Table of Contents

FUNDAMENTALS OF HARMONY

5 .. . Basic chord chart

6.. Chord symbols.
6 .. . The Harmonized Major Scale
8.. . Chord Analysis
9.. Chord voicings.

MUSIC SETTINGS

Basic concepts

11 .. . The dominant seventh chord

eleven .. . The ii-V progression
eleven .. Minor seventh chords.
12 .. . Passing the Diminished Chord
12.. . Temporary Tonic # 1 13 - .. Temporary Tonic #2
13.. Jazz Blues
14.. Blues minor.

chord ornaments

14 .. . Major Chord Ornament

fifteen .. . Minor Ornament Chord 15 - .. seventh chord ornament
fifteen .. The altered tones.
16 .. . Meta Chord ornament

5.. .1. Chord Substitute

17 .. .1. Substitute Chord
18.. . The "I Got Rhythm" Changes
19.. . Changes of rhythm
Sketches
twenty .. . Sketches for a vocalist
twenty .. . Comping For An Instrumentalist

Stylistic Examples
twenty-one .. . Howard Roberts-Style Turnaround
twenty-one .. . Montgomerey Wes-Style Riff
22.. . Jim Hall-Style Intro
22.. . Tal Farlow-Style Intro
22.. . Barney Kessel-Style Intro
23 .. . George Benson-Style Lick
23 .. . Joe Pass-Style Ending 23-.Howard Roberts-Style Ending
24.. . Freddie Green-pace style of play
24.. . Lenny Breau-Style Walking Bass Line

Advanced Concepts
25.. 0.51. E-Slipping
25.. "Slash Chords."
25.. . Pedal Tones
26.. . Ascending chromatic reharmonization
26.. . Descending chromatic reharmonization
27.. . Go backwards
27.. . Quartal Harmony
28.. . Pat Martino-Modal Riff Style
28.. . Arpeggiated accompaniment
29.. Those changes. "Substitutes"
31 Tablature Explanation / Legend Notation

Editor's Note:
• Unless otherwise noted, the music in this book is played with a swing feel (X3-JJ>), in
which a pair of eighth notes that start in the rhythm are played as the first of two thirds and a
last third of the eighth note triplet.
• All examples are in time 4 unless otherwise noted.
• Chord names shown in italics in some examples refer to the original harmony progression,
before any substitutions were added.
INTRODUCTION

J.
azz Harmony is designed to enrich your playing style and improve your
understanding of the harmonic function of the guitar in jazz. You immediately
discover new ways of thinking about the fretboard, expanding your ability to colorfully
re-harmonize songs.

For maximum benefit, read the text and refer to the musical examples that appear in the
recording. Learn the pieces as written and play along with the recording. After you feel
comfortable with them as written, use them as a starting point to create your own versions
using the techniques described and your imagination. It is very important to extract ideas
from this book and apply them to the songs in your repertoire. A conscious effort must be
made to include these concepts in your game; they must be assimilated into your own style.

In Jazz Harmony, chords are demonstrated in the context of short pieces of music. This way
you will learn how chords sound (and function) in a progression, various chord substitutions
sound like, and new ways to alter chords. In short, you will have the experience of playing,
and hearing, a complete musical idea that will be easy to "plug" into your favorite songs. The
chord progressions in this book are found all the time by jazz musicians. When you become
familiar with this material, you will be well on your way to becoming a jazz guitar virtuoso.

-Jimmy Stewart

Guitarist, composer, producer and educator James Stewart is a

Los Angeles session veteran, and author of over 20 books on a
variety of musical genres and styles. In addition to his solo
albums, this Jazz Hall of Famer has recorded with artists from
Sonny Stitt and Ray Charles to David Benoit and Michael
Jackson.

Thanks

I would like to thank the following people for their valuable help in the production of this
project: Ted Piechocinski, Arthur Rotfeld, Aida Gurwicz, Dan Rosenbaum, Allison Whyte,
George Adjieff Gibson Guitars, Epiphone Guitars, GHS Strings, Fender Amplifiers, and
especially Terri Tilton Management.
FUNDAMENTALS OF HARMONY
The first step in understanding chords is learning how they relate to scales. The formulas
that can be seen throughout this book are standard and easy to understand. They always
refer to a major scale (represented as 1 2 3 5 6 7). the
Sharp (') or flat (b) before a number tells us that this scale degree is going to be raised (!) or
lowered (b). For example: the major chord formula, 13 5, says we need the 1st, 3rd. and fifth
degrees of the major scale to form the chord, the minor chord formula, 1 b3 5, tells us that
we need the first, lowered 6) 3rd and fifth degrees of the major scale.
C Major scale

Basic chord chart

Chord Symbols
Each chord structure is designated by a special abbreviation. The following is a
partial list of the basic structures (built on a C root) and the symbols that identify
them. You may see symbols appearing in parentheses in music by certain
publishers, or in some handwritten music .
In addition to these basic structures, you will encounter chords that include 9ths, llths, and
13ths, such as Dmaj9, F13, or Gmll, and altered chords, in which one of the chord tones has
been raised or lowered to intensify its sound, such as G7T> 9, Cmaj7Sll or Bl> 7l> 5. Don't
be intimidated by these chord names or symbols—think of long chord names as a series of
instructions, for example, D73 »5t>9 is a nice mouthful, but it's really just a D7 chord (D Ft
AC) with a raised fifth (a #) and a low ninth (Eb).

The Harmonized Major Scale

The major scale can be harmonized with stacking notes, a third apart, in a vertical
arrangement. By playing harmonized scales you not only begin to learn what qualities
different chords (major, minor, etc.) sound like, but also what chords built into each degree of
the scale sound like. Each chord in the harmonized scale has a different function: some are
stable (like the Imaj7), while others are unstable (like the V7).
Although this example poses some difficult sections for guitarists, it is ideal for the

Visualization of the Harmonized Scale Concept. and by moving the third of each chord an
octave, these guitarist voices produce more.

Here are three voices of the other possible harmonized C scale.voicings occur important.
 Chord Analysis
For the purposes of analysis, chords are labeled according to their position in the major
scale. Roman numerals, although classically based, are in most musicians' vocabularies,
regardless of style. For example, you've probably heard a bandmate or friend say something
like, "It's a simple song, just an E. I-IV-Vin" The names on the right are used in this book,
and almost all other books in harmony. Memorize this table as you will find it to be
indispensable. (Lowercase numbers represent minor chords, uppercase numbers represent
major chords.)

Yo Tonic
II Supertonic
III Submediant
IV Subdominant
V Dominant
SAW Through
VII Sensitive
 chord voicings

There are millions of possible chord voices on the guitar (not an exaggeration). Here are
many of my favorites, based on common chord types. The root (or note the chord is built on)
of these chords is C. and is shown as a square on fingering diagrams. Some of these voices
omit the root, however, still act as the name harmony because they contain enough chord
tones to maintain the chord function. All of these fingerings are mobile. (For example,
moving any of these voicings three frets higher will result in E flat chords, moving them one
fret lower will result in B chords, etc.)
 Musical settings

Basic concepts

The dominant seventh chord

A dominant seventh chord is a seventh chord built on the fifth degree of a major scale (5 7 2
4). Intense and powerful, this tension-building chord begs to be resolved. Here, dominant
seventh chords (more accurately, dominant-type seventh chords) are constructed on various
degrees of the other scale. Even when built into other scale degrees of 5, the dominant
seventh chord (1 3 5 ♭ 7) still wants to resolve to its tonic. When it resolves to another
dominant seventh chord, whose root is located below a fifth, a strong sense of forward
movement is created. As you play this example, notice the strong forward trend of the
dominant seventh chords.

The ii-V progression

The ii-V progression occurs in almost every jazz tune. In this example, an unresolved
tension is created by the chromatically descending II-V in key areas.

Minor seventh chords

Minor seventh chords (1 ♭3 5 ♭7 ), more stable than dominant seventh chords, do not require
resolution. It was often heard moving freely, as in this example.

*The numbers on the black boxes correspond to the CD track numbers.

The Passing Diminished Chord
It is possible to move from one diatonic chord to another using a diminished passing string.
The function of this chord is to provide a smooth connection between two diatonic chords.
(Passing diminished chords can be interpreted as uprooted 7 ♭ 9 strings, for example, C#°7
[C#EGB ♭ ] contains the same notes as A7 ♭ 9 [AC#EGB ♭ ], just without the root, A.)

Temporal Tonic #1
Jazz melodies generally modulate, or shift keys, at some point in the progression,
sometimes for an entire section, sometimes only briefly. In this example, the Am chord is
heard as a temporal tonic, because it is preceded by its ii-V (Bm7 ♭ 5-E7 ♭ 9). Note the use
of a pivot chord (a chord common to both key areas), in this case, Bm7 ♭ 5 (viim7 ♭ 5 in C
major, and iim7 ♭ 5 in A minor). A harmonic analysis is shown below the personal file.

Temporal Tonic #2
The following example includes brief treatments of A ♭ (in bars 2 and 3) and C minor (in
bars 4 and 5) in the tonal zones.

Jazz Blues
The harmonies used here are typical of the jazz blues progression. The main differences
between this evolution and the basic blues progression (used in most rock and blues songs)
are found in the last 4 bars. Compare the basic changes (in italics) to the changes used in
this jazz variation.

Minor blues.
This example demonstrates the blues in the key of C minor. The m6/9 chords impart a rich
and melancholic character to this progression.

chord ornaments

Major Chord Ornament

Add notes to chords in a simple way to embellish the basic harmony without altering its
function. This example shows one way a jazz musician could embellish a basic C major
chord. Remember, all of these chords still function as the tonic, even with the addition of 6,
7, and 9.
Minor chord ornament
Here, a minor chord is embellished with the 4. ♮ 6, ♭ 7, ♮ 7, and 9.

seventh chord ornament

In this example, a C dominant seventh chord is embellished with uppercase extensions,
including the 9, 11, and 13 - Remember that these embellishments—in addition to adding a
jazzy sound—also strengthen the basic function of the harmonic chord.

The altered tones

In this case, the embellished notes are altered, that is, they are raised or lowered to make a
more dissonant, colorful sound. The most common accidentals are \>5, #5 (which sounds
the same i>13), i>9, #9, and 111, and they can be used in combination as well. This
example illustrates some of the rich and colorful sounds possible through the use of
accidentals. The original harmony appears in italics above the reharmonization.

Target Chord Ornament

Embellishing a target chord should be preceded with another chord half a step away is a
common jazz device. There are no theoretical rules to follow in this case; final decisions
about the acceptability of a given chord should be based on ear and musical taste. Here, the
target chord, G13, was approached first from a step above a half (at bar 2), and then from a
half step below (at bar 4).
 Substitutions

Substitute A Major Chord

Adding freshness and variety to chord progressions is usually done through substitute
chords. The melodic line of the composition (or the soloist's improvisation) must be
considered when adding substitutions. This example shows two common substitutions for
the chord, the I vim7 chord (Am7), and the iiim7 chord (Em7). (The iiim7 chord works well
because the notes on the iiim7 chord are the same as the 3, 5, 7, and 9 of the Imaj9—The
vim7 chord also works well because it contains the same notes as the 16th string.)

Substitute dominant seventh chord

The ii chord can be replaced by the V chord for a softer, even "darker" sound.
Substitute Tritone

The tritone (an interval of three whole steps), found in every dominant seventh chord, is
characterized by marked instability. The presence of the tritone actually defines two
dominant 7th chords, for example, BF (a tritone) is present in a G7 chord, GBDF, and in a D
♭ 7 chord, D ♭ F ♭ C ♭ (enharmonically speaking, like C ♭ = B). This means that a dominant
seventh chord can be replaced with another dominant seventh chord whose root is one
tritone away.

iv Substitute Chord

The bVII9 can be replaced by the iv chord. once again s, the source of this substitution
comes from common tones. FM6 FA ♭ CD, B ♭ 9 = B ♭ DFA ♭ C.

The “I Got Rhythm” changes

The I-vi-ii-V, one of the most used progressions in jazz, is generally associated with
Gershwin's tune "I Got Rhythm"

.
For each chord in the I-vi-ii-V progression there are many substitute chords available, each
having a different slighdy character ¬ desired character. The following table shows some of
the most common options (in the key of C). Of course, closely related substitutes and
embellishments can be easily applied: Cmaj9 for Cmaj7, G13 for G7, D7#9 for D7, etc.
(There are thousands of possible variations on the I-vi-ii-V progression using the chords
presented in this picture when simple alterations or ornaments IJE applied to them.)

The changes of rhythm

The following example is based on Gershwin's harmonies "I Got R:;! Hm," or what jazz
musicians refer to as rhythm changes. Dozens of well-known jazz tunes (or heads) have
been written about rhythm changes since the swing era (and particularly during the bebop
era). Unlike Sad, Rhythm Changes is divided into two sections, section A and section B
(often called the bridge). Some of the string voicings used here have omitted the root; Roots
are not always necessary in guitar chords because the bassist usually describes the
movement of the root of the chords. This allows the guitarist to concentrate on chord
extensions and reforms, thereby playing a thinner and more colorful role.

Sketches
Sketches for a vocalist
Comping is a musician's term for the way of accompanying a singer or instrumentalist in a
complementary way. This example demonstrates the possibility of accompanying a singer, in
a quasi-rubato style. When comping for a vocalist, it is important to be aware of the melody,
to follow the singer's lead, and to provide a solid foundation.

Sketches for an instrumentalist

This melancholy uses rootless vocals, and has a strong melodic line in the upper voice.
Make sure you listen to the soloist you are comping for, it is of great importance to support
the soloist in a sensitive way.
 Stylistic examples *

Howard Roberts-Style Turnaround

A change is the transition from the end of one chorus to the beginning of the next chorus.
This is a prime location to use reharmonization to create interest. In the following example,
we use broad-spanning voicings consistent with the style of Howard Roberts. This change of
trend is found in songs by Miles Davis and John Coltrane.

Wes Montgomery-Style Riff

Wes Montgomery often plays riffs like the one shown here. Try playing this example with
your thumb, instead of a pick, to get a trademark Montgomery sound. (Use descenders in
everything except for the sixteenth notes in bars 1 and 5.)
Jim Hall-Style Intro
The mood of this introduction is lush and sensual, reminiscent of the elegant Jim Hall style.
The harmonies used here are built from the melodic minor scale and its modes. The Dm9t >
5 comes from the D Locrian\2 scale (DEFG Al ♭ B ♭ C), a mode of F melodic minor. The
G7alt. is of the G altered dominant scale (GA ♭ B ♭ CD ♭ Et>F), a mode of A ♭ melodic
minor. The Cm (maj9) is from the C melodic minor scale (CDE ♭ FGA ♭ ) (A G7alt b. It is
played with the middle finger restraining the notes on the D and G strings).

Such Away Bass Style Intro

Tal Farlow (in addition to his legendary solear skills and giant hands) has a great harmonic
sense and often plays creative introductions. This piano example, in Farlow style, is played
at a slow tempo, with a double-time feel (the clicks on the recording are eighth notes).
Farlow plays these types of figures with the pick in combination with the middle finger. Note
that the thumb of the left hand is used to finger the low notes. (If you find these chords
difficult or almost impossible to finger, skip the thumb. The upstemmed part is strong enough
to work alone.)

Barney Kessel-Style Intro

This mid-tempo intro leads the iim7 chord and is in the style of Barney Kessel. Notice how
rich the four-note voices (F9, A9, G7J5) sound compared to the three-note voices that follow.
George Benson-Style Lick
This tailpiece lick contains several slides and is typical of the funky style Benson was
exploring in the late 1960s. A bluesy sound is achieved by using the Dmaj7 string, a lower
neighbor to the E ♭ maj7 string.

Joe Pass-Style Ending

It is important to have a number of endings under your fingers. A good ending can make or
break a performance. This feature uses a basic fingering shape that lowers the fretboard in
minor 3s, a pass from the Joe. The use of non-harmonic tones in the melody, and parallel
descending movement to make a strong closing gesture.

Howard Roberts-Style Ending

The following example uses open voices in the style of Howard Roberts and uses
movement in fifths as a root.
Freddie Green-pace style of play
Freddie Green, who played in Count Basie's big band for over forty years, was, for many,
the last to play swing guitar. Verde believes that rhythm guitar should be like "vanilla extract
on a cake," just enough to get a subtle flavor, but not too powerful. The voicings used here
are limited to three notes, and are played on the lower strings for added resonance and
percussive quality. Bass voices and quarter note rhythms are characteristic of Green's
playing.

Lenny Breau-style walking bassline

To create a good walking bass line/string accompaniment, you'll need to have a variety of
chord shapes behind you, regardless of their position on the neck, allowing you to add
chords above the bass notes. Throughout this example, the bass line leads the left hand,
approaching the chord tones by either half-steps above or below. Breau, a masterful solo
guitarist, often employs this type of texture.
 Advanced Concepts

Side slide
This example uses many different chords, but essentially'implies one dominant character (in
this case, C7). Study each of the strings to see how they relate to the implied C7 harmony.
Sometimes the string is very "in", like the first chord is (C9), other times the implied harmony
is more "out", like the chord on beat 3 of bar 2 is (C7 ♭ 9 ♭ l3 ). This side-slide technique
(shifting a given voicing, up or down, chromatically) can be heard in the comping of guitarists
as diverse as Mike Stern, Les Paul, and Wes Montgomery, as well as in the piano styles of
McCoy Tyner and Chick Korea.

"Slash Chords"
A "barre string" is simply a chord placed over a bass note that is not the root of the chord.
"Slash Chords" is frequently used as a shorthand way of writing a more complicated chord
name. An F/G, for example, is a simple way to approximate the spelling of Gil, and D/C is
much simpler than C6/9add »ll! Remember, any triad can play on any bass note, resulting in
an infinite variety of chordal nuances. Identify the function of each of the slash chords in this
example; some demonstrate a dominant function, while others demonstrate tonic or
subdominant functions.

Pedal Tones
A pedal tone is a note that remains constant while the strings above (or below) change.
Make sure the pedal tone "speaks" for the best application of this technique.
Ascending chromatic reharmonization
This example explores a reharmonization technique that involves the oach approximating a
target chord, in this case Fm7. Working backwards, in semitones, the roots of the
replacement chords can be determined. The chords were then built on those roots to
accommodate the melody. This is an effective way to add variety and richness to a
progression. (The single staff, played above the guitar staff in examples 35 and 36, shows
the melodic line and simple harmony that was used as the basis for the reharmonization.)

Descending chromatic reharmonization

This time a top down chromatic approach is used to hit the target chord, here Am7sus4.
(The sus4 added to a minor seventh chord implies a mill chord.) Notice the opposite
movement between the outer voices.

Backpedaling
Ackpedaling AB's favorite bebop device, this example shows involution through a cycle of
dominant chords (each of which has been preceded with its respective supertonic chord). In
other words, the final ii-V(Gm7-C7) is preceded by your ii-V(Am7-D7), which is preceded by
your ii-V(Bm7 E7), essentially, it's just a circle of fifths based in the idea and not unlike the
secondary dominants found in the first example
. Quarter Harmony
Tertiary harmony is based on 3rds, quartal harmony is based on 4ths. Because most of
these quartal chords contain C major and C Lydian notes (and the bass line highlights a C),
overall, implied harmony is Cmaj7fll, but with occasional dissonances.

Pat Martino-Modal Riff Style

This example shows some common moves (ii-i) in Dorian's mode. Note the change to E ♭
Dorian in bar 5.

Arpeggio accompaniment
Broken Chords creates an effective accompaniment in slow tempos because the movement
fills the space between changing harmonies.
"Those Substitute Changes"
This example demonstrates many of the techniques we have discussed. Study the chord
progression carefully. Identify how and why various reharmonization techniques were used.
This piece is based on the chord changes of "That Old Feeling". See if you can work
backwards and figure out the original changes.