Learning jazz guitar chords often involves mastering systems like drop 2 and shell voicings, which is a fantastic way to grasp inversions and chord structures. However, relying solely on these systems can limit your harmonic palette. Many beautiful and unique Guitar Chords Jazz musicians can use lie outside these frameworks. This lesson explores some of these less common, yet easily playable, jazz guitar chords that can add depth and richness to your playing.
Stepping Outside Chord System Boxes
It’s crucial for guitarists to avoid becoming too rigid in their approach to chords, especially when learning jazz guitar chords. The focus here is on discovering harmonically rich and beautiful sounding chords, moving beyond systematic voicings. These chords are particularly effective as sustained harmonies, creating a lush background for soloists. They are less suited for rhythmic comping, where chord movement and simpler voicings often take precedence.
Enhancing Dominant Chords with Extensions
One captivating voicing often associated with the melodic minor scale can be used to create an altered dominant chord. Consider a G7(#9):
The Dm7 voicing presented here is derived from a standard Drop 2 voicing for Fmaj7, making it a Dm7(9) in this context. The G7 voicing is a fundamental 3-note G7 chord with an added #9 (Bb) on top, lending a distinctive color. This progression resolves smoothly to a surprising Cmaj7 voicing, constructed with a G triad over a low C note.
Exploring Lydian Dominant Possibilities
This voicing shines even brighter when employed as a Lydian dominant chord. Below, it’s used as a backdoor dominant in C major, demonstrating its versatility.
In this application, the chord functions as a dominant chord enriched with a #11 and a 13th. The Cmaj7 voicing that follows is another harmonically rich chord, incorporating both a 9th and a 13th, built from an Asus4 upper structure over a B bass note.
Fresh Perspectives on Altered Chords
Here’s another approach to playing altered dominant chords, ensuring the 7th is present in the melody. This G7(#9) voicing is constructed as: B(9), G(1), Bb(#9), F(b7). In the example, the F is moved down to Eb, creating a b13, and resolves to the 9th of Cmaj7.
The Dm7 voicing is adapted from a Drop 2 shape, replacing the 5th with the 11th and the root with the 9th, resulting in a fresh sound.
This same voicing is equally effective as a Lydian dominant, transforming into a dom7th(13#11) chord.
In the example below, it’s used as a Bb7 within a backdoor dominant progression.
Bb7: Ab(b7), E(#11), G(13), D(3).
The Cmaj7 voicing remains consistent with the initial example, maintaining harmonic continuity.
Leveraging Sus4 Triads as Upper Structures
This example showcases three chords built entirely from upper structures, offering a modern jazz guitar chords sound.
The Dm7 voicing becomes a Dm7(11) by using a C major triad as the upper structure.
The G7 chord is voiced as a G7(13b9) by using an E major triad on top.
The C6/9 chord is created using a Dsus4 triad as the upper structure, adding a unique flavor.
Why Not Use b5, b13 Chords More Often?
This final example offers a slightly different approach, highlighting a chord you likely already know but might not utilize in this way when playing guitar chords jazz.
The Dm7 and Cmaj7 voicings are both standard drop 2 chords, providing a familiar foundation.
The G7 voicing is likely recognizable as a Db7(9) chord. Given that Db7 is the tritone substitute for G7, this voicing can effectively function as a G7.
This yields the following G7 construction: B(3) Eb(b13) F(b7) Db(b5) – effectively a G7(b5,b13). This altered dominant chord provides a sophisticated harmonic option.
Expand Your Voicing Vocabulary
Exploring 3-note jazz chords is an excellent starting point for discovering new sounds and voicings in your guitar chords jazz journey. These compact chords are versatile and serve as a solid foundation for adding further extensions and alterations.
Explore 3-Note Chord Voicings
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Downloadable PDF of Examples
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