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Shapes
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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:
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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: |
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voicing: 1,3,b7,9,5
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voicing: 1,b7,3,#5,b9
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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. |
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Our next shape can be
thought of as a half/whole diminished scale shape: |
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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: |
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voicing: 1,3,b7,#9,5
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voicing: 1,b7,3,13,b9
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Our next shape: |
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We can turn this shape
into a C7(#5,#9) and a C13 chord: |
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voicing: 1,3,b7,#5,#9
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voicing: 1,b7,3,13,9
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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: |
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Some more dominant
shapes that come in handy: |
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C13 and C7(#5,#9): |
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voicing: 1,3,b7,9,13
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voicing: 1,b7,3,#5,#9
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Our next shape can also
be thought of as a half/whole diminished scale chord voicing: |
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This shape gets turned
into a C13(b9) and a C7(b9): |
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voicing: 1,b7,b9,3,13
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voicing: 1,b9,3,5,1
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