Moveable Chords - Jazz Folk Fusion
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Moveable ChordsforMandolin&Other Stringed InstrumentsTuned in Fifths(GDAE, CGDA, etc.)compiled by Steve Horn Copyright 2010-2012 Steve Horn under the conditions of the GNU licensesee Appendix - “GNU” Licenseor visit http://ouibis.com/mandoSymmetry/copyright-policy/
Page 2ForwardWelcome to this handy guide to moveable chords for mandolin (or any stringed instrument tuned infifths). Using “moveable chords” frees the player from the dependency on open strings and a limitednumber of keys. This enables easy migration to any key of choice, up or down the neck or across thestrings.While any diagram can be played in the first position on the neck and therefore use open strings, thetrue value is that the diagram can be used in any position on the neck. These chord diagrams displayshapes that are of reasonable reach for any size hand. You can find wider reaches in other chordbooks and find shapes that make use of open strings with fretted notes that would otherwise be beyond the stretch of most players’ hands. While that is useful especially with some musical styles, thisbook focuses on shapes that utilize good voicing and demonstrate multiple inversions of a chord thatcan move to any position and thereby transpose to any key.This book requires an understanding of harmonic relations in music. This can come from a knowledgeof music and music theory OR it can come from practical application, practice, and a good ear. Eitherway or both ways are good and with patience and persistance, you can develop an expanded senseof musicianship and an enhanced relationship with your instrument.This book differs from many chord encyclopedias. The chord diagrams never denote a pitch level(A, B, C, etc.) or fret number. Instead, pitches are relative to the root of the chord and designated byscale degree number.dom73 b7 5 1An example of a dominant 7 chord showing the chordmembers as scale degrees:Root (1) - Third - Fifth - Flatted SeventhPlace this on any fret, say the third fret of a Mandolinfor a G7To some players this may seem foreign or complex but actually requires less memorization. Ratherthan having twelve times as many pages showing the same chords for each of the twelve keys, herewe say “This is a major chord” or “This is a minor chord” and the scale degree numbers tell the rest ofthe story. This book focuses more on function, less on memory, and offers a way to develop flexibilitythat opens up the entire fretboard and all keysWe start by looking at Triads (see p 11). You may know many of these already. Here you can begin tosee the how this system works in presenting moveable chords. Moving a typical G-C-D-G progressionup a fret makes playing the same tune in A-flat a simple task. It’s a breeze.once you get it down.Next come the Tetrads (four note chords - see pp 8 & 9). These are the foundation of jazz harmony.We talk a little about these, then on the next spread, are examples of various types of tetrads in manyinversions, presented to demonstrate visually how they relate to one another. You can spend hoursand hours just on these two pages and use them as a reference companion when reading chards out
of your favorite Fake Books.Page 3Next comes the ii-V-I progression, the most frequently found progression in jazz and popular music.On this page, you will find suggested voicings (and there are many more to explore, too) that will giveto you the familiarity you need to feel at home looking at any jazz chart and feel like you belong in anyjazz session. This is where you will grow your sea legs.In short, this book offers a lot of information about chords for the mandolin. It focuses on function, onflexibility and understanding, on building a sense of familiarity with rich harmonies and ease in playing in all keys and all areas of the neck.The book is laid out so the player can open to a specific pageor page spread and see chord diagrams that cover a particular range of application. If you focus onthese elements and practice regularly, you will find you can fit into any session or to play along withany group you happen to encounter and not feel like you stick out like a sore thumb. Here’s to enjoyment and to good practice.AcknowledgementsI would like to acknowledge Thad Bonduris of Bonduris Music in Denton, Texas for help in understanding many musical considerations concerning the use of chords and chord voicing. Thad and hisstaff teach a variety of styles of music on many instruments. Thad is a huge asset to the communityproviding entertainment, education and an enthusiasm that spreads to young and old alike.I would like to acknowledge Dr. Leon Peek who offers his eyes and ears as well as his fortuitous voiceto provide insight and feedback, wit and wisdom and always a different way to do whatever a personhas in mind.I would like to acknowledge my wife Jenny and two cats for their patience as what I play isn’t alwayspretty but at least it isn’t always banjo.Printing This DocumentThis PDF is set up to print on US Letter Size (8.5x11 inch) paper. If your printer supports two-sidedprinting or if you take this to a copy center that provides that service, please see that the title pageprints on the right side of the spread. This follows the document setup and guarantees that certainpages open across from each other. Page spreads such as for tetrads will then be visible at a glancewithout turning pages.Did we miss an important chord?If we missed a favorite of yours, please submit an example either by weblink or in a text version (seebelow) to contact@ouibis.com.010110000010I will try to figure out what you send and will attribute you as a contributor either on a web page or infuture editions of this document. We cannot guarantee your submission will be added or that it hasn’talready been submitted. Thanks for your contributions.
Page 4I Like This Book, Can I Make a Donation?Yes you can. While the book is free, if you would like to make a donation for the hard work that wentinto this, we are working on setting up a PayPal account for this purpose. Donating does not addany priveledges that the free copy doesn’t already come with. We do appreciate your support. In theinterim, please email us at http://ouibis.com/mandoSymmetry/donations/
Table of ContentsListSpreadsTitlePageTitle Page9m9b9#99m 9ForwardTable of ContentsForward, etcAbout TriadsTriad ExamplesAbout TetradsTable #11m#11Tetrad ExamplesThe ii-V-I progressionAboutTriadsAbout Upper TensionsUpper Tensions - 9ths, 11ths, 13ths, alt chords 996/9m 7m 9m6/9 b5 º m 9m9b9#9 9m 9m7b9 #9b5#9b5b9#5b9#5#911m11#11m#11 11m 11 #11m #1113m1313#11m13#11 13m 13 13#11m 13#11AppendicesDuplicate ShapesGNU LicenseAbout Tetrads,jazz chords,7,Dom76dim7,m7b5,7b5,7#511m 11#11m #11Aboutii-V-Iii-V-Iexamples13m1313#11m13#1113m 1313#11m 13#11About colorations ortensions996/9b5ºm 7m 9,m7&9,m6,m6/9 m AppendixShapeDuplicatesAppendixGNULicense
TriadsPage 6Harmony in most popular styles of music throughout the world is based on the interval of a third. Thatis to say, if you take a musical scale and choose every other scale degree (or every “third” scale degree), you build chords based on that interval of a third and the result is known as “tertiary harmony”.A triad is a three-note chord and in our system of tertiary harmony an example could be scale degrees 1, 3, & 5; 2, 4, & 6; 3, 5, & 7, etc. In the key of C, 1-3-5 would be pitches C-E-G. The threenotes of the triad create two stacked intervals of a les: a major and minor triadshowing three notes and two stackedintervals of a third.&CECEb b minor3rd minor3rdmajor3rd& G G b major3rdThe triads we are most familiar with are major and minor triads. The major triad, such as C-E-G hasa raised third (E) while the minor triad, such as C-Eb-G, has a lowered third (E-flat). Without knowingany of that, your ear already knows the difference in sound in familiar tunes such as Mary Had A LittleLamb (a major key) or He’s a Mean Man, Mr Grinch (a minor key).While the major and minor triads are the most common and basic, there are two more to consider thatare commonly used: the diminished triad (1-b3-b5) and the augmented triad (1-#3-#5). Both thesehave a stronger pull in our structure of harmony and want to resolve to either a major or minor triad.The following page offers examples of these chords, all of which move to any position on the neck.You also see the chord members listed (1-3-5) with the third of the major and minor chords emphasized. You will also notice that the example of the augmented chord, each diagram has more thanone functional application. You will see more examples of this as you read on in this book.
Page 7Mandolin ChordsMajor Minor Augmented DiminishedMajminaug( )dim(o)1 5 3 11 5 b3 11 b5 b3 1Majmin1 #5or 3 13 1 or#5 3#5 3 1 #53 1 5 1b3 1 5 1Majminaug( )1 3 or 1 #53 #5or 3 1#5 1 #5 3dim(o)b3 1 b5 b3dim(o)aug( )5 1 5 31 b5 b3 b55 1 5 b3Majmin5 3 1 55 b3 1 51 #5or 3 #53 1 or#5 1#5 3 1 3These are the basic building blockson which the more complex chords(6ths, 7ths, 9ths, 11ths, and 13ths)are built.dimb5 1 b5 b3
TetradsPage 8While the three-note triad is made up of two stacked intervals of a third, the tetrad is a four-note chordand (for our purposes) is made up of three stacked intervals of a dminor3rdBbGEbCExamples of two tetrads, a dominant 7chord and a minor 7 chord.The 6th and 7th chords are the foundation of jazz harmony and are presented in the following pagesin ways that show how they relate to each other, how they are similar and different, what elementsgive them their individual character.Like the triads on the previous page, these examples can move to any location on the neck. You willsee that, as we add more notes to these chords, we find more variations of each. You also will noticethat some chords (which may sound very different from one another) will use the same chord shape*(e.g.: minor 6 chords and ø7 or half diminished 7). All this appears complex at first, but with time andpatience, the pieces of the puzzle will start to fit together. Please remember that as mysteries revealthemselves, so broadens our musical landscape.As the triad is the basic building block of many styles of music, in jazz the tetrad becomes the basicingredient. Please take time to become familiar with these sounds and we will later explore furtherinto upper tensions and altered chords.The functions of these 6 and 7 chords (the tetrads on the following page) is a subject that can involveyears of study, much more than this book can hope to cover. But I would like to point out some characteristics of these as they can function quite differently from one another. While this doesn’t comeclose to a full embrace of harmonic theory, this introduces some basic concepts.Dominant 7This is most likely the strongest chord in our music. It is often used for color-only in blues and rock(example: She’s a Woman by Lennon-McCartney where every chord used is a dominant 7 chord).But looking at the chord functionally, this chord frequently resolves to a chord up a fourth as in the V-Ichord progression of most of our classical music, church hymns, and many familiar musical styles.For example, a C7 would like to resolve to an F chord. This is true in major keys but also applies tominor keys where sharps are added to the V chord to give it more pull to resolve to the tonic. You findthe Dominant used 7 frequently in all major and minor keys.
Page 9Major Major 7 (Δ7) and the 6 chordsAdding the major 7th or 6th scale degrees to a major chord adds richness to the sonority. The majormajor 7 chord (as used in Chicago’s “Color My World”) is lush and introspective in nature. The 6thscale degree is somewhat similar and resembles the major key’s relative minor, and depending on theusage is no more than that. This can be a handy way to diffuse the major or minor identity in harmonies.The Minor 7, Minor 6, and Minor Major 7 (mΔ7) ChordsHere we are getting more colorful and complex. The minor 7 chord is quite common in minor keysand in the Dorian mode . The minor 6 is often used in the same way as the minor 7 but has a moreexotic flavor that to some peoples’ taste can easily become overused. However, the minor 6 chord isfound frequently in the style of Django Reinhardt and in Parisian “Gypsy” Jazz of the early and mid20th century. The minor major 7 chord is fun to experiment with and adds an even more exotic flavorsuch as can be found in more complex colors found in examples later in this book.**MajorTriadMajor 7( 7)Dominant761 5 3 11 5 3 1 5 3 b71 5 3 6This diagram shows how moving the tonic (1)ot the Major Triad creates a Major 7, Dominant7, and 6 chord.* You will notice that some shapes appear again and again with a different label.Please refer to the appendix at the end of this book that identifies these similarities.** Please refer to “Adding More Color - The Upper Tensions” (p 14), the addition ofthe 9th (pp 16 & 17) and examples of altered chords, 11 and 13 chords (pp 1833).
Page 10Mandolin ChordsMajor Seven Dominant Seven Six Minor Maj 7Minor 7Minor 6mΔ7m7m61 5 b3 Δ71 5 b3 b71 5 b3 6mΔ7m7m6b3 Δ7 5 1b3 b7 5 1b3 6 5 1mΔ7m7m65 1 Δ7 b35 1 b7 b35 1 6 b3mΔ7m7m6b7 b3 1 56 b3 1 5Notice how these examples relate to each other as well asthe examples on the previous page. The major 7, minor 7,and 6 chords often can be easily found by moving the tonicnote down to the corresponding scale degree.Δ71 5 3 Δ7Δ73 Δ7 5 1Δ75 1 Δ7 3Δ7dom71 5 3 b7dom73 b7 5 1dom75 1 b7 3dom761 5 3 663 6 5 165 1 6 36Δ1Δ7 3 1 5Δ7b7 3 1 56 3 1 56Δ7 b3 1 5Switching the 1 and th 7makes a better voicingbut a difficult reach:Here are some nice voicings but it uses an extended reach,especially with the 7mΔ71 3 Δ7 5Δ7m61 b7 3 51 6 3 51 6 3 113 1 5 Δ7m7Δ7 3 5
Mandolin ChordsFully Diminished Seven &Half Diminished SevenPage 117b57#5o7ø77b57#51 b5orb3 bb7b3 bb7orb5 1b5 1 orbb7 b3bb7 b3 1 b51 b5 b3 b71 b5or 3 b7b5 1 b7 31 #5 3 b77b57#53 b7orb5 1b7 3 1 b53 b7 #5 1ø7Note:See how raisingany note of thefully diminished 7chord creates adifferent inversion of the halfdiminished 7chord. The noteyou raisebecomes the 7thscale degree ofthe new chord.b9b3 b7 b5 1ø7b5 1 b7 b3ø73 b7or 5 b95 b9orb7 3b9 5 3 b7The same chordplayed against adifferent root orbass note canrender a b9chord. That rootwould either be a1/2 step, major3rd or perfect 5thbelow the lowestnote of thismandolin chord.b7 b3 1 b57#5b7 3 1 #5
Page 12The ii-V-I ProgressionThis chord progression is found with great frequency in jazz and popular music. In a major key (ii-V7I) this would be made up of a minor ii followed by the dominant V7 followed by the (major) tonic. Ina minor key (ii Ø-V7-i), that would be a half-diminished ii ø followed by the dominant V7 followed bythe (minor) tonic. It is an embellishment of the age-old practice in harmony of the progression fromsubdominant (in this case the minor ii chord) to the dominant (V7) to the tonic. Some styles may tendto substitute a major IV in place of the minor ii or there also may be the use of tht viiº (fully diminished) in place of the V7. Yet, in jazz, the favorite is ii-V-I, or in minor keys ii Ø-V7-i. You can find thisprogression everywhere, sometimes in fragment. If you take time to familiarize yourself with thesechanges, you will find comping much easier as the ground you are exploring will be all the more familliar.The examples provided show these moveable chords with optional notes in grey which are includedas a matter of choice and of convenience for the player. In some instances, an added 9th makes foran easier fingering or may work more suitably in a particular context. There are ways to consider embellishing the standard tetrad once you have familiarity and feel willing to take the plunge into morecolorful chords.
Page 13iiø7 - V7 - i7ii7 - V7 - IΔ7(Minor Keys)(Major Keys)ii7V7IΔ7iiø7V7i6-i7-iΔ71 5 3 75 1 7 31 5 3 71 b5 3 75 1 7 31 5 3 #67#7ii7V7IΔ9-IΔ7iiø7V7i6-i7-iΔ73 7 5 17 3 1 53 7 5 193 7 b5 17 3 1 53 #6 5 97#7ii7V7IΔ9iiø7V7i6-i7-iΔ75 1 7 31 5 3 75 1 6 39 #7b5 1 7 31 5 3 75 1 #6 37#7ii7V7IΔ7iiø7V7i6-i7-iΔ7i6-or-7 3 1 53 7 5 1 1 3 7 57 3 1 b53 7 5 1b7#71 5 3 #67#7#6 3 1 57#7
Page 14Adding More Color - Upper TensionsWith four note chords or tetrads being the basic building blocks for jazz chords, how can an instrument with only four strings possibly add more notes? That’s a good question with a very certain answer. The first notes to go are always the root and the fifth.Some may find that hard to believe but it is true due to several reasons. One is that the root is almostallways provided by the bass or by the accompaniment (piano or guitar). A second reason is that inthe context of the music the root and fifth are implied and therfore most likely to be “added” by the ear.Another reason and probably the most important of all is that the relationship between the 3rd and the7th of any chord is if utmost importance, particularly when the tritone is involved. The quick-and-easyanswer is simply, “sacrifice the root or the fifth”.Another consideration for mandolins and other 4 string instruments is this. The nature of our instruments is more for adding color than for providing the basic foundation of the music. This isn’t goodinformation in terms of job security but accepting this offers us the practical ability to give the best wehave to offer musically. Accepting our place in the ensemble is critical to being a contributing member--it’s our home base, the point from which to deviate, to explore and to develop as musicians. Also,it is good to be aware that it is not required to include the upper tensions, 9ths, 11ths and 13ths. Youcan play it safe and stick to a seven chord even when you see these more complex chords in yourcharts. It is more critical to add the correct 7th (Δ 7 or b7) and the correct 3rd (major or minor). Asyour ear develops, you will be able also to determine when a b9 or a b5 is in line or a #11. Until then,the seven chords are a great safe haven in which to reside.If you need to get your ear in shape, listen to music and experiment with the examples we offer here.In the next pages, you will find some examples of how the 9th can be added into the already familiar6 and 7 chords. The most likely note in a 7 or 6 chord to become the 9th would be the root. Depending on the example and the context, you later may find that for both 11th and 13th chords, the likelynote to replace would be the 5.
Page 16Mandolin ChordsΔ9We now move on to exploring upper tensions injazz chords. On these two pages, we look at ahandful of examples of adding the 9th scaledegree to our now familiar tetrads. For a morecomplete listing of chords using upper tensions,please take a look at the pages that follow. Thereyou will find 9ths, 11ths, 13ths of many varieties.Major 9 9 6/996/91 3 9 Δ71 3 9 b7Δ99
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