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Harmony - Chords and Their Symbols Pt.2
(10 Sep 04)
Major Scale Modal Shapes
While the last examples dealt primarily with dominant chords the next shape works quite well for both major and minor sounds. This shape is built from the major scale. First, let's memorize the shape:
These are all major scale modal family chords that can be made with the shape:
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Melodic Minor and Major Scale Modal Shapes
The next shape is a very useful one. Unlike the previous shapes, you can use this shape to make major, minor, dominant and altered dominant chords. This shape can be found in both the major and melodic minor scales. First memorize the shape without the root:
I included the root in black but I don't usually include them when playing the chords. I do however use the roots as a reference to locate the chord. If you chose to think modally, all these chords can be thought of as both major and melodic minor family shapes with the exception of the C7(#5#9) chord which is strictly melodic minor (from the altered mode). Our first chord, C13 can come from either the mixolydian or lydian dominant mode. Our second chord, Csus(b9) comes from either the phrygian or dorian b2 mode. As I mentioned before, our third chord, C7(#5,#9) is strictly altered. The fourth chord, Cmin6 comes from either the dorian mode or the melodic minor scale. Our fifth chord, Cmin11(b5) can come from the locrian mode or the locrian #2 mode from the melodic minor scale. And last but not least, our sixth chord, Cmaj7#11 comes from either the lydian mode or the lydian augmented mode:
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Strictly Melodic Minor Modal Shapes
The next shape is strictly melodic minor modal harmony. Memorize the shape before we move on to the individual chords:
Our first chord, a C13(#11) chord comes from the lydian dominant mode. The second chord, the C13sus(b9) chord comes from the dorian b2 mode. Our third chord, the C7(#5,#9) chord is derived from the altered mode. You won't be able to play the root in this voicing. I included it as a reference but you'll have to leave it to your bassist. I had to think about how exactly to name our next chord, the Cmin9(maj7) chord. It is a beautiful voicing derived from the melodic minor scale itself. Our fifth chord, the Cmin11(b5) chord comes from the locrian #2 scale. This voicing contains the natural 9th. There is no minor 3rd in the voicing but the minor harmony is implied so strongly that it really makes no difference. Our last chord, the Cmaj7#5 chord comes from the third mode of the melodic minor scale, the lydian augmented mode, it may help to think of it as an E/C chord:
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Putting the Shapes to use
I'm taking a lot of liberties with the voicings in this example. In a Jazz setting this is okay as long as the voicings don't clash with the melody. With minor chords, usually the upper extensions with the exception of the 6th (13th) can be added to the chord without any conflict but be careful with dominant chords, check where they are going before adding your extensions.
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Advice When Playing Diatonic Progressions
Know the extensions for each diatonic chord - Since the upper extensions for each diatonic chord is different, you will want to be cautious when playing diatonic progressions. Play the diatonic chords as add9 chords and you'll understand what I mean, while the natural 9th works fine in the I, ii, IV, V and vi chords, the addition of the natural 9th in the iii chord will make you cringe. Keep in mind, this is important only when dealing with very diatonic chord progressions. More liberties can be taken with Jazz but you may need to exersise caution when playing other genres. Use the chart below as a reference guide.
Try to come up with your own voicings, experiment and have fun.
Have a question or a suggestion for a lesson, feel free to post in the forums.
© 2002-2004 Chris Juergensen/chrisjuergensen.com. All Rights Reserved.
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Native New Yorker, long time studio musician and session guitarist Chris Juergensen is in constant demand as a sideman, front man and clinician. After teaching guitar for six years at the prestigious Musicians Institute in Los Angeles, Chris left the states to become the Director of Education at Tokyo School of Music in Japan where he still resides. Visit Chris's website
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