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Gitty's Cigar Box Guitar Jamming Guides Released – The most-used ...
Guitar Chalk Sessions: Adding Dynamic Appeal to your Power ...
Intermediate Jazz Guitar Chord Guide - Matt Warnock Guitar

Gitty's Cigar Box Guitar Jamming Guides Released – The most-used ...

Posted: 28 Dec 2014 03:02 PM PST

By C. B. Gitty on Sunday, December 28th, 2014 | No Comments

We've just added a great new resource to the knowledgebase: Gitty's Jamming Guides for 3-string Cigar Box Guitar!

This collection consists of 3 printable sheets that show you all of the chords needed to play most songs written in the keys of C, G and D – majors, minors and sevenths. These were designed with jam sessions in mind – with these on the table in front of you, you'll rarely be at a loss for how to strum along with most popular songs!

Click the image to the left to go to the knowledgebase page, where you can click to view all 3 printable jamming sheets!

Posted in How-to Info, Site News Tags: chord forms, cigar box guitar chord forms, cigar box guitar chords, jamming sheets

New Cigar Box Guitars Tablature Added: Bob Dylan & Hank Williams »

« 3 New Cigar Box Guitar Tabs Added: Auld Lang Syne, Here Comes Santa Claus and O Come All Ye Faithful

Guitar Chalk Sessions: Adding Dynamic Appeal to your Power ...

Posted: 12 Dec 2014 08:10 AM PST

Posted 12/12/2014 at 11:10am | by Bobby Kittleberger

Flickr Commons Image Courtesy of maury.mccown

Power chords, once your fingers are comfortable with the stretching, are mind-numbingly simple.

That's not a bad thing and I wouldn't say that power chords are "cheap" or "too easy."

That's dumb.

Because they get the job done, right? So why wouldn't we use them? They're functional and adequate to the task.

In the right context, power chords are a beautiful thing. When music demands a heavy, smooth and easy-to-digest chord progression (like in modern rock, pop, metal, etc.), a root note, a consonant interval (perfect fifth) and perhaps an octave thrown in for good measure, are all you really need.

We can play as many chords as we want all using the same shape; just shift frets or strings.

But what if we wanted to dress things up a little bit? What if we wanted to make our power chords more dynamic and melodic?

Adding some flavor and variety to your power chord progressions can really take your playing up a notch and set you apart. It's an especially handy technique for those who fill the role of both a lead and rhythm guitar player.

There are two primary techniques you can use to do it; intervals and dyads. Let's cover intervals first.

First Technique: Add Major or Minor Intervals

Assume you're lucky enough to be playing a chord progression that is entirely in a major key. Even better, let's just say you're going from D to A. Tabbing it out would look like this:

Screen Shot 2014-12-06 at 3.49.14 PM.png

What if you wanted to add some melody or even just variety? We can use major intervals to do so, since we're theoretically dealing with two major chords. So where do we put these intervals?

You'll need to target areas where you have long pauses or holds on a single chord. So in this situation, we can assume (for illustrative purposes) that the D chord gets held for a short few beats, while the A chord is held longer.

That means the A chord is where we can move a bit more and add some creative intervals.

Use the open A note to play your second A chord (bracketed).

Screen Shot 2014-12-06 at 3.49.20 PM.png

We can now start adding intervals to our A chord. Here are a few options:

Screen Shot 2014-12-06 at 3.49.29 PM.png

Screen Shot 2014-12-06 at 3.49.37 PM.png

It's a simple, but effective, strategy.

You can employ the same interval shifts with any other power chord. Say we don't have an open chord to work with, like in the case of this G:

Screen Shot 2014-12-06 at 3.49.45 PM.png

We can still add intervals by shifting the note at the fifth fret, currently a perfect fifth, in relation to the root note at the third fret.

Here's what I came up with.

Screen Shot 2014-12-06 at 3.49.51 PM.png

As you can see, the only note that needs to change is the interval of the root. The root note itself doesn't move.

That means you can use this tactic as often as you want within any power chord in any given progression.

If the progression contains minor chords, you'll have to make sure to hit notes that resolve to a minor tune. But that will come with habit, muscle memory and time.

Second Technique: Add Octave Dyads

A second strategy is to use simple, two-note dyads to add short melodies over power chords. This has become a widely used technique in the post-grunge era and has been typified by many modern guitarists.

To illustrate this example, I find it best to start with an open D chord in drop-D, like the following tab:

Screen Shot 2014-12-06 at 3.49.58 PM.png

Start with your D root note on the second string (fifth fret), add its corresponding octave (third string, seventh fret) and reapply some of the intervals we already covered by simply moving the octave shape up the fretboard.

Screen Shot 2014-12-06 at 3.50.06 PM.png

We can apply the same principle with the G chord as our base and the 2-3-5 fret climb is our melody.

Screen Shot 2014-12-06 at 3.50.17 PM.png

Once you get comfortable, start planting these runs in between chords. Like this:

Screen Shot 2014-12-06 at 3.50.23 PM.png

Not only does this break the monotony of a chord progression, but it adds some melodic flavor to what is otherwise a one-dimensional and linear sound.

Because sometimes a guitar player needs to handle both rhythm and lead, especially today when many groups employ only one guitarist. Being able to play heavy, while also having enough skill and musical awareness to add melody and variety to your chord progressions makes you a far more valuable musician.

And while they aren't all you need to accomplish that, dyadic octaves and intervals can give you a lot of mileage as they're excellent tools to work with.

If you play a lot of power chords you shouldn't feel bad about it.

Just learn how to make them count.

Flickr Commons Image Courtesy of maury.mccown

Robert Kittleberger is the founder and editor of Guitar Chalk and Guitar Bargain. You can get in touch with him here, or via Twitter, Facebook and Google Plus.

Intermediate Jazz Guitar Chord Guide - Matt Warnock Guitar

Posted: 25 Oct 2014 03:47 AM PDT

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/30-days-to-better-jazz-guitar-ebook;

http://mattwarnockguitar.com/forums/forum/matt-warnock-guitar-forum;

http://mattwarnockguitar.com/modern-time-rhythmic-fundamentals-for-the-improvising-musician-ebook;

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