JAZZ
GUITAR CHORD OF THE WEEK 2004
Practically Vintage |
|
| Chordweek |
|
|
| December
26, 2004 — I mean,
this is getting ridiculous. How many cool voicings can you get from
one scale. Like, save some for other scales, dude. Happy new year,
he wrote in mid-June. |
 |
 |
|
| December
19, 2004 — If you
just take the same scale, find a cool voicing and then just move up
to the next scale tones you get more exceptioanlly cool voicings. It's
almost like cheating, but without the steroids. |
 |
 |
|
| December
12, 2004 — If after
playing this chord you think to yourself "these notes are just
the next steps up an A myxolydian scale from the previous COTW,"
you'd be soooo right. |
 |
 |
|
| December
5, 2004 — Here
is a cool voicing for A13. You can play a big fat open A on the bottom
also. Or maybe a big fat open E and call it E-9. |
 |
 |
|
| November
28, 2004 — Since
a humanoid can never have too many ways to play an altered Db13 voicing,
here is yet another. By all rights, you should have been able to play
this while eating leftover turkey. No root on this puppy either. |
 |
 |
|
| November
21, 2004 — ... "What took ya'
so long."As if by magic six months or so hadn't elapsed between
the last COTW, we continue with more ways to play Db13+4.
This one doesn't have a root, but if you play it an a chord progression
you can give it a home. |
 |
 |
|
| November
14, 2004 — Again,
by special request, a chord that shows up fairly often, but can present
a mystery. Notice that in the voicing for Db13+4 or (+11) there is
no Db. Leave the Db to the bass player. If there is no bass player,
you have to wait. Until next week, that is, when we'll hear Junior
say "... |
 |
 |
|
| November
7, 2004 — By special
request, this month I'll be answering the age-old question: "Where
can I find a Job?" Not really. I will, conversely, answer a question
about how to play voicings with multiple alterations, in this case
#9 and #11. This example leaves out the root, and is also the same
as a familiar Ab 13 voicing. Or at least it will be familiar now. |
 |
 |
|
| October
31, 2004 — Boo!
The Cluster is back... and this time it's MOVABLE! |
 |
 |
|
| October
24, 2004 — Another
scary entry in the "Chord with No Name" series. Play this
one enough and you might get elected Mayor of Carmel. |
 |
 |
|
| October
17, 2004 — There
are only so many clusters that can be played on the guitar. Here's
another one that can be used whenever you need to take it "out".
It can also be played over the relative minor...? |
 |
 |
|
| October
10, 2004 — When
you need to play something dissonant. I mean reallllly dissonant,
may I suggest this week's chord? It looks rather innocent. It's just
four notes. It's very simple to play. Since there's no chord symbol,
you can play it whenever you want. Whenever you want to scare people,
that is. |
 |
 |
|
| October
3, 2004 — Since
you can never have too many chords with clusters or at least that
are "clustery" here's another one with consecutive whole
steps. You get an interesting sound without have too much tension
(as with half steps). You could use this as the opening chord of a
blues or on a bossa nova, to name a few situations. |
 |
 |
|
| September
26, 2004 — Speaking
of equal time, why is it that Andy always calls a chord major first
and then says "Oh yeah, and by the way, if you feel like it,
maybe you could use this voicing for like, the relative minor, ya'
know, if you play minor chords or something."? Well his week,
all that is changing. Here's a minor chord (for those of you who play
minor chords) that has a nice cluster (as opposed to mean or rude
clusters) between thr root, ninth and minor third (note to self: add
one more parenthetical statement here to fulfill the monthly quota).
Oh yeah, and by the way, if you feel like it, maybe you could use
this voicing for like, A Maj7+4 or E Maj, ya' know, if you play major
chords. |
 |
 |
|
| September
19, 2004 — Would
you believe two chords with open strings? See last week. I realized
that I never put any Major 6 chords on COTW. Equal time, ya' know.
Or maybe there are still no Major 6 chords up here, just F#-7? |
 |
 |
|
| September
12, 2004 — Oh yeah,
I forgot one chord with open strings. D Maj7 (or B-7). This one has
a little of the cluster thing happening, and a nice open fifth on
the bottom. Great for bossa novas, and is kind to small animals of
the woodland. |
 |
 |
|
| September
5, 2004 — Here's
a voicing for Maj 7 with the root on top, and all kinds of murky,
yet flavorful, stuff (yummy!) lurking beneath the staid exterior.
Featuring a half step and a flat 9, baby. Probably not suitable
for the final chord of the national anthem, but otherwise...? |
 |
 |
|
| August
29, 2004 — This
is a classic and cool minor 7 voicing that probably should have appeared
on this page long ago. What was I thinking? Or, it's a classic Major
7 voicing—Eb Major 7 to be exact. This one works any time a minor
(or Major) voicing is called for. But not every time. That would get,
like, boring or something. |
 |
 |
|
| August
22, 2004 — Here's
a chord that can be moved around the neck. No open strings. This is
also usable as F13, B7alt, and A-7b5. Not bad. The thing is, there's
a bit of a stretch involved. To start out, don't play it constantly
or it may be uncomfortable. Here at CF.com, we always strive for comfort. |
 |
 |
|
| August
15, 2004 — I don't
know how these scurrilous accusations about resolution and voice leading
come from. But, my fellow carbon-based life forms, you have my fullest
assurance that the chord of the week is now, and always will be, totally
random (notwithstanding the generous contribution from ii-7 V7 IMa7,
Inc. to my bid for re-election, at the present time as the case may
be so on etc.) Thank you very much. |
 |
 |
|
| August
8, 2004 — Any notion
that last week's chord and this here chord could be used as a ii-7
V7, and that they do, in fact, voice lead perfectly is totally unsubstantiated
and quite likely politically motivated in an election year. Send money
to... |
 |
 |
|
| August
1, 2004 —If you
combine a basic B-7 voicing with the open E you get consecutive whole
steps on top. And extra credit. Can you say "Bossa Nova"?
I knew you could. |
 |
 |
|
| July
25, 2004 — If you
left out the open E on top, you'd have a plain old vanilla voicing
for F minor. Which might be great on a piece of pie, but we're looking
for something with a little more tang here. |
 |
 |
|
| July
18, 2004 —Sometimes
moving four fingers is just too much work—especially when it's
hot and humid out. If you're feeling lethargic, take the previous
chord and just move two fingers to create this half step-filled voicing.
You could also play the A open, but that would spoil my lead-in. |
 |
 |
|
| July
11, 2004 —If I didn't
know better, I would swear the previous two chords and this one were
resolving around the cycle (up a 4th). Hopefully, when I wake up,
it will just have been a dream. Here's a dreamy Ab7alt chord. Love
those half steps with the open strings. |
 |
 |
|
| July
4, 2004 — Oh yeah, but if you have so much tension for the
first chord, how do you follow it with something that's just as, if
not more, interesting? I have absolutely no idea. But while you're
trying to figure the answer out, play the following chord: |
 |
 |
|
| June
27, 2004 —There
comes a time in every gig...you'll know it when you get there...when
the music just seems to cry out for some tension and wierdness. If
you're like me, that means the first chord of the first blues in Bb
in the first set. Hopefully it'll be the first tune. |
 |
 |
|
| June
20, 2004 — Another use of open stings to create half steps
in the middle of otherwise familiar and common chords. This is a voicing
that we typically know as a D9, but with the added 13th a half step
away from the 7th. |
 |
 |
|
| June
13 , 2004 — Here's
a "Purple Haze" chord that's even more purple and more hazy
than the original. That half step really creates a thick sound. In
this case the open strings are the 7th and raised 9th of the chord. |
 |
 |
|
| June
6, 2004 — This
time the open strings are the third and fifth of the C Maj chord,
with the half step between the raised fourth and the fifth. It's kinda'
similar to the May 16 "MTV" chord. Hmm... E minor 7 and
C Maj7. It's almost as if there was some kind of relationship between
these two chords. Well, is there? |
 |
 |
|
| May
30, 2004 — Evidently
they were having a special on open strings down at the Fulton Fish
Market. I got these from a guy who told me they fell off the back
of a truck. But if you freeze them, they'll last until July. If you
combine them with other chords that use open strings you might get
some hip sounds. Pass the tartar sauce. |
 |
 |
|
| May
23, 2004 — MTV wasn't
all over this chord in
1982 or any other year. This has enough half steps in it to last until
you get to the next measure. Then you'll have to add your own half
steps. This a cool and dare I say "zangy" choice to play
behind a minor chord with the root in the melody. |
 |
 |
|
| May
16, 2004 — Check
it out dude, six notes. Whooa! One more and you'd have, like, seven.
MTV was all over this chord in around 1982 (when they had videos with
music, instead of shows about who's fucking who— don't tell the
FCC), or so, and I personally feel that the statute of limititations
has run out and we can use it again |
 |
 |
|
| May
9, 2004 — Here's
a chord voicing that's all about the whole steps. It's actually a
variation on one of the basic minor 7 chord forms we all know and
love. If you don't know it go here. If
you don't love it, try again next week. |
 |
 |
|
| May
5, 2004 — Another
chord for a rainy day. Notice that only two notes are different from
the previous week's voicing. This
is one of those sus chords that also has the third. Kinda' makes one
harken back to late February. Or maybe Led Zeppelin? |
 |
 |
|
| April
25, 2004 — What
would Spring be
without a little rain? Let's face it, all sunshine and no clouds would
get boring after say, six or seven years. And then there's the whole
water thing (makes life possible, etc.) For that moment in the song
when percipitation is in the forecast... |
 |
 |
|
| April
18, 2004 — At this
exact moment, you may be thinking "How often do you see the chord
symbol Ma 7 +4+5? Not that often. So I'll just have to use this chord
any time I want to play an Ab Major that can tolerate some interest,
especially at the end of a tune." |
 |
 |
|
| April
11, 2004 — Finally,
a G13 voicing with a whole step between the 9th and 3rd. And in keeping
with the latest fad on Chord of the Week, a root on the bottom. Let's
call that optional. I know it will be tempting to do a big "windmill"
when you play this one, but you could break a finger. Ouch. |
 |
 |
|
| April
4, 2004 — The latest
addition in the "Big Sound" series, using an open string
to create a nifty (did I really say "nifty"?) half step
on top. Plus, if you act now, an ensemble-filling root and fifth on
the bottom. |
 |
 |
|
| March
28, 2004 — New for
Spring, a five-note chord with open strings! While it is not as moveable as most of the chords on this page, somtimes
you need a big sound to fill out a particular passage. And this chord
has got a big sound. Just don't ask me how to accessorize. |
 |
 |
|
| March
21, 2004 — It took
a while longer than usual, but the 3/14/04 chord has finally resolved.
In this case to a very interesting (at least I think so) Major chord
that has mucho Zang factor. The whole step between G and A, plus the
major 7th interval between Bb and A make it so. |
 |
 |
|
| March
14, 2004 — Want
bland and uninteresting? You'll have to look elsewhere.
Here are three powerful, extra crispy notes. Powerful because they
can also be used for G7, Db7 and E7. Crispy because there's a half
step right at the top of th voicing. And, this chord takes a long
time to resolve. In fact, my calculations reveal it will take about
a week. |
 |
 |
|
| March
7, 2004 — Finally,
a dominant chord that's just a dominant chord! This one is especially
usefull because it's hard to find a super-hip voicing for a dominant
with the 7th on top. It just got a little easier. Yes there is a flat
9 interval in the voicing, yeah it's got color, I know. Sorry. I'll
come up with something really bland and uninteresting next week. Not.... |
 |
 |
|
| February
29, 2004 — Since
last week's voicing was soooooo indeterminate, I decided to keep the
ball rolling in that direction—another isitasusorjustadominant
chord. It's all that and more! How about F Maj7+4? D-13? Another great
chord to use when the sound to lasts a few measures. |
 |
 |
|
| February
22, 2004 — This
week I thought we'd break out a Dominant chord with an ambiguous quality.
Is it a sus4 or just a plain old 7th? It's both. Since it sounds so
nice, use it in situations where the chord lasts a few measures so,
that the effect can sink in. Zang factor: 6 on a scale of 10 (although
zangnatude is highly subjective). Use this space to make up a word
of your own: |
 |
 |
|
| February
15, 2004 — The following
chord is the not so beautiful (but beuatiful) voicing for a C Maj
7 or A-7. In the case of C major, it is not always easy to find a
voicing with the root on top that still has some zang factor (dissonance,
color, interest, not vanilla); same for the minor third on top of
A-7. This chord has a very prominent flat 9 interval in it that has
zang factor for days. |
 |
 |
|
| February
08, 2004 — Here's
a major chord with a modern sound, courtesy of the whole step in the
middle of the voicing. You could also use it for G- (the relative
minor). Further possibilities are Eb maj and Ab maj— they may
be harder to hear, maybe not. Try it out. No one will be injured by
it (although my attorney has strongly recommended that I refrain from
such statements). |
 |
 |
|
| February
01, 2004 — This
week's chord was not aired on CBS during the Super Bowl, but instead
can be aired by you any time you want. It is shown here as a Bb7 b9
+4, and since this voicing is derived from the Diminished scale, if
you move it up a minor third it becomes Bb13 #9, up another minor
third Bb7 b9 +4 (now with the +4 on top) down a minor third from th
original spot — Bb13 #9 (With the 13 on top). Oh yeah, it also
works as Db7, E7 and G7 all with the same alterations. |
 |
 |
|
| January
25, 2004 - Since last
week's chord was extra crunchy, I'll follow it with a very pretty
voicing (at least I think so) for a Major 7. Notice that it doesn't
have the third, but instead the second (ninth) a whole step above
the root. Which equals pretty, but not boring or sacchrine. It also
works as D-11 and G7 sus. |
 |
 |
|
| January
18, 2004 - This voicing
is the only known cure for the mid-winter doldrums (for those of us
in the northern hemisphere). Play it over A7, Gb7 and Eb7 as well
as C7. |
 |
 |
|
| January
11, 2004 - This week's
chord voing is eminently (I get paid by the syllable) usable as a
CMaj7 or A-7 (9). It could also be played over a D root to get a D13
voicing. Piano players use this voicing constantly, and now, so can
you |
 |
 |
|
