Basic Blues Chords Php Gaier Pacobilies Four-Tone Sevenths Try using this tio of voicings to provide simple “chord blues” (H¥-V) accompanimentinthe key of C. ‘These inversions have twaroats and lack afifth Compile by Maxk Stefani ar fone Sevenths These voicings are very solid, and depend on full bar chords, Floats and fiths are doubled wth this “big sound” sltemative. Five-Tone Ninths This third option for blues accompaniment introduces a “sweet” note, the ninth, te the voicing, andrelies onleftchandiingfinger bar tectnique. Making “Intelligent” Position Choices ‘Wile ts per ecly acceptable ta cmplymave a fingering up and devmthe fing erboard,itremains verycommonto group yourchcice of vaicingsin the seme general vicinity. This resus inmore efficient use of thelef-hand, and a generally sup erors ound between chards, Here aretwo examples: cr Fr ar cr FF ar The * hort-Chord* Alternative "Shatt” chord dominants ave seventh cherds that eck a fith leaving the player wth just 3 tones (1, 3,b7)to delvith. There srenumerous advantages to using them. Having minimal tories makesthem Considerably easier to play, though f strummed you must mute unvanted stings. Short chords have a “cublle” but highly effective qually, and serve as a nucleus for cresting lager veicings. Below are two examples of CT “shart” chords bull on different bass strings (E&A), with o plions® thet flew: cr cr cist cr co crag - Vision Music PublishingBasic Jazz Chords Make Stefani Major, Minor, & Dominant *Short” Chords hot chords ere vacings ha ack efith the "3" ina C over) leavng the player ih jus 3 tunes deal wl Thos oe unetausavatayes lo wing she Hei neltone: takes Ue covsideaby ose to py, troughi stemmed you mus mits unvanted str gs. Shor chord havea Salle ba ghlye ets quay, snd oon asamnieu urea glrgor vukingo. Goloware espe Af nor ine, anc domant ving wt aroat bass loc&ted > etherthe Bth(2) oF Kh (2 sting cme? o cn? chs cr loftenrefertatha shat chard as money” wicincs, hsause thevaluna wor regurless of he situation that x player happens to bein. They succe2d in demystifyirg, to large extet, the sometimes anpcsted vere af az gular cheeding Theste eecellent fer "ramrg” Ihe hamnary af + compastion during the ital stages o fait, andinrelyng on thera player vl automata evoidthe legendary “lash” hetveen chordal instrmerrs (qukarinanohihes) i Here aver was an easy azz enuialent 0 sirple bar chardsirtherack & pop ver, sei! Use these vacingeas the bass for your hamany. “Beyond” Short Chords By acding back hefith (°S"in aC chord) cranolher tone to ashattctard, ye ave ata lercer, fourtone vicina. For yes ts been connon hniszz gute cel toreferts these vocinas asthe"Mic ey Beker" chord, de to the papular of hs inientl chard Bok puafshed abcutthty yews aco, While ‘ct as “sublle sae" asthe short chords, these bigger vicinas do uecead in naka amore “defining” Sttement, Shidy same poseiities belovand absene allsannactiors wilt the herds above Crs? co nz ons 1 8 8 ‘ mai? (e]_cna” C6 Chi? (o_ cma cms ct_o)_cr 3 3 2 1 1 1 + Hlote: Though net dervedin the same manner fram tre shat chords shove, the populty ofthese vocings promptedme tc include them as well The hirds [EYE] arelocated one octave hiaher, alowna room orthe th(D)stingtoadd backthe Sth (@). Meny oer pcssibilies est, co experiment - Vision Music Publishing