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The Basic Jazz Chords That You Can Expand into Amazing Sounds

Wouldn’t it be great if you had some Jazz Chords that are easy to play so that you can use them to play songs and progressions? Something that also works as a starting point for a lot of beautiful grooves like Bossanovas, and chords & Walking Bass.

You do actually have chords like that. They are called Shell-voicings and they are great for playing a lot of things, they can teach you about harmony and you can expand them to make it easier to learn some more complicated jazz sounds.

What is a Shell-voicing

Shell voicings are called this because they are 3-Note versions of 7th chords. A 7th chord is of course 4 notes, 1, 3rd, 5th and 7th and for the shell voicings we leave out the 5th:

And you can place them in a very clever way on the neck. For a Cmaj7 you have two versions:

C E B with the root note on the 5th string

and the one where you have the root note on the 6th string and flip around the 3rd and 7th: C B E:

 

Notice that this splits the strings so that the root note is on the 5th and 6th strings. The core sound of the chord, so 3rd and 7th are on the middle strings, and you have the top strings free so that you can later add extensions and alterations or use that for the melody in a chord melody arrangement.

You can probably hear this is going to go places.

Exercise #1 Play songs

How do you practice these? The first exercise is to just learn some easy and common chord progressions and then use those to start playing songs. Anything that you practice and don’t put to use in a song is probably a waste of time, and practicing finding chords for a Jazz standard is a great exercise for so many reasons, since it is music, fretboard knowledge, harmony and theory

The chords I am going to cover here are:

And actually, some of them are the same shell-voicing which is a bit strange but you’ll see how that works later (highlight m6 = dim and m7(b5) = m7)

Let’s start with a basic II V I which is sort of the core progression to know in Jazz. Just like the maj7 chord you have two versions, starting on the 5th string:

and starting on the 6th string:

Like this, you can already start playing songs like Satin Doll. If you don’t know it then maybe check out the Joe Pass version which is pretty amazing.

Playing The Chords of Satin Doll!

The song is mostly II V progressions, so first you get the II V in C major, which is repeated

then you get a II V in D major twice using the same way of playing the chords.

Next, you have a II V in G major and Gb major and it sounds better to stay in the same area of the neck so here you can use the other version, before resolving to Cmaj7.

Rhythm And Groove

Of course, there is more to it than just finding the chords and playing the right notes: We need some rhythm and groove in there as well,  but luckily shell-voicings naturally are split between the root note and the chord,

 

so you can add groove to it by splitting those two and create rhythms like this:

Exercise #2 diatonic chords

Besides playing songs then a great way to explore any chord voicing is to take it through a scale. In that way, you learn some of the other chords that goes with it and i’s a great way to find new voicings.

This exercise is useful for knowing your scales and your diatonic chords, which is very important, but there is one weird spot.

For the 5th string Shell-voicings you can move them through C major like this:

And you want to try this in different keys, the other string set, and also other scales like melodic and harmonic minor

What about the other chords?

With the Diatonic chords in major then we have maj7, m7,dom7th and also m7b5

But with the m7b5 you can see an example of how shell-voicings can sometimes be a bit unclear, because

Bø and Bm7 are the same shell-voicing and that is because the shell-voicings leave out the 5th of the chord, so you can tell if it is a perfect 5th or b5th. Luckily your ear will fill in the right notes from the context most of the time.

This happens with two other, even more, different chords as well:.check out the first part of the beautiful Bossanova: Corcovado, played with Shell voicings:

Here I am really just playing the same shell voicing moved down one fret when I go from

Am6 which is A, F# C

G#dim which is G# F B.

Here it is again the 5th of the chord that makes the difference. If you look at this with the chords both having the root A, then

Am6 is A C E F#

A dim is A C Eb F#

so if you play shell voicing, and leave out the 5th, then you are playing the same chord, but again the context will tell you and when you play Corcovado then it doesn’t sound like you go from Am6 to Abm6.

Now we have all the chords except one: The Maj6.

But that is really easy. If you can play a Cmaj7

and then find the maj7th and replace that with a 6th then you have this:

and the other version is this

As you will see in a bit then using the Cmaj7 and the C6 together works really well, but there is another great sound that I use shell-voicings for really a lot:

The Joe Pass Groove – Chords and Walking bass

Shell-voicings are great for playing chords and walking bass mainly because when you play 3-note chords with a bass note then it is a lot easier to play a solid walking bass line.

I can’t start explaining bass lines in this video, but I will link to a video that shows that in the video description. Before I get into adding extensions then I want to look at another important groove to check out.

Bossanova – Beautiful Rhythm

 

One of my favorite grooves that has become a huge part of Jazz is Bossanova and shell-voicings are great for this because you can play the chord and the bass note.

This works especially well when the bass note is on the 5th string, because you can go easily get to the other lower 5th on the 6th string, and if the root is on the 6th string then you just repeat that note.

This sounds great on a song like Girl From Ipanema:

Making The Harmony Interesting

As you have seen then until now, it has been about two of the string sets containing the chords and the bass, but there is also a lot to be done on the top strings.

When it comes to playing Jazz chords then it is important to keep it practical and playable, but for a lot of the shell-voicings it is pretty easy to add extensions and color, just by looking at what is close by on the next higher string.

So if you have a basic II V I like this.

then you can add a 9th to the Dm7, a b13 to the G7, and a 9th to the Cmaj7, just by checking what is available on the B string, and that will give you this:

This is of course something you can take a lot further, but it is actually also the way you get started making chord melody arrangements and you can check out this video if you want to explore the beautiful harmonizations that you can create by making your own chord melody arrangements.

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Jazz Chords – Drop2 is a Powerful Tool

I always loved playing Jazz Chords, mostly because you don’t just play the chord. You can change it and add your own colors and movement to it.

One of the most flexible types of chords for this is Drop2 chords., and once I started working on playing Drop2 chords then it felt like I could tap into a lot of new sounds. It opened a new world for me with comping and harmony.

In this video, I focus on how you can use drop 2 voicings on a standard and give you some rules that you can use to open up how you play chords because it is that process of taking chord symbols and then turning them into beautiful music that I find amazing, but, I  will also briefly explain what a Drop2 voicing is and why that isn’t very important, but we’ll get to that later.

Let’s first just go over a basic set of chords for the song.

The Basic Chords And What To Play

The song is in C major, and the first chord is a Cmaj7 chord.

For now, I am just showing you what I am using in this video, if you want diagrams of all the inversions and string sets, then you can download those on my website, but right now, the important thing is what you can do with this type of chord. And then. In the long run, it can be great to explore the inversions as well.

Then you have a II V in Eb, Fm7 Bb,

It is practical to stay in the same area of the neck,

then it is Back to Cmaj7

Notice that I am really just playing the basic 4 note version of each chord, so the voicings just contain root, 3rd, 5th, and 7th:

Cmaj7: G C E B

Fm7: Ab Eb F C

Bb7: Ab D F Bb

Then you get a II V I in Ab major: Bbm7 Eb7 Abmaj7

Another thing that you should always try to do is to think about the chords in small groups, so II V in Eb and II V I in Ab. That is much more flexible and makes it easier to learn songs by heart because you don’t have to remember as many details. I am going to show you quite a few ways of thinking about chords that are like this and incredibly useful for being creative with chords.

Next, you have a II V in G: Am7 D7

And a II V I in C major: Dm7 G7 Cmaj7

For the turnaround I am just re-using the chords I already covered and adding a Db7.

Why Drop2 doesn’t matter

I think one of the most common questions I get whenever I talk about Drop2  is why it is called that and how they are constructed. Let me quickly show you why that isn’t that relevant for playing them.

Drop2 voicings are called like that because you take the 2nd highest note (Cmaj7 root position) and then you take that down an octave.

and you can play this in a much nice way like this (Cmaj7 drop2)

 

If you are playing chords then you have to know them, we don’t have time to think about what note is moving up or down an octave, and if you want to use drop2 voicings you need to have them in your fingers and your ears. Even if you are practicing the inversions then you don’t really think about how it relates to a closed voicing, so it is good to know but not something you really use while playing.

Let’s start putting the chords to use, because THAT is important, and that is what makes them great!

Rule #1 – Cmaj7 is also C6 and Cmaj7(9)

For “a Chord symbol is something you can interpret as” A Chord Diagram in Stone? (download cave painting and put2 chord diagrams on it)

When you play chords in Jazz then you improvise with the harmony. A Chord symbol is something you can interpret, it isn’t a static grip.

So when you see Cmaj7 then you are free to play

Cmaj7, C6, Cmaj7(9), Cmaj7(13)

And some of the other rules I will cover are about how you change the chords and add some of the more colorful extensions.

Now You can easily turn two bars of Cmaj7 into something much more interesting even add a bit of chromatic magic:  (Cmaj7 and C6 with Bb passing note

When you have all these options then you can also tell why I often just write the basic chord and don’t really spend time on the extensions. That is up to whoever is playing the chords

Rule #2 – 9th Instead of Root And Some Chord Relationships

When it comes to adding extensions to a 7th chord then one of the first ones to add is probably a 9th. For voicings with 4 notes then you need to play the 9th instead of something else, and in this case, the root is the obvious choice because it is right next to the 9th and the bass player is anyway taking care of the root.

I’ll demonstrate this with two chords and show you a useful connection at the same time: The basic Cmaj7 and Fm7 are

B-roll: sheet music replacing the diagrams and tabs

And the Root for Cmaj7 is here, so making that a D is giving us this Cmaj7(9).

On the Fm7 the root is on the B string and replacing it with the 9th gives you this:

Getting Out Of The “Grip” Of The Chord

It might seem like you have to learn even more chords to also have a Cmaj(9) and an Fm7(9), but if you look at those chords then notice that one is an Em7 voicing and the other is an Abmaj7 voicing

This is because:

Cmaj7 – C E G B – replace the C with D – D E G B which is Em7

and

Fm7 – F Ab C Eb – replace F with G – G Ab C Eb which is Abmaj7

Personally, I don’t like thinking other chords than what I am hearing, so I don’t want to think of that as an Em7, and I have become used to thinking of it as something that is both a Cmaj7(9) and an Em7 depending on what I hear in the music. But maybe that is different for you. I find it confusing to have these extra steps in between and I don’t want to think about stuff. You probably want to figure out what works for you with this.

Here you can also move with passing notes and create some beautiful movement, in fact, it works great to move both the 9th to the root and the 7th to the 6th on a maj7 chord:

The next extension that you want to add to a chord is a 13th, so let’s go over that.

Rule #3 – 13th instead of 5th

The basic chords work the best if you keep the 3rd and the 7th in the chord. If you take the Bb7:

Example (+adding examples of Bb7(9) )

For now, the root is used to get the 9th in the chord, so the next note to work with is the 5th.

You can replace the 5th in the chord with the 13th. This works great on dominant chords:

And the same process for the Eb7 can transform that into an Eb7(9,13).

The basic chord, the 9, and then the 9 and the 13.

Example Eb7 Eb7(9) Eb7(9,13)

With this you can create more movement on the II V I in Ab major by also adding the 9th to the Bbm7:

There is also a rule that sounds amazing for minor chords, I’ll get to that in a bit.

Getting Caught In The Grip of Chords

B-roll: G major, campfire, different bar chord options

When you are first learning chords then you learn a grip and that is how that chords sound, later you realize that there might be more ways to play that chord, but for Jazz, I would take that a bit further.

As you can probably tell, then you should not be thinking of these chords as different isolated things, they are more like a group, of chords. A set of options that I can use to make music. This is not so different from how you think about a scale or an arpeggio when you improvise and choose notes to put together in a solo line.

B-roll: Text Cmaj7 in sheet music, zoom in, and add different diagrams around it while blurring out the other chords.

Rule #4 – 11th instead of 5th

As you saw earlier, then you can replace the 5th with a 13th, but sometimes it is more useful to replace it with an 11th, which is a way to get a #11 on a maj7 chord and also have a very useful sound for m7 chords.

If you take the Fm7(9) that you already learned earlier in the video

then the 5th is the C on the high E string, and you can replace that with the 11th of F: Bb like this:

Besides being a beautiful chord this also gives you the chance to create some contrary motion in a II V which is when some voices move up and others down when going from chord to chord:

And using this to create a maj7(#11) is also really simple

Here’s a Cmaj7 and the 5th, G, is the lowest note in the voicing, so that becomes an F#, the #11:

And combining this with the Fm7 Bb7 you can get some cool sounds like this:

Simple Melodies – The Most Important Rule

When you are playing chords behind a soloist then it is incredibly important that you don’t get in the way of the soloist.

One of the ways to make melodic comping that does not get in the way is to focus on stepwise movement in the melodies. This ties together chords very well, and luckily is also a lot easier to play than skipping around.

It can also be a powerful tool to use short melodies that repeat through the changes creating a riff that the soloist can play over:

 

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Jazz Chords – Easy To Advanced in 5 Levels

The most fun thing about Jazz chords and comping is that you can improvise with the chords and create your own sound in the song. But when you work on this then you need to get everything to work together:

Chords, Rhythm, and Melody!

That is what I want to show you in this video.

#1 Easy Jazz Chords To Great Jazz Chords

Let’s start with a basic set of chords that you can make a bit more interesting and then add some rhythm to. You probably know these already:

I already added some color to these chords, so the Dm7 has a 9th, and the G7 has a 13th, For now, the Cmaj7 is just a basic Cmaj7 chord

These already sound great and you can use them to play lots of songs, but we need them to be a bit more flexible, so let’s throw away the bass notes:

#2 Rhythm Is As Important

Now you have some more flexible chords to work with so the rhythm is the next thing to level up.

Here’s a solid riff you can use:

This demonstrates two important things  about comping rhythms:

First: Repeating rhythms is a very strong concept, it connects to the groove and is really comfortable for a soloist to play over, and actually it is a little bit overlooked for people wanting to play Jazz. It sounds amazing to just sit in the groove with the rest of the rhythm section

Second: When you think about rhythm then you want to think in longer periods, not just a single bar or even less. Here it is a 4-bar statement that is laying down the groove and then making a variation before the next 4-bar period starts. Comping is really about thinking like a drummer and playing the form, and in fact also locking in with the drummer when you play.

With some chords and more ideas about rhythm then you can add some melody to the progression, and you can do that in a few different ways.

#3 Melody and Fills (and more rhythm)

First. you want to just use melody in the chords and then later add fills in between the chords, and check out how this next example also uses another concept for the rhythm.

Let’s first look at the melodies. Here I am using the melodies that are the easiest to add to the chord, simply what I can reach on the top string which here is the B string:

So for Dm7 and for The G7 I have the same melody notes: – and for the Cmaj7 there are two:

The point here is that it should be easy to play, and you don’t need a ton of notes, in fact being too busy will probably just mean getting in the way.

The structure of the rhythm in this example is a mix of call-response and motivic development, so you have a call, then a response. Then I repeat the call and add a different response. When you listen to the rhythm, then try to really think of them as melodies because that is how you can make that a strong part of your playing, especially comping.

Before I start adding extra chords then let’s try adding some fills, so short melodies that are not played with the chords.

There are two ways you can use these:

#1 As melodies leading into or ending on a chord (slow b-roll)

#2 Or short melodies that just add something else in between chords (slow B-roll)

They sound like this:

The fills here have different functions in the music: The first one is a scale run, and really moving to the G7, where I am now using a 2-note version of that chord. The other is more used as a color or variation and is much more arpeggio based since it then sort of takes the place of playing a chord.

While fills often sound great they very easily get in the way of the soloist so you probably want to be a little careful with using them.

Why Don’t You Write G7(13)

I often get this question:

As you can see with fills and the melodies then the sound of the chord changes, sometimes there is a 9th sometimes there isn’t so it doesn’t really make too much sense to write extensions in sheet music unless you want to force the one playing the chords to use a specific sound. That is also why you mostly stick with symbols that demonstrate the basic version of the chord and then the rest is up to the taste and skills of the one playing chords.

Let’s look at a few ways you can change chords and add some extra chords to create a bit more movement.

#4 More Chords!

A great way to keep the chord progressions moving is to add some chords that have more tension and really pull towards a resolution.

This next example uses two ways of doing that.

You can add a chromatic passing chord. There are somewhat complicated theoretical explanations for this, but really it is just about looking at where you want to go and then take a chord that you can slide into that chord.

So if you want to go to this G7 then you can come from above like this: or you can slide up to the Cmaj7 like this.

Notice that I don’t put a name on the chords, and that is because that is not that important, they are just chords that you use to get to the main chord.

The other way that you can create tension is by altering dominants which makes them have more drive towards the resolution, like this:

And an example with chromatic passing chords and altered dominants sounds like this:

Two Ways To Think About Alterations

In this example, you see a G7(b13) on beat 4 of the 2nd bar, and here I am using the alteration as a way to play a chromatic leading note before resolving to the Cmaj7. When you do this then it doesn’t really influence the soloist to use a specific scale and force a different sound on the entire dominant, it’s really just a chromatic passing note. That’s one way to think of alterations on a dominant.

The other way you can use an altered dominant is to play it for an entire bar and really use that sound which also means that the soloist should also play a scale that fits with that. This is a different sound:

#5 Secret Melodies

Until now it has been about chords and the top-note melody, but there is another secret weapon, a beautiful way to add movement in your Jazz chords: Inner-voice movement.

Instead of having the top-note melody it can be nice to have simple melodies move inside the chord like this way of going from Dm7 to G7 with a chromatic enclosure inside the Dm7 chord:

And this also works incredibly well for a static Cmaj7 chord that otherwise can be a bit boring:

In context, that sounds like this:

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New Beautiful Jazz Chords With This Powerful Triad Strategy

The best way to learn something new is to build on things that you already know. That way it is much easier to really get into your playing and more likely that you get something out of it.

That is how this exercise works and it is a great way to learn some very useful and flexible jazz chords that you can do really amazing things with.

And of course, you can also explore some that sound great and are a little more tricky to play.

Basic Jazz Chords

Let’s start with these basic voicings for a II V I and then work out how to create a lot more chords, and more importantly, chords that you can add color and embellishments to.

If we turn them into rootless voicings by removing the bass note then you get

Notice that the Dm7 voicing is, in fact, an F major triad.

And you can play Dm7 on the same string set in 3 ways by playing the different inversions of the F major triad:

And if you look at the II V I then you can see that all that is changing is a single note, C moves to B. So you can create II Vs for all the Dm7 chords by finding the C and then changing it to B:

Already here there might be G7 chord voicings that you don’t use that often, and we are only just getting started! Let’s make them complete II V I’s by adding the Em triads that are used for Cmaj7:

Exercises To Discover New Things

Usually, when you think of exercises, and maybe even practice, then it is about drilling scales and arpeggios with a metronome. Of course, you need stuff like that as well, but it is very useful to also have exercises that help you discover new things. Here, you start with chords that you know and play, and then you develop more options from that, and you can do this with any voicing or chord progression, and as you will see then we can add a lot of beautiful colors to these chords. This is not about repeating material 100s of times, it is about discovering things that sound great and then using that.

Adding More Colors And Tricks

The first thing you can do is make the G7 a G7(b9), so that it has more tension and adds more energy to the progression. This is really just lowering the A a half step to Ab:

and then you can take that through the inversions as well.

Notice that I am also adding a variation to the Cmaj7 chords because I move the 5th up to the 13th for all of them. You could also try to move it down to the #11

But I’ll let you explore that by yourself. For me, it is very important to think of chords as things you can change, not static grips so that you have some freedom to create the sound that you want from some basic chord symbols.

The Advantage of Rootless Voicings and Chromatic Voice-leading

A very common thing to play on a tonic chord like the Cmaj7 is to from the maj7th down to the maj6th in half-steps like this:

When I am playing this then that is not that difficult to do with these 3-note voicings, but if I was playing with the root then that is a very different story.

So playing with the 3-note chords adds quite a lot of flexibility or options for what you can do when playing chords. Which, as you will see, is where all the fun stuff really starts to come up.

When I was in the first few years of my study at the conservatory, then most of the gigs that I did were these long 3-4 hour standard gigs comping singers. Depending on the singer then everything from 1/3 to 1/2 of the songs was ballads. This can get a bit boring, but it is the perfect place to also develop voicings and voice-leading like this. This also helped keep it interesting not only for me but also for the rhythm section while the soloist was still happy (so that I didn’t get fired)

Jazz Chord Heaven!

Let’s try to take that a bit further, so you can start to see all the things that are possible, just starting with those 3 basic Jazz chords.

You have the 7th to 6th thing and you can also work with the 11th on the minor chord. Try to pay attention to how the sound changes when the movement is in different parts of the chords.

What is happening here is often referred to as inner-voice movement, and it is a beautiful way to embellish chords and add some interesting twists and turns that keep the harmony flowing in a nice way.

You also want to notice that I don’t rely on a static fingering for the chords, but instead try to find a solution that helps me play what I want to play. That can be really useful to keep in mind so that you are not stuck with only being able to play a chord in one way.

You can of course also take ideas that start with another inversion like this one:

 

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Easy Way To Make Your Jazz Chords Sound More Interesting

Just playing Jazz chords isn’t enough to make it sound great. You have to know how to make it interesting and keep the song moving.

In this video, I am going to give you some really easy examples that you can make your chords sound a lot better, stuff that helps you sit in the groove and keep things moving, and it is a simple trick that is more visual than a lot of complicated music theory.

A Basic G7 Voicing

The basic technique that I am using in this video and develop into a lot of great ideas is extremely simple. For a G7(13) chord like this:

You can add a harmonized chromatic melody to this chord like this:

And the rootless version of this which is often a little more practical.

What is happening here is really just that I am playing a melody going down in half-steps and then the chord use the chord on the D, the last note in the melody as a way to harmonize the note leading to it. In that way everything just slips into place and it is also very easy to play.

And this works for other chords as well, not just dominant chords, let’s check that out.

Chromatic Passing Chords on a II V I

Here you can hear how it also works on the II Chord, and of course, you can also use it on a tonic chord like this:

Here I am using a Db6 to get from the Cmaj7 to the C6

Another Great Trick With Chromatic Chords

Now you have one way to harmonize chromatic passing notes, but there is another one that is also pretty easy and works just as well and even makes

In bar 3 I am playing a melody that moves down in half steps, but instead of harmonizing it with the chord a half step above then I shift the first G7(13) chord down a half step, and then the lower part of the chord moves up and the melody moves down

This means that you now have two ways to create some chromatic melodies with chords. Let’s try that out on a few chords.

Exploring More Melodies And Options

To give you a way to get this into your playing let’s go over how this works on a few chords.

If you want to move from this voicings to this voicing:

If you use these two options then you can start with a voicing like this (1st chord in example 6) and then there are two ways you can move the melody down in half-steps:

With the starting chord, you have two ways you can move down, you can use the target chord as we did in the beginning, and you can also start by shifting the first chord.

Here’s another version. If you go from then you have these two options: 7a then there are these two ways to do this:  

Putting this to use on a Jazz Standard

You can put this to use on a song like Ladybird like this. Try to see if you can analyze what is going on.

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Diatonic Chords Exercises – The Most Useful & Important

Learning The Diatonic Jazz Chords for any scale is an important part of exploring what harmonies and melodies are contained in the scales.

In this video I am going to go over how to construct diatonic 7th chords and a few exercises to help you learn and play them. This should help you get started playing songs like jazz standards.

It is also very important to realize that the diatonic chords are the same as the diatonic arpeggios and you need to know and use your solos.

Constructing Diatonic 7th Chords

To construct the chord let’s first have a look at the scale:

For each note in the C major scale we can stack thirds, which is like taking every other note in the scale:
C: C E G B = Cmaj7

D. D F A C = Dm7

E: E G B D = Em7
etc.

If we play these then you get these chords:

More Playable Jazz Chords

The Chords in example 2 are a bit tricky, but you can easily play the same chords using these voicings.

The chord voicings are what is known as Drop2 voicings, which is not essential in this context but you can check out more here.

The order of the Diatonic chords

This row of chords is the same for all major scales, so you want to remember:
maj7, m7, m7, maj7, 7, m7, ø, maj7

Adding Another Set of Chords

I am going to use these chords for the exercises, but it is practical to also have a set of diatonic chords with the root on the 6th string. The lowest note on the E string I am using here is an F, so I am starting with F which is a maj7 chord. After that the G is the dom7th etc. 

Exercises to Internalize Diatonic Chords

These exercises are to help you learn the diatonic chords, get a good overview and gain some flexibility with playing them

#1 Move around the keys

THis is a really basic exercise. Since the order of the chords is always the same it is very useful to just play the diatonic chords in different keys.

In Example 5 and 6 I have written out the diatonic chords in the key of Ab Major.

#2 Playing The Scale in 3rds

Playing the scale in different patterns like 3rds is a great way to just work through the scale and skip around from chord to chord. This is very efficient for building an overview.

#3 Circle of 4ths/5ths

Chords very often move in 4th and 5th intervals, just think of a II V I or III VI II V I.

Playing through the scale like this is a great exercise:

#4 The Fly Me To The Moon Exercise

If you start Am then you have Fly me to the moon: A D G C F B E A
except one thing: the E is an E7 because it is a secondary dom7th and actually Bø E7 is a minor cadence to Am7.

#4 Secondary Cadences

In the previous example the Em7 was turned into an E7 and in that way creating a cadence to Am: Bø E7 Am7.

For every chord in the scale it is possible to create a cadence like this.

We have two basic cadences. To a Major chord: m7 dom7th maj7

and to a minor chord: ø dom7th m7

To get more overview and be better at having an overview of the scales and chord it is a great exercise to go over the cadences for each of the diatonic chords.

These exercises will help you also recognize a lot of the progressions you will come across in Jazz Standards.

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