Cmaj? Dm7 Em7 Fmaj7 G7 Am7 Bm7b és — Cs) t i " Imaj7 a7 iii IVmaj7 v7 vi? vii795 49 Looking at the second, fifth, and first chords from the harmonized C major scale gives us the first common chord pattem; Dnr?-G7-Cmaj7. If we refer to the chords by their place in the scale, the pattem ii7-V7-Imaj7. Jazz. tunes use this chord pattern so much that musicians refer to it as “two-five- Dm7 G7 Cmaj7 é § 3 f | a7 v7 imaj7 The next most common chord pattern uses the First, sixth, second, and fifth chords from the harmo- nized seale. In the key of C, this pattern is Cmaj7-Am7—Dm7~G7. Referring to the chords by their place in the scale gives us [maj7—vi7- V7, or “one-six-two-five.” Cmaj7 Am7 Dm7 G7 = Hy qe et Imaj7 vi7 ii? v7 Just as harmonizing the major scale generates common progressions like ii7?-V7-Imaj7 and Imaj7-vi7-1i7-V7, harmonizing minor scales generates similar common progressions but with a minor sonority. “two! mm 7>8\ Ebmaj7 Fm? Gm7 Abmaj7 B>7 ql Aah \ \Gi7>5/ maj? v7 v7 Vimaj? V7 C natural minor C melodic minor 3 Cmimaj7) Dm7 Eb+maj7 et G7 \, /Am7b8\ Bm7b5 i 4 1 — = gE ee ima? if7 emai? V7 V2 / \ga7es/ Hvii7S “five” Six” ‘Again, these exereises are intended to drill you on a few of the basic chord patterns used in many jazz standards. These patterns can be thought of as the building blocks of jazz tunes—understanding them will help you understand the songs that use them. Most of the exercises zo through all twelve keys so that you can explore the fretboard with these voicings. As stated above, we are now concentrating on riyifim chord voicings, but feel free to play through any of the exereises by first using drop ihree or drop two fie A Sem ed valise the chords peeded.‘As with previous exercises, start at a comfortable tempo, and work your way up. At all tem consistent, Ifyou use a metronome, put the clicks on beats 2-and 4, and try to really groove with the exe cises, | want you to groove so hard that anyone listening will automatically start to tap their feet to the beat! so Harmonized Major Scales Use rhythm chord voicings! Each four-bar group is in a different key, This is indicated with double. bar lines, Dor7 Dm7 Em? Fmaj7 Ss? Am7 Bagh 5 Cn? Fmai7 Gm7 Am7 Bbiaal7 © ® ©®© © 8 ®@ ®©O O® PEPE EPP AL LL ALTE AVILA S| c7 Dm? Em7>5 Fmaj7_ Bomaj7 Cm? Dm7 Ebmaj? FF? Gm? Am7%5 5 Bomaj? ® ®©® © 6 ®88 ®® 8 © rrr Lies FAALNAIPD DS SALLI TT Eomaj7 D225 Cm? BT Abmail Gm? FT Ebmnai7 Abra? Bom? Cm Domai? @@ @O®qoeQo © © © ® @®© © TIT E LT FEEL Ex] Fin? GmJ+SAbmej7 Dimaf7Cm7s5 Bom? Ab? Ghmaj? Fim? Em? Domai? ® © 6 © ® @ @©@ @O @©@ © © © SPP III PPS | Ptah FPS S| Gbmaj7 Abm? = Bom? Chmaj7_ DoT Exm7 Fm7bSGimaj7 Bmaj7A¢m7»5 Gém7 @ @ ®@ © ¢ @® © © Q@ © $7 Bee | FIDL LA 1 FETT | AAT | Emaj7 Dem7 Cem7 Bmaj7 Emaj7 D¢m7>5 Ctm7 B7 Amaj7 Gem? Fem7 Emaj7 66 © 8 © &6® G6 ® bet ALTAT ALLA Amaj7 Bm? Cim7 Daj? E7_ Ffm7 Gim7>5 Amaj7_ Dmaj7 Cam7>5 Bm7 AT @® @ @ @ 6 ©® (©) @ @ @ L FFAS PAA NT TTT i | PEED IPEGmaj7 Fem? Em? Dmaj? Gmaj7 Am? Bm? Cmaj7 D7? Em?) Fé#m7>5 Gmaj7 ® © G oo © © 6 © ® © © © y @ ® © PoP FF | SS SS FSS a | 51 Two-Five-One: ii7-V7-Imaj7 Dom G7 Cra? C6 Cm7 F7 Bomaj7 BG ® ® ®@ @ ® ® ® ® a Oe Bbm7 E57 Abmaj7 ALG Asm7 D7 G6 @ © @ @ ®@ © g 2 = Se ee ” Goo B7 Emaj7 EG Em7 Dmaj7 D7 Ao7 © @ ® ® © ® é = a a oe zB ‘ Cam Fa Bmaj7 Bo Amaj? AG @ ® 1) @ 8 Qa ® ® = SSE Am7 D7 Gmai7 C6 er Fmai7 Fe G ® ® ® ® ©) ® 6 —— = =z — — a fat Fm7 Bb7 E>mai7 Eo! Em7 AT Dmaj7 ® ® ® ® ® @ ® fo gee es _ SS oS Spa a4d82 One-Six-Two-Five: Imaj7-vi7-ii7-V7 Dos oe Dm? G2 Gm7 co Fmaj? Dm? Gm? C7 © ® © ® © ®@ © @ FT Bhmaj7 Gm7 Cm? FZ Fm7 BbT7 C 5 AAA LILI TIT TTT T TTTT Fa7 L G @ ® © © © ® a= PP Eomaj7 Cm7 Fm? Be? = Bbm7 Eb7 Aomaj? Fm7 = Bhm7 ®©®@ © ® ® © O88 @ bers r rrr rss LDL AS LAA AE Ebmn7 AoT Dbmaj7 Bom? = Ebm7 Ab? = Aom7 Db7 @ @ ©® O © oO © ® Se ee ee ee a ee ee Fimal7 Dim? Gim? C#7 Cim7 Fa7 Bmaj7 Gim7 C#m7 ,@ 8 8 ® © ® ® ®@ © = a a a ee ee a ee ee ee ee Fam? By Emaj? Cam? Fim? B7 Bm? Ev @ o @ © Amaj7 Fim7 Bm7 E7 Em7 AT Dmaj7 Bm7 Em7 ® 8 ©® @ © FA Ff Sa Az ®D7 Gmaj7 Em7 Am7 D7 Dm7 G7 Cmaj7 ® ®@ ® © © © @ © ea ee ee ee 53 7° 5-V7-i17 Dow2s Gq Cm7 cm6 Cm7o5 ET Bom? Bim6 ®@ © ®@ @ @ © ® © de a a a a ee ee ee ee a Abm? Arm6 Abm7>5 Da Gh? Gm ® @ ® @ @ ©) iS) ® £2 ee Le FF £—f—F B7 Em? Emo AT Dm7 Dm6 @ ® © @ ® ® tT ze i 22a Dom7>5 G7 Bm? Bm6 Bm7b5 EZ Am? Am ) ® ® @ @ S @) ® =. er ee EE LF # Am]>5 07 Gm7 Gmé c7 Fm? Fm6 69) @ @® ® 1 @ , £—F =F = a= i Fe F795 Bh7 Ebm7 Fom6 MoT Domo ® ® ® ® 2 & £ = Oe LS — ee yf Se584 Minor One-Six—Two-Five: '705-1i17>5-V7 'Cm6 Am7>5 Dm7»5 G7 Gm Gm7 c7 Fm6 Dm7b5 Gm755 C7 ® 6 © © 6 ® O © 0 6 © Ores ITIL TLE Ltt LAA P| cm Cm7 7 F2bS Bom6 Gm7>S Cm755 El Em Em? BoT ® © © © 6 © ® © © © Qe rirsise TP PP Eym6 Cm7b5 Fm7»5 Bb7 Bsm Bbm7 © @ © @ @ @® é ff Eom Esm7 Ao? Dom6Bom7>5E»m755 Ab7 Asm Abm7 De? D>7b5 ¢ © @ ® @® ®o® ©@ @®@ @ ® @ artis a aa a Famo Dam7>5 Gem7>5 Ce 7 Cam Czm7 FR7 Eine: G3m7>5 C#m7> 5 FR? Do 68 © © © ® © > 8 @ © GILLETT PTT 1 Yt PAA PPA Fam Fem7 B7 Em6 C#m7>95F#m7>5 B7 Bm Br? £7 E75 ® © ©@ ® ® ® ® ®@ ® © PPA PPLE IFAS DPA TD DAA AD Am6 Peeks Bm7)5 ff 2 ee DE S) ~ ‘ 1 « . ©: LEGSE DD PAE DS TF PPP m a Gm6 Emo5 Am7S D7 Dm75 G5 — Cmo @® & Am7 7 Q@ 8 Q@ 6 @Q 6) 68) 55 DIMINISHED CONNECTING CHORDS n or bridge between (wo chord In jazz, the diminished chord is most often used as a connec changes, For example, the following progression works, but it sure is dull: Fmaj7 Gm7 $f oe 1342 2333 h ay gar a a [vara 9B 7th 9a root 6 m8 (98 7 mh pales 2 root zh 2 cot jon with a connecting diminished chord added is musically more interesting The same progress 4 greater Sense of movement toward the target chord and gives the liste Emaj7 C7 fal) oF e oe al rat om 3h rina root ¢ Sim Rp a Most often, the target chord (the chord that the progression iy moving toward) can be approached in two ways, either from a half step above or from a half step below. In the example above, we used a G>- 7, which is a half step below the target chord of Gm7, The example below uses A> 7, a half step above Gm?7, Finaj7 Ab’? Gm7 fd uae ie p —— task tehGomaj7 @ Gr oy The aes 2 coot born ane toon ‘oat ard a ‘The following exercises demonstrate how the diminished chord is used most often in jazz. Diminished Connecting Chord Exercises Scale Degree-)2 of the Key ae SOF \©8 tf XN ®® ® 8 Z —— Db7G)2)5 Bei? C7 ®@Q®@ & ® —— I B7 E7b5 Amaj7 ALT ®O® ® @ Lf — Fo Cem? ) Brn7 @ ts Ab7Db2)5 ) ® sf S g S S LO ET ATb5 © ® Lzet ee il aa pee ete © © ® @28 @ @® ® @8 © by === SS = ee eae | 87 Scale Degree-3 of the Key } Cmaj7 Eb? Dm7 G7 C7 Fmaj7 bez LFF Bbmaj7_ Dy 7 Cm7 E7 Bb? Ebmaj7 G7 Fm7 Bo7 Eb @ @ ® ®@ ¢E @ ® @ © P= SS ee Abmaj7 B7 Ev Ebm7 Ab7 Db7 @ a p & ® @ © SSS SS SS SS =e Ghmaj7 ACT G7 Bmaj7 D7 FeT B7 @ @ D © @ ORC) -—t——_F — 3 FF — — Emaj7_ G7 Fém7 B7 E7 Amaj? C7 Bm7 E7 AT ® g ® ®® @ i) 1) Ome) é SE Dmaj7 Fez Em7 AT Bb 7 Am D7 G? C6 —x re TX TaN x Ty (EX (a\ (eX5a TRITONE SUBSTITUTION The harmonized major scale shows us that a dominant seventh chord typically functions as V7 in a given key. Our own ears tell us that most dominant seventh chords want to resolve to the tonic or | chord. ofthe key, In the key of C, for example, GT has a tendency to resolve to C. Even if ii7 chord (Dm7) is placed in front of the G7, it still wants to resolve to C Going one step further, if G7 wants to resolve to C, then G75 wants to resolve even more. The flat ted fifth is D*, which is just one half step above the tonic, C. GAS Now notice the similarity between G7>5 and Di7b5. Actually, these two chords are more than just similar—hoth chords contain exactly the same notes! Gn5 Db75 oo! '. 2341 23a — om 2 ! so ee me 8h ‘This means that the two chords are interchangeable; either can substitute for the other ina given chord progression. Both chorus resolve to C very well. G75 Ds755 oe! The 4231 T 341 00! o0t SP? orth aoe we | ou dye 93th But D>7b5 is the V7 chord in the key of Now, substituting the G7b5 chord gives Gb. This means that it also wants to resolve to us this:its Lchord, Go Db7>5 Gbmej7 Gbmaj? i Fisee oo * 1, | eae 2 341 1 342 1 342 root ee ah Bi og ah 6 ee wee tl 3 oh ssh root be root root 59 This means thar in a given chord progression where V7 is followed by I, instead of playing V7, you play 17 instead. This is a “tritone substitution” because bII7 is three whole steps, a tritone, away from V7. In the key of C major, for instance, D°7 can be played in place of G7, Either chor resolve to C nicely. In the key of G, the V7 chord is D7. This means that G7 can subst and still resolve to the G tonic. In an even broader sense, the V7 chord can be any kind of dominant seventh—e.g., Gi tH, G79('5), etc, All V7 chords ate related to their corresponding '117 chords. The third and flat seventh of the V7 chord will always be the flat seventh and third of the PII7 chord, As an exercise for yourself, fig- ure out what G7#9 becomes when you put D” in the bass. G7 or D°7 will ite for the V7 Tritone Substitution Exercise In this exercise, the corresponding ii7 chord is inserted in front of each iritone substitution Go? eT Dom? = GoT Gim7 B7 Cm7 FI ® @ @ ® @ ® ® (SS FS eT Fm? By Bm? E7 Em7 Bbm7 ® ® ® ® ® @ ———_—— | —s =. SS Ebm7 AoT Am7 D7 Dm7 ® a @ © © Cm7 7 Gomi B7 Bm7 Ey Bo7 a ® ® ® @ ® @® 4 —_—— 4 ft sf ¢ 4 ¢ f L—#f—F Bbm7 E27 Env al Am7 D7 AT ~@D ® () @ @ @) @