jazz guitar chords

This free guitar chord chart available as a PDF file contains the most important altered and extended dominant guitar chord shapes that any guitar player should know. It is totally free (or Pay What You Want) in return, don't hesitate to support this website.

Here is a cheat sheet containing three easy exercises for connecting basic guitar chord shapes as min7, maj7, dim7, m7b5, 7sus, 9th, 7#9, 7b9, min6, 6. It is available for free (or Pay What You Want) in Jazz Guitar Licks Gumroad Shop.

This music theory cheat sheet file explains effectively how drop 3 chords are built. You can download the printable PDF file (better quality) for free (or make a donation to support this website) following this link.

Satin Doll by Duke Ellington and Billy Strayhorn, witten in 1953, is one of the most famous jazz tune. It has been recorded by many jazz musicians as Wes Montgomery, Ella Fitzgerald, Mc Coy Tyner, Oscar Peterson and of course Duke Ellington himself. It has become a classic jazz standard, a must-hear, very popular at jam sessions.

This guitar lesson with chord shapes and scale charts explains how to play easy jazz chords and what basic scales to choose for improvising over Satin Doll.

Here are 15 basic jazz guitar chord positions that every beginning jazz guitar student must know. These chords are grouped into five families : 

• Major seventh chords (Maj7)
• Minor seventh (m7)
• Dominant 7th (7)
• Half diminished / minor seventh flat fifth (m7b5)
• Diminished 7th (dim7)

A new video has been published on the YouTube channel. It contains 10 exercises with chord shapes and numeral analysis about different types of variations of the jazz blues progression for jazz guitar rhythm. 

This guitar infographic provides 15 easy jazz chords for beginners.

This infographic with guitar freatboard diagrams show how to play all five types of drop 2 chords on the first set of strings (E, B, G and D strings). 

Everyone knows the importance of drop 2 chords in jazz music. They are very useful for comping, chord soloing, harmonizing and building chord melodies.

Drop 2 voicings are very important for jazz guitarists because they are easy to play and do no require the root on the low sixth or fifth strings, indeed they are played on 4 adjacent strings.

The first chapter of this lesson provides all the drop 2 voicing shapes, major seventh (M7), minor seventh (m7), dominant seventh (7), half-diminished (m7b5) and diminished seventh (dim7) to play on the guitar neck. The second part of this post will explain how to connect drop 2 chords within the major scale.

In jazz, there are many types of turnarounds and progressions that eventually we all must encounter. A key part of how you practice should be in preparing yourself for these progressions and turnarounds.

Whether that is by learning a shed-full of Parker’s II V I licks, by practicing exercises over progressions or even by learning a new standard.

The end result is that you are better equipped to deal with what is in front of you in the moment on the bandstand.
To this end, I’m going to talk to you today about a progression known as the backdoor progression.

A chord progression is a succession of musical chords (with at least two notes) played one after another. Chord progression can be named harmonic progression and represent the foundation of western and traditional music. 

Many jazz standards use similar chord progressions, in different keys it is very important to recognize them by ear and visually. Working and practicing basic chord sequences will make you feel more comfortable when you will need to learn jazz standards,  it will more evident and easy to comp and solo.

In this lesson you will learn to recognize the 14 most important jazz chord progressions as minor and major II-V-I, the turnarounds and their variations, how to use passing diminished chords. You will find charts with roman numerals to easily transpose these harmonic progressions in different keys and some examples of comping with audio files, tabs and standard notation.

When a jazz beginner starts to improvise over a II-V-I progression, he generally plays arpeggios corresponding to the chords of the sequence.

In other words, he learns to play minor arpeggios over the minor chord (II), dominant 7th arpeggio over the 7th chord (V) and major arpeggio over the major 7 chord (I). This way the harmony is highlighted without taking risks.

In the long-run there is nothing exciting. That's why there is a nice trick used by number of jazz players to add smoothness to a dominant line. This is a little tip that makes all the difference which consists of playing a major 7th arpeggio over the V7 rooted on its b7 degree.

A new video has been uploaded on the YouTube channel. It is a Barry Galbraith comping study named "Like someone". This is the last study from the Barry Galbraith book "Jazz guitar comping series, vol #3" published by Jamey Aebersold. Most of the accompaniments studies (comps) in this book are designed to accompany a melody or an improvised solo with bass lines like a pianist would do. It is a very great book to practice jazz guitar comping.

You will find in this page 5 exercises to learn to play different jazz guitar chord voicings over the most used chord progression in jazz, the famous II-V-I sequence.