Tag Archives: chord progressions guitar

How To Create Beautiful Chord Progressions

Functional Harmony is almost a secret weapon when it comes to reharmonizing or creating great sounding chord progressions. In Jazz, we sometimes forget that just understanding basic harmony is a very strong tool for creating new sounds, and in this video, I will show you how you can mess around with a simple II V I and get some fantastic results.

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Content:

00:00 Intro

01:07 Diatonic Chords in major

02:14 Progression #1 – bVImaj7

02:49 Minor diatonic chords and Modal Interchange

05:00 Progression #2 – Tritone substitution

06:12 Don’t limit yourself to substitutions

07:03 Progression #3 – Ending in the Wrong Key

09:00 Understanding Modulation a Pivot Chords

09:34 Progression #4 – Another Dominant Alternative

11:20 Reharmonization with only Maj7 chords

11:34 Like the video? Check out my Patreon page.

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Great Chord Sequences And How To Use Them In A Solo

There is a great way that you can create new lines over a chord progression which is a simple way of changing the chords and outline other chord sequences. This way you get more movement in the lines and another logic to the melody. And checking out a few of those options on basic progressions like a II V I or a static chord can add a lot of variation to your solos.

In this lesson, I am going to show you a few examples of this. Some are staying within the key and others add a few outside sounds, and later I will also show you how this works if you open up the rhythm a bit.

The Basic Chord Progression and Concept

To show you how this works, first we need to set up a key and a II V I to work with.

We have a basic II V I in G major: Am7 D7 Gmaj7 and often if I play these chords then I can also get away with these chords: Am7 Bm7 Cmaj7 D7 (see example 2 below)

Using this progression in a solo

If I do that in a solo in a really basic way then that sounds like this:

You can hear that the comping is just playing the II V I, but it still works and a freer solo line that still sounds like this: could be something like this:

As you can see I am still using the super-imposed chords (short rundown of the arps)

A Modal or Static Variation

You can hear that I am using the direction of the “alternative chord progression” to give the line a specific direction that works great, almost as a counter-point to the comping underneath.

And of course, the same concept used on a static Am7 chord works as well:

More Diatonic Reharmonizations

The previous example was moving up the scale, and there is a very easy way to use the same principle and move down through diatonic chords like this:

The Ab7 is there because it fits in the descending motion, but a D7 would work as well, of course.

Strong Triad lines

A good way to clearly use the descending movement on top of the standard harmony is to use basic triads like this:

Adding Chromatic Passing Chords

There are two obvious ways you can add a chromatic passing chord in this context, namely using a side-slip up or down.

The two examples below shows how that might sound:

And if you translate these into solo lines:

Example 10 using a Bbm7:

And example 11 using Abm7:

More Creative Rhythms and Polyrhythms

Until now the chord progressions have been used as if the chords are placed on the heavy beats of the bar. This is of course what you usually find with chord changes, but when you solo you can be a lot more open and have more fluid barlines.

These 3 examples have a more open approach to the rhythm and also make use of polyrhythms.

A loose Bbm side-slip

Example 12 is a more loose way to quickly insert a Bbm7 line (actually just a Db major triad) and here it almost sounds like an added Eb7 in the context.

The triad is introduced by moving up the preceding C major triad a half step.

Dotted Quarter note arpeggios

The example below uses the Am7 Bm7 Cmaj7 D7alt chord progression, but the melody uses a 3 8th note long melody for each of the chords.

Another great 3 8th-note grouping

Again triads are a fantastic resource to create melodies. This example is using the basic triads of the chords and spelling out the Cmaj7 Bm7 Am7 Ab7 chord progression. The last two beats are covered with a quartal arpeggio that is essentially an Ab7(13).

Level up your Jazz Lines with Bop Embellishments

Another great way to add more variation to your jazz vocabulary is to use more interesting phrasing:

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How To Make Chord Progressions More Simple

Some of the most common ways people tell you to reduce chord progressions are very likely to work against what you hear and the music you are trying to play. You need to apply the right type of harmonic analysis to not end up with complete gibberish when you reduce jazz chord progressions.

In this video, I am going to show you some of the places you can reduce the number of chords and talk about when that is possible.

Check out more Essential Music Theory for Jazz

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Why You Want To Think in Functional Harmony

The 10 Types Of Difficult Chords In A Jazz Standard

Content:

0:00 Intro – Using the Rules wrong.

0:28 Not only to make it simple but also to add possibilities

0:41 The II V I rule – A little theory goes a long way

1:15 #1 The Turnaround (almost a lesson on Rhythm Changes)

2:05 Functions AND chords

3:23 Listen to the reduced progression

3:40 Applying this to a Solo – Charlie Parker

4:22 #2 The II V Rule – When It doesn’t work and why

4:39 II chord or I chord? Wes Montgomery

5:33 III VI II V troubles

6:40 You want to end up with a logical progression

6:55 #3 Confirmation of a Parker Bles – Gone Slightly Wrong

7:45 When it is a little better..

8:35 #4 Tempo and Harmonic Rhythm

9:02 Ballads and Slow changes

9:41 #5 Other Progressions to Reduce

10:04 Embellished I [V]

10:52 Tonic chord filler

11:50 Did I forget some progressions?

12:05 Like the video? Check out my Patreon Page!

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Can You Do This On The Chord Progressions You Know?

You practice improvising jazz solos over progressions and spend hours or days learning to solo over songs. One thing that we mostly leave almost random is when do we know it. How do you answer if you know a song or a chord progression? Having a way of judging how well you know a song is very important but also difficult to really describe.

In this video, I am going over 4 exercises that I use and that my students use to learn chord progressions. Two are technical and two are more about being musical and working on playing what you hear.

I find that learning Songs and Chord Progressions is extremely important for learning jazz or jazz guitar, so if you have any thoughts on when you know a progression or exercises that are useful then please leave a comment.

Content:

0:00 Intro – When Do You Know A Chord Progression?

0:37 4 Exercises – Two Technical, Two Musical – Know what there is and Play What You Hear

1:15 The Turnaround – Scales

1:52 #1 Only Using The Arpeggios

2:25 Basic Technical Exercise

2:45 Solo only using Basic Chord Tones and Arpeggios

3:27 #2 Never Ending Scale Exercise

4:24 The Scale version

4:51 Using Diatonic Arpeggios instead of the Scale

5:11 The Diatonic Triad version

5:52 #3 Rubato Solo from chord to chord

6:24 The Exercise and the Goal

7:01 Giving you time to listen to what you hear in your solo

7:36 #4 Motif Exercises

8:16 Learn from Wes Montgomery

8:42 It is a great measure of how free you are on a progression

9:04 Hearing motifs and then playing them.

9:27 What Exercises do you find very useful? Leave a comment!

9:46 Like the video? Check out my Patreon Page!

Improvise using Target Notes

One of the core ideas that I used when I learned how to improvise over chord changes was using target notes. This method took me from working on Rhythm Changes to Giant Steps. It is such a strong concept that it will help you deal with any progression.

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Modal Interchange – Chord Progressions with Beautiful IVm ideas

Modal Interchange is a great way to make your Chord Progressions more interesting and surprising. With Modal interchange chord progressions can borrow colors from the minor key that are surprising but still make sense to the ear and have a natural place in the harmony as you can see in the examples I reference from both Pop, Rock and Jazz like Radiohead and Deep Purple.

One especially interesting and beautiful version of this is using IVm or minor subdominant, which is the topic of this video. I will go over 5 types of minor subdominant or IVm chords and use examples from songs so you can hear how they sound and in that way get a better impression than just the theory.

Content of the video:

0:00 Intro

0:47 The basic IVm and that one important note

1:00 How a IVm chord works in a major key

1:37 #1 Basic IVm chord progressions as a transition and independent chord

2:14 IVm Example 1 – Radiohead

2:52 IVm Example 2 – Radiohead

3:09 IVm in Jazz, extensions and scales

4:28 #2 bVII – Backdoor dominant

5:55 bVII Example and Scale choice: There Will Never Be Another You

6:39 #3 IIø or IIm7b5 – How it works

7:25 IIø Example: I Love You

7:55 #4 bVImaj7

8:30 bVI Example in a cadence: Night and Day

9:07 bVI Example as an independent chord: Triste

9:43 #5 bIImaj7 – Neapolitan Subdominant

10:44 bII Example: You Stepped Out of A Dream

10:57 bII Example: Suspending the Tonic chord

11:40 bii Example: Deep Purple

12:29 Working with modal interchange and learning to use these chords

12:51 Do you have great clear examples of IVm chords? Leave a comment!

13:26 Like the video? Check out my Patreon Page!

Jazz Chord Progression – Knowing the blocks that make up the Jazz songs

A Jazz Chord Progression is made up of smaller blocks of progressions. This video will go over the three most important types of blocks or progressions that you need to know in order to understand the chord progression of a jazz standard. These will help you memorize and play jazz songs and make it possible for you to get better at sight-reading jazz lead-sheets.

Content:

0:00 Intro – Thinking in blocks of chords – for memorizing and transposing

0:28 The three building blocks that cover most jazz standards

1:06 Block 1 – The Key and the basic cadence

2:10 The Turnaround – creating a loop

2:52 The Substitute for the Tonic: III VI II V

3:14 Block 2 – Secondary Cadences and dominants

3:42 List of Cadences

5:12 List of Secondary dominants

6:00 Block 3 – Subdominant chords in major

6:25 The Country version of a IVm chord

7:15 Common variations of IV IVm progressions in Jazz

8:40 Why think in blocks or groups of chords?

9:15 Did I miss a progression or a chord? Leave a comment.

10:07 Like the video? Check out my Patreon Page