#16
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#17
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Thanks so so much to everyone who has added your input here. Its a huge help to me who has played acoustically for over thirty years but never played a single jazz chord. I am finding it an exciting new adventure to get into jazz music and my archtop which I have fallen in love with already.
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Martin D-28 '67 Cole Clark Fat Lady 2 Taylor Doyle Dykes Custom Alvarez Fender Strat '69 Gibson 1942 Banner LG-2 Vintage Sunburst Gibson SJ-200 Taylor Myrtlewood 12 string Emerald X20 Godin Montreal w/piezo |
#18
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What I'm trying to say I guess is Mickey Baker, +1.
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National Resophonic NRP 12 Fret Loar LH-700-VS Archtop Eastman E8-OM Herrmann Weissenborn Recording King RP-10 Recording King RG-35-SN Lapsteel Maton 425 12-string ESP 400 series telecaster Eastman T485 Deering Americana Banjo My Youtube Last edited by tdq; 11-10-2017 at 05:29 AM. |
#19
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When I think of and play jazz chords, I think of three and four note chords, often with no root, and never in first position (no open "cowboy" chords at all, ever). If I play no root, that is because the root is implied by the harmony - like a V chord in a II-V-I sequence that I play as 3, b7, 9, 13. I focus on three and four note voicings because I can add a root bass note on the 4, 5, 6 strings pretty easily if I am playing chord melody. I probably focus on a few voicings, maybe three or four for each type of chord, and I substitute a lot. I may do a b5 sub for a 7th chord, Maj7 or Maj6 or even a 6/9 for any major chord, m7 for any minor chord, 9, 13, and all sorts for dominant 7 chords. Sometimes the melody drives the choice, many tunes have a b9 in the melody over a V chord, so I play a 9b5 chord instead of a Dom7 chord. It's been said that well over 50% of classic jazz tunes, particularly in the bebop era, were over blues changes of some sort or rhythm changes (I got Rhythm) so just learning some ways to comp through those two tunes is a great start.
One other thing - if you are playing from a fake book, keep in mind that a lot of those chord call-outs are way over complex and not needed. Look at the melody note, the chord position and play something that fits. Like if you have to play a II chord, that's minor and you can play almost any minor chord you feel like as long as it has a b3 and the other notes aren't closer than a full tone to the melody note. One other other thing. Often in jazz you leave a lot of space. If you have a II-V-I sequence over four bars you might play the II for a half note then rest, just pop the V for an 8th note in the second bar, and comp something interesting but sparse in the last two bars.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. Last edited by MC5C; 11-10-2017 at 09:45 AM. |
#20
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When I was learning back in the day, I got a handout from a workshop with a gazillion chord forms on it. The key (ha, see what I did there) was to learn 2-3 chord forms and where the root of each chord was. Then all you needed to do when you saw a chord on the chart was to find the root note and play that chord form. It was much like @mrbeaumont's video approach.
For example, you need a Gmaj7. Find the root G on the 6th string 3rd fret, and play the maj7 chord form with the 6th string root. Or find the root G on the 5th string 10th fret, and play the maj7 chord form with the 5th string root. It works with chord forms that omit the root as well, as long as you remember where the "implied" root of the chord would be in relation to the chord form. And like @mc5c says, you can often simplify. When you're starting out, e.g., any dominant chord can be a 7th, until you learn a few more forms to round out a 9th or 13th. |
#21
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#22
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He's one of many folks on youtube that offer great stuff for what you want. search youtube for "jazz starter chords" and i'm sure you can stay busy for days!
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |
#23
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Here's a jazz chord tutorial I uploaded. You can get a PDF of the tab/diagrams HERE. It's had over a million views and about 10k likes on YouTube, which surprised me, but maybe its a decent lesson.
Last edited by 815C; 08-14-2018 at 09:08 AM. |
#24
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I'll second Mickey Baker's book I for jazz guitar.
Another approach is to get a book with a lot of chords in it then: 1. On the 3rd fret of the Low E string (G), learn all the chords you can make from there in G. 2. Move over to the A string on the 3rd fret (C) and learn all the chords you can make from there in C. Now you accompany in all keys by sliding up and down the neck as needed. 3. Learn the chords on the highest pitched 4 strings to aid in soloing etc. I'm self taught with the aid of a lot of books and videos (along with school band as a kid). This approach will get you there. As you find the chords in the book, listen to them...find the one's you like. |
#25
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Here's something fun to mess around with. Look at the box at the top right. It pops up at the 20 second mark.
Oh, and you can slow down YouTube playback now, by clicking the tools button. |
#26
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I would find a good teacher in your area (or online) and tell them you want to go through Autumn Leaves in chords, a few different ways. It's a good study tune that has both major and minor ii V I's, doesn't really change keys, it's in a guitar friendly key.. But learn chords and everything else in the context of a tune (in my opinion you should read that sentence two more times). And just live in the one tune for a month or more, until you and everyone around you is ready to go bananas... Then later, as you do add new tunes, each will come together more quickly -ultimitly I try to get students to make a list of ten tunes to focus on for a year as a pretend set list... But if you are just memorizing chords by rote and playing them into thin air.... It's gonna take forever.
Last edited by min7b5; 02-14-2018 at 09:47 AM. |
#27
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In jazz, chords are all about voice leading - each note of one chord leading smoothly to a note in the next chord. Chords in isolation don't mean a whole lot. |
#28
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Check out http://www.jazzguitar.be/
the second line with lesson, chords, gear, premium lessons is a great resource with multiple modules of specific information. Also, if you register and join the forum, you can post questions about anything you need help with and likely get generous support and answers. Good luck. |
#29
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Since practical advice on voiceleading and the importance of context has already been offered, I'll just throw in a few of my favorites. See if you can find how they move to or from other chords.
B+#9: Code:
7 x 7 8 8 10 Code:
7 x 6 7 8 x Bm69: Code:
7 x 6 7 7 9 Code:
x 2 0 1 2 2 Code:
7 x 7 5 4 4 Code:
7 9 x 7 10 9 Code:
x 2 0 2 2 (2) Code:
7 x 8 8 9 9 Oh and, recently, whatever this thing is: Code:
7 x 7 6 6 x One thing to notice is how little-used the unaltered 5 is in jazz voicings. This is especially true on guitar, where it's usually the first thing to go when building a chord with multiple extensions ("color" notes, above the 7th). Also, basically everything in jazz has a 7th, whether dominant, major, or diminished. |
#30
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Yes, a B9b5. Or as an A+ added2. The 766 part is an A augmented triad with an added 2 (B note) in the bass which fits because the B fits into the A augmented/whole tone scale. Thus you could also move that same chord up or down by two frets (or four frets) and it would still sub for an A aug triad.
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