Harmony - Chords and Their Symbols Pt.2
(10 Sep 04)
Shapes
Useful shapes - I tend to use certain shapes or forms over various bass notes to get desired chords. This not only makes things simpler because one shape can be turned into a half dozen chords but is also a great aid in voice leading. Let's start with some shapes you may already be familiar with, here is our first one:
Our first chord is a C9 chord. The important thing to take note of is the upper form (the white dots). While keeping the same (C) root and moving the shape to a different location, we can make a new chord, in this case a C7(#5,b9) chord. I've included the roots in black but I usually don't play them:
Compare a G7(#5,b9) and Db9 chord using the previous voicings and you'll see why the Db9 chord works as a bV substitution for the V chord, G7. You will hear it better by comparing these two chord progressions: Dmin7 - G7(#5,b9) - Cmaj7 and Dmin7 - Db9 - Cmaj7.
--------------------------------------------------------------------------
Our next shape can be thought of as a half/whole diminished scale shape:
Next we'll turn a C7#9 chord into a C13b9 chord. If you absolutely have to play the bass note on the C7#9 chord, use your thumb. This shape, like the previous, can be thought of as a half/whole diminished scale shape:
---------------------------------------------------------------------------
Our next shape:
We can turn this shape into a C7(#5,#9) and a C13 chord:
---------------------------------------------------------------------------
Let's take some of these shapes and see what we can do with a jazz blues. You don't need to play the roots when you play with a bassist:
--------------------------------------------------------------------------
Some more dominant shapes that come in handy:
C13 and C7(#5,#9):
--------------------------------------------------------------------------
Our next shape can also be thought of as a half/whole diminished scale chord voicing:
This shape gets turned into a C13(b9) and a C7(b9):
|
