In jazz, there are many types of turnarounds and progressions that eventually we all must encounter. A key part of how you practice should be in preparing yourself for these progressions and turnarounds. Whether that is by learning a shed-full of Parker’s II V I licks, by practicing exercises over progressions or even by learning a new standard. The end result is that you are better equipped to deal with what is in front of you in the moment on the bandstand.
To this end, I’m going to talk to you today about a progression known as the backdoor progression.
Why Jazz Guitarists Should Study The CAGED Method
When I first joined my high school jazz band, it was a humbling experience. I knew my major scales and modes, but only with the roots on the E and/or A string. This worked fine for playing pop music, but the way jazz progressions were always changing chords with each measure, my hands were constantly getting lost. If I was playing a C major line in eighth position, how did I switch to a Bb mixolydian scale without jumping my hand up or down and making the improvisational idea totally disjointed ? I could never understand how jazz guitarists could keep their ideas going as the chords changed from moment to moment. And how did players like Joe Pass know how to run an improvised line right into a chord voicing? Additionally, as I progressed to the higher registers of the guitar, I could never tell where I was in the scale anymore. It seemed impossible!
A chord progression is a succession of musical chords (with at least two notes) played one after another. Chord progression can be named harmonic progression and represent the foundation of western and traditional music.
Many jazz standards use similar chord progressions, in different keys it is very important to recognize them by ear and visually. Working and practicing basic chord sequences will make you feel more comfortable when you will need to learn jazz standards, it will more evident and easy to comp and solo.
In this lesson you will learn to recognize the 14 most important jazz chord progressions as minor and major II-V-I, the turnarounds and their variations, how to use passing diminished chords. You will find charts with roman numerals to easily transpose these harmonic progressions in different keys and some examples of comping with audio files, tabs and standard notation.
A new video has been uploaded on the YouTube channel. It is a Barry Galbraith comping study named "Like someone". This is the last study from the Barry Galbraith book "Jazz guitar comping series, vol #3" published by Jamey Aebersold. Most of the accompaniments studies (comps) in this book are designed to accompany a melody or an improvised solo with bass lines like a pianist would do. It is a very great book to practice jazz guitar comping.
A major chord is built with three notes namely root (1), major third (3) and fifth (5). These three tones represent the structure of the major chord. The same holds true for minor, diminished and augmented chords. In this guitar lesson you will learn how to play a major chord in closed and open triad voicings (also known as spread voicings).
A new eBook is available for download. It contains 50 exercises with guitar tabs and standard music notation that will show you how to use different types of voicings over a II-V-I progression. This PDF eBook will help you to understand how the main jazz guitar chords are built (minor 7, major 7, dominant 7, diminished 7, half-diminished, augmented, 7b5, drop 2, drop 3, inverted, altered, extended and rootless chords) and how to apply chord substitutions (diatonic sub, tritone sub and diminished substitutions).
Generally, when a beginner start to learn to play guitar, he tackles open chords (up the guitar neck), those found in many popular songs.
Then, come the bar chords (major, minor, dominant 7) a little hard to master. But all these chords do not have a very interesting sound and are not mostly used in jazz music.
That's why in this lesson for jazz beginners we will take the main basic guitar bar chords to transform and enrich them so that their sonority is richer, exciting and better suited to jazz concept.
One of the most popular jazz chord substitution is the tritone substitution sometimes referred to as the dominant chord substitution.
It consists in replacing the V with a dominant 7th chord whose root is a tritone below. Example with G7 (V), which can be replaced by Db7 a tritone (Three whole-steps) away.
Thus giving two chords that have two notes in common. The 7th of G7 (F) is the third of Db7 and the third of G7 (B) is the seventh of Db7. The inversion of the 3rds and the 7ths between the original dominant chord (V) and the substituted dominant chord (bII7) is the main feature of the tritone substitution.
If the basic sound of jazz is based on tetrad chords (aka four-note chords), it is common to extend them with other tones. These other notes form the upper structure of a chord which includes 9th, 11th and 13th. Adding extensions to chords help to get off the beaten tracks and provides some new harmonic colors to your playing (chord soloing, comping, and arrangement). This lesson provides you useful extended major 7th chord shapes to apply to your playing.
1- Blues progressions and variations
2- Chord studies
3- Guitar walking-bass studies
4 -Rhythm patterns
The origin of the "so what chord" name would be due to its use by the jazz pianist Bill Evans in the modal tune "So what" by Miles Davis.
This is a cool and modern sounding chord voicing often used as an alternative to quartal voicings. It is built with a fourth chord on the bottom (3 perfect fourths stacked) and a major third added on the top.
This particular chord was originally played on a piano, but it is quite interesting to play it on the guitar to support rhythmically and harmonically a soloist over a modal tune.
This jazz guitar rhythm lesson with tabs and diagrams provides you some interesting ideas of comping inspired by McCoy Tyner's playing on "impressions" by John Coltrane.
"There Will Never Be Another You" is a popular song by Harry Warren (music) and Mack Gordon (lyrics). It is one of the most known jazz standards and an indispensable study for any jazz guitarist. This jazz guitar comping lesson provides you different chord voicings (drop 2, inverted, rootless and extended chords) on the top four strings of the guitar to comp over this jazz tune. By the way, it will also give you some new ideas to support harmonically a soloist. Indeed, you may even try to apply these chord voicings to the tunes you are used to playing.
What is Quartal Harmony?
To enrich and modernize the harmonization of a piece it is common to use fourth chords. They can replace some original chords to bring more melodic freedom into improvisation and more tension in harmony.
Since the late 1950s, harmony in fourths has played a very important role in the development of modern jazz. Musicians and composers have used a lot the quartal harmony.
Among them, the great American pianist McCoy Tyner, who, is a master in the art of playing quartal chords. Mike Stern, Herbie Hancock, Chick Corea, Bill Evans and Kurt Rosewinkel have also used this technique.
In this lesson with tabs and shapes, we will see how to build chords in fourths, how to harmonize the major scale with and how to use them in comping.
One of the fundamental theoretical elements to understand music is the harmonization of the major scale. Harmonizing scale is building chords with notes. For this, you have to stack thirds (It is also possible to harmonize the major scale in fourths).
If you are wondering why thirds and not seconds or sixths for example, the reason is mainly historical: our music today is based on harmony in thirds. Once you have read this lesson, you will be able to find the tonality of a song simply by looking at its chords, you will know which scale to play on which chord progressions.
Drop 2 chords are formed by dropping the second highest note of a four-note chord in close position down an octave.
What Does Voicing Means?
Voicing is the practice of regarding the individual notes of a chord as voices. There are several voicing techniques that can be used to rearrange the notes of a chord as drop 3 or drop 2-4 voicings.
Mastering triads on the guitar is necessary for any guitarist who wants to expand his fretboard and theory knowledge.
These chords are not really considered as jazz chords because of their basic sound, but they can be efficient tools for comping and chord soloing. Indeed, the strong point of these chords is the simplicity of learning and playing.
You will find in this guitar lesson 84 ways of playing major, minor, diminished, augmented triads using root and inverted voicings in close and open positions.