Advanced Scales and Chords Table of Contents

Transcription

Chapter 4, ADVANCED SCALES AND CHORDS, Page 1, General Introduction
Advanced Scales and Chords
Table of Contents
GENERAL INTRODUCTION ......................................................................... 4
FLASHCARDS .............................................................................................. 5
THE LEARNING GAME ..................................................................................................................................5
PLAYING THE NOTES ...................................................................................................................................5
INTERVALS .................................................................................................. 9
BASIC INTERVALS.......................................................................................................................................10
ALTERED INTERVALS .................................................................................................................................11
ADVANCED SCALES ................................................................................. 12
THE PENTATONIC SCALES........................................................................................................................12
DIMINISHED HANDS....................................................................................................................................13
WHOLE-TONE HAND ..................................................................................................................................14
CHURCH MODES IN ALL KEYS ..................................................................................................................15
ARTIFICIAL CHURCH MODES ....................................................................................................................16
APPLICATION OF SCALES TO CHORDS ................................................. 18
CHORD THEORY........................................................................................ 20
REHEARSING THE CHORDS......................................................................................................................20
ROCK AND JAZZ TERMINOLOGY ..............................................................................................................20
FUNCTIONAL HARMONY / DIATONIC TRIADS .........................................................................................21
SEVENTH CHORDS (4 PARTS) ..................................................................................................................22
SIXTH CHORDS (4 / 5 PARTS)....................................................................................................................23
SUS CHORDS ..............................................................................................................................................23
CHORDS WITH ADDED NOTES .................................................................................................................24
CHORDS WITH BASS NOTE.......................................................................................................................24
EXTENDED CHORDS ..................................................................................................................................25
NINTH CHORDS (5 PARTS) ........................................................................................................................26
DOUBLE-ALTERED CHORDS .....................................................................................................................27
ELEVENTH CHORDS (6 PARTS) ................................................................................................................27
THIRTEENTH CHORDS (7 PARTS) ............................................................................................................28
STACKED CHORDS .....................................................................................................................................29
POLYCHORDS .............................................................................................................................................29
CHORD DICTIONARY ................................................................................ 30
STANDARD CHORDS ..................................................................................................................................31
EXTENDED CHORDS, 7 ..............................................................................................................................32
EXTENDED CHORDS, 9 ..............................................................................................................................33
EXTENDED CHORDS, 11 ............................................................................................................................34
EXTENDED CHORDS, 6 ..............................................................................................................................35
EXTENDED CHORDS, (B5) .........................................................................................................................36
NEUTRAL CHORDS, + .................................................................................................................................37
NEUTRAL CHORDS, DIM ............................................................................................................................38
NEUTRAL CHORDS, SUS ...........................................................................................................................39
MOVABLE CHORDS, ADVANCED JAZZ .....................................................................................................40
THE BARRE CHORD ...................................................................................................................................41
INDEX SCALES AND CHORDS ................................................................. 42
All Aspects of ROCK & JAZZ
Volume 2 – The Electric Bass
ADVANCED SCALES AND CHORDS 4 of 7 Documents
ISBN 87-88619-70-2
nd
st
2 Edition, 1 Issue
Summer 2001 Produced in Denmark
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Text, notes and musical examples:
© Copyright H.W. Gade 2001
Illustrations, layout and concept, original text
© Copyright H.W. Gade 1984-85/2001
All rights reserved. Copying or reproduction in full/in extension not allowed. No public hire of the material
allowed without the written permission of the publishing house.
General Introduction
This chapter of the Electric Bass deals with some heavy theoretical stuff. It is divided
into Scales (Flashcards, Intervals, Advanced Scales) and Chords (Chord Theory,
Chord Dictionary). Flashcards and Intervals are obligatory for all bass players, no
matter what style they play - Jazz, Rock, Salsa, Reggae or High Life. The Advanced
Scales chapter is primarily targeted at jazz musicians. The Chord Theory is
obligatory for all bass players, containing lots of examples of guitar chords, as you
will have to be able to play rather professionally on a guitar in order to understand
the bass and its role in the orchestra – regard the Chord Dictionary chapter as a mini
course in advanced rhythm guitar playing.
Chapter 4, ADVANCED SCALES AND CHORDS, Page 5, Flashcards
Flashcards
Flashcards are widespread memory games used by students in disciplines as
mathematics, language and music alike. You have a set of card covering a certain
subject, in our case the names of the notes of the fretboard for each string. The idea
is to learn the positions and names by heart in order to play fluently across the whole
neck.
THE LEARNING GAME
The Fretboard Quiz Game consists of twelve cards, each representing a step within an
octave on one string, for example E root to E first octave on the E-string. The cards are
included in this book. Print out the front back (question) and the results page (answer) and glue
them together, laminate them and cut the 12 cards out with a pair of scissors.
In the learning period, always keep the twelve cards in your pocket or bag. When you have a
spare moment, e.g. riding in a bus or standing in a queue, produce a card and list the fret name
of the selected flashcard for each string on the fretboard, e.g. from the G-string down to the Bstring. When you get more experienced, you may simply ask yourself a random fret number,
listing all the names on all strings.
Finally, when you have a solid grip on the first octave, you must add the second octave, which
happens to have the same names as the first octave, only placed 12 frets higher.
PLAYING THE NOTES
It is equally important to play the notes on the bass as learning it by heart. The position on the
fretboard should be connected to the name in your brain as second nature.
Rehearse the names physically on the bass 30min a day, while playing the game at least 10
minutes a day in your pauses or spare time.
Fig. 1 Flashcard Templates
 Front of Flashcard (questions)
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fret #1
Fret #2
Fret #3
Fret #4
© Digital Books™
© Digital Books™
© Digital Books™
© Digital Books™
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fret #5
Fret #6
Fret #7
Fret #8
© Digital Books™
© Digital Books™
© Digital Books™
© Digital Books™
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
All Aspects of
ROCK & JAZZ
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fretboard Quiz
Fret #9
Fret #10
Fret #11
Fret #12
© Digital Books™
© Digital Books™
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© Digital Books™
(Fig. 2 Flashcard Templates, continued)
 Back of Flashcard (answers)
Notes on Fret 1
Notes on Fret 2
Notes on Fret 3
Notes on Fret 4
String
String
String
String
G
D
A
E
B
Up
Down
G#
D#
A#
F
C
Ab
Eb
Bb
F
C
G
D
A
E
B
Up
Down
A
E
B
F#
C#
A
E
B
Gb
Db
G
D
A
E
B
Up
Down
A#
F
C
G
D
Bb
F
C
G
D
G
D
A
E
B
Up
Down
B
F#
C#
G#
D#
B
Gb
Db
Ab
Eb
Notes on Fret 5
Notes on Fret 6
Notes on Fret 7
Notes on Fret 8
String
String
String
String
G
D
A
E
B
Up
Down
C
G
D
A
E
C
G
D
A
E
G
D
A
E
B
Up
Down
C#
G#
D#
A#
F
Db
Ab
Eb
Bb
F
G
D
A
E
B
Up
Down
D
A
E
B
F#
D
A
E
B
Gb
G
D
A
E
B
Up
Down
D#
A#
F
C
G
Eb
Bb
F
C
G
Notes on Fret 9
Notes on Fret 10 Notes on Fret 11 Notes on Fret 12
String
String
G
D
A
E
B
Up
Down
E
B
F#
C#
G#
E
B
Gb
Db
Ab
G
D
A
E
B
Up
Down
F
C
G
D
A
F
C
G
D
A
String
G
D
A
E
B
Up
Down
F#
C#
G#
D#
A#
Gb
Db
Ab
Eb
Bb
String
G
D
A
E
B
Up
Down
G
D
A
E
B
G
D
A
E
B
Ask the Professor!™
Q: What is Tablature???
A: The tablature is a 500 years old alternative notation system for stringed
instruments like basses and guitars. Opposite to the prevailing music notation,
tablature uses the strings with numbers (in the renaissance: letters) to show the
individual notes, their pitch and their exact placing on the guitar. This is can be
a great advantage for the player, but it can limit your fantasy, as traditional
notation does not tell you which string and fret to play, for example an E note,
leaving it up to own your talent and style. For transcription of famous solos etc
though, the tablature is a must. After 20 year in obscurity, the tablature is now
(year 2001) very common among young guitarists – but do not forget to learn
the traditional notes too!
1 Strings, sometimes with letters
2 TAB “clef”, sometimes omitted
3 Meter
The example in traditional notation
4 Fret numbers (chord)
5 Rests, sometimes omitted
6 Note stem, sometimes omitted
Chapter 4, ADVANCED SCALES AND CHORDS, Page 9, Intervals
Intervals
The building bricks of all scales and chords are named Intervals. You can read more
about Interval theory in the All Aspects of ROCK & JAZZ/1 Music Theory, chapter
Harmony. In this book, you will find a number of ways to employ the intervals on the
bass. As usual, it is important to rehearse the theoretical stuff in real life, i.e. with
your fingers, so try to play the intervals immediately after reading about them.
The distance between 2 frets (marks on the neck on a fretless bass) is half a note step.
Each octave is divided into 12 steps.
BASIC INTERVALS
Fig. 3 Basic Intervals
#
Name
Description
Distance in Frets
1
Prime
0 steps
0 frets
b2
Minor Second
Half step
1 fret
2
Major Second
1 whole step
2 frets
b3
Minor Third
1 whole Step + Half Step
3 frets
3
Major Third
2 whole Steps
4 frets
4
Perfect Fourth
2 whole Steps + 1 Half Step
5 frets
#4
Augmented Fourth
3 whole Steps
6 frets
b5
Diminished Fifth
(Tritonus) *)
3 whole Steps
6 frets
5
Perfect Fifth
7 frets
b6
Minor Sixth
4 whole Steps
8 frets
6
Major Sixth
9 frets
b7
Minor Seventh
5 whole Steps
10 frets
7
Major Seventh
11 frets
8
Octave
6 whole Steps
12 frets
*)
*)
Enharmonic Notes, see All Aspects of ROCK & JAZZ/1 Music Theory
ALTERED INTERVALS
In jazz, the intervals are often “altered”, i.e. diminished or augmented. Learn the names by heart
and do not be confused by the somewhat misleading naming convention, which is a parallel to
the illogical functional harmonic system in Jazz (I, II, III etc.).
Fig. 4 Altered Intervals
Name
Original Interval
Frets
New Interval
Frets
Diminished
Minor
Major
Second (2)
2
Diminished Second
1
Minor Third (b3)
3
Diminished Minor Third
2
Fourth (4)
5
Diminished Fourth
4
Fifth (5)
7
Diminished Fifth
5
Minor Sixth (b6)
9
Diminished Minor Sixth
8
Minor Seventh (b7)
10
Diminished Minor Seventh
9
Second (2)
2
Diminished Second
1
Major Third (3)
3
Diminished Major Third
3
Fourth (4)
5
Diminished Fourth
4
Fifth (5)
7
Diminished Fifth
5
Major Sixth (b6)
9
Diminished Major Sixth
9
Major Seventh (b7)
10
Diminished Major Seventh
11
Second (2)
2
Augmented Second
3
Minor Third (b3)
3
Augmented Minor Third
4
Fourth (4)
5
Augmented Fourth
5
Fifth (5)
7
Augmented Fifth
6
Minor Sixth (b6)
9
Augmented Minor Sixth
10
Minor Seventh (b7)
10
Augmented Minor Seventh
11
Second (2)
2
Augmented Second
3
Major Third (3)
3
Augmented Major Third
4
Fourth (4)
5
Augmented Fourth
6
Fifth (5)
7
Augmented Fifth
8
Major Sixth (b6)
9
Augmented Major Sixth
10
Major Seventh (b7)
10
Augmented Major Seventh
12
Augmented
Minor
Major
Chapter 4, ADVANCED SCALES AND CHORDS, Page 12, Advanced Scales
Advanced Scales
In the All Aspects of ROCK & JAZZ/1 Music Theory, you can find the theoretical
basis of scales. In this section, we will work with the advanced scales used in Jazz
music.
THE PENTATONIC SCALES
A pentatonic scale is a neutral scale, and should not be classified as a major or minor scale due
to lack of the active scale degrees (the fourth and Seventh scale steps in a major scale).
Nonetheless, many teachers and music books use an artificial and incorrect major/minor system
for the neutral pentatonic scales, so, not to confuse you, the same terminology is used in this
chapter as well.
Fig. 5 C Major Pentatonic Scale
The Major Pentatonic Scale is similar to the Major Blues without a Fourth and Seventh.
Fig. 6 E Minor Pentatonic Scale
The Minor Pentatonic Scale is identical to the Original Pentatonic Scale:
DIMINISHED HANDS
All Diminished scales are based on stacked minor thirds. In jazz, you distinguish between
Diminished Half Step and Whole Step Scales.
Fig. 7 Diminished Half Step Scale
Fig. 8 Diminished Whole Step Scale
Fig. 9 Diminished Hand
Diminished scales are symmetrical, parallel scales. In reality, only three keys exist, C, C# and D
each divided into 4 stacked minor thirds.
WHOLE-TONE HAND
The whole-tone scale (“Debussy Scale”) is a neutral, symmetric scale. Only two keys exist, C
and C#.
Fig. 10 Whole-tone Scale
Fig. 11 Whole-tone Hand
Whole-tone Scale
CHURCH MODES IN ALL KEYS
The church modes consist of a Base Key (major) and the 7 modes placed on the scale steps.
The following table shows how to find the modes in all the 12 major keys.
Fig. 12 Church Modes in All Keys
Key
Ionian
Dorian
Phrycian
Lydian
Base
MAJOR
C
C
Dm
Em
F
Db
Db
Ebm
Fm
D
D
Em
Eb
Eb
E
Mixolydian
Aolean
Locrian
MINOR
MODAL
G
Am
Bdim
Gb
Ab
Bbm
Cdim
F#m
G
A
Bm
C#dim
Fm
Gm
Ab
Bb
Cm
Ddim
E
F#m
G#m
A
B
C#m
D#dim
F
F
Gm
Am
Bb
C
Dm
Edim
F#
F#
G#m
A#m
B
C#
D#m
E#dim
G
G
Am
Bm
C
D
Em
F#dim
Ab
Ab
Bbm
Cm
Db
Eb
Fm
Gdim
A
A
Bm
C#m
D
E
F#m
G#dim
Bb
Bb
Cm
Dm
Eb
F
Gm
Adim
B
B
C#m
D#m
E
F#
G#m
A#dim
MODAL
NOTE The modes are named with a “pseudo” key, in “Major”, “Minor” or “Diminished”. The
names are only guidelines, as for example a D minor Dorian, is not a normal minor but a
church mode, which happens to look a bit like a minor scale.
ARTIFICIAL CHURCH MODES
JAZZ Although not really authentic Church Modes, the inventive jazz musicians have
experimented with artificial “modes” based on for example a Melodic Minor Scale. Here is
what the table for these artificial Church Modes looks like. The most common artificial church
modes in jazz are marked with lime green.
Fig. 13 Artificial Church Modes based on Melodic Minor in All Keys
Key
Aolean
Locrian
#2
Ionean
Dorian
Locrian,
Super
Lydian
Aug.
Locrian,
Super
Base
Minor
MODAL
Major
Cm
Cm
Ddim
Eb
Fm
Gdim
A
Bdim
C#m
C#m
D#dim
E
F#m
G#dim
A#
Cdim
Dm
Dm
Edim
F
Gm
Adim
B
C#dim
Ebm
Ebm
Fdim
Gb
Abm
Bbdim
B#
Ddim
Em
Em
F#dim
G
Am
Bdim
C#
D#dim
Fm
Fm
Gdim
Ab
Bbm
Cdim
D
Edim
F#m
F#m
G#dim
A
Bm
C#dim
D#
E#dim
Gm
Gm
Adim
Bb
Cm
Ddim
E
F#dim
G#m
G#m
A#dim
B
C#m
D#dim
E#
Gdim
Am
Am
Bdim
C
Dm
Edim
F#
G#dim
Bbm
Bbm
Cdim
Db
Ebm
Fdim
G
Adim
Bm
Bm
C#dim
D
Em
F#dim
G#
A#dim
MODAL
Fig. 14 Locrian #2 Mode
Locrian #2 Mode is used for playing over minor chords with flattened fifths.
Fig. 15 Diminished Whole-tone Mode / Altered Scale
Super Locrian Mode (Altered Scale) This mode is also called the altered scale, and this
name is used in the section Application of Scales to Chords.
Fig. 16 Lydian Augmented Mode
Lydian Augmented Mode is used over major chords with augmented fifth.
Fig. 17 Lydian Dominant Mode
A variation of the above artificial mode is the Lydian Dominant Mode used over dominant
chords.
Chapter 4, ADVANCED SCALES AND CHORDS, Page 18, Application of Scales to Chords
Application of Scales to Chords
This section is the advanced part of the Leading notes section in Chapter 3, Playing
in the Band. Here you find a table with suggestions of some possible choices of scale
types for various chord types. Please note that most of the chord types have
alternative scale types for Jazz and Rock. This is very important, as the choice of
scale type is the decision whether to play in rock or jazz style.
Chapter 4, ADVANCED SCALES AND CHORDS, Page 19, Application of Scales to Chords
Fig. 18 Scale Types for Various Chord Types (Suggestions only)
Chord Type
Suggested Scale Type
Major triad, maj7, maj6, maj6+9,
maj9 (when the chord is the tonic, I
maj, in a major key)
ROCK Major
JAZZ Major scale, major pentatonic
Major triad, maj7, any major chord
with #11 added (when the chord is
subdominant, IV maj in a major key)
ROCK Lydian
JAZZ Lydian mode, major pentatonic a major second above the root
Maj9, maj6+9 (except I maj in a
major key)
ROCK Major
JAZZ Major pentatonic a perfect fifth above the root
Maj7#5 (+(maj7))
ROCK Lydian
JAZZ Lydian augmented mode
Minor triad, m7, m9, m6, (when the
chord is the tonic, I min, in a minor
key)
ROCK Natural Minor
JAZZ Minor scale, minor pentatonic (= major pentatonic a minor third
above the root), Aeolian mode
Minor triad, m7, m9, m11, m7sus4
(when the chord is II min (SDm) in a
major key, or IV min (SDm) in a
minor key)
ROCK Dorian mode
JAZZ Dorian mode, major pentatonic a major second below the root
Minor triad, m7, m9, (when the chord
is III min (Dm) in a major key, or V
min (Dm) in a minor key)
ROCK Phrygian mode
JAZZ Minor pentatonic (= major pentatonic a minor third above the
root), Phrygian mode
Any minor chord with b5
ROCK Dim scale scale
JAZZ Locrian #2 mode, (”usual ” locrian mode can be used if the b9 is
omitted)
m(maj7)
ROCK / JAZZ Harmonic minor scale
Dominant seventh, dominant ninth,
dominant thirteenth
ROCK Mixolydian mode, blues scale
JAZZ Mixolydian mode, major pentatonic, major pentatonic a minor
second below the root, blues scale, melodic minor scale, Lydian
dominant mode
Altered dominant chord with b9 or #9
((-9)(-10))
ROCK Blues scale
JAZZ Diminished half-step scale, altered scale
Altered dominant chord with b5 or #5
( +)
ROCK Lydian mode (b5) or whole note scale (+)
JAZZ Whole-tone scale, altered scale (chords with b5/#11 can be
played over with the Lydian dominant mode)
Double-altered dominant chord with
b9/#9 ((-9-10)) and b5/#5 (+(#11))
ROCK Blues scale or Lydian augmented mode
JAZZ Altered scale, major pentatonic a diminished fifth above the root
Dominant 11, dominant 9sus4 (sus9)
ROCK Mixolydian mode or blues scale
JAZZ Major pentatonic a perfect fourth above the root
Diminished 7 (dim7)
ROCK / JAZZ Diminished whole-step scale
You can of course choose to play in only one scale all through tune, but this tends to sound a little
boring if you do it all the time. Country and Folk Music tends to use the standard scale all the time,
but both Rock and Jazz have always used lots of strange scales to the chords. It is up to you and
your personal style.
Chapter 4, ADVANCED SCALES AND CHORDS, Page 20, Chord Theory
Chord Theory
The basic Chord form is the Triad. It consists of three notes played at the same time.
Extended chords are triads with one or more added “colour” notes. See All Aspects
of ROCK & JAZZ /1 Music Theory, Harmony for all the details of Chord Types,
Functional Harmony, Modal and Sound Aspects in chords.
Fig. 19 The Six Basic Triad Types
REHEARSING THE CHORDS
When you rehearse the chords on the bass and the guitar, you must learn the typical sound of
the chord (Sound Aspect) as well as its “mechanics”, i.e. the typical colour notes and interval
structure of each chord. This knowledge is essential for being able to recognize the chords by
ear and to construct a powerful, yet clear bass to all kinds of chord, even the heavily extended
ones.
On guitar, the chords can be played as either open or movable/barre chords, similar to the
open hands and the movable hands in Chapter 2, Bass Technique.
The bassist is supposed to handle the guitar at a very high technical level, so it is very important
to rehearse all the chords intensely for a period of maybe one year before you can rely on your
own ability to recognize the chord structures and play the best possible bass to the chords.
ROCK AND JAZZ TERMINOLOGY
The use of Chord and Functional Harmony terminology differs greatly between rock and jazz.
To view the many different systems, please see All Aspects of ROCK & JAZZ /1 Music
Theory, Harmony. In books written by jazz players, Roman numerals are used for Chord
functions (American tradition). The rock version of the function symbols is added after the
numeral. (D(m) = Dominant SD(m) = Subdominant DD = Double Dominant m = Parallel
Minor). The green colour is also used for stating different chord symbols in rock.
FUNCTIONAL HARMONY / DIATONIC TRIADS
In the All Aspects of ROCK & JAZZ 1 / Music Theory, you will find a comprehensive chapter
of Harmony, including the complicated theory on Functional Harmony, i.e. the functional
relationship between chords in a scale. In the next two figures, you can find examples of a
major and a minor scale.
Fig. 20 Diatonic Triads in D Major
American
System
I major
II minor
III minor
IV major
V major
VI minor
VII diminished
Rock
System
T (Tonic)
SDm (Subdominant parallel minor)
Dm (Dominant parallel minor)
SD (subdominant)
D (dominant)
Tm (Tonic parallel minor)
-
Fig. 21 Diatonic Triads in D Minor
American
System
I minor
II diminished
III major
IV minor
V minor
VI major
VII major
Rock
System
Tm (Tonic parallel minor)
T (Tonic)
SDm (Subdominant parallel minor)
Dm (Dominant parallel minor)
Sd (Subdominant)
D (Dominant)
SEVENTH CHORDS (4 PARTS)
Fig. 22 Seventh Chords in D Major
Seventh Chord Types Major 7, minor 7, dominant 7 and minor 7 (b5) (m(b5)7).
Function Seventh Chord Names Imaj7 (T maj7), IImi7 (SDm 7), IIImi7 (Dm 7), IVmaj7
(SD maj7), V7 (D 7), VImi7 (Tm 7), VIImi7(b5).
Jazz The ten seventh chord main types
Major 7 (maj7)
Root, major third, perfect fifth, major seventh.
Minor 7 (m7)
Root, minor third, perfect fifth, minor seventh.
Dominant 7 (7)
Root, major third, perfect fifth, minor seventh.
Diminished 7 (dim)
Root, minor third, diminished fifth, diminished seventh.
Minor/major 7 (m(maj7))
Root, minor third, perfect fifth, major seventh.
Major 7 (#5) (+(maj7))
Root, major third, augmented fifth, major seventh.
Major 7 (b5) ((b5)maj7)
Root, major third, diminished fifth, major seventh.
Dominant 7 (#5) (+7)
Root, major third, augmented fifth, minor seventh.
Dominant 7 (b5) ((b5)7)
Root, major third, diminished fifth, minor seventh.
Minor 7 (b5) (dim)
(or half diminished chord) root, minor third, diminished fifth,
minor seventh.
Fig. 23 The Ten Seventh Chords
NOTE the second line of chords follows the rock tradition
SIXTH CHORDS (4 / 5 PARTS)
The sixth chord is the most common coloured chord, beside the seventh chords. It was also the
first extended chord in the 1800-ies, in the beginning regarded as a sharply dissonant chord.
The sixth note is the same in both the major and minor versions of the chord despite the fact the
minor scale sixth should be half a note lower than the major sixth. This chord, also called a
Naples Chord, has a very long tradition in classical music. It was extremely popular in early
jazz and even Beatles has used it a lot on their early records.
Fig. 24 Sixth Chords
SUS CHORDS
Suspended chords (sus) are neutral, working well in either major or minor. Traditionally, it is
used for cadences, resolving into a major chord (the suspended note, usually a fourth down to a
major third). In modern rock music, the suspended chords are often used as a background
chords, sometimes mixed with eleventh chords. This way, the gender of the scales are blurred,
making way for both blues, modal and major scales. Typical examples of suspended chords can
be found in the music of Nirvana.
Normally the suspended chords are simply called sus, but in jazz there are two types of
suspension, sus4 and sus2. The latter should rather be called diminished (dim3 for example)
as we are talking about a major third lowered to a second, musical expressions can be illogic).
The two types can actually be seen as two different chords depending on the context either
having the root in the bottom or at the top (fifth note).
Fig. 25 Sus Chords
CHORDS WITH ADDED NOTES
If you want to add a specific colour to a chord, for example a ninth, without the normal seventh,
you write (add 9). You could of course also use (add #11) or (add 13), but for historical reasons,
the (add 9) chord is by far the most common “added chord”. You may choose to add dissonant
colours, too, for example C(add G#) or E(add F), which I frequently do myself.
See also the comments under Minor 9 chords.
Fig. 26 (add 9) Chord
CHORDS WITH BASS NOTE
If the songwriter wants a specific bass note, he/she can place a special bass box with the desired
note under the chord symbol.
Fig. 27 Chord with Bass Note
D7
C
EXTENDED CHORDS
Extended chords are very common in all modern music, rock, jazz, pop, soul etc. Before 1970,
extended chords were mostly played by advanced jazz musicians, but the fusion of rock and
jazz in 1970’ies meant a liberation for the somehow stagnated use of chord in rock and soul,
and nowadays you will find event the most complex extended chords in many songs on the
radio or on MTV.
A couple of explanations are needed to understand the construction of extended chords. An
extended chord is a triad with one or more extra colour notes. As the triad chord uses the 1st, 3rd
and 5th note in the scale, the “extended” notes uses higher number, for example 9th instead of
the 2nd interval, in order to provide a logical, transparent construction of the extensions. In real
life, though, you can place the 9th and all other colour notes where you want, using 2nd / 9th
depending on the circumstances.
The extended high scale steps are named:
9th Major (9), minor (b9) ((-9))or augmented (#9) ((-10)).
11th Perfect (11) or augmented (#11).
13th Major (13) or minor (b13).
NINTH CHORDS (5 PARTS)
The major ninth chords are the first step into the Jazz sound, but it is also widely used in pop.
Fig. 28 Major Ninth Chords with Major Seven
Fig. 29 Minor Ninth Chords
NOTE In the rock tradition, the m9 chord does not have a minor seventh, it is traditionally played
as a minor chord with a ninth added. The m9 chord understood as the 7 and 9 is written m7+9
in rock.
Fig. 30 Ninth Chords with Minor Seven
DOUBLE-ALTERED CHORDS
Jazz Double-altered chords are dominant chords with altered fifth and ninth. These strongly
coloured dominant chords are typical for modern jazz.
Fig. 31 Double Altered Chord (m9(5) (m(b5)7+9))
ELEVENTH CHORDS (6 PARTS)
Eleventh Chords are typical for jazz and normally not used in standard rock (except for the
famous A11 chord that starts “A Hard day’s Night” with the Beatles).
Fig. 32 Eleventh Chords
The eleventh chords and higher are so complex that they tend to be “muddy” and dissonant. To
lighten up the sound, the musicians traditionally leave out one or two notes, focussing on the
chord’s peculiar sound, in this case the eleventh note (or Fourth note) colliding sharply with the
major third with the mild minor seventh to cool of the dissonance.
THIRTEENTH CHORDS (7 PARTS)
The thirteenth chords are usually played as a reduced chord. There is a long tradition for playing
a 6+7 chord instead of the thirteenth chord, thus making the chord easy to play on the guitar.
The clash between the sixth and the minor seventh sounds like the upper thirteenth note
clashing against the minor seventh note of the full sixteenth.
Fig. 33 Thirteenth Chords
STACKED CHORDS
JAZZ Chords build on triads are not the only chords in the world. In the experimental music of
the last century (especially the new classical music and the advanced jazz), the composers used
some new types of chords, based on fourth and fifth, the so-called Stacked Chords. Even
more advanced chords as the polychords are very common in modern jazz and classical
music.
Stacked Chords are used intensely in the jazz wind section, especially in combinations of
saxophones and trumpets / cornets.
TIP The bass to a stacked chord can be any of the notes in the chord, as the stacked chord itself
is neutral.
POLYCHORDS
JAZZ Polychords are one, two or more triads stacked upon each other. For obvious reasons, it is
much easier for a piano player than for a guitar player to use these chords, but if you stick to the
simple variants, it is possible, although you have to reduce the number of notes in the chords.
Bm
C
or
Bm/C
Some typical jazz polychords:
C/D
Em / Am
Cm7 / Bb
C7 / D
C7 / F#
C7 / A
Chapter 4, ADVANCED SCALES AND CHORDS, Page 30, Chord Dictionary
Chord Dictionary
The classical way of representing the chords in a simple graphic form is the chord
box. This tool, used since the early 1920’ies, is closely related to the Tablature, but
opposite to the dynamic note-like form of the tablature, the chord box is static. The
following tables show examples of how to produce a chord in different positions on
the fretboard. There are two main types of chord boxes, the open chords and the
movable chords. The latter is the most common in rock and jazz, while the open
chords (except for the golden chords™) mostly belong to folk music and classical
guitar music. The chords are grouped into Standard, Extended, Neutral and
Advanced chords.
NOTE Chords marked with golden background are classic open chords.
The golden chords™ should be learned by heart before you learn any other chord forms!!!
Ask the Professor!™
Q: What is a Chord Box???
A: The Chord Box is a schematic drawing of the strings and frets, where the
placing of the fingers is marked with black circles.
Fret Number In case of movable chords, the basic fret number is shown to the
left of the chord box.
1 Finger markers
2 Fret 0 = open chord
3 Open string
4 Muted string
5 Barre
6 Mini barre
STANDARD CHORDS
Scale
Major
C
C#/Db
4
Minor
6
3
3
4
4
7
2
4
D
D#/Eb
9
3
4
6
6
6
6
E
5
6
F
1
1
1
1
1
F#/Gb
2
2
2
2
2
3
3
3
3
4
4
4
4
G
G#/Ab
4
A
5
A#/Bb
1
1
1
B
2
2
2
1
6
1
EXTENDED CHORDS, 7
Scale
maj7
C
C#/Db
4
m7
m(maj7)
m7(b5)
3
3
3
3
4
4
4
4
D
D#/Eb
m7+9
5
6
6
6
6
6
1
1
1
1
E
F
F#/Gb
2
2
2
2
2
G
3
3
3
3
3
G#/Ab
4
4
4
4
4
5
5
A
A#/Bb
1
1
1
1
1
B
2
2
2
2
2
EXTENDED CHORDS, 9
Scale
maj9
m9
(add 9)
7(b9) / -9
7(#9) / -10
2
2
3
C
3
8
C#/Db
4
9
9
3
D
5
10
10
4
4
D#/Eb
6
11
11
5
5
0
6
E
F
1
1
1
1
1
F#/Gb
2
2
2
2
2
G
3
3
3
3
3
G#/Ab
4
4
4
4
4
A
5
5
5
5
5
A#/Bb
1
6
6
6
6
B
2
7
7
0
0
EXTENDED CHORDS, 11
Scale
11
7(#11)
m11
C
3
2
3
C#/Db
4
3
4
D
5
4
5
D#/Eb
6
5
6
7
6
7
F
1
1
1
F#/Gb
2
2
2
G
3
3
3
G#/Ab
4
4
4
A
0
5
5
E
A#/Bb
1
6
1
B
2
0
2
EXTENDED CHORDS, 6
Scale
6+7
C
3
C#/Db
4
D
D#/Eb
6+9
6+maj7
2
3
3
4
5
4
5
6
5
6
F
1
1
1
F#/Gb
2
2
2
G
3
3
3
G#/Ab
4
4
4
E
A
5
A#/Bb
1
6
1
B
2
0
2
NOTE The 6+7 chord is normally used as substitute for the 7-notes 13 chord, which cannot be played on a
6-string guitar. See the last Chord Box table for some other “fake” 13 chords.
EXTENDED CHORDS, (b5)
Scale
(b5)
7(b5)
maj7(b5)
C
3
3
3
C#/Db
4
4
4
5
5
D
D#/Eb
6
6
6
E
7
7
7
F
1
1
1
F#/Gb
2
2
2
G
3
3
3
G#/Ab
4
4
4
A
5
A#/Bb
1
1
1
B
2
2
2
NEUTRAL CHORDS, +
Scale
+ / #5
C
C#/Db
7(#5) / +7
+(maj7)
8
4
9
1
6
6
3
D
D#/Eb
E
4
F
8
1
5
F#/Gb
9
2
6
G
3
3
7
G#/Ab
4
4
8
A#/Bb
1
1
1
B
2
2
2
A
Dear student: Please note that some of these chords can very difficult to play in the start! The problem is not
your fingers, but the chord.
NEUTRAL CHORDS, DIM
Scale
dim
dim7
C
2
2
C#/Db
3
3
D
4
4
D#/Eb
5
5
F
1
1
F#/Gb
2
2
G
3
3
G#/Ab
4
4
A
5
5
A#/Bb
6
1
B
7
2
E
NEUTRAL CHORDS, SUS
Scale
sus4
sus2
sus7
C
3
3
3
C#/Db
4
4
4
6
6
6
F
1
1
1
F#/Gb
2
2
2
G
3
3
3
G#/Ab
4
4
4
A#/Bb
1
1
1
B
2
2
2
D
D#/Eb
E
A
MOVABLE CHORDS, ADVANCED JAZZ
7 Variations
7(#5/b9)
7(#5/#9)
7(b5/b9)
7(b5/#9)
maj7 Variation
maj7(#11)
13 Chords
13
13
13(#11)
m13
This was only the beginning!
The chord boxes in this chapter are only a few examples of the thousands of possible chord
variations. But the examples actually provide you with a whole range of classical open chords and
several movable forms, which can be used and varied endlessly. On the WEB and in your music
store, you can find many advanced books, with for example different tunings and modal chords.
So you see – this was only an appetizer!
THE BARRE CHORD
The principles of movable chords Folk music guitarists play with open string chords most
of the time. When the folk guitarist has to play in a strange anti-guitar key like Eb or Bb, the
poor guy needs to change the fret base to another starting point. An ancient device called the
capo does the trick mechanically. But what about the poor rock and jazz players? We use a
finger instead! By covering all six strings with the 1st finger on one of the frets, you have three
fingers left to reconstruct many of the open chords only in another key. The classic barre
fingering covers all the strings, but small 2, 3 or 4 string barre fingerings are also used to
compensate for the lack of 6-7 fingers! With the barre fingering, you are able to play in all keys
on an instrument born in the E, A, G and D keys.
Base Chords All barre chords are intimately connected to the open chords they simulate. The
barre chords can be classified according to “base” chords like this:
-
Base E and Base A are the standard barre bases. They include both major, minor and
various extended chord forms.
-
Other barre bases could be Base D, Base C or Base G, but the C and G bases are not
normal in rock. Base D is maybe new to even advanced rock players, although it is used in
jazz playing. So why not try the D major, minor and 7 chord, and listen to the new
interesting sounds of your guitar!
Having learned the basics of finger technique, scales and chords, you are now ready
for some real life bass exercises. Don’t forget to rehearse minimum 1 hour a day on
the bass and to rehearse your guitar playing. Both instruments are important for your
musical development.
And now for the fun stuff!
Home
Chapter 4, ADVANCED SCALES AND CHORDS, Page 42, Index Scales and Chords
Index Scales and Chords
1
-10, 19, 25
13(#11), 40
1st, 41
6
6+7, 35
6+9, 35
6+maj7, 35
7
7(#11), 34
7(#5), 37
7(#5/#9), 40
7(#5/b9), 40
7(#9), 33
7(b5), 36
7(b5/#9), 40
7(b5/b9), 40
7(b9), 33
7th, 12
9
-9, 19
A
A#, 7, 31, 32, 33, 34, 35, 36,
37, 38, 39
Ab, 7, 31, 32, 33, 34, 35, 36,
37, 38, 39
Aeolian, 19
Altered, 11, 17, 19, 27
Augmented, 10, 17
B
Barre, 30, 41
Blues, 12, 19
C
Chord, 19, 20, 24, 27, 30, 35,
41
D
Diatonic, 21
Dim, 19
Diminished, 10, 13, 17, 19, 22
Dm, 19, 21, 22
Dominant, 17, 19, 20, 21, 22
Double, 19, 20, 27
Double-altered, 19
E
Eleventh, 27
Extended, 25, 30, 32, 33, 34,
35, 36
F
Finger, 30
Flashcard, 6, 7
Fretboard, 5, 6
H
N
Natural, 19
Ninth, 26
O
Octave, 10
P
Pentatonic, 12
Perfect fifth, 10
Perfect fourth, 10
Phrygian, 19
Polychords, 29
R
Root, 22
S
Sd, 21
Seventh, 22
Sixth, 23
Stacked, 29
Subdominant, 20, 21
Sus, 23
Hand, 14
L
Locrian, 17, 19
Lydian, 17, 19
M
Maj7, 19
Maj7#5, 19
Major, 10, 12, 19, 21, 22, 31
Minor, 10, 12, 19, 20, 21, 22,
26, 31
Mixolydian, 19
T
TAB, 8
Tablature, 8, 30
Thirteenth, 28
Tonic, 21
V
Variation, 40
Variations, 40

Advanced Scales and Chords Table of Contents

Transcription

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