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Author: admin | Category: Piano Lessons Online | 14.11.2014

Search over 300,000 sheet music arrangements available instantly to print or play in our free apps. Piano Cover of the song Demons originally performed by the musical group Imagine Dragons from the album Night Visions. Just for the heck of it here one very old take from around 1965, recorded with a very primitive recorder.
Check the 'Realbook' for all these oldies which are still very relevant and at the very least teach you to think about chords.
Most chords though can be reduced  to a 3-finger setting which makes life suddenly much easier.
I thought to share some examples of lessons  I learned on this page, maybe useful and not only in jazz comping.
For example if you play an Fmin7 followed by Bflat7, they are very close together in position 8, whereas you can play them as  well in pos 1 close together.
Obviously there are more variations but - especially when you start - these can be confusing. This is not based on the scale of G major, but rather on the 7th scale, also called the dominant scale or Myxolidian (see further down on this page as well). You know of course that the basic chord (here G) is made of i, iii and v or following the schematic below 1, 3 and 5, or g, b and d.
In altered chords you will encounter almost any of the additional notes flattened or sharp, mostly the 5, 9, 11, 13. Forget the G plain (barree or open as in folk), rarely played in jazz, but everybody knows it and occasionally you can and will use it.
Here are the G7 subdominant chords in two positions (there are more but for starters this gives you a good and fast vocabulary). These settings with 3 fingers only are very fast and sufficient when playing with others, which is the main purpose. If you are used to the standard chords then this one needs some getting used to, but once your ear knows it its very nice chord which sounds great not only in jazz but in other music as well. There's a very interesting way to look at this chord, which is extremely useful when soloing over it. Next to the drawing i have given an alternative fingering that sometimes is easier - try both. This chord is frequently used, therefore three variants, basically the choice is determined by the next chord.
For example if you play Gmin7 in position X, followed by a C7 in position 8 then the middle variant sounds nice and is easy to play.
They have an interesting property in that they can be used which each of the four notes as root denominator. If you take the G9 chord and flatten de 7 again, you get the tone e, or in fact the 6, leave the a (ix) and there is the 69 chord (no pun intended).
You can play G6 of course (later) but this one is used often again instead of the standard, unmodified G.
A nine chord is standard (of course there are other variations, like add9 - later) the G7 subdominant with the nineth note - here the a - added. Used in many Gypsy tunes - have a look at Django's 'Minor Swing', dont break your fingers when trying to Django it . Following clip lets you hear the sound of this chord, shows a bit how its used in an oldie from the realbook called "Beatiful Love'. The G9 is a great sounder, these two variations need some getting used to but give a subtle enhanced feel to the chord.
You can figure out easily what these chords could look like in position III (root on 6) The notation is as a variation to the 7-chord (basically G9 also is an extension of the 7 chord).

Recommendation: if you are just beginning, let the keyboard play these sharp or flat nines, you only have to play the seven chord with three fingers.
The notation is as a varation to the 7-chord (basically G9 also is an extension of the 7 chord). Here are two fairly standard and very easy phrases that will help you soloing effectively over some frequently occurring chords ant chord sequences. For example in in G, you would see Am7 - D7 - G,  I (G) is the basic scale name, the II is obviously A(m) , and the V is D (count on your fingers to understand). Very effective is this one (second phrase above) played over the (any) dim chord - in this case C#dim. It sounds quite good iwhen you play them downwards starting with pinky on posn VI (in the clip you can listen to the effect). The sequence thus becomes Am7 - G#7 - G, which gives some nice opportunities for just that different solo. The theory behind this is somewhat complex but it is simple to remember that you can replace the natural dominant sept by a chord which has some altered relations, but is one semitone above the scale you're playing in. So in C, where you would find G7 you can play C#7 (play a Myxolidian scale - sounds difficult, but is just the normal major scale with the 7 flat, for this C# chord a B tone). If you are a bit more advanced it is possible to break down a piece into subsets of chordsequences over which you can play a particular scale - ask your teacher how to do this. When I started fiddling with Django's Minor Swing, I found that improvising over these chords (Am6, Dm6, Bmb5 and E7 variants) was different from what i had done sofar. Below is another clip I made to show Minor Swing in Am in a speed that is attainable for mere mortals. Please note that i am not Django or Wes or Satriani, i just try to make a difficult piece of work accessible to beginners! This is the standard major scale for G, starting with the root on string 6, third position. If you start the scale on the Bb tone you will see that suddenly it is also Bb major pentatonic, cool? This means that you can find other sources of inspiration - try a Bb major pentatonic in position 6, with the root on 6, playing over Gm chords.
There are many theories what the source of the blue note is,; most likely it has to do with the African roots of the blues.
A nice example of a slightly embelllished or pimped blues sequence is above - I use that in the clip.
Listen to Clapton's oldie Hideway in Emaj, but using the Eblues scale (which is a minor scale). When you are confronted with a chord sequence like this one as a beginner, you will be very confused how to go about building an improvisation. Children of the sun, see your time has just begun, searching for your ways, through adventures every day. All the instruments you hear would be worth small capitals, Gibsob SG, Precision Bass 1958, Farfisa organ etc. If  you play in a combo, the 3-string sound is more than enough as the keys and the bass (and others) will very likely play the missing notes. I will deal with the X7, Xmaj7, Xmin7, X9, Xmin9, Xdim and a few variants with flat5, sharp5, sharp9, flat9 etcetera.
Therefore you see that these notes in the second octave are also numbered 1 , 3 and 5 as they dont contribute a different sound. I was confused some time ago by a keyboard player who told me to get G7b10 chord - never heard of that. The guy on the keyboard has an easier life, with two hands you can easily grab all these and more!

The difference with the G7 chord is that the f is now played as an f-sharp, creating an almost dissonant tension against the root.
This chord is a combination of a plain G chord (g - b- d) and Bm (b - d - fsharp), use these notes to solo over a G chord and immediately it sounds ' jazzy'. Gdim and Gdim7 chords are considered different in some publications, however I was tought that they need not to be distinguished.
There are others but in many cases this one will do as you can easily slide up and down the neck. They sound quite ooh and ah and are easily applied in different circumstances - so exercise them in all neck positions. In other words, tritone substitution involves replacing the dominant 7 chord's root, with one that is three whole steps away. A bit of research unveils that many people think that Django uses the Hungarian Gypsy scale, which is a minor scale of sorts with some funny variations. BUT, one thing is certain if you loosely use this scale for improv it will sound - almost - right.
It took me a lot of effort to puzzle it out from the Django clips - the fact that he plays it with only two fingers doesnt make it easier. Also note that at end of the 12bars I use the Daug as a return bridge instead of a straight D7, Daug creates a lot more tension. Once you start the song, you may want to break it up into smaller parts so you can learn those before you tackle the entire thing.
What he meant of course was a G7#9, same thing and these tables make that a bit more comprehensible.
On the guitar you have to fiddle around a bit in order to play for example a G13 esxpecially with # or b - and that with only four fingers.
The general formula then for this chord is These fingerings allow for very fast changes again, although there is one other I use frequently (i will add it later as it conflicts with the purpose of having only two variants for the time being). This one is probably one of the more difficult chords to play in this series - but as its used frequently you better get used to it.
Also if you are i doubt dont play the nine, if someone else plays the #nine it sounds ugly.
Personally i dont like the b9b5 variation very much, although sometimes you just have to play it (remember the rule here: if others in the band play the sharp or flat nines and fives, you can just as well only play the G7. So the C#dim chord can also be named after and used as g0, e0, and bflat0 in addition to C#0. I've given here the Gm key variant as that is what all my other examples are, but move the root on E6 to position V and you have the Am family. I think Django used notes from his cultural heritage, without bothering to give them a particular name or label as we like to do. Once you have the different parts memorized, your fingers will start to remember the movements of where to go. Again learn the root notes on strings 6 and 5 by heart, which give you the whole range for this chord.
In the demo i play the G9 in pos III without the little finger (4), which makes it just a bit faster..
5 with the root on string 6, D7 basically also on pos 5, with the root on string 5, G7 in pos.

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