Jazz Guitar Chords | Dan Dresnok | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (22m)
    • 1. Preview

    • 2. 1

    • 3. 2

    • 4. 3

    • 5. 4

    • 6. 5

    • 7. 6

    • 8. 7

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About This Class

Let's learn all about jazz guitar chords - the what, when, where, why, & how.  When you first learn to play jazz guitar, the amount of chord possibilities is daunting and can be overwhelming.  The most important aspect of playing jazz guitar chords is not in your ability to make the chord formation, but in your understanding of why each chord is used and how it relates to the song or music.  

I've included tabs (tablature) directly on the screen for every lesson video.  This class is only about 22 minutes long, but by the end you'll have a firm grasp on jazz guitar chords.  And it'll be fun!

Meet Your Teacher

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Dan Dresnok

Guitar Teacher


Hi, I’m Dan Dresnok and I'm your guitar teacher! I've been teaching guitar lessons for over 30 years. I've taught thousands of students both online & in-person. I want you to know everything that I know about music & guitar. I've worked as a session guitarist for recording studios, moderated over 100 group guitar clinics, & written several guitar method books. I specialize in jazz, bluegrass, blues, rock, guitar & music theory.

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1. Preview : Let's learn about our basic jazz courts. Jazz courts could be really complicated and confusing. But if you know the basics, which we're going to talk about right now, then it makes them a lot easier. And it makes most of jazz homes accessible to you, as if you can start playing them right away. So a lot of jazz songs will have really obligated Corts Azaz. The complicated cords are what we call it. Extended courts there either extended or their altered, and that's all of the extra numbers and symbols that are attached to it. So you got your sons and your sixes and your nines and your flat fives and your sharp lines , flat sides and to 13 Elevens and eso you've got The suss is, and there's all kinds of different symbols and additions. Teoh the court name that you will look at you say, I don't know what that means 2. 1: The best thing to do is to learn the seventh courts. If you understand your basic seven quarts, then playing jazz becomes a lot lies. You're so there are actually five main types of seven courts. All right, I know you thought there was only one, but there's actually five different kinds of seven course, and that's what we need to learn. And when we know these seven courts, Andi know just a little bit of music theory. What you can do is you'll start to understand when you can bring a cord to its more basic seventh chord. So in jazz, the most basic chord that you're ever supposed to plays usually want to be 1/7 chord. Okay, you don't ever want to play just a major quarter minor chord, its most basic court forms usually going to be 1/7 chord. So from there, if you see a chord that you don't know, like a 9/4 of 13 course, and I like that you're going to start learning how you can bring it down to the most basic level, which will be its respective seventh court. And so when we understand these five different kinds of courts five kinds of seven quarts. We're gonna understand how Which one of the seven course to bring back to OK from 13 or 11 or nine flat five or where the court is wherever the crazy quarters. Good. So the best way to learn these seven chord or the 57 course is based on the relative courts ? All right, The relative course, the scale courts. So if we just said we were going to play in the key of C manager, that will be easy. No Sharps and flats. So we've got C d E F g A B. Those are the seven chords from the C major scale. And so the seven courts are going to be the seaport. The D minor court e minor 43 f court in court. The report on B minor seven, flat five. Hopefully, you already know this one because it's one of the 57 course. Um, so if you do already know it, great, then you've got one down. So what we need to do is turn all of those seven course into a south the right kind of self 3. 2: So the C chord was our first port. All right, so the first court is going to get turned into a major seventh chord. All right, so there's a beautiful waste plant. Here is one way to play a C major seven. Okay, as the first whore and the fourth chord will get this type of south. So we put a major seventh chord over the one and the foreword, so see? Okay. And here's another position for a major seven QC diable position. Yeah, here is another position where we get a little bit more basic with no said the 1/4 of the forecourt, they won't get the major seven. When you see the major seven, it's gonna have a capital M. So next to it, sometimes it will be shows a triangle. You may sometimes see it as a triangle symbol. We see a triangle is telling you a major. So So when you see a C for seven, you can play it in anyone Thes positions. Forecourt is the C. D. E. F. So the F is also going to get major seventh so f made yourself. Let's listen to F, Major said. Let's check out some of these other positions. Our basic position. What? I was a young guitar player first getting into jazz. I had one of my jasmine towards told me, Dan, don't ever plan Jazz Court Open is it? Just don't do it Play Every Jazz court is a bar court. So, um, I I heeded that advice about 90%. I'll usually play my chance courses. Barker's every once in a while play in open court because I think it's a little bit of I think it's a little bit of an unnecessary rule, but it's true. You usually play jazz chords is part course. I don't know why no one ever plays open courts, but I guess is because it's a little bit difficult to establish rhythm and control the rhythm with springs off, vibrating wildly. Okay, so we've got the CNPF are the major seven. So the one of the four 4. 3: Now, let's look at the Myer seventh courts. So we're gonna have Ah, a couple of actually the two the three ends, Thesixties or old get mine ourselves. Okay, so to the second quarter of the third quarter and 6/4 all gonna get these minor centuries. Okay, so we've got the d is second skills. Do we live in a minor, Seth, over the Dee Dee Myers. So get another position for a minor seven. I do this with just barring down on the, uh, on the tough right here. But I can also put my pinkie on the, uh of the beast rate upon the 13th Fred to get a little bit of extra stuff in. There's a difference between pinkie off. So, uh, d minor 7 to 43 Court. The three court is the the water you or, of course, And the six scored six. Court is the A minor. So I could do the minor son here. Wait. So the 2/4 3 quarter this x Corp can all get that minor set. The monitor seven court is going Teoh. It'll be shown a few different ways. It could be shown as a lower case M seven. All right, so it could be lower case down seven. Or sometimes it could be minus. So showed us like a minus. Like a dash said, um And so either those will be herself D minor seven e minor seven on a Meyer CEO or the D minor seven. Okay. 5. 4: Now we will go to what's called the dominant self. This is probably the 1st 7 court never learning the guitar and has just called. So when people refer to the dominance of they just call it the seven court case, the scent. So in this case goes over the five course g. Okay, so C D G. All right, so we're going to play a G seven. You just call it, she said. But if you want qualify, it is called the dominance of Okay. You called Dominus? Um, as opposed to major seven Meyer serve. I understand five. So let's play a G seven. We do appear he oh, lots of different places where we could play that way. Good. OK, so the fifth degree is the only one. I guess the dominance up right on the guest that's is a one shot deal only happens over the fifth degree C d E f g G QC measure 6. 5: now the only one that's left is thes seventh court. The seventh chord, as you know, is the leading tone court. It's called the leading tone chord. Still leading toe. The leading tone wants to get resolved into the one chord, which the secret. So so the be is the South degree with south degrees are be So we'll do our B minor seven flat five like this to 3 to 3. Starting on the pastry. I's the B minor seven flat five, which wants to resolve to the one court. I said so this result to the C major. So you're just sounds fish going from B minor seven, flat five. OK, you can also play that beam Undersupply five over here. Okay. Wants to result to see me now the fifth type of court will go over the sentence degree, the B minor seven, flat five. It can be substituted with a diminished seventh chord, and this is a really jazzy kind of court. Usually you will find this court only, and jazz shows up in other places. But it shows up a lot of jazz. It's called a lot of different functions. So here is how we can play a be diminished seventh court One of these special things about this court, it still is a leading court so still wants to resolve to the friend for it still must resolve to see Major. So that's not gonna change. So you could be to see major sub way be diminished difference. Really very cool function of the diminished seventh court is that if we slide it up or back , three frets. We can keep doing this three friends in any direction Winds of being the exact same court. So it was looking. If we go as the sexy notes is a d exact same do it, says the which has the exact same knows as the A flat actually takes us round roll back to be so all of the shapes or different shades have the exact same notes. There's Tim Burton's of each other, so the nose were inverted or basically moved around different work, but they're the exact same notes. And so a lot of times, just guitar players. We use this trick when they're playing or the south degree, so if they're playing, you're supposed to play minor D minor. 75 Just enter player might do something like play a couple of those movements of the diminished out of court before resolving back Teoh. That makes sense. Okay? Also, you don't have to start on the route of the B since he can come up higher that So, for example, you're supposed to go be minor seven flat, five to see major seven. You could begin instead of beginning under V to better seven because slide right up and begin right on deed. Michael. And there's a lot of different possibilities for that Demeter stuff, and any one of them could be a substitution for the B minor. Five. Very cool. A lot of possibilities there. 7. 6: So this is something that we're going to see with any of the extended courts. So we have the five different kinds of seven courts. We've got the major seven courts, which we're going to be either travel simple where they're gonna have upper case, where they they might even say May J age major seven. So any of those combinations is going to be a major seventh. But when you have a more extended court like nine, it's going to be either tribal. Nine. Where will be over? Case Down nine or I. M. A. J major. Nine or major could be 11 arm aged 13 or triangle 13. We're O K C m 13 and you may say, Well, I don't know how to play Triangle 13. Okay, is trying, although so if it's tribal, then you can always bring back to playing major seventh chord. So it says to play Triangle 13. You don't know how to do that. Just play a major seven because you dio and then I will work just fine. It'll it'll have almost the exact same function or the sea major. 13 court. Good. What if it's got a minor nine so saying Play D minor. Nine. You don't know my court. Or what if it's saying minor? 13. Um, you know, play that it's minor so you can bring it back down to his minor. 7 14 to play, De Meyer said. Yeah, okay, so still, you play a minor 13 you don't do it. Played minor. Seven says miners, bring it back to the minor. So there's going to clues in the coordinate, and that's going to help you bring back to which kind of some of course you're supposed to . Which five kinds of seven courts what it says? Just 13 play a, uh, playing G 13 you say? I don't know. 13 chord. Well, we know that's just a plain old 13. That kind of sounds like just plain old seven, which is our dominant chord. Remember, for just r R. Seven Chord. We don't have any symbols. Next to it is just a plain old seven. That's our dominant seventh. So when you see just a 13 or nine or 11 those roll dominant chords also, they don't have any other coal fires next to them. So if you see just a nine or 11 or 13 those were all dominant courts. If you don't know them, just play a seven court, which you do know. OK, so calls for G 11 g nine, g 13. You play G seven. It'll have the same that it was meant to okay, almost the identical function that was meant to it will not hurt us all. Um And then lastly, we've got the minor seven flat five, which could Usually the only substitution is that you're going to see off the minor. Seven flat five In a jazz contacts were going to be the diminished seventh, which you don't know. So if you ever see that or if you see a diminished seventh chord in a position that's tricky for you, you know that you can move it. Three friends back with three friends up in any direction that you choose, it'll have the same function it will be. It'll operate is the same type of court in the song, so you should never be having a play diminished seventh chord in a difficult position should always feel move it to a comfortable position. So that is going to close to the court that you're going to the leading destination court. You're in the leading town court and you want to be close to your destination. Your resolution. Good. 8. 7: so Okay, way. It's a lot of fun. That's just me. Mixing up a bunch of seventh chords, relatively just playing around them, trying to positions. And like I said, with all of these different kinds of seventh chords the way that you can use them, you should be able to play most jazz songs now. So I hope this is access to you. Um, go work on these courts and you are well on your way to being a jazz guitar player, so I'll see you in the next video.