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  #16  
Old 11-09-2017, 09:57 PM
Steve DeRosa Steve DeRosa is offline
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Quote:
Originally Posted by hotroad View Post
...I just ordered this book from Mel Bay. I am still after the very basic beginning Jazz chords that I can use in a song progression. BUT I have not said that I want to use a flat pick doing this, not finger picks yet. So this is rhythm stuff.
Good news:
  • This book starts you off with the absolute basics - major and minor progressions that modulate through a variety of keys and fingerboard positions - to allow you to gain familiarity and proficiency, before introducing the altered/extended forms most players associate with "jazz";
  • Many of the chord forms use "skip-string" voicings - where strings would be deadened when playing with a pick - so although it's billed as a rhythm method IME it lends itself equally well to fingerstyle jazz, where "inside" voice leading and moving bass lines can be heard more clearly;
Excellent choice - I've been playing for 55 years and still refer to mine regularly...
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  #17  
Old 11-09-2017, 11:31 PM
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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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  #18  
Old 11-10-2017, 03:58 AM
tdq tdq is offline
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Originally Posted by mattbn73 View Post
Mickey Baker's old jazz method book is $8 on Amazon I think? Money well spent for some fun, simple archtop-worthy chord progressions.
I had this book as a teen. I never made it past lesson 2 and it served me well for years, decades in fact, before I decided to push on into more advanced stuff.
What I'm trying to say I guess is Mickey Baker, +1.
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  #19  
Old 11-10-2017, 08:35 AM
MC5C MC5C is offline
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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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Last edited by MC5C; 11-10-2017 at 08:45 AM.
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  #20  
Old 11-10-2017, 10:38 AM
Chipotle Chipotle is offline
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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.
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  #21  
Old 11-10-2017, 11:01 AM
Wyllys Wyllys is offline
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Quote:
Originally Posted by MC5C View Post
Sometimes the melody drives the choice...
Sometimes???
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  #22  
Old 11-10-2017, 11:08 AM
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Quote:
Originally Posted by guitarmac62 View Post
Iíve been dabbling with jazz on my archtops as well. I purchased a video course off of the Truefire website. Itís called Jazz 1-2-3 taught by Frank Vignola. Great starter course. He teaches 3 moveable chord forms and 3 basic rhythms you can use to play many jazz songs. They have many other courses as well.
Frank Vignola rocks!

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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  #23  
Old 11-11-2017, 07:12 AM
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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.

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  #24  
Old 02-08-2018, 12:43 PM
love the guitar love the guitar is offline
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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.
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  #25  
Old 02-13-2018, 10:42 AM
upsidedown upsidedown is offline
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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.
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  #26  
Old 02-13-2018, 11:36 AM
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min7b5 min7b5 is offline
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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.
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Last edited by min7b5; 02-14-2018 at 08:47 AM.
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  #27  
Old 02-13-2018, 12:04 PM
Bluemonk Bluemonk is offline
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Quote:
Originally Posted by min7b5 View Post
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 in load). And just live in the one tune for a month or more, until you're ready to go bananas... Then as you 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 a pretend set list... But if you are just memorizing chords by rote and playing them into thin air.... It's gonna take forever.
+1!

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.
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  #28  
Old 02-23-2018, 05:46 AM
hatefulsob hatefulsob is offline
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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.
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  #29  
Old 06-11-2018, 11:55 PM
wildisthewind wildisthewind is offline
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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
B^6:
Code:
7 x 6 7 8 x
(for one famous usage, see https://youtu.be/htc7nJDyg_A?t=1m39s)

Bm69:
Code:
7 x 6 7 7 9
or
Code:
x 2 0 1 2 2
B13(b9):
Code:
7 x 7 5 4 4
Bm9:
Code:
7 9 x 7 10 9
or the more common
Code:
x 2 0 2 2 (2)
B^9(13):
Code:
7 x 8 8 9 9
(the only voicing I could find when learning https://www.youtube.com/watch?v=rnv1qdi-lx0)

Oh and, recently, whatever this thing is:
Code:
7 x 7 6 6 x
- I think it's a B9b5 with the 3rd omitted (76766x) but I like using it in place of the F# augmented chord.

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.
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  #30  
Old 06-12-2018, 09:18 PM
jomaynor jomaynor is offline
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Quote:
Originally Posted by wildisthewind View Post

Oh and, recently, whatever this thing is:
Code:
7 x 7 6 6 x
- I think it's a B9b5 with the 3rd omitted (76766x) but I like using it in place of the F# augmented chord.
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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