The Jazz Guitar Chord Dictionary
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  1. #1

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    Looking to get some succinct advise on crafting lines for a I VI ii V (2 beats per chord) in key of F for example. I've looked on the internet and while there is lots of info much of it is very long winded. There must be some simple rules to get going.

    What I think I am understanding so far is this

    Each chord has guide tones (3rds and 7ths)
    Also the fifth can be used or perhaps less desirable the root; maybe the 6th, 9th? Trying to have the notes move a 1/2 step to next chord? Chromatics?

    So for each chord I have these note options besides adding the 5th

    F chord - E A
    D7 chord - F# C
    Gm chord - F A#
    C7 chord - Bb E

    What is a simple rule or two for outlining chords these in a musical way?

    What's wrong this line I "wrote" trying to incorporate some of these concepts?
    I VI ii V in F-i-vi-ii-v-jpg

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  3. #2

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    Trying to have the notes move a 1/2 step to next chord?
    Did you ever do that?

  4. #3
    Quote Originally Posted by BigDaddyLoveHandles
    Did you ever do that?
    Fair enough...is this better?
    I VI ii V in F-i-ivi-ii-v-f-jpg

  5. #4

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    Yes! Now the weakest thing seems to be the G note against D7. I know it is part of an enclosure, but still.

    How about F# D Eb C against D7 (or F# D C Eb) and replace the F note on Gm with D?
    Last edited by BigDaddyLoveHandles; 10-14-2020 at 02:13 PM.

  6. #5
    Thanks for the suggestions I am trying them....I think I like this...has a flat 9 on V chord.

    There was a BigDaddyLoveHandles who posted on Mandolin Cafe....not you I suppose?

    I VI ii V in F-i-vi-ii-v-f-russian-lullaby-jpg

  7. #6

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    Quote Originally Posted by alltunes
    Thanks for the suggestions I am trying them....I think I like this...has a flat 9 on V chord.

    There was a BigDaddyLoveHandles who posted on Mandolin Cafe....not you I suppose?
    Not me -- you can't copyright a username!

  8. #7

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    alltunes -

    The F chord is the tonic. The D7 precedes the Gm ( it's its V) so play it as D7b9 or D7alt. The Gm precedes C7 (it's its ii) so play it that way. The C7 precedes the F so play it straight, or as a 7b9, or altered.

    Can you do that?


  9. #8
    Quote Originally Posted by ragman1
    alltunes -

    The F chord is the tonic. The D7 precedes the Gm ( it's its V) so play it as D7b9 or D7alt. The Gm precedes C7 (it's its ii) so play it that way. The C7 precedes F so play it straight, or as a 7b9, or altered.

    Can you do that?
    So in my last line above you suggest that there should be an altered note on the D7? (Eb like BDLH's suggestion) Besides being a little vanilla sounding is there something wrong with my line?

  10. #9

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    Let me hear you play it in context and I'll tell you :-)

  11. #10
    Can't record right now...but it is easy enough to play what is written no?

  12. #11
    Quote Originally Posted by christianm77
    How many beats for each chord?
    Two beats for each chord

    so F / D7 / Gm / C7 / F ///

  13. #12

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    The D7-to-Gm isn't working for me. As I wrote before, the G E against D7 isn't great (play a G over a D7) and now they aren't even enclosing the next note (formerly F).

  14. #13

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    Two beats for each chord
    Same thing, only shorter.

    The point is each chord has a function in relation to the other and the whole sequence should flow as one. Don't work it out on paper, play it.

  15. #14
    Quote Originally Posted by ragman1
    Same thing, only shorter.

    The point is each chord has a function in relation to the other and the whole sequence should flow as one. Don't work it out on paper, play it.
    I have been playing it sporadically between loads of work.....I am obviously new to this stuff...I'm posting here to look for some assistance....specifically the theory behind how to make a line flow through the changes

  16. #15

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    I don't know how fast you want it to go. Try just playing F - C7. Forget the D7 and the Gm. When you've got that alter the C7 a bit. Playing F over D7 makes a nice bluesy sound. No prob :-)


  17. #16

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    Quote Originally Posted by alltunes
    I have been playing it sporadically between loads of work.....I am obviously new to this stuff...I'm posting here to look for some assistance....specifically the theory behind how to make a line flow through the changes
    I don't think I can really do that through the medium of text.

    Basic Barry Harris exercise F down to the third of D7, C7 scale.

    So like

    E D C Bb A G F# first bar
    C D E F G A Bb the second

    Last note is a quarter. Linking them up with an extra note

    E D C Bb A G F# A | C D E F G A Bb
    Descending better maybe, with added B note.
    E D C Bb A G F# A | C B Bb A G F E D | C

    So, you can then learn to run F# into a diminished arpeggio, or do a wrap around/enclosure.

    I would play figures with the F# in, but it would be quick.

    C Bb A G F# A C Eb | D

    You don't have to play F# though. Think about targeting the Gm7 chord.

    Hard to explain. Helps me if I view the Gm7 as an Bb6 or Bbmaj7 chord.

    C Bb A G F Eb C C# | D F A F Ab F E D | C etc

    Connect the chords THROUGH the barline

    But there's a lot of figures. Text is crap for talking about this stuff frankly. Maybe I should do a video if I get a moment. The F#o7 is a very bop way of dealing with the D7, but you don't need to use all four notes. For example

  18. #17

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    It's two chords per bar, no time to ponce about.

    Text is crap for talking about this stuff frankly
    Too right. Especially in the company's time :-)

  19. #18

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    .I'm posting here to look for some assistance....
    You're getting it. We can't play it for you.

    specifically the theory behind how to make a line flow through the changes
    There's no theory, it's what sounds good. Just work your way round the chords and see what happens. Improvising is playing without a safety net.

  20. #19

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    By the way, watching other people do it isn't going to help you, except maybe end up copying stuff like a parrot. Even if it's brilliant. You don't want that, it's no fun.

    Ask yourself how they got there.
    Answer: blood, sweat and tears.

  21. #20

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    It's not really that complicated. The main note to look out for is F# over the D7.

    Go collecting. Ear learning is golden, but you don't need to do whole solos.

  22. #21
    Fair enough but surely there must be a few guidelines besides what I hinted at in my OP?

    maj 7th to 3rd 1/2 step motion
    guide tones


    Duly noted though as this little self exploration exercise today has taught me more then my guitar instruction book collecting habit

    As Pierre would say "time on the instrument"

  23. #22

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    Barry Harris

  24. #23
    Quote Originally Posted by rintincop
    Barry Harris
    Way over my head!

  25. #24

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    Quote Originally Posted by alltunes
    Fair enough but surely there must be a few guidelines besides what I hinted at in my OP?

    maj 7th to 3rd 1/2 step motion
    guide tones


    Duly noted though as this little self exploration exercise today has taught me more then my guitar instruction book collecting habit

    As Pierre would say "time on the instrument"
    More ideas than guidelines :
    * arpeggio up, scale down
    * a jump of a sixth or more adds interest -- you usually jump on the "and" then head in the other direction (jump up head down, or, jump down head up).

  26. #25

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    Time on the instrument, but also time with the music; listening carefully, puzzling out the lines.