Minor 7th chords

Craig Villalon · From: Charlottesville Va.

I am learning the C6 neck to be able to play some jazz and would like to know if somebody could tell me how to get this chord on this neck...the guitar player i am playing with has an extensive background in jazz and throwing new progressions and chords at me...can anyone tell me about the flatted fifth, the half diminished and such. I know how to construct the chords, just dont know how on the C6. I am playing on a derby guitar which has the basic emmons setup.

Thanks

Bobby Lee · From: Cloverdale, California, USA

The C6th is an Am7. Think of the A string as the root of the chord. Pedal 6 turns it into an Am7b5. Pedals 5+6 makes the diminished chord.

Craig Villalon · From: Charlottesville Va.

Bobby,
Thanks very much!!

John Steele · From: Renfrew, Ontario, Canada

Minor chords at the open neck
(I'll write all the available notes, and you can pick the ones you want in order to suit your voicings/grips) L means lower, R means raise. I use a D for my first string.



  Am7  Em7   Ebm  Bm   Cm7  Gm


1------0--------------------0---


2--0---0------------------------


3--0---0(L)-------0(7--0--------


4--0--------0(R)--0(7--0(R--0(R-


5--0---0----0(5)--0(5--0----0---


6--0---0----0(6)-------0(6------


7--0-------------------0--------


8--0----------------------------


9-------------------------------


10---------------------0--------








Half diminished chords at the open neck: 


  Am7b5 F#m7b5 Cm7b5  Bm7b5    Ebm7b5


1---------------------0--------0----


2---------------------0(8-----------


3--0-----0------0-----0(L-----------


4--0-----0------0(R---0--------0----


5--0-----0(5----0(5------------0(5--


6--0(6---0------0(6------------0(6--


7--0-----0------0-------------------


8--0--------------------------------


9--------0(5------------------------


10----------------------------------

You also asked about the "flat five" chord...
that's a loaded question, but in my opinion, most "flat five" chords are in actuality #11 chords. There are two types, those which are dominant (contain the flattened seventh) and those which are not dominant (contain the natural seventh).(e.g. Sam Rivers' "Beatrice") I think it's fair to say the dominant variety is more common (Take the A Train, Laura, At night in Tunisia, etc.)

7#11 chords at the open neck



  F7#11       D7#11


1-------------0---


2-----------------


3--0(L--0(7---0---


4--0----0(7---0(L-


5--0----0-----0(5-


6--0(6--0(6---0---


7--0----0-----0---


8--0----0-----0---


9--0----0-----0---


10------------0(5-

The last voicing uses a half-tone lower on your fourth string, which not everyone has.

I hope that's helpful. There are probably more, if I think about it a bit.
-John

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www.ottawajazz.com

Rick Schmidt · From: Prescott AZ, USA

Thanks John....once again you've taught this old dog something new!

John Steele · From: Renfrew, Ontario, Canada

Pfft... yeah, right, Rick

That reminds me of that line from "The Sting" when Newman says to Redford
"You could learn alot from me"
to which Redford responds
"I already know how to drink"

-John

Jeff Lampert · From: queens, new york city

Craig, check out the link below and click on the chord chart. It gives all the chords you're talking about, including extensions such as the #11, 13, etc.

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[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]

Dr. Hugh Jeffreys · From: Southaven, MS, USA

Theflatted 5th is easily constructed. First, assign a pedal (KL) to raise the 6th = A to Bb; then lower the G to F#. The b5 can be used in much the same way as one uses the tri-tone sub. During the Be Bop era, it was fashionable to end a song with a flatted 5th; later the +11 became hot, especially with a 13th on top. The half dim 7th has many beautiful applications. One of the voicings I use is (from top down) F D A B. You can get this on your C6th by playing your C A E as they are, then raise your big F string to F#. This gives an F# half dim 7th (A-6). One of my favorite resolutions is B half dim to Bb-7 to F6/9 A in bass to Ab13 to G-7 to Gbmaj7+4 to Fmaj9. I also like using an augmented 4th because it leaves the 5th intact. Good Luck ----j----

Dr. Hugh Jeffreys · From: Southaven, MS, USA

Also - the C7b5 is interchangeable with Gb7b5---the original basis for the tri-tone sub. For eg, in progressing from G to F, the normal resolution would be G--C7--F; using the flatted 5th: G-7 - C7b5 (Gb7b5) - Fmaj9. Also instead of the C7b5 one could use the Neapolitan 6th effect by superimposing an F# triad over a C triad then to Fmaj9. ---j---

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