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Thanks again to all that came out. As promised, here are the notes from the workshop.

Chords

We covered three basic chord families - Major 7th, Minor 7th and Dominant 7th.

Three grips for each type was provided - root 6th string (low E), root 5th string (A) and root 4th string (D)

With any unaltered dominant 7th chord, you can modify the chord to become a 9th or 13th. One grip for each (7th, 9th, 13th) was provided.

The chords are notated with their intervals (R=root, 3=third, 5=fifth, 7=seventh, b3=flat third, b7=flat seventh). Finger placement is shown under the chord.

Tip - learn these grips and start working out other grips using the intervals of the chord. If you do not know the notes on the neck, it is time to learn - no ifs ands or buts!




Rhythm - Comping

We discussed three styles -

Four to the Bar (also known as four to the bar) - strum the chord on every beat and relax your fingers after each strum to keep the chord from ringing into the next beat.

Charleston rhythm - Strum the chord on beat 1 and on the "and" of beat two. As with the rhythm above, release the finger pressure after each strum to keep the chord from ringing out and to give the rhythm a nice tight feel.

Walking the bass - approach each chord 1/2 step above or below the root, play the root then the rest of the chord. Using the root 6 major 7th grip above, you could start on the second fret (F#), then hit the G note on the third fret and then strum the rest of the chord. Again, after strumming the rest of the chord, relax your grip to cut the chord off from ringing.

Chord Progressions

Much like the blues and its' relationship to the 1-4-5 chord progression, Jazz is built around the 2-5-1 (ii-V-I) chord progression.

"What are all these numbers you're talking about" you ask?

Commit this formula to memory: DO IT! NO WHINING EITHER!!!

Major - minor - minor - Major - Major - minor - half diminished
   I          ii           iii         IV         V          vi         vii

In every major key, the chord built off the first note of the scale will always be a Major chord.
In every major key, the chord built off the second note of the scale will always be a minor chord.
In every major key, the chord built off the third note of the scale will always be a minor chord.
In every major key, the chord built off the fourth note of the scale will always be a Major chord.
In every major key, the chord built off the fifth note of the scale will always be a Major chord. *
In every major key, the chord built off the sixth note of the scale will always be a minor chord.
In every major key, the chord built off the seventh note of the scale will always be a half-diminished chord.

*- the fifth degree will have a major triad (Root - third - fifth), but the seventh scale degree will be a flat seventh. This chord will then become a dominant 7th chord.

Example - G major = G A B C D E F#
I = G major
ii = A minor
iii = B minor
IV = C major
V = D major
vi = E minor
vii = F# half diminished

With all that said (typed actually) - in G major, a ii - V - I chord progression will be Am - D major - G major.

Now, jazz is built around harmony extended above basic major and minor triads. So, to "jazz" this progression up, we'll play Am7 / D7 / G maj7.

Real Book

Pick up a copy of this book at your local music store or book store. The Real Book is a collection of common jazz tunes in a lead sheet format. It will include the standard harmony of the tune (chords), the melody and the chord progression for the solo section. Pick a tune and work through it by learning the chord progression then the melody. When you have both down, transpose it to other keys. Great for really learning the neck, different keys and how to play in many positions.

Jazz Soloing

Sorry folks - we ran out of time before we discussed soloing. We'll do another workshop dedicated to playing over a jazz tune.

Suggested Listening

Jazz is about communication. Just as you learned how to speak as an infant by listening to your parents, you should also listen to jazz to learn the language. Listed below is a list of great Jazz artists ... Not all are guitar players either. Check them out, listen to the tunes and as you start working on this material, see if you can emulate some of the rhythm and soloing in the tune.

Guitarists
Charlie Christian
Wes Montgomery
Herb Ellis
Grant Green
Barney Kessel
Tal Farlow
Kenny Burrell
Jim Hall
Joe Pass
George Benson
Pat Martino
Earl Klugh
Pat Metheny
Mike Stern
John Scofield
Larry Carlton
John Pizzarelli

Non-Guitarists
Miles Davis
John Coltrane
Charlie Parker
Chet Baker
Bill Evans
Ron Carter
Thelonius Monk
Ornette Coleman
Charles Mingus
Jaco Pastorius





jazz guitar chords rhythm comping theory