All chords are built up from the Major Chord (1/3/5). To aquire fluency in building and naming chords it is important

to at least develop a good understanding of the heptatonic scales of the keys you will regularly use.

In this study I will demonstrate inversions of chords in the 3 keys of Bb(A#), C and D which have similar shapes.

Chords' names are determined by their root (no 1) note. Root notes are chosen by the sequence of chords in which

the particular chord is placed. Interestingly, the sound of a specific chord will change depending on its root note.

MAJOR CHORDS contain notes 1(the "root" note) 3 & 5 of the heptatonic scale. .

In these examples the root is on the A string.

MINOR CHORDS contain notes 1 b3 & 5. Thus the 3rd note is flattened by one half tone (ie., by one fret)

The root note still is on the A string.

AUGMENTED MAJOR CHORD contains notes 1 3 & #5 (raised by one half tone or one fret) Root = A string

NOW LEAVE THE 3 NOTE "TRIADS" AND EXAMINE THE 4 NOTE "TETRACHORDS". TRY TO STRUM ALL

FOUR STRINGS WHEN PLAYING TETRACHORDS (BUT SOMETIMES IT MAY BE IMPOSSIBLE TO DO)

DOMINANT SEVENTH CHORD. IS THE DOMINANT CHORD IN JAZZ MUSIC and it contains notes 1 3 5 b7

Root note on A string

AUGMENTED 7 CHORD contains notes 1 3 #5 b7. Note it is a Dominant 7 with the 5th note RAISED 1/2 tone.

It is often called a 7 with sharp 5. Jazz musos are now discussing it as a FLAT 13. Its mark = ( )7aug or ( )7 5

Root note on AS string

MINOR 7TH CHORD contains notes 1 b3 5 & b7. Later we will see that these same notes form another chord

if the root note is moved to another note in the chord. Root note = A string

MINOR 7 FLAT 5 CHORD is a "modified" 7th chord using notes 1 b3 b5 b7

By changing the root note this becomes a Dominant 9 chord. Try figuring out the name of the 9 chord!

Use this formula - The relevant 9th root is the sixth note of the root of this m7-5 chord. And this is constant for

any chord/s having exactly these specific forms.. No change in root note = A string.

MAJOR 7TH CHORD contains notes 1 3 5 & 7. Antonio Jobim used these chords frequently in Brazillian songs

MINOR - MAJOR 7 CHORD contains the notes 1 b3 5 & 7. I avoid them because I cannot grip them. Playing the

relevant augmented shape will fake it's sound OK.

A MAJOR SIXTH contains noteS 1 3 5 and 6. It is the Major triad plus 6. Major 6 chords are minor 7 chords too.

Maj 6 chords are often used as the final chord in Jazz songs. Maj7 and 6/9 chords are also much used.

MINOR SIXTH CHORDS contain notes 1 b3 5 and 6. It is a Minor triad plus a 6. These inversions demonstrate the

how chords change depending on the root note. The examples show 3 shapes of the m6 chord and each is also

a 9 chord . The A#m6 (Bb) and Cm6 are typical 9 chord shapes and the Dm6 is an m7b5 shape but also a 9 chord..

You may then conclude that all minor 6 chords are also m7b5 chords and a 9 chords if you change the root note.

DOMINANT 9TH CHORD contains notes 1 3 5 b7 & 9 So it is the Dominant 7 with the 9 note added

But, see how the Minor 7 flat 5 chords above can become a Dominant 9 ? Well, the reverse must follow. These

Dominant 9th chords are Minor 7 flat 5 chords if we change the root note - Can you see how?

DIMINISHED 7th CHORD contains notes 1 b3 b5 bb7 (b7 is the normal Dominant 7 note (it must lower again).

By choosing a different root note this chord becomes a dominant 7th chord with a flat 9. Can you identify the root?

In Jazz charts you will see the chord called a.7-9 or.7b9. So now you know what to play when you see 7-9 or 7b9.

Make a 13th chord by adding the 6th note to the dominant 7th chord. A few are demonstrated above.

But the shape I play is like these. These two lines are very similar but the bottom line is easier for me to play.

If you refer back to the 7#5 chords you will recall that the #5 is a b6, so the chord can be called a b13. But Glen

Rose refers to it as a #11. That I do not understand.

6/9 CHORDS are hybrid chords and are very useful. I find them helpful when played as the final chord of a

song ending with a 3 chord major Jazz pattern (see Glen Rose's Jazzy Ukulele).

Below are some alternate ways to play some interesting Jazz chords in key of C. Some are my own 'inventions'.

Other chords include: Half-Diminished 7ths; Diminished-Major 7ths, Augmented-Major 7ths and more.......

The final word: You must remember that these alternate chords based on the Dominant 7 shape can be freely

switched. They can also be used to embellish a measure, changing the colour of the 7 chord beat by beat through a

measure. I find it satisfying to play a 13, then a 7 sharp 5 then a straight 7 beat by beat and end on a 'iv' chord.