The Jazz Guitar Chord Bible Complete

I love this book; I refer to this book daily during my practice session; this is for a guitarist who is more advanced than beginner, but not advanced; it teaches you much better voicings than you are using now, more interesting ways to navigate the common chord sequences with better voice leading. One of the things I find frustrating is the inability to look in the index for a certain chord progression, perhaps the common I, VI, ii, V; there must be a dozen or so ways to play that progression in the book, but you can't find them all with the index; however, I find the content of the book SO USEFUL AND EXCELLENT, that I think I'm going to go ahead and make my own index of chord progressions. I have started inserting the recommended chord variations into my weekly jam session with my friends and they LOVE the sound of the modified progressions. Besides, this is just an enormous amount of fun to use. Initially I had a little trouble figuring out what key the suggested progressions were in but solved that w chatgpt. I asked chatgpt: I am trying to determine the key of a jazz chord progression. Analyze the progression please. Dm9 → G13#11 → Em7 → A7#5 Dm9: D minor 9 implies the ii chord in the key of C major (or i in D minor). It suggests both C major and D minor as potential keys. G13#11: G13#11 is a dominant chord often functioning as the V7 chord in the key of C major. The #11 adds a jazzy color, but it still strongly implies C major. Em7: E minor 7 is the iii chord in C major. This is consistent with the key of C major. A7#5: A7#5 is a dominant chord. In this progression, it could function as a secondary dominant (V7/ii in C major or V7 of D minor). Key Analysis: The progression leans toward C major, as the chords Dm9, G13#11, and Em7 fit neatly within the diatonic harmony of C major. The A7#5, with its altered tone, functions as a dominant chord leading back to Dm, creating a ii-V relationship in D minor. While it has elements of D minor, the overall tonality seems to resolve more strongly in C major due to the presence of G13#11 and Em7. Why this ambiguity exists: Jazz often uses borrowed chords, secondary dominants, and modal interchange, so a phrase can imply multiple tonal centers. In your example, the phrase has a "dual personality" because it shifts between C major and D minor (relative keys). Practical Tip: To determine the key in similar cases: Look for a chord that serves as the "home base" (tonic). Pay attention to the resolution—does the phrase feel like it wants to resolve to C (C major) or D (D minor)? Context matters—what chords follow this phrase? Let me know if you'd like to analyze more examples or discuss this further! You said: Perfect; Thank you. Let's try another chord sequence; what is the home key for this chord progression: Am7, D11b9, bm7, E7#9 ???? ChatGPT said: ChatGPT You're welcome! Let's dive into this progression and analyze it step by step. Chord Progression: Am7 → D11b9 → Bm7 → E7#9 Step-by-Step Analysis: Am7: A minor 7 is the ii chord in G major (or i in A minor). This chord gives a hint, but it's not definitive yet. D11b9: D11b9 is a dominant chord with added tension. The D root and altered extensions suggest it functions as a V chord resolving to G minor (if minor) or G major (if major). However, its placement here is more likely acting as a subdominant (IV) in A minor because jazz progressions often move to dominant (V) chords. Bm7: B minor 7 is the iii chord in G major. It can also function as a ii chord leading to a V chord (secondary ii-V progression). In this case, it's likely part of a ii-V in A major or E minor. E7#9: E7#9 is a dominant chord that almost always resolves to A minor or A major as its tonic. The altered 7#9 (a "Hendrix chord") adds tension for resolution. Overall Tonal Center: The progression strongly resolves to A minor: Am7 (i) → D11b9 (IV) → Bm7 (passing chord) → E7#9 (V7 resolving to A minor). Another way to see it is a ii-V-i in A minor: Bm7 → E7#9 → Am (though ii is borrowed here as Bm7 instead of Bø7). Why Not G Major? The D11b9 and E7#9 heavily suggest a dominant-tension resolution back to A minor, not G major. Final Answer: A minor is the home key for this progression.

The chords are diagrammed, then shown in sample progressions - the voice leading of the progressions and the usability of the chords are where this book scores. It is an encyclopedia of chords and "melodic" chord progressions, which concentrates on demonstrating the chords in context. All chords are movable - I have not seen any open strings used in any of the chords. I already had good chord books, including the excellent "Rhythm and Background Chords", also by Warren Nunes, but I learned new ways of voicing chords and progressions I have used for years from this encyclopedia. There is no explanation of chord theory - the book is meant to be used as an encyclopedia - look up the chord progression you want to use and find many ways of voicing the chords that you would never have found on your own! You can also look up single chords and see multiple formats of the same chord on one page. Indispensable, valuable and well worth the cost.. The book is extremely well organized, the chord grids are easy to read and the grips are comfortable and usable.

The more chords, etc., you can play in all positions, the stronger player you become, and more windows for creativity become available to you. Works great on iPad.

It is cool

Product was exactly as advertised and arrived ahead of schedule. I will buy from this seller again.

It serves its purpose, which is to provide tabs of most chords as they'd be used in a jazz idiom with multiple versions for each chord. It's not a theory book. You need to already understand that unless you're only reading, for example, big band charts. The tiny numbers and letters on the tabs are difficult to read on my iPad, but it's not something you keep reading once you've zoomed in and learned them. The author omits one of the diminished chords (F,Ab,B,D) although he uses one voicing of it in an example. He also makes the common mistake of equating diminished chords to flat-9 chords, but that shouldn't get a player in trouble. I'd rather he used sus4 notation than 11 because that's what players will encounter more often in jazz charts. But that's just me. I'll get a lot of help from this book.

This book is a great book for learning many, many, many differnt chord voicings. The layout of the book makes it easy to find what type of chord you are looking for. This book does not have very many explanations though, other than the first few pages this book is solid chords. Great for any guitarist who is or wants to take jazz seriously. I am completely satisfied.

I purchased this book because I am a big Jason Mraz fan and I read an interview about him where he said that he writes most of his songs utilizing this book. He uses the chord voicings and progressions to craft his music. Mraz stated that this was the best book that he had ever seen in respect to chord progressions and how the chords fit together. So, I ordered the book and I love it. It has been a great help to me in songwriting as well as just general knowledge of jazz chord progressions.

Great chord book - invaluable for the intermediary and experienced player. This is my second copy of the chord bible; the first was bought in 1979 it was falling apart so a replacement of this very useful chord book was needed. If you have passed the early stages of leaning guitar and you are now extending your knowledge from the basic chords and progressions; as was the case with me many years back, this really was/is a very useful and well put together reference book.There are of course others, but I only have knowledge of this one, plus with the advent of the internet, it has become easier to progress one's playing and know-how. Having said that this is a first class and comprehensive book.

La bibbia degli accordi di tre / quattro note, quelli che usano davvero in ogni concerto i professionisti, che sanno che dal vivo occorre essere pratici, semplici e rapidi. Tutte posizioni trasportabili. Non si può non avere.

Plutôt un résumé de bible, mais enrichissant et assez clair. Bon, c'est pas vraiment le problème, mais y-a-t-il un bassiste de poche dans la salle?

El contenido muy bueno y útil. La edicion muy mala. En tres usos se han despegado muchas hojas. Al final he tenido que ir a una copisteria a que me pusieran una espiral para no perder hojas.....

I did not like the book, almost all chords have no bass note, and it has a legend that says "Have a friend play the root not on the bass to hear the full chord" and it sucks when you want to have the full chord and focus only on learning them, plus, if you try to play the bass note on the guitar it makes the chord very hard to play. This fact made the book quite useless for me and I'd only recommend it for people who are in a jazz band and want to play more chords maybe, but then, I think they would already have the knowledge to build chords from scratch so I think this book is not really good as a learning place.