Berklee �ress Vice President: Dave Kusek

Dean of Continuing Education: Debbie Cavalier

Managing Editor: Jonathan Feist

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

ISBN-10: 0-87639-079-3

DI.TRJgUTII:D BY

berklee press

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HAL• LEONARD,. C.0RP0RA'TI0N

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MILWAUKEE� WIIICONaiN 11.212131

Vislt Hal Leonard Online at www.halleonard.com

Copyright© 2007 Berklee Press All Rights Reserved

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

Contents Introduction iv Part I. Chords

1. Moveable 7th Chord Shapes 2

(each on�@®@ @Q)@(D @@®@ �Q)(j)(D) Major 7 2

Dominant 7 3 Minor 7 3 Minor 7�5 4 Major 6 5 Minor 6 5 Diminished 7 6 Dominant 9 7 M�or 9 7 Minor 11 8

Dominant 13 8

2. Dominant 7th Chords with Alterations: 9 two versions each, with roots on® and G)

Dominant 7�5 9 Dominant 7(111) 9 Dominant 7(9, 19) 10 Dominant 715 10 Dominant 7M, �13) 11 Dominant 7(alt ered): 7�5M), 7�5(19), 715(�9), 715(19) 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 ® (2)@ 16

VI I 16 �VIlli 16 Other Common Voicings : (III/I, 11/1, IIV /1, VIII, VIlli) 17

5. Inversions (each on�@®@ @®@(!) @@®@ �®@(!)) 19 Major 7 19 Dominant 7 20 Minor 7 21 Minor 7�5 23 Major 6 24 Minor 6 25

Part II. Exercises

6. Quartal Voicings Exercises 28

C Dorian Voicings 28

7. Diatonic Exercises 30 m Major on �@Q)@ 30 B Major on@®@(!) 31 FMajoron@@Q)@ 32 mMajoron�@@(D 33 F Harmonic Minor on@@®@ 34 F M elodic Minor on@@®@ 35 G Major 6 Bebop Scal e on@@®@ 36 G Minor 6 Bebop Scal e on@@@@ 37

About the Author 38

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 fmgers of your fretting hand to mute

unwanted strings. Focus your strumming (or fmger-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.

l

• When you're using yom fmgers 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 textme. You're working to put those notes on the frets;

make sme that the listener can hear them!

• While forming the chords, make sme that yom fingers are as

close to the intended frets as possible.

• When changing chords, mute the strings by lifting your fmgers

from the strings, but still touching them, to hold them still as

you slide to the next chord.

• Make sme all notes ring. If you're not hearing all the notes

clearly, keep working to cmve yom fingers and adjust yom

hand position on the intended frets to make the sound shine

through yom instrument.

Playing chords effectively takes time, and the learning process requires

practice. There are three common stages of development.

• Physical Stamina: Building yom hand muscles

• Muscle Memory: Memorizing the proper chord-voicing shapes

• Informed Musical Instincts: Using these chords to make

music

v

vi

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 tmtil 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

--E

PART I. CHORDS

'f

Chapter 1. Moveable 7th Chord Shapes

Major 7

CMaj7

.3fr

1324 1333

() JJ _:S:_

u ... u '"

T _:r i1i_ ! ': ;;;

.n i! .n :� -... _ll _I"'L ·-

c v

CMaj7

.8fr

I 342 I 342

() __._ _!j_ _1/1_

u - � -�

T i' ;; •

.n ;:: -... - ., :;) -

v

2

Dominant 7

1314

II

� -T ..

:; .Ll ;:' ,., :; g "'

I 243

II •

.__; -

T :::

.Ll -... "' g .. -

Minor 7

1312

() I

� -

T � ;; ll ::' -... :; g "'

()

�

T !

.Ll ,., g

II

�

u -... g

()

�

T Ll -... g

1324

�.

"' :� :A :� ·-

C7

'lr'

I 243

•

-., ;: :: -., "'

C-7 imrfr

L I 423

�v-::s:

:A '"'

Minor 7

3

MOVEABLE yth CHORD SHAPES

C-7 .8fr

2 333

() _l_/1/l_

� -

'T n ;;

il :: P'l -g n -

Minor 7�5

1324

tJ

� -

IT . I ;; il • ... ;;

I!;J -

2 341

11 _j_ �.

� -

T .. ! _;._ il :: P'l u g n u

4

'f

11

u

T __! Ll

--"\_ g

I 243

_l_/1/l_

-__.,_

�

_., -

C-7P5 ��lOfr

1222

� �-11 1___I

u

IT

--'1 LA ... ·-

--"l

2 341

_1l_ _l _h.._

u --'1

T ': __! _;;_ L), -

� __.,_ __IOl_ -

-E

Minor 6

Major 6

2314 1314

/) /) �

._y - ._y n

" :::; ::: :::: 1: :�; :;'

ow

2 143 2 143

/) • /) •

._y - ._y -

T n T r; � ::: :::

ll "' IJ �

-... -... ., D

�

Minor 6

2413

/) I /) "

� - �

T T :.:. � � ! :::: .u r= .u ;::; ... :; ...

,_

D � D

5

MOVEABLE 7th CHORD SHAPES

2 134 2 143

tl I• tl J•

u - u -.,

_n_ r_ _A_ ;; �

_5_ Ll -... .,

_A � -v

Diminished 7

2314

tl I tl b,-

u - u

jJ, � ;:; :; -�" ;; ·--

2 131 2 141

tJ Jk h _ili_._

u - u ---"l

IT .. _"I'_ _:; _ I :. I __,;_ £. :; -... ...ri_ __,._ g n g -

6

Minor 9

Dominant 9

2133 2143

fl _fl

u - u 1ft

T ., LI _l1_ ! _X X .Q :; .Q .�n -r\ __;_ � ·-

D w D

C9

• 3 421 2 34

fl fl

u - u -n

--"" cr _;: -:: ! �

__it ll -w I"" .,

--" LM -w

Minor 9

C-9

• 2134 2143

fl fl I

u ... u '"

T -"- I L<" ! � ! 'n'

ll � � _.-..,_ -r\ .; � ow

D w ..,

7

MOVEABLE 7th CHORD SHAPES

Minor 11

C-11

• 2 341 2 341

() I () I

� - � -

I! IT ::: I :: ::: /}. u u ... n g u u

Dominant 13

21334 I 234 --E

() - () -

� - -..! -

T '" oftu � ::: -... u � n u

I 244

() -

-..! -"

T I! :;

Ll u ... g u

8

I-

Chapter 2. Dominant 7th Chords

with Alterations

Dominant 7�5

2 341

() b. ()

.__; .... u

T ! :.

_A ;; IJ -... w -... c " ;) w

Dominant 7(#11)

2 341

() .II ()

.__; .... .__;

T .. T :.

.Q ;:: .Q ... ... c n c

2 341

b.

.... " ;; ::: w

" w

2 341

.II

.... " � :; w ., w

9

'f

DOMINANT yth CHORDS

Dominant 7(9 ) , Dominant 7#9

C9

tJ '� #L #9 . ....

� / T 'n' ! ;:;

ll � -I'\ w g

Dominant 7 #5

#s #s

10

Dominant 7 (�9 , �13 )

C7(�9,�13)

iimrfr

I 2333

(J !:>!:> .... -

� -n

T ;: � ;;

ll ;: -... -c -

Dominant 7(altered )

7�5(�9 )

T 2314

(J i;,.._ �· .,..

u -n

T � � :,.

ll. _ii -... -c -

7�5(#9 )

2314

(J b��

�

T �· I :,. IJ. ;; .... u c

Dominant 7 (altered)

21314

(J -

u -

IT _!_ L

� 1.1

21311

(J b.

u -

_:r

--"'. �

21341

h 1.._

u -

T I ll.

__n_ g

1 1

DOMINANT yth CHORDS

7 #5 (�9 )

21314 1222

li -�+' ...- tJ -�+-LL

� --.; ....

;:: ;:: ii1 u

7 #5 (#9 )

21344 1224

_D._ lf'-.- _D._ 1:1:.

� � .... .

_T_ ',' _y_ ! ;:

_4 l! 4 ::: _ri_ v _ri_ :; _Q _Q "

12

Chapter 3. Guide Tone Chords

Root 3 7

213 213

tJ _fJ_

u - � -

I T --"-

1l � 1l :; ... __;_ _ft _1i g v g v

C-7

•

C-7�5 (incomplete)

• 213 213

tJ _11

u .... u ....

IT L']"_ I __! ____,. 1l :; .1l :; ... � _io_ g v g v

13

GUIDE TONE CHORDS

CMaj6 C-6

��2fr

• 312 312

(J (J

._; - u -

T T ! ., ! .,

D. � D. � ... :; -...- .; D u D u

312

(J

._; -

IT I D. �

Jol .; D u

Root 7 3

CMaj7 C7

��Sfr

I 23 I 23

(J li

u - u -

n n i\ ;; � u n n u u

14

I udZZ l..IWLU LJ.L<.:L. LJjl.VjVI

Root 7 3

C-7P5 (incomplete) .8fr

2 34 2 34

() _l_ _ll _j_

� - � -

T T ! 0 _!c _0

ll ;; ll ;; " - l..rl_ -g n l g n - -

2 13 2 13

() () I

--E u - u -

_T .:I ! n !

lA _j_ _A _5_ �-... __1"1. [ g n g - -

2 13

() _j_

� -

T ! n

ll � Jo\ g n -

15

Chapter 4.

Triads over Bass-Note

Voicings: Roots on ® ® @

V/1 GMaj/C .7fr

2 131

tl -s- tl

u .... u

.., T ;, T

� D. D. ... -... g n g -

�VII/I

3 421

tl tl

u .... u

T T ! � !

Ll. ;, Ll. -... - -... g II g -

16

GMaj/C ��3fr

1321

....

., ':! ;: -

1111

....

::: :; ::: -

tl

u

T I D. -... g

tl

u

T !

Ll. -... g

GMaj/C ��IOfr

1341

:f:

on :::: :� :�

B�Maj!C .10fr

1121

1n :::-:;. ;;; IW

Other Common Voicings

Other Common Voicings

111/1 EMaj/C

iMrfr

I 333 I 243

tJ 1± .. tJ 1± ..

u .... u ....

T --"" � � � ":

l1 _A -... - ., t:) -

-

11/1 DMaj/C DMaj/C

��7fr .2fr

2 III 2 131

tJ ,w. tJ ,w.

u .... u .... --"

� Lr_ _;_ !, � :::

__'L l1 -1 ...

--"" LM -v

#IV/I

3 121 2 311

tJ .w.�- tJ ,w.

u q..- u q..-,

T _"i _li_ � " :; -

-... ., g -"- -

v

1 7

TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 0 ® 0

VI/I

()

�

T � ll -..... c

VII/I

(}

�

IT I � .... c

18

AMaj/C ��8fr

I 423

....

q-•n 'n

v ....

v

2 3II

.�

.... �

!, v

n "

()

�

T � ll -..... Ll

(}

�

T

ll -..... c

AMaj/C .3fr

I 423

....

q-.. I! � ., -

2 43I

.Of

-

� ;, )(

n "

Chapter 5. Inversions

Major 7

CMaj7 CMaj7/E

.3fr .5fr

1324 2413

tJ tJ •

� - �

IT .. T n ! ':: ! ;: 1l ';! 1l :: -... :; -... 'i c u I;)

CMaj7/E .. lOfr

I 342 2 134

tJ • tJ

u - �

n T :: !

l1 ;; 1l -...

� ...

c 0 c u

CMaj7/G CMaj7/B

.9fr ��12fr

2314 3412

tJ .._ -tJ ....

� u

T "' T ,., I 'n._ I ::: 1l .�n [l :-; -... :;:; ... c 'U c

--E

CMaj7 .8fr 5fr ct!ii I 342 3 Ill 3 241

• tJ tJ

- � T � -T

n T � IT ;:: ! ;: ! ;:: 1l ::' � � � ...

- r'\ �

n c ., c ., -

19

INVERSIONS

CMaj7/E CMaj7/B ��5fr .12fr

I 324 2 143 I 243 3 241 3 121

() • () ... ()

� - � � .. .. ..

T := IT IT ,u

ft ! ': ! � ! .....

u t:. l. "' -... ... -... .. -... '" c v c c ou

CMaj7/B CMaj7/G .8fr mrr

1333 2311 1113 2413

() .... (i ..IlL (i ...

� � � n .. ft

T :: T :. -::: I :: ::! !l ;: .n ::! �

-... "' -... " -, c c

@®@(i)

Dominant 7

C7 C7/BD C7/G C7/E

imrfr • 8fr

IJf'

• 1211 1112 2314

() 7 () ..IlL (i ...

� � � .. ..

IT :: IT ::! -::: ! � ! g .!

.n ;: .n ::! :: -... u -... " L c c

20

I 243

() •

� -

T n ! ;::

ll ;: -r\ -g n -

I 243

() •

� -.,

T ::' :;

ll " -r\ ., g -

G)®@(i)

Minor 7

C-7 ��3fr

1312

tJ I

� -

T ! ::

A � -r\ :; "

C7/E .!Ofr

3 142

3 142

tJ ) ...

� "

IT :: ! � n " -r\ .. g

C-7/EP

()

�

IT I n -... g

.5fr

2314

tJ •

�

T n ! ::'

A "it -r\ � g u

I 243

•

-

n � ;: u n u

C71BP • 17fr

2 Ill

tJ

� � .... T .. I ::' n ::' -... ... g � u

C7/G .Sfr

3 241

tJ

u n

IT .'" .. 'n'

ll " -r\ '" g '"

C-7/G ��Sfr

2314

fl I L

-u

T I 'n'

ll J>n -r\ l� 0 IU

tJ

�

tJ

�

tJ

u

T I

ll -r\ g

Minor 7

C7/G

• 3 241

-....

� -.. ft "'

C7/BP ��12fr

2 131

-ir

·-

l� � ::1 ... ·-'"

C-7/BP ��12fr

2314

1::::

·-

�� ]!; l:;' '"'

2 1

INVERSIONS

1423 1111

tJ • tJ IT

u u ft

T :;' ,, :;'

tl ::; :;' I'\ ·- -

1;1

@®®CD

C-7 C-7/EP same as

��Sfr • E0M•J6

!Ofr

2 333 2 143

li • li '4- li

u - u u

T n ! 0 lA

Ll :;' ::; ... " '"

1;1 n "

I 243 2 143

tJ I • li '4-

� - �

ft �

': T :;' :: I "I!

tl v .tl v ... ., .... .. 1;1 - D "

22

2314

tJ I�

u ft

'1 ;! "I! "'

C-7 C-7/BP ��Sfr .4fr

2 333 4 231

I • li I

- u p...-n . ll ;! :;' :! " "

n .. " "

3 141

li 'I'

u ft

T ...... I ,ft. £ "

.... 1n D IU

li

u

T I n

I·..; ID

C-7/EP same as • EPMaj6

1314

-

ft

'1 -:r '1

C-7/G

• 3 141

li

u -.....

T I -:r -n- 'F ..... D

...

C-7/BP .llfr

3 241

li �$

....

-.;-

T I !� n ...

I·..; O ft ID '"'

Minor 7�5

1324

() I

u -

;; ';: v

�@®(%)

C-7P5 .!Ofr

@®Q)<D

C-7P5 tlffr

2 341

()I b ..

� -

I T .. � ;,

ll ::: -... v D ft v

()

u

'f

C-?PS/EP same as EP-6 ��5fr

2413

b ..

.. � ::: � v

C-7P5/BP imrr

2314

2314

t.. ..IlL

u

T I '"' a .� .... ·� g .,

C-7P5/GP ��4fr

1213

() I �:;: fJ I ..IL

�

ft

T � :.

a ::: -... v D

C-7P5/EP same as • B-< !Ofr

2 134

u �

,.- u i!

ll "! -... D

C-7P5 C-7P5/BP .7fr ��4fr

2 341 3 121

Minor 7�5

C-7P5/EP same as

ll

EP-6

1312

tJ � ... -E

u ft

T � I .l

IJ '1 -... D

C-7P5/GP

• 2 131

tJ

u � .... IT I

l '1 -,..; D ft

23

INVERSIONS

!'J I � ...

� -n � :: -.. -

Major 6

CMaj6 ��2fr

2314

tJ

� -

T � � ::

1l � -r\ � g u

G>@®@ CMaj6 • !Ofr

1314 -

tJ �

�

"' T Hi � :::

L1. ;;; -...

IU

t:)

24

C-7P5/EP same as

bfm El>-6

m5fr

2 143

tJ � ,..._

�

�

, !I :. u

-.. "' l -

2314

tJ ...

�

T � �

1l � -... !, g

7fr ciA�'A'f'

1423

tJ -7

� " :;" ::

Ll :: -... g

2 141

tJ 'I'

� ft

T .<>;. 'n' .n u . ... n :l :J

CMaj6/G ��9fr ci:,:·A";

2314 1312

tJ - f.. ----

� �

T ft r O ft

� 'nu ::: 1l J"n !� -... ::: ""' :� g IU t:) , ..

CMaj6/G CMaj61E ��5fr

• II II 2314

tJ - tJ •

� � � ..

IT :! IT -'! I ::! � A

.n :! l = .... u -...

..

g g

Minor 6

CMaj6 CMaj6/E CMaj6/G CiA"J:'7

llr'

��5fr

lr'

12fr

2 143 3 141 3 241 I 243

tJ • tJ � tJ - tl .....

u - u u u ., 1:: " 'ft

IT 1! T ;;' T .� IT ;:; ! :: I ::' I ·� I ::::

� ll w ll � IJ. '� -... ., -... � ... 'ft ... 'n g w g g ' " g ' �

®®@<D

CMaj6 CMaj6/E CMaj6 CiA ";:'7

CMaj6/G ��7fr ��IOfr ��7fr 5fr

• 2 143 3 141 2 143 2 333 4 231

tJ • tJ • tl tl

u - u - u -- u -

..... -E

n T IT � T ):( ;;' ! 1! ;,

u :; ll :: ll ::' ll � -... ... -...

w " "' g g ft g .- g ., v v v u

Minor 6

2413 2314 2314 1324

tJ I tJ • tJ 1- tJ IT

u - u u u

T n T T ! � 1! ! 'n" ::::

u ;; lJ :; u •vn ll :�

-... ){ -... -... :::: -... :::: g " g u g ou g ...

25

INVERSIONS

(i �

�

T .:;, � �::: u .:�:; -...

OY

g

@®®CD

C-6 .7fr

2 134

fil.

� ---

T � ;;'

ll � -...

v

@@®®

C-6

i&r' 2 143

(i I •

u ---

... IT '1

� 7; ..

-... ., D v

26

1222

(i I -iJ- (i

� � ft

;;' T ;;' I

.0. !I .0. -... -... D 0

C-6/EP C-6 • IOfr .7fr

2 131 2 134

fil.

u ---

IT ft � ;;'

ll � -... D ft v

C-6/EP .5fr

2 141

C-6/G C-6/EP lllr

fr 11

2314 1214

I -#- (i •

u �

';: IT ;! I � ll y

-... D

C-6/ A same as • A-1�5 4fr

2 341

fil

u ----

T ;!

ll :! -... D � y

C-6/G ��8fr

3 141

ft '!

). s-

C-6/G

• 3 121

(i

u --.-

T I

ll � -... D ft y

C 6/A same as - A-7P5 ��llfr

2 341

(i � (i 1--- f.. ......

u u u .. ft

IT ::: IT ,uft IT L�

� � oftu � :::: l " ll u l ...

-... " -... •n ... ., D " D ou D ...

-E

PART II. EXERCISES

'f

Chapter 6. Quartal Voicings Exercises

C Dorian Voicings

(for use on C-7 or F7sus4)

lll2 1112 1234

tJ I 0

� -e- v �

T " n I :: � !:: Ll :;' :; !, ... :;' � :.. u w w w

.12fr

1113 1112 1112

tJ 1-e- ..0... -e-Tr 1-e-

�

�n � .. �" 'nw ;;, IX ':

:;' :::: �� :: � ;;:; �:; 1:;' " '" ... '"

28

li

�

T n -...

li-rr

�

n

�

1234

�

... :; X

.8fr

1134

...0... 1-e-

1ft

'nY

y

C Dorian Voicings

1123 1122

1-e- .0..

.. ... :;' ;; �

;:: y y

1122

:n:: -rr

,., :::-

:;. :x :::- ::; 'y ·�

29

Chapter 7. Diatonic Exercises

B�Major on @@@@

BDMaj7 C-7 D-7

•

.3fr .5fr

1324 1312 1312

11

� p-u- -e- �

T " " ! � :! l.!

.Q :; ;; :; ... ':: :;' :. g v v

G-7 BDMaj7 .lOfr .13fr

1312 1324

fl � ..0... ..0... I ""iT" "ft"

�

· � lA Pl 1:.' ::;- ::; i;! :;; :::; ' " ·� ' "

D-7 • 5fr

1314 1324 1312

fl 1-6" �

� � �

on n " 'ft :; ;:: .� :. !# 'n" ;; r. v v v

30

EDMaj7 .6fr

1324

�

n !# ;. � v

A-7D5 .12fr

1324 -e-

I ""iT"

' " il=l ::; ::;-·�

1312

I

-e-

;; w

F7 .8fr

1314

1 -e-

on 'n"

'n"

1312

..0...

u. :::; ::; '"

BDMaj7

• 1324

p-u-... ::; :; '::

E�Major on @ ® ® d)

EPMaj7

• 1333

tl ..

u ..

I T )] � �

ll ':: -... c

1423

tl +f

u

:A :� IV

1324

tl ��

u 1n l..,v

.� ... lnv "

F-7

1423

I -e-

:: ;; :: v

D-7P5 mm12fr

1222

.fi_ ��

I'> ::: :� :::: � �

1333

-e-t-T"r

n ::: ;;' ::' "

G-7

1423

� .fi_

.. � ::; :. v

1333

I

1., :::! :;:: ::: IV

1423

.fi_

" ::' ::; :. ....

1333

i-TT-

n li' ;;' ::' v

1222

...0... ��

I'> ::: :� :::: � �

1423

I -e-

;; :: ....

E� Major

1324

�.fi_ ��

In 'n" .� ... In

" v

1423

+f

:A :� •v

EPMaj7

• 1333

..

�

., :: � '::

3 1

DIATONIC EXERCISES

F Major on @@ ®®

FMaj7 G-7 A-7 B�Maj7 C7

•

��3fr ��5fr .6fr ��8fr

I 342 2 333 2 333 I 342 I 243

IJ ..

tJ - - p-u- -e--"U'" -e-

-e-

T ... " I! I � � � � ::: .Q :; ::;- " .; ;; ...

.. " " "

1;1 ... " I! n " " " w

D-7 E-7�5 FMaj7 E-7�5 D-7 ��IOfr .llfr .13fr .llfr ��IOfr

2 333 2 341 I 342 2 341 2 333

IJ-ft- � 'fl- � 'fl- -ft-

tJ u u

'" "' '" :::: ;,:, • :,:, ;; :::: ::; ::; :::: '" ... . .. ... '"

'" ... .... '" on ·- ... "' ... '"

C7 B�Maj7 .6fr i

I 243 I 342 2 333 2 333 I 342

() ..

tJ -e- P"U" - --e- "U"

--e-

n " " ... ;; � ::! � � � .; " � � w w w �

n I! w w w w

32

B� Major

B�Major on ® @ @ (i)

BPMaj7

• I 342 I 243 I 243 I 342 I 243

tl I<> � � �-A- I

u 1;1-u- -e- 'L'

.. .. .. .. T .; ... ;; ;; �-n � X ::; ;;! !4 .....

ll .. u u u -... ., ., .. .. c u u u u

G-7 A-7P5 A-7P5 G-7 mm!Ofr mmllfr mmllfr mm!Ofr

I 243 2 341 I 342 2 341 I 243

�# ::8:: �# tl "'iT -e- "'iT

u In 1., '"

;;:: lA IX 1': IX lA IU 1 .. 1 .. '"

1n I"' I'> I"' 1n IU 1 .. IU 1 .. IU

BPMaj7

• I 243 I 342 I 243 I 243 I 342

fl l � '-A- � I <>

u 'L' -e- P"'U" .. .. ., ., .� :;' )! ':! .\ · .. - -:; l" ::; :; u " " ..

.. .. ., ., u u " "

33

DIATONIC EXERCISES

F Harmonic Minor on @@ ®®

F--(Maj7) G-7P5 APMaj7#5 BP-7 C7

•

.2fr .4fr .6fr .8fr

I 423 2 34I I 333 2 333 I 243 /) 0

� -=- - �-e- �-u- -e-- -u--e-., "' " n :; ::' ::' )(

;, :> � ;; ;; L u u u u ., " n u u u

E"7 E"7 .llfr .llfr

I 342 2 I3I I 423 2 I3I I 342

/) �� � '-A- � '-A- ��

� VL> VL>

n ,., n ;.. :;.. ;"'n

::: ::; l': ::; ::: ·-

n ,., ,., ,., n � IL IU IL �

C7 .8fr

BP-7 • 6fr

F-(Maj7)

• I 243 2 333 I 333 2 34I I 423

/) 0

� -e- �"U" �-e- - -=-

"U" --e-n ,. .. n ;; ;; � :; :;: ;; ;; :> ;, u u u u L n " . ., u u u

34

F Melodic Minor on @

F-(Maj7) G-7

•

��3fr

I 423 2 333

(}

� - --

""U" -e-T "

� .Q A � ... .. u g " u

2 341 2 341

(i '"ft" '-A-

� �

n I� .-n lA ::: �� v ·�

n '" v ·�

C7 .8fr

I 243

(i "

� -e- p-u-n �

::; ::; ;: :.. v v n .. v v

@@�

APMaj7#5 .4fr

I 333

�-e-.. � � u

F-(Maj7) .13fr

I 423

�., Pi !'!'

·� '"

I 333

�-e-�

� � u

BP7 .6fr

I 243

p-u-"' � :, u "' u

2 341

'-A-

I� lA :� ·� '" ·�

G-7 ��3fr

2 333

-""U"

� � v ..

F Melodic Minor

C7 .8fr

I 243

0

-e-

n :: ;:: u n u

2 341

'"ft"

�

n ...... ::: ow '" ,_

F-(Maj7)

• I 423

= --e-

A �

35

DIATONIC EXERCISES

G Major 6 Bebop Scale on @ @ @ ®

GMaj6 A'ry .2fr

2 143 2 131 3 141

tJ I

u - ""U" "U" -e-IT ., • r:

� ': ;; -:; ll � ':! :. ... � v

c ft � � v v

GMaj6/D GMaj6/E same as E-7 .8fr .12fr

4 231 2 333

tJ � � -A-

u u 1-fU �

ft oft oft X i:t : :; ;:: [,!, : :; - 0- ·� oft "' - ·�

36

2 131

I��

-e-

"7 :. -:;

v

2 131

oft

i': ::: ·-

G Minor 6 Bebop Scale on @ @ @ @

2 134 2 131 2 131

tl

u - - p-u--u- -e-I T ., ..

! :; r "i ll )( ':: :--... - -g ., .. ,. - -

G-6/E same as E-7D5 .llfr

3 121 2 341

n 0 .wft- � '-R-

u .._, flo'-' �

n tn )( :� :;.. ;:; :;, ::; w ,_ OL '" ... ,_ ·-

G Minor 6 Bebop Scale

2 131

� ..

-e-

.. ;. "i

.. -

1'

,., 1':: �� ,_

3 7

38

About the Author

:------4 Ll ------� � a:

0> ·o; 0 >­__ __, .n

------.! 0 :----------.1 0 ,-----.J .<:: ..;;;;;:= ...... .......t o..

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.

-E

Musical Instruments/Guitar

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:

• Traditional notation, fretboard diagrams, and tablature for each chord

• Over 100 movable chord forms

• Multiple versions of barre and 7th chord shapes, with substitutions and

alterations

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

• Diatonic chord exercises

Rick Peckham is Assistant Chair of the Guitar

Department at Berklee College of Music. He

has mentored thousands of guitarists and is

author/instructor of the Berkleemusic online

course Guitar Chords 101 and the Berklee Press

DVD Modal Voicing Techniques.

u.s. $9.95

,IIIIJta ml�IJIIII, HL50449546

BERKLEEPRESS.COM

4_ LEARN MORE AT " BERKLEEMUSIC.COM

Berklee Press

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Boston, MA 02215 USA

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berkleepress.com

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Music, is a not-for-profit educational publisher. Available

proceeds from the sales of our products are contributed to

the scholarship funds of the college.

Cover by Robert Heath

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

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