What is your favorite passing Chord?

[JazzFanatik]

Hey guys, just trying to come up with some new ideas for some passing chords to spice up my playing...

It can be going back to the 1 chord, passing between the 1 and 2 chord, or really WHATEVER!!!!

Just curious what are some of YOUR favorite passing chords?

Lately i've been using the 7b9 chord (1-3-5-b7-b9) a lot when going back to the 1 chord. I love the tension it creates...

[ejwhite09]

diminished seventh or an inversion to make a chromatic bass movement...those are my bread and butter.

[JazzFanatik]

Originally Posted by ejwhite09

diminished seventh or an inversion to make a chromatic bass movement...those are my bread and butter.

sounds interesting!....Can you give a specific example of this? Like going from what to what? What i'm visioning in my head is something like this:

Cmaj7-C#dim7-Dmin7...

Something like that? or different...

[ejwhite09]

Originally Posted by JazzFanatik

sounds interesting!....Can you give a specific example of this? Like going from what to what? What i'm visioning in my head is something like this:

Cmaj7-C#dim7-Dmin7...

Something like that? or different...

Nope! you got it!

You don't even have to do it in a progression logic way. Just anytime...Want to make a boring move from IV to V interesting just got Fmaj7-F#dim7-G7. Or say I'm going into a ii V I I might (in F) go Am7-G#dim7-Gm7-F#7(tritone sub for V)-Fmaj7 which is something I picked up from Gypsy Jazz.
The Tritone Sub is always a good choice when trying to get a chromatic bassline in a ii V I.

[Dark Star]

7b5 between ii & I. Probably too much

[Eddie Lang]

Originally Posted by ejwhite09

diminished seventh or an inversion to make a chromatic bass movement...those are my bread and butter.

+1

[bobsguitars09]

so going with a two five one progression. would you guys play D minor seven F# dim7 G seven B dim7 C major seven? would the dim7's be on the up beats?

[JonnyPac]

I have studied passing chords a lot, played many examples and see their merit, but actually prefer not impose extra functional harmonies into progressions whenever possible. I actually like to make functional sound modal or non-functional. A few "inside" superimpositions can go a long way, IMHO- and they create a bit less risk for the soloist. Just a personal preference though... carry on!

[Dark Star]

Originally Posted by bobsguitars09

so going with a two five one progression. would you guys play D minor seven F# dim7 G seven B dim7 C major seven? would the dim7's be on the up beats?

What?

[AmundLauritzen]

In a dorian situation like G dorian, you can always go up a whole step. Play some inversion of Gm7 then move it up a whole step. This bridges the gap to the next inversion of Gm7. ejwhite09 already mentioned the diminished passing chord. Using these two concepts, you can get some nice variety and movement on static chord changes.

[JazzFanatik]

Originally Posted by AmundLauritzen

In a dorian situation like G dorian, you can always go up a whole step. Play some inversion of Gm7 then move it up a whole step. This bridges the gap to the next inversion of Gm7. ejwhite09 already mentioned the diminished passing chord. Using these two concepts, you can get some nice variety and movement on static chord changes.

Okay this kinda went over my head I tried to take some time to digest it but I'm not sure I understand this one...

I understand the concept up moving Gm7 up a whole step. but I'm not sure WHEN you are saying this would work. I"m assuming we are in the key of F since you said G Dorian? And also wouldn't that just be Am7 which would be the 3 chord?

Could you please give a specific example?

[AmundLauritzen]

Originally Posted by JazzFanatik

Okay this kinda went over my head I tried to take some time to digest it but I'm not sure I understand this one...

I understand the concept up moving Gm7 up a whole step. but I'm not sure WHEN you are saying this would work. I"m assuming we are in the key of F since you said G Dorian? And also wouldn't that just be Am7 which would be the 3 chord?

Could you please give a specific example?

You can try it over the Gm7 on "Four on six". You are right about it being a III-chord. It is not a very fancy theoretical device, but more of a guitar friendly approach. The elegance of it is that moving your Gm7 up a whole step bridges the gap between Gm7 inversions so you can move up the inversions more smoothly. When analyzing Am7 over a G bass we get the root, 6th, 9th, and 11th. So it is a nice way to get upper structures.

Works good on Impressions/So What as well using the same concept with Dm7.
I originally learned it from this guy's video. He probably explains it more clearly than I did: Guitar Lesson - Wes Montgomery Block Chords - YouTube

[JazzFanatik]

sweet. ill check this video out. thank you!