EXAMPLEs3-5 mi­nor 7th chord dom­i­nant 7 and ma­Jor 7 har­mon­i­sa­tion

Guitar Techniques - - PLAY JAZZ -

In or­der to solo with chords one needs to know sev­eral chord types, ev­ery­where on the fret­board, so let’s be thor­ough, and dig deep into some fun­da­men­tal chords: the Mi­nor 7, Dom­i­nant 7 and Ma­jor 7. The bet­ter we know th­ese chord types and their var­i­ous shapes, the more flu­ently we can nav­i­gate a range of chord pro­gres­sions, and even har­monise any melody with any chord – the ul­ti­mate goal. Check out Joe Pass, Char­lie Byrd and Wes Mon­to­gomery’s bal­lad style for this sort of ap­proach.

eX­am­ple 3 Here is every in­ver­sion of a Dm7 chord on the top four strings of the gui­tar, fol­lowed by how one can use them to har­monise an as­cend­ing and de­scend­ing scale (D Do­rian) on the first string.

eX­am­ple 4 Here are the in­ver­sions for a G7 chord on the top four strings, fol­lowed GUI­TAR again TECHNIQUESby the har­mon­i­sa­tion2 7 2 of an as­cend­ing and de­scend­ing scale (G Mixoly­dian) with a sim­ple rhythm. Prac­tise th­ese in dif­fer­ent keys and with dif­fer­ent sim­ple melodies.

eX­am­ple 5 And here are the in­ver­sions for a Cmaj7 chord. For the har­mon­i­sa­tions I’ve used some al­ter­na­tive voic­ings us­ing 6th, 6/9 and maj13 chords; this is partly be­cause the first chord (Cmaj7/E) al­though ut­terly beau­ti­ful is quite tricky to grab at speed – so th­ese are more ‘ag­ile’ so­lu­tions. Also Cmaj7/B is quite a spiky chord (with the C in the melody and B in the bass) and I’ve of­fered the softer C6/9 with the A in the bass as an al­ter­na­tive. Ul­ti­mately, all th­ese chords come from the C Ma­jor scale and pro­vide a gen­eral ‘happy’ Ma­jor di­a­toni­cism. You might find that us­ing small bar­res with your fret­ting hand (as I do) is eas­ier than us­ing a fin­ger per note, so do ex­per­i­ment with what works for you - es­pe­cially given the speed of some changes.

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