Beginner Question about a certain progression

Reelo · #1 04-20-2010, 01:50 AM

Hello. I must admit it's been a long while since I last came here. Lately, I've been trying again to get into understanding and playing Jazz. I am quite satisfied with my progress (largely due to great sites like this one) and I am also using a good book (in German).

A few days ago I've been playing around with some ii-V-I progression that I found in this particular book. I wanted to try extended voicings with added tensions.
I came up with something that sounded really really nice to my ears, a progression in (what "should" be D):

Em9 - A13 - Dmaj9 all played around the 5th to 7th frets on the upper strings. Now, here's my problem: While it did sound great, it somehow felt "incomplete" like it was missing a chord. I don't know if it's due to the A13 (the 13 not being strong enough a leading tone to resolve to the Dmaj9 ?)

Then, one time, I played a Bm7 after the progression (Em9-A13-Dmaj7-Bm7) and it just felt perfect. Now, my question is: Did I (without knowing it) come up with a chord progression in B minor? If it's still D major, why would the Bm sound more "tonic-like" than the actual Dmaj7 ?

Hmmm... I wonder ...
Can anyone check this and explain it to me?

bkdavidson · #2 04-20-2010, 04:03 AM

B minor is going to be the most basic substitute for a D major chord. In fact, a Bm7 chord is basically an inverted D6 chord (B-D-F#-A vs. D-F#-A-B). Are you playing rootless inversions? It could be that the voicings you're playing make the Bm7 sound more resolved. The chord progression you're playing is a standard turnaround in D, but starting in the middle. Instead of I-vi-ii-V (D-Bm-Em-A) you've got ii-V-i-vi. The Bm might just sound better to you because it's less common.

Reelo · #3 04-20-2010, 04:56 AM

Quote:

Originally Posted by bkdavidson

B minor is going to be the most basic substitute for a D major chord. In fact, a Bm7 chord is basically an inverted D6 chord (B-D-F#-A vs. D-F#-A-B). Are you playing rootless inversions? It could be that the voicings you're playing make the Bm7 sound more resolved. The chord progression you're playing is a standard turnaround in D, but starting in the middle. Instead of I-vi-ii-V (D-Bm-Em-A) you've got ii-V-i-vi. The Bm might just sound better to you because it's less common.

I don't exactly play the chords rootless: I play the E root on the low E string and the rest on strings D,G and B. Same with the A (root on A string, rest on D,G,B strings) and D chords. So yes, I do play the roots.
I know that in Jazz there's no real "right" or "wrong" so I guess what I'm playing is perfectly fine, right?
I was also wondering, since I wanted to expand on this progression and maybe try to come up with a very first composition, what would be good ways to modulate? I mean, playing my progression in an endless loop will get boring really quick. I need to think about a beginning, some turnarounds and a modulated part in a different key... Jazz, it's really captivating but still very confusing...

franamico · #4 04-22-2010, 01:47 PM

Quote:

Originally Posted by Reelo

Hello. I must admit it's been a long while since I last came here. Lately, I've been trying again to get into understanding and playing Jazz. I am quite satisfied with my progress (largely due to great sites like this one) and I am also using a good book (in German).

A few days ago I've been playing around with some ii-V-I progression that I found in this particular book. I wanted to try extended voicings with added tensions.
I came up with something that sounded really really nice to my ears, a progression in (what "should" be D):

Em9 - A13 - Dmaj9 all played around the 5th to 7th frets on the upper strings. Now, here's my problem: While it did sound great, it somehow felt "incomplete" like it was missing a chord. I don't know if it's due to the A13 (the 13 not being strong enough a leading tone to resolve to the Dmaj9 ?)

Then, one time, I played a Bm7 after the progression (Em9-A13-Dmaj7-Bm7) and it just felt perfect. Now, my question is: Did I (without knowing it) come up with a chord progression in B minor? If it's still D major, why would the Bm sound more "tonic-like" than the actual Dmaj7 ?

Hmmm... I wonder ...
Can anyone check this and explain it to me?

Hey,
Bm7 is just the 6th degree in Dmaj.

I sounds very similar to Dmaj, because it's a D triad with B on bass.

If you want to REALLY get the sound of each of your chords, play them "modally". Bm7 is also called "aeolian" in modal harmony. If you play it with G (2nd string) on top you'll hear its true sound.