Acordes jazz

edited by jonathan feist

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 www.berkleepress.com Visit 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 Part I. Chords 1. Moveable 7th Chord Shapes (each on 5 4 3 2 5 3 2 1 ) 4 3 2 1 6 4 3 2Major 7 Dominant 7 Minor 7 Minor 7%5 Major 6 Minor 6 Diminished 7 Dominant 9 Minor 9 Minor 11 Dominant 13 2. Dominant 7th Chords with Alterations: two versions each, with roots on 6 and 5 Dominant 7%5 Dominant 7(#11) Dominant 7(9, #9) Dominant 7#5 Dominant 7(%9, %13) Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 3. Guide Tone Chords Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major6, Minor 6, Diminished 7) Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6, Minor 6, Diminished 7) 4. Triads over Bass-Note Voicings with Roots on 6 5 4 V/I %VII/I Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I) 5 4 3 2 1 6 4 3 2 5. Inversions (each on 5 4 3 2 Major 7 Dominant 7 Minor 7 Minor 7%5 Major 6 Minor 6 Part II. Exercises 6. Quartal Voicings Exercises C Dorian Voicings7. Diatonic Exercises B% Major on 5 4 3 2 E% Major on 4 3 2 1 F Major on 6 4 3 2 B% Major on 5 3 2 1 F Harmonic Minor on 6 4 3 2 F Melodic Minor on 6 4 3 2 G Major 6 Bebop Scale on 6 4 3 2 G Minor 6 Bebop Scale on 6 4 3 2 About the Author iv 2 2 3 3 4 5 5 6 7 7 8 8 9 9 9 10 10 11 11 13 13 14 16 16 16 17 19 19 20 21 23 24 25 28 28 30 30 31 32 33 34 35 36 37 38

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Introduction
TheBerklee 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 youto 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 thestrings 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 allthe 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!

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

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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.

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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...