 4 4


13

Chapter 3.Guide Tone Chords

Root 3 7

2fr

213

CMaj7

2fr

213

C7

324 3

23

C–7

213

C–7b5

213

(incomplete)

313 3

13


14

GUIDE TONE CHORDS

Root 7 3

2fr

312

CMaj6

C–6

312

322 3

12

Cº7

312

312

8fr

1 23

CMaj7

8fr

1 23

C7

8

99 8

89


15

Root 7 3

C–78fr

2 34

C–7b58fr

2 34

(incomplete)

8

88 8

88

7fr

2 13

CMaj6

C–67fr

2 13

8

79 8

78

Cº77fr

2 13

8

78


16

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

V/I

%VII/I

7fr

2 131

GMaj/C

3fr

1321

GMaj/C

10fr

1341

GMaj/C

8

787

3543

10121210

BbMaj/C6fr

3 421

BbMaj/C3fr

1111

BbMaj/C10fr

1121

8

876

3333

10101110

6 5 4


17

Other Common Voicings

Other Common Voicings

III/I

II/I

#IV/I

8fr

1 333

EMaj/C

3fr

1 243

EMaj/C

8

999

3

454

7fr

2 111

DMaj/C

2fr

2 131

DMaj/C

8

777

3

232

F#Maj/C6fr

3 121

F#Maj/C2fr

2 311

8

676

3

322


18

VI/I

VII/I

8fr

1 423

AMaj/C

3fr

1 423

AMaj/C

8

119

10

3

655

7fr

2 311

BMaj/C

7fr

2 431

BMaj/C

8

877

8

987

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


19

Chapter 5.Inversions

Major 7

CMaj73fr

1324

CMaj7/E5fr

2413

CMaj7/G9fr

2314

CMaj7/B12fr

3412

3545

7958

10109

12

14141213

CMaj78fr

1 342

CMaj7/E10fr

2 134

CMaj78fr

1 342

CMaj7/B5fr

3 111

CMaj7/G

3 241

8

998

12

101212

8

998

7

555

3

241

5 4 3 2

6 4 3 2


Dominant 7

20

INVERSIONS

CMaj7

3fr

1 324

CMaj7/E

5fr

2 143

CMaj9/E

7fr

1 243

CMaj7/G

8fr

3 241

CMaj7/B

12fr

3 121

3

453

7

587

7

787

10

9128

14

121312

CMaj7

10fr

1333

CMaj7/B

8fr

2311

CMaj7/G

5fr

1113

CMaj7/E

2413

10121212

9988

5557

2413

C7

10fr

1324

C7/Bb

8fr

1211

C7/G

5fr

1112

C7/E

2314

10121112

8988

5556

2313

5 3 2 1

4 3 2 1

4 3 2 1


Minor 7

21

Minor 7

C78fr

1 243

C7/E10fr

3 142

C78fr

1 243

C7/Bb

17fr

2 111

C7/G

3 241

8

898

12

101211

8

898

6

555

3

231

C7

3fr

1 243

C7/E

5fr

3 142

C7/G

8fr

3 241

C7/Bb

12fr

2 131

3

353

7

586

10

9118

13

121312

C–73fr

1312

C–7/Eb

5fr

2314

C–7/G8fr

2314

C–7/Bb

12fr

2314

3534

6858

10108

11

13131213

5 3 2 1

6 4 3 2

5 4 3 2


22

INVERSIONS

C–710fr

1423

C–7/Bb

8fr

1111

C–7/G4fr

2314

C–7/Eb

1314

same as EbMaj6

10121111

8888

5546

1313

C–78fr

2 333

C–7/Eb

10fr

2 143

same as EbMaj6

C–78fr

2 333

C–7/Bb

4fr

4 231

C–7/G

3 141

8

888

11

101211

8

888

6

554

3

131

C–73fr

1 243

C–7/Eb

5fr

2 143

same as EbMaj6

C–7/G8fr

3 141

C–7/Bb

11fr

3 241

3

343

6

586

10

8118

13

121311

4 3 2 1

6 4 3 2

5 3 2 1


Minor 7%5

23

Minor 7%5

C–7b53fr

1324

C–7b5/Eb

5fr

2413

same as Eb–6

C–7b5/Gb

8fr

2314

C–7b5/Bb

11fr

2314

3434

6857

9108

11

13131113

C–7b510fr

1222

C–7b5/Bb

7fr

2314

C–7b5/Gb

4fr

1213

C–7b5/Eb

1312

same asEb–6

10111111

8878

4546

1312

C–7b57fr

2 341

C–7b5/Eb

10fr

2 134

same as Eb–6

C–7b57fr

2 341

C–7b5/Bb

4fr

3 121

C–7b5/Gb

2 131

8

887

11

101111

8

887

6

454

2

131

5 4 3 2

6 4 3 2

4 3 2 1


Major 6

24

INVERSIONS

C–7b52fr

2 341

C–7b5/Eb

5fr

2 143

same as Eb–6

C–7b5/Gb

8fr

2 141

C–7b5/Bb

11fr

2 141

3

342

6

576

9

8118

13

111311

2fr

2314

CMaj6

5fr

2314

CMaj6/E

CMaj6/G

9fr

2314

CMaj6/A

12fr

1312

same as A–7

3525

7758

10109

10

12141213

CMaj6

10fr

1314

CMaj6/A

7fr

1423

same as A–7

CMaj6/G

5fr

1111

CMaj6/E

2314

10121012

7988

5555

2213

5 4 3 2

5 3 2 1

4 3 2 1


Minor 6

25

Minor 6

CMaj62fr

2 143

CMaj6/E5fr

3 141

CMaj6/G8fr

3 241

CMaj6/A12fr

1 243

same as A–7

3

253

7

585

10

9108

12

121312

CMaj6

7fr

2 143

CMaj6/E

10fr

3 141

CMaj6

7fr

2 143

CMaj6/A

5fr

2 333

same as A–7

CMaj6/G

4 231

8

798

12

101210

8

798

5

555

3

221

C–62fr

2413

C–6/Eb

5fr

2314

C–6/G8fr

2314

C–6/A12fr

1324

same as A–7b5

3524

6758

10108

10

12131213

6 4 3 2

5 3 2 1

5 4 3 2


26

INVERSIONS

C–610fr

1312

C–6/A7fr

1222

same as A–7b5

C–6/G4fr

2314

C–6/Eb

1214

10121011

7888

5545

1213

C–67fr

2 134

C–6/Eb

10fr

2 131

C–67fr

2 134

C–6/A4fr

2 341

same as A–7b5

C–6/G

3 121

8

788

11

101210

8

788

5

554

3

121

C–62fr

2 143

C–6/Eb

5fr

2 141

C–6/G8fr

3 141

C–6/A11fr

2 341

same as A–7b5

3

243

6

585

10

8108

12

121311

4 3 2 1

5 3 2 1

6 4 3 2


PART II.EXERCISES


28

Chapter 6.Quartal Voicings Exercises

C Dorian Voicings

(for use on C–7 or F7sus4)

3fr

1112

5fr

1112

6fr

1234

3334

5556

6778

8fr

1113

10fr

1112

12fr

1112

13fr

1123

888

10

10101011

12121213

13131415


29

C Dorian Voicings

1234

3fr

1123

5fr

1122

1233

3345

5566

7fr

1122

8fr

1134

10fr

1122

12fr

1122

7788

88

1010

10101111

12121313


Chapter 7.Diatonic Exercises

B%Major on 5 4 3 2

30

BbMaj7

1324

C–73fr

1312

D–75fr

1312

EbMaj76fr

1324

F78fr

1314

1323

3534

5756

6878

8108

10

G–7

10fr

1312

A–7b5

12fr

1324

BbMaj7

13fr

1324

A–7b5

12fr

1324

G–7

10fr

1312

10121011

12131213

13151415

12131213

10121011

8fr

1314

F7

EbMaj76fr

1324

D–75fr

1312

C–73fr

1312

BbMaj7

1324

8

108

10

6878

5756

3534

1323


E%Major on 4 3 2 1

31

E% Major

EbMaj7

1333

F–7

3fr

1423

G–7

5fr

1423

AbMaj7

6fr

1333

Bb7

8fr

1324

1333

3544

5766

6888

8109

10

C–710fr

1423

D–7b512fr

1222

EbMaj713fr

1333

D–7b512fr

1222

C–710fr

1423

10121111

12131313

13151515

12131313

10121111

Bb78fr

1324

AbMaj76fr

1333

G–75fr

1423

F–73fr

1423

EbMaj7

13338

109

10

6888

5766

3544

1333


F Major on 6 4 3 2

32

DIATONIC EXERCISES

FMaj7

1 342

G–7

3fr

2 333

A–7

5fr

2 333

BbMaj7

6fr

1 342

C7

8fr

1 243

1

221

3

333

5

555

6

776

8

898

D–7

10fr

2 333

E–7b5

11fr

2 341

FMaj7

13fr

1 342

E–7b5

11fr

2 341

D–7

10fr

2 333

10

101010

12

121211

13

141413

12

121211

10

101010

C7

8fr

1 243

BbMaj7

6fr

1 342

A–75fr

2 333

G–73fr

2 333

FMaj7

1 342

8

898

6

776

5

555

3

333

1

221


B%Major on 5 3 2 1

33

B% Major

BbMaj7

1 342

C–73fr

1 243

D–75fr

1 243

EbMaj76fr

1 342

F78fr

1 243

1

231

3

343

5

565

6

786

8

8108

G–7

10fr

1 243

A–7b5

11fr

2 341

BbMaj7

13fr

1 342

A–7b5

11fr

2 341

G–7

10fr

1 243

10

101110

12

121311

13

141513

12

121311

10

101110

8fr

1 243

F7

EbMaj7

6fr

1 342

D–7

5fr

1 243

C–7

3fr

1 243

BbMaj7

1 342

8

8108

6

786

5

565

3

343

1

231


F Harmonic Minor on 6 4 3 2

34

DIATONIC EXERCISES

F–(Maj7)

1 423

G–7b5

2fr

2 341

AbMaj7#5

4fr

1 333

Bb–7

6fr

2 333

C7

8fr

1 243

1

211

3

332

4

555

6

666

8

898

DbMaj79fr

1 342

Eº711fr

2 131

F–(Maj7)13fr

1 423

Eº711fr

2 131

DbMaj79fr

1 342

9

10109

12

111211

13

141313

12

111211

9

10109

C78fr

1 243

Bb–76fr

2 333

AbMaj7#54fr

1 333

G–7b52fr

2 341

F–(Maj7)

1 423

8

898

6

666

4

555

3

332

1

211


F Melodic Minor on 6 4 3 2

D–7b59fr

2 341

E–7b511fr

2 341

F–(Maj7)13fr

1 423

E–7b511fr

2 341

D–7b59fr

2 341

10

10109

12

121211

13

141313

12

121211

10

10109

35

F Melodic Minor

F–(Maj7)

1 423

G–7

3fr

2 333

AbMaj7#5

4fr

1 333

Bb7

6fr

1 243

C7

8fr

1 243

1

211

3

333

4

555

6

676

8

898

C7

8fr

1 243

Bb7

6fr

1 243

AbMaj7#5

4fr

1 333

G–7

3fr

2 333

F–(Maj7)

1 423

8

898

6

676

4

555

3

333

1

211


G Major 6 Bebop Scale on 6 4 3 2

36

DIATONIC EXERCISES

GMaj6

2fr

2 143

Aº7

4fr

2 131

GMaj6/B

5fr

3 141

Cº7

7fr

2 131

3

243

5

454

7

575

8

787

GMaj6/D

8fr

4 231

D#º7

10fr

2 131

GMaj6/E

12fr

2 333

same as E–7 F#º7

13fr

2 131

10

998

11

101110

12

121212

14

131413


G Minor 6 Bebop Scale on 6 4 3 2

37

G Minor 6 Bebop Scale

G–62fr

2 134

Aº74fr

2 131

G–6/Bb

5fr

2 131

Cº77fr

2 131

3

233

5

454

6

575

8

787

G–6/D

8fr

3 121

D#º7

10fr

2 131

G–6/E

11fr

2 341

same as E–7b5 F#º7

13fr

2 131

10

898

11

101110

12

121211

14

131413


38

About the Author

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.

Pho

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berklee jazz guitar chord

DICTIONARY

rick peckham

U.S. $14.95

ISBN 0-7935-1083-8

#73999-FABBHjHL00000000

Master the chords used in jazz. This chord dictionary includes over a hundred jazz chord forms, from basic 7thchords with all standard tension substitutions and alterations to guide tonechords to triads over bass notes. It is organized to reveal relationships betweendifferent 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 andalterations

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

� Diatonic chord exercises

Musical Instruments/Guitar

Rick Peckham is Assistant Chair of the GuitarDepartment at Berklee College of Music. Hehas mentored thousands of guitarists and isauthor/instructor of the Berkleemusic onlinecourse Guitar Chords 101 and the Berklee PressDVD Modal Voicing Techniques.

Berklee Press, a publishing activity of Berklee College ofMusic, is a not-for-profit educational publisher. Availableproceeds from the sales of our products are contributed tothe scholarship funds of the college.

Cover by Robert Heath

Berklee Press1140 Boylston StreetBoston, MA 02215 USA617-747-2146berkleepress.com

U.S. $9.95

+84088-BAECFcHL50449546

,!7IA8H6-djahjf!:p;K;t;t;P

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

BER

KLEE JA

ZZ GU

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NA

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ICK

PECK

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MB

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LEE PRESS

1--berklee jazz guitar chord dictionary

Documents