As of now, I know open chords, (major and minor), barre chords ( E and A shape grip) and how to change from major and minor between them, I know Power Chords, How to play them as inverted diads, and How to Play major/minor chords as diads. (or at least, diads on the 3rd and 2nd strings.)

I'd like to learn chords for blues, jazz, funk etc.

I looked at the tab for Purple Haze from Jimi, and I can't say I know one of them. He uses G's and A's that I'm not familiar with (most likely inversions, if so, how many bloody inversions are there???)

Anyway, yeah, just tell me/ teach me what chords to look into / learn, and give me good sites to do this (I'd also like to know the theory behind them, like how they are constructed etc., not just how to play them..

Last edited by Lollage123 at Nov 28, 2009,
There's so many chords though, and it feels like a bloody mountain to climb, because theres shit loads, I dunno which to learn, how they work, what they go with,... GAH!
To answer your question "how many inversions are there?". If there are 4 notes in a chord, there are 4 possible inversions.

For example, an E minor 7th chord has the notes E-G-B-D, you could play it with the E in the bass, the G in the bass, the B in the bass or the D in the bass. The real problem that you will come across is "how many voicings are there?". The answer to this is, more than you can imagine.

Now you say you want to know Blues/jazz chords etc. The first thing you should learn is 7th chords, then 9th, then 11th and 13th chords and their inversions. Then you should look into chords with accidentals or altered chords. While doing this, you should be learning multible voicings for each chords.

Personally I would avoid the "Jazz" chord lessons on this site as the voicings shown are not what would be used.

The site Ierius posted is a good one, but the chords within may make you want to ignore them a bit because of different fingerings to what you are used to. In jazz, having all six strings ringing out in an E shape barre chord manner wouldn't really be used. So instead of playing the first chord, Am7, you would play the second chord, which is still an Am7, but you have left out the multiple notes.


I would finger the second chord by barring the D,G and b strings with my 3rd finger and fretting the E string with my second.

If you really want, I can give you some basic "shapes" to get you started (If you are overwhelmed by the ammount of voicings there are).

Edit: You should also be learning chord construction theory to understand why these chords are what they are. General music theory is also advised.
Last edited by MapOfYourHead at Nov 28, 2009,
     E7#9                                                G                     A
 E |--------------------------------------------------|------------------------------------------------------|
 B |---------8---8---------8---8---------8------------|--3------3----3---------5-----5---5---7-p-5---5-------| 
 G |---------7---7---------7---7---------7------------|--4------4----4---------6-----6---6---6-------6-------|
 D |---------6---6---------6---6---------6------------|--5------5----5---------7-----7---7---7-------7-------|
 A |---------7---7---------7---7---------7------------|------------------------------------------------------|
 E |--0-----------------------------------------------|--3------3----3----3----5-----5-------5-------5-------|

I know what the 7#9 chord is, its a normal 7th dominant with a sharpened ninth (is the sharpened ninth known as augmented?), but what about the G and the A? Are they inversions, or what?
No, a 7#9 chord is not augmented, an augmented chord is a major triad with a sharpened 5th (1-3-#5), a 7#9 is a dominant 7th with an added #9 (1-3-5-b7-#9).

As for the G and A, they are just G major and A major, the only difference is that Jimi left out one of the 5th's, I believe this is due to the way it is fingered, with the lowest bass note being fretted with the thumb, on the A he also hammers onto the 13 making it an A(add13) or an A6, depending on how you look at it.



As you can see with the voicing shown, the root is being played 3 times and the 5th is being played twice. Taking some of ther multiple notes out makes it less cluttered.

Last edited by MapOfYourHead at Nov 28, 2009,
You'll probably have better luck in Musicians Talk.
Feel free to call me Kyle.

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I mean in Kyle's case, it is in the best interest of mankind that he impregnate anything that looks at him funny...
^Thats where it is.

Here is a decently good theory lesson that includes scale and chord construction.



For post below

Yes, it could be called an A(add13). But it could be many other things aswell.

the notes A-E-C#-F# could also be F#m7 (F#-A-C#-E) in inversion. Read the lesson I linked.

Another Edit:

A good theory book will do you wonders. If dont respond well to pure clinical academia, the idiots guide to music theory will start you off nicely.

If you do like the above, then Walter Pistons harmony (for a more classical approach) or Mark Levines jazz theory book (For a More jazz orientated approach) would be more suited.

You can get a copy of all books mentioned if you look hard enough for download links on google.
Last edited by MapOfYourHead at Nov 28, 2009,
Right. To confirm I understand this, if I played a normal A major, but fretted the high e 2nd fret as wel, that would be A (add 13th)?
Thanks, you've been damn helpful. Is it alright if I add you just in case I get in a mind**** again?