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While many of us have experimented with 4th chords at some point in our development, we
often learn a fewroot-position shapes and move on from there.
Root-position 4th chords are essential learning for any jazz guitarist, but taking them one
step further andworking out their inversions will go a long way to expanding your
harmonic vocabulary, as well as helping you keep 4th chords in your playing without
sounding cliché or monotonous at times.
In this lesson, we’ll look at how you can practice three-note 4th chords in inversions, as
well as applying these shapes to chord scales, and tips for taking them further in the
woodshed.
As you can see, the addition of the 2nd blurs the strict 4th-interval sound that you get with a
root position chord. But, it is just this slight alteration that allows the chords to sound fresh
and new, without using any notes from outside your original chord shape.
Here is an example of these inversions as applied to a Dm7 and Cmaj7 4th chord shape.
Click to
VmP
.
Try working these inversions in all keys for m7 and maj7 chords, as well as taking them to
7th chords in your woodshedding in order to get a full grasp of how these shapes are built,
how they sound, and how they fit across the fretboard in your playing.
Click to
VmP
.
You can also apply chord scale to second inversion 4th chords, and here is an example
of that idea using the same Dm7 shapes you learned earlier.
Click to
VmP
.
Again, begin by working this chord scale over Dm7, then move on to other keys and
chords, and finally use these shapes to create chord and comping lines over modal and
jazz standard tunes in a practical, musical situation.