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c dm em f g am bdim
the 7th chords that arise from such a scale (starting again at c) are:
of course, these chords (formed from our scale) can be extended further
to include 9's, 11's, and 13's. as those notes are included, the
specifics of each chord diverge even more (in the same way that
at the triad level, both f and g were simple major chords, but at
the four note/7th level, the f extended to fmaj7, while the g extended
to g7).
c d e f g a b
root 9th 3rd 11th 5th 13th maj7th
c e g b d f a
root 3rd 5th maj7th 9th 11th 13th
we will use a system that will give us, for each of the seven chords
in the key, seven different voicings, where each voicing has a
different one of the seven possible notes in the key in the upper
voice. hence, we are going to cover 7x7 = 49 chords. but don't
panic (yet!).
cmaj7:
--- x ---
--- 1 --- c (root) (1st finger)
--- 4 --- b (maj7) (4th finger)
--- 2 --- e (3rd) (2rd finger)
--- 3 --- c (root) (3nd finger)
--- x ---
this is a nice maj7 voicing (if you ask my opinion). the "adjacent"
tones of the maj7 and the root on the 3rd and 2nd strings gives
it a nice feel. note there is no 5th, but it's hardly missed.
now what we are going to do is, using the same voicing structure,
play all the chords in the key. that is, we'll use the same
root on 5 string, 3rd on 4th string, 7th (or maj7) on 3rd string,
and root on 2nd string chord structure, making adjustments based
on the specific chord (b3 for minor, 7th for 7th chords, etcetera).
hence, the next chord "up" in the key is dm7, which is:
dm7:
--- x ---
--- 3 --- d (root) (1st finger)
--- 5 --- c (7th) (4th finger)
--- 3 --- f (b3rd) (1st finger)
--- 5 --- d (root) (3rd finger)
--- x ---
note the barre on fret 3. 3rd and 4th fingers can "slide" up from
the cmaj7 chord without repositioning, and vice-versa.
the next chord is em7, and it has the same shape/fingering as dm7,
only two frets higher up (barre is on the 5th fret).
the next chord is fmaj7, and it has the same shape/fingering as
cmaj7, but with the third finger on the f at the 8th fret of the 5th
string, and 1st finger on the f at the 6th fret of the 2nd string.
the next chord is g7, and now we have a new shape (but same general
"forumla" of root-3rd-7-root, 5th to 2nd string). this one is
probably familiar to you as a "c7" shape:
g7:
--- x ---
--- 8 --- g (root) (1st finger)
--- 10 --- f (7th) (4th finger)
--- 9 --- b (3rd) (2nd finger)
--- 10 --- g (root) (3rd finger)
--- x ---
next is am7, with the same shape as our other m7 chords, barre on
the 10th fret.
these are easy, because they are familiar to you. our formula
will be root-5th-7th-3rd on the 5th through 2nd strings. this
gives us our standard a7 chord shapes. we start with the cmaj7
played as:
cmaj7:
--- x ---
--- 5 --- e (3rd) (4th finger)
--- 4 --- b (maj7) (2nd finger)
--- 5 --- g (5th) (3rd finger)
--- 3 --- c (root) (1st finger)
--- x ---
familiar, right? i'm going to assume you either know or can work
out on your own the rest of the chords in the key using this
formula/fingering/chord shape. note that because we have the
5th in these chords, the bdim7 is a different shape from the
rest of the minor chords.
now lets drop back to the chord voicings with the 9th on top. these
you probably are less familiar with across the board. our formula
for these voicings is root-3rd-7th-9th on strings 5-4-3-2. the
first two you probably are familiar with, particularly you jazzer
types:
cmaj7(9):
--- x ---
--- 3 --- d (9th) (3rd finger)
--- 4 --- b (maj7) (4th finger)
--- 2 --- e (3rd) (1st finger)
--- 3 --- c (root) (2nd finger)
--- x ---
--- x ---
--- 5 --- e (9th) (4th finger)
--- 5 --- c (7th) (3rd finger)
--- 3 --- f (b3rd) (1st finger)
--- 5 --- d (root) (2nd finger)
--- x ---
now we hit a rather interesting and less known chord shape. the
emi7 is the iii chord in the key of c major. we are forming 9 chords
_within_the_key_, and the 9th of emi in the key is f, which relative
to the emi chord is a b9. hence, the chord is:
emi7(b9)
--- x ---
--- 6 --- e (9th) (2nd finger)
--- 5 --- c (7th) (4th finger)
--- 5 --- f (b3rd) (1st finger)
--- 7 --- d (root) (3rd finger)
--- x ---
the next chord is fmaj7(9), with the same shape as the cmaj7(9) chord.
the 2nd finger goes on the 8th fret of the 5th string (the f, whaddya
know).
g9:
--- x ---
--- 10 --- a (9th) (2nd finger)
--- 10 --- f (7th) (1st finger)
--- 9 --- b (3rd) (3rd finger)
--- 10 --- g (root) (4th finger)
--- x ---
next is ami9 (or ami7(9)), with the same shape as dmi9, with the
d bass note on the 10th fret of the 5th string.
so far, we've covered roots in the top voice, 3rds in the top voice,
and 9ths in the top voice, for a total of 3*7 = 21 different chords,
although again, many have the same "shape" and hence are the
same chord structure.
so the formula we will use for putting the 5th on top is to use
strings 5-3-2-1, with with root, 7th, 3rd, and 5th on the respective
strings. so for cmaj7 we have:
cmaj7:
my guess is most of you haven't used this chord form before! i'll
give you one more (which may be a little more familiar), then, you're
on your own with the rest of the 5th on top chords:
dmi7:
now work out the rest: emi7, fmaj7, g7, ami7, bdim7. which ones
have different shapes from the above? g7 and bdim7.
moving on...lets cover the chords with the 11th on top. here we
are going to use a kindof funky formula because, well, because
i like it and the fingering works out well. again, we are working
on the 5-3-2-1 string set, and the formula is root-7-9-11. no
3rd, no 5th. now you could probably rename this chord as some
bizarre inversion of something or other, but let's not confuse our
concept. if you are playing the chords discussed so far in a
key (or any other chords in the key), and throw this in, the
surrounding music will "fill in" the sense of the chord. in a band
situation, the bass will in all likelyhood hit the 5th for you at
some point and maybe the 3rd too, etcetera. so let's flow with it.
of course, there's the issue of what the heck i call these chords.
okay, i'm going to cheat. i'm going to call the first one a
cmaj7(9)(11), and (wink wink) hey there's no 3rd or 5th in the
voicing, sorry about that.
cmaj7(9)(11):
one more:
dmi7(9)(11):
cmaj7(9)(11)
dmi7(9)(11) (or just dmi11)
emi7(b9)(11)
fmaj7(9)(#11)
g7(9)(11) (or just g11)
ami7(9)(11) (or just ami11)
bdim7(b9)(11)
so the ii chord and the vi chord have the same shape/spelling, and
the iii and vii chords also (since there is no fifth in these
chords).
cmaj7:
cmaj7(13):
since the 13th (6th) changes it's position in different minor chords
(if you are strictly staying in the key, which we are), the shape is
different for a dmin7(13) and a emin7(b13).
fun city!
of course, these chords are of big time use when composing and you
need a particular chord over a particular note, also.
you could get into other inversions instead of just the root in
the bass...just think, that multiplies the number of chords we
just talked about by 7!!
-kevin morgan