9 Essential Chors
9 Essential Chords For Guitar
Yourguitarsage 9 Essential Chords
Erich Andreas 9 Essential Chords

Practical Chord Theory

Chord Progression and Music Estimation Using LSTM. CmpE WEB pdf document free download and online preview. In the last instalment we looked at turning simple chords into a blues shuffle. Now it’s time to talk about chord extensions.

So far we have dealt only with the mapping out of the fretboard and now we are going to start looking at applying the knowledge we have worked on. I would recommend that you re-read the last Chapter directly after finishing this one to make sure that all the principles covered so far are clear and fully understood.

Each section from now on will relate back to the first two chapters and by linking them together we shall be able to make our own chord inversions, create our own arpeggios and begin to look at improvising in a more logical way.

Firstly we must set out the formulas for all the chord types using intervals to denote a chord's construction.

Chord Type	Abbreviation	Formula
Maj	I III V
Maj7	maj7	I III V VII
dom7	7	I III V bVII
Aug	+	I III #V
Min	-	I bIII V
Min7	-7	I bIII V bVII
dim	°	I bIII bV
min7b5	-7b5	I bIII bV bVII
sus4	sus4	I IV V
sus2	sus2	I II V
add9	add9	I III V IX

These are the basic chord forms that we can work from. You will notice all chords that have 'dom' before the number are of a major tonality and have a III and a bVII. The dominant chord family must be treated with care because although the VIIth will always be lowered , any other interval above that will not be altered unless stated in the name of the chord; e.g., G9 will contain the I, III ,V bVII (dom 7 formula) plus the IXth. In the case of G7b9, the 9th would be lowered by one semi-tone. This is also the case for the 11th and 13th intervals where the chord is again built upon the dom7 formula and the extra intervals are added without being altered unless specified in the chord name.

Note: In classical music theory all the intervals beneath the highest number would also be included in the chord i.e., a G13 would also contain the 9th and 11th. This is impractical for the guitar since we are limited to the amount of fingers and strings we can use to form the chord.

The same rules apply to every chord regardless of tonality; i.e., Gmin9 will contain a bVII but will also contain the 9th. Gmin7b13 will contain the bVII but would also contain the 9th and the 11th.

Altered chords are dominant chords that have both the 5th and the upper register intervals raised or lowered. These chords are formed exactly as their name implies so that G7#5b9 will be made of a G7 chord with the 5th raised one semi-tone and the 9th lowered one semi-tone. Altered chords play a huge role in jazz styles because of their voice leading potential.

Played on their own they will sound strange and unresolved due to the altered tension that is created within the chord. To get a good idea of how these chords are used, try looking for any sheet music by Duke Ellington. His use of altered chords in composition is breathtaking and would be the best reference you could have for these applications.

If you need a list of jazz tunes to learn you’ve come to the right place!

In today’s lesson we’re going to talk about 9 essential jazz tunes every jazz musician should learn.

(This is the second post in the series on recommended jazz tunes you should learn. If you missed the first post you can check it out here Jazz Standards To Learn Part 1.)

Lets discuss some more tunes that are essential for you to add into your repertoire.

9 Essential Chors

I’ll recommend some good recordings to learn from as well.

As a reminder: It’s often times best to learn a tune from a great singer or pianist for the purpose of having excellent phrasing and swinging hard.

All Of Me

This is one of the most famous jazz standards of all time. It has been played for 80 years and it’s an eventual must for your jazz repertoire.

When I first learned the tune I learned it from a fakebook. This was a big mistake. Then I went back and relearned it with Frank Sinatra’s phrasing (from the recording below). When I play it now it swings so much harder. Frank really does some great stuff with swing rhythms. Copy his version even if you’re an instrumentalist!

All The Things You Are

I’ve always loved this tune.

Here’s a sample version of me playing and teaching the tune. There’s some cool chord reharmonizations in there that I hope you enjoy. 🙂

I teach the whole tune (with full sheet music included) inside the Premium Membership Course.

I Got Rhythm

George Gershwin’s classic, often times called just “Rhythm Changes” has provided a vehicle for jazz musicians for over half a decade. This is an absolute must as far as tune learning. It’s called at jam sessions around the world on a nightly basis.

Here’s a particularly swinging version of Hank Jones playing it. Such a great groove on the head! IMO there is better solos to transcribe then the ones he plays on this but the head is fantastic.

There Is No Greater Love

This tune has bits and pieces of most of the common chord progressions in jazz. It will definitely help you playing over hundreds of standards.

Here’s one example of many: I specifically learned how to play over a minor ii-v-i by transcribing a few solos of Bud Powell and Red Garland on this one.

Here’s a sample tutorial of me teaching the tune.

If you want to learn a ton of killer techniques on this tune I have a complete tutorial inside the Premium Membership Course.

Stella By Starlight

This is another standard that is called in almost every jam session. If you’re trying to learn how to solo over short form II-V’s, long form II-V’s, and II-V’s in major and minor this is the tune for you.

In addition, because of some of the “unusual” harmonic motion in the first 4 bars of the tune it makes people play some really beautiful and interesting lines (translation: less cliche licks).

I really dig Tony Bennett’s version of Stella. It starts regularly swinging at about 40 seconds in.

If you want to learn how to play this tune there’s over 2 hours of in depth tutorials plus complete notation on Stella inside the Premium Membership Course

9 Essential Chords For Guitar

Don’t Get Around Much Anymore

This is one of the most fun jazz tunes to play out there. It’s a great way to learn how to solo on a long form I-VI -II -V-I chord progression. In addition, the bridge starts with a IV chord which is super common in many jazz standards.

Learning how to navigate into and out of this bridge would prepare you for playing over tons of other tunes like Take The A Train, Misty, Satin Doll, and many others.

Here’s a really lively and fun version of Duke Ellington and Louis Armstrong together. This is off the first jazz CD I ever bought.

If you love this tune I teach you how to play a super cool solo piano versioninside the Premium Membership Course.

Misty

9 Essensial Chors