..,. I l B p MB94046 1v1e ay resents . ss.ss

The Sed Saloador Jazz Guitar Series ·

Mel Bay Presents

The Sal Salvador Jazz Guitar Series Chordal Bnríchment & Chord Substitutíon

By Sal Salvador Edited by Joseph J. Roda

The purpose of this series of books is to bring the player from student to pro status. If this book is studied carefully, page by page, I believe this goal can be achieved.

Sal Salvador

*A special appendix entitled "The Jazz Players Handbook" is included on page 65.

© 1985 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO.

Editor Joseph J. Roda by Sal Salvador

CHOROAL ENRICHMENT ANO CHORO SUBSTITUTION

FOR CHORO PLA YING OR IMPROVISING

What are the rules of chordal enrichment and substitution? Well, if your playing by

yourself you can do almost anything, but if you want to work professionally with groups,

in studios, etc. whatever you play has to be compatible with what other musicians play

or the consequences will have a very negative effect on your career as a musician. As

you grow musically you will come to realize that there is a common musical language

that e na bles prof essional players to crea te together. The rules set forth in this book

should culminate in the ability to comrnunicate musically in any given sttuatíon,

EXTENSIONS AND ALTERA TIONS An important rule to remember is a jazz player should not use a plain majar

chord (1, 3, 5), ora plain dominant 7th chord (1, 3, 5, lowered 7) except for effect.

These chords sound out of context in jazz. This is where the use of extensions and alter-

ations come into play.

The extension is the basic chord with one or more scale tones added , such as:

Cmaj . 9 = 1 3 5 7 9 CEGBD

Cmaj , 7 add ~ = 1 3 5 6 7 9 CEGABD

Cmaj. 7 add 13 = 1 3 5 7 13 CEGBA

C6 add 9 = 1 3 5 6 9 CEGAD

e add 9 = 1 3 5 9 CEGD

Cmaj. 9 add 13 = 1 3 5 7 9 13 CEGBDA

the basic F chord can becomes

1 3 5 Key of F major

• • 11 1 2 3 4 5 extensions t t t t t

F6 - 1 3 5 6 FACD

Fmaj. 7 - 1 3 5 7 FA CE

Fmaj. 9 - 1 3 5 7 9 FACED

Fmaj. 7 add ~ - 1 3 5 6 7 9 FACDEG

F add 9 - 1 3 5 9 FA C G

Fmaj.7addl3 - 1 3 5 7 13 FACED

F 6 add 9 - 1 3 5 6 9 FACDG

Fmaj.9addl3 - 1 3 5 7 9 13 FACEGD

the basic B~ chord can become

Key of B~ majar 1 3 5 octave 3rd 5th

..- ..... 1 2 3 4 extensions

5 6 t

7 t

8 9 t

10 11 12 t

13 t

B~6 - 1 3 5 6 B~D F G

Bbmaj . 7 - 1 3 5 7 BDFA

Bbmaj, 9 - 1 3 5 7 9 B~D FA C

B~maj. 7 add ~ - 1 3 5 6 7 9 B~D F G A C

B~add 9 - 1 3 5 9 B~D F C

B~ maj. 7 add 13 - 1 3 5 7 13 B~D FA G

B~6 add 9 - 1 3 5 6 9 B~D F G C

Bbmaj i üadd Ld - 1 3 5 7 9 13 B~ D FA C G

Notice the 7th (naturai or flatted) must be present to determine whether a chord is major

or dominant. Also, if the chord is a 9th, llth,or 13th,this implies the 7th is present.

If not, the 13th would be a 6th.

G 3rd fret Gmaj. 7 G6 ( 3~ffiffi4 2 1 1 _._\EHffi ~\ffiíE- frettmE ~ iffifJ ~ Hffij =!=

T T T

frets 1 2 3 4 5 6 7 8 9 10 11 12

F ~~

G G# A A# B e ~~

D D# E A~ B~ E~ )

Here are sorne common forms that should be learned.

FORM I (Root on the 6th string)

T hes e_ inversions can be played on different frets to get the chords in different keys.

example of keys

These examples can be used to enrich a plain majar. Such as G for 2 measures

Written Played ,. G ex.1 ,. Gmaj. 7 G6

e I l l 1

I I I 11 e =11

I I l I l. I I I l. l. r .,. r .,. r t: t: t: 1 t: .,. t: r: r: .,. .,.

ex.2 G6 Gmaj. 7 Gmaj. 7 G6 Gmaj. 7 G6 &•e ex.3 &#e =11 1 =11 l l l. I l. I I I I l. l. l. I I I I

i i .,. r .,. t: t: t: t: .,. .,. .,. t: r t: t:

ex.4 G6 Gma] , 7 G6 Gmaj. 7 ex.5 Gmaj . 7 G6 Gmaj • 7 G6 I,

&#e 1 =11 '# I '- 1

•I =11

ji l. l. l. I l. I I I I~ l. I .,. ,_ i r i r r r i r: r i r· I' i ex. G Gmaj. 7 G6 Gmaj. 7 G Gmaj . 7 G6 Gmaj . 7 ,. ex.7 &#e =11 1

•I :11 e l. l I I I I l. < I l. l. I i "l r y r: r: i I r .,. i y y.

Gmaj , 9 Gmaj. 7 Tx2314 f;,~~-

opt. .ex , 8# Gmaj. 9

3rd x x 2 3 1 1

+fret~. • • :::;I:::::

#• t =P== opt.

Gmaj. 7

~:::: notes in squares are optional

I I =11

ex. 9 Gmaj. 7 '# !! I I

Gmaj. 9

' CI I I .,. l. I I .1

1 • =11 .,. y I

Practice each exercise chromatically. Different keys are reached in this manner see

key example above.

4

FOR~VI II (root on the 5th string)

These inversions can be played on different frets to get the chords in different keys.

Example of keys

frets - 1 2 3 4 5 6 7 8 9 10 11 12 BP B e C# D D# E F F# G G# A

DP E~ GP Ap

e Cmaj. 7 C6 ?,:g 3,d. 3rd x 2 3 1 4 ><

1 fre..!_ • ,~m • 1 ... • ...... ... ... This form should be practiced chromatically

as in Form I

Written Cmaj. 7 C6 e ex.1 (f )lf l. I I

:11 I~ I I l. I I I I I e I ..(. ..(. l. ..(. r r , r r r: r r: r , l l l :; r: r

ex.2 C6 Cmaj.7 ex.3 Cmaj. 7 C6 Cmaj. 7 C6

f =11 f 1 I l.

=11 I~ I l. I I I l. l. l. e I I I I I I r: :; r: r r l , , r r r: r r r: r: l

ex.4 C6 Cma] . 7 C6 Cmaj. 7 ex.5 Cmaj , 7 C6 Cmaj. 7C6

' e I I l. I I l. l. I ~I f e I l. I I j , I I 7 l l l I l l I

ex.6 Cmaj , 7 C6 Cmaj. 7 ex. 7 e Cmaj. 7 C6 Cmaj. 7 e

f e I I I l. I I I l. =11 ' e I I l. I

1 7 l l l l l , l l j l j

•I ,. =11

:11

Cmaj. 9 x 2 1 4 3 x m 1

ex.8 Cmaj. 9 Cmaj. 7 ex.9 Cmaj. 7 Cmaj. 9

f e I I I "' I I I l. I :11 f e I I l. l. I l í j l l I ¡ , I l I '/. :11

Minar chards use the same extensians as majar chords ,

c minar 1 P3 5

2 3 4 5 6 7 8 9 10 11 12 13

Cm6 = 1 P3 5 6 Cm9 = 1 P3 5 Lower ed 9 7

Cm7 1 P3 5 Lawered Cm9(maj. 7) = 1 P3 5 q 7 9

6 7 Cm7add13=1 p3 5 Lawered (9) 13

Cm addg = 1 P3 5 6 9 7 Cmadd 9 = 1 P3 5 9

Cm add maj . 7 = 1 P3 5 7 Cm9add 13 = 1 P3 5 P7 13

Cmll = 1 P3 5 Lawered 11 Cm9(maj. 7) add 13 = 1 P3 5 q7 9 13 7

F minor 1 P3 5 3rd 5th D• _._ ..... _._ 1 5 octave

10 11 12 13

Fm6 = 1 P3 5 6 Fm9 = 1 P3 5 Lowered 9 7

Fm7 = 1 P3 5 Lowered Fm9maj.7 = 1 P3 5 q7 9 7

6 P3 Fm. 7 add 13 = 1 ~3 5 Lowered (9) 13 Fm add 9 = 1 5 6 9

Fmadd 9 = 1 ~3 5 9 ~7

Fmadd maj , 7 = 1 P3 5 q7 Fm9add 13 = 1 ~3 5 Lawered (9) 13

Fmll = 1 P3 5 Lawered 11 7 7 Fm9(maj. 7) add 13 = 1 P3 5 q7 9 13

BP minar 1 P3 5 1 5

.............. & ••• i ! : 8 : 9 : 10 : 11: 12 : 13

BPm6 Ü3 5 6

1 2 3 4 5 BP m9 1P3 5 Lawrf red 9 BP m9 maj. 7 1P3 5 q 7 9 BP m9 add9 13 1 P3 5 Lawered (9) 13 B~ m add 9 1P3 5 9 7

B~ m9 add 13 1~3 5 Lawered 13 7

BP m9 maj 7add 13 1~3 5 q 7 9 13

BPm7 1P3 5 Lowered 6 7

B~ m add 9 1 ~ 3 5 6 9 B~maddmaj7 Ü3 5q 7 B~m 11 1~3 5 Lawered 11

7

6

Common minor forms that should be learned. As you learn other forms feel free to use them according to your own musical tastes.

FORM I (root on the 6th string)

Play these exercises

Gm 1 3 4 1 1 1

3rd..--ffiB fret t1=ffi:j

Written Gm

Gm7 Gm6

--ti~ --il---,~:~.;m: --ff~-i,__) __ ,:im;) T opt. T

Ce)

• opt. T

CD Played Gm7 Gm6

I 1

I I I I :11 I I I I I

I I I í

I I e I I I I I I I

I I I I

® Gm6 Gm7 ® Gm7 Gm6 Gm7 Gm6

f ~b ll' ~lz 1 =11 I~ I I I .l. I I I ( e I I .f. I l. I :; I r r: r i r: r y l ~ r: ; r: l r r: r

@ Gm6 Gm7 Gm6 Gm7 @ Gm7 Gm6 Gm7 Gm6 ,~ =11~ b =11 {~ I l. I I I I l. .f. ~ {~ I l. I .l. •I r i r: r: r r ; i ~ l r l y.

® Gm Gm7 Gm6 Gm7 (j)

Gm Gm7 Gm6 Gm7

' ~b {~ 1 ~I' ~lz =11

I I l. I I I .l. .f. e I I I I •I r r: i r: r r: i l r r r r y.

Gm 1 3 4 1 1 1

::e~~HEEH opt. ~

Gm9 2><3334 ;,;~-mm

®

@ add Gm maj , 7

Gm (add maj. 7) makes a nice change between Gm and Gmi7 2 1 1 1 1 3 1 1 1 1 3 3 1 4 4 t~- 1J ~~:f!. 3¿g,'~11 Gm7

$ ~lz Gm Gm(add maj. 7) Gm7 Gm6

1 =11 {~ .l. l. I l. .l. I .l. I I i r I ,_ r: ,_ r:

Gm9 1 3 1 1 1 4

--ff~ ·--!t---- I:!. Gm7 @ Gm7 Gm9

I I I 1

=11 11 I I I r r r 1

Gm6 I

=11 I I ,

Cm6

FORM n (root on the ñth string)

Cm7 xlx243

3rd 8=HE '"'--..~

Cm 1 3 4 2 1

=lzl:: 3r~llffE ~frot~ •

Written Play these exercises Cm CD Cm7 Cm6

' ~!~ e 1 114 lz I

:11 I I I I I I I I ~ ~ I~ I I I I I I I r l r: r r l r r: r r r: i r i r T

CID Cm6 Cm7 ® Cm7 Cm6 Cm7 Cm6

' ~lz :11, ~!z~ {~ I I I I I l :11 l l l l I I I l I l : ~ i~ l I l l r r r i r r i r: r: t: r l

@ Cm6

' p ~lz e I

Cm7 Cm6 Cm7 @ Cm7 Cm6Cm7 Cm6

l 7 I I l l I :114 ~!1!z e I I I I 7. :11 l l l 1 l l I I l 1 I

Cm7 Cm6 Cm7 (i) Cm Cm7Cm6 Cm7 I I I l I I I :114 ~!z I I I I

l I ' l I , ¡ !z e ¡ I , I

@ Cm

z

Cm (add maj .7)

3rd EfHH fret~EEtm

(Í(\\ add ~ Cm maj. 7 Cm6

Cm9

bl • Cm

... Cm (add maj , 7) Cm 7 Cm6

I l =11

I l I l I I I l I l l ¡

Cm9 1 3 1 1 1 3,,,,_g

Cm7 @ Cm7 Cm9 I l

1 I I I I

l i I I I , 1 I I I 1 Y I I =11

I I =11

l z i i i

' 8

Dominant 7th chords always have a Iowe red 7th. and use the same extensions as both the major and minor chords.

C7 = 1 3 5 Lowered 7

Lowered 1 3 5 7 octave 3rd 5th '.~~-¡·¡r¡·¡j¡·¡r 11

C9 1 ( 9 ) 13 \opt.

3 5 9 Lowered 7

C13 = 1 3 :J Lowered 7

e sus= 1 4 5 ¡, 1 Cll = 1 3 5 Lowered (, 9 ) 11

7 opt.

F7 = 1 3 5 Lowered Lowered

7 octave .--~~-.-~~----r-~~---. 5th 3rd 1 3 5 7

5 6 7 8 9 10 11 12 13

F9 = 1 3 5 Lowered 9 F13 = 1 3 5 Lowered (c9 }3 7 7 opt.

Fll = 1 3 5 Lowered G9 )11 7 opt.

F sus= 1 4 5 b7

Lowered B~7 = 1 3 5 Lowered 1 3 5 5th

7

...... ...., 1 2 3 4 5 6 7 8 9 10 11 12 13

B~9 = 1 3 5 Lowered 9 7

B~ 11 = 1 3 5 Lowered ( 9 ) 11 B~l3 = 1 3 5 Lowered ( 9 ) 13 7 opt. 7 opt ,

Bb sus= 1 4 5 b7

Common examples of Dominant 7ths- extensions.

G7 CD G9 --¡~# .......... e -1-/ ~1.____1 ~1<---1---,I r- --1 ---.1---1-I $ # l!I 1

@ Gl3

FORM I (root on the 6th string)

G9 3rd fret G9

.. fretº.pti rmm \ opt. T opt.

Written

G9 Gl3 G9 11 I I I I I r I r r r 1

., , r , , y.

'

FORM II (root on the 5th str íng) C7

(

x13.141) 3rctEm:f¡ f;;; Etffij

C9 x21333

3rd_EIHE fret ttlffi

Written C7

I I I I I , I I I I

@ Cl3 C9

11 I I I I I I

@ C9 C13 C9 Cl3 I I I I I I

I I I I r I

® C13 C9 Cll I I I I I I r r 1 I I I

Cl3 221334

opt. ~ 3rd Iret++ HE::H

I I

I ¡

I ,

(T)

=11

=11

=11

=11

=11

3rd fret G7 ~1 3 1 2 4 1

mm Gl3

1X2344

3rct-fIHE fret tBffi

(+) =--== • • opt.

Gl3

I I I ' r r : 1 I I I Y I I

@ G9 Gl3 G9 Gl3

Cl3 x1X244 i:~-e

CD Played C9

1 I I I I ~ , r ,

Cll x23333

f,:~11 Cl3

11 I I ,

:11

11

I

@ Cl3

I

C9 C13 C9

I =11

, I ,, I

I I I I I I I I

@ Cl3 C9 Cl3 C9

(j) Cll

I I I •I

I =11

, , I 1. =11

I

C9 Cll C9 I

=11 I I I I I

10

, r , I l

Alterations are any of the previously discussed chords wíth either 1 or more notes raised or lowered. This is done by adding a sharp, # or flat,b .

The alterations can be major, dominant. Here are sorne examples. Place the symbolsJ maj,min,min. 7 or dom. 7 before

each one. b5, #5, b9, #9, b5b9, b5~9, #5b9, ¡.+5#9, 7~5, 7#5, 7b9, 7#9, 7b5b9, 7b5#9, 7#5b9, '7#5#9, 13b5, 13#5, 13b9, 13#9, 13b5b9, 13b5#9, 9b5, 9~5, 13#5b9, 13#5#9.

The dominant alterations are used most often. We will learn these examples first and then add the majors & minors as we go along.

FORMI (root on the 6th string) (G+7) L G7~9 Gl3P9 G7#5 G7175 X 1 2 1 3 b+ T><l243 b+ 1X233x

1 3,dm • 3,dm 3~mm fut • f;; . • • fret opt, ... -.-

G7~5P9 Gl3 (9) G7 T><2314 ~¡,._ lx2344: ~ .. (M) 3~mm :¡;ªE • 1 • • • -.- -.-

CD G9 G7~9 G9 G7~9 ® Gl3

~j I I I I I I I I :11, # I I , , , , , , , I I I

2x34lx

3rd tHfE f~H!m

~. • #1 •

#1 •

T G7#5

#9

·~ T

Gl3~9 G13 G13~9

1 I I I I

=11 , I I I

I I Y I

Gl3 G7#5 G7~5 G7

Practic ,., Jj, LI ... • I I I I I , , , .

I , , , , , , , . ~'., t)

Notice the moving lines that ar ~ created. ,., Jj, G13 G7#5 G7 G7~5 ·~ .. - - .. _ - - - ... _ - - ... r- ,_. "'r- r-' .

1 1 1 1 1 . ~ t) 1 ' 1

Observe~ ) G9 G13~9 G7

Practic ' Jj, ... ~ I , I ,, •I . , , , , .. . ~.,

t)

,., Jj, .... ~ ¡,.._ .. ·~ - • .. . ,_ ' -· .

t) Observe( )

®

(G+7119) 1 x 2 3 a a ~

G7#5b9m 1! G9P5

opte~¡ -.-

· Practic

FORM II (root on the 5th string)

C7¡,9 c7¡,5b9 C7#5

C7#9 (C+7) X2131X x2134x 1<21311~ x213x4 ~~. ,,. ~· mm #• 3,dg 11$ ~. fr; .... _,_ ...

C7#5 ont C9#5 c7:~ (C+7#9)

Uii"9 ¡¡. x21334 #• X 2 1 3 4 4 e mm :tlf= ~-- ~· _,_ _,_

C7 CD C9 c7¡,9

* 11~ :11 {~ I ~ I l. I I l. I I~ I l. l. I I l. l. I r l r: l r: r: l r: r: l i r r i i t:

Practico

® C13 C9 C7~9 @ C7#9 C7~9

C9 5

C7#9 ® C9 C7#5~9 C13 C13

Practice

®

1<12133

31?ffifB c13¡,5 C9#5 C11 C13 C9 C9 C13

12

C7P5 ~9

Now that we've learned sorne common chordal extensions and alterations, we wíl l start

to Iear n rules for chord substituting.

The 5 minar 7 of the dominant 7th can be used befare, after or in place of the dominant

7th. For example, when you have G7 for 2 me asures you can use the following.

Key of C major G7

Dm7

t 1 • • • • • ...... • Dom.7@-®-@ 5 minor 7th of the Dom. 7

Written Dm7 Dm7 Dm7 G7 Sf"t~- X 1 X 2 4 3 3 1 4 1 (' 11) 5th~m 3fcot~g I~ I í ~ I I -1 I l. r r l r r: r r l Dm7

form II

Played

CD CID Dm7 G9 Dm7 G9 Dm7 G9

f , : 111: :11 I~ I -l. I I -l. I l. I -1 < l. < I l. -l. 1: l r r: l 1: l r: r l l l r ; ;_

® Dm7 G13 ®nm7 G13 Dm7 G13

f =111: :11 I~ I í -l. I I I l. -l. I -1 < I I I l. l. r r l r r r l ; r: r: l r r r l l

@ ®

f G9 Dmi7 013 Dm7 G13 Dm7 G13 Dm7

:111= =11 e I I l. -l. < l. I I I I I l. I I ~ l. r: r l l l l r r r r r l r r r l

G) Dm7 G7u9 Dmi7 G7#5u9 @Dmi7 G9 Dm7 G13U9

f : 111: =11 I~ I I I l. I I -¡ ~ í I < l. I I I í r: r r l r r r i r r l i r r r: r

® G13U9 @G13 G7#5 G7~9

' G13 G7 Dm7 G7 Dm7

=111: =11 e l. I I l. I I I I í -1 I l. I í í I l r: r l r r: r r r r: r i r r r r

14

Key of F majar Gm C7

'V Df 2 .Ir @:; ~ • • • • • • • t t Dam7 5 minar 7 ar

Dam.7

Nritten ~ Gm7 C7

M~ mi}°""' '~ I 11 e -7 l I l I l 1 r l r 1 r l r r

Played

CD @ C7D5 D 9 Gm7 C9 Gm7 C9 Gm7

* ~ :111: 1 I :11 ¡~ 1 1 l 1 -1 I 1 I l I 7 l l 1 r r: 1 r: r r r r i r r i i r r r

X 1243

® 8th-~

® Gm7 C13 Cl3D9 Gm7 C13 Gm7 C13 *~ :111: :11 B 1 1 1 1 -1 1 I 1 1 l I l I 1 l l r: r r r r: r r r r: 1 r l r: r l l

® ® C9 Gm7 Cl3 Gm7 Cl3 Gm7 C9 Gm7

' ~ :111: :11 l~ 1 I l 1 l 1 1 1 1 1 1 l l l 1 I r r i r I r r: r r r r i i i r t:

G) Gm7 C7D9 Gm7 C7#9 C7D9 @Gmi7 C7#5 C9 Gmi7 C7D9

' ~ 1 :111: :11 I~ l 1 1 1 l r I 7 7 1 1 1 7 I -1 1 i r r r: i i r r r r r r z: r r r

lit ® @ Gmi7 C13 C7#5 Gmi7 C9 C7D9 C9#5 Gm 7 C7D9 Cl3

' ~ ¡~ 1 :111: ~ I -1 I 1 1 I ~ -1 1 I •I r: r: r r r r r I r: r r: y.

The 2 , 5 Progression

When Dm7 is used befare G dom. the 2, 5 progression is created, the Dm7

being the 2 chord of the Cmajor scale and the Gdominant (G9, G13, G7~9, etc.)

the 5 chord.

(

Notice that the 2 chord is the same as the 5 minor 7th of the dominant 7th)

discussed earlier.

Cmaj.7 Dm7

1 8 9

@ @ t

(

~f ~i~::i~ ~tth) same as 2 chord)

2 3 4 5 6 CD ® i

5 Dom. 7th

7 ® l

2 chord

Remember the G7 chord should be altered and extended with the forms we

learned. 7~5, 7#5, 9, 9~5, 9#5, 13, 13~5, 13#5, 13~9, 13#9, 13~5~9, 13#5~9,

13~5#9, 13#5#9, 11 notice the bass line moves in 4ths.

e G7

' :11 E~ :1 l. :1 :1 :1 I :1 :1 r: l r r r r r r

FormI Form II Forrn I 1 3 2 4 1 xlx234 r « 1 2 1 3 3,d __ 5th-lm 3~11

Cmaj. 7 Dm7 G9

* :1 l. :ll 1 E~ :1 l. ~ l. 1 I z: l l l r r l r

1 )( 2 3 4 )( 3,a-g Cmaj. 7 Dm7 Gl3

' :ll 2 ~ :1 l. :1 :1 l. l. :1 :1 r l r r l l r r

)( 1 2 1 3 3ro-tlm Cmaj. 7 Dm7 G 7~9

* :1 :1 i :1 =11 3 I~ l. I :1 I

l r r z; r r r r

)( 2 3 1 4 )( 1 )( 2 3 3 )( 3,d--m 3,a-W Cmaj. 7 C6 Dm7 G7#5

' :11 4 I~ :1 ,,_ l. :1 l. 1 l. l. z: l l r: ; r l l

)( 1 2 4 3 )( 1 )( 2 3 3 3,a-W 3,a~ll Cmaj. 7 Cmaj.9 Dm7 G7#5~9

' :11 5 E~ i :1 l. l. :1 l. 1 1 r r ; l r ; r r

16

F C7

' ~ I~ I I .f. I ~ I I I =11 r: r "l: r: l r r r

Form I Form I Form II 1 X 3 4 2 X 2 X 3 3 3 3 X 2 1 3 3 3 m mm mm Fmaj. 7 Gm7 C9

f ~ I~ :ll 1 I I .f. .f. I I I I r: r l ; r r r r

xlx244 3,d~g Fmaj.7 Gm7 Cl3

' =11 2 ~e I .f. I I I I .f. I r l r r r r l r:

X 2 1 3 1 X

mm Fmaj. 7 Gm7 C7~9

' =11 3 ~ I~ ~ ~ I .f. I I I I l i r l r r r: r:

2x043x X 2 1 3 4 X

mm m Fmaj. 7 F6 Gm7 C7#9 C7~9

' ~ I~ =11 .f. I I I I I .f. I

4 ; r: r: r r r l r

i x a n a ; X 2 1 3 X 4

mm m Fmaj. 7 Fmaj.9 Gm7 C7#5 C9

5 ' ~e I .f. I .f. I I I .f. :11 , l , ; I ¡ I l

Bb F7

f ~lz B :11 I 1 I 1 I I 1 1 r: r r: r r r r r:

Forrn 1 Forrn 1 Forrn 11 lx342x 2x 3333 )( 2 1 3 3 3 6th-m 8th. 8th. Bbmaj. 7 Cm7 F9

' ~12

=11 1 I I I 1 1 I 1 l. 0 r r r r: r r: r ;

x 1 x 2 4 4 8th-mm Bbmaj. 7 Cm7 F13

f ~lz :ji 2 1 l. 1 l. 1 I I 1 I~ r: L r l r r r r

><2131x Sth~m Bbmaj, 7 Cm7 F7b9 f ~"e =11 I I ~ I l. 1 l. I

3 y r I r l r ; r

2><143x ><2134x 6th __,,.g 8th-m Bbmaj . 7 B~6 Cm7 F7#9 F7~9

f ~¡z I~ :11 4 1 ~ I I l. I I 1 y , r r l r: r r

opt. T x 2 3 1 4 )(21334 6th-g 8th--E Bbmaj . 7 Bbma]. 9 Cm7 F9#5 F9

' ~!z

=11 5 I 1 I I I I I I I~ r r r r r r r r

18

Eb

I I j j

Forro Il XJ324J 6th-m EDmaj. 7

I j

Ebmaj. 7

I I j j

Ebmaj. 7

I I j j

X23J4X 6th-m Ebmaj , 7 ED6

I I I j

x1243x 6th--m Ebmaj . 7 Ebmaj. 9

I I j I

BD7

I I I I j j j j j

Forro Il XJX243 8th-m

Forro I 6t~. Bb9 Fm7

I / I I I I r ,

Fm7

J X 2 3 4 6th~- Bbl3

I I j

I I j j j j

Fm7

Tx1213 6th~;m Bb7D9

I I I I I j j I j

lx233x 6lli_..mm Fm7 BD7#5

I I I j

I I j j j

lx2333 6th-m; Fm7 Bb7#5D9

I I I I I I j I

I :11

=11

I

=11

I =11

I =11

I =11 ,

Ab ED7

$ b-~ 1 :11 ~il: I~ -l. l I 1 -l. 1 1 1 L l r r L r: r: r

Abmaj. 7 BDm7 ED9' ( EV7 t~) $ b-~

1 :11 ~:n= {~ I I I I I I I I r r r r r r r r:

Abmaj , 7 BDm7 ED13

$ ~'~~ l 1 :11 I~ I I I 1 I 1 r r r r r I r r:

Abmaj . 7 BDm7 ED7D9

* ~lz 11 e l I I ,,_ -l. I I I :11 !z: I r: r I I r r r

ADmaj.7 AD6 BDm7 ED7#5

$ ~'' ~ :11 I~ I 1 I I ,,_ I I I ~z r: r: r r L r r r

Abma i . 7 Abmaj , 9 BDm7 ED7#9 ED7D9

* ~~z~ :11 I~ ,,_ l ,,_ I I I 7 l I l I r r r: r: I

~'~~ Do AD7

$ E~ I l 1 I I -l. 1 ,,_ =11 ~ r ; r r: r: l r I

Form II Form II Form I

Dbmaj , 7 EDm7 Ab9 (Ab7 ~~)

' ~b~~ I~ I l I I I I I I :11 =t1 r l r: r r: r r: r

$ ~'' ~

DDmaj. 7 EDm7 Ao13 o9 -l. :11 e 7 I I I I I I 1z ~ r: r: r: r r r: r l

Dbma], 7 EDm7 AD7D9

$ ~h~ l I =11 I~ I I I I -l. I 4 r: r r: r I l r r:

Dbma] , 7 DD6 Eom7 Ao7#5

* ~lz ~ I I =11 I~ -l. I I -l. I I !z ~ l e: r l r 1= r r:

Dbma] , 7 DDmaj. 9 E~m7 Ao7#5o9

' ~'~ ~ e l I I l l l I -l. :ji ' ~ l y r: ; l l r: l

20

Gb DP7

' ~!~~!z I~ :11 l l. I I l. I < l. "L l r: r r: r: i ;

'~~& !l Gbmaj. 7 Abm? Db9

1 =11 I I l. I I ~ I < r r: l r r: l r: l

Gbmaj , 7 Abm7 DP13 b5 * ~'vr (! 1 =11 I I I I 1 I I l. r: y- r r: ,- r r: I

Gbmaj , 7 Abm7 nb7b9

' ~ ~

1 :11 ~!,~!ze l. I I l. I l ,,_ I 'l r: r l r ; l r:

Gbmaj , 7 Gb6 Abma? nb7b5 b 9 f ~We 1 :ji l. I I l. -1 l. I 1 ,_ r r I r ., r r

' ~~~

Gbmaj , 7 Gbmaj. 9 Abm7 Db7#9 DP7b9

1 =11 ~:Íz~: I~ I I l I I l l. I r: r: ; r: r ., l r

,~ B F#7

1 =11 I~ I I l l. I I I l r r ; l r r r l'

,#/1¡ Bmaj. 7 C#m7 F#9 #5

1 :11 e l I I I I l í l l r: r r r: i r i

,#/1¡ Bmaj. 7 C#m7 F#13 b9

1 =11 e < I l I -,,_ I 1 l i r: l r: I r r: ;

4\\ Bmaj. 7 C#m7 F#7b9

1 :11 I~ I l I I I I l I r l r r r r l r

,~ Bmaj. 7 B6 C#m7 F#7#5

1 l. :11 H l. I I l I I l. l y r i r: y l :;

'I # Bmaj.7 Bmaj.9 C#m7 F#7#5#9

1 :11 I I l. I l. I l r r ; r l r l ~e tt

~;e E B7

' =11 I I I .(_ I .(_ .(_ I r: r r: 1 r ¡. 1 r:

~3e Emaj. 7 F#m7 B9

' 1 =11 .(_ I I I I .f. I I , r: r r: r ¡ r r

~3 {~ Emaj. 7 F#m7 B13 ~9

f 1 :11 .(_ .( I I I I I I ¡ i r r r r r r

f #ñc Emaj. 7 F#m7 B7~9

1 =11 I .(_ I I I I .(_ I r , r r r r: 1 r:

~31~ Emaj. 7 F#m7 B7#5

' 1 :11 I I .(_ I -1 .f. -1 I r 'r: ¡ r r: ¡ r r

~t~e Emaj. 7 F#m7 B7#5#9

' =11 .f. I I .(_ I I I I

I r r: L r r r r

~# A E7

' :11 I~ .(_ I I I I I i .(_ , r: r r r r r ,

' ~# Amaj. 7 Bm7 E7#9!75

=11 e I I I I I .(_ .f. .(_ r: r 'r: 'r: r: ¡ i ,

~# Amaj. 7 Bm7 E13# 5

' =11 I~ I I I .(_ .(_ I .(_ I r r r: i i r I r

~tt Amaj. 7 Bm7 E7~9

' e I =11

I .(_ I .(_ I .(_ I r: r i r ., r 1 r

~# Amaj. 7 A6 Bm7 E7#5

' =11 e .(_ I I I .(_ .f. -.( .( l r r r: 'l I i ;

~## Amaj. 7 Amaj. 9 Bm7 E7#9 E7~9

' e I =11

I .l. .(_ .(_ I l. I r r: , , L r , r

22

D A7

f ; ¡~ :11 1 1 1 1 1 .l. I I r r r r: r L r r

Dmaj.7 Em7 A9

f ;e 1 =11 ,,_ l I I l I .t. .l. I L r r ., r I .,

Dmaj. 7 Em7 A13 ~9 ,~!! 1 :11 ,,_ I 1 l I 1 I I ., r r: ., r r r r

Dmaj. 7 Em7 A7~9

f ~e 1 =11 I 1 ,,_ I I ,,_ ,,_ 1 r r ., r r L I r

Dmaj. 7 D6 Em7 A7#5 A7#5~9 ,~ :11 {~ 1 l 1 1 1 I 1 l r 't r: r: r r: r: "t

Dmaj. 7 Dmaj. 9 Em7 A 7#5~9

'~ !l :11

I 1 I I ,,_ l 1 ,,_ r r r r "l: L r .,

G D7

' j e 1 :11

1 l 1 l I I l l r ., r ., r r: i i

Gmaj. 7 Am7 D9 f# 1 :11 ¡~ I 1 l l 1 I I l r: r i i r r r i

Gmaj.7 Am7 D13

f j 1 :11 ¡~ I I l l 1 I 1 1 r r i i r r r r

j Gmaj. 7 Am7 D7~9

f 1 :11 ¡~ 1 1 1 I 1 1 1 l r r r r y r r i

Gmaj. 7 G6 Am7 D7#9 f# e 1 =11 1 1 1 1 l 1 l I r: r r r i r i r

Gmaj. 7 Gmaj. 9 Am7 D7#9 D7~9

fª =11 e I ,,_ I I I I 1 1 r I r r r r r r

Key of Bbmajor Bbmajor

The 3 minar 7 chord and the 6 minar 7 chord can be used in place of the 1 majar. N atice how the minar 7th chords overlap to the next key in the cycle of 4ths. A valuable improvising tool.

Examples

Key oí Cmajor : Em7 (3rd oí C)

Key of Fmajor:

Am7 (6th of C)

Am7 (3rd of F)

Dmi7 (6th of F)

Dmi7 (3rd of B~)

Gm7 (6th of Bb) /

> Cmajor

> Fmajor

Key of Ebmajor Gm7 (3rd of Eb) / Ebmajor

Cm7 (6th of Eb)

Cm7 (3rd of Ab)

> Abmajor Fm7 (6th of Ab)

Fm7 (3rd of Db) > Dbmajor Bbm7 (6th of Db)

Bbin7 (3rd of Gb) > Gbmajor

Ebm7 (6th of G~)

Key of Abmajor

Key of Dbmajor

Key of Gbmajor

Key of B majar D#m7 (3rd of B) > Bmajor G#m7 (6th of B)

G#m7 (3rd of E) > Emajor C#m7 (6th of E)

C#m7 (3rd of A) > Amajor · F#m7 (6th of A)

F#m7 (3rd of D) > Dmaj.7 Bm7 (6th of D)

Bm7 (3rd of G) > Gmaj.7 Em7 (6th of G)

Key of Emajor

Key of Amajor

Key of Dmajor

Key of Gmajor

'24

The 1, 6, 2, 5 progression is dervied from the basic C four beats and 67 four beats. (1) (5)

also, altered+extended major chords make intresting endings.

Practise these exercises:

e G7 e

* I~ =11 I I I l. I I i I a r r r l r: r r: r

1 6 2 5 )( 1 3 2 4 1 2x3333 X 1 X 2 4 3 TX 1 2 4 3 ><21431 3'd_a Sth-mm Sth+mm 3cd. 3,.

Ami7 Dm7 G13¡,9 Cmaj9#5

4 Cmaj. 7 orcmaj9(+11)

=11 1 I~ I I ~ I I I I l. e r r: l r r: r: r l

F C7 F

=11 I I I O I I I I I , l I I I I I I

1 5 6 2 x1x243

Sth-11 Dm7

2x3333 ><21333 x2131X 3cd. 3cd+ll m C9 c7¡,9 Fmaj. 7 Gm7

I I I I =11 o I l. I l I I , I , l

BP F7 B¡, ~b I I I l. I I I I

=11 o ~ e , I l l I I ¡ j

1 6 2 5 ><13241 2x 3 3 3 3 x1x243 ¡,~- mmht• 6lli. 3cd+ll 3cd.

4 ~' Bbmaj , 7 Gm7 Cm7 Fl3 Fl3P9 B~maj9 I I I I I I I l.

=11 o l l l 1 l l , , e

'b Eb Bli7 Eb I I I I I I I I

=11 8 ~ 12 ~ l l I l l l l I

1 6 2 5 X 4 3 1 1 1 )( 1 )( 2 4 3 2><3333 xt><244 ><2143>< 3,d·mm mm mm mm 6ili-m Ebmaj. 7 Cm7 Fm7 B¡,13 El7maj9

'ub e I I I I I I I I =11 D l j l l l l l l ¡,

A¡, E¡,7

I =11 B I I I I I I l I l l l l l

etc. t><342X

4th tEffi fret-mm

X><1423

4th ffi±B fret -EEI:IB

2x 3 3 3 3

6th EEHE fret~

x2134x x2131x 2x4311

6th-a!m 6th:~~1Effi fret EEEm fret EEHE EEtf8

E¡,7#9 I I

A!7 maj7 {u 5)(+11)

:11 D 1

E¡,7¡,9 Fm7 B¡,m7 I I I I I

l l l l l l l

nb A¡,7 nb

* ~&~ e I I I I I I I I =11 o ~ l I l I l l I I

2x3333

6ili-mm ><mml X 2 4 a i~~-;;l X 2ª44i~mTx12 4 3

6th.,. fret

' I> D~maj.7 Bb7 A¡,13¡,9 Dl7maj9( + 11) E¡,m7 A¡,13

I :11 D 1 1 I I I I I ¡ l ¡ r 1

26

G~ D~7 G6

~- b ~

=11 ~ &)fae I .l. I I .l. I I .l. o I I I I I I I I

X21333 X21341 ·•4t~mmwm Gbmaj , 7

I I I

A~m7 D~9 D~9~5 G~maj7~ 5

I I I I :11 8 l I l I

E~m7

I l I

f #/1¡ I!

B F#7 B .l. I I I I I I I

=11 o I , í , , I I I

lx2344 lx2333 2n~- .JE ·:;; 2~mm mm f #/1¡ e

Bmaj. 7 G#m7 C#m7 F#13 F#7#5~9 Bmaj9 I .l. I .l. I I I I

=11 o I l l I I l l l

), f #/te E B7 E

=11 I .l. , .l. I I I .l. o r I r: l r r r l

X 1 2 1 3 X 1 3 2 4 4 7th__.;m ~mm ~m mm 7th. .'·!

'" Emaj. 7 C#m7 F#m7 B7~9 Emaj7(add 6) !

1,1';

=11 1 :,,: e .f .f .f I .f I I I o k: I l I ¡ I l ¡ I

I

E7 A I I I I I I

=11 o ¡ ¡ ¡ ¡ j , l

1><342>< Sth-m 4th

Amaj. 7 F#m7 Bm7 E9#5 E9 Amaj9~5 or Amaj9(+11)

I I I I I I =11 o

1 I I ¡ I , ¡ I

I

D A7 D ,~ e I I I I I I I I =11 o I I I I I l j j

xl3241 2 )( 3 3 3 3 )( 1 )( 2 4 3 2 )( 3 4 1 x 2 x 3 1 4 x Sth-;; 7th-mm 7th. 5~- m Dmaj. 7 Bm7 Em7 A7v5 A9 Dmaj9V5 ,~ e I I I I I I I I

=11 H I , , l , j I l

G r e I I I I I l I l

lx34 2>< ><><1423 3,d~m 3;d. Gmaj. 7 Em7 'j e I I I I

I l I I

D7 G

I I I I =11 O I I I l

Am7 D7#9 D9 D7V9 G6 9

I I I I

=11 o I I I '

28

The 1, 3, 2, 5 progression is not as comm on as the 1, 6, 2, 5 but it should

be practiced in all keys. The 1, 3, 2, 5 progression can be used as a

replacement for the 1, 6, 2, 5 progression, in same cases. x13241 1 3 2 1 1 X13243 }X2344 ><21431 3,a-g 7th-· 5th~;m 3<d-->mm 3<d.

1, 3, 2, 5 Cmaj , 7 Em7 Dm7 G13 Cmaj9(+11)

~ =11 I~ .f: I I I l. l. l. I D l r r r l l l r

l>< 34 2>< 2X3333 2x3333 x23333 133244 ht~- 5th~m 3;d. 3,a-g ht. Fmaj. 7 Am7 Gm7 Cll 6 F,g

~'e :11 I l. I l. I I I I B r l r l r: r r r

X 1 3 2 4 1 xlx243 )( 1 )( 2 4 3 tx234x x i a z r r ht-mm Sth-111 3,a-g ht-a I<t-;m Bbma] . 7 Dm7 Cm9 F13 Bbmaj S

~ 'h =11 .1~ I I l. l. l. I I I B r r l l l r r r

x13241 xt3211 X}><243 Tx1243 xl3244 6th-g !Oth-->. 8th-->mm 6th-mm 6th. (add 6)

Ebmaj. 7 Gm7 Fm9 Bb13b9 Ebmaj?

~f; :11 ll I~ I .f:· I I l. I l. ;; r: l r r l r l r

lx342x 2x3334 2 X 3. 3 3 4 x21334 x2 1 3 3 3 Tx4311 4th+m Sth-11 6th-mm 6t. 114111 Abmaj. 7 Cm9 Bbm9 Eb9#5 Eb9 Alnnaj7~5

~ b-p =11 l. l. l. I l. l. I I n ; ; l J-: l ; r: r H' e

X 1 3 2 4 1 xlx243 x21333 1X2333 x21431 4th-g 8th-!lm 6th-mm 4hmm 4th. Dbmaj. 7 Fm7 Ebm9 Ab7#5b9 D~maj9('75)

~~pe =11 1 I l. I I I I I I D r l r r r r r r

2nd-ffim ffim mm 6th _.mm Gbmaj . 7 B~7

4th 4th--~g 2~. Gbmaj ~ D~13 D~9 A~m7

¡ I I ¡ I 1 I I I :11 B I I I

I I I

xl3241 2nd_tffft! fret Ef!EE

Bmaj.7

xlx243

6th_, fret

D m7

xlx243 4th-tIEm fret Efffij

C#m7

r , 1 2 4 3 2nd--OOR fret lli±!j

F#13~9 Bmaj9

j I I I 1 /

I :11 B I I j I I j I

xl3241 7th-Fftffi fret EHíE

Emaj. 7

2x3333

4th-EHffi fret EHB

G#m7

2x3333 2nd-mm fret EHffi

F#m7

x23333 2nd-tfmr fret EHffi

Bll

¡ I =11

I I I I I I o I j I I j I

lx342x 5th--fffm fret EHffi

Amaj. 7

2X3333

9th_EHffi fret EHB

C#m7

;,~~-mmmm7thmm 7ifHH~ ffiBj EEEmfret ffiEj fret lliffi

Bm7 El3 Ell Amaj7~5

I

E9 I I

=11 o j I I I I I

I ¡ , I 1 I 1

Dmaj. 7

xlx243

9th EHffi fret-rn!H

F#m7

7th X l X 2 4 3 frot. Em7

Tx 1 2 4 3 5th-tmB fret ffim

Al3~9

x21431 4th-m Dmaj9(+11)

I I

lx342X 3nd-mm fret ffiEj

Gmaj. 7

I I I I I I =11 o

I o ¡

j ¡

2X3333

7th_EHffi fret mm

Bm7

I I j I

j Y I

2x3333 5th-tmR fret EHffi

Am7

I I I ¡

30

I j I

xlx244 x23333 2x4311 sth-rnm sthitffR 2nd ffiEH fret ~ fret EHffi - lffi:±j

Dl3 Gmaj7~5 Dll

I I =11

I j I 1

A note about the minor 7th chords. They really belong to the dominant family as they are a 2 chord and like the 5 chord they both lead back to the 1 chord. Both the 5 dom. 7th chord and the 2 minor 7th chord contain the lowered 7th also called minor 7th or dom- inant 7th. However, you can add to and alter the 2 chord as well as the dominant 7th.

examples of the altered 2 chord. Practice these exampl es: (2, 5, 1, progressions)

Key of Cmajor; 1x243

5th hHm fret ---.t::tifü

Dm7

@Chord @Chord (D Chord

Cmaj. 7 G9

I / D :11 I I

I I Y I .l

I I

l

xll243

Dm 7 add 11 fr~~--~ I

G7~9 Cmaj. 7 I I I I I u I I

I j l , l l

><21333

5th oo=R Dm9 fret-t::tttü:l opt. Gl3 Cmaj.6

l , I I =11

I I u I 1 I , l

><2><341

Dm9P5 Sth_fi±m fret fe I

Gl3P9 Cmaj. 7 .l , I

I u I I :11 I

I .l

I I I

I l

Dm7¡,5 G7#5 Cmaj.9 .1 I I I I I I I

1 o :11 r , ,. , y y y ,

1><233

Dm7#5 5th~ fret lfifü ¡

G7#9 c6 9

I H =11 .l I I I I I I ¡ , I l ,

5th .... 11 ,fret Dm7P5 add 11

~ ll I

><22341

5th__rnm fret l:ttitl Cmaj.9

l I I I 1 I

=11 I I I D Y I 1 1 I

xlx234

Sth-n Dm7 add 13 fret G7#5P9 Cmaj. 7 I l

I I u

Dm7P9

I I

I , =11 I

I I I r ,

><2><314

5th-.5 fret ·· Cmaj.6

I l

I I r , I l

I l =11

I l H I ,

Dm9 add 11

~ !! I

>< 1 1 1 2 o open

5th~ ESt. fret~ Gll Cmaj. 7

l t I =11

I I I .l H I I Y I I , '

111111 xlx244 X21333 1x342x 31d-m=m 3•d-mm op. lst~- 3rd

,I: ¡¡: Gm7 add 11 Cl3 C9 Fmaj. 7 ~ ¡~ :!

11 I~ 1 1 1 l. 1 I 1 1 r r: r l r r r r

X 21333 lx2344 X 1 2 4 3 1 3 2 1 1 ¡,,_mm ¡,,_mm mm mm i! Cm9 F13 F13P9 BPmaj.7 ¡

'~b ' 11 E~ 1 1 l. l. 1 1 1 1 r r l l r r r r

xx1342 1 X 2 3 3 3 lx233x )( 2 1 4 3 )( 6th-mm 6th-mm 7th-a 5th~- opt,

Fm9P5 BP7#5D9 B7#5 EPmaj. 9 'b 11 E~ 1 1 I 1 1 1 1 1 r r r r r r: r r ~ '2

2 X 3 4 1 )( 2 1 3 1 )( )( 2 1 3 4 )( Tx4321 5th-m 5th-m 7th__..m 4th-mm BDm7D5 ED7D9 E7#9 Abmaj. 7 ,~~

11 E~ l. :1 :1 l. 1 l. l. l. i r r l r l > >

xlx233 X J X 2 4 3 lx2344 1 2 1 3 4 1 )( 1 3 2 4 1 6th-e 6th --mm 4th-mm 4th-mm 4th-+;m EDm7#5 EPm7 AD13 Abll Dbma] , 7 'pbP e 11

1 l. I :1 :1 I :1 :1 r l r r: r: r r r !zit

TX 1 1 4 1 X 1 J 1 1 4 Tx2314 .,h_m 4tHm 2nd~- ~ ~,w• e

APm7 add 13 DDll add 13 Gbaj.9 l.

11 :1 :1 l. :1 :1 :1 :1 r: l r > r r r r

32

x2x341 X 1 2 1 3 -+. 4th-+ llm 2nd -+mm 2nd

'~ll C#m7b5 F#7b9 Bmaj, 7 I H; =11

( ( I I ( I I ; 'l r r: r 'l r t:

X 1 1 1 1 4 X 2 1 3 3 4 2nd _..mi 2nd -g Ox2103 2nd-m F#m9 add 11

@#/fe I

Bll add 13 B9#5 Emaj. 9

I 'l

I , ( I

I I r , I , I I D =11

X 1 1 2 4 3 2nd-g 2nd xx2143 x2x141 -W2nd-m; x02130 2ndifl

Bm7add11 E9 E7~9 Amaj. 7

1 'l I I o =11 I

( I I I I I ( , I I ¡

xlx243 xx2314 xx1213 Tx1213 x13241 7th-e 8th-mm 8th-mm Sthllm Sth-+mm Em7 A7b9 Dmaj. 7

I I I I I ( I ( o =11 I ; I ; 'l ; , ;

2x341x 2x341x lx342x l<d-m 3rd -- 3rd 11 Amll D7b5 Gmaj. 7

original

example:

Key of C majar

Dm7

(2)

Dm7

G9

(p5 of 5)

D~9

Cmaj. 7

(1)

Cmaj. 7

The flat 5 daminant of the daminant 7th chord can also be used in

place of the 5 domínant chord.

example: Key of C majar

The flat 5 dominant of the domí nant 7th (domi nant 7th chord is

® ex.- G7 (5 chard))

G7 e B :) D

1 3 5

i @ make thís D a flat - D~

@ make D~ a dominant 7th (D~7)

© alte r the Db'l , (9, 13, 7~9, etc.)

Now the D~7 chord can be used as a substitute far the G7.

notíce the bass line moves chromaticly

34

The b5 dom. substitute of 5 dom. should be altered and entended.

Practise these examples:

® 0 CD Dm7 Db7 Cmaj. 7

' I~ -1

=11 I I I ( I I I r r r r l t: r r:

Dm7b5 Db9 Cmaj. 7

' =11 I~ ~ I ( ( I ( I I l r l l r l r r

Dm7#5 Db13 Cmaj. 7

' I~ :11 I I I I I I I I t: r: r: r r r r r:

Dm9 Db7b9 Cmaj.7

' e :ll ( ( I ( I I I I ¡ í r ¡ r: y t: r

Dm7 add 11 nb7#9 Cmaj. 9

' =11 I~ I ( ( I ( I I ( r ¡ ¡ z: ¡ r: r í

Dm7 add 13 nb7#5 Cmaj.7

' =11 I~ ( I I I I ( I I ¡ r: r: t: r i r r

' Dm7 Db7b5 Cmaj. 7

1 =11 I~ I 1 1 I ( I I I r r: r: r í r r r

Dm7b5 Db9b5 Cmaj. 7

' u ¡~ ( ( 1 1 I .f 1 1 í ; r y r: ¡ r: r

Dm9 Db9#5 Cmaj. 7

' =11 I~ z I ( 1 I I I ( i ~ í r: r: z: r: ¡

Dm7b5 Dbl3b5 Cmaj. 7

' I~ =11 I ( 1 1 I I 1 .f t: I r: r r r r ¡

36

® 9 CD Dm7 Db13~9 Cmaj , 7

~ e D. =11

I I 7 I r r r r

Dm7add11 Db13#9 Cmaj.7

* : 11 i~ < I I , "ll- "I: r: r r

Dm7add11 nkn Cmaj. 7

* : 11 B ~ , 7 7 e i r: r: r:

This is also called the tri-tone substitution the tri-tone is the interval of a

augmented 4th (ora diminished 5th). The name is derived from counting 3 whole tones

from the root- 1 C D E F:lt 1

1 2 3 (aug.4th) (dim. 5th)

Example, if G is the chord we want to find

a substitution for, Dm7 2

G7 Cmaj. 7, we take G and count up the 5 1

tri-tone (aug. 4th or diminished 5th) this will become Db dom , (theb5 of 5.)

Practice these examples:

Key of e Dm9 D~9 Cmaj.7

' I

=11 P. .l .f I I I I .l r ; i z: z: r r ;

' Gm7 GD13 Fmaj. 7

=11 l~ I I I 7 :; I 7 I z: r r r z: r r r

Cm7add11 B~9 Bbmaj , 7

' =11 l~ :; I 7 .f 7 .l I I r r r i z: ; r r

' Fm7 E7#9 EDmaj. 9

=11 P. .f: I I .f: I 1 I I ; r r i t: r: r: r

' BDm7 A7#5 Abmaj . 7

=11 I~ I I 1 .f ;; .f: I :; r r r ; r ; r r

' EDm7 D7D5 Dbma] . 7

=11 P. I I 1 I I :; I I r r r z: z: r r r

' ADm7 G9D5 G~aj. 7

=11 l~ .f I .f I .f I I I i r i r i t: r: r

' Qtm7 C9#5 Bmaj. 7

:11 l~ .f .f .f I .f .f I .f i i i r i i r i'

' F#m7 F13~5 Emaj.7

=11 l~ I .f .f I I .f I I r: i i r t: i r r

' Bm7 Bb13~9 Amaj.7

=11 P. I .f .f I .f I I I t: i i r i r: t: r:

' Em7 E~l3#9 Dmaj. 7

:ll I~ .f .f I I .f .f I .f i ¡- r z: i' ; t: i'

' Am7 Abll Gmaj. 7

=11 l~ .f .f I I I .f I I i' i' r z: t: i r r

When you see a minor 6th chord leading to a dominant 7th chord , one whole tone

above (Gm6 to A7 9), it is misspelled. It should be called the 5 minor 7th flat 5 of

the dominant 7th chord. (Em7~5 to A 7~9) this crea tes the 2, 5, 1, progression in minor.

Practice these examples:

Misspelled Dm6

Written Correct

Played

Bm~5 E7~9 Am

11@ e I I I I I I I I I I I I I I I , E7 Am

Gm6 A7 Dm Em7~5 Al3~9 Dm

@ e 114 e I I I I I I I I I I I I I I I ,

Cm6 D7 Gm Am7~5 D9#5 Gm

' e 114 e I I I I I I I I , I I I , I I I

Fm6 G7 Cm Dm7~5 G7#5 Cm

' e 114 e I , I , I I , I I I I I I I , I

B~m6 C7 Fm Gm7~5 C9 Fm

' e 114 e I I I I 1

I I I , I I !: , , I I I

' E~m6 F7 Bhm

114 Cm7~5 F13 Bbm

e e I I I I I I I I I I I I , , I I

A~m6 B~9 E~m Fm7~5 B~7#5~9 E~m

' e 114 e I I I I I , I I I I ¡ I I I I ,

38

IL

Written Played

' DPm6 EP7 Apm BPm7P5 EP7P9 Abm

114e =11 e I 7 I 7 :t. I I 7 I l l I I I I I r- r- r- r- l r: r: r- y- ; ; r r: r: y- t:

GPm6 Ap7 DPm EPm7P5 AP13P9 DPm

' 114 :ll e e I I I l l l -( l r: r r I I I I I

Bm6 C#7 F#m G#m7P5 C#7#9 F#m

f 114 =11 I~ I~ l l I l l. l I I I l r I I I r r

Em6 F#7 Bm C#m7P5 F#7P9 Bm

' lli :ll I~ I~ l. l I l. I I .( I I I r l r r l r

Am6 B7 Em F#m7~5 B7#5 Em

' 114 =11 e e I I l. I ( I .( l. r r I r: l t: I I

Now ít is time to combine sorne of the rules we have learned. This , you will find, will

ofter unlimited possibilities of chordal substitution. Remember the 5 minor 7th= dom. 7th.

If you are using G7P9 to Cm 7 of even Cmaj. 7 try placing the 5 minor 7th of the dominant

before it and alter that, too. Another example of this is an original change like:

, .( I I

Cm7 F9 I I I l I I I I I I I l I I ¡ l 1 I I l ¡ l 1 I l l

You could place the altered dominant 7th on the 2 beats before the Cm7 to lead into it.

+ G13P9 G Cm7 F9

.( l I l I , I

' I

I l. I I ¡ I

I l. I I

I I

I I

1 l I I

1 I I

Now place the 5 minor 7 substitution before the Gl3P9.

G nifi7 G13P9 Cm7 F9

When leading to a minor (~3rd) type chord, always alter the dominant 7th befare it. You

will hear the difference .. Listen to the diff erence between G9 to Cm and G7p9 to

Cm.

Alter or extend any plain chords.

# Gmaj.7 G6 Dm7 G13~9 Cm7 F9

* e I I I I I I I I I I I I I I I I , l I I I l l I 1 l l 1 l l l ¡

To go a step further use the E minor 7 substitution of G in the lst bar creating the

sound of comming down the C scale from 3, 2, to 5 dominant.

Gmaj. 7 G13~9 F9 Em7 Dm7 Cm7 I I I I I I I 1 I I I l I l l l l l l r 1 l I I I

Or do the reverse by going up the G sea le.

# Gmaj. 7 Am7 Dm7 G13~9 F9 Cm7 * e I I I I 1 1< I I I I I I I I I l I I I I I

You may also add altered dominant 7th chords or more minor 7th chords.

Gmaj.7 Em7 A7~9 Dm7 Dm7~5 G13~9 G7#5~9 ,, I e l. I I l. I l. I I I I I 1 I I I

Cm7 Fl3 F9 Cm9 Cm7 F9 F7~9 ,, l. l. I l. I l. I I 11 r: I r I r: i r r:

Quite diff erent from the original.

' 40

...

I

I

Now will take the same progression and add sorne more of these moves so that you

can see how many ways they can be varied.

lets work only with the lst 2 measures.

G Cmi7 F9 I ,1 ,1 .1 I ,1 I ,1 I I I I

I I I I , , l l , l 1 l 1 I I r r 1

Gmaj.7 Bm7 E~m7 Dm7~5 G7~9 Em7 Dm7 I ,1 I l I I ,1 ,1 I r , I , , 1 1

,- Gmaj. 7 Bm7 Em7 A7~9 ,1 ,1 I I , , l l

,. Gmaj. 7 Bm7 Em7 E~9 I I ,1 I , l , ,

'j Gmaj. 7 Bm7 Em7 A13P9 I ,¡ I I , , , ,

Dm7~5 A~13 G13 D~9 I I , l , ,

Dm7P5 A~l3 D~m7 I I I I l 1 , 1

Dm7 5 Ah3 Gl3~9 I I I I , l > ,

Agaín for the more adventuresome we can use the ¡, 5 substitutions and chromatic

moves to further enhance thís progression.

The chromatíc moves can come from below or above the original chord.

G¡,13 to Gl3 or A¡,13 to G13, Dm7 to D#m7 or Em7 to EPm7, Gm7 to G#m7 or Am7 to

G#m7 (a minar 3rd move wíth jazz is replete) it can become.

3 Am7 1B~m7 Bm7 Cm71 C#m7

' H 11 e I I -l. -l. -l. r: r , l l

Practice the following exercises CD © C F Original __,,,..._ -+-------1------1)------1

Cmaj.7 Em7 Am7 A~m7 Gm7 Gm7b5 C7b9 Fmaj. 7 (+11) I I o

11 ; ¡

Fmaj.7 Am7 I I r ,

Bbmaj. 7 Dm7

Ebmaj. 7 Gm7

i Abma] , 7 Cm7

!!~Ve 1 1

I ,

Dm7 I ¡

I I

G7b9 I

I

I I

Gm7 Gb9

r ,

Cm7 F13b9

I I

I I r ,

Dbmaj , 7 Fm7 Bb7b9

' ¡, Gbmaj. 7 B0m7 E0m7

I 1

1 I I , ,

Cm7b5 chs 1 I I y I

Fm7b5 B13

1 I ,

F13

1

Em7 I ,

E~9#5 I

I

I I

B9 I I

I

I I ,

Bbmaj.9

1 U 11

Bbm7b5 E13

1 I I

1 I I Y I

Abm7

1 l ,

Eb9 I I ,

Ebma i. 9b5

1 o 11

G13 I 1 I ,

I I

I , j

I ¡ I I

Abmaj • 7b5

U 11

I

Dbmaj. 9

1 U 11

Gbaj.~

1 o

Bmaj. 7

o

f JHI Bmaj , 7 lJ#m7 Abl3 Gl3

1 I

F#m7 F#m7b5 B13 I

B7b5 Emaj. 9+11

o ¡

C#m7

I I I

Bm7 Bm7#5 I I r I ¡

¡

F#7b9 I I

¡

E9

¡

I I

Amaj. 7b5

o ¡

¡

I I

# Amaj. 7 C#m7 Bm7 E13 Em7 Em7#5 Al3

¡

Dmaj.7 H ¡ I I ,

I

Dmaj . 7 F#m7 Bb13b9 E7#9 I

, t

Am7 D9

, I I ¡

Dm9 D7#5 G . 6 maJ.9 I , , , I , I I B , , y I

I I

Gmaj. 7 Bm7 Em7 A9b5 I I

Dm7 Dm7b5 G7#5b9 G7b5 I

Cmaj. 9 ¡ I j I I j I

I , , I o

42

Cmaj. 7

lorigin~ll C Cm7

//// 1 //// 1///t1 ////1 C6 D~m7 Cm7

Practice this progression

l I I ,

I ,

1

, I I I I I 1 I

Am7 Gm7 C7h9

' I I I 11 , ,

I I I I

Fmaj.7 Gm7 Fm7

Bbma] , 7 Dm7 Gm7 Cm7 Dm7 G7h9 Cm7 Fl3 Bbm? , , I ,

1 I I I I I I I I

11 , I I I l ' I I i I 1 1

Ehm7 Fm7 Ghmaj. 7 Ah7#5 Dhm 7

G#m7 C#7h9 F#m7 B7#5 Em7

Dm7

Am7 Bm7 Ell Am7 Dll Gm7

I I I I

I would like to reiterate, use a 7th flat 9 chord instead of a diminished chord.

example:

Written Cdim Em7 ¡ ¡ ¡ ¡

CD Take the diminished chord and lower the root 1 /2 step.

B

1 B7~9 --

l D7~9

1 Em7

F7~9

l A~7~9

@ make this a (7~9)

CID go up minar 3rd intervals

@ You now have 4 choices of 7~9 chords to place befare the Em7 (in place of Cdim.) pick

the most logical B7~9 (5 of Em7) or any of the others, depending on the sound your look-

ing for. You will usually find 2 (b 5 tritone subs of each other) that are sonorous and 2 that are not

As seen here, once you've made the basic substitution you can then proceed to add alter-

ations or extensions to the substitute.

Remember, with each diminished chord you have a choice of 4 dom. 7~9 chords. Always play

all of your choices first as with all these rules, then pick the substitution you like - keep

the melody in mi nd and use your ear ! ! If you don't do that the whole thing is a waste of time,

Music must be played with feeling, hearing (or soul and ears), and imagination or it comes

out computerized, I have yet to hear a computer swing or crea te a jazz or soul f eeling with

human overtones.

44

Remember that any chord with a lowered 7th in it is a leading chord and any chord

with a majar 7th (natural 7) stops the harmony.

The 2 minar 7th or the 5 dom. 7th chord will determine the tonal center. Dm 7 and G dom.

are in the key of C majar. When both the 2 chord and the 5 dom. chord are altered, this

usually means the tonal center is minor. Although the two altered chords could lead to majar.

ex. (Dm7i>s to G7~9 to Cm) or Dm7i>s G7ii9 to C69 a 321133

or TT 1 1 3 3 Many chords that have the same notes become diff erent chords when they are used with

different bass notes. Chords can also change identify when placed in progressions in

unusual ways.

Rules:

1) C6 = Am7

Any majar 6 chord will have the same notes as a minar 7th chord (a 6th higher or a

minor 3rd lower)

Cm6 = Am7~5 2)

a minor 6th chord can be replaced by a minar 7th~ 5 (a 6th higher or a minar 3rd

lower)

Cmaj.7 = Am9 3)

a maj. 7 chord can be r eplaced by a min. 9th chord a 6th higher or a minar 3rd lower.

4) Cm (add maj. 7) = G+

a minor (add maj. 7) chord can be used in place of an augmented chord a 5th higher or a

4th lower.

Di.m ini shed chords along with 7~9 chords repeat themselves in minor

m3 m3 GºAD~Fº

Other chords that have the same notes.

C6 Am7 Cmaj. 7 = =

Cm6 Am7~5 = Cm(maj. 7) =

F6 Dm7 Fmaj. 7 = =

Fm6 Dm7~5 = Fm(maj. 7) =

B~6 Bbmaj . 7 = Gm7 =

B~6 Gm7~5 Bbm (maj. 7) =

cb - e maj. 9 (no root)

Minor third intervals also play an important role in substituting.

3rds.

examples l '~ •

' 1 •

m3 m3 m3 /\AA

C7, EP7, GP7, A 7, all can lead to Fmaj. 7.

Practice the following examples in all keys.

(81;) G7~9 Cmaj. 7 "'L.• n' ~L. - I I ~, I

I JLI 1v un I I ~, I

r--1\Fm7¡ (Abm;)

Dh3 D~7~9 • n' ~

~ i L.I V <.I

~Bm71 46

Am9

G+

Dm9

C+

Gm9

F+

C9 C7~9 Fmaj. 7 ~" ...,,, I - I I

.'N LJ , ... vv I I I - Gb9 Gb7b9 ,..., " .... -

y ~ vv

F13 F7b9 Bzma l , 7 • n . -· ·' I - I I

•.a.v.LV ........... •vv I I , ,

B13 B7b9 ~ • n ~-· - .IJ.LV i.J tV U

Bb9 Bbl3 Ebmaj. 7 - - - ·• n • • • • .u.., ,V . I • , ,

E9 El3 ~~ ~•n \...~ \..I .L

E~7b9 El3 Abmaj , 7 _, -· - ~ ..... I , • • \ TV v ' V J I • , •

A7~9 Al3 ~ ,..., ....

'\. 1 V LJ' \ .l.

A~l3 A~7~9 Dbmaj , 7 ,... .. _ ,.... , I I I -v '-- vv I I I ,

Dl3 D7~9 ~· ... ~ .L .LV .a.· IVU

(etc.) F#13 F#7~9 Bmaj.7

D~l3 G~maj. 7 F T r..' ~•n ,, --,, ., - I .-,---;:"'I ""T P,T - . , I

MBm7-

(DG~7) G13 , ~ . ~

I ,,,,., ' .. L-\Fm7;

.. ~ . - I ~ ~, I

' Vu ,, I I I

Cl3 C7~9 ....... u ... n ....... JI,~ - .&..IH.J..t..J ~~ V .:1

(etc.) B7~9 Bll Emaj. 7 -=--- =·. - . . I

VOJ LLL.1. I ., 7 I

F7~9 Fll -~~ -u. ....

TH U;:"1 \ T#_L _l_

(etc.)El3 E7~9 Amaj. 7 . - ~ ·- ,, I I I ... ~ 1 T IU~ I ., ., I

B~13 B~7~9 ,-.a::-~

'.l.V '-.-V IVV

(etc.) Ag All Dmaj. 7 , "' "" .. I -.r ., I . '· ... I I - - E~9 E~ll

~ .. .. .. )

(etc.) D13 D7~9 Gmaj. 7 ~.-:-:e . - I --,, ~,., I

'" I I I I

A~l3 A~7~9 -""'" - ,.,.1.v >J v cr

48

This principle also holds true with the minor 7th chords. Their Function is the sane as a 5dom. 7th

(G~7J F , e ,

-" I • I • ..,, I , I . \.Eb9 J

(Dhm7) Gb9 "' .......

~Ab91

(etc.) Cm7

- - , , • . '·" 1 I , • •

Gm7 . ..

(etc.) Fm7 E~ . .. I I I I L~ 1 I , ,, •

Bm7 ~ - 'I

(etc.) B~m7 ..... ,..., • I • • .LJO . ~ ~ ~

Em7 - - 'Lo

(etc.) E~m7

-· .. • ,, • ~ . . I . .

Am7 ,..., ~

Am7 G

Abm7 G~ , "~ rr . I . . ~" . , I I

Dm7 ,_. n • -r

C#m7 B ~ M . I I I r-: ~ I I I

Gm7 ,... rt .

F#m7 E . M . , . . ~ I , I I

Cm7 ~ M

'7 ...

Bm7 A , ___ . I I I - I . . .

Fm7 s=rrr rr .......

Em7 D ~ M . I I I \._] I I I I

Bbin7 - il

= - . I . I ~7 I I I

D¡tm7 rr

L'H

50

Major 7th chords can move in minor 3rds.

Dm7 Cmaj. 7 I I I I "' ·- ...... .! ,..,

I I I I ...... ..., .... . '

F#maj. 7 J\ ~· ,, . ..

Gm7 Fmaj.7 I I I I • ,..,

I I I I '~ .

Bmaj.7 - - J 'ª .

Cm7 Bbmaj, 7 . . . . r-r

I I I I .

Emaj. 7 ~ ~· ,.., ~ .

Fm7 Ebmaj, 7 I I I I - - - - - I T' ~ • 1

Amaj.7 - ... '

B~m7 Abma] , 7 I I - - - . I I I ~ ~

Dmaj. 7 ~ - .... '~

C#m7 Bmaj. 7

E~m7 Dbmaj . 7 I I I I = _, rt

I I I I - ..

Gmaj.7

- ~ ~

A~m7 Gbmajv ? I I I I A - . rr

I I I I ·~ '~ .

Cmaj. 7 ,, ,., , ... ..

I I I I - - I I I - I ~

Fmaj. 7 . ,., .

F#m7 Emaj. 7 I I I I ,.... ,.,

I I I I • T l1 • 1

Bbma] . 7 ,....""' ,., -~ l1 • 1

Try the 7th flat 9 in minor 3rds, a nd listen. You'll soon find out

what sounds good (or someone will tell you) try Then in different

places.

52

Practice dominant chords in the cycle of 4ths. Use these extensions

9, 7b9, 7#9, 7b5, 7#5, 9b5, 9#5, 13, 13#5 13b5 13b9 13#9, 11, +7b9 +7 (7#5179) (7#5)

nb e F Bb Eb Ab

i I I I I , I , I I I ,, ¡ í I l , I I I , I , I

Gb B E A D G e I I I I I I I I I I I I I I - 11 I I l I I , , I l l I I l l

This small section is very important. lt was written simply, so that it can be easily

understood. The ability to move these chords smoothly is taken for granted by the

professional player.

Üprogressions in the cycle of 4ths.

Dm7 Gm7 c7b9 Fmaj. 7 G9 Cmaj. 7 I

I I I I I I I I I I I I I I I I I l i l l I l I i l I i

Cm7 F7#9 BPmaj. 7 EPmaj. 7 Fm7

I I 1 I I I I I I I I I I I I I ¡ 1 r 1 l I ¡ l i l ¡ ¡ i l i i

BPm7 Eb7#5 Abmaj ;? Ebm7 Ab9b5 DPmaj. 7 I I I I I I I I I I I I I I I I , , i l l i i I I l i l l I l ,

APm7 DP9#5 GPmaj. 7 C#m7 F#l3#5 Bmaj. 7 I I I I I I I I I I I I I I I I , , I I , I , I I l i l I l l l

B13P5 El3P9 Amaj. 7 Emaj. 7 Bm7

A13#9 Dmaj. 7 Am7 Dll Gmaj.7

2 - 5 progressions leading from maj. 7 to minor 7th.

(using \,5 of 5 sudstitute.)

Dm7 DV9 Cmaj. 7

' i I I I ,, .l ,, .l I , , , , , , , ,

Cm7 add 11 Bl3 .l I I I , I I I

Bbmaj , 6 BVm9 A9#5

' I .l .l I I .l I I I , , , , , , ,

Abmaj , 9 I I I I , , , ,

Avm9v5 Gl3V9 6 F#m7V5 F7V5 Emaj. 7 add 13 Gbmaj , 9

' I ( I I I I .l ./_ I ( ( ( I ( .l ~ r y- I'.: r y- , r ; , l r i y- l r: ,

Em7#5 EV9#5 Dmaj.7 Dm7 add 13 DV13V5 Cmaj. 9 add 13

' l 11

-;, I I I .l ( I I ( .l I ( I ( I r: y- y- r r , r r l r r: l r , r l

For turn-arounds and ending , other commonly used cycles can be used in place of

9ths. Bl3 Bbl3 C#m7 F#7b9 Bm7 E7b9

EV9 Ahmaj , 7 D~9

Bbmaj . 7 Evmaj. 7 Dbmaj , 7 .l I ,, l

1 I l I I

i i , , I , I I

Cmaj.7 C6 F9 Fmaj. 7 Cmaj. 7

,, I I , r , Ab 13 D7b9

Am7 Gl3 Db9 Cmaj.9 +11

Emaj. 7 A9

Dmaj. 7 G9 Amaj.7 Gmaj. 7

I l I l I ( ( I l l 1 l I , l I I

Am7 . B9

Gbmaj , 7 Bmaj. 7 Cmaj. 7 I I I I 1 I I , y y ¡

54

11

Minor 7th's in the cycle of 4ths.

' Cm7 Fm7~5 BDm7 E1'm7D5

i I I I I I I I I 1 l I I I ¡ I , ADm7 D1'm7D5

I I I I I I I I

' GDm7 Bm7D5 Em7 Am7D5 Dm7 Gm7D5

I I i I I I I I I I I I ¡ l ¡ I I I I , , l I I

Cm7

l 1 I I I fl Optional last chords -the turnarounds can be used to go back to the begin ning again.

Gl31'9 Cmaj. 7¡,5 Cmaj. 7 = More turn arounds =

Fmaj. 7 Fm7 Em7 Al31'9 Dm7 I I I I I I I

I I I I I I I r .

C13 D.G. ti" , I ¡ .y 1 ¡ I

f Cmaj . 7 F9 BD13 Ep9 Ap13 DD9

j Cmaj.9

I I I I

1 I I I I , l l j , , j l 11• I 11

I tr: r 1 j

t Cmaj.7 B71'9 Em7 A71'9 Dm7 G7D9 ª Cmaj. 9+11 I=

C6 E7D9 Am7 D9 Dm7 DD9 f~ t1: Fmaj. 7 G~maj . 7 Gm 7 C9 Am7 D7D9 G13 G1'13 Fmaj. 7¡,5

t1·, , , , 1 I I I I

1 I I I I j , , , I I I I I u: l Y I

Fmaj. 7 Emaj.7 E1'maj. 7 Dmaj. 7 Dbmaj. 7 Gbma] . 7 f.maj.: -1:/ 1 I l

11 .( < I l 7 < .(

l l r l r: l ., t: f. . l -¡::_ 1

Fmaj. 7 F9 Bbmaj . 7 E1'9 A maj. 7 A1'm7 Gm7 C71'9 F~ ,l., , ' I l. I I I I I l í I .( I f I r: ., r r r r r i r r: l_ r: r ·l r

'maj.7 Gm7 Amll A1'71'5 Gmll G1'71'5 Fmaj.7~

~ l l l. l l l l I I l I I I I 1· l l I I l l I I I y t: l r r r r ·i ;

At times the 4 majar 7 or 4 dominant can be used far the one chord.

Cmaj.7 (can\ \become} Cmaj · 7 Fmaj. 7

- - - - - I I I .!:' .... , 'I .... , I I I I I I I I ... ~ ..

F9 Fmai. 7 Em7 Dm7 Cma i. 7

_, rr ,.,., , ., ,.,., rr .. rt ~ ·"- . .L' .LV .L.I .

F'ma] , 7 Bbmaj . 7 Fmaj. 7 I I I I I I I I w

I I I I I I I I J "

nbia BDmaj. 7 Am7 Gm7 Fmaj. 7 ,.,., . ,., ....,._ n • ,., - ,., .L' ~ . .JV.L ~ 1 ,

Bbmaj . 7 Ebmaj. 7 Bbma] , 7 I I I I I I I I ,., ...... - I I I I I I I I ,.,, ~ . . " ~ • 1

etc. - Eb9

Ebmaj. 7 Dm7 Cm7 Bbma] . 7 ~· 1.11..--. •a ' , __

~v . ~v ... - ~ ~

Ebmaj . 7 Ebmaj. 7 Abmaj. 7 I I I I I I I I . ,., - - I I I I I I I I ~ ~

Abmaj. 7 Gm7 Fm7 Ebmaj, 7

- w 'T '"' ~ .. .... T I "

Abma] , 7 D~maj. 7

- . - - - - - - - . .. ,., I I I I I I I I -· .~ . .

Dbmaj. 7 Cm7 Bbm7 Abmaj .. 7 ~ ~ - . ., ~ rr ,.,., ,.., . ..., .. ~· "" ~

Dbmaj7 nbmaj. 7 Gbma.i. 7 I I I I I I I I ,., - - - - - - - . - - TI/ ~ - 1 • 1

"

Gbmai. 7 Fm7 Ebm7 Bbmai. 7 - ,., ,, n ,.,., ,., -· - " ~ • 1 TV .LU .L'

Gbma] , 7 (can became) Gbmaj . 7 Omaj.7

Gbma] . 7

Bmaj. 7

A~m7 dmaj.7 B~m7

Bmaj. 7 Emaj. 7

Emaj. 7

C#m7 D#m7 Emaj. 7 Bmaj. 7

Emaj.7 Amaj. 7

Amaj. 7

Dmaj. 7

F#m7 G#m7 Amaj. 7 Emaj. 7

Amaj. 7 Dmaj .. 7

Dmaj.7 Gmaj. 7

F#m7 Gmaj. 7 Em7 Dmaj. 7

Gmaj. 7 Gmaj.7 Cmaj. 7

Am7 Gmaj. 7

Cma.i.7

At times a dominant 7th chori can be used in place of a m7 using the same root,

thereby enriching the Harmony - dom. 7th being the stronger chord.

D9 G13

-~-H--(-~~,~-,~-,~-,~~i-~-;1-ª-~-;7~/-~{-~~ªnbecome)~ll~-~-9~/-~~-:-9~/~~-/~-/~-,~,-,~

Gm7

Dm7 G13

C13 I I ¡ I

Cm7 F13

Fmaj. 7 G9 G9

C13 GD9 Fmaj. 7

I 1 I I I I 11 11 I I I I 1 I I r 1 r 1 , l l r r r 1

Bbma] , 7 C9 C9

F13 B9 BDmaj. 7

I I r 1 I I ¡ ¡

BD13

I í I

BDm7 ED13 I I y I l l

Ebm7 AD13 I I

I I r 7

ADm7 DD13 I I r ,

C#m7 F#13

F#m7 Bl3

~Cllll

1 I I I I 11 11

I I ,' 1 r r 1 I 1 r r 1 l l

EDmaj. 7 BD13 E9 Ebma] , 7 F9

1 I I I I 11 11 I I l

1 I I I

I I 1 I r r r 1 I Y I

Abmaj . 7 ED13 A9 Abmaj . 7

1 I I I I 11 11 / 7 I I / / r r 1 l r 1

Dbma}, 7 AD13 D9 Dbmaj . 7 Eb9

l 1 I I I 11 11 I

l I I Y I

I I I I 17 ~ 17 ¡ I

I

Gbmaj . 7 DD13 G9 GDmaj. 7 Ao9

I I I 11 11 / I I I I I I I I ¡ ¡ l Y I I ,

Bmaj. 7 F#13 C9 Bmaj. 7 C#9

I I 11

I I I ¡ I l I 1\ 11

I 1 r , I 1 ¡ ¡ l , r ,

Emaj. 7 F#9 B13 F9 Emaj.7

, \ I I I I ~ \\ I I I

r l M / I y l r ,

Em7 Al3

Am7 D13

Amaj.7 E13 BD9 Amja.7 B9

1 1 1 I I 11 11

I I I I I I I I r r r 1 r , r , Y I ¡ ¡

E9 Al3 Eb9 Dmaj. 7 Dmaj. 7 E9

\1111\\ 11 I I r 1

I I r i I I j I j I j

Gmaj. 7 A9 A9 Gmaj. 7

D13 AD9

I / I I 11 11 I I r i

I I r 1 I I ¡ ¡ I ¡ I

l

58

Practice, listen and learn-persistence pays off. In fact, it accounts for a lot

of what is called talent. We haven't scratched the surface of music yet, but I

hope you've enjoyed experimenting with these basic rules. Let your ear

guide you to the substitutions that are most pleasing and accepted among

jazz players. Applying all these rules should put you on a professional level.

Remember, they apply to comping as well as soloing. Here are sorne of the

most often played jazz chord progressions in their basic form, followed by

the same chord progressions as they may be played by professionals. Peruse

these and then try writing sorne improved changes to other tunes using

these and the other rules as guidelines.

A good song writer is not necessarily a good musician. He may write

great melodies but often sketchy chord changes. Any professional musician

knows this and automatically reworks the tunes as follows. Many options are

included here-use your ears and edit accordingly-your own musical taste

will govern which chords are right for you. Don't try to use them all at once,

clutter is tasteless. Comping is the art of flattering and inspiring the soloist.

Play chord fills when the soloist is holding a note or resting. When he is

playing lines, try to keep your chords in the middle register ( or low) so that

your top notes don't conflict with the solo lines. Use sorne enthusiasm to try

to inspire the soloist. Think about how díffícult it is for you to get inspired if

the musician comping doesn't get enthusiastic or flatter you. Jazz is a

sensitive exchange of feelings and ideas. Inspire each other! Remember

feeling, compliment and feed each other!!

DPm AP Bº

BPm EP7 AP Basic

Fm f ¡,\li !l

DP G7 e

Cm Fm BP7 E

D7 G

D7 G

Am6 B7 E e+ C7

Fm BPm EP7

E~7 ILA~

12. A~

60

Fm(9) BDm(9) Fm7 Bb7 ED9 ED7D9 Abma] . 7 AD6

',~ p l 9fií.:19liffi(maj .7) 9fií.:17 9fil:íé 1 ª!4 §~3

11 Al3 !z e Fm Fm(maj.7) Fm7 Fmé

DDm7

DDmaj. 7 Dm7 G13 Cmaj. 7 Dm7 A13o9 G1~D9 Em7 A7V9 Dm7 G7 9

D~~ n&maj. '7 n&s 1

E&9 Dmí'&5 n&9 11

F9

B013 6

Ebrnaj. 7 Cm7 Fm7 E9 EOg

~mn t!m!J 1 Fmll Fm9 1 E m:aj .9 E&6 11

Abmaj . 7 Ao6 Am7 D7b9 Gmaj. 7 Am7 Bm7 E7D9

i~~j.í' 1 ~iii~~ ~ $~5 ~~~et~. 11 C13

Am7 D9 Am11 Ao7o5 Gmaj. 7 Am7 Bm7 Em7 Fm7

Am'7 Mm'7 I 11

F~m7 B1309 Emaj. 7 ~ Emaj. 7 Gm7D509 C+7b9

FimH €13 Bl3 E9 11

Fm9 Fm7 BDm9 Bom7 E o sus E07D5 Abma i. 7 Ab6

F m (maj .]') FmG 1 Bbm(maj .í') B&me& Bbmí' ft7&9 11

DDmaj. 7 Dom7 Go13 AD Cm7 Bo7D9

Bom7 DDm7 Gb9 Cm7 F9 Bm7 E9

n&~ 1 c&13sus c&rn Bm'7#5 ET#9 11

C+7#9 C+7b9l

Bbm7 Eo9 Bbm? Eo7o9(+11) l t.Abmaj. 9 Aom9 Gm9 C13o9

Amaj. '7 1 itl1 Gm7~a gtt; =11

Abma] , 7 D7D5D9 Gm7 C7D5D9 G7b5D9

12.Afima). 7 B13 Ema) .7 A+11 Amaj. 705 !";\

1 1 11 A&mai.7b Emaj. 7 \!/ . D ªbo1n . ªJ .7 Amaj , 7

Bmaj. 7 Abmaj , 9 Add any alterations & extensions to final chords.

Basic F A~ D~ B~m7

C7 F

B~m7 E~7 A~

Gm7 C7 F Gm7 C7

F B~m7

C7 F F7

C7 F

C7 Gm7 C7

62

Options Dm7 Fm7

Fmaj. 7 A13~9 Ebm7 Al3 Abl3 Db 9 Dbaj. 7 Db6 Gbmaj. 7 Gb6

Gm7 C7b9 Fmaj. 7 Dm7 G7b9 Cm7 F7b9 C9 Gm7

GH3 B13

Eb7b9 Bbm7 Eb9sus Pbmll Eb7b5 Abmaj. 7 Ab6 Dbma}. 7 Bbm7

A9b5 1 ~:3 1 6~m9 A13

~ Mix them up! Play around with the tmnarounds.l 7 ~13 G13 Gb13

Gm7 Cl3 Gm7 Cl3b9 Am7 D7b5 Gm7 C7b5

Fmaj. 7 Fm7 Ebm7 Abl3 Dhmaj. 7 Db6 Gbmaj. 7 Gh6

fmaj.7 · Fmi' Pib 53&™ ~~13D9 1 1 (Gm7) E9 Em1Al3

C13b9 Gm7 bg

Dm7 G7b9 F7b9 Gm7 C7b5 Fmaj. 7 Cm7

Bbmaj. 7 Am7 Gm7 C9

D~~~)

Gm7 C9 Gm7 C7b9

Gbl3

Abm7 Am7 Dm7 G7b9 Db9

Fma j. 'T A'I&9 Dm"l 1 Gl3 G±'i

11. F6 Ab7b9 G7b9 Gb'7b9

Fmaj.7 A7b 7 Dm7 G13 Gbmaj, 7 [2:- Eb9 1)/,9 re\ Fmaj .7 Bbl3 Ebmaj .7Abl3 Dbmaj .7 Gb13 Fmaj, 9

pnaJ1B&oiaj.'i !~;.1' tfa;.~ n~mai.7 G~ma;.7 F~ 111 j

Fmaj .7 E7b9 Am7 D7b9 Gm 7 Gbmaj. 7 Fmaj .9b b 5 b5

Original mues

5 chord F7

opt. (E~7) B~ F7

@

1 chord B~

4 chord E~ BV

B!16 EV9 BO Gm7 C7~ F m7 B13 B~13 E9 B~13 E9 E~9 B13 Bhmaj.7 Cm7 Fm7 B~13~9 Bm7(b5) E7b9~ Abm7 Gbm7 E9 Bhmaj.7 Fm7 BV13 li> Am7 -n7~9 - f+Gm7 -c7~9 - t+ Fm7 --B~V9 B~maj. 7 ~ Ehmaj. 7

1

f+ Dm7 Cm7(F7b9) Bm7 E9 - - Am7 Ahm7 Gm7 Ghm7 Fm7 E9 Cm7 F9

@) Ebm7

(Q (i) Dbm7

<D Eb9 Abl3 Dm7 Gl3 ct ia

BV13 A13 A~13 G13h9 E~9 Eb9 Bbº Bhmaj. 7 Cm7 Dm7 Dhm7 E~maj. 7 B13 B~13 A7~9 Dm7 G7h9 E~9 Ehm7 A~13 Abm? D~9 D~m7 ct ia

Em7 -A13 Dm7 G13 DVm7 Gh13 - - B 13

@) C9(13)

@ 0 @ Gm7

Dm7 G7~9 Cm7 B maj. 7 Gm7 C7~9 Cm7 F9 Cm7 F7V9 Bb maj.? Gm7 Cm7 F9V9

F#m7 B13 Dm7 G7~9 B13 F13 Dm7 D~9 Cmll B7V5 Cm7 F13 Dm7 DVm7 Cm7 B9+11 Gm7 C9 Cm7 F13~9 Bbma] . 7 D~13(h9) C13(~) B13(V9)

Bbmaj, 7 Ahm7Dh9 G maj. 7 B9+11 Db mai, 7- -Gma·. 7

Blues Subs ~ v

A~13

Still basically 1-4-5

©

J J These are sorne typical options for the Jazz Blues. Combine them with each other to make untimited variations. Again, use your ears be experimental but sensitive.

' 64

For Ali Instruments THE JAZZ PLA YER'S HANDBOOK

EXTENSIONS ANO ALTERA TIONS

RULE 1:

A jazz player never uses a pla in majar chord or a plain dominant 7th

except for eff ect. A C Majar chord can become: C6, C Majar 7, C Majar 6 add 9, C Majar 9, C Majar 7 &5, (C Majar 7 aug. 11,) C Majar 7 add. 13, C Majar 7 #5, C Majar 7 add. 6 add. 9, C Majar 9 ~5,(C Majar 9 #11,) C Majar 7 #9 # 11, C Majar 7 ~ 5 ~9, etc.

A C Minar Chord can become: Cm6, Cm add (major 7), Cm add, 9, Cm (add. major 7 add , 9), Cm ~5, Cm (majar 7) ~5, Cm #11, Cm#ll (add , major 7), Cm6 (add.major 7), Cm#5, Cm6 add. 9, etc.

The C dominant chords become: C9, Cll, Cl3, C7~9, C7#9, C7~5, C7#5, C7#5P9, c7&5#9, C7#5#9, C7P5P9, C9P5,(C9+11,)C13 add. 11, Cl3P9, C13#9, C7sus. 4, C9sus .4, C13P5, C+7, C+7&9, C+7add9, C+7#9, etc.

SUBSTITUTIONS

RULE 1:

Diminished chords become 7th 9 chords by using them over a root a half- tone lower than any note in the chord. Each diminished chord provides

4 7th l>9 chords-taste will decide the choice. Example: e diminished chord (o) e o EPº F#º A o

~ ~ ; ip ~ i i i

B7~9 D7P9 F7P9 AP7P9

The Majar scale is harmonized in four note chords. For purposes of substituting and transposing, that harmonized scale should be memorized by chord names and numbers.

Example: Key of C Majar - Transpose to all keys.

CMaj7 Dm7 1 2 8

Bm7P5 [Bi'l 7] C maj.7 7 8/1

FMaj7 G7 4 5

Am7 6

Em7 3

RULE 2:

(3) minar 7th Chords and (6) minar 7th chords = the (1) Majar chord.

Example: Em7 + Am7 = CMajor7

RULE 3:

(2) minar 7th chord contains the (lowered 7th) and can therefore be used as the (5) dominant 7 (Befare, after, or in place of the dom, 7th) Example: Dm7 = G7 1 G7-Dm 1 Dm7

RULE 4:

When the (2) minar 7th chord is placed befare the (5) dominant 7th. Chord a 2-5 chordprogression is created

Example: Dm 7 (2)

G9 (5)

CMajor7 (1)

Bass line moves in 4ths (D-G-C)

RULE 5:

When C four beats and G7 four beats is Iound , combining rules 3 a nd 4 will give you the very common 1, 6,. 2, 5 progression.

Example: CMajor7 Am7 Dm7 G9 1 6 2 5

A variation on this is the 1, 3, 2' 5.

Example: CMajor7 Em7 Dm7 G9 1 3 2 5

RULE 6:

The flat (5) dominant 7 chord of the dominant 7th chord can be used in place of the 5 dominant 7th.

(to) CMajor7 (1)

Example: G7 (5)

v.s.

66

5 of 5 = G A B C (D\ 1 2 3 4\_V

add a flat to create the Db9 flat 5 of 5

to CMajor7

r» dominant is the flat 5 substitute of G dominan t. This is also called a tri tone sub-the

tri tone being achieved by counting up 3 whole tones from the root- 1 2 3

Dm7 Db9 CMajor7 r G-D-E-~~ 1

Bass line moves chromatically (D-Db-C)

RULE 7: A minar 6th chord leading to a dominant 7th chord one whole root tone above (Gm6 to A 7V9) is misspelled. It should be (5) minar 7th V5 of the dominant 7.

Example: (Gm6 to A 7b9) should be Em7b5 to A 7b9.

Gm6 and Em 7V5 have the same notes but a different root.

RULE 8: When leading to a minar type chord, always alter the dominant 7th befare it. Example: (G9 to Cm)

G7V9 to Cm, G7#9 to Cm, G+7(G7#5) to Cm etc.

Remember to combine rules. Always play all of your choices, then decide on the ones you like. Keep the melody in mind and use your ear ! !

Remember that any chord with a flat 7 in ít is a leading chord and any chord with a majar 7 (natural 7) stops the harmony. The (2) m7 or (5) dom 7th determine your tonal centers. They both lead to 1 which is your tonal center.

Example: Dm7, G13 bring you to C Majar (C minar).

Many chords have the same notes and become different when used wíth diff erent bass notes or placed in progressions in different ways.

Example: G6 and Em7 are the same chord. GMajor9 and Bminor7 are the same chord. Gm6 can be C9, Em7V5, Gb+7b9, Bb6b5, Db9, can be Eb9 sus.

A minar 11 (no 3rd) can be used for Dll or D sus.

C7V5 can be used far C7+11 or Gb7+11.

Gmin. 9 = Bb maj.?

Cm maj.7 = Gb+, D+, B+

Gm6= C9

Em7b5

etc. These are but a few examples. Try to find more. They are

l 68

The düference is in what the chord is moving to, or what is being used in the bass.

Minor third intervals also play an important role in substituting.

Example: C7, E~7, G~7, A 7 can all lead to F major.

RULE 9:

Dom. 7th chords a minor 3rd apart sub for each other.

The same holds true for minor 7th chords.

Example: Gm7, Bb7, D~m7, Em7 all can lead to F.

Also Major 7th chords can move in minor 3rds.

Example: Gm 7 leads to Fmajor7, Abmajor?', Bmajor7, Dmajor7.

Try 7th~ chords in minor 3rds and listen. You '11 soon find out what sounds good.

Play dominant chords in the cycle of 4ths then play 2 - 5 progressions in the cycle. Use major 7ths in place of sorne or all of the dominant 7ths in the cycle of 4ths for resolutions, etc.

RULE 10:

At times the (4) major 7 or (4) dominant can be used for the one chord.

Example: Fmajor7 or F9 in place of Cmajor7.

RULE 11:

At times a minor 7th can be made into a dominant 7th using the same root.

For thorough knowledge everything should be practiced in the cycle of 4ths. It'll take a while but it will certainly be werth it. There should be no favor- ite key. They're all musical and should be used as such.

All of these rules apply to the scales and arpeggios for improvising as well as chord playing.