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In Micky Baker's Book 1, he 'pairs up' GMaj7 with GMaj6; and also Am7 with Am6.
Are there any other really common chords that I could add to this Practice Routine?
E.g. are there more chords I could follow the GMaj6 or Am6 with that come up a lot in Standards? Are there similar 'chord moves' for Dom7 chords?
If you can include good voicings too that would be cool.
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09-29-2024 12:16 PM
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Well, that's a big subject, could turn into a long thread.
Major 6 and Maj.6/9 chords, and minor 6, 6/9, chords and min#7 chords, usually function as I chords. As you said, a transition from Maj7 to M6 and m7 to m6 is common, especially when they are I chords. When they have a subdominant function, e.g., IVmaj7 or IIm7, they're likely to proceed to a dominant 7th chord (e.g., IVmaj7/V7 & IIm7/V7), so that's a common move you'll want to practice in different keys.
A fairly common minor chord progression, which you can hear in, say, "God Bless the Child", is minor > min#7 > min7 > m6.
In GBTC it could be played:
x-x-10-12-13-11 (Cm) >> x-x-10-12-12-11 (Cm#7) >> x-x-10-12-12-11 (Cm7, correction: x-x-10-12-11-11) >> x-x-10-12-10-11 (Cm6)
Then to: x-x-10-12-10-11 (D7b9) >> x-x-8-10-8-10 (Gm7) - etc.
You can hear me play that in my rendition here -- The Autumn of Solo Guitar 2024
P.S. - Cm6 = Am7b5, so it became a IIm7b5 to the V7 (D7b9) which follows it: x-x-10-12-10-11 (Cm6=Am7b5) >> x-x-10-11-10-11 (D7b9).
Last edited by Mick-7; 10-07-2024 at 02:52 PM.
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Gmaj7 to G6 is just resolving a borrowed leading diminished note to a chord note.
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That's one possibility...
Could imply, Gma7 to A-7, Gma7 to C13... there are many possibilities. You need a Reference to define. I tend to use those type of lines as Line Cliches to help imply harmonic movement on static chords.
The next step is to learn actual Chord Patterns.Last edited by Reg; 10-06-2024 at 01:56 PM.
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Here are three pairs that go together. The D6/A is a resolving chord for the third pair. You'll see/hear how they slide neatly into each other.
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Also probably worth noting that "chord pair" has a specific music theory definition -- two chords that don't have any notes in common.
That's not what you're talking about here, but they're pretty common in jazz playing (see: G and F triad pair), so we might want to be specific about that.
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Blues cliché that Miles also used in Freddie Freeloader: VIm to Vm gives you a 7/9/13
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Originally Posted by ragman1
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Originally Posted by Mick-7
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This shows applications of some of the most common chordal movement devices:
Harmonic Techniques to Create Moving Chord Progressions using Three Note VoicingsLast edited by Tal_175; 10-08-2024 at 02:42 PM.
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Did you look ahead in the Mickey Baker book yet?
Wayne Shorter: Zero Gravity
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