5 Jazz Blues Chord Studies2
5 Jazz Blues Chord Studies2
5 Jazz Blues Chord Studies2
www.mattwarnockguitar.com Learning how to play jazz guitar, means learning how to comp chords effectively behind a soloist, as well as deeply exploring the jazz-blues form as you continue your development in the practice room. In todays jazz guitar lesson. we will be looking at ve different chord studies written out over the jazz blues form, in the key of Bb for the purpose of this article, and that use ve different types of chord shapes to build each study. After you have working any of these studies in the key of Bb, feel free to work in in a few, or all 12, keys around the neck in order to get a full understanding of these shapes in all 12 keys. As well, to make them easier to read, I wrote each chord as a whole or half note in the notation, but mixed in different rhythms and rhythmic groupings during the audio examples for each chord study. Feel free to mix in your own rhythms when working on these chord studies, and to help you with your rhythmic exploration of these studies, I have included a number of my favorite jazz rhythms at the end of this lesson that you can use to expand upon your study of these jazz blues chord etudes in the woodshed.
To learn more about these triads, visit the 3 to 7 Triads for Jazz Guitar page on my site. Click to hear audio for this jazz blues chord study.
Though these shapes are all written out on the top-4 strings, feel free to explore these shapes on the 5-4-3-2 string set as well, by simply taking the same notes and moving them down by one string-set each. Learn more about these important shapes by visiting the How to Practice Drop 2 Chords for Guitar page on my site. Click to hear audio for this jazz blues chord study.
Drop 3 chords have a thicker, lower sound than their Drop 2 cousins, and provide a nice compliment to the shapes explored in the previous chord study. These are usually some of the rst shapes we explore when beginning our discovery of jazz guitar, but they are worth coming back to time and again as you continue your development as a player. You can read more about these shapes by visiting the How to Practice Drop 3 Chords for Guitar page on my website. Click to hear audio for this jazz blues chord study.
Ed Bickert and Jim Hall. These chords are built by removing the root from each shape, with the exception of the G7b9 chord which keeps the root in this case, and using other color tones in place of that root. Though they sound great, and usually t well under your ngers, not having the root as a guide can be tough to get a hold of at rst. Even though you arent playing the root in these shapes, you might want to visualize a root that is found close by on the neck to these shapes in order to be able to grab them quickly and easily during a musical performance or jam situation. You can read more about these great-sounding shapes by visiting my How to Build Rootless Chords for Guitar article page. Click to hear audio for this jazz blues chord study.
As you can see, by combining a few different jazz guitar rhythms with one or more of the chord studies above, you can produce countless variations on these harmonic ideas when applying them to a musical jam or performance situation. Do you have any questions about this lesson? If so, please visit the Matt Warnock Guitar Facebook Page and Ill be glad to help you out with any questions you may have.