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Intermediate Jazz Guitar Chord Guide - Matt Warnock Guitar
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Posted: 03 Nov 2014 09:41 AM PST

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Announcement: GuitarControl.com Releases Basic Jazz Guitar ...

Posted: 29 Oct 2014 04:22 PM PDT

(PRWEB) October 24, 2014

Claude teaches this jazz guitar lesson based on constructing chords from the major scale in the key of A major. Johnson demonstrates the chord progression as the 2 – 5 – 1 progression, which he says is a staple of the jazz genre. The 2 – 5 – 1 progression is composed from playing the chord voicings based off of the 2nd, 5th and first positions of the major scale. The chord voicings that Johnson uses are as follows; for the two chord he uses Bm7 (B minor seven), for the Five chord he uses E7 and for the One chord he uses AM7 (A major seven). Johnson continues by performing this easy jazz chord progression using different voicings of the same chords.

Claude recommends practicing this idea in different keys and using as many different voicings of the chords that you know as to utilize all of the strings in different positions. Guitar TAB's are available for this easy jazz rhythm guitar lesson at GuitarControl.com.

The major scale, aka the Ionian Mode, is a seven tone diatonic scale that is widely used in western music. The eighth duplicates the first at double its frequency so that it is called a higher octave of the same note; its name is derived from the Latin "octavus," or eighth.

Claude Johnson

Claude Johnson, a native of Philadelphia PA, began playing guitar in 1990 after being inspired by players like Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughn. He is the creator of GuitarControl.com and has helped 1000's of people to learn to play the guitar with his critically acclaimed instructional DVD courses, all available at GuitarControl.com

About GuitarControl.com

GuitarControl.com is the leader in modern guitar instruction. It's packed with recourses including articles, video lessons, and the best videos in the business for the beginner to the advanced guitar student taught by the best instructors out there. Weather you are into the blues, rock, jazz, metal, folk, or anything in between, they have you covered.

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Posted: 29 Oct 2014 03:33 PM PDT

(PRWEB) October 26, 2014

"I want to talk about using sixth chords as substitute chords", says Johnson. Claude demonstrates this concept with the example of playing Bm7 (B minor seven) to E7, which is part of the two five one chord progression in the key of A. "Instead of playing the B minor seven you can play B minor six", says Johnson, "it gives it just a little different color". This is very useful when playing on the same chord voicing for numerous bars, you can switch between minor seventh and minor sixth to keep it more interesting. Claude continues this easy rhythm jazz guitar lesson by performing other chord substitutions such as switch a dominant 7th chord to a major sixth chord. All of these chord voicing's are made up from the notes in the major scale and Claude says that it is all covered in the course Real Easy Jazz Guitar, which is available along with guitar TAB's for this easy jazz guitar lesson at GuitarControl.com.

The major scale, aka the Ionian Mode, is a seven tone diatonic scale that is widely used in western music. The eighth duplicates the first at double its frequency so that it is called a higher octave of the same note, which its name is derived from Latin "octavus", the eighth.

Claude Johnson

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Intermediate Jazz Guitar Chord Guide - Matt Warnock Guitar

Posted: 25 Oct 2014 03:47 AM PDT

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Intermediate Jazz Guitar Chord Guide

When learning how to comp and chord solo on guitar in a jazz setting, many of us begin by learning Drop 2 and Drop 3 voicings for the common jazz chords, such as maj7, m7, 7 and m7b5.

Once you have these shapes under your fingers and can apply them to tunes you are studying or jamming on, you might be wondering where is the best place to go next in your study of jazz guitar harmonic shapes.

In this lesson, you'll learn how to build rootless and other Intermediate level jazz guitar chords as you expand beyond R-3-5-7 shapes in your studies.

The chords covered in this lesson include:

Maj6 Chords
Maj9 Chords
9^th Chords
7b9 Chords
7b13 Chords
7b9b13 Chords
m9th Chords
m6th Chords
mMaj9 Chords
m11b5 Chords

If you enjoy this lesson, you will also dig these other Intermediate level jazz guitar guides:

Don't forget to download your FREE Jazz Guitar eBook!

What Are Intermediate Jazz Guitar Chords?

At this point you may be asking yourself, "What exactly are Intermediate Jazz Guitar chords?"

For me, I consider any rootless voicing to be placed in this category, which you will explore in this lesson.

As well, any voicing were you alter a basic fingering to produce a new sound would be at the Intermediate level for me, also covered in this lesson.

Rootless chords are used by every great jazz guitarist, such as Wes Montgomery, Jim Hall, Joe Pass, Pat Metheny, and anyone else you can really think of.

Though the concept may sound advanced, it can be broken down into a basic theory that is then applied to each chord in your vocabulary.

At it's simplest level, rootless chords are chords were you take the root and you replace it with another note from the diatonic scale, in most cases during this lesson that note will be a 9^th of some kind.

This means that if you want to take a Cmaj7 chord and turn it into a rootless Cmaj9 chord, you would replace the root with the 9^th.

Cmaj7 – C-E-G-B (R-3-5-7)
Cmaj9 – D-E-G-B (9-3-5-7)

By using this replacement method to build extended chord shapes, such as 9ths or 13ths, you are altering a chord shape you already know to produce a new voicing, rather than starting from scratch and learning a whole new set of shapes on the fretboard.

As well, you can keep the root in a chord and replace another chord tone, such as taking a Cmaj7 chord and replacing the 7^th with a 6^th to form a C6 chord.

Cmaj7 – C-E-G-B (R-3-5-7)
C6 – C-E-G-A (R-3-5-6)

Again, this allows you to play a new chord voicing by altering a shape you already know, rather than going back to the drawing board in your jazz chord study.

In this lesson you will learn how to alter various notes in a chord, mostly the R, 5^th and 7^th, to form new shapes that you can then take to your jazz comping, chord melody and chord soloing situations.

If you are a bit unsure about the basic shapes for these chords, or just want a refresher on R-3-5-7 chord shapes, please check out these intro lessons as they will be helpful.

After you have done a bit of review, or if you already have these basic chords under your fingers, you're ready to dive in and begin your study of Intermediate Jazz Guitar Chords on the fretboard.

Maj6 Chords

The first chords that we'll explore are maj6 chords, often notated as 6 for the short form.

These chords are built by taking any maj7 voicing you know and lowering the 7^th by a tone to replace it with the 6^th, producing the chord tones R-3-5-6.

To begin, here are Drop 3 Maj6 chords with the lowest note on the 6^th string.

Here are Drop 3 Maj6 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Maj6 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Maj6 chords with the lowest note on the 4^th string.

Once you have these Maj6 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless Maj9 Chords

Here, you will explore your first rootless chord shape as you take any maj7 chord you know and raise the root by a tone to produce a maj9 chord shape, 9-3-5-7.

Though you are not playing the root in the chord shape, it can be helpful to visualize the root note in order to be able to move these shapes around the fretboard quickly and easily.

To begin, here are Drop 3 Rootless Maj9 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless Maj9 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless Maj9 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless Maj9 chords with the lowest note on the 4^th string.

Once you have these Maj9 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless 9^th Chords

You can now move on to replacing the root note of any 7^th chord to produce a rootless 9^th chord in your studies, 9-3-5-b7.

Again, feel free to play the 7^th shape first, then the rootless shape, going back and forth a bit until you are used to grabbing the rootless chord without the aid of the original 7^th shape on the guitar.

To begin, here are Drop 3 Rootless 9 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless 9 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless 9 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless 9 chords with the lowest note on the 4^th string.

Once you have these rootless 9 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless 13^th Chords

You are now going to take the chord shapes you just learned, 9^th chords, and replace the 5^th by a note one tone higher to form a rootless 13^th shape, 9-3-13-b7.

When building a rootless 13^th chord, you can also start with a 7^th chord and replace the root by a note one tone higher, then do the same to the 5^th, replacing it with a note one tone higher.

Either way will work, so whichever is easiest for you will be fine. Try both methods out and see which one works best for you before integrating it into your thinking and playing.

To begin, here are Drop 3 Rootless 13 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless 13 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless 13 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless 13 chords with the lowest note on the 4^th string.

Once you have these rootless 13th chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless 7b13(#5) Chords

We will now move on to the first 7alt chord sound in this lesson, where you take a 13^th chord and lower the 13^th by one fret to produce a 7b13 voicing, 9-3-b13-b7.

You can use this chord shape over several chord symbols in a lead sheet, so I've used the symbol I think you would see the most when reading a jazz tune.

Just to help out, you could also use this chord shape when you see the chords:

To begin, here are Drop 3 Rootless 7b13 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless 7b13 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless 7b13 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless 7b13 chords with the lowest note on the 4^th string.

Once you have these rootless 7b13 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless 7b9 Chords

You can also alter the 9^th of any rootless 9^th chord voicing by lowering that note a half-step to produce a rootless 7b9 shape on the guitar, b9-3-5-b7.

Again, you can think of this shape as a 7^th chord with the root raised by a fret, or a rootless 9^th chord with the 9^th lowered by a fret, whichever works for you will be fine.

To begin, here are Drop 3 Rootless 7b9 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless 7b9 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless 7b9 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless 7b9 chords with the lowest note on the 4^th string.

Once you have these rootless 7b9 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless 7(b9,b13) Chords

The last 7alt chord we'll look at mixes the previous two, as you now lower the 13^th by a half-step and the 9^th by a half-step to form a rootless 7(b9,b13) chord, b9-3-b13-b7.

This one can be tricky to get under your fingers, so work on the 7b9 and 7b13 shapes first, then learning these 7(b9,b13) chord voicings will just be a matter of combining the two on the fretboard.

To begin, here are Drop 3 Rootless 7(b9,b13) chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless 7(b9,b13) chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless 7(b9,b13) chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless 7(b9,b13) chords with the lowest note on the 4^th string.

Once you have these rootless 7(b9,b13) chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

m6 Chords

We'll now move on to minor chords by taking a m7th and lowering the b7 by a half-step to produce a m6 voicing, R-b3-5-6.

Just like the maj6 chord shapes, you will keep the root in these voicings, as the replacement note is the b7 allowing you to maintain the root in each shape.

To begin, here are Drop 3 Rootless m6 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless m6 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless m6 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless m6 chords with the lowest note on the 4^th string.

Once you have these m6 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless m9 Chords

The next minor chord we'll look at involves taking a m7 chord voicing and raising the root by a tone to form a rootless m9 chord shape, 9-b3-5-b7.

Keep working on visualizing the root note, though you aren't playing it in any of these chords, as well as moving between the m7 and m9 shapes in order to develop a better sense of how to find these shapes on the fretboard in any inversion or in any key.

To begin, here are Drop 3 Rootless m9 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless m9 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless m9 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless m9 chords with the lowest note on the 4^th string.

Once you have these rootless m9 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless mMaj9 Chords

The last minor chord type we'll explore in this lesson involves taking a mMaj7 chord and raising the root by a tone to form a rootless mMaj9 chord, 9-b3-5-7.

This shape can sound a bit harsh at first, but with time it will settle in your ears and be a nice addition to your jazz guitar chord vocabulary, so stick with it and see where it fits into your comping vocabulary.

To begin, here are Drop 3 Rootless mMaj9 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless mMaj9 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless mMaj9 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless mMaj9 chords with the lowest note on the 4^th string.

Once you have these rootless mMaj9 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Rootless m11b5 Chords

The last chord you'll learn in this article involves taking a m7b5 (half-diminished) chord and raising the 3^rd by a tone to form a m11b5 chord shape, R-11-b5-b7.

As this chord doesn't have the b3rd in it, it can be a bit ambiguous. But, with practice you'll be able to add it to your minor ii-V-I comping ideas as well as chord soloing phrases when you encounter a m7b5 symbol in any given tune.

To begin, here are Drop 3 Rootless m11b5 chords with the lowest note on the 6^th string.

Here are Drop 3 Rootless m11b5 chords with the lowest note on the 5^th string.

We'll now move on to Drop 2 Rootless m11b5 chords with the lowest note on the 5^th string.

Finally, here are Drop 2 Rootless m11b5 chords with the lowest note on the 4^th string.

Once you have these m11b5 chords under your fingers on any string set, make sure to mix them together as you begin to move between string sets and inversions in your comping and chord soloing phrases.

Intermediate Major ii V I Exercises

One of the best ways to bring these shapes to your playing in a musical fashion is to work on ii V I progressions.

You can focus on a specific voicing for each chord, or move between various shapes, whatever challenges you in the woodshed is cool.

Here is an example of how you would take chords from this lesson and apply them to a major ii V I VI chord progression in the key of C.

Click to hear Intermediate Jazz Chords 1

And here is an example of a chord-soloing phrase that mixes up various shapes from this lesson.

Click to hear Intermediate Jazz Chords 1

After learning these two examples, try taking any shapes you've learned so far in this lesson and comping over a major ii V I VI progression, starting in C then in all keys, as you begin to take these shapes into a practical, musical situation.

Intermediate Minor ii V I Exercises

As well, you can apply these chord shapes to a minor key ii-V-I-vi progression.

Here is an example of how to comp over a C minor progression using various chords from this lesson.

Click to hear Intermediate Jazz Chords 1

And here is an example of how to create a chord soloing phrase over those same changes.

Click to hear Intermediate Jazz Chords 1

Again, try taking any shapes you've learned from this lesson and comp/solo with them over minor key progressions as you begin to apply these shapes to common harmonic movements in the woodshed.

Do you have a question about these Intermediate Jazz Guitar Chords? Share your thoughts in the comments section below.

JAZZ GUITAR - BEGINNERS JAZZ GUITAR - IMPROVERS JAZZ GUITAR - RESOURCES

http://mattwarnockguitar.com/category/resources;

http://mattwarnockguitar.com/30-days-to-better-jazz-guitar-ebook;

http://mattwarnockguitar.com/matt-warnock-guitar-jazz-scales-app;

Taylor Swift "Wonderland" Guitar Chords - Live Love Guitar

Posted: 28 Oct 2014 10:33 PM PDT

Taylor Swift "Wonderland" Guitar Chords

  STANDARD TUNING w/  CAPO ON 3    (*= one strum)          Intro-  C         (C)   Flashing lights and we took a wrong turn and we   Am   Fell down the rabbit hole       C   You held on tight to me 'cause nothing's as it seems   Am   Spinning out of control            F                   Am   Didn't they tell us don't rush into things   F                     Am   Didn't you flash your green eyes at me   F                      Am                 G   Haven't you heard what becomes of curious minds   F                  Am   Didn't it all seem new and exciting   F                Am   I felt your arms twisting around me   F                      Am                G   I should've slept with one eye opened at night            F*       C*   We found wonderland   G*            Am*   You and I got lost in it       F*    C*               G*          Am*   And we pretended it, could last forever   ay-ay   F*       C*   We found wonderland   G*            Am*   You and I got lost in it       F*       C*               G*                  And life was never worse but, never better, ay-ay     F  C G        Am   (ay-ay..)  In wonderland    F  C G        Am   (ay-ay..)  In wonderland     F  C G        Am   (ay-ay..)  In wonderland    F  C G        Am       F*   (ay-ay..)  In wonderla-and              C   So we went on our way, too in love to think straight   Am   All alone or so it seemed                  C   But there were strangers watching and whispers turned to talking       Am   And talking turned to screams, oh            F                   Am   Didn't they tell us don't rush into things   F                     Am   Didn't you flash your green eyes at me   F                  Am                           G   Didn't you calm my fears with the Cheshire cat's smile,  ooh   F                  Am   Didn't it all seem new and exciting   F                Am   I felt your arms twisting around me   F                           Am                   G   It's all fun and games till somebody loses their mind           But Darlin'   F*       C*   We found wonderland   G*            Am*   You and I got lost in it       F*    C*               G*          Am*   And we pretended it, could last forever   ay-ay   F*       C*   We found wonderland   G*            Am*   You and I got lost in it       F*       C*               G*                  And life was never worse but, never better, ay-ay     F  C G        Am   (ay-ay..)  In wonderland    F  C G        Am   (ay-ay..)  In wonderland     F  C G        Am   (ay-ay..)  In wonderland    F  C G        Am       F*   (ay-ay..)  In wonderla-and             G    I reach for you       Am            F  C   But you were gone      G             Am   I knew I had to go back home       F                      C                 G                  Am   You searched the world for something else to make you feel like what we had       F             C             G         C*   And in the end in wonderland we both went mad           F        C    We found wonderland   G             Am    You and I got lost in it       F     C                G           Am    And we pretended it, could last forever   (last forever)   F        C    We found wonderland   G             Am    You and I got lost in it (got lost in it)       F        C                G                   And life was never worse but, never better (never better)         F        C    We found wonderland   G             Am    You and I got lost in it       F     C                G           Am    And we pretended it, could last forever   (in wonderland)   F        C    We found wonderland   G             Am    You and I got lost in it       F        C                G                   And life was never worse but, never better                 F*                In wonderla-and        Have fun!  LLG♥

Chords Guitar