Master the chords used in jazz. This chord dictionary includes over a hundred jazz chord forms, from basic 7th chords wi...
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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
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Page i
edited by jonathan feist
90448 Berklee JazzGuitarChord Guts:Layout 1
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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.
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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
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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.
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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
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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
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PART I. CHORDS
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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
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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
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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
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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
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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
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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
2134
3 3 1 3
2143
10 11 8 10
7
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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
21334
1 234
5 3 3 2 3
10 9 8
C13 3fr
1 244
8
8fr
5 5 3 3
8
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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
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DOMINANT 7th CHORDS
Dominant 7(9), Dominant 7#9 C9
C7(#9) 2fr
2133
§9
2fr
3 3 2 3
2134
#9
4 3 2 3
C7(#9) 8fr
1214
#9
11 8 9 8
Dominant 7#5 C7#5
C7#5 8fr
1 234
10
9 9 8 8
3fr
#5
1 243
4 5 3 3
#5
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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
T 2314
9 7 9 8
2fr
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
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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
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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
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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
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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
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Chapter 4. Triads over Bass-Note Voicings: Roots on 6 5 4 V/I GMaj/C
GMaj/C
7fr
2
131
1341
7 8 7
8
10fr
1321
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
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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
3
121
2fr
2 311
6 7 6
2 2 3
8
3
17
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TRIADS OVER BASS-NOTE VOICINGS: ROOTS ON 6
5
4
VI/I AMaj/C
AMaj/C
8fr
3fr
1 423
1 423
10 9 11
8
5 5 6 3
VII/I BMaj/C
BMaj/C
7fr
2
18
7fr
311
7 7 8 8
2 431
7 8 9 8
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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
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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
2311
12 12 12 10
CMaj7/G
8fr
CMaj7/E
5fr
1113
8 8 9 9
7 5 5 5
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
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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
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INVERSIONS
C–7
C–7/Bb 10fr
C–7/G
8fr
1423
1111
11 11 12 10
8 8 8 8
6 4 5 5
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/Bb 8fr
11 12 10
4 231
8 8 8
4 5 5
11
8
C–7/G
4fr
2 333
C–7
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
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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
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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
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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
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INVERSIONS
same as A–7b5 7fr
C–6
C–6/A 10fr
13 1 2
C–6/Eb 4fr
1222
11 10 12 10
C–6/G
2314
1214
8 8 8 7
5 4 5 5
3 1 2 1
4 3 2 1
C–6
C–6/Eb 7fr
2 134
10fr
2 131
2 134
8 8 7
10 12 10
8 8 7
8
C–6/A
C–6/G
2 341
3 121
7fr
same as A–7b5 4fr
C–6
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
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PART II. EXERCISES
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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
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C Dorian Voicings
5fr
3fr
1234
1123
3 3 2 1
5 4 3 3
7fr 1122
8 8 7 7
1122
6 6 5 5
10fr
8fr
1134
10 10 8 8
1122
11 11 10 10
12fr
1122
13 13 12 12
29
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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
F7
6fr
8fr
1324
8 7 8 6
10 8 10 8
A–7b5
13fr
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
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E% Major
E%Major on
4
3
EbMaj7
2
1
F–7
G–7 3fr
1333
5fr
1423
1423
3 3 3 1
4 4 5 3
C–7
D–7b5 10fr
AbMaj7 6fr
1333
6 6 7 5
8fr
1324
8 8 8 6
EbMaj7
12fr
Bb7
10 9 10 8
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
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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
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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
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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
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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
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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
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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
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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
