feist guitar tab

Master the chords used in jazz.
This chord dictionary includes over a hundred jazz chord forms, from basic 7th
chords with all standard tension substitutions and alterations to guide tone
chords to triads over bass notes. It is organized to reveal relationships between
different types of chords and help you learn the voicings quickly and thoroughly,
in a way that is easy to remember.You will improve your comping and soloing,
develop your fingerboard facility, and add more colors to your harmonic palette.
BERKLEE JAZZ GUITAR CHORD DICTIONARY
Musical Instruments/Guitar
It includes:
I Traditional notation, fretboard diagrams, and tablature for each chord
I Over 100 movable chord forms
I Multiple versions of barre and 7th chord shapes, with substitutions and
alterations
I Triads over bass notes, inversions, and guide-tone chords
I Diatonic chord exercises
RICK PECKHAM
berklee jazz guitar chord
Berklee Press
1140 Boylston Street
Boston, MA 02215 USA
617-747-2146
berkleepress.com
Rick Peckham is Assistant Chair of the Guitar
Department at Berklee College of Music. He
has mentored thousands of guitarists and is
author/instructor of the Berkleemusic online
course Guitar Chords 101 and the Berklee Press
DVD Modal Voicing Techniques.
DICTIONARY
Berklee Press, a publishing activity of Berklee College of
Music, is a not-for-profit educational publisher. Available
proceeds from the sales of our products are contributed to
the scholarship funds of the college.
Cover by Robert Heath
U.S. $14.95
ISBN 0-7935-1083-8
U.S. $9.95
HL50449546
HL00000000
,!7IA8H6-djahjf!:p;K;t;t;P
rick peckham
BERKLEE PRESS
#73999-FABBHj
+84088-BAECFc
ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3
90448 Berklee JazzGuitarChord Guts:Layout 1
4/4/07
12:23 PM
Page i
edited by
jonathan feist
90448 Berklee JazzGuitarChord Guts:Layout 1
4/4/07
12:23 PM
Page ii
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.
Jazz Chord Dict
4/10/07
12:43 PM
Page iii
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 2
Major 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, Major 6,
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 Voicings
7. 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
3 2 1
)
16
16
16
17
19
19
20
21
23
24
25
28
28
30
30
31
32
33
34
35
36
37
38
Jazz Chord Dict
4/10/07
12:43 PM
Page iv
Introduction
The Berklee 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 you to 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 the strings 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 all the chord voices.
iv
Jazz Chord Dict
•
4/10/07
12:43 PM
Page v
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!
•
While forming the chords, make sure that your fingers are as
close to the intended frets as possible.
•
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.
•
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 your instrument.
Playing chords effectively takes time, and the learning process requires
practice. There are three common stages of development.
•
Physical Stamina: Building your hand muscles
•
Muscle Memory: Memorizing the proper chord-voicing shapes
•
Informed Musical Instincts: Using these chords to make
music
v
Jazz Chord Dict
4/10/07
12:43 PM
Page vi
Here are some other things to keep in mind:
•
While practicing, stay vigilant, playing in time and using a
metronome or drum machine. Stay with a musical task until you
can make it groove with a strong time feel.
•
Play with other musicians whenever possible, as often as you
can. Practicing by yourself is only part of the overall plan.
•
Make sure that the chords that you play fit well into your
playing situation. Should your voicings contain a lot of notes
or a few? Listen to the overall texture, and make a musical
decision.
•
Listen to the originators of the styles that you love. It’s one of
the best ways to keep yourself inspired—and to help you to
keep the highest musical values in mind.
•
Listen to great guitarists, but don’t stop there. Focus on
performers of other instruments as well. Bring it all together
to help you to develop your own unique voice.
Keep working, and be patient with yourself. Having the physical
strength and the knowledge of the shapes provide means to musical
ends. With time, you’ll be able to choose from a variety of options.
If you keep at it, you’ll definitely get there!
—Rick Peckham
vi
Jazz Chord Dict
4/10/07
12:43 PM
Page 1
PART I.
CHORDS
Jazz Chord Dict
4/10/07
12:43 PM
Page 2
Chapter 1.
Moveable 7th Chord Shapes
Major 7
CMaj7
CMaj7
3fr
10fr
1324

 




1333

5
4
5
3

CMaj7
12
12
12
10
CMaj7
8fr
1 342

 

2
8
9
9
8
3fr
1 342

 

3
5
4
3
Jazz Chord Dict
4/10/07
12:43 PM
Page 3
Minor 7
Dominant 7
C7
C7
3fr
 
 
1314
1324

 

10fr
5
3
5
3

C7
12
11
12
10
C7
8fr
1 243
1 243


 

3fr


 
8
9
8

8
3
5
3
3
Minor 7
C–7
C–7
3fr
1312

  

4
3
5
3
10fr
1423

 
 

11
11
12
10
3
Jazz Chord Dict
4/10/07
12:43 PM
Page 4
MOVEABLE 7th CHORD SHAPES
C–7
C–7
8fr
2 333
1 243


 

3fr


 
8
8
8

8
3
4
3
3
Minor 7%5
C–7b5
C–7b5
3fr
10fr
1324
1222

   


  


4
3
4
3

C–7b5
11
11
11
10
C–7b5
7fr
2 341
 
 

4
7
8
8
8
2fr
2 341
 
 

2
4
3
3
Jazz Chord Dict
4/10/07
12:43 PM
Page 5
Minor 6
Major 6
CMaj6
CMaj6
2fr



2314
1314

 

10fr
5
2
5
3

CMaj6
12
10
12
10
CMaj6
7fr
2fr
2 143
2 143

 



8
9
7

8



3
5
2
3
Minor 6
C–6
C–6
2fr
2413

 

4
2
5
3
10fr
 

 
1312

11
10
12
10
5
Jazz Chord Dict
4/10/07
12:43 PM
Page 6
MOVEABLE 7th CHORD SHAPES
C–6
C–6
7fr
2 134
2 143

 

2fr

 
8
8
7

8
3
4
2
3
Diminished 7
Cº7
Cº7
2fr



2314
1324

  

10fr
4
2
4
3

Cº7
11
10
11
10
Cº7
7fr
2 131

 

6
7
8
7
8
2fr
2 141

 

2
4
2
3
Jazz Chord Dict
4/10/07
12:43 PM
Page 7
Minor 9
Dominant 9
C9

C9
2fr
 
 
2133
2143
 


9fr
3
3
2
3

C9
10
11
9
10
C9
5fr
3 421

 


5
7
8
2 34

 

8
0
3
3
3
Minor 9
C–9
C–9
8fr
 


3
3
1
3

 
2143
2134


10
11
8
10
7
Jazz Chord Dict
4/10/07
12:43 PM
Page 8
MOVEABLE 7th CHORD SHAPES
Minor 11
C–11
C–11
6fr
2 341

 

6
8
8

2 341

  
1
4
3

8
3
Dominant 13
C13

C13
2fr

 

 

5
3
3
2
3
10
9
8
21334

1 234

C13
3fr


 

1 244

8
8fr
5
5
3
3
8
Jazz Chord Dict
4/10/07
12:43 PM
Page 9
Chapter 2.
Dominant 7th Chords
with Alterations
Dominant 7%5
C7b5
C7b5
7fr
2 341
2 341


 

2fr


 
7
9
8

8
2
5
3
3
Dominant 7(#11)
C7(#11)
C7(#11)
7fr
2 341

  

7
9
8
8
2fr
2 341

  

2
5
3
3
9
Jazz Chord Dict
4/10/07
12:43 PM
Page 10
DOMINANT 7th CHORDS
Dominant 7(9), Dominant 7#9
C9

C7(#9)
2fr
2fr
2133
2134
§9
 


3
3
2
3
#9
 


4
3
2
3
C7(#9)
8fr



 
1214

#9
11
8
9
8
Dominant 7#5
C7#5
C7#5
8fr
3fr
1 234


 

10
9
9
8
8
1 243
#5


 

4
5
3
3
#5
Jazz Chord Dict
4/10/07
12:43 PM
Page 11
Dominant 7 (altered)
Dominant 7 (%9, %13)
C7(b9,b13)
C7(b9,b13)
8fr
2fr
 
 
 

  

9
9
9
8
4
2
3
2
3
1 2333

21314

8
Dominant 7(altered)
7%5(%9)
C7b5(b9)
C7b5(b9)
7fr
 
 
2fr
T 2314



 

9
7
9
8

21311

8
7%5(#9)
implied root
2
2
3
2
3
C7 5( 9)
C7 5( 9)
2fr
7fr
21341
2314
 
 

11
7
9
8
 






2
4
3
2
3
11
Jazz Chord Dict
4/10/07
12:43 PM
Page 12
DOMINANT 7th CHORDS
7#5(%9)
implied root
C7 5( 9)
C7 5( 9)
2fr
8fr
21314
1222
 
 






9
9
9
8


4
2
3
2
3
7#5(#9)
implied root
C7 5( 9)
C7 5( 9)
2fr
8fr
21344
1224
 
 

12
11
9
9
8







4
4
3
2
3
Jazz Chord Dict
4/10/07
12:43 PM
Page 13
Chapter 3.
Guide Tone Chords
Root 3 7
CMaj7
C7
2fr


2fr
213
213


 
4
2
3
3
2
3

C–7
C–7b5
213
213
 
 
3
1
3
3
1
3


(incomplete)
13
Jazz Chord Dict
4/10/07
12:43 PM
Page 14
GUIDE TONE CHORDS
CMaj6
C–6
2fr
312


312



2
2
3


2
1
3
Cº7
312
 

2
1
3
Root 7 3
CMaj7
C7
8fr
8fr
1 23


14


9
9
8
1 23




9
8
8
Jazz Chord Dict
4/10/07
12:43 PM
Page 15
Root 7 3
C–7
C–7b5 (incomplete)
8fr
2 34
8fr
2 34

  

 

8
8
8
8


8
CMaj6
8
C–6
7fr
7fr
2 13


2 13



9
7

8


8
7
8
Cº7
7fr
2 13





8
7
8
15
Jazz Chord Dict
4/10/07
12:43 PM
Page 16
Chapter 4.
Triads over Bass-Note
Voicings: Roots on 6 5 4
V/I
GMaj/C
GMaj/C
7fr
2


1341
 

7
8
7

8
10fr

 
1321
131



GMaj/C
3fr
3
4
5
3

10
12
12
10
%VII/I
BbMaj/C
BbMaj/C
6fr
3 421

 

16
6
7
8
8
BbMaj/C
3fr
1111




3
3
3
3
10fr
 
 
1121

10
11
10
10
Jazz Chord Dict
4/10/07
12:43 PM
Page 17
Other Common Voicings
Other Common Voicings
III/I
EMaj/C
EMaj/C
8fr
1 333
1 243

 

 
9
9
9

3fr

8
4
5
4
3
II/I
DMaj/C
DMaj/C
7fr
2fr
2 111

2 131




7
7
7


8



2
3
2
3
#IV/I
F#Maj/C
F#Maj/C
6fr
2fr
 

 

  

6
7
6
2
2
3
3

121
8
2 311

3
17
Jazz Chord Dict
4/10/07
12:43 PM
Page 18
TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6
5
4
VI/I
AMaj/C
AMaj/C
8fr



3fr
1 423


10
9
11




1 423

8
5
5
6
3
VII/I
BMaj/C
BMaj/C
7fr




2

18
7fr
2 431
311
7
7
8
8




7
8
9
8
Jazz Chord Dict
4/10/07
12:43 PM
Page 19
Chapter 5.
Inversions
Major 7
CMaj7
CMaj7/E
3fr
1324
8
5
9
7

12fr

 


 
12
9
10
10
13
12
14
14
2314

 
5
4
5
3
CMaj7/B
9fr
2413

 

CMaj7/G
5fr

3412

5 4 3 2
CMaj7
CMaj7/E
8fr
1 342

 

8
9
9
8
CMaj7
10fr

 
2 134

12
12
10
12
CMaj7/B
8fr
1 342
3 111

 

 

8
9
9
5
5
5

8
CMaj7/G
5fr

7
3 241
 


1
4
2
3
6 4 3 2
19
Jazz Chord Dict
4/10/07
12:43 PM
Page 20
INVERSIONS
CMaj7
CMaj7/E
3fr
1 324
3
5
4
CMaj7/B
8fr
12fr

 

 

 


 
7
8
5
7
8
7
8
12
9
12
13
12

3
CMaj7/G
7fr
2 143

 


CMaj9/E
5fr
1 243

7
3 241

7
3 121

10
14
5 3 2 1
CMaj7
CMaj7/B
10fr



1333



CMaj7/E
5fr



 
8
8
9
9
7
5
5
5
2311
12
12
12
10
CMaj7/G
8fr
1113

2413


 

3
1
4
2
4 3 2 1
Dominant 7
C7
C7/Bb
10fr
C7/G
8fr
 
 


 


 
12
11
12
10
8
8
9
8
6
5
5
5
1324

4 3 2 1
20
1211

C7/E
5fr
1112

2314

 

3
1
3
2
Jazz Chord Dict
4/10/07
12:43 PM
Page 21
Minor 7
C7
C7/E
8fr
3 142


 
8
9
8

8
C7/Bb
8fr
 
 
1 243

C7
10fr
1 243
11
12
10
2 111


 

 

8
9
8
5
5
5

12
C7/G
17fr

8
3 241
 

1
3
2

6
3
6 4 3 2
C7
C7/E
3fr
1 243
3
5
3
12fr
 
 



 
6
8
5
8
11
9
12
13
12

3
C7/Bb
8fr
 
 
3 142


 


C7/G
5fr
3 241

7
2 131

10
13
5 3 2 1
Minor 7
C–7
C–7/Eb
3fr
1312

  

4
3
5
3
C–7/G
5fr
2314



 

8
5
8
6
C–7/Bb
8fr
12fr
 
 



 
11
8
10
10
13
12
13
13
2314

2314

5 4 3 2
21
Jazz Chord Dict
4/10/07
12:43 PM
Page 22
INVERSIONS
C–7
C–7/Bb
10fr
C–7/G
8fr
 
 

 


 
11
11
12
10
8
8
8
8
6
4
5
5
1423

1111

C–7/Eb
4fr
2314

same as
EbMaj6
1314

 
3
1
3
1

4 3 2 1
same as
EbMaj6
10fr
C–7
C–7/Eb
8fr
 
 
2 333
2 143


 

8
8
8

8
C–7
C–7/Bb
8fr
2 333
11
12
10
4 231


 

 

8
8
8
4
5
5

11

8
C–7/G
4fr
3 141
 

1
3
1

6
3
6 4 3 2
same as
EbMaj6
5fr
C–7
C–7/Eb
3fr
1 243


 

3
4
3
3
5 3 2 1
22
C–7/G
C–7/Bb
8fr
11fr
 
 

 
 


 
6
8
5
8
11
8
11
13
12
2 143

6
3 141

10
3 241

13
Jazz Chord Dict
4/10/07
12:43 PM
Page 23
Minor 7%5
Minor 7%5
C–7b5
C–7b5/Eb
3fr
C–7b5/Gb
5fr
1324
2314
7
5
8
6

11fr


  
2314
 
 



 
4
3
4
3
C–7b5/Bb
8fr
2413

   

same as
Eb–6

11
8
10
9
13
11
13
13

5 4 3 2
C–7b5
C–7b5/Bb
10fr
7fr
  

1222


C–7b5/Gb
11
11
11
10
1213

  
 
 
8
7
8
8
6
4
5
4

Eb–6
4fr
2314

C–7b5/Eb same as

1312
 

 
2
1
3
1

4 3 2 1
C–7b5
C–7b5/Eb
7fr
2 341
 
 

7
8
8
8
same as
Eb–6
C–7b5
10fr
2 134
 
 

11
11
10
11
C–7b5/Bb
7fr
2 341
3 121
  
 

  

7
8
8
4
5
4

8
C–7b5/Gb
4fr

6
2 131
  


1
3
1
2
6 4 3 2
23
Jazz Chord Dict
4/10/07
12:43 PM
Page 24
INVERSIONS
C–7b5
2fr
2 341
2
4
3
C–7b5/Bb
8fr
11fr
  
 

 

 
 
6
7
5
8
11
8
11
13
11

3
C–7b5/Gb
5fr
2 143
 
 

same as
Eb–6
C–7b5/Eb
2 141

6
2 141

9
13
5 3 2 1
Major 6
CMaj6
5fr
2314


CMaj6/G
CMaj6/E
2fr


5
2
5
3

 


 
8
5
7
7
10
9
10
10
13
12
14
12

2314

1312

5 4 3 2
CMaj6
CMaj6/A
10fr
CMaj6/G
same as
A–7
7fr
CMaj6/E
5fr





 

 

 
12
10
12
10
8
8
9
7
5
5
5
5
3
1
2
2
1314

4 3 2 1
24
1423

1111

same as
A–7
12fr


2314

CMaj6/A
9fr
2314

Jazz Chord Dict
4/10/07
12:43 PM
Page 25
Minor 6
CMaj6
CMaj6/E
2fr
2 143

 
3
5
2
5
8
5

3
CMaj6/A
8fr
3 141

 

CMaj6/G
5fr


 


 
8
10
9
12
13
12
3 241

7
same as
A–7
12fr
1 243

10
12
5 3 2 1
CMaj6
CMaj6/E
7fr
CMaj6
10fr

 

 

 
8
9
7
10
12
10
8
9
7
2 143

3 141

8
CMaj6/A
7fr
2 143

12
same as
A–7
2 333
4 231

 

 

5
5
5
1
2
2

8
CMaj6/G
5fr

5
3
6 4 3 2
Minor 6
C–6
C–6/Eb
2fr
2413

 

4
2
5
3
C–6/G
5fr
8fr

 
 
 
8
5
7
6
10
8
10
10
2314

C–6/A
2314

same as
A–7b5
12fr


1324


13
12
13
12
5 4 3 2
25
Jazz Chord Dict
4/10/07
12:43 PM
Page 26
INVERSIONS
same as
A–7b5
7fr
C–6
C–6/A
10fr
13 1 2


C–6/Eb
4fr



 
 

 
8
8
8
7
5
4
5
5
3
1
2
1
1222
11
10
12
10

C–6/G

2314

1214

4 3 2 1
C–6
C–6/Eb
7fr
10fr

 
 
 
8
8
7
10
12
10
8
8
7

2 131

8
C–6/A
C–6/G
2 341
3 121
7fr
 
 
2 134
same as
A–7b5
4fr
C–6
2 134

11

 

  

4
5
5
1
2
1

8
5

3
6 4 3 2
C–6
C–6/Eb
2fr
5fr
2 143
2 141

 

 
3
4
2
5
8
5

3
5 3 2 1
26
C–6/G

6
C–6/A
8fr
3 141
2 341


 
 

 
8
10
8
11
13
12

10

12
same as
A–7b5
11fr
Jazz Chord Dict
4/10/07
12:43 PM
Page 27
PART II.
EXERCISES
Jazz Chord Dict
4/10/07
12:43 PM
Page 28
Chapter 6.
Quartal Voicings Exercises
C Dorian Voicings
(for use on C–7 or F7sus4)
3fr
5fr
1112
1112

   



6fr
4
3
3
3
8fr
1234








6
5
5
5
8
7
7
6
10fr
12fr
13fr
1113



 





1112
1112








10
8
8
8
11
10
10
10
13
12
12
12
15
14
13
13
28
1123
Jazz Chord Dict
4/10/07
12:43 PM
Page 29
C Dorian Voicings
 5fr
3fr
1123
1234
 7fr



 
8
8
7
7
6
6
5
5
5
4
3
3
3
3
2
1
1122












 


1122
 10fr
8fr





1134
10
10
8
8
1122





11
11
10
10
 12fr




1122
13
13
12
12
29
Jazz Chord Dict
4/10/07
12:43 PM
Page 30
Chapter 7.
Diatonic Exercises
B%Major on
BbMaj7
5
4
3
2
C–7
D–7
3fr
1324

  


1312
1312
4
3
5
3
6
5
7
5

G–7








3
2
3
1
A–7b5
10fr
EbMaj7
5fr
BbMaj7
12fr
8fr
1324




8
7
8
6
10
8
10
8





A–7b5
13fr




F7
6fr
1314
G–7
12fr
10fr


 

1312
1324




1324
1324








11
10
12
10
13
12
13
12
15
14
15
13
13
12
13
12
11
10
12
10
F7
EbMaj7
8fr


 

1314
10
8
10
8
30
D–7
6fr
1324





8
7
8
6
C–7
5fr
1312




6
5
7
5
1312
BbMaj7
3fr
1312




4
3
5
3
1324




3
2
3
1
Jazz Chord Dict
4/10/07
12:43 PM
Page 31
E% Major
E%Major on
4
3
EbMaj7
2
1
F–7
G–7
3fr
1333




  


5fr




1423
1423
 



C–7
D–7b5
10fr





1333
8fr




1324
10
9
10
8
8
8
8
6
EbMaj7
12fr
Bb7
6fr
6
6
7
5
4
4
5
3
3
3
3
1
AbMaj7
D–7b5
13fr
C–7
12fr
10fr
 


 





 






 



11
11
12
10
13
13
13
12
15
15
15
13
13
13
13
12
11
11
12
10
1423
Bb7
1222
AbMaj7
8fr




 
1324
10
9
10
8
1333
G–7
6fr





1333
8
8
8
6
1222
F–7
5fr
1423




6
6
7
5
1423
EbMaj7
3fr
1423
 



4
4
5
3
1333




3
3
3
1
31
Jazz Chord Dict
4/10/07
12:43 PM
Page 32
DIATONIC EXERCISES
F Major on
FMaj7
6
4
G–7
3
2
A–7
3fr
1 342
2 333
6fr
1 342
8fr
1 243












1
2
2
3
3
3
5
5
5
6
7
7
8
9
8
1
3
5
6
8
D–7
E–7b5
10fr
2 333
FMaj7
11fr
E–7b5
13fr




2 341
1 342






 

D–7
11fr
2 341
10fr
2 333








10
10
10
11
12
12
13
14
14
11
12
12
10
10
10
10
12
13
12
10
C7
BbMaj7
8fr
1 243


 

32
5fr
C7





 



2 333
BbMaj7
A–7
6fr
1 342




G–7
5fr
2 333




FMaj7
3fr
2 333
1 342








8
9
8
6
7
7
5
5
5
3
3
3
1
2
2
8
6
5
3
1
Jazz Chord Dict
4/10/07
12:43 PM
Page 33
B% Major
B%Major on
5
3
BbMaj7
2
1
C–7
D–7
3fr
1 342

 
 

1 243




EbMaj7
5fr
F7
6fr
8fr












1 243
1 342
1 243
1
3
2
3
4
3
5
6
5
6
8
7
8
10
8
1
3
5
6
8
G–7
A–7b5

10fr
BbMaj7
11fr
A–7b5
13fr
G–7
11fr
10fr
1 243



 




2 341
1 342








2 341




10
11
10
11
13
12
13
15
14
11
13
12
10
11
10
10
12
13
12
10
F7
EbMaj7
8fr



 
D–7
6fr
1 243
C–7
5fr
BbMaj7
3fr
1 243




1 342
1 243
8
10
8
6
8
7
5
6
5
3
4
3
1
3
2
8
6
5
3
1




1 243




1 342




33
Jazz Chord Dict
4/10/07
12:43 PM
Page 34
DIATONIC EXERCISES
F Harmonic Minor on
F–(Maj7)
G–7b5
6
4
AbMaj7#5
2fr
1 423
 
  



2 341




2
Bb–7
4fr
1 333




C7
6fr




2 333
8fr




1 243
1
1
2
2
3
3
5
5
5
6
6
6
8
9
8
1
3
4
6
8
DbMaj7
Eº7
9fr
F–(Maj7)
11fr
2 131


 

Eº7
DbMaj7
13fr








1 342
11fr




1 423
2 131
9fr
1 342




9
10
10
11
12
11
13
13
14
11
12
11
9
10
10
9
12
13
12
9
C7
Bb–7
8fr
1 243



 

34
3
AbMaj7#5
6fr
2 333




G–7b5
4fr
1 333




F–(Maj7)
2fr
2 341
1 423








8
9
8
6
6
6
5
5
5
2
3
3
1
1
2
8
6
4
3
1
Jazz Chord Dict
4/10/07
12:43 PM
Page 35
F Melodic Minor
F Melodic Minor on
F–(Maj7)
G–7
6
4
3
AbMaj7#5
3fr
1 423
 
  



2
2 333
1 333
C7
6fr
8fr




1 243
1 243












Bb7
4fr
1
1
2
3
3
3
5
5
5
6
7
6
8
9
8
1
3
4
6
8
D–7b5
E–7b5
9fr




2 341
2 341


 

F–(Maj7)
11fr
E–7b5
13fr




2 341




1 423
D–7b5
11fr
9fr
2 341




9
10
10
11
12
12
13
13
14
11
12
12
9
10
10
10
12
13
12
10
C7
Bb7
AbMaj7#5
G–7
F–(Maj7)
8fr



 

1 243
6fr
1 243




4fr
1 333




3fr
2 333




1 423




8
9
8
6
7
6
5
5
5
3
3
3
1
1
2
8
6
4
3
1
35
Jazz Chord Dict
4/10/07
12:43 PM
Page 36
DIATONIC EXERCISES
G Major 6 Bebop Scale on 6
GMaj6
Aº7
2fr
2 143

 



3
2
GMaj6/B
4fr
2 131




Cº7
5fr
3 141




7fr
2 131




3
4
2
4
5
4
5
7
5
7
8
7
3
5
7
8
GMaj6/D
D#º7
8fr
4 231


 

36
4
GMaj6/E same as E–7
10fr
2 131




F#º7
12fr
13fr








2 333
2 131
8
9
9
10
11
10
12
12
12
13
14
13
10
11
12
14
Jazz Chord Dict
4/10/07
12:43 PM
Page 37
G Minor 6 Bebop Scale
G Minor 6 Bebop Scale on 6
G–6
Aº7
2fr
2 134
 
  



4
3
2
G–6/Bb
4fr
2 131
2 131








Cº7
5fr
7fr
2 131




3
3
2
4
5
4
5
7
5
7
8
7
3
5
6
8
G–6/D
D#º7
8fr
3 121



 

G–6/E same as E–7b5
10fr
2 131




F#º7
11fr
13fr








2 341
2 131
8
9
8
10
11
10
11
12
12
13
14
13
10
11
12
14
37
Jazz Chord Dict
4/10/07
12:43 PM
Page 38
Photo by Craig Reed
About the Author
Rick Peckham is an internationally known jazz guitarist, clinician,
composer, and writer. He has performed with George Garzone, Jerry
Bergonzi, Mike Gibbs, Hal Crook, Bob Gullotti, John Medeski, and
Dave Liebman. His most recent recording, Left End, a set of original
compositions mixed with collective improvisations, features drummer
Jim Black and bassist Tony Scherr and was named one of the best
releases of 2005 by Downbeat magazine. In addition to extensive work
in the U.S., he has led or played on tours of Ireland, Canada, Spain, and
Germany. Assistant Chair of the Berklee College of Music Guitar
Department, Peckham has been a faculty member since 1986. He is also
a prolific and accomplished writer, recently releasing Modal Voicing
Techniques, a best-selling DVD for Berklee Press, and the online course
Guitar Chords 101 (Berkleemusic.com).
For further information on Rick Peckham, please visit his Web site:
www.rickpeckham.com.
38
Master the chords used in jazz.
This chord dictionary includes over a hundred jazz chord forms, from basic 7th
chords with all standard tension substitutions and alterations to guide tone
chords to triads over bass notes. It is organized to reveal relationships between
different types of chords and help you learn the voicings quickly and thoroughly,
in a way that is easy to remember.You will improve your comping and soloing,
develop your fingerboard facility, and add more colors to your harmonic palette.
BERKLEE JAZZ GUITAR CHORD DICTIONARY
Musical Instruments/Guitar
It includes:
I Traditional notation, fretboard diagrams, and tablature for each chord
I Over 100 movable chord forms
I Multiple versions of barre and 7th chord shapes, with substitutions and
alterations
I Triads over bass notes, inversions, and guide-tone chords
I Diatonic chord exercises
RICK PECKHAM
berklee jazz guitar chord
Berklee Press
1140 Boylston Street
Boston, MA 02215 USA
617-747-2146
berkleepress.com
Rick Peckham is Assistant Chair of the Guitar
Department at Berklee College of Music. He
has mentored thousands of guitarists and is
author/instructor of the Berkleemusic online
course Guitar Chords 101 and the Berklee Press
DVD Modal Voicing Techniques.
DICTIONARY
Berklee Press, a publishing activity of Berklee College of
Music, is a not-for-profit educational publisher. Available
proceeds from the sales of our products are contributed to
the scholarship funds of the college.
Cover by Robert Heath
U.S. $14.95
ISBN 0-7935-1083-8
U.S. $9.95
HL50449546
HL00000000
,!7IA8H6-djahjf!:p;K;t;t;P
rick peckham
BERKLEE PRESS
#73999-FABBHj
+84088-BAECFc
ISBN-13: 978-0-87639-079-5
ISBN-10: 0-87639-079-3