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| JAZZ
GUITAR CHORD OF THE WEEK |
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| Jazz
Guitar Chord of the Week is a chord voicing that sounds good and is
somehow useful. Or at least thought provoking. They are presented
in seemingly random order (to me; maybe I don't get the pattern?)
— so random in fact that you can request
a voicing for a particular chord type and it will as if by magic
appear on this page in about a week or so. For voicings that
are like, sooo last year, Chordweek 2006. For chords that have begun the process of aging gracefully, Chordweek 2005. Or totally ancient, but still incredibly hip, Chordweek
2004 . |
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| March 25 , 2007 - Since COTW is up to date, the mystery returns. Tune in next week... |
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| March 18 , 2007 - Since it's already "next week" you don't have to wait to find out all of the possibilities for this one: G Maj7, E-9, A7sus, C Maj7+4, D7sus, Gb7alt, and if you really need it, EbMaj7#9 (a rare occurrence). |
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| March 11 , 2007 - The ubiquitous voicing in 4ths. The Swiss Army Knife of voicings. You get extra credit for figuring out all of the possible uses for this voicing really fast. It helps if you face south (in a way). UPDATE 3/11: Since this is an inversion of last week's voicing, all of the same uses apply. Stop groaning and realize what a valuable piece of information this is. Have I been doing too many crossword puzzles? |
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| March 4 , 2007 - This voicing is also playable on the D, G and B strings (you can figure out the fingering) and G, B and E strings (in different keys). Although it doesn't create the same kind of tension that say the show "24" does, you still have to wait 'til next week to find out what happens. UPDATE 3/11: How about FMaj (or F2, 2nd in place of 3rd), D-11, C7sus, Bb6/9, Eb6/9 , Ab Maj, DbMaj+4, C- (although it doesn't define the 3rd, played in context it's great), G7sus or G-, B7 alt (play the same voicing up or down a half step to create a nice resolution to E maj). |
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| February 25 , 2007 - Another often-used voicing that can be played for...Tune in next week... UPDATE 3/4: ...when we find out that this voicing works for: G-7; G7; AbMaj7+4; BbMaj; C-7; C7sus; Db7 alt; D-7, Eb Maj; and F Maj. I also use this to resolve up a half step chromatically to B Maj. Although this usage is outside the technical definition of F#7alt (since it has an F natural), all three voices moving up a half step works well enough to use. |
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February 18 , 2007 - I know, you're thinking, and I quote "Dude, you forgot the chord symbol." I didn't, in fact forget; I left it out on purpose. It dawned on me a while back that when comping, I use alot of three-note voicings, most of which have never appeared here on COTW. Take this one for example. What do I use this for? Since I am pretty much on time with COTW these days, I'll let you think about it and do some exploration. Next week, I'll tell you what I came up with. Here's a hint: try every possible root. They won't all work, but many will... UPDATE 2/25
And the winners are: C Maj7; A-9; D13; F Maj7+4; F#-7b5; Ab7alt; B7susb9. The beauty of 3-note voicings is that they can be applied to more chord types than voicings with more notes present. If I played this as a conventional C Maj7 with a G in the voicing, you would have to eliminate Ab7alt and F#-7b5, D7sus rather than D13, and B7susb9 might not work as well. Plus, without the 5th, the tension between the C and B is greater. |
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| February 11 , 2007 - This week's voicing provides an easy way to play a close position Maj7+4 chord on the middle four strings. The other way to play it involves a bit of a stretch. When you have a chance to take it easy, take it easy. |
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| February 4 , 2007 - Here's a voicing for a GMa7 with the 9th on top and a half step on the bottom to create some interest. Although a major chord such as this might be used at a point in a song where the progression has resolved, it's nice to have the option of playing a voicing that has a little "shimmer" to it. |
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| January 28 , 2007 - Having done COTW for 3+ years now, I was astounded to realize that I hadn't shown this voicing yet. Maybe I was too busy playing it. Or maybe I was too busy using it for Bb7sus (yes, with the 3rd), F-, D7alt or B7alt. |
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| January 21 , 2006 - The last in the mini-series entitled "How do I play a (fill-in-the-blank) chord with the root on the bottom and (fill-in-the-blank) in the melody?" In this case, the mission is to find a hip voicing for an A-7 with the 7th in the melody. If the chord before this in the piece was an interesting one, playing a plain minor 7 sound might be a let down. Adding the 9th a half step from the 3rd thickens up the sound and maintains interest. |
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| January 14 , 2007 - Another special request, this time with the raised 4th in the melody. You could also play a C in place of the D in this voicing. |
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| January 7 , 2007 - By special request, a voicing to use for a Maj7+4 with the root on the bottom and the 7th on top. This is a variation of a voicing that may be very familiar to pick one: some/most/all/none of you. |
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