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Jazz & More Guitar Lessons: Coloring of Chord Shapes

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Jazz Basics, Coloring of
Chord Shapes Part 1: Major Chords.
Within the Guitar Basics book, I've taught
you a couple of basic chords like Major 7,
Minor 7, Minor 7 flat 5 7th,
etcetera, etcetera.
But it's time to show you a few more
of the voicings that I like to use,
how you can kinda color
a chord a little bit and,
and make it sound even more interesting.
And I've been using some of these chords
over at the AGU tunes department when I
have been like performing songs and
I had some questions from there,
students were asking about
specific voicings so
I thought I might show you a few good
ones, how you could color it basic, for
instance a basic major,
if you have a G major 7 chord.
It's the basic shape G, F sharp, B and D.
[SOUND] So, what can we do here to
make it a little bit more interesting,
maybe we could add to the 9th.
And then we can do like this G.
[SOUND] Major 9, put an A on top.
So, you could, I'm ye, I'm ye,
I like sometimes to use my thumb
here to put this thumb on.
You know at, on the sixth string but
you can also I guess if you wanna
do it without the bar, you can probably
like maybe bar it like this or something.
But I, I would prefer, or
we can do it without the root if
the bass player's playing the root.
But anyway the notes are.
G.
[SOUND] F sharp.
B.
B and D then the 9th.
A, 9th on the first string.
[MUSIC]
You can do the same thing.
Like if you were up here.
Here's the major 7.
If you want to add that note.
Add the, the 9th, you can add an 8th.
[MUSIC]
So here we have the root,
we're up at 10th position.
Playing G, B, root 3rd major 7 and
then 8th and 9th.
That's a beautiful voicing.
We can actually also put like a D
on top to make it sound like this.
[MUSIC]
Here's the root.
That's a beautiful one.
This is another one I
like to do like a this.
[MUSIC]
We have G,
we have B
[MUSIC]
D.
D is the 5th, then A, 9th.
[MUSIC]
So
instead of, instead of,
of using the F sharp,
the major 7th,
we're using the 6th and that's an E.
And then a ninth.
So it's like a 6 9 chord.
[MUSIC]
G6 9 chord.
And then if you alter
this note you can get.
[MUSIC]
You borrow it over like this with your
first finger over the ninth fret.
[MUSIC]
You will get a G.
[MUSIC]
[MUSIC]
6, 9, sharp 11.
[MUSIC]
It's a nice one.
[MUSIC]
So we can do a similar thing here.
We can do.
[MUSIC]
If we wanna do G, B flat.
E 6th, 9th.
[MUSIC]
Or
do we even want to put
the major 7th on top, so
it becomes like a, major 9, 13 chord.
[MUSIC]
Also including the major 7th.
[MUSIC]
It's another nice voicing.
And we can do the minor, major 7
sharp 11 just changing that D note,
making it the C sharp.
[MUSIC]
G, F sharp, B and.
[MUSIC]
C sharp.
[MUSIC]
And
what else if we wanna have
the pure like 6 G6 voicing we can,
we can,
we can do something like this up here.
[MUSIC]
G, D,
E and B.
So second finger,
third finger, first and fourth.
G, root 5th, 6th.
And third.
[MUSIC]
And
if you want to change that chord into a.
[MUSIC]
Minor 6, you just change that,
that one note.
[MUSIC]
Down to minor
[MUSIC]
B flat on top.
[MUSIC]
[MUSIC]
And same thing here.
[MUSIC]
If you have a root 3rd and 6th.
You can add the D as well if you wanna,
wanna like.
[MUSIC]
Just like kind of a Django voicing
[MUSIC]
D, G, B and E, and
just move it half a step down
If you want to have that.
[MUSIC]
Minor 6 chord, move the B to B flat.
Up here we could also do.
[MUSIC]
That chord.
[MUSIC]
The, the G, 6 9 chord.
[MUSIC]
We can also move that third B into a B
flat.
Now we have a minor 6 9.
[MUSIC]
With G, B flat,
E, A, and D.
So that's pretty useful.
Okay, now I can also show you a nice
voicing of like G major 7, sharp 5.
[MUSIC]
That will be like a B triad over G.
[MUSIC]
G, root major 7th,
3rd, and sharp 5.
[MUSIC]
[INAUDIBLE] five.
[MUSIC]
Same thing work, works up there.
It's like a slash chord a B over G.
[MUSIC]
Here we're down at the 3rd position.
Here we're up at 10th.
[MUSIC]
Let me also show you this one.
[MUSIC]
This is nice one, add 9.
Root 9th, 3rd and 5th.
When I put the root, put the root on top,
so you bar over third fret and
then you stretch out your,
your fourth finger up to the,
7th position, fourth string.
[MUSIC]
If you even wanted to like this,
and add the fifth, we can do that with
the third finger on 5th position.
[MUSIC]
The add 9 chord up here sounds like this.
[MUSIC]
Bar over 10th position,
G, D, A and B and D on top if you like.
[MUSIC]
So
those chord voicings are really useful for
the major chords
you have we have major 7, major 9.
Major 9 13 6 and
6, 9, and add 9.
So as you can see, you call, if you
have the major 7th within the chord and
you still have the, the 9th and the 6th.
Or you, you then you,
you kind of a change the name on, on,
on the 6 and call it 13 instead so
9 13 major, 7 9th 13th.
But if there's no major 7, you just
call it 6 9, then you call it like a 6.
Instead of 13,
'cause 13 you add that name.
Once you already have
a major 7 within the chord.
But without the major 7, you call it 6.
So here G6.
[MUSIC]
And if you have the minor 7th and
want to add that 6th at E.
I mean the major 7.
[MUSIC]
We'll, we'll add that one.
[MUSIC]
Then you call it major 7 13.
[MUSIC]
Instead of 6.
So those are a few of really
useful voicings for major chords.
[MUSIC]
Jazz Basics, Coloring of
Chord Shapes Part 2: Minor Chords.
Let's continue on the same path as before.
During the last lesson I showed
you a couple of nice voicings.
Nice colorings for major chords.
Now it's time to approach
the minor chords.
And we have the basic shape, the-.
[MUSIC]
G minor 7.
[MUSIC]
Use that one first.
It looks like that down here.
I've taught you this before,
within the basic block.
[MUSIC]
Up there it sounds like that and then-
[MUSIC]
Here sounds like this.
So if we want to color this,
we can add a 9th.
To it and do G major 9 chord.
[MUSIC]
I like this voicing.
[MUSIC]
I mean, I mean G minor 9.
I'm sorry, not major.
Minor 9.
[SOUND] G.
[SOUND] F.
[SOUND] B flat.
[SOUND] D.
[SOUND] And then
[MUSIC]
A on top of the 9th.
Down he, up here on 10th position, 10th.
[MUSIC]
8ht position.
[SOUND] Tenth.
[SOUND] And Tenth.
[SOUND] Fifth.
[SOUND] Fourth.
[SOUND] Third.
[SOUND] And
second string it will look like this.
[MUSIC]
Another ninths.
[SOUND] Minor 9th.
[MUSIC]
Voicing.
[MUSIC]
We could add also the 11th.
Add-
[MUSIC]
So it's minor we could add that note.
[SOUND] To the C one octave up,
[MUSIC]
Bar over the eighth fret.
[SOUND] G.
[MUSIC]
B flat.
[SOUND] F.
[SOUND] A.
[SOUND] And D.
[MUSIC]
That will be G minor 9 11th chord.
[MUSIC]
We'll see on top-
[SOUND]
Here we have a 11.
[MUSIC]
Minor 11th chord.
[MUSIC]
G.
[SOUND] F.
[SOUND] B flat.
[SOUND] And D 11th.
[SOUND] And
if we can add an A to it as well.
[MUSIC]
Stretch out a little bit.
Then will be hard to keep the root but-.
[MUSIC]
it will be a minor 9 11th.
It's a nice one too.
You can actually maybe add the mm-
[MUSIC]
Major seventh.
To a minor major 7th.
[MUSIC]
[MUSIC]
Change the F into an F sharp.
[MUSIC]
And then add the 9th.
[MUSIC]
That's a nice voicing too.
You can barred over if you
don't want to use the thumb.
[MUSIC]
Up here,
you can for instance use that 9th chord.
And move that one note F up to an F sharp.
[MUSIC]
That would be [SOUND]
Minor major.
[MUSIC]
9 chord.
[MUSIC]
We could also do for
instance 6 9 chord.
G minor 6 9.
[MUSIC]
G.
[SOUND] B flat.
[SOUND] E.
[SOUND] And A.
[MUSIC]
Will look like this down here.
[MUSIC]
E.
[SOUND] B flat.
[SOUND] D.
[SOUND] And A.
[MUSIC]
Or this one is a nice one as well.
[MUSIC]
Instead of having D on
top we're having the C on top and
C is the 11th so root.
[MUSIC]
Minor 3rd.
[SOUND] 6th.
[SOUND] 9th.
[SOUND] And 11th.
[MUSIC]
It's a nice
voicing too that I like to use.
[MUSIC]
This is another one-
[MUSIC]
You can take that minor 11th chord and
move that-.
[MUSIC]
Up to F sharp.
[MUSIC]
Then you will have root.
[SOUND] Major 7th
[MUSIC]
Minor 3rd [SOUND] 11th.
[SOUND] And
[MUSIC]
The 6th or the.
[SOUND].
That's when we have, like with the major
chords if we're having a- [SOUND] A major
7th or a minor 7th within the chord.
[SOUND] Let's call this 6 6th 13th.
[MUSIC]
Instead.
[MUSIC]
Can do something here.
We can change that minor 7.
[MUSIC]
Into a minor six.
[MUSIC]
Pretty cool.
G.
[SOUND] D.
[SOUND] E.
[SOUND] And-.
[SOUND] B flat.
[MUSIC]
We can do this.
[MUSIC]
We can put D on top.
[MUSIC]
Like with this chord.
[MUSIC]
Main minor 7th.
[SOUND] Sixth.
[SOUND] Ninth.
[SOUND] And fifth.
[MUSIC]
I like that voicing too.
And here you can-
[SOUND] Actually do like-
[MUSIC]
If we go back to the major chords for
a second, you can do-.
[MUSIC]
a 6.
[MUSIC]
You just move this.
[MUSIC]
Minor be the major 3rd.
[MUSIC]
And you have a G6.
[MUSIC]
And
the major 7, G-
[MUSIC]
Major 7.
Will be like this.
[MUSIC]
Sharp 5.
[MUSIC]
Moving that D up to D sharp.
[MUSIC]
So as you notice it's all about knowing,
what notes to change?
To change the color just a little bit.
What else can we do here?
Some kind of nice nice voicing.
[SOUND].
[MUSIC]
We can actually do that.
Keep that chord that I show you.
[MUSIC]
And add the 11th on top.
[MUSIC]
So then, it's a minor, major 7 9 11th.
[MUSIC]
It's a cool voicing as well.
And, and up here we could do,
you can add for instance
[MUSIC]
This chord we have the root.
[SOUND] 11th.
[SOUND] 7th.
[SOUND] The 3rd.
[SOUND] And let's add the 6th on top.
[MUSIC]
So minor 7.
[MUSIC]
Let's see, minor 7
11th, 13th.
[MUSIC]
Say I'm voicing down here.
So those are a few really
useful minor voicings.
We have the 9th, 9th, 11th.
[NOISE] 6th, 6 9th,
minor major 7th and so on.
So those are a few to choose from.
[MUSIC]
Jazz Basics, Coloring of
Chord Shapes Part 3: Dominant Chords.
Let's continue with a few more
really useful chord shapes.
Pretty common ones but
still really useful.
We're, we're still in the key of G.
So, if we're have G7.
[MUSIC]
That's the foundation.
[MUSIC]
[MUSIC]
Then we can start according to what kind
of sound we like to get we can.
For instance, add the 13th and
we'll make it the G13 chord.
[MUSIC]
Add that E.
[MUSIC]
[MUSIC]
Or we can also add the 9th.
I have a 9 13 chord.
[MUSIC]
Or we'll just do,
[MUSIC]
then, this is F, B, E, and G.
[MUSIC]
We can add, or if you wanna bar,
you can do like that,
[MUSIC]
instead of using the thumb.
But we can just do the 9th here.
[MUSIC]
F on 3rd position,
fourth string,
A on third string 2nd position.
D on second string 3rd position and
the root.
[MUSIC]
And up here we can do the 9th like this.
[MUSIC]
twel- 10th
position, G, B, F, and A.
[MUSIC]
Root 3rd.
Dominant 7th and the 9th and
we can add the 5th on top.
[MUSIC]
These are chords are really common you
know within funk music.
[MUSIC]
You
can actually add the,
the E up here, E will be the 13th.
[MUSIC]
[MUSIC]
Or
[MUSIC]
Can play the 13 chord like this,
with the 11th.
[MUSIC]
Pretty cool.
[MUSIC]
[MUSIC].
Then you can add like the [SOUND] To
the 7th chord, you can add a sharp 11.
[MUSIC]
Add a C sharp to it.
[MUSIC]
You can add a 9th.
[MUSIC]
9 sharp 11.
You can just do this is one,
one, and one I like.
And you, you, on 10th position, and
then you bar with your first
finger over the 9th position.
[MUSIC]
G, B, F, A.
It's a 9 sharp 11, with a, C sharp on top.
[MUSIC]
[MUSIC]
It's a cool one.
Then we can get into some altered chords.
Even more altered, we can keep
that sharp 11 and we can add for
instance, a sharp 9 or
a flat 9 to start the flat 9.
[MUSIC]
Or if we go for the
[MUSIC].
Pretty cool if we go for the
[MUSIC]
sharp 9, the B flat, the flat 9 is a
[MUSIC].
It's the A flat,
[MUSIC]
it's a cool combination, we could go for
the sharp 5 race to B up to
[MUSIC]
[MUSIC]
To D sharp,
[MUSIC]
and we can also add the sharp 11
[MUSIC]
add,
why not add the
[MUSIC]
sharp 5 flat 9, sharp 5 sharp 9.
[MUSIC]
You
can bar here
[MUSIC]
[MUSIC]
Wanna use the thumb, it's okay too.
[MUSIC]
In many ways, playing the bass note.
[MUSIC]
That's a cool one.
You could do a sharp 9.
[MUSIC]
Down here third
position G, B, F and
[MUSIC].
[MUSIC]
And B flat.
[MUSIC]
So you have both like major 3rd and
then
[MUSIC]
the sharp 9.
[MUSIC]
Like that voicing,
looks like this up here.
[MUSIC]
Similar thing, root,
major 3rd 7th and sharp 9.
[MUSIC]
And you can add a sharp 9 to B5,
then you can add a sharp
5 on top like this.
[MUSIC]
With E flat or if you do the D flat,
and bar over you get the.
[MUSIC]
And
sharp 9
[MUSIC]
flat 5 or sharp 11
[MUSIC]
compared to this.
[MUSIC]
Or you could do for instance flat 9,
[MUSIC]
can do it like this,
[MUSIC]
G, B, F, and a flat 9 on top A flat.
[MUSIC]
We can add on top we can add this.
[MUSIC]
A sharp 11, or
maybe add like flat 9, sharp 5
[MUSIC].
[MUSIC]
You hear,
there are a lot of things you can do with
these combinations, with all the note.
[MUSIC]
Same goes down here.
[MUSIC]
With these notes I was showing you,
[MUSIC]
So there are, there are very,
very useful chord voicings
when you're altered chord.
Lets try for instance the, the 13 flat 9.
[MUSIC]
With an E triad on top.
[MUSIC]
It plays like this.
[MUSIC]
Sorry, like this G, F, B.
[MUSIC]
E, and A flat.
This is a symmetrical chord so
you can move it,
[MUSIC]
three frets up
[MUSIC]
Or, or down.
[MUSIC]
On, under string, will look like this,
the same shape on the fifth,
fourth, third and second string.
[MUSIC]
You can do a 13.
[MUSIC]
Sharp 9.
[MUSIC]
That's also cool.
[MUSIC]
B13 flat 9 and
sharp nine voicings are symmetrical so
you can move them around.
They, they're based on the diminished
half step whole step scale.
That you could use on over doms,
some dominant squares if you got 13 and
then
[MUSIC]
a flat 9 or a sharp 9.
Let me just show you, maybe, the 11th
as well, if you wanna play like an F or
a G, same G7, sus 4
[MUSIC].
Like we actually have an A, so
it's a 9 sus 4 here in this case,
[MUSIC].
We can also add, if we like to E the 13.
[MUSIC]
That's a nice voice.
[MUSIC]
Up here you can use bar over the.
10th position and do
[MUSIC]
G, C, F, and then 9th on top.
[MUSIC]
This
is nice to alter this like going for
this to raise the C to sharp 11.
[MUSIC]
It's a nice voice.
All right those are a few,
voicings for you to work on.
So, try and adapt these to
the songs you're playing and
a good guideline to know what
kind of voicings you can use,
what alterations you can use,
is to look at the, the, the chord chart or
the song and listen to it,
and also look at the melody.
If, if there's for
instance a, have a G7 and
we have a 9th on top, as the melody note.
[MUSIC]
It,
it probably doesn't fit to use
the flat 9 or the, sharp 9.
Then, it's probably better to use a
voicing that has the 9th with, within it.
Instead of alter it, altering it too much.
But, if you, for instance, have a G7
that has a root that's the melody note,
you can try out these different,
you know, alterations.
[MUSIC]
And, and so on.
So, thank you.
Jazz Basics, Coloring of Chord Shapes Part
4: Minor 7 Flat 5 Chords.
Here are a few ways to spice
up a minor 7 flat 5 chord.
Lets stay in the key of G,
basic chord will be in G minor, 7 flat 5.
G, F, B flat and D flat,
playing on the sixth,
fourth, third and second string.
What can add here-
[MUSIC]
Adding the root on top might make
a difference too if you
want to have that sound.
[MUSIC]
That's pretty cool,
you can also add for instance.
The, 'cause this note-.
[MUSIC]
It works, but
it's kinda sensitive to use that
flat 9 from the Locrian scale.
At some point, it might sound
good to use it, but if you, for
instance, alter that note and
make it into a-.
[MUSIC]
A 9th, natural 9th, you get this sound.
[MUSIC]
It's a pretty cool sound.
[MUSIC]
Another voicing for
instance that I like for,
for this chord is to-
[MUSIC]
This is the basic one.
[MUSIC]
Then,
you can change this B flat, grab the root.
[MUSIC]
Add the flat 5,
we have the 7th.
[MUSIC]
We can change,
we can protect that B flat and
raising it up to the, the,
the minor 3rd up to 11th and
you get this voicing, it's pretty nice.
[MUSIC]
Can go back there.
[MUSIC]
And also-.
[MUSIC]
With an A on top, G, B flat, F and A.
[MUSIC]
You can also move
that same voicing up here.
[MUSIC]
And do the same thing, then we'll sound,
then it will sound like this.
[MUSIC]
G, B flat, F, B flat for
instance, or A, or-
[MUSIC]
C up there if you would like that voicing.
[MUSIC]
That's a, that's a, that's a nice one.
You can also try if you
want to try a little-
[MUSIC]
This is kind of a, a cool one you can use.
[MUSIC]
You have the G,
G here as the root, and we have-.
[MUSIC]
A flat 5, the 9th.
[MUSIC]
I'm sorry the root and
then the 9th and then the 11th.
[MUSIC]
And these voicings,
the minor 7 flat 5 voicings,
can actually move for,
for if we have G minor 7 flat 5 and
then a C7,
we can take that voicing we like and
move it three frets up.
[MUSIC]
With C as the root and
then we will get an altered chord, or-
[MUSIC]
Same thing here.
[MUSIC]
That's very useful.
Also remember that the minor
like a G minor 7 flat 5,
that's an inversion of B flat minor 6.
[MUSIC]
So
you could play B flat minor
6 voicings here as well, but
remember it's a different root and
it's like a G minor 7 flat 5 with a 3rd.
[MUSIC]
That's the bass note.
So let's see we, we added, this is
one I like too, you can use at time.
Root, flat 5, 7th,
9th and 11th.
You can also move that one up and
then it will have a C altered chord.
[MUSIC]
So those are nice.
And also this same voicing
I'm using up here-
[MUSIC]
You can use it down here.
[MUSIC]
C, B flat, G and D flat.
[MUSIC]
And G, you can put-
[MUSIC]
The G here with its own.
[MUSIC]
It's a bit stretched out, but
kind of a cool chord.
[MUSIC]
So those were a few minor 7 flat 5 chords.
[MUSIC]