The Jazz Guitar Chord Dictionary
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  1. #26

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    I definitely loved the tritone substitution idea. The little patterns were really good too for different ideas and stuff. I liked it a lot.

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  3. #27

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    By the way DMatthewBand07 if you send me an email at m78w@yahoo.ca I can send you some follow up material that goes along with the lesson.

    MW

  4. #28
    Stringbean Guest
    I tried this lesson last night, didn't get very far. Just was not hearing it. I mean I was listening, but it wasn't making any sonic sense at all for me.

    Today I tried again, and figured something out. Playing those semitone notes on my guitar isn't enough. My brain is not making use of the audio info coming in. My ear is not specific enough to register the small intervals.

    I think the solution maybe is to sing the notes, seems to make for better hearing. Only problem is, it's incredibly hard. I have to match my voice to each note on the guitar...one note at a time. And each time I move three notes, I forget the first note. Forget about changing measures or chords.

    Going to be slow going here.

    Can most of you guys sing pretty well? By that I mean carry a simple tune a cappella. I can't, but I'm working on it.

  5. #29

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    Just keep on listening and playing, and it'll come to you.
    Try to record the chords, and play to that. If you have band in a box, use that, it's a great help. Or just try to hear the chords in your head, works for me. Don't give up, never give up, and suddenly you'll hear it all.
    Trust me, you will. Listen to lots of jazz, and try to imitate, listen for scales in all you hear, it's there.
    Practice, it'll come just out of the blue.
    Practice.
    Peace
    Skei

  6. #30

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    Quote Originally Posted by Stringbean
    I tried this lesson last night, didn't get very far. Just was not hearing it. I mean I was listening, but it wasn't making any sonic sense at all for me.

    Today I tried again, and figured something out. Playing those semitone notes on my guitar isn't enough. My brain is not making use of the audio info coming in. My ear is not specific enough to register the small intervals.

    I think the solution maybe is to sing the notes, seems to make for better hearing. Only problem is, it's incredibly hard. I have to match my voice to each note on the guitar...one note at a time. And each time I move three notes, I forget the first note. Forget about changing measures or chords.

    Going to be slow going here.

    Can most of you guys sing pretty well? By that I mean carry a simple tune a cappella. I can't, but I'm working on it.
    One thing that I do when not playing over a comping loop, is to play the chord with a particular comping rhythm then play improvised lines in between. So, I'll play a bar of C Major 7 then run a line based on that tonality, using whatever chromatics I want, then I'll resume comping, then do another line, then back to comping. Then I'll do a line that leads to the next chord I want to play, then comp that chord, do a line, comp again, do a line the leads to the next chord, and so on. That way, I'm keeping the chord harmony in my ears and head and the intervals and chromatics make sense. This is really good training for quickly moving from chords to single note lines and back again, which is very useful in chord melody/solo guitar playing. I don't practice scales and arps too much by themselves any more. I "practice" them by generating lines (that include chromatics) while playing through various improvised chord progressions. This way, I'm playing real music and enjoying myself and then I can play for hours without it seeming like I am drilling.

    My recommendation is after reviewing the lesson to get an idea of the different ways to approach chormaticism that you just experiment with creating your own lines. I think you'll learn more that way and develop a feel for how to use chromatics better if it's coming out of your own imagination/ear.

  7. #31

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    Hey guys, I know this thread's sort of played out, but I just wanted to thank MW again for the lesson. Stuff's finally starting to show up in my playing. I've stopped doing regular scales for practice and have started picking a key and going through each mode looking for chromatic walk-ups (or downs) to connect each of the notes. Sometimes they wind up new sometimes they wind up like the examples in the lesson. I've also been able to use the tritone approach chords a lot more now that I'm getting to know the songs a little better. Anyway, thanks again for the lesson - starting to pay off. haha.

  8. #32

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    Glad you're getting a lot out of the lesson. It's a little thing, adding chromatics, but it goes a LONG way!

    MW

  9. #33

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    Say we are playing bebop over a dominant chord: 1. from any chord tone include 1 or 3 passing tones to keep chord tones on the down beat.

    2. From any diatonic non chord tone include 0 or 2 passing tones to keep chord tones on the down beat.

    C7 Example: E D C B Bb A G F E D C (1 passing tone) or E Eb D Db C B Bb A G F E D C (3 passing tones)

    D C Bb A G F E D C (0 passing tones) or D Db C B Bb A G F E D ( 2 passing tones)
    __________________________________________________ ____

    Try enclosure the 3rd, 5th or root.

    This example illustrates enclosure on all 3:

    F Eb E D Db B C B Bb A Ab Gb G F E D Db B C

    The above example uses all 12 notes of the chromatic scale but still outlines C7 tonality because chord tones fall on the down beat.

    There is a transcription of pat martino playing impressions floating around the web, its a gold mine of chromatic dominant ideas.

  10. #34

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    Hi im new to the forum and enjoyed playing the chromatic lessons(first 2 or 3 runs only)One helpful thing would be fingering . i started out as a bass player so i tend to use all four fingers although some guitar teachings tend to use three,what is best.Finally cna someone explain how the notes in the first bar work over a Dm7 chords with virtually no chord tones in there.(be gentle im only a beginner)

  11. #35

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    There are chord tones in there but they are the upper extensions so they're kind of tricky to see. The first four notes, G Gb F G, are accenting the G which is the 11th of Dm7. Then the next four notes, E C# D E, are accenting the E which is the 9th of a Dm7.


    Mw

  12. #36

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    Hey guy's I play the metonome at half speed with clicks on 2 and 4 and
    practice strait 8ths and then swinging 8ths. It's hard at first, but really
    let's you know how good your time is. After a while you won't even
    know it's on. You'll be locked in. Hope this helps

    Larry

  13. #37

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    In the "Chromatics" lesson, they use tritone substitution in the ii-V-I progression in the examples. I understand how in example 3 (using the tritone lesson), the G7 can be substituted by the Db7, and that creates a chromatic line from D to C.

    I don't understand how tritone substitution is used to substitute Dm7 by Ab7. The b3 and b7 from Dm7 are not a tritone. When I make the C the b3, and the F the b7, the root and 5th end up being different depending on whether I start from the C or the F.

    I read about "imperfect/general" tritone substitution, where the root of the substitution is a tritone of the original chord's root. I think that's what this is because Ab is 6 half steps above D. If this is the case, why does the chord change from a Minor 7th to a Dominant 7th?

  14. #38

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    it's treating the "D" chord as if it were a secondary dominant--ie, D7, G7, Cmaj in the key of C. D is the "V" of "V", so Ab7 is the tritone sub based on that--the chromatic movement in the bass is the most desirable thing there.

    It's a little bit more of a "delicate" sub, IMHO--the kind you might want to let folks know about ahead of time if you're going to do.

  15. #39

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    Here's another aspect to the ii-V-I thing (in C):
    If you use the sub-V (Db7) instead of the V7 (G7), you can also (sometimes) precede it by its related ii (Abm7) instead of the ii (Dm7).
    Wes used to do this.
    As Mr. B. aptly said, it's really all about root motion.
    Hope that doesn't just add to the confusion!

  16. #40

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    Also in jazz harmony, modal interchange is one of the main sources of re-harmonization. A re-harmonization is different than chord substitution. Usually... Chord sub. has same function and is built from same collection of notes. The re-harm. may or may not have same function or same collection of notes. In the example the replacement of G7 by Db7 is a re-harm. by means of tri-tone substitution, same dominant function, different collection of notes, (there are other methods of analysis of Db7). The original D-7 could by means of modal interchange be re-harm. to D7 and them tri-tone substitution to become Ab7. All this would usually be if melody permits. In traditional theory... secondary dominants or use of chord sequences are methodologies of re-harmonization, which the Ab7 could be explained... in jazz, modal interchange is much more common and your example is very common...Best Reg

  17. #41

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    Quote Originally Posted by Tom Karol
    Here's another aspect to the ii-V-I thing (in C):
    If you use the sub-V (Db7) instead of the V7 (G7), you can also (sometimes) precede it by its related ii (Abm7) instead of the ii (Dm7).
    Wes used to do this.
    As Mr. B. aptly said, it's really all about root motion.
    Hope that doesn't just add to the confusion!
    Martino does this in his "All Blues" from hi Live At Yoshi's CD. Eb dorian to Ab jazz monor to take him to the IV, C7.

  18. #42

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    Looks more like a passing chord to me. But..as Manuel would say...I know na-thing!

  19. #43

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    Hey Aleikhbaba... The tri-tone sub is just that... Eb7 is a tri-tone sub for A7.
    What actually happens is the 3rd and 7th of A7, (C# and G) is inverted, or spelled, G and Db(C#), and chord becomes Eb7. Which is the SubV of D7. So in principle, any chord can be preceded by it's SubV, which is a Tri-tone sub for the V chord of actual target chord, in your example, D7. In jazz, any V7 chord can be preceded by it's II- chord. In your example the Eb7 could be preceded by Bb-, the D7 could also have A- before. The II- V7 is regarded as a single unit, but you have the freedom to play around with chords depending on context. The next step is to use the same concept, but use only the root motion and change the chord by means of modal interchange... In theory you can take a sub-V, or it's related II-, in your example the Eb7 chord and through Modal interchange, change Eb7 to a Eb-7, their are methodologies or Jazz rules when using MI, but that's another subject. So it's not simply root motion. But root motion is a simple system of recognizing end result... and easy, but many flaws.
    Some more notes on Dominant chords...
    A dominant chord resolving to I has Dominant cadence
    A dominant chord resolving to chord other than I, has Dominant resolution
    Secondary Dominants resolve to Diatonic chords other than I
    Extended Dominants resolve to to secondary Dom. or another extended Dom. or related II-
    Best Reg

  20. #44

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    Quote Originally Posted by Reg
    Extended Dominants resolve to to secondary Dom. or another extended Dom. or related II-
    Best Reg
    What are Extended Dominants? It's the first time I hear/read about that.
    And are there any other dominants besides simple dominants, secondary and extended?

  21. #45

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    The bass line steers the progression-usually in cycle of 4ths

  22. #46

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    Quote Originally Posted by Claudi
    What are Extended Dominants? It's the first time I hear/read about that.
    And are there any other dominants besides simple dominants, secondary and extended?
    From Wikipedia

    An extended dominant is a non-diatonic dominant 7th chord that resolves downwards to another dominant chord. A series of extended dominant chords continues to resolve downwards by perfect 5ths until they reach the tonic chord.

    Typically used in jazz, extended dominants have been used in other contexts as well.

  23. #47

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    In jazz... extended Dominants can resolve downward or upwards, to another Dominant chord or a Dominant chords related II-. If you resolve downward, interval would be P5th, if upward, the interval would be P4th. In jazz... extended Dom. are not required to reach the tonic chord.
    B7, E7......., A7, D7......, G7. series of extended Dominants
    B7, B-7 E7, A7, A-7 D7, G7. ext. Doms. with related II-
    B7, E-7......, A7, D-7....., G7. ext. doms. with II- , can still be heard as ext. Dom.
    Depending on context... analysis can always change. The resolution of tri-tones in ext. Doms. can be actual or implied. With use of modal interchange can become very deceptive....Reg

  24. #48

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    Quote Originally Posted by docbop
    From Wikipedia

    An extended dominant is a non-diatonic dominant 7th chord that resolves downwards to another dominant chord. A series of extended dominant chords continues to resolve downwards by perfect 5ths until they reach the tonic chord.
    ...but a dominant is a dominant, be that in the diatonic scale or in the harmonic minor, in the harmonic major and in the melodic minor (unless the altered dominant).
    Quote Originally Posted by docbop
    Typically used in jazz, extended dominants have been used in other contexts as well.
    Which other contexts? Think that I didn't know anything about it until now. I'll have a look at the wiki but I'm looking forward your answers, ok? Thanks for your answers.

  25. #49

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    Quote Originally Posted by Reg
    In jazz... extended Dominants can resolve downward or upwards, to another Dominant chord or a Dominant chords related II-. If you resolve downward, interval would be P5th, if upward, the interval would be P4th. In jazz... extended Dom. are not required to reach the tonic chord.
    B7, E7......., A7, D7......, G7. series of extended Dominants
    B7, B-7 E7, A7, A-7 D7, G7. ext. Doms. with related II-
    B7, E-7......, A7, D-7....., G7. ext. doms. with II- , can still be heard as ext. Dom.
    Depending on context... analysis can always change. The resolution of tri-tones in ext. Doms. can be actual or implied. With use of modal interchange can become very deceptive....Reg
    When you guys say to resolve downwards you mean descending and resolving upwards you mean ascending, right?
    Hey, reg. I agree with your last sentence. When I try to play chords modally it seems that I play whatever. Sounds jazzy but as if I were playing chords randomly, no rule in there.

  26. #50

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    Please make a copy of this for reference, thanks

    1) a dominant chord resolving, (going to) I chord has Dominant cadence.
    ex. key of C;......... G7 going to Cmaj, V7 Imaj
    2) a dominant chord resolving to other chord than I, has Dominant resolution.
    ex. key of C;..... dom7th chord going to any chord, besides C.
    3) Secondary dominants resolve to Diatonic chords other than I.
    ex. key of C; a dom7th chord going to any diatonic chord,(D-7,E-7,Fmaj7, G7,A-7,B-7b5, chords built on scale degrees from key of Cmaj.) OTHER THAN Cmaj. Cmaj. being the I chord.
    4 Extended Dominants resolve to...A)secondary Doms. B) another extended dom. C) the related II- of another extended or sec. Dom.
    A7, D7, G7, Cmaj7....... A7 is ext. dom., D7 is sec. dom., (V7/V7), G7 is V7 of Cmaj7, (Imaj7)

    B7, E7......., A7, D7......, G7. series of extended Dominants... No I chord
    B7, B-7 E7, A7, A-7 D7, G7. ext. Doms. with related II-..........no I chord
    B7, E-7......, A7, D-7....., G7. ext. doms. with II-......................no I chord
    This is typical use in Jazz.

    Hey Claudi...
    When we use ascending and descending, were making reference to root motion. The resolution really means some type of resolution of intervals in chords, but we use the term loosely and many time are simply referring to chord going to another chord .
    Modal interchange is a methodology used for chord substitution.
    Playing chords modally would be using chords with modal concepts, each mode has different characteristic notes and interval resolutions, different than, say like playing in Cmaj, which uses tri-tone as part of characteristic Dominant resolution. Best Reg