767 To some the Em7 will be a passing chord. Note: That both the chord and the bass-line movement are important when transitioning between chords. For example, the Diatonic Approach Chord of Em7 is also a Median Note substitution of CMaj7. We will come across many theoretical concepts that try to explain the same chord in different ways. 6 0 obj Let’s again take the chord progression: | CMaj7 – Em7 | Dm7 ||. stream
3 0 obj And because they are not harmonically important, they can be almost any chord you like. ϲ/�&G�yTr���#@���BgU)�/޻��}�ߧ���΋}S��[��2��rU΄A�8d)N�Ձq�U��i��~�|)X�|6�޸E��o������\�,�;���[J]�J���0/�htg8\$kmk�mh��=k�^�&���["�}�r�)�n4S%�[&����Z�qC3��G*�� m��`��/-!V[�9��.���������S����ΖVIʲ:Xc���Ol��F7)��2G�-���2���UeY7>�V�J6�˄��d|V����p�*7 Repeat the same process with the minor 251 progression. In the below video, I take the song ‘All of Me’ as an example and insert passing chords. Passing chords can make a chord progression more interesting because they speed up the rate at which chords change (called Harmonic … �*ΥcSJ���z�(Ҡ �u�GQ�sD)LM��1�o�F��W�rQ�{J�1�@6,Py�����ۘ=n�T��=��7D�ʳ��5U��-��)�r� x��[I�Z�;�\�w����L�4ڪg�f�NW�n��}�C����A殗t��~�(K߮��2��ڽ+�K��T�(R��[Yɺ��^�������Һ5��e��yT�[������%�bߐ���|�a71�5��i����1:�ʨ �֬h� �� %���T�]�6^�Lu� 2 0 obj Because they are played quickly (they generally never last more than 1/2 a bar), they are not harmonically important. endobj x��VK��0��W�\H֒��`������@��>��B�ҿ_Y~ę�d�SY�:�d��I1B���Ӌ^�]�'=�սS0:�۷�Ӈ�w�����r��]o-��M��k�r���~�?��ϣ�YL�V���`J(~���G?d'MVh3ࠋ�f#�'�)���1\$��%�%��ށ\͊#u0�d�,]��]�lG�3����#�� ��P��Yr�|�t䴄W>TV�O��}�,�> J�pM7����`�ħ~!�ǣ���5�������I�픓D;�1����5�Xz�6w�N�Gϝ�HQ��Q�&��P�I�=xsm���g�r���ɛ��?���}����`��l��� Altered Jazz Chords Tutorial. stream To others the Em7 will be a half-bar chord substitution of the CMaj7 chord. And because they are not harmonically important, they can be almost any chord you like. �CEyT"#�ſ�n*��{���g�oBV��B��ƕ�4�T�j��߃����ꐵ�u�h� /Y.Ӕ�e W6^�\�4����0�ʎ��\$�0+��5E��Z57L�H�����Tsl�