(LEARN TO PLAY THE ALFRED WAY dA Jazz is American music. Only in America were conditions right for its development. Although there is no doubt that the major contribution was made by Afro-Americans, thoro were many threads that wont into the original fabric of jazz. It was the interaction of black African rhythms with such things as Sousa marches, French quadrilles, Spanish habaneras, mountain clog dance music, vaudeville songs, barroom ballads and many other types of music extant in America in the nineteenth century that produced jazz as we know it. The proof of this lies in the fact that where African culture interacted with non-American cultures, as for example in ‘Cube and Brazil, much exciting rhythmic improvised music emerged, but not jazz. ‘The main thing that sets jazz apart {rom other types of music is its rhythmic swing. Swing cannot be defined, but it is essential to playing jazz. (Some potent quotes: “It don't mean 2 thing 7 ain't got thot swing” (Duke Ellington) . Fats Waller, when asked what swing was, is said to have replied, “If you got to ask, you'll never knowl”) You ean learn to swing, In one word, stent Listen to the great jazz players on all instruments and from all eras. From the 1920's — Louis Armstrong. Bix Beiderbecke, Frank Teschemacher (the legendary Chicago clarinetist who was Benny Goodman's first inspiration). The 1930's: Lester Young, Frankie Newton (the first ‘cool’ trumpet player), Coleman Hawkins, Bud Frooman, the entire Count Basie band, The early be-boppers, Charlie Parker, Charlie Christian, Dizzy Gillespie. And today, John MeLaughlin, Joe Pass, Chuck Wayne, Stan Gotz, Milos Davis, Oscar Peterson and hundreds of others. Jazz is improvised music, improvising means not playing the notes as written, The tradition of improvising has existed in many times and places. J. S, Bach was renowned for his ability to improvise \ ‘See Roger Edison's companion book, “Jazz Lead Gultar ~ A Systematic Approach to improvising” A SYSTEMATIC APPROACH TO CHORD PROGRESSIONS FOREWORD aN fugues; Beethoven usually improvised something at all bis concerts; Spanish Flemenco musi mostly improvised as is Indian classical music. Even parts of traditional Polish polkas are impro: vised by clarinet and accordion players, In America improvising was well known among country fiddlers and banjoists, black singers, harmonica and guitar players and even members of marching bands and vaudeville pit orchestras. Jazz could be defined as “improvisation with swing.” Except for some very recent experiments, jazz improvisation is always based on an underlying chord structure or melody. In the early period {1890-1920) jazz tunes were often of a march: like character with typical chord progressions {cycle of 5ths) and modulations up a fourth for the trio section. (See for example, Tiger Rag and High Society.) Even today there are many tradi- tional jazz bands that play in this style. From 1920 until today most jazz has been based con popular tunes of the day such as Sweet Georgia Brown, | Got Rhythm, All The Things You Are, etc. In the mid-1840's, the jazz composer came into his own, writing many original tunes or lines, often basing them on existing chord progressions such as Charlie Parker's Billie's Bounce (blues), Ko-Ko (based on "Cherokee"), Groovin’ High {based on “Whispering"), etc, The modem era also brought in much more sophisticated harmony such as the use of altered Sths and Sths, 11ths and. 13ths, substitution chords, and suppression of plain major and minor chords ‘Today jazz uses many techniques once thought to bbo the exclusive domain of classical music irragular rhythms, exotic scales, atonality, and free form. In this book, we'll try to open a few doors and point some ditections. Roger Edison © Copyright MCMLXXVII by Alfred Publishing Co, ne.Inteodvetion. The Jaze Style. Jazz Chord Progressions (Thi Baie Progression No. 1 laze Progression No. 1 Passing Chords » . Db Eb F G G A B c D E Ft Ab Ab Bb c Db Eb F G A A B ct D E Ft Gt Bb Bb c D Eb F G A B B ct bt E FR Gt At cb cb Db Eb Fb Gb Ab Bb ‘ crcrmcmamammatmamanaanes:::.::::aanaamiaaeaimmnaastsiae } If you wish to refer to @ chord not in the sealo, use an accidental. For example, AP7 in the key of CisbVI? (say ‘flat six saven')10 BASIC CHORD PROGRESSION NO. 1 The |- V7 1{F/C7 form) This is the basic progression in every type of music from classical to folk to jazz. As mentioned before, jazz players generally avoid plain major and 7th chords, so after you master the basic progression below, we'll show you how to vary it to get # good jazz sound. F c Root Root —*| 3421 3241 Play the F chord either with the given fingering or using @ full barre and avoiding the ‘st string. When changing back and forth pay close attention to the moverrent of the bats notes, Both forms have the root in the bass and this gives a very full, powerful sound. PF C7 F ct Fr . Be elt cole ee olen ec edfee cil 6th string, Ist fret (see pa. 5) F CT F CT F CT F cr ieee ele - Sele Sele ee pon PS on Sa Fn Se Fon F Ie ll Now, using the same forms, gradually work your way up the fretboard: (Note the movement of the bass.) Koy of F Key of FE F cr F Ft ctr FR |e - ee |e - ee lee ee |- ee «| — ‘on 818 en or sia on Koyo Key of Ab G DT G ab b7 ab je - 7 - je - ee |e ee je - - | Bor + | 6/3 516 618 on 516 6a Key of B EY A Bb FT Bb coe le ee |- - 2 |- ee | en 616 616 5/8 616 Key of B rer B c GT c |e - 7 - |e ee je - 2 je - - 2 Bos + | yt 619 eit 68 5/10 6 ‘Then play the same progression backwards, C G7 C,B FS7 B and soon back to F C7 F.1-V7=1 (Bb /F7 form) ‘The chord forms on page 10 pretty well cover the keys of F, Gb, G, Ab, A, Bb, B and C. Actually, ‘on modern guitars you can go much higher, but this book i meant to be played on any mode! $0 we will avoid going above the 10th fret. The following chord forms can be used for playing the I-V7-1 progression in the keys of Bb, 8, C, Db, D, Eb, E and F. Thus between the progression ‘on page 10 and this one, you'll have covered every possible key. Bb Fr root —-[ OTT Root eh ros 3333 13 24 i234 Note the two fingerings for the Bb chord. When playing these chords, make sure the unplayed strings are muffled properly (indicated by “x” on the diagram). First, try the I-V7-L in the key of Bb: Bb FT Bb FT Bb te ee ele ee je eee |e ee effe - bos on on on wn ‘Then, work up the fretboard as before. Once again, pay close attention to the movement of the bass notes. Key of Key ofB Bb Fv Bb B Fer B Je - ew |e 2 6 - jer we jn - Bos | ot en on sr on on Key of C Key of Db c a7 c Db abt Dp je - 2 e je - 7 © |e - ee |e ee Bas + IB 3s 518 5 on 6M Key ofD Key of EF D AT D Eb BbT Eb le - ee |e ee jee ee Je - - Bos + | 515 6/6 516 86 6 516 Koy of E Key of F E BT E F cr F je - 2 |- - - ecto ete |e - Bors | yn en on 58 6 oo Then work back down as on page 10. ” - elfSUBSTITUTION NO. 1 ‘Any mejor chord may be replaced by a major 7th chord, a 6th chord or both. Here's how the F/C7 progression on page 10 sounds after the above substitution: (To avoid using an open string we'll start on GP). Gbmaj? Gb6 Db7 fig of e ? Root! 1 342 214s 3241 Gbmajt Gb6 | Db7 Gbmajt Gbe | Dbz Gbmai7 eee elec cele ee ele ee eile ee ell ort 612 614 er 614 Next, work up the fretboard chromatically as before, We strongly recommend that you say out Joud'the namo of each chord as you play it, It’s unfortunately all too easy to learn to play things ‘on the guiter in a mechanical manner without really understanding what you're doing. {Repeat each two bar pattern before going on) Key of Gb KeyofG Gbm che pba Gmaj7 G6 bt Ile - -e ele ee ce ee lee on on os 516 Key of Ab Abmajt? aba b7 AB ET Ike - ew ele ee eele ee Bors —+ 6/4 610 on Key of Bb Bbmej? BS FT BG Fir eee ele ee ew ecocelee - Boss 6 os 59 Key of C 6 ar pb6 Abt eele er ee eorlee - Bass ~~ 5180 ontPlaying the maj7, 6th substitution in the 8 /F7 form is awkwerd in four part harmony, so we'll use three part, The 7th chord remains the same. Once again, start a half-step higher in the key ‘of B to avoid using the open string, Bmaj? B6 AY re | ae ie 238 16 13 Ty 2a Make sure you're muffling the strings properly especially when using three-part chords. If you have trouble raking the stretch from Bmaj7 to B6, start farther up the neck where the frets are closor together. key of Bmaj? BG FRT Bmaj? BG FAT Ile - ee joe e ele ee ele ee Bor —+ 612 on 52 en Moving up the neck: Key of B BG i" 6 a cele eee eoele ee Bass 62 6 be abr D6 AT eo ele e - irae ete tee! Bass 6H 616 6 br 6 BT cele ee eoele ee Bass 616 on F6 cr be pb7 ce ele ee eoele er Boss ors 60 ‘Then work back down: Ghmaj7 Gb6 Ob7, Fmaj7 FO C7 etc.SUBSTITUTION NO. 2 Jd by the minor 71h chord thet Iles one ‘Any dominant 7th chord may be proce For example, G7 may be praceded by m7, C7 by Gm7, Eb 7 by Bbm7 and so on. In the F/C7 form, a Gm7 precedes the C7. Gm7 cr aaa 32at First, get the progression moving in one place: ct Gm ct Gm7 cr Gm? cr erie le 2 2 ele ee we low ee Boss 5/3 6/8 58 68 88 61s 58 Then work it up the neck one fret at c time: (listen for the bass) Koy of F Key of Gb Key of G Key of Ab KeyotA Gm7 C7 Abm7 Db? | Am7? == DT Bom? ET = Bm7— ET eee ele ee ele ee elee cele eo o| tos + Mo 5s ok CISA (skipping cround) Key of Bo Key of B Key of ¢ Koy of Bb Key of Ab Cm? FY Chm? PRT Dm7 G7 m7 FT Bom? EbT pore Bee ee oe lee ee lee oe | bos —- | os 5 om] ito wD R88 NB Koy of G Key of F Am7 D7 Gm7 cT Jee ee Je + - ee ele ee l Bos | 86 616 6s oa Combining this with the mo} 7, 61h substitution we get: Key of Gb Ghmaj7 be Abmt —-DbT Gs Am? DT ee ele eee eoele eee Bos + 6p er 64 5 6s 6 515 Continue up the neck with Abmaj? AbG BPm7 Eb7 etc. as far as you can and then work back down, Again, call out the changes 2s you play them,This works well in the 85/F7 form. Since the 4th finger remains on the same string throughout, it's easy to play and sounds smooth, m7 Got the progression moving in one place: FT coe x (6/1 opt) Then, work it up the neck one fret at a time: Key of Bb Koy of B Key of ¢ Key of Db KeyofD Koy of Eb FT Ctm7 FE? Dm7 G7 | Ebm7 Ab7 | Bm? AT Fm7— BbT cele ee ele ee ele ee ele ee ele ee el fon —~ on | 4 oR | 5 os 58 BBS BB IS Koy of E Koy of F Key of & Key of & KeyofD Key of Db Fim? BY Gm?) CT Fm? BY Pm? BT EmT AT bm Abt ee lee celee ce elee ec elee scaler cd sos + | 5p 6 | so ome soot BBB ISIS Key ofc Koy of Key of Bb Dm7 G7 nT ne Bb ere ele rec ele ee eee eleee ill Bos > | 55 6/8 548 sis ort sn Combining this with maj7, 6th substitution, we get Key of B Ctm7 FRI Bmaj? BB GT Cmaj7 C6 Ite - ee je cee ee |e eee poss oy en 52 5 13) 51 5/8 Continue up the neck in @ similar fashion, calling out the changes as you play them. Make sure you understarfd the name of each chord.joss Bass Bass SUBSTITUTION NO. 3 im? and Vim7 may substitute for |, For example if the I chord is F, Am7 and Dm7 may substitute for it. (Explanation: Ilm7 has the same notes as the upper part of an Fmaj9 chord: Fmaj9-F A C E G; Am7=A GE G, Vim7 has the same notes as [6: F6=F ACD; Dm7=D F AC). Am? pnt ‘it : = ss ras t “The fingering is a little more difficult than those you've already learned, so have patience. Gat the basic change working as below: Koy of F ‘AmT Dmt AmT Dm AmT Dm7 Am Dmi ee we ele 2 2 wo le ew we ele eee 6 616 615 616 616 615 616 os ‘Then work it up the neck: Koy of F Key of Gb Koy of Key of Ab Key of A ‘Am? Dm? Bb?) Eb? Bm?) mT Cm? Fmt Cn? Fm jee ee lee ee lee ee jee ee lee ee | 68 6Is 6688 on ot 8 68 spo Koy of Bb Key of A Koy of Ab Key ofG Key of Gb Koy of F Dm? Gm7 Chm? Fem?) CmT FT ) Bm7 ET | Bom7 Bbm7 , Am7 Dm ae ele ele ele ele 7 oll sno ono op) oo | os) os oot SOS ‘Combining the above with substitution No, 2 we get: Koy of F Key of Gb Dm? Gmt ct Bom7 = Ebmt? =, Abm a eee ele e 65 6 rs 616 os 64 Key of Ab Em Ami DT Cm Fm7 Bom oe |- cee a on 016 616 oe os 616 Koy of Bb Fm? Bm? ET Dm7 —-Gm7 m7 FL ee |e eee eee |e eee 6p ont sn sno gto 6/8 58 ‘Then work the whole progression back to the key of F.the Bb /F7 three string form. In the key of Bb, Iim7 is Om?. This substitution is much easier Vim7 is Gm7. bat Cinta ; Once again, notice that the 4th finger stays in place. The basle change substitutes for a plain Bbchord: Dm? GmT Dm? Gm? Dm7 Gm7 Dm7 Gm7 Reg te Pepa ert ero eteoad | ea oseeee oet | ae oe Boss sis 518 516 518, 516 816 5/5 818 Combining the above with substitution No. 2: Key of Bb Key of B Dm7 Gm? Cm? rT Dfm7 Gfmt cfm oe ew ele eee eee alee eas + 515 5/8 o sis ore 516 ow Am7 Dm? Gr Bbm7 | Ebm7 eoele er ee 2 ele tore sn wu 516 5/8 516 Bm? Bm7 AT Gm Fm? eoele eee Pn ee Bors 5p sn on eno 8/8 Then work the same progression back to Bb.and Bridge Lost 8 CHORD REVIEW ‘The arrangement on this and the following page is based on the chord progression to @ famous jazz standard, Play it: 1, Chunk-chunk on acoustic guitar, if possible. 2. Comping style on electric guitar. Make sure you pick a tempo that's stow enough for you to go through the chart without hesitating. Use a metronome if you have one. Circled numbers above the chords refer to the diagrams on JAZZ PROGRESSION NO. 1 ® ©® @ @ ® ® ® Gmaj7 G6 Am? DT Gmaij7 G6 Amt ee ew ole eo wo ow le ow ew oe le ‘80 ® © @ ® ® ® @® Dmt Gt Cia? Gm Bm? Em? Am? DT eee ele we eo eo le eo ew we le ee ® ® ® @® @ ® ® Gmaj7 G6 Amt DT Bm? Em? Am? DT Bae Haare ere | ® Qo ® ® mT Gmajt G6 Amt DT Bm Em? Am7 DT | ® © ®@ © ®@®@OGO®@ Dm7 GT OmajT CmT Bm7 Em7T AmT D7 , G6 Dettinger tht sere ttt ttt cate ele |e teeta© Gna ® 3:0 3H ofF:0 #:0 = ~ “ Ha. Dt PASSING CHORDS ‘A passing chord {s placed between two other chords. Each note must move by a half-step (1 fret), a whole step (two frets), of stay the same. Study the example betow: a6 2nd string note rd string note 4th string note 6th string note moves through ‘passing chord ote at stays the same. slays the some movos one fre moves one fret higher tothe actual chord Am? moves Iwo frets higher moves one frot higher moves two frets higher moves one fret higher Many of the progressions on the following pages make use of passing chords.PASSING CHORD NO. 1 Using the #1 diminished* botwoon I and lm7. This is @ very common progression in jazz and pop tunes. Examples are G G#° Amz; C CI Dm7; Bb B° Cm7 and so on. in the F/C7 form, the previous progression Is played like: Gmaj7 and/or G6. Gaim Am? pb? coo aa ooo i 2143 ! 13a 2134 free 3241 When you can play the above progression smoothly, work it up and down the fretboard as below: (Notice the logical way the bass moves.) Koy of Gmaj7 GR Amt? bt G6 ate Am D7 Ike - ce ele eee jee ee le ee sos os on 616 58 68 oi 816 518 ac Bbm7 EDT Abe ae bm cele er ew ele ee |e oe Boss > 6p os 516 6 615 8/6 age Bm ET AB age Bm ET iaceeei eet ttt att else Je - Boss + 16 en on os oi on on Be Cm? Ft be Be cm FT eoele eee cata tetas Boss > on 618 518 “6 on os 5/8 Key of B Bmaj? BRS. cfm? FRT BG pte cfm7 FET coe ee lee ee [fester terre eee |-- - on on 59 op on oy on 5/9 Key of ¢ Cmajt che. Dm GT 6 cde Dm7 GT coe ew ele eee je - 2 eo |- + 7 | pass oe 69 onto sno oo 6p sno sno Continue as high as is practical on your guitar, Dimiished chords ore obbreviotedas “or din. Gel uted toboth wor.Boss Here’s how the I #1° Im? V7 progression tooks in the BD/F7 form: maj? and/or ra ce ce Dm7 opt. a Especially notice how both the 2nd and 4th fingers always remain on the 5th and 2nd strings respectively. This makes the progression easy to play and also gives a very smooth, legato sound, After you cen play the chords as written above, work them up and down the fretboard as usual 518 ct BM - 55 pée 516 - ot Continue through the keys of E, F, and GP as high as is practical. chm? on Dm7 518 Ebm7 56 Em? on Fm? 58 eT 2 7 | 5/4 or 672 a7 Soi Abr - 7 | 510 0° 614 AT - - {| S/T or 616 Bb7 - | 5/8 01 616 \& 5p ‘8 518 be 514 ‘8 515 Bb6 66 co 8/3 coke oA pe 55 oy Ee on Ebm? 516 Em on Fm7 5/8 Fit ze il 5/4 0°62 GT se 5/8 0° 6/8 Abr 2 oe 8/6 064 AT rd 5/1 or 6/6 BT oe 518 0r 8/8PASSING CHORD NO. 2 Using the ill diminished borwoon | and m7 This Is another common jazz and pop progression. Use any of the four substitutes for I (Imaj7, 16, llm7, Vim7}. Hlim7 and Virn7 sound ospecially good because of the smooth bass line, Here's how to play it in the F/C7 form: Stort with — Gmaj7 or or Bm? or Em? 5fe Continue with Bb Am7 pT 1 n H } iy Hite Keyots Gmaj7 Be Ami pT ce be AmT DT te ee je 2 2 - |e - ee |e ee oe Boss —~ "6/8 616 6 16 218 86 316 516 Bm? Bb AmT DT Em7 Bb Am7 bt Ike ee Je - ee |e ee eo |e - 2 © — ™ on 6 86 516 err 6 615 5/8 Koy of Ab Be Bbmt Eb? Abe be BomT EDT coe |e ee eo en Boss — en 016 6/6 6K on 66 56 che Bbm7 ET Fm Be Bom? EDT ee |e eee |e - 4 © je + 4 fon —> sn 616 5/6 on en 8/6 5p Continue through the keys of A, BP, B, C, as high as you can. (Don’t forget to call the changes ‘out loud as you play them.)Py As usual, the progression works out even easier in the Bb /F7 form, Study the I PILI? Jim7 V7 progression below. Then continue down the rest of the page. Startwith maj? or 6 or Em? or Am a PPT T eo 1 21a Continue with Eb? Dm? A H +H PTF et ot bre 244 Fir. 2) 1 42—without root 214 13 24s Minoo! mai? Bb? Dm7 cr ce be Dm7 et eee lee ew we |e oe ee le ee Boss 516 518 s/0r6/s ' 5/8 516 os 5/8 or 6/3 be Dm7 Gt Amt be Dm? or ee ele ee ele er ee le ee Bass =" 5/7 66 516 spores | 6 516 6 8/5 0r 6/8 Dbmaj7 Eo Ebmt = AbT pbs Ee Ebm7 Abt coe ee lee ee le ee ew [ee eo Bors +" 56 en 616 616 06/4 | 614 on 56 516 oF 614 Be Ebm7 abt Bbm7 B® ebm? ——AbT ee eo le eo 2 we le ew ew ew le ee Bass = on 56 5 or6/s | 5/8 on 816 516 or 614 Continue up the fretboard through the keys of 0, Eb, E, F as high @s you can.24 JAZZ PROGRESSION NO. 2 Hore's the chord progression to another great jazz standard, It uses diminished chords in several places. Small numbers refer to chord diagrams below. GQ ® ® @ ® © OO) 1st Fmaj7 Fge Gm cr -Cm7 FT Bbmaj? Bom coe ee le ee we |e ee we le ee en oi 61s os 618 5/8 516 616 ® © © ® ® © AmT Gm? cr Fmaj? ab? Gm7 cr coe ee ee le ew ew ele ee Bars | 6/6 ors 613 on 6 61s 518 ® ® © ® © ® © and 8 Fmaj7 GmT cr m7 FT Bbmaj7 — BbmT oe ee ee ee on 618 518 618 518 616 616 Amt Abe Gm7 cr Fmaj? Gm AmT Dm7 ee ee [eo ew ew ew le ew ee le ee 616 64 63 sis en 618 615 oo Bridge ce BbG bbe Amt Dm7 ee ew ele we ew we le er ee le ee Bos | 6/8 616 6 616 616 ce bbs Bb° Am7T Dm7 Gm7 7 ee ew we le oe ee le ew ee le ee Bows | 6/8 616 616 6/5 6/5 613 8/8 Last 8 Fmaj? FHP Gm er Cm Fv Bbmaj? Bm? roe ew ele ew we we lw ew ew le ee Boss | 6/1 61s 58 68 518 6/6 618 ® ® © ® @®@ oO AmT Gmt cr Am? Ab° Gm? C7 | Fmaj7 Cie ele ee ew |e ew ew ele ee | Boss | 6/8 618 513 61 6/4 8/8 B/S Ot° © © zg @® fay Mm © © © © " bait vba amt TURNAROUNDS A turnaround is a short sequence of chords that takes you from 1 back to V7. Turnarounds ‘occur at the end of a four or eight bar phrase and are usually one or two bars in length. In the tune you just learned, the turnarounds were: 1. a two bar turnaround, bars 7 and 8. 2. a one bar turnaround, bar 24, ‘The basic turnaround formula is 1 Vi Il V. Below are a few common variations. Practice them a8 two bar turnarounds (each chord gets two beats) and one bar turnarounds (each chord gets ‘one beat). KEY OFG KEY OF C 1. Gmaj7 G6 Am? 07 1, Cmaj? C6 Om? G7 2 G6 GH? Am? 07 2. C6 CH Om? G7 3, Bm7 Bb? Am7 D7 3, Em7 Eb° Om7 G7 ‘After you have the sound in your ear, play the ‘Those turnarounds will work from the key of 8 above tumarounds up and down the fretboard Up to the key of F or higher. from the key of Gbup to the key of C or higher.% PASSING CHORD NO. 3 Using the augmented* chord between | ond lim7. This is a much used jazz progression, though less common than the diminished passing chords you've just learned. Because of fingering difficulties, we've given you a choice of which augmented form to use, Here's the progression in the F/C7 form: Gmaj7 Gt 5 ne pea 1 423 Am7 DT or oe or = FATA ~ GARE os 6 ae oe ¢ ' FEES nia Heel ons tener cbs abmt bt Key of Ab Abmaj7 Abt eb7 Abe bm? Eb? site e eee rae ett eae atte Continue as usual through the keys of A, Bb, B, C and higher, Don’t forget to call the changes out loud. Don’t practice mechanically without understanding what you're doing! *Avgmonted chords are abbravitad.asov9. of +a PASSING CHORD NO, 3 (con't) In the 8b/F7 form, we run into some awkward forms of the I+. Here are two practical ways of playing the progression: Cmaj7 Dm? A little harder to play, but giving a fuller sound: ‘Cmaj7 c+ Dm7 G7 f + The second form is especially good because of the descending bass line. at cma rr Bt cfm ele a2 [a ce mat cpm a pele eee a b+ ebm? abr Db+ Ebm7 erlee ee ee ele Continue up the fretboard as usual.ALTERATIONS OF THE V7 No. 1 In modern jazz playing, itis usual to alter 7th chords. The most common alterations are: 1. raising the Sth one half step (one fret) called V7+ or V745. 2. raising the 5th a whole step (two frets) called V7/6 or V13 omit 9. 3. lowering the Sth one half step (one fret) celled V7-5. These alterations may substitute for the V7, as for example: GmajT GB Am7 DI-5 joe Pe em ee | ‘or may, be used along with the V7. Gmaj7 «G6 Amt D7 DT ee However, and this is important, use altered chords in a logical way. Listen for the line, 1 Vi orpatsing chord = tim wv Gmaj7 cafe Am7 D7 7 ‘ rH t 942 2131 cer _ 244 2333 or or or — Drs G6 21st 2344 or or Fre Em7 2143 pits 5m, ont rH H saat yy or Dv Fy ’Here are some sample four bar progressions using the alterations of the V7 in a logical way: Koy of G Gmaj? Bb? AmT DTS Gmajt ate AmT Dus coe we ele ew we ele ee ele ee Bass on 616 61s on 68 on 6s 8/8 Bb? Amt Dt G6 Em? Am? pt pacts ra edit atta ete ae inate oct ese poss — or 616 6 on 6 on 68 58 ate AmT Die Bm Em? Am epee eee com et mE mee [emer aeee oett t to e jos > on 6m 518 en en 618 G6 Gmaj7 G6 Am7 DT DT eoe|le se we we le ew ew ele ee Bors 68 ors on 6s 518 eM G6 Em? Bb? Am7 Dv6 eoele ee ele ee we le an —~ oe 6 en 616 on si Em7 Gmaj7 G6 Am7 DI+5 Die ee ee Boss —~ "oir on os 618 616 518 58 Gmaj7 Am Bm? Bbe Am7 Dt DTS Mfeaeeeeeae tae eee as eoeLe eee oreo egePEeeE Ce eeeaeEEECE Bors —~ ays 616 on 66 65 516 om Practice the above progressions in the keys of Gb, G, Ab, A, Bb, B, C, and higher if possible.30 In the Bb /F7 form, the V7 chord is voiced differently than in the earlier pagos of this book. Study the possibilities diagrammed below, then practice the exercises on the facing page in all practical keys. 1 Vi or passing chord um w maj? Am? Dm? or i rhe t nm 1243 che ‘i Dm? Aa fq + ? rie Sorat 2341 ons Em7 Ebdim 1 at het rH t ( 234 # 1 383 2s ove vane G7 Ho" ors31 Some sample 1 VI Il V_ progressions using substitutions and alterations with logical voice loading. alee! Ik ues I wm It IE Practice in the keys of B, C, Db, D, Eb, E, F, and higher if possible. Am? op ce 5 \ \ 518 Eb? 56 ce 519 Ami* sn Dm 515 Dm? 518 OB°7Bb bass oe 68 cherpbbass oe ons Dmi7 58 AmT ons maj 58 qr 518 Gt5 5 - Gus ors C6 58 Em? on \3 818 Dm 618 Dm 6/8 maj 38 Dm? 518 Dm7 515 Ami 616 Dm7 815 Dmt 516 Dm? 515 G15 6a G6 ois Dm 518 G6 o/s GT 55 ans oe 8 cvs cee 6 a ee or ee | ors Gis G7 a ors oe oi92 MORE ABOUT PASSING CHORDS Chords that use only notes in the key are called diatonic chords. If we take a C major scale, for example, we get the following diatonic chords: Cmaj7 Dm? m7 Fovaj7 ar Am? Bm?-5 SS cEGB DFAC EGBD FACE GBDF ACEG BDFA Progrenion: | ye ee |e ew ew |e ee Var. 1 Var.2 Var. 3 As you can see, most are already familiar. Diatonic Passing Chords Diatonic passing chords can be used to move from one diatonic chord to the next. If moving from Cmaj7 to Em7, you might use Om? as a diatonic passing chord, Important: Passing chords sound best when used on the weaker beats of the bar. If you're changing chords every two beats, use passing chords on the 3rd and 4th beats of a 4/4 bar, not the Ist and 2nd beats. On a slow ballad where the chords may change every beat, use passing chords on the 2ud and 4th beats rather than the Ist and 3rd. When to use diatonic passing chords This is a particularly useful device when you're stuck with a tune that stays on the I chord for a long time. Let's say you're in the key of C, and a C chord is called for 16 beats. Here are a few solutions to overcoming the monotony inherent in such a song: (Diatonic passing chords are marked DPC.) c Cmaj7 Dm? Em? Dm7 ‘Cmaj7 06 Em7 Am7 ee fee one fone ee lee ee ore one Cmaj7 Dm7 Em? ae bole CmajT C6 oe ae |e elec ene love ee Cmaj7Dm7 Em7 Dm? Cmaj7 Dm7 Em7 Fmaj?, Em? Dm7 Cmaj7 ee ee ee jo Notice that although Em7 is a substitute chord for C (see p. 12) we treat it as an independent chord in the above progression. This allows us to create a nice line using the Dm7 and Fmal7 as diatonie passing chords, Variations 1 and 2 are good at medium to fast tempos; Var. 3 should be played more slowly.Using Diatonlc Passing Chords in the basic! V7 progression 33 Here are some practical examples in both the F/C7 and Bb /F7 forms. First practice in the given key, then work up and down the fretboard as usual. Var. 2 Var. 3 wer I Vor. 3 | Gmaj7 Am oe 6 6/6 But soe ont c coe maj? oe 818 Cmaj7 Dm oe 5/8 616 Em? oe on oe Am? oe rs Bm? Am? oe on 6/8 Am? oe os oe Dm ee 51 Em7 Dm] oe sn 816 Dm? ad 616 Bm? on GmajT 6s Gmajt 818 Ew on Cmai7 8/8 be 66 er 618 Eb° 66 fe om \ 518 w DT - Am? ors Amt os AmT 8s a7 Dm7 51 Dm7 818 Dm 5/8 AS 8S Due op DTS 64 or 518 Gt ee ars os DT | Op or 16 - il Gres - ill ws ai oi aBasle Progression: Ver. Var. 2 Boss ver.3 Boss Vor. 2 Vor. 9 STILL MORE ABOUT PASSING CHORDS ‘The guitar is naturally a chromatic instrument. Once you start avoiding the open strings, you find that progressions are just as easy to play in a ‘difficult’ key like B or Dbas they are in ‘easy’ keys like C and G. This chromatic quality can be put to good use in a passing chord effect sometimes called ‘side-slipping. It’s very easy to do on guitar, and for this reason is probably over-used. Stil, when inserted into @ progression with taste, it can be very effective. Here's how it works: Any chord can be approached from a half-step away, above or below, by a chord similar to the one you're going to. For example, if the basic progression is Cmaj7_Dm7 you can play Cmaj7 Chm? Om? of Cmaj7 Ebm7 Om?. The first exampie approaches the Dm? from a haif-step (one fret) below. The second example approaches the Om? from a half-step above. Side-slipping is especially effective when the Em? substitutes for the Cmaj7. Then the progression is Em7 Ebm7 Om?7, You see what we mean about easy to play! ‘As with other passing chords, side-slippingsounds best when used on a weak beat. When comping, sidesslipping chords also can be inserted on off-beats as in somo of the examples below. (Side- slipping chords are marked SS.) 1 v1 G bt ee ew ele ew ew ele we ee lee Gmaj7 AmT Bm7 Bbmt Am? bt DUS coe ee le ew ew ele ew ee lee on 6 en 0 on 8/6 01515 OHA 88 Gmaj7 Am7 Bm7 Bbm7, Am’ Abmaj7Gmaj7_—, Am Du6 Dm+5 Rae ee Cee-Lo 68 6/5 6 6 6B GA GIG oa 516 516 88 8s Gmmaj? Am7.Bbm7 Bm? Bom7 |, Am7 D756 rere r-fr rf fle 44 ele 4 68 68 Ow ON 66 66 on ss ss Practice in the keys of Gb, G, Ab, A, Bb, 8, Cand higher. a maj? Dm? Em7 Ebm? Dm7 Gt eee et ett (el atte 1c bei Poe Eee oer 6A 516 si 816 18 816 ss maj? Din’? Em7Ebm’t Dm7 Dbmajt Cai?» DmT G16 GI+5 bee eo ole 2 oe ole oe ew wo le sa Seo So Hoe ck 18 os on ss ss Cmaj7 Dm7 bmi Em, Dm7 ar irre corte re tle we ele e 68 5/5 B/S BT 516 515 6/3 ss 8s Practice in the keys of B, C, Db, D, Eb, E, F, and higher.ists 2nd 8 Srd8 Lasts JAZZ PROGRESSION NO. 3 On this page you will find the basic chord progression for a great jazz standard. Following it i another version of the same progression using substitutions, alterations, and nassina chords. Both progressions are set up four bars to & line to make comparison easier. On page 37 are small iagrams for tho chords used in the jazz version. Basle Progression (Key of E}) Eb ee ee le ee Bb FT FT Fm? Abm6 Comments: The basic progression follows the eycle of Sths almost exclusively. The only oxception seems to be the D7 in bars 3 and 4 and in bars 19 and 20. Howaver, you can make a pretty good case for considering these as sideslipping chords from DI ee ee |e ee or coe ee le ee BOT ee ew we le eee BbT ee ew eo le ee pt ee ee le eee or ee ew ew le ee Bb7 oe ew eo le ee Eb el the Eb chords that surround them. Notice that the chords change rather seldom, mostly every eight beats, This should give you a clue that the tune is played from medium to fast tempos, either ‘comping or chunk-chunk,ws nde Srde Lost8 Jars Version (Key of Eb) ® Bbmaj? oe ® Ebmaj? oe Ebmajt ee cm Amt Ebmaj7 - - Abmé ee Bbi6 ® BbT+5 - -tending @ timait ® ® it. ste Hl ® ® ont a 2 Sedandions = @ ® ® ® 7 oF iwe Bosle Version MORE ABOUT THE CYCLE OF FIFTHS Many older tunes such as Darktown Strutter’s Ball, Ja-da, Sweet Georgia Brown, Indiana, Basin Street Blues ote. consist almost entirely of the cycle of 6ths using only 7th chords. In the early 40's, the be-boppers came up with the idea of re: working these old progressions using substitutes, alterations and passing chords to give them a mod- ern sound, Then, musicians like Dizzy Gillespie, Thelonious Monk, and especially Charlie Parker wrote new tunes to go with the revamped chord progressions. In this way were born, Ornithology (based on the changes to How High the Moon, an otherwise undistinguished show tune), Groovin’ High (based on the old Fred Fischer hit Whis- pering) Koko (based on Cherokee, a pseudo: Indian novelty from the 30's), and so on. What follows is a series of exercises based entirely on the eyele of Sths, The basic version uses only 7th chords. The variations use the usual sub- stitutions and other embellishments. Cycle of the Boss on 616 Please notice two things: The cycle of Sths has no real beginning or end. The final G7 leads beck to the first chord and on and on, Also, the cycle of ths makes patterns on the fretboard that tend to ‘work their way down towards the nut, Eventually, you run out of frets and must make a long leap back up the fretboard. The smoothest way to do this is to play two different versions of the same ® ® ® BbT BT a jee - 6/6 516 ® ® @ abr (e$7) BT ele eee |e - on 519 on ® ® @ DT GT at ele er ee Je - - 5/6 ors sno chord (See bar 7 above). G> 7 and FF 7 are two names for the same chord. By jumping to a dif- ferent version for the second half of the bar, you create enough room to play the rest of the pro- gression. (Also see bar 12 for a similar device.) The entire progression can be played using these two versions of 7th chords: R aah ang Htsth steing ‘The Ast Variation uses the m7 substitution described on page 14. The entire progression is played using only the familiar forms below: ® m7 2 VARIATION I te \ - coe lee - - Jump upto ee lee - H20 o st sth string -0 All the forms on pages 38 and 39 have the root of each chard in the bass. This is very important if you're without bass player for support, If you do have a strong bass player who plays the right notes, try the following versions of the cycle. Although the chords sound incomplete with- ‘out the bass, the easy fingering and smooth voice leading let you play them at very fast tempos. VARIATION 2: {played entirely on the 5th, 3rd and 2nd strings) ® ® ® ® Root —*| m7 mh m7, 7th 1 r toot -- Ft Root = Root Hite {not ployed) He {not played) aaa ar wil 5 ® @ ® @ Gm? 1 cmt FT |- - 2 ele ee Jn - ee |- - - | —+ | sno 510 sno 518 ® ® @ @ Fm? BbT Bbm7 BOT jn - 2 ele ee je - we |J- - ee | + | os 5/8 5/8 56 od ® @ ® Ebm7 AbT bmi bt |J-e - ew e |e 2 ee |e ee |- - ee | | 56 5/6 5/6 bia @ ® @ @ om? riz Fm? BT |- ee ele ee ew le ee |e - - fo oi 518 siz At this point you will run out of frets, but the next progression on page 41 will solve this prob: em for you. ‘Also, pleose note that the above progression can be played one fret higher os: Gfm7 cf? C#m7 FA Fim? B? Bm? E7 Em? AT Am? D7 Dm? GT Gm? G7VARIATION 3: This next variation also consists entirely of three part chords. This time the 6th, 4th andl 2nd strings are used, Again, notice the smooth, easy fingering. ® @ ® m7 7th m7 (not ployed), r ® ® ® Gm CT Cm7 [ee ele ee ele son => | Sno on oe ® @ 9) Fmt Bb? Bbm7 je - ee |e ee |e - oe 6 on Ebm? abT Abm je - - Je - ee je - 66 on 64 ® @ ® cm? Fev Fm? jn - 7 |- - 7 |e 64 on en Starting the above progression one frat higher leads to the sequence: Gim) C7 cha? FR Fim? BT Bm7 E7 Em? AT Am? D7 bm? GT cmt 7 br (#7) vee 6 @ BT ad on ‘The forms on pages 40 and 41 will cover almost any playing situation that ealls for the cycle of Bths. a2 JAZZ PROGRESSION NO. 4 Below is a 32 bar progression to a dixieland standard from the 1920s. You'll notice that the basic progression consists almost entirely of the cycle of Sths in 7th chords. One feature seems unusual: The Ist chord is VI, not I. But remember that in the ‘20's, songs were written with a verse that preceded the chorus (the jazz progression is based on the chorus only), and the vers does start with the I chord. (Even if it didn’t, the introduction would.) Basic Progression {Koy of Ab) 116 FT a br b7 Ab 7 ‘and 16 Fr eee ele ew ew ele er er we lee Bb7 Scent eec n aa e e F Fm cr Fm ct ab FI Bb7 EbT Ab“3 The chord changes come seldom (every 16 beats) in the early part of the tune. This should indicate to you that these changes are usually played at a very fast tempo. Jazz Progression (Key of Ab) st 16 CmT FT om7 PI5 cmt FT Cm7 PIS ee ew ew le ew ew eo le eee le ee Fmt ba Fmt Bbr5 | FmT Bb? Fm? BbTS Bom? Eb? Bbm7 ——EbW/6 BomT ——Eb7 Bom7 = EBT Abmaj? Bom? =| Cm Bom?» AbmajT—-Ab6 Gm7 cr er oe ew ew lew eee le ew ee lw eee and 16 Cmi7 rt m7 PTS Cm FT m7 PUB Fm7 Bb7 Fm? BbHS | Fm7 Bb7 FT Bb1-5 Fm6 Gm cr Fm6 Gm cr Abie G6 abe FT6 Bb1/6 = Bb7#5 ADS eee ele ee oe le ew ew we le eo ew ela4 SUBSTITUTIONS FOR THE MINOR 7th CHORD There are three common substitutions for the m7th chord 1. the m7-5 (say ‘minor seventh flat five"). 2. the m11 (minor eleventh). 3, the m9 (minor 9th). “Those can be used along with the m7, but sound better if placed after the plain m7 rather than before it in the progression, Also, any of these chords can be used instead of the plain m7. FIRST, study the following substitutes for the Dm7 chord {in the progression C Am Dm7 G7}: Din7-5 Root | Dmg Root} 2134 vo HE Dmit — 1294 ortti2 bh. By now you should be comfortable with the method of practicing the progressions, We'l sive {you four columns representing various possibilities for I VI I and V. Choose the combina- dons that sound good to you. maj? 8 Em? VL u Am? Dm? cre Dm7-s Ee Dmit Dm GI ans GIs G16 Every time you come up with a progression you like, work it up the fretboard in the keys of B, ©, Db, D, Eb, E, F, and higher if possible.The following progressions are basod on forms you already know plus the m7 substitutions on page 44. Each progression is one half-step (one fret) higher than the one before it. Koy of Bmaj? BB Ghm7 chm7-5 rv por. 2 se ee Oe sore oye or on or on Key ofc Em? Eb? Dm75 Gus Ike ee ele ee ele ee ele ee l Boss "67 516 816 on Koy of Db Dbnaj? be Ebmi1 ADT Le 2 2 # |e 4 2 wo le eo we ele er I Boss —~ 6/4 8/5 816 on Fe Emo AUG ee ele ee ele ee ele ee "lf Boss 518 sin 6p Key of E> Gm7 mt Fee Fill BbY/6 = BD T# Ike - eo ele ee ele ee ele ee l Bors —- ' Si10 sno 819 518 6 616 Key of E Ema? Fm7 Gtm7 Gmt Emt-5 ‘BIS | a a eo Boss > it 39 sn sito 519 en Koy of F Fmaj? = Gm Am? Abe Gm75 Gil, 01/6 CTS Ike ee ele re ee lee ee lee we il Bos — "5/8 sno Bre eat spo sro 618 684 SUBSTITUTIONS FOR THE MINOR 7th CHORD (con't) in the Key of G, the 1 VI II V_ progression comes out os G Em Am D7. Substitutes for ‘Am? are Am7-5, Am11 and Amd. Amt-5 Ami Am9 T ome vost eh 2301 1324 U1 V in the key of G: Here isa list showing various sub 1 vl uw v Gmaj? Em? Am? D7 G6 Gtaim Am7-5 prs Em? Bbdim Amit DI+s Amo DI/6 Exporiment on your own, Then practice the sample progressions listed below. Koy of F Fmaj7 Fee G75 O75 I coe ee |e ee ele ew ee lee ae ofa ere ons oi Kay of Ff Fie ae Gm of7 Boss + "6/2 6/6 ou BidSAMPLE PROGRESSIONS (con't) Koy of Gb Gbmajt — AbmT |, Bbm Amt Abm7-5 — Abmi1._| Db7 Db7.5 fete patter tect ea tea fee ea oe oa ee te | Bass + "6/2 on 616 616 on er Bi sis Koy of But Bb Am15, Due Ike ce ce ele ee ele ee ele ee - il Boss O/T 618 61s 58 Koy of Ab Abmajt ae Bbmit BbI+5 Cet eae sce aaa atte era 6/5 616 514 Koy of A 6 ce Bm9 E16 Ike ee ele ee ele ee ele - il toss + "6/8 618 616 616 Key of Bb Dm? Gmt pbe Omit FUG PUB re eee eee ee pass —~ FI Gyro sno 69 618 616 516 Koy of Cb Chmaj? — Dbm7 | bm Dm Dbm75 obT5 Ike ec ce ele ee ele er ee lee i Bas "Gt 619 emt sno 6/9 os Koy of B Bmaj? Cm Dim? De Chmt-5 Chm FETE PHS Ike - ee lee ee lee ee [ee - il Boss —~ "6/7 6/9 ea eno 6/9 619 6IT 6i8 GAMES GUITAR PLAYERS PLAY Because of the antiquated system of naming chords identical to those in Am7-5 (A C Eb G). It is very that we use, many chords are actually identical but valuable for guitar players to remember these faots, carry different names, On page 16 youhave already as it immediately doubles the number of forms you sgen that the notes in CB chord (C EG A) are have for playing each chord. Below is a chart show: identical to those in an Am? (AC EG). ing some chord equivalents it is helpful to know: Similarly, the notes in a Cm6 chord (C EG A) are C6=Am7 Cm6 = Am7-5 C1-5=Gb7-5 Cmaj9=Em7* Db6 =Bbm7 Dbm6 =Bbm7-s Db7-5 =G7-5 Dbmaj9 =Fm7* D6=Bm7 Dm6 = Bm7-5 D7-S=Ab7-5 Dmaj9 = F#m7* Eb6 =Cm7 Ebm6 =Cm7-5 Eb7-5 =A7-5 Ebmaj9 =Gm7* E6=C#m7 Em6 = C#m7-5 E7-5=Bb7-5 Emaj9 = G¥m7* F6=Dm7 Fm6 = Dm7-5 FT-5 = B7-5 Fmaj9 = Am7* F¥6 =Dtm7 Ffm6 =D#m7-5 F#7-5 =C7-5 Ft maj = A¢m7* Gb6 =Ebm7 Gbm6 =Ebm7-5 Gb7-5 =C7-5 Gbmaj9 =Bbm7* G6=Em7 Gm6 = Em7-5 G7-5 = Db7-5 Gmaj9=Bm7* Ab6 =Fmn7 Abm6 =Fm7-5 Ab7-S =D7-5 Apmaj9 =Cm7+ A6=F#in7 Am6=F#m7-5 AT-S=Eb7-5 Amaj9=C#m7* Bb6 =Gm7 Bbm6 =Gm7-5 Bb7-5 =E7-5 Bbmaj9 =Dm7* B6=G$m7 Bm6=G$m7-5 BY-5 =F7-5 » Bmaj9=D#m7* Cb6=Abm7 Chm6 = Abm7-5 Cb7-5 =F7-5 Chmaj9 =Ebm7* * with the root omitted. ‘A Word of Caution Any of the above equivalents can be used freely when the guit note, But if you're covering the bass, Am? should be played Cin the bass and so on, jot responsible for the bess ‘an A jn the bass, C6 with a9 MORE ON THE CYCLE OF FIFTHS Here is still another version of the cycle of 6ths using various substitutions for the m? chord as well as other devices you've learned. (Basic progression is on page 38.) VARIATION 4 ® ® ® @ ® ®@ ®@ © Gm75 C7 cmt-5 FT Fm7-5 — BbT Bbm7-5 Eb? re fee oe fo pom | fe flee an fle || lef laf Oo ® © @ ® ® & ®@ Ebm1-5 ADT Abmi-5 DDT cfm75 ERT Fim75 BT Ieee cae oct en ea eat fe eta |e A | Bas —~ | 6/6 om on si 6 612 ump up. 5/9 on ® © ® ©@ On OTteO) Bib ET Bm7-5 AT Am?5 DT Dm. eet ade ee lf eed dt |- + on 68 6 os 516 on J-—Root Root—> et im moves to T 1248 T 2142 3241 VARIATION 5: Use 11 instead of the m7-5 in the above progression, ® @® mit mil |+Root Ht Root—| 244d 2444 VARIATION 6: Use m9 instead of the m7-5 in the above progression. ® m9 |=— Root fl (not ployed)JAZZ PROGRESSION NO. 5 In the following progression, the original names of the chords are given. Bbm6 cr Fm7 Abm6 Bb Sees ae eee aoe fee Eb Bb7 Ab Abm ED BbT Eb jee ee |e ew ee le ew ee lee Bridge bt ab Abm jee ee le eee lee ee lee ee | Eb cm rr bt je - ee le ee patito ie tithe ctitectetered XV \ \ Lost Bb Bhmé cr Fmt Abmé bt Je ee ele ee re | \ \ \ Eb EbT Ab Abm. BOT Bb |e - 2 - |e - ee ce ele eee Jaxz Progression In the jazz progression you'll notice that the namos of many chords have been corrected. For example in bar 1, the Bb m6 is now correctly called Gm7-5. What difference does it make? By calling the chord Gm?-5 we can see clearly the movement around the cycle of Sths, G-C-F-Bb-Eb, G® ® ®@ ®o® © o ® © iste Ebmaj? Gm7-5 | OT ons, m7 Fmi-5 | BbT/6 BDI and Ife att tee te eo tt | aise tt ® ® ® ® @® ® Bom? EDT Abmej? — Abm6 =) Gm7 m7 FmT BbT eee ele eee lee ee |e ee oil® ® ® @ ® ® ® Bridge Bom? Bhm75 | EDT EbT5 Abmaj? —Ab6 Abm cele ee we jee 2 ew |e ®@ ®@ ® © © @ Lot 8 Ebmaj7 — Gm7-5 | CT crs, Fmt Fm75 —, BbY6 coe ee lee ee |e ee ew lo ® ® @®@ o ® ® Bom? Bb7-5 ‘Abmaj?— Abm6 Ebmaj? — Abm6 B96 ee ew ele @ ® © @ ® ner He HRS mai? ‘on7s crs Pn Fons bors. itt - +9 tHi.. HB Hi z = : i g z © @ = © ® H£@ ® 5 a = eo = fe 2 © ¥ = ® # rH = ® g ° 2 2@ i = x = = x z2 ALTERATIONS OF THE V7 CHORD NO. 2 ‘As you learned on page 28, the V7 may be altered in the scale from which the chord is derived. (The by either raising or lowering the Sth of the chord. root counts as 1.) For example, the C chord is Another very common alteration of the V7 (and derived from the C scale, The Oth note above C in indeed, any 7th chord) is adding a 9th to the basic the C scale is D (see below). 7th chord. A Sth is the 9th note above the root Cmajor seale IMPORTANT SHORT CUT: The Sth is the samo as the 2nd. When altering a 7th chord, you may add the 9th in one of throe different ways: 1, The flatted 9th (in the above example, Db) 2, ‘The 9th (D in the above example) 3. The sharped 9th (DRor Ebin the above example) ‘Any of these chords will substitute for the original 7th chord. Here are some typical forms. ® ® ® c C19 co cT+9 at ; G7 G79 oo G7+9 Root—4 Root $ Root—+4 + 2314 TT tCYCLE OF FIFTHS USING NINTH CHORDS (Circled numbers rofer to forms on page 52) VARIATION 7: @ ® ® ® crs Fro B79 Ebr Ike - e ele ee ea | Bos IT 518 516 516 @ ® @ @ Abr. pbrs Gb7-9 (r#7-9) BIO jee ee |e ee [feet et teat (coe itera | Bor 88 si 519 io @ @ @ @ Ero ATS pte ors jee 2 2 |e ee we [eo ee jee 2 eff Bor + | 6 oi is sr VARIATION 8: Play the above progression using ordinary 9th chords instead of -9ths. Use @) instead of (W) ; @ instead of (@). VARIATION 9: Play the above progression _using sharped Sth chords instead of flatted 9th chords. Use (@) instead of (1) ; ©) instead of (4). VARIATION 10: Precede each -9 chord with a m7 chord, as follows: ® @ ® oo ® ® @ ® Gm cr cm? Fro Fm? brs Bbmt = EbT9 l- - ee le ee en | @® @ ® ® @®@ o ® © pbr9 cimt BY. Fkm7 Bro eee teen ere atte ee no EE oor] (Usebofore ). @ or ®) (Usebetore@, @ or ©)54 MORE CYCLE OF Sths USING 9th CHORDS (Circled numbers refer to forms on pages 52, 53 and 64) VARIATION 11: Precede each th chord with 2 m7 chord. In the 2nd progression on page 63 use form G@) instead of (F): G instead of (4). VARIATION 12: Precode each #9 (+9) chord with a m7. In the 2nd progression on page 53 use form @inateed of (1); @instead of @ The next three variations make use of the m7-5 chord. m7-5 m7-5 te vo Hata of @) (Use instead of (7)) (Use inst VARIATION 13: Precede each -9 chord with a m7-5, Begin as follows: Gm7-6 C7-9; Cm7-5 F7-9, ete. VARIATION 14: Precede each 9th chord with a m7-5, Begin as follows: Gm7-5 C9; Cm7-5 F9, etc. VARIATION 15: Precede each +9 chord with a m7-5, Begin as follows: Gm7-5 C7+9; Gm7-5 F749, etc. ‘The nexs three varlations use the mI I chord preceding various 9th chords. ® ® mil mil + sooth vote (use instead of (7) (Use instead of @) ) VARIATION 16: Precede each -9 chord with a m11, Begin as follows: Gm11 C79; CmI1 F7-9, etc. VARIATION 17: Procede each 9th chord with a m11. Begin: Gm11 C9; Cm11 FQ, etc. M11 F749, etc. VARIATION 18; Precede each +9 chord with am11. Begin: Gm11 7+5 THE TRITONE SUBSTITUTION Here's a device that will immediately double the number of substitutions you know for a 7th chord. Any 7th chord may be replaced by the 7th chord whose root lies three whole steps away, Thora are only six, so memorize them: 7 <> G+7(F#7) C#7(Db7) «> G7 D7 —— A7 A7 —— £17 Bb7 —— B7 —— FF ‘These six pairs of 7th chords are interchangeable. That is, C7 can substitute for Gb? and vice versa, This not only works for ordinary 7th chords, but also with alterations of them such a 75, 745, 7/6, 79, 9 ond 749, itone substitutions for Here are some typical examples of the 1 VI IV progression using the V: Key ofc maj Am Dm bg |e eee lee ee le ee oe le ee oe Uf (069 substitutes for G7) keyote Gmaj7 age Am Key of eb b6 Ee Fm?5 Key of Db Fm Bbmt Ebm7 D7 + 9 substitutes for Ab7) Key of A Amaj? Bm fmt m7 Bm7 BmT-5 BLO B76 Je 4 ee [ee ee [ee ee |e ew ee | (Substitutes for £7)and 8 ard8 Lasts JAZZ PROGRESSION NO. 6 The next two progressions are based on famous jazz standards. Contrary to what we have done previously i this book, these progressions are presented complete with substitutions, alterations, ‘ete, The basic progression is not given. Fm? @Ol- @\- Fm? @|-- ANALYSIS: 1st8 1 2, and8 1 38. Last8 1 2 3. 4 BbT/6 | Ebmaj7_—E® Fm? Bb7 Ebmaj? E86 coe ele ee ew le ee ele ee DI19 Em? abe Am D9 Gmaj7 G6 cee lee ee lee ee le ee Fe Fm? BbT6 bt» eee lee ee lee ee le ee Bb+ Gm7-5 CT Fm? B79 cee lee ee le ew ee lo ee BbY/G =| Bbmaj? B® Fm br Ebmaj7—Eb6 eee |e ee we lee ee lee ee | p19 Em7 abe Am’ b19 Gmsj7_ G6 ee | Fm6 m7 m6 Fin abt Gmt5 CT eee |e ew ew we [ow ew ee |e | ie Sree CPEee Sener at Fm9 Bb1/6 Bb7+ bmaj7 Fm? Gm7 —Gbmt _Bbmaj? Abm6 _ Ed6 vefecvelerer|eceedtecce [eee Bars | and 2 are HV 1 VE in Eb; Bars 3 and 4 the same. Bars 5 and 6 are IT V 1 VI in G; Bars 7 and 8 the same. Bars 9 thru 12 are VI V in Eb. Bars 14 thru 16 are a disguised form of | VI {1 V in Bb; the Bb-+ and Gm7-5 chords are passing, An exact repeat of the Ist 8. Bars 25 thru 28 do not follow cycle of Sths. They are a sort of modal F minor not discussed In this book, . Bars 29 and 30 WV in Eb. Ist ending: A turnaround leading back towards the Ist chord, a II. |. And ending: Standard final ending based onl [V I. ‘ll® © © © ® © ® © ®@ JAZZ PROGRESSION NO. 7 This is perhaps the finest, most creative use of the cycle of Sths ever written, It is worth your most careful study and analysis (Key of Ab) Fm9 ee Dbinaj? oe mT Abmai7 Dbmaj7 oe Bom7 oe ANALYSIS: Bars 1-4 Bar 5 Bar 6 Bars 7 and 8 Bar 9 Bars 9-12 Bars 13-16 Bats 17-20 Bars 21-23 Bar 24 Dats 25-28 Bar 29 to the end Especially note the Fm7 Bbmo Bbm7 bo Bb7.9 Abmaj? ee lee ee |e ew ee |e pbs Dm7 ar Cmajt = Dm EmT ee le 2 2 2 |e ew we we le ew Fm9 Fmi7 BbT/6 = BbT+5 Gm7 Pe ee AbB Amit DT5 Am7 BmT ee le ew ee roe lee Am75 |, Amit ADT/6 Gm? AmT Bm? coe le ew ew we lee ew le Fim7-5 BY BbT/6 B1/6 Pina? Emaj7 C15 coe le eo ew we |e ee we le Fm? Bbm@ = BbmT_—, BO £b7-9 | AbmaiT ee le ew we we |e ee we le pbs Dbm7 = Dbm6 Abmaj? — Bomit_ |, Cm ee lee ew we |e ew ee le for , Bomi1 ATS Abmajt (omy? coe le ew ew we le ee we le VI IV Tin the key of Ab. IV in Ab ‘Tritone substitution for Db=G. This becomes V in a new key, C major. ‘Turnaround in C major leads back to Unexpectedly, C minor. This chord, in turn, becomes VI in the new key cof Eb major. VIM V Lin Bb. Similar to bars 5-8, but transposed to Eband G. IV 1 VLin G major. 2 HEY Tin E major. : Transition chord back towards original key of Ab. 2 VE V Lin Ab. : IV 1¥m_J in A with passing chords Bbin1 1, Cm7, B® to final I! V Teadence in in bar 6, G7 is actually a tritone substitution for Db. But then it leads unexpectedly to its actual I chord, G major. In bar 14, a similar device substitutes D7 for Abwhich surprises us with G major, not the expected Eb. ALSO NOTE the side-slipping chords in bar 22: Bb7/6 to B7/6 and Fmaj7 to Emaj7. o pt oe | Dm Cmaj7 eo | oe | Boe - | oe | - | Abe ee | Be - | repeat only eelFIVE MODERN BLUES PROGRESSIONS All are based on traditional 12 bar blues changes. Variations are all devices learned in this book » Bb (ebn) Bb Bb7 ED Joe er eles eee eee eee ole ee Bb FT Bb Fr |e ee ele ee ele ee ole ee ole ee ole ee Of Modern Blues Progression #1 Bb Eb BoB Bb bo Jee cele ee elec eo elec es olor eo ole oS be Dm? Db? | Gm? Pt BPG Bho Om7_—FT |e ee ele ee ele ee ele ee ele ee ele ee af Progrossion #2 Bbmaj? BB Bhm7 EO Bomaj? C7 Dm? Bb1/6 Jn - ee le ee je - 2 2 |e ew ee | Ebmaj? —Eb6 Ebm7 —-Ebm6 Bbmaj? — Cm7 Dm? Dbm7 jee ee |e ew ew jee ee le ee | emt FT mt FT Bomaj? Db? Cmil PTS jn - ee Jee ee [ee ee |e ee q Progression #3 Bb7/6 = BbT#5 | Bbm7 = BDO Gm75 CT Fm75 B15, ce ee |e ew ee le ew ee jw eeEbmajt [- cmt Progression #4 - - Bm7-5 |- - Ebv/6 - mt Progression #5 (In Dm) Dm6 - Gm? - ATS - - - - Eb6 EbmT ee fee FH9 Ebm7 lee Eno Am7.5 ee lee aie eaee v9 ices ete Gmé ee |e ew Gmé Gm7 ee lee Bbm7 Abie Bomaj? roe lee Abt/6 BbmajT ee lee G75 DI+9 ee lee BDT-5 coe lee Dm? Dmé Gm6 Dm6 Dmé Bb9 coe lee m7 Dm? rn Dbmaj? | Cmit coe lee ong Fm7-5 cele eo BIG Dm7 pales |e pb1.5 emit coe lee Am75 \3 Fm ole Fy Bb76CHORD CHARTS The | Chord Koyotc ———— Basic C chord ‘substitutions ———“ Em7 Am? Root —+[ Root | Root—=| an Uso for B, C, Db (Cf), 0, Eb, £, F, and higher if possible. Koy of G Basic G chord cor substitutions. _ ‘at! Use for Gb, G, Ab, A, Bb, B, C, and higher if possible. Tho Vi Chord Ae Bt 1 : iia Lath Root Bm7 Em? Koy of C eee eee substitutions eel Basic Am chord Am7 Amo ae fete st toot tool _ ction HEE rt Koy of ——— sation Basic Em chord Em7 Em9 ate be root fb TT 71 at = Root Hefel ss. "Root (not playec TeThe lt Chord Keyofc nations | Basie Dm chord Dm? Dats Dmg Dmil root LEER st 4 toot root root FEEL ost H KeyotG (sotto = Basie Am chord Am? Am7s Amo Amt1 4 om foot 8 , vw FEE ook toot—-$ The V Chord Key ofe [tanto | Basie G7 chord ors ares ons t 3 oot Root. cot (ent) ae arg opt. Root substitutions Gre opt. Root BEE ar+9 6& (Tritone Substitutes) Koy of |—Root ot |_—Root Db7-9 pb Db7+9 Root foot —| HHH Ht key of _ Basic D7 chord D7-5 D7+5 DI/6 oo a Hie) Root |—Root |+-Root ———etittions | brs bo Root —-| rete Tritone Substitutes Ab? AbT-S ADT +S AbI/6 Hu I of ee roo HEH nou EEE t on Tr Ab79 Abo AbT+9 Lu Root a CK ont. opt, iH oi stoi fear 7 tT6 TABLE OF SUBSTITUTIONS Keyote Tetono sub: 1 VI u v stilton for V cv Amv Dm cv Db7” Cmaj7 “ che, Dm7 + G7 + Db7-5 C6 Eb? Dm7-5 G75 Db7+5 Em7 Am7 Dmg - GT4S Db7/6 Am7 Amd Dm! G7/6 Db7-9 G79 Db9 G9 Db7+9 G7+9 ‘The above sequences will work from the key of B through the keys of C, Db, D, Eb, E, F or higher | depending on what type of quitar you play. | Key ote G Em Am D Gmaj7 Gf Am? D7 Ab7 G6 Bb? Am?7-5 DI-5 Ab7-S Bm7 Em7 Am9 DI+5 Ab7+5 Em7 Em9 Aml1 DI/6 Ab1/6 D7-9 Ab7-9 D9 Abo DI+9 Ab74+9 ‘These sequences work from the key of Gb(FH} through the keys of G, Ab, A, Bb, B, C or higher.ALTERATIONS: BASIC PROGRESSION: BASS NOTES: CHARTS: CHORDS: CHUNK-CHUNK: COMPING: CYCLE OF Sths DIATONIC CHORDS FOOT PEDAL: GAMES GUITAR PLAYERS PLAY: JAZZ CHORD PROGRESSIONS: JAZZ STYLE: MODERN BLUES PROGRESSIONS: PASSING CHORDS: PICK: SIDE-SLIPPING; STAGE BAND GUITARIST: SUBSTITUTIONS: ‘TURNAROUNDS: INDEX of the V7 No, 1, 28-3/; of the 7th chord 9ths, 52, No. 1 the LV74, 1011 their importance, 5 reading modem, 5 reading the diagrams, 4; naming by Roman numerals, 9; charts, 60-62 2 7: more about the, 38-41; still more about the, 49; using 9th chords of the, 53:54 32-33 use of the volume, 5 48 examples of, 8; history of, 8; review of, 18; No. 1, 18-19; No. 2, 24-25; No, 3, 35-37; No. 4, 42-43; No. 5, 50-51; No. 6, 56; No. 7, 57 6 five, 58-59 19: No, 1, 41°, 20-21: No. 2, bIIL?, 22-23; No. 3, It, 26-27; more about, 32-34; still more about, 34 holding the, 3; motion of, 3 4 special problems, 5 No. 1, maj7, 6th, 12-13; No. 2, m7, 7th, 14-15; No. 3, Ilm?, Vim7, 16-17; for the minor 7th chord, 44- 47; the Tritone, 55; table of, 63 2s