{"id":12967,"date":"2019-11-01T21:41:17","date_gmt":"2019-11-01T20:41:17","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=12967"},"modified":"2019-11-05T17:40:58","modified_gmt":"2019-11-05T16:40:58","slug":"jazz-guitar-endings","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/jazz-guitar-endings\/","title":{"rendered":"17 Jazz Guitar Endings For Standards"},"content":{"rendered":"

Endings are an important part of your jazz vocabulary because they are one of the most memorable parts for your listeners. The problem is that most jazz standards don’t have a fixed ending (aka coda), so it’s a good idea to have a couple of standard endings up your sleeve. In this lesson, you will learn seventeen ways to end a song. Use them as a starting point to develop your own jazz endings.<\/span><\/p>\n

The endings below all start with a ii V to the tonic I because that is usually the last part of a jazz standard.<\/p>\n

Most examples are in C major (examples 1 to 14) and C minor (examples 15 to 17), some are in G major.<\/p>\n<\/span><\/span>\n

\n

An Overview of What You Will You Learn<\/h3>\n
    \n
  1. End Chord – Major 6<\/a><\/li>\n
  2. End Chord – Major 7<\/a><\/li>\n
  3. End Chord – Maj7(add6)<\/a><\/li>\n
  4. End Chord – Major 6\/9<\/a><\/li>\n
  5. End Chord – Major 6\/9(#11)<\/a><\/li>\n
  6. End Chord – Maj7#9#11<\/a><\/li>\n
  7. The Tag Ending<\/a><\/li>\n
  8. The Flat-Five Ending<\/a><\/li>\n
  9. The bVI bII Ending<\/a><\/li>\n
  10. The bVII bII Ending<\/a><\/li>\n
  11. Maj7 Chords Throught the Circle of Fifths<\/a><\/li>\n
  12. The Count Basie Ending<\/a><\/li>\n
  13. The Take The “A” Train Ending<\/a><\/li>\n
  14. The Joe Pass Ending<\/a><\/li>\n
  15. End Chord – Minor 6<\/a><\/li>\n
  16. End Chord – Min\/Maj9<\/a><\/li>\n
  17. End Chord – Maj7#11 For Minor-Key Standards<\/a><\/li>\n<\/ol>\n<\/div>\n

     
    \n    <\/a><\/p>\n

    1 – The Major 6 Chord<\/h2>\n

    Major 6 chords<\/a> work great to end a song because they are more stable than major 7 chords<\/a>.<\/p>\n

    That being said, major 6 chords can sound a bit plain to the modern ear. That’s why they are more prevalent in traditional jazz genres.<\/p>\n

     <\/p>\n

    \"C6<\/p>\n

     <\/p>\n

    \n\t
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    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
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    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here are two other C6 chord voicings (check out our Guitar Chord Dictionary<\/a> for more C6 voicings):<\/p>\n

     <\/p>\n

    \"C6\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\"C6<\/p>\n

     
    \n    <\/a><\/p>\n

    2 – The maj7 Chord (Root on Top)<\/h2>\n

    Major 7 chords generally don’t work very well as end-voicings.<\/p>\n

    The following C major voicing does however because the minor second interval<\/a> between the 7 and 1 on top of the voicing creates a nice dissonance.<\/p>\n

     <\/p>\n

    \"Cmaj7<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    3 – The Maj7(add6) Chord<\/h2>\n

    Major 7 voicings with an added 6 are not used a lot for comping but work great as ending chords.<\/p>\n

     <\/p>\n

    \"Gmaj7(add<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n\t
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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here are two more Cmaj7(add6) voicings:<\/p>\n

     <\/p>\n

    \"Cmaj7(add6)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \"Cmaj7(add6)<\/p>\n

     
    \n<\/a><\/p>\n

    4 – The 6\/9 Chord<\/h2>\n

    By adding the 9 to a major 6 chord, you get a major 6\/9 chord. These kinds of chords are used often as an ending chord and are easy to finger on the guitar.<\/p>\n

     <\/p>\n

    \"C6\/9<\/p>\n

     <\/p>\n

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    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here are two more 6\/9 voicings:<\/p>\n

     <\/p>\n

    \"C6\/9\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \"C6\/9<\/p>\n

     
    \n<\/a><\/p>\n

    5 – The 6\/9(#11) Chord<\/h2>\n

    #11 chords are the bread and butter of jazz endings, usually combined with a 6 and\/or a 9.<\/p>\n

    In the following example, the V chord (G7) in the second bar is replaced with a Db9(#11). This is called tritone substitution<\/a>.<\/p>\n

     <\/p>\n

    \"C6\/9#11<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here is a similar example but in the key of G major.<\/p>\n

     <\/p>\n

    \"G6\/9(#11)<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    In the next example, I add chord inversions<\/a> of G6\/9 to extend the line.<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    6 – The maj7#9#11 Chord<\/h2>\n

    A major 7 with a #9 is not a very common chord, but it has a nice tension to it and is an interesting chord to end on.<\/p>\n

    This voicing is not a m\/maj7 chord, the b3 acts as a tension (#9).<\/p>\n

     <\/p>\n

    \"Cmaj7(#9#11)<\/p>\n

     <\/p>\n

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    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    7 – The Tag Ending<\/h2>\n

    A tag is a series of chords that are repeated, usually at the end of a song.<\/p>\n

    There are several options of chords you can use in your tag ending.<\/p>\n

    In the following example, that starts with a regular ii V, I added a secondary ii V\u00a0 (Em7 A7) that goes back to the ii (Dm7) of the tonic key.<\/p>\n

    The resulting chord progression<\/a> is usually repeated and improvised over.<\/p>\n

     <\/p>\n

    \n\t
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    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    8- The Flat-Five Ending<\/h2>\n

    The flat-five ending, named after the first chord (F#m7b5) of the progression, is another classic way to end a tune.<\/p>\n

    The progression starts with a bVm7b5 and descends chromatically to the I.<\/p>\n

    The key to this progression is to keep the root of the key (C) on top of the chord voicings.<\/p>\n

     <\/p>\n

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    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    9 – The Flat VI – Flat II Chord Progression<\/h2>\n

    This is a nice one, instead of going to the I to end the song, first go to the bVImaj7, then to the bIImaj7, and then conclude with the I.<\/p>\n

    Note that the roots of the added major chords are the tritone substitutes of the ii V: Ab is the tritone sub of D, Db the tritone sub of G.<\/p>\n

    This end progression is usually played ad lib (without a fixed tempo) with improvised lines over it. Here, I play a mixture of arpeggios<\/a> and scales<\/a>.<\/p>\n

     <\/p>\n

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    \"Jazz<\/p>\n

     <\/p>\n

    The bIImaj7 chord can also be used as an ending chord, without resolving to the tonic chord (I).<\/p>\n

     
    \n<\/a><\/p>\n

    10 – The Flat VII – Flat II Chord Progression<\/h2>\n

    This is a variation of the previous chord progression, where the bVI is replaced by a bVII.<\/p>\n

     <\/p>\n

    \n\t
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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    11 – Major 7 Chords Through The Circle of Fifths<\/h2>\n

    The following ending features a progression of major 7 chords going through the circle of fifths, starting on the Imaj7 (Cmaj7), and ending on the bIImaj7 (Dbmaj7).<\/p>\n

     <\/p>\n

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    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    12 – The Count Basie Ending<\/h2>\n

    \"Count<\/p>\n

    The Count Basie ending is one of the most iconic endings in jazz and can be heard in Basie songs such as Broadway and Splanky.<\/p>\n

    This ending is derived from a classical ending composed by Italian guitarist and composer Matteo Carcassi (1792-1853).<\/p>\n

    This is how Basie plays this classic ending:<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    There are several other versions of this ending, such as this one for example:<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    13 – The Take The “A” Train Ending<\/h2>\n

    \"The<\/p>\n

    Another clich\u00e9 ending is the Take The “A” Train ending, also known as the Duke Ellington ending, named after the composer of Take The “A” Train<\/a>.<\/p>\n

    <\/div>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    14 – The Joe Pass Ending<\/h2>\n

    \"Joe<\/p>\n

    Here is an ending that has been used by Joe Pass<\/a> regularly, usually to end a blues.<\/p>\n

    <\/div>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    15 – The Minor 6 Chord (For Minor Key Standards)<\/h2>\n

    A minor 6 chord is an obvious choice to end a song in a minor key.<\/p>\n

     <\/p>\n

    \"Cm6<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here is a similar example, this time in G minor.<\/p>\n

     <\/p>\n

    \"Gm6<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    A minor 6 ending chord with a natural 7 also works great and has a bit more bite to it.<\/p>\n

     <\/p>\n

    \"Gm6\/maj7<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    16 – The Minor\/Major 9 Chord (For Minor Key Standards)<\/h2>\n

    Another good option to end minor-key standards is the minor\/major 9 chord.<\/p>\n

     <\/p>\n

    \"Cm\/maj9<\/p>\n

     <\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     <\/p>\n

    Here is a similar example, but in the key of G minor.<\/p>\n

     <\/p>\n

    \"Gm\/maj9<\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"Jazz<\/p>\n

     
    \n<\/a><\/p>\n

    17 – The Maj7(#11) Chord (For Minor Key Standards)<\/h2>\n

    Lastly, you can use a major chord to end a minor-key song.<\/p>\n

    Playing a major chord where the listener expects a minor chord is a nice effect and really opens up the sound, especially on ballads.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Endings are an important part of your jazz vocabulary because they are one of the most memorable parts for your listeners. The problem is that most jazz standards don’t have a fixed ending (aka coda), so it’s a good idea to have a couple of standard endings up your sleeve. In this lesson, you will […]<\/p>\n","protected":false},"author":1,"featured_media":13052,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[154,16],"tags":[],"class_list":["post-12967","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jazz-standards","category-jazz-guitar-chords"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/12967","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=12967"}],"version-history":[{"count":0,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/12967\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/13052"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=12967"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=12967"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=12967"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}