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ContentsIntroduction iv

Part I. Chords

1. Moveable 7th Chord Shapes 2

(each on )

Major 7 2Dominant 7 3

Minor 7 3

Minor 7%5 4

Major 6 5

Minor 6 5

Diminished 7 6

Dominant 9 7

Minor 9 7

Minor 11 8

Dominant 13 8

2. Dominant 7th Chords with Alterations: 9

two versions each, with roots on 6 and 5

Dominant 7%5 9

Dominant 7(#11) 9

Dominant 7(9, #9) 10

Dominant 7#5 10

Dominant 7(%9, %13) 11

Dominant 7(altered): 7%5(%9), 7%5(#9), 7#5(%9), 7#5(#9) 11

3. Guide Tone Chords 13

Root 3 7 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6, 13

Minor 6, Diminished 7)

Root 7 3 (Major 7, Dominant 7, Minor 7, Minor 7%5, Major 6, 14

Minor 6, Diminished 7)

4. Triads over Bass-Note Voicings with Roots on 16

V/I 16

%VII/I 16

Other Common Voicings: (III/I, II/I, #IV/I, VI/I, VII/I) 17

5. Inversions (each on ) 19

Major 7 19Dominant 7 20

Minor 7 21

Minor 7%5 23

Major 6 24

Minor 6 25

Part II. Exercises

6. Quartal Voicings Exercises 28

C Dorian Voicings 28

7. Diatonic Exercises 30

B% Major on 30

E% Major on 31

F Major on 32

B% Major on 33

F Harmonic Minor on 34

F Melodic Minor on 35G Major 6 Bebop Scale on 36

G Minor 6 Bebop Scale on 37

About the Author 38

6 4 3 2

6 4 3 2

6 4 3 2

6 4 3 2

5 3 2 1

4 3 2 1

6 4 3 2

5 4 3 2

5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1

5 4 3 2 4 3 2 1 6 4 3 2 5 3 2 1

6 5 4

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Introduction

TheBerklee Jazz Guitar Chord Dictionary is a resource for 7th-chord

voicings and other frequently encountered jazz chord shapes on the

fretboard.

The following diagrams indicate what notes you should use for each

chord voicing. These chord blocks will show you the right shapes, but

as a musician, you owe it to your audience and yourself to hear the

music before you play it. This material will help you to map out the

sounds on your fretboard. With time, you will hear the chords before

you play them.

Strive to play these chords with a solid time feel, a full tone, and attacks

with your picking hand that match the level of intensity of the music

youre attempting to play.

Some tips for getting a good chord sound:

Take special care to play the notes requestedand to leave out,

or mute the strings with the x symbol above them. Keep the

extra strings out of the sound.

Use the edges of your fingers of your fretting hand to mute

unwanted strings. Focus your strumming (or finger-picking

attacks) on the indicated strings. Avoid sounding the others.

When strumming across the strings, make the speed of your

stroke fast enough to give the illusion of one simultaneous

sound made up of all the chord voices.

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When youre using your fingers to pluck chords, take care to

balance the level of each chord tone. A common tendency is to

hit the outermost notes with the most force, resulting in a

thinner texture. Youre working to put those notes on the frets;

make sure that the listener can hear them!

While forming the chords, make sure that your fingers are as

close to the intended frets as possible.

When changing chords, mute the strings by lifting your fingers

from the strings, but still touching them, to hold them still as

you slide to the next chord.

Make sure all notes ring. If youre not hearing all the notesclearly, keep working to curve your fingers and adjust your

hand position on the intended frets to make the sound shine

through your instrument.

Playing chords effectively takes time, and the learning process requires

practice. There are three common stages of development.

Physical Stamina: Building your hand muscles

Muscle Memory: Memorizing the proper chord-voicing shapes

Informed Musical Instincts: Using these chords to make

music

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Here are some other things to keep in mind:

While practicing, stay vigilant, playing in time and using a

metronome or drum machine. Stay with a musical task until you

can make it groove with a strong time feel.

Play with other musicians whenever possible, as often as you

can. Practicing by yourself is only part of the overall plan.

Make sure that the chords that you play fit well into your

playing situation. Should your voicings contain a lot of notes

or a few? Listen to the overall texture, and make a musical

decision.

Listen to the originators of the styles that you love. Its one of

the best ways to keep yourself inspiredand to help you to

keep the highest musical values in mind.

Listen to great guitarists, but dont stop there. Focus on

performers of other instruments as well. Bring it all together

to help you to develop your own unique voice.

Keep working, and be patient with yourself. Having the physicalstrength and the knowledge of the shapes provide means to musical

ends. With time, youll be able to choose from a variety of options.

If you keep at it, youll definitely get there!

Rick Peckham

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PART I.CHORDS

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2

Chapter 1.Moveable 7th Chord Shapes

Major 7

3fr

1 3 2 4

CMaj7

10fr

1 3 3 3

CMaj7

3545

10121212

8fr

1 3 42

CMaj7

3fr

1 3 42

CMaj7

8

998

3453


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3

Minor 7

Dominant 7

Minor 7

3fr

1 3 1 4

C7

10fr

1 3 2 4

C7

3535

10121112

8fr

1 2 43

C7

3fr

1 2 43

C7

8

898

3353

C7

3fr

1 3 1 2

C7

10fr

1 4 2 3

3

534

10121111


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4

MOVEABLE 7th CHORD SHAPES

Minor 7%5

C7

8fr

2 3 33

C7

3fr

1 2 43

8

888

3343

C7b53fr

1 3 2 4

C7b510fr

1 2 2 2

3434

10111111

C7b57fr

2 3 41

C7b52fr

2 3 41

8

887

3342


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5

Major 6

Minor 6

2fr

2 3 1 4

CMaj6

10fr

1 3 1 4

CMaj6

3525

10121012

7fr

2 1 43

CMaj6

2fr

2 1 43

CMaj6

8

798

3253

C6

2fr

2 4 1 3

C6

10fr

1 3 1 2

3524

10121011

Minor 6


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6

Diminished 7

C6

7fr

2 1 34

C6

2fr

2 1 43

8

788

3243

C7

2fr

2 3 1 4

C7

10fr

1 3 2 4

3424

10111011

C7

7fr

2 1 31

C7

2fr

2 1 41

8

787

3242



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7

Minor 9

Dominant 9

Minor 9

2fr

2 1 3 3

C9

9fr

2 1 4 3

C9

3233

1091110

5fr

3 4 21

C9

2 3 4

C9

8

875

3330

C9

2 1 3 4

C9

8fr

2 1 4 3

3

133

10

81110


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8


Minor 11

Dominant 13

C11

6fr

2 3 41

C11

2 3 41

8

886

3341

2fr

2 1 3 3 4

C13

8fr

1 2 34

C13

32335

8

8910

3fr

1 2 44

C13

3

355


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9

Chapter 2.Dominant 7th Chords

with Alterations

Dominant 7%5

Dominant 7(#11)

C7b57fr

2 3 41

C7b52fr

2 3 41

8

897

3352

C7(#11)7fr

2 3 41

C7(#11)2fr

2 3 41

8

897

3352


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10

DOMINANT 7th CHORDS

Dominant 7(9), Dominant 7#9

Dominant 7#5

C9

2fr

2 1 3 3

9

C7(#9)

2fr

2 1 3 4

#9

3233

3234

C7(#9)8fr

1 2 1 4 #9

89811

C7#58fr

1 2 34 #5

C7#53fr

1 2 43 #5

8

899

3

354


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11

Dominant 7 (altered)

Dominant 7 (%9, %13)

Dominant 7(altered)

7%5(%9)

7%5(#9)

C7(b9,b13)8fr

1 2 3 33

C7(b9,b13)2fr

2 1 3 1 4

8

8999

32324

C7b5(b9)7fr

T 2 3 14

C7b5(b9)2fr

2 1 3 1 1

8

8979

32322

8

9

711

323

42

C7 5( 9)

7fr

2314

implied root C7 5( 9)

2fr

21341


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12

DOMINANT 7th CHORDS

7#5(%9)

7#5(#9)

C7 5( 9)

8fr

1222

implied root

8999

32324

89911

32344

C7 5( 9)

8fr

1224

implied root

C7 5( 9)

2fr

21314

C7 5( 9)

2fr

21344


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13

Chapter 3.Guide Tone Chords

Root 3 7

2fr

2 1 3

CMaj7

2fr

2 13

C7

32

4

32

3

C7

2 1 3

C7b5

21 3

(incomplete)

313

313


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14

GUIDE TONE CHORDS

Root 7 3

2fr

3 1 2

CMaj6

C6

31 2

322

312

C7

3 1 2

312

8fr

1 2 3

CMaj7

8fr

1 2 3

C7

8

99

8

89


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15

Root 7 3

C7

8fr

2 3 4

C7b58fr

2 3 4

(incomplete)

8

88

8

88

7fr

2 13

CMaj6

C6

7fr

2 1 3

8

79

8

78

C7

7fr

2 1 3

8

78


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16

Chapter 4.

Triads over Bass-Note

Voicings: Roots on

V/I

%VII/I

7fr

2 1 3 1

GMaj/C

3fr

1 3 2 1

GMaj/C

10fr

1 3 4 1

GMaj/C

8

787

3543

10121210

BbMaj/C6fr

3 4 21

BbMaj/C3fr

1 1 1 1

BbMaj/C10fr

1 1 2 1

8

876

3333

10101110

6 5 4


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17

Other Common Voicings

Other Common Voicings

III/I

II/I

#IV/I

8fr

1 3 33

EMaj/C

3fr

1 2 43

EMaj/C

8

999

3454

7fr

2 1 11

DMaj/C

2fr

2 1 31

DMaj/C

8

777

3232

F#Maj/C6fr

3 1 2 1

F#Maj/C2fr

2 3 11

8

676

3

322


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18

VI/I

VII/I

8fr

1 4 23

AMaj/C

3fr

1 4 23

AMaj/C

8

11910

3655

7fr

2 3 1 1

BMaj/C

7fr

2 4 31

BMaj/C

8

877

8

987

TRIADS OVER BASS-NOTE VOICINGS:ROOTS ON 6 5 4


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19

Chapter 5.Inversions

Major 7

CMaj7

3fr

1 3 2 4

CMaj7/E

5fr

2 4 1 3

CMaj7/G

9fr

2 3 1 4

CMaj7/B

12fr

3 4 1 2

3

54

5

7

95

8

10

109

12

14

1412

13

CMaj7

8fr

1 3 42

CMaj7/E

10fr

2 1 34

CMaj7

8fr

1 3 42

CMaj7/B

5fr

3 1 11

CMaj7/G

3 2 41

8

998

12

101212

8

998

7

555

3

241

5 4 3 2

6 4 3 2


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Dominant 7

20

INVERSIONS

CMaj7

3fr

1 3 24

CMaj7/E

5fr

2 1 43

CMaj9/E

7fr

1 2 43

CMaj7/G

8fr

3 2 41

CMaj7/B

12fr

3 1 21

3453

7587

7787

109128

14121312

CMaj7

10fr

1 3 3 3

CMaj7/B

8fr

2 3 1 1

CMaj7/G

5fr

1 1 1 3

CMaj7/E

2 4 1 3

10121212

9988

5557

2413

C7

10fr

1 3 2 4

C7/Bb8fr

1 2 1 1

C7/G

5fr

1 1 1 2

C7/E

2 3 1 4

10121112

8988

5556

2313

5 3 2 1

4 3 2 1

4 3 2 1


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Minor 7

21

Minor 7

C7

8fr

1 2 43

C7/E

10fr

3 1 42

C7

8fr

1 2 43

C7/Bb17fr

2 1 11

C7/G

3 2 41

8

898

12

101211

8

898

6

555

3

231

C7

3fr

1 2 43

C7/E

5fr

3 1 42

C7/G

8fr

3 2 41

C7/Bb

12fr

2 1 31

3353

7586

109118

13121312

C7

3fr

1 3 1 2

C7/Eb5fr

2 3 1 4

C7/G

8fr

2 3 1 4

C7/Bb12fr

2 3 1 4

3

534

6

858

10

10811

13

131213

5 3 2 1

6 4 3 2

5 4 3 2


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22

INVERSIONS

C7

10fr

1 4 2 3

C7/Bb8fr

1 1 1 1

C7/G

4fr

2 3 1 4

C7/Eb

1 3 1 4

same as

EbMaj6

10121111

8888

5546

1313

C7

8fr

2 3 33

C7/Eb10fr

2 1 43

same as

EbMaj6

C7

8fr

2 3 33

C7/Bb4fr

4 2 31

C7/G

3 1 41

8

888

11

101211

8

888

6

554

3

131

C7

3fr

1 2 43

C7/Eb5fr

2 1 43

same asEbMaj6

C7/G

8fr

3 1 41

C7/Bb11fr

3 2 41

3343

6586

108118

13121311

4 3 2 1

6 4 3 2

5 3 2 1


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Minor 7%5

23

Minor 7%5

C7b5

3fr

1 3 2 4

C7b5/Eb

5fr

2 4 1 3

same asEb6

C7b5/Gb

8fr

2 3 1 4

C7b5/Bb

11fr

2 3 1 4

3434

6857

910811

13131113

C7b510fr

1 2 2 2

C7b5/Bb7fr

2 3 1 4

C7b5/Gb4fr

1 2 1 3

C7b5/Eb

1 3 1 2

same asEb6

10111111

8878

4546

1312

C7b57fr

2 3 41

C7b5/Eb10fr

2 1 34

same as

Eb6

C7b57fr

2 3 41

C7b5/Bb4fr

3 1 21

C7b5/Gb

2 1 31

8

887

11

101111

8

887

6

454

2

131

5 4 3 2

6 4 3 2

4 3 2 1


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Major 6

24

INVERSIONS

C7b52fr

2 3 41

C7b5/Eb5fr

2 1 43

same as

Eb6

C7b5/Gb8fr

2 1 41

C7b5/Bb11fr

2 1 41

3342

6576

98118

13111311

2fr

2 3 1 4

CMaj6

5fr

2 3 1 4

CMaj6/E

CMaj6/G

9fr

2 3 1 4

CMaj6/A

12fr

1 3 1 2

same asA7

3525

7758

1010910

12141213

CMaj6

10fr

1 3 1 4

CMaj6/A

7fr

1 4 2 3

same asA7

CMaj6/G

5fr

1 1 1 1

CMaj6/E

2 3 1 4

10121012

7988

5555

2213

5 4 3 2

5 3 2 1

4 3 2 1


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Minor 6

25

Minor 6

CMaj6

2fr

2 1 43

CMaj6/E

5fr

3 1 41

CMaj6/G

8fr

3 2 41

CMaj6/A

12fr

1 2 43

same asA7

3253

7585

109108

12121312

CMaj6

7fr

2 1 43

CMaj6/E

10fr

3 1 41

CMaj6

7fr

2 1 43

CMaj6/A

5fr

2 3 33

same asA7

CMaj6/G

4 2 31

8

798

12

101210

8

798

5

555

3

221

C6

2fr

2 4 1 3

C6/Eb5fr

2 3 1 4

C6/G

8fr

2 3 1 4

C6/A

12fr

1 3 2 4

same as

A7b5

3524

6758

1010810

12131213

6 4 3 2

5 3 2 1

5 4 3 2


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26

INVERSIONS

C6

10fr

1 3 1 2

C6/A

7fr

1 2 2 2

same asA7b5

C6/G

4fr

2 3 1 4

C6/Eb

1 2 1 4

10121011

7888

5545

1213

C6

7fr

2 1 34

C6/Eb

10fr

2 1 31

C6

7fr

2 1 34

C6/A

4fr

2 3 41

same as

A7b5

C6/G

3 1 21

8

788

11

101210

8

788

5

554

3

121

C6

2fr

2 1 43

C6/Eb5fr

2 1 41

C6/G

8fr

3 1 41

C6/A

11fr

2 3 41

same asA7b5

3243

6585

108108

12121311

4 3 2 1

5 3 2 1

6 4 3 2


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PART II.EXERCISES


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28

Chapter 6.Quartal Voicings Exercises

C Dorian Voicings

(for use on C7 or F7sus4)

3fr

1 1 1 2

5fr

1 1 1 2

6fr

1 2 3 4

3334

5556

6778

8fr

1 1 1 3

10fr

1 1 1 2

12fr

1 1 1 2

13fr

1 1 2 3

88810

10101011

12121213

13131415


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29

C Dorian Voicings

1 2 3 4

3fr

1 1 2 3

5fr

1 1 2 2

1233

3345

5566

7fr

1 1 2 2

8fr

1 1 3 4

10fr

1 1 2 2

12fr

1 1 2 2

7788

881010

10101111

12121313


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Chapter 7.Diatonic Exercises

B%Major on 5 4 3 2

30

BbMaj7

1 3 2 4

C7

3fr

1 3 1 2

D7

5fr

1 3 1 2

EbMaj76fr

1 3 2 4

F7

8fr

1 3 1 4

13

23

35

34

57

56

68

78

810

810

G7

10fr

1 3 1 2

A7b512fr

1 3 2 4

BbMaj713fr

1 3 2 4

A7b512fr

1 3 2 4

G7

10fr

1 3 1 2

10121011

12131213

13151415

12131213

10121011

8fr

1 3 1 4

F7

EbMaj76fr

1 3 2 4

D7

5fr

1 3 1 2

C7

3fr

1 3 1 2

BbMaj7

1 3 2 4

810

810

68

78

57

56

35

34

13

23


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E%Major on 4 3 2 1

31

E% Major

EbMaj7

1 3 3 3

F7

3fr

1 4 2 3

G7

5fr

1 4 2 3

AbMaj7

6fr

1 3 3 3

Bb7

8fr

1 3 2 4

1333

3544

5766

6888

810910

C7

10fr

1 4 2 3

D7b512fr

1 2 2 2

EbMaj713fr

1 3 3 3

D7b512fr

1 2 2 2

C7

10fr

1 4 2 3

10121111

12131313

13151515

12131313

10121111

Bb78fr

1 3 2 4

AbMaj76fr

1 3 3 3

G7

5fr

1 4 2 3

F7

3fr

1 4 2 3

EbMaj7

1 3 3 3

810910

6888

5766

3544

1333


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F Major on 6 4 3 2

32

DIATONIC EXERCISES

FMaj7

1 3 42

G7

3fr

2 3 33

A7

5fr

2 3 33

BbMaj7

6fr

1 3 42

C7

8fr

1 2 43

1

221

3

333

5

555

6

776

8

898

D7

10fr

2 3 33

E7b511fr

2 3 41

FMaj7

13fr

1 3 42

E7b511fr

2 3 41

D7

10fr

2 3 33

10

101010

12

121211

13

141413

12

121211

10

101010

C7

8fr

1 2 43

BbMaj76fr

1 3 42

A7

5fr

2 3 33

G7

3fr

2 3 33

FMaj7

1 3 42

8

898

6

776

5

555

3

333

1

221


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B%Major on 5 3 2 1

33

B% Major

BbMaj7

1 3 42

C7

3fr

1 2 43

D7

5fr

1 2 43

EbMaj76fr

1 3 42

F7

8fr

1 2 43

1231

3

343

5

565

6

786

8

8108

G7

10fr

1 2 43

A7b511fr

2 3 41

BbMaj713fr

1 3 42

A7b511fr

2 3 41

G7

10fr

1 2 43

10

101110

12

121311

13

141513

12

121311

10

101110

8fr

1 2 43

F7

EbMaj76fr

1 3 42

D7

5fr

1 2 43

C7

3fr

1 2 43

BbMaj7

1 3 42

8

8108

6

786

5

565

3

343

1

231


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38/42

F Harmonic Minor on 6 4 3 2

34

DIATONIC EXERCISES

F(Maj7)

1 4 23

G7b52fr

2 3 41

AbMaj7#54fr

1 3 33

Bb76fr

2 3 33

C7

8fr

1 2 43

1

211

3

332

4

555

6

666

8

898

DbMaj79fr

1 3 42

E7

11fr

2 1 31

F(Maj7)

13fr

1 4 23

E7

11fr

2 1 31

DbMaj79fr

1 3 42

9

10109

12

111211

13

141313

12

111211

9

10109

C7

8fr

1 2 43

Bb76fr

2 3 33

AbMaj7#54fr

1 3 33

G7b52fr

2 3 41

F(Maj7)

1 4 23

8

898

6

666

4

555

3

332

1

211


7/25/2019 90448 guts ppiii-38.pdf

39/42

F Melodic Minor on 6 4 3 2

D7b59fr

2 3 41

E7b511fr

2 3 41

F(Maj7)

13fr

1 4 23

E7b511fr

2 3 41

D7b59fr

2 3 41

10

10109

12

121211

13

141313

12

121211

10

10109

35

F Melodic Minor

F(Maj7)

1 4 23

G7

3fr

2 3 33

AbMaj7#5

4fr

1 3 33

Bb7

6fr

1 2 43

C7

8fr

1 2 43

1

211

3

333

4

555

6

676

8

898

C7

8fr

1 2 43

Bb76fr

1 2 43

AbMaj7#54fr

1 3 33

G7

3fr

2 3 33

F(Maj7)

1 4 23

8

898

6

676

4

555

3

333

1

211


7/25/2019 90448 guts ppiii-38.pdf

40/42

G Major 6 Bebop Scale on 6 4 3 2

36

DIATONIC EXERCISES

GMaj62fr

2 1 43

A74fr

2 1 31

GMaj6/B5fr

3 1 41

C77fr

2 1 31

3

243

5

454

7

575

8

787

GMaj6/D

8fr

4 2 31

D#710fr

2 1 31

GMaj6/E

12fr

2 3 33

same as E7 F#713fr

2 1 31

10

99

8

11

1011

10

12

1212

12

14

1314

13


7/25/2019 90448 guts ppiii-38.pdf

41/42

G Minor 6 Bebop Scale on 6 4 3 2

37

G Minor 6 Bebop Scale

G62fr

2 1 34

A74fr

2 1 31

G6/Bb5fr

2 1 31

C77fr

2 1 31

3

233

5

454

6

575

8

787

G6/D

8fr

3 1 21

D#710fr

2 1 31

G6/E

11fr

2 3 41

same as E7b5 F#713fr

2 1 31

10

89

8

11

1011

10

12

1212

11

14

1314

13


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42/42

38

About the Author

Rick Peckham is an internationally known jazz guitarist, clinician,

composer, and writer. He has performed with George Garzone, Jerry

Bergonzi, Mike Gibbs, Hal Crook, Bob Gullotti, John Medeski, and

Dave Liebman. His most recent recording,Left End, a set of original

compositions mixed with collective improvisations, features drummer

Jim Black and bassist Tony Scherr and was named one of the best

releases of 2005 byDownbeatmagazine. In addition to extensive work

in the U.S., he has led or played on tours of Ireland, Canada, Spain, and

Germany. Assistant Chair of the Berklee College of Music Guitar

Department, Peckham has been a faculty member since 1986. He is also

a prolific and accomplished writer, recently releasingModal Voicing

Techniques, a best-selling DVD for Berklee Press, and the online course

Guitar Chords 101 (Berkleemusic.com).

For further information on Rick Peckham, please visit his Web site:

www.rickpeckham.com.

Photo

byCra

ig

Reed


90448 guts ppiii-38.pdf

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