GYPSY & JAZZ BTL BOOKeMail | aT Vad Gypsy and Jazz Chord Book TTT ROL PELE A oonannnnsonacannannssaqnaanosac 3 Major Chord ShapeS...........:eeseeeeee 7 Major Chord Shapes Inversions....10 Dom7 Chord Shapes............0000008 12 Dom Chord Shapes Inversions..... 14 Minor Chord Shapes............::0200+ 18 Minor Chord Shapes Inversions....20 Half Diminished Shapes............... 23 Diminished Shapes...........::s0eeeee 24 Copyright © 2017 GypsyAndJazz.com All rights reserved.Gypsy and Jazz Chord Boo Introduction This book contains chord shapes, organized according to the string where your lowest note is to help you find new shapes in one area on the fingerboard each time. The aim of this book is to help you expand your chord vocabulary. To achieve this goal, I tried to be as practical as I can. Therefore, I decided not to follow the common division of four chord types (major, minor, augmented and diminished). Instead, I have categorized the chords into five main functions: 1) Major chords: This section contains shapes that you can play for all the major chords (tonic or subdominant major chords) which don't function as Dom7. 2) Dom7 chords: This section contains shapes that you can play for major Dom7 chords in all different situations they appear in songs. 3) Minor chords - This section contains shapes that you can play for all minor chords, in either tonic or subdominant function. 4) Half- diminished chords. 5) Diminished7 chords.How to use this book I want you to be able to improvise when you play accompaniment. By that I mean that each time you play accompaniment to a song, it will be a little bit different - with different chord shapes, different bass lines and different colors. Having the ability to do so gives you two important skills for jazz playing: 1) Mastering the form of the song. 2) Having the option to choose your preferred colors at any moment, according to the way your soloist is playing. To achieve these goals - improving your form mastery and expanding your chord vocabulary, I suggest that you work on this book together with a song (better with some songs...) and follow these stages: 1) Play accompaniment with chord shapes you already know. 2) Play accompaniment with different chord shapes each time. 3) Run out of shapes? Use this book to find new shapes! 4) Improvise in your accompaniment - play accompaniment with as many colors and chord shapes as you can, enjoy and explore — the endless possibilities you have.Inversions This book does not exactly follow the classical terminology for inversions. Here are the terms you'll see in this book and what I mean by them: Root positions: Chords with the root as the lowest note. First inversion: Chords with the 3rd degree as the lowest note. Second inversion: Chords with the 5th degree as the lowest note. Third inversion: Chords with the 7th degree as the lowest note. I wrote the fingerings that I prefer to use. Feel free to change the fingerings to make them comfortable for you and/or omit a string or two when you want too - especially the 5th degree. The 1st degree can often be omitted as well, either because the bass player is playing it or because it is doubled. Jazz vs Gypsy Jazz The bottom line is that music is music and jazz is jazz and chords are chords. But there are some fingerings that are more popular with Gypsy Jazz players, particularly those with the thumb and with the middle or ring finger pressing on two strings together. I have mixed all the shapes here together. Play the shapes you love!Theory knowledge This book requires very little knowledge of theory. Because all the chords in this book are in one key, all you need to know is how to transpose chords (move F chord a tone higher and get G chord). You can expand your chord vocabulary without knowing more. But if you know a little bit of chord theory, you can use the marks on the right of each chord to identify what degree each note is and transform the shapes as you wish, adding new colors to each shape. You'll also notice that some shapes appear in different chords. That is because there are some chords that can substitute for one another. You'll understand that if you have some theory background, but if not - just learn the shapes as they are - until you learn some theory. All the chords in the world This book does not contain all the options you have for chords. The options are unlimited and to be able to get to even more shapes - you must learn about harmony. In this book, I restrict myself to shapes that I usually play. If I give too many, you'll get lost! I'm sure I could have wrote less... Enjoy!IG IG6 IGmaj7 Re 5 5 8 BS a: I R jet “6 im“? R fg ESR 3 2 3 G6 G6 Gero R A2 46 A6 46 3 3 3 i R Re i Re R R R 3 3 3 (aes IGmaies pS &3 6 R 2 IGmaj6/9#11 IGmaj7#11 G6 a7 SS: ; = A2 3 i I a7 8 eRaw IG6/D IGmaj7| IGmaj9(/D) 46 pS A3 43 42 == as % R R aR ps ps ps 10 10 9 IG6/9(/D) G6 IGmaj7 p5 43 A2 3 A7 A6 +6 p5 ‘3 3 ‘3 R R R I p5 I TI 9 9 7 G6 IGmaj7#11 IGmajo#11 4 43 2 A6 47 47 43 i 4 mo 43 I a K mar 8 10 9 With some of these chords, you can omit the first and/or the 6th string. In Gypsy Jazz, when playing chords with the root on the fifth string, it's very common to add the 5th interval on the six string, just below the root note. I don't consider this to be an inversion, but you can also see it as the 2nd inversion.IGmai7| IG6 IGmaj7bs A3 A3 PBR PBB Be Practice tips: 1) Mark the shapes you love. 2) Mark the difficult shapes and practice them for a few minutes every day.EMail JAZZ Major Chord Shapes. First Inversion, 3rd on the éth String G/B |G6/B |Gmaj7/B BS RS po ma 3 mya 3 a 3 [G/B |G/B \G9/B bo Wun BBP ERRE? 12 12 12 IG6/B |Gmaj7/B IGmaj7/B G/B IG6/B G/B 43 5 5 R B B ps 46 A7 43 A3 43IG/D |G6/D G/B IG/D |G6r9/D G/B IG/D| IGmaj7/-D IG6/D R 47 43 A3 43 R R R ps ps ps IG/F# |G/F# IG/F# 43 R 43 R pS Bs aa 4 iil P 1 1 I 7 I 47 ttA G7 a: b7 R 3 G79 bs 53 LI b7 R 3 BER) 6139 Gzb13 13 13 43 A3 b7 b7 b9 R 3 IG7b13b9ez ez G79 R 5 A3 43 rot b4 9 69 to a 1 7 1 b7 R it n 1 " 3 12 12 IG7 |G7sus4(/D) IG9vD) 5 5 5 B ba B b7 7 b7 Be Pa 43 R p5 pS p5 10 10 9 IG7#9(/D) |G7b9/D) IG7#9b13(/D) b13 9 bo i 7 b7 7 3 3 3 mak mak aR p5 ps ps 9 9 9 IG#5 IG7#11 IG7b9#11 ts 1 R 43 9 #5 b7 b7 43 is A3 R R 8 10 9 Here again, it's very common to add the 5th interval on the six string, just below the root note. You can omit this note.|G7 |G7sus4 |G7bs A3 4. 43 b7. 7 b7 Pe 5 b5 R T_T Tt Tt 5 5 5 G79 |G7#9 Ges 9 9 R b7 7 a5 3 3 3 I R I R I R T_T I Tt 3 3 3 |G7/B |G7b9/B |G7b9b5/B b7. b7. b7 Pe 5 bS TI ia »9 2 61,3 61,3 613ow |G7/B |G7b9/B G/B 5 5 5 p 5 B b7 b7 b7 i *3 3 i483 |G9/B |G13/B |G7b9b5/B R b7 Be 13 bS 43 b9 b7 b7 A3 A3 A3 2 |G7/B G/B IG7b9/B 5 5 5 R b 9 b7 b7 A3 A3 a a 8 9 |G9b13/B |G13/9/B |Gb9b13/B |G13/b9/B b13 13 b13 13 9 9 b9 b2 b7 b7 b7 b7 je “3 ea “3 ic “3 je “3 Let Lt Let Lt 9EMail JAZZ Dom? Chord Shapes. Second Inversion, 5th on the éth String IG/D |G6/9/D \G7b9/B pS b7 b7 A3 43 43 b7. R b9. —8r4p5 ps p> 3 4 4 IG7/D IGy/D |G7b9/D b7 b7 b7 A3 A3 A3 R 9 b9 ps ps psG/F IGF \G7b9/F 43 43 R 9 a S bees t * I I I 7 po i7 +o 7 7 7 IG7/F IGovF \G7b9/F R. 2. a Sk 85 : fo’ moe La fo’ Tt a | a | 3 3 3 |G7b9b13/F |G9b13/F |G¥9b13/F b9 9 9 13 b13 13 43 43 43 b7 b7 b7 1 1 t a oe | 3 3 3 |G7b5/F R b5S 43Gm |GmMaiz IGm7 IGm6 IGme9 IGm7 iGmi1 IGm7 (GmMaij7 b7. A7 pF 5 5 3 3 3 1 b7 a a SS Sr eRaw Gm IGmMaj7z IGm7 5 5 3 b3 3 R 47 b7. R° R° R° 10 10 10 |Gmé \Gm6(/D) |Gm7(/D) b3 b3 R A6 46 b7 pe b3 b3 I I R Tt R, ps ps5 9 8 7 |Gms/D) |Gm7 |Gme 46 R b3 b3 8 B53 BS R $o' R I “8. I pS TI p5 8 8 10 Here again, it's very common to add the Sth interval on the six string, just below the root note. You can omit this note.|Gm7z IGmé IGmM7, RB b3 7 46 R° R°EMail JAZZ Minor Chord Shapes. First Inversion, 3rd on the 5th String [Gm/Bb IGm/Bb IGm9/Bb b3 5 5 R R § 5 5 5 I 3 i193 13 IGmvBb |Gm/Bb IGm9/Bb b3 Be B° 5 b7 b7 3 b3 b3. IGm7/D) IGmo/D \Gm7/D. Second Inversion, 5th on the sth String |Gm/D \Gm6/9/D] \Gm7/9/D 9 9 46 57 3 b3 b3 I R I R I R I P 1 ps I ps 3 3 on aEMail JAZZ Half dim7 Shapes. Root Position, Root on Strings 6/5/4 |Gm7b5 \Gm7bs {(Gm7bs5 |Gm7b5/Bb \Gm7b5/Bb IGm7bs/Bb ES I Half dim7 Shapes. Se ond inversion, Fifth on Strings STS OHA |Gm7b5/Db \Gm7b5/Db IGm7bs5/Db Half dim7 Shapes. Second Inversion, Fifth on Strings 65/4 |Gm7b5/F \Gm7b5/F |Gm7b5/F R b3 R bS a: b b3 ig > b 7 b =o ,7 — Niwor