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Les ingrédients de base en musique sont les gammes les accords
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The Jazz Guitar Chord Book By Dirk Laukens (www jazzguitar be) This ebook shows you how to construct jazz guitar chords and how to play them on guitar If you’d like to go more advanced I can wholeheartedly recommend you the Jazz Theory Book The Theory p 2 Jazz Guitar Chord Theory
Table of Contents - Jazz Guitar
The m6 chord is featured extensively in the jazz repertoire and is commonly used as a substitution for the m7 chord The difference between a m6 and m7 chord is a single note The m6 chord utilizes a 6th above the root whereas the m7 chord has a b7th above the root The intervallic structure of the m6 chord: R–b3–5–6
Basic Jazz Chords & Progressions
Basic Jazz Chords & Progressions 7th chords and scale harmonization Like traditional common practice music jazz chords are tertian meaning they are built using major and/or minor thirds While traditional music has the triad (3-note tertian chord) as its basic harmonic unit jazz uses the 7th chord (4-note tertian chord) as its basic unit 7th
What is a 7th chord in jazz?
While traditional music has the triad (3-note tertian chord) as its basic harmonic unit, jazz uses the 7th chord (4-note tertian chord) as its basic unit. 7th chords should be thought of as triads with an additional third added on top (making it a 7th above the root). Refer to the “Seven basic 7th chords” handout to see how to assemble 7th chords.
What is a tonic chord in jazz?
Like traditional music, the chord progressions in many styles of jazz are tonally driven, meaning they are organized in a way to progress (lead to) a goal and stable resolution, which is almost always the tonic chord (tthe I or i).
Are jazz chords tertian?
Like traditional common practice music, jazz chords are tertian, meaning they are built using major and/or minor thirds.
How do jazz progressions approach the tonic?
Many jazz progressions approach the tonic in the same way traditional progressions do: from the dominant or dominant 7th chord (the V or V7). Similarly, the V(7) chord is typically approached by a predominant chord (the ii in the major mode; iio in the minor mode).
Table of ContentsIntroduction ........................................................................
..................................... 5Intro to Drop Chord Shapes ........................................................................
............ 20Chapter 1: First Steps ........................................................................
...................... 28The ii-V-I-VI Progression ........................................................................
.................. 28ii-V-I-VI Progression - Drop 3 Chords.....................................................................
Chapter 1 Goal Review Questions ........................................................................
.. 78Chapter 2: ii-V-I-VI Comping Patterns ................................................................. 80Freddie Green Comping ........................................................................
.................. 80Chapter 3: Minor ii-V-I-bIII Overview ..................................................................... 119The iim7b5 Chord ........................................................................
............................. 1223Minor ii-V-I-bIII Progression ........................................................................
............ 156Chapter 4: Autumn Leaves Studies ........................................................................
172Autumn Leaves - Section Breakdown ................................................................... 172Chapter 5: Turnarounds ........................................................................
.................. 198Turnarounds in Position 1 ........................................................................
............... 199Chapter 6: Rhythm Changes Studies ..................................................................... 221Rhythm Changes - Section Breakdown ................................................................. 222Chapter 7: Must-Know Chord Shapes .................................................................... 253Practice Example Exercises ........................................................................
............. 2534Maj7#11 Chord Shapes ........................................................................
................... 261Appendix ........................................................................
........................................... 296Chapter 1 Review Answers ........................................................................
.............. 296About the Authors ........................................................................
........................... 326Terence Wright ........................................................................
................................. 326 19The Im6 Chord
The m6 chord is a completely new chord quality to add to your chord vocabulary. substitution for the m7 chord.single note. The m6 chord utilizes a 6th
whereas the m7 chord has a b7th above the root. The intervallic structure of the m6 chord: R-b3-5-6 help you get a feel for the m6 intervallic structure. chord shapes for the m6 chord. Using Gm6 voicings on both the 6th and 5th 20ȴȇDrop 3 voicings. Play through
and memorize each Drop 3 Gm6 chord shape below.R - b3 - 5 - 6, but the
For a Drop 3 Gm6 chord, the notes of the chord are distributed in the fo llowing order: Knowing the distribution of notes within each chord voicing you play will not only strengthen your overall knowledge of the fretboard, but will also provide you with a solid foundation for pursuing advanced jazz concepts such as voice leading and chord soloing. 21minor ii-V-I progressions. voicing. Compare the chart below to the previous Drop 3 Gm6 chart to allow yourself to
Click here to play audio example
22Exercise: Continue to develop your ears by comparing and contrasting the sound
Minor ii-V-I Progression
It"s time now to take all three chords from this chapter and begin playing complete overview of both and indicates the chords you"re currently focusing on using italics. minor ii-V-I progression in 23P Dro iim7b5 Root on the 6th string.
V7b9 Root on the 6th string.
Im6 Root on the 6th string.
bIIImaj7 Root on the 6th string. 24Drop 2 Chords
iim7b5 Root on the 5th string.V7b9 Root on the 5th string.
Im6 Root on the 5th string.
bIIImaj7 Root on the 5th string. 25saying and the tensions or note names of each note in every chord you play.
7b9 and maj7 chords because you"ve
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