{"id":14264,"date":"2020-10-31T18:33:56","date_gmt":"2020-10-31T17:33:56","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=14264"},"modified":"2021-07-27T10:37:44","modified_gmt":"2021-07-27T08:37:44","slug":"gypsy-jazz-guitar-endings","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/gypsy-jazz-guitar-endings\/","title":{"rendered":"Gypsy Jazz Guitar Endings"},"content":{"rendered":"<p><span style=\"font-size: 18px; line-height: 160%; font-weight: bold; text-align: justify;\">In this Gypsy jazz guitar lesson, you will be looking at a couple of ways to end a jazz ballad. There is a special chord that throws the listener into limbo at the end of a II-V progression. This chord can lead you in different directions to create a free improvisation at the end of a jazz standard.<\/span><\/p>\n<p>The chord I\u2019m talking about is the <a href=\"https:\/\/www.jazzguitar.be\/blog\/half-diminished-chords\/\">half-diminished chord<\/a> that starts on the flat five (aka sharp four or tritone) of the tonic chord.<\/p>\n<p>For example: Bm7b5 in the key of F major.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.jazzguitar.be\/recommends\/the-pleasure-of-ballads.php\" rel=\"nofollow\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-14335\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads.jpg\" alt=\"The Pleasure of Ballads - Gypsy jazz guitar course\" width=\"779\" height=\"289\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads.jpg 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads-300x111.jpg 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads-768x285.jpg 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/a><\/p>\n<h2>Video<\/h2>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/Xwc66bi7jYY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Nuages (starts at 0:50 in the video)<\/h2>\n<p>Take Nuages (Django Reinhardt), for example.<\/p>\n<p>This jazz standard is in the key of F and, like many songs, ends with a <a href=\"https:\/\/www.jazzguitar.be\/blog\/20-ways-to-play-ii-v-i-vi-chord-progressions\/\">II-V-I progression<\/a>\u00a0 (Gm- C7- F).<\/p>\n<p>A way to end this standard is by replacing the F at the end of the II-V-I with a Bm7b5 chord.<\/p>\n<blockquote><p>This is called a <strong>deceptive resolution<\/strong>, a chord you play instead of going to the I. After playing Gm7-C7 (II-V), you expect to hear Fmaj7 (I), but instead, you hear a Bm7b5 (bV).<\/p><\/blockquote>\n<p>An ending that starts on the bV is called a <a href=\"https:\/\/www.jazzguitar.be\/blog\/jazz-guitar-endings\/#8\">flat-five ending<\/a>.<\/p>\n<p>This chord is not what the audience expects to hear, and it focuses their concentration, making them wonder what comes next.<\/p>\n<p>This is the door to starting a new solo improvisation, using any <a href=\"https:\/\/www.jazzguitar.be\/blog\/jazz-chord-progressions\/\">chord progression<\/a> that you want.<\/p>\n<p>There are many ways to start your solo improvisation from that Bm7b5 chord.<\/p>\n<p>You can build a chord progression with a descending or ascending chromatic bass.<\/p>\n<p>Try out different chords and progressions for yourself, explore the tensions you can add to each chord, and play around with it.<\/p>\n<p>You can also improvise with single notes over the chord progressions you create.<\/p>\n<p>&nbsp;<\/p>\n<h2>Descending Bassline Ending (starts at 3:53)<\/h2>\n<p>The first three examples all feature a descending bassline starting on the Bm7b5.<\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">Descending Bassline &#8211; Example 1 (starts at 6:54)<\/h3>\n<p>This first example has a descending chromatic bassline going from Bm7b5 all the way to the tonic chord, F6\/9.<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-14299\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-1.png\" alt=\"Gypsy jazz endings example 1\" width=\"779\" height=\"699\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-1.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-1-300x269.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-1-768x689.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">Descending Bassline &#8211; Example 2<\/h3>\n<p>Example 2 is similar to the previous example, but this time, we keep an f as the top note of each chord.<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-14318\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-2.png\" alt=\"Gypsy jazz endings example 2\" width=\"779\" height=\"699\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-2.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-2-300x269.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-2-768x689.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">Descending Bassline &#8211; Example 3<\/h3>\n<p>The following example uses the same descending bassline as the previous examples but this time with minor chords mostly.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14319\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-3.png\" alt=\"Gypsy jazz guitar endings example 3\" width=\"779\" height=\"699\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-3.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-3-300x269.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-3-768x689.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h2>ii V Ending (starts at 9:52)<\/h2>\n<p>You can also look at Bm7b5 as the II chord in a II-V-I progression that leads to A minor (Bm7b5- E7- Am).<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14321\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-4.png\" alt=\"Gypsy jazz guitar endings example 4\" width=\"779\" height=\"987\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-4.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-4-237x300.png 237w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-4-768x973.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h2>Ascending Bassline Ending (starts at 12:07)<\/h2>\n<p>This final example has an ascending chromatic bassline going from Bm7b5 to Gm7.<\/p>\n<p>If you don&#8217;t know where to go in a chord progression, a <a href=\"https:\/\/www.jazzguitar.be\/blog\/diminished-chords\/\">diminished chord<\/a> is often worth a try.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14331\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-5.png\" alt=\"Gypsy jazz guitar endings example 5\" width=\"779\" height=\"1351\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-5.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-5-173x300.png 173w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-5-590x1024.png 590w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/gypsy-jazz-endings-5-768x1332.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.jazzguitar.be\/recommends\/the-pleasure-of-ballads.php\" rel=\"nofollow\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-14335\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads.jpg\" alt=\"The Pleasure of Ballads - Gypsy jazz guitar course\" width=\"779\" height=\"289\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads.jpg 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads-300x111.jpg 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2020\/10\/the-pleasure-of-ballads-768x285.jpg 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this Gypsy jazz guitar lesson, you will be looking at a couple of ways to end a jazz ballad. There is a special chord that throws the listener into limbo at the end of a II-V progression. This chord can lead you in different directions to create a free improvisation at the end of [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":14339,"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":[64],"tags":[],"class_list":["post-14264","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gypsy-jazz-guitar"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/14264","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\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=14264"}],"version-history":[{"count":0,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/14264\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/14339"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=14264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=14264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=14264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}