The Jazz Guitar Chord Dictionary
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  1. #1

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    Dear All,

    There is a way to add to given harmony by using "chord injections", often out of scale.

    You can find an example at 10:32:


    It a song based on simple harmony: Gm7, CM7, Dm7 with added Emb5, F#mb5 (or no root CM7b9, DM7b9, I'm not sure how to name it).

    Melanie Faye also use this harmony technique a lot.

    How to dig in more into this kind of playing? What is the name of this harmonic procedure? Do you have any more usefull examples of that?

    Best!

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    They are called passing chords. They are used to create movement within the harmony without altering the harmonic function. There are many ways to create movement and use passing chords:
    - Diatonic passing chords or harmonized scales (as in the example in your post.)
    - Chord inversions.
    - Parallel chromatic passing chords (or approach chords)
    - Diminished passing chords (most famously Barry Harris 6th diminished scales).
    - Tonicization. This is similar to diminished passing chords but you approach with the target chord's dominant (or dominant b9).
    - Add the related ii's to V's.
    - Add tritone V's and ii-Vs to V's.
    - Movement using different voicing extensions and voicing types. An example of a voicing type is quartal voicing.
    - Diminished passing chords with borrowing (a more advanced application of the 6th diminished scales).
    - My favorite: Add any combination of notes as long as they voice lead to the next chord (by oblique, parallel or contrary steps of individual voices)

    This is a quick list of devices I can think of. You can delve deeply into any of them. They are simpler then they sound. We can also discuss any of these in more detail.
    Last edited by Tal_175; 03-31-2023 at 02:05 PM.

  4. #3

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    I think that part is Dm7 FM9 F#dim7

    x 5 7 5 6 x
    x 8 10 9 8 x
    x 9 10 8 10 x

  5. #4

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  6. #5

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    "Injections" might be better than "passing"
    The Dm7 FM9 F#dim7 wants to find the G,
    but in the song it just returns back to Dm7.

  7. #6

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    It can certainly be a way to freshen up the harmony. Often, the chord is borrowed from parallel minor (modal interchange), but there’s other possibilities.

  8. #7

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    I think of modal interchange as reharmonization rather than passing chords.

  9. #8

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    Quote Originally Posted by whiskey02
    Terrific video. Works at various levels. Clear as a bell and you can hear him play all the theory he's presenting.

    This is like your beloved older cousin explaining to you how to carry yourself when you start High School. The real s**t.

  10. #9

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    Yeah, so much bullshit on YT now but buried in all the trash are gems like this guy. Truly a talented musician and a generous person.

  11. #10

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    Quote Originally Posted by Tal_175
    I think of modal interchange as reharmonization rather than passing chords.
    yea nice list above... great old school starting references.

    Personally I hear Modal Interchange not as reharmonization more of just the next level of expanding Borrowing. But that's not really important.

    And with the use of adding or expanding Total targets... somewhat like adding related II-'s, V7's or the Sub V's or secondary doms' , anyway the tricky part is what is the Tonal Reference, (obviously functional organization is the old school approach, (and still works great)... but in the last 30+ years, those Tonal references have naturally expanded.

    Just like Blue Note organization.

    It is cool to see how this forum is also evolving, the use of terminology and musical organization.

  12. #11
    whiskey02, lol, Corey Taylor is amazing, thanks for sharing!

    During the pursuit of the "chord injections", also reffered as passing chords, I came across YT channel of thi guy:
    Kerry "2 Smooth" Marshall - YouTube

    It is not strictly jazz but I highly reccommend to check this out!

  13. #12

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    Quote Originally Posted by Reg
    And with the use of adding or expanding Total targets... somewhat like adding related II-'s, V7's or the Sub V's or secondary doms' , anyway the tricky part is what is the Tonal Reference, (obviously functional organization is the old school approach, (and still works great)... but in the last 30+ years, those Tonal references have naturally expanded.

    Just like Blue Note organization.

    It is cool to see how this forum is also evolving, the use of terminology and musical organization.
    Hi Reg, I am not sure I understand the difference between what you refer to as "adding or expanding tonal targets" versus secondary dominants (or expanding with backcycling dominants). Are they the same things?
    For example, in a iv-ii-V-I turnaround, ii can be made a tonal target by approaching it with iii-VI7 (ii-V of ii). Is that what you mean by expanding tonal targets?