Basic Principles

Except as noted, all of the topics on Jeff’s Jazz adhere to concepts that are listed below:

A basic 10-string C6 5+1 copedent PLUS an extra knee lever (not a floor pedal) that raises the 4th string from A to Bb is all that is needed. Also, the first string is tuned to a D note.

Floor pedals are specified by the number of the floor pedal (i.e. 4,5,6,7, or 8). Knee levers are referred to as R for a raise, or L for a lower. A ”~” indicates a bar or pedal slide without picking the note.

As much as possible, chord examples are tabbed with only those notes that are necessary for the definition of the chord. For example, if a dominant 7th chord is tabbed, it may very likely not include the 5th note of the chord, since that note is not needed to define the chord. In most cases, the chord can be filled out and embellished (extended) with other notes available at the fret. How you choose to juxtapose 3-note and 7-note chords is a matter of personal style. The tab points you to the fret and pedals, and provides the basic voicing.
As much as possible, the chords are tabbed with the tonic/root at the bottom, usually on string 8, 9, or 10. It is important to learn to play with the tonic in the bottom since it will greatly improve your ear toward hearing the tonality and motion of chord progressions, something critical in being able to play, arrange, and compose jazz properly. When playing in a band, you might choose to use a root that is an octave higher on a different string at the same fret, or just leave it out all together if the bass player is playing it. HOWEVER, very often the root of the chord will signal a substitution because the root is different from the sheet music and from what the bass player is playing. In those cases, you may find that a higher octave root loses much of the power of the substitution. Let your ears be your guide.