Chords for Jody Fisher Guitar Quick Tip - _Altered Dominant Chords_
Tempo:
104.5 bpm
Chords used:
Gb
Ab
E
C
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
Hi, this is Jody Fisher.
College for Music Professionals
another quick tip for you, and this one's
Let's say you've been playing jazz
you just don't have enough altered
is show you very quick and easy ways to build your
the topic we're going to be talking about is symmetrical chord movement,
topic is pretty deep, but I'm going to show you something today that's pretty
College for Music Professionals
another quick tip for you, and this one's
Let's say you've been playing jazz
you just don't have enough altered
is show you very quick and easy ways to build your
the topic we're going to be talking about is symmetrical chord movement,
topic is pretty deep, but I'm going to show you something today that's pretty
100% ➙ 105BPM
Gb
Ab
E
C
D
Gb
Ab
E
Hi, this is Jody Fisher.
I'm the Guitar Department Chair here at the Lama College for Music Professionals
in Los Angeles, California.
I'm here today with another quick tip for you, and this one's
for you guys that have been playing for a while.
Let's say you've been playing jazz
and you're building a nice chord vocabulary, but sometimes you just don't have enough altered
dominant chords.
What I like to do is show you very quick and easy ways to build your
chord vocabulary.
So, the topic we're going to be talking about is symmetrical chord movement,
and the topic is pretty deep, but I'm going to show you something today that's pretty
immediate and you'll be able to start using right away.
It may take years before you master
all the theory behind it, but it's something you'll be able to use immediately.
So, this
chord vocabulary builder deals with altered dominant chords.
These are dominant chords,
in this case, with altered fifths, meaning a sharp five or a flat five.
So, let's say
we took a chord [Gb] like this, which is _ C7b5.
The spelling of this chord [E] is E, which is
the third, Bb, which is the flat [C] seven, C, which is the root, [Gb] and G, which is the flat
five. _
It's a common chord, and we use them all [E] the time in II-V-I progressions and other
areas as well.
_ So, a funny thing happens when you take altered dominant chords with
altered fifths and move them around in whole steps.
It turns out when you do that, it remains
an altered dominant chord from the same root.
Now, the actual alterations will change, but
it's a real cool way to build a huge altered chord vocabulary.
So, I'm going to take this
C7b5.
[Gb] _
There it is.
And I'm [E] going to move it up two frets, okay, whole [D] step.
_ So, now I
have [Gb] _ a Gb, [D] a C, a D, [Ab] and a G sharp, okay?
So, I could call this chord, a funny name,
I might be able to call this C9, sharp five, flat five.
And that's technically correct,
but generally when there are two fifths, one flat, one sharp, we will call the [G] sharp five
a flat 13 instead, okay?
So, I'm going to call [Ab] this chord now C9, flat five, flat 13.
[Gb] And when you have [Ab] chords like this, _ [D] it's nice to play the root with it just [D] so you know
what it sounds like so you're not surprised when you play this with a bass player someday.
All [Fm] right, now I'm going to move it up one more.
[E] _ And now I've got a sharp five on the
bottom, G sharp.
I've got the ninth right here.
I've got the third here in the flat
seven.
So, I'm going to call this a [Ab] C9, sharp five.
[E] Here it [C] is with a root, okay?
And so
we're still C dominant chords here.
Let's move it up again.
[C] Now we have flat seven,
three, flat five, [B] and root.
So, we're back to [G] a C7, flat [C] five again.
I'm going to move
it up another whole step.
[D] Now I've got the root.
[Fm] I've got the flat five.
I've got [Ab] the
sharp five, but we'll call it a flat 13, and the nine.
So, once again, I have a C dominant
with a flat five and a flat 13 in it.
_ _ [Gm]
I'm going to move it up again.
Now I've [Dm] got the
ninth on the bottom, [Eb] a sharp five right here, a flat [F] seven here, and [Gb] the third.
So, now
I [A] have a C9, sharp five once again.
[E] If I move it [Gb] up one more time a whole step, we're [A] back
to the original chord, the [Gb] C7, flat five an octave higher than this, okay?
Now, [C] it's very
useful for a lot of reasons.
Now, some people think, well, okay, this is theoretically correct,
but does it sound good?
Yes, these sound really good, actually.
If I considered each one of
these chords a five chord, meaning the five chord in the key of F, I could use these for
two-five-one progressions.
So, I'll use each one of them here for you to show you what
they look like and what they sound like.
So, the two chord in F is G minor seven.
[Bb] So, here's
my two, here's my [E] five, _ and here's my [C] one, F major sixth.
[Bb] Okay, so that sounds good.
[Gb] _ _ [D] _ Okay, now I'm going to take that five [Ab] chord, move it up here.
So, I think I'll use the
same [Bb] two chord again, right here.
[Ab] Here's my five, and now my one, [F] F major seven.
Okay,
let's try another one, [Bb] this chord.
So, [Gm] here's my two, G minor seven, [E] my altered C chord,
and [F] then F major seven.
All right, I'll use [Gm] the same two chord, _ five, [Am] _
C7 flat five again,
[A] and then F major six nine.
All right, let's try it again.
[Gm] Let's try G minor seven.
[Ab] _ _
[Fm] Here's
my C9 with a flat five and a flat thirteen, [F] and one.
Okay, [Gm] so that was, _
[Ab] _ _ [F] _ okay.
And if I
go [Gm] one more here, I can go two, _ _ [F] five, one.
[B] Okay, so it's quite useful.
Now, there's one
more thing you want to think about, and that is, in any of these chords, any of the notes
in the chord can be considered the root.
And then guess what?
They become other [C] altered
dominant chords, and you can move those around again in whole steps.
So, this time I'm going
to stay using this shape right here, [D] C7 flat five, but I'm going to consider the B flat
the root this [Ebm] time.
So, this puts [G] me in the key of E flat.
Okay, that's the [C] five chord
in E flat.
So, my two [Fm] chord is F minor seven, _ and here's my [Gb] five, and then one, [Eb] E flat.
Okay, now I'm going to take [Ab] the E and consider that the root.
Now, E is the five chord in
the key of A.
So, a two, five, one in that [Bm] key would be B minor seven, _ and in our five,
[Gb] our E dominant, and then [A] A.
So, that sounded pretty good too.
All right, [Bm] let's try the
G flat.
G flat is the five chord in the key of B, and so our two chord is going to be
C sharp minor [Abm] seven, _ and then [Ebm] our five, [Abm] and then B flat, or B natural.
Okay, there you
go.
So, it has multiple uses, [N] and this works for every seven flat five chord, and if you
experiment further, you're going to find it works for seven sharp [Gb] five chords just
as well, and if you want to take just ninth chords, but there's one qualification.
If
you use a ninth chord and move it around in whole [E] steps, you can't have a fifth in it.
Okay, so [Gb] like, in other words, [C] this is root, three, flat seven, [E] and nine.
Okay, and if
I move it up here, now I have [D] the nine, the flat five, the root, [Ab] and the third, et cetera.
So, it's seven flat fives, seven sharp fives, and ninth chords without fifths.
_ Move them
around in whole steps, and you have built a huge altered chord vocabulary pretty painlessly.
Have a good time with that. _ _ _ _ _ _
_ _ _ _ _ _ _ _
I'm the Guitar Department Chair here at the Lama College for Music Professionals
in Los Angeles, California.
I'm here today with another quick tip for you, and this one's
for you guys that have been playing for a while.
Let's say you've been playing jazz
and you're building a nice chord vocabulary, but sometimes you just don't have enough altered
dominant chords.
What I like to do is show you very quick and easy ways to build your
chord vocabulary.
So, the topic we're going to be talking about is symmetrical chord movement,
and the topic is pretty deep, but I'm going to show you something today that's pretty
immediate and you'll be able to start using right away.
It may take years before you master
all the theory behind it, but it's something you'll be able to use immediately.
So, this
chord vocabulary builder deals with altered dominant chords.
These are dominant chords,
in this case, with altered fifths, meaning a sharp five or a flat five.
So, let's say
we took a chord [Gb] like this, which is _ C7b5.
The spelling of this chord [E] is E, which is
the third, Bb, which is the flat [C] seven, C, which is the root, [Gb] and G, which is the flat
five. _
It's a common chord, and we use them all [E] the time in II-V-I progressions and other
areas as well.
_ So, a funny thing happens when you take altered dominant chords with
altered fifths and move them around in whole steps.
It turns out when you do that, it remains
an altered dominant chord from the same root.
Now, the actual alterations will change, but
it's a real cool way to build a huge altered chord vocabulary.
So, I'm going to take this
C7b5.
[Gb] _
There it is.
And I'm [E] going to move it up two frets, okay, whole [D] step.
_ So, now I
have [Gb] _ a Gb, [D] a C, a D, [Ab] and a G sharp, okay?
So, I could call this chord, a funny name,
I might be able to call this C9, sharp five, flat five.
And that's technically correct,
but generally when there are two fifths, one flat, one sharp, we will call the [G] sharp five
a flat 13 instead, okay?
So, I'm going to call [Ab] this chord now C9, flat five, flat 13.
[Gb] And when you have [Ab] chords like this, _ [D] it's nice to play the root with it just [D] so you know
what it sounds like so you're not surprised when you play this with a bass player someday.
All [Fm] right, now I'm going to move it up one more.
[E] _ And now I've got a sharp five on the
bottom, G sharp.
I've got the ninth right here.
I've got the third here in the flat
seven.
So, I'm going to call this a [Ab] C9, sharp five.
[E] Here it [C] is with a root, okay?
And so
we're still C dominant chords here.
Let's move it up again.
[C] Now we have flat seven,
three, flat five, [B] and root.
So, we're back to [G] a C7, flat [C] five again.
I'm going to move
it up another whole step.
[D] Now I've got the root.
[Fm] I've got the flat five.
I've got [Ab] the
sharp five, but we'll call it a flat 13, and the nine.
So, once again, I have a C dominant
with a flat five and a flat 13 in it.
_ _ [Gm]
I'm going to move it up again.
Now I've [Dm] got the
ninth on the bottom, [Eb] a sharp five right here, a flat [F] seven here, and [Gb] the third.
So, now
I [A] have a C9, sharp five once again.
[E] If I move it [Gb] up one more time a whole step, we're [A] back
to the original chord, the [Gb] C7, flat five an octave higher than this, okay?
Now, [C] it's very
useful for a lot of reasons.
Now, some people think, well, okay, this is theoretically correct,
but does it sound good?
Yes, these sound really good, actually.
If I considered each one of
these chords a five chord, meaning the five chord in the key of F, I could use these for
two-five-one progressions.
So, I'll use each one of them here for you to show you what
they look like and what they sound like.
So, the two chord in F is G minor seven.
[Bb] So, here's
my two, here's my [E] five, _ and here's my [C] one, F major sixth.
[Bb] Okay, so that sounds good.
[Gb] _ _ [D] _ Okay, now I'm going to take that five [Ab] chord, move it up here.
So, I think I'll use the
same [Bb] two chord again, right here.
[Ab] Here's my five, and now my one, [F] F major seven.
Okay,
let's try another one, [Bb] this chord.
So, [Gm] here's my two, G minor seven, [E] my altered C chord,
and [F] then F major seven.
All right, I'll use [Gm] the same two chord, _ five, [Am] _
C7 flat five again,
[A] and then F major six nine.
All right, let's try it again.
[Gm] Let's try G minor seven.
[Ab] _ _
[Fm] Here's
my C9 with a flat five and a flat thirteen, [F] and one.
Okay, [Gm] so that was, _
[Ab] _ _ [F] _ okay.
And if I
go [Gm] one more here, I can go two, _ _ [F] five, one.
[B] Okay, so it's quite useful.
Now, there's one
more thing you want to think about, and that is, in any of these chords, any of the notes
in the chord can be considered the root.
And then guess what?
They become other [C] altered
dominant chords, and you can move those around again in whole steps.
So, this time I'm going
to stay using this shape right here, [D] C7 flat five, but I'm going to consider the B flat
the root this [Ebm] time.
So, this puts [G] me in the key of E flat.
Okay, that's the [C] five chord
in E flat.
So, my two [Fm] chord is F minor seven, _ and here's my [Gb] five, and then one, [Eb] E flat.
Okay, now I'm going to take [Ab] the E and consider that the root.
Now, E is the five chord in
the key of A.
So, a two, five, one in that [Bm] key would be B minor seven, _ and in our five,
[Gb] our E dominant, and then [A] A.
So, that sounded pretty good too.
All right, [Bm] let's try the
G flat.
G flat is the five chord in the key of B, and so our two chord is going to be
C sharp minor [Abm] seven, _ and then [Ebm] our five, [Abm] and then B flat, or B natural.
Okay, there you
go.
So, it has multiple uses, [N] and this works for every seven flat five chord, and if you
experiment further, you're going to find it works for seven sharp [Gb] five chords just
as well, and if you want to take just ninth chords, but there's one qualification.
If
you use a ninth chord and move it around in whole [E] steps, you can't have a fifth in it.
Okay, so [Gb] like, in other words, [C] this is root, three, flat seven, [E] and nine.
Okay, and if
I move it up here, now I have [D] the nine, the flat five, the root, [Ab] and the third, et cetera.
So, it's seven flat fives, seven sharp fives, and ninth chords without fifths.
_ Move them
around in whole steps, and you have built a huge altered chord vocabulary pretty painlessly.
Have a good time with that. _ _ _ _ _ _
_ _ _ _ _ _ _ _