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$kmk�mh��=k�^�&���["�}�r�)�n4S%�[&����Z�qC3��G*�� m��`��/-!V[�9��.���������S����ΖVIʲ:Xc���Ol��F7)��2G�-���2���UeY7>�V�J6�˄��d|V����p�*7 Repeat the same process with the minor 251 progression. In the below video, I take the song ‘All of Me’ as an example and insert passing chords. Passing chords can make a chord progression more interesting because they speed up the rate at which chords change (called Harmonic … �*ΥcSJ���z�(Ҡ �u�GQ�sD)LM��1�o�F��W�rQ�{J�1�@6,Py�����ۘ=n�T��=��7D�ʳ��5U��-��)�r� x��[I�Z�;�\�w����L�4ڪg�f�NW�n��}�C����A殗t��~�(K߮��2��ڽ+�K��T�(R��[Yɺ��^�������Һ5��e��yT�[������%�bߐ���|�a71�5��i����1:�ʨ �֬h� �� %���T�]�6^�Lu� 2 0 obj Because they are played quickly (they generally never last more than 1/2 a bar), they are not harmonically important. endobj x��VK��0��W�\H֒��`������@��>��B�ҿ_Y~ę�d�SY�:�d��I1B���Ӌ^�]�'=�սS0:�۷�Ӈ�w�����r��]o-��M��k�r���~�?��ϣ�YL�V���`J(~���G?d'MVh3ࠋ�f#�'�)���1$��%�%��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�
We will find this is the case with many of the concepts we cover in the future. (adsbygoogle = window.adsbygoogle || []).push({});
. A musician writes a particular chord progression that happens to sound good, and then it’s up to the theoretician to figure out why it sounds good. Let’s take the following chord progression: | CMaj7 | Dm7 ||. Passing Chords Are Simple. endstream You may have noticed some of the above approach chords are also chord substitutions. They are chords you pass through quickly on your way from one chord to the next in the chord progression. <> r��_ The most widely used passing chords are shown in the below table. We know that in a minor 251 progression, the 5 chord in the progression will usually be an altered dominant chord.In this lesson we are going to apply altered dominant chords to the major 251 progression. chords that are written out on a lead sheet and that occur on beats one or three of a bar). Practice Tips First take the major 251 progression and try adding a dominant passing chord a half step above the 1 chord. You want both to be smooth. I will have more to say about this in future lessons. It’s at your discretion when and where you insert a passing chord, and what kind of passing chord you insert. Passing chords can make a chord progression more interesting because they speed up the rate at which chords change (called Harmonic Rhythm) and make a chord progression more harmonically interesting. For those who are interested, I played the following chord progressions: While all my lessons are free, if you find them useful please consider donating to help keep them coming. Adding alterations is done by either raising of flattening the upper extension of the 5 chord in a 251 progression. �?q��ζ�~��ȹ mr:�+��� Because of this, there are a number of different ways to analyse the same chord progression. �p:$1e���w��ȦKZ|$N\�zO�s�ykN��Rl0K'�=H f9g5M�譲�u��赋���&h)Q�?�!�@�@��†(�d$\;�2?����� ~Z�HI�aq\ 251 Progressions – From Basic To Advanced • In this session we will discuss the 251 progression and its many variations ... • Passing Chords, Tritone Substitution, Sus Chords Bars 1 & 2 – C-7 / F#13#11 / F7b9 Bars 3 & 4 – Bbmaj7 / E7 / Ebmaj7 <> Put a Db dim 7 (or C# dim7) prior to D minor 7: An Eb dim 7 prior to E minor 7. 5 �����d����������^6���p� �� ����SS��EA�����Yc��� ��P��Y�y�ߛH} &F��d������{<9�H%W�Wb;u�� �S���p�s ���|�D�i*�38ߵ1X�F̈́=�H6��\��Z�:GlT� Passing chords are literally that, chords that you pass by. The 2nd, 5th, and 1st scale degrees of the G major scale are A, D, and G. With this in mind, the 251 progression in the key of G major would A minor, D major, and G major. You will also notice that one of the passing chords is a Secondary Dominant (the subject of our next lesson). ]�����_o�Ǜn�b��i;^>~������?��gb�w&�+\ӓ��/f���N�ߏxyw�'}g���V-��S���@�Yx�2��tUw�q�D��p����Q�| 8 0 obj �H�?�b\Ǐ�9���n�Z�J^��܅ G0�Rt���� It’s important to remember that: first came music, then came theory. ��R��Ա���/[M\5 ����d$j R�N�7�9+�c��w|���zA��3�H�},W�&�=�x� }B/wsmn�� �q�!e� ��Pe�C����g�2$]�b�G�Z�Y��=�ͧ��Y|? endobj Both of these are correct. More Passing Chords. � �`�ZAl>*�&�i>�Ep���C)5��r�~B�� �~�уA���+����/���J����#�[email protected]�����Z)#�ꈲ�Y~�$�}����W�t%��9'�����4}��`�)|�;On{����{Foe&c�QX�o���ps��)h�>�&�X3о�kz?���r*�/��p��)hd�Y�4Xt�A�L�1�����jfh14��Z|P�>��.������M��j�fd6��7��-Ŕac?�)�m��&C�����x;�J\�t-�΃tAs҅>X� (��^�Vx4�vG;8�+������� �v��l+G��Y�P����h�*�n�#-��g+d�ې�$ߟ*�X�r�4�g�;��iĘ#���v��M &wx7!�Φ)�G The G major scale is spelled G A B C D E F#. They are chords you pass through quickly on your way from one chord to the next in the chord progression. ��bp1z�ODC�2��2��.�z��Y�-H��f�^�ag����k���rN��Y�W��c,�>��^�}��IeG��&�w� gwFK8���eSDK{/����Ey���>�M��9�2��� :�:y6��8��㳠I>�%���m �2��-w��2�Л",3�( ���?d�BE1�Ѕ�{�6�#��Y�� At this point it is worth noting that there is more than one way to analyse a chord progression. 5 0 obj %PDF-1.5 x��Y{xSǕ��+K�m�eY`�-˶l#�����z��ɶ$c_a[6~�~B `���!�H����6MH�4��tòyt��즴i�m�mR��6]�+��6�����gf��9�;g�9W�Db�1(�c���zp�!t!��W׵-u׀~!iBO�ݍ�'L%� ��onR ��N���R������E�C���("$σ�=�MZѫ@���-e�?йf��h���p���EJL��pa��O�B�&� B(�GE�,�]'��&��E��$&-]���LU��g�3��kV������ɜ�����������b���ןzß�� (!X.-��D)Q(̌Z�E endobj m���tsnQ����~w������ƌ. (adsbygoogle = window.adsbygoogle || []).push({});
. �T��e�L���)%9H Adding passing chords … ��27�9`t`xS b�s��qg�@]�*ꦏ��d[��q�F���վ And in order to do this, they come up with various ideas and concepts. Passing chords are literally that, chords that you pass by. Have a listen to what it sounds like in practice. Because they are played quickly (they generally never last more than 1/2 a bar), they are not harmonically important. I’ll say it again. x��ZI��6��_��@w�Z24�gw������ܲ@��%?U*�����a�l��Z�Z���/���{avc�^��o��U�f~���ۯ? We can insert a passing chord between the CMaj7 and the Dm7. ?���!���L����i#�$'�T�(�V4����|�gI��;)߆��_�M���1�.$�r�F��Op~�N�A(�8>����Uc�U��D� �ɡn�zxe���@A�0���t�n�:�_BD��w#�ĵ�͜�hh�q��N�\� �߯E6�lǨ鷏_ޞo_*��B��J��>��#EM"��&8.� yt���`�W�?7��CG| LH��~�_Jwn�L�-\¦�� endstream C>��X�p��W}�j8�M�awx��ȕ�`�f�ل�~^ H䝐�6�+��J����N�J�R籡�yE[A\��Vl��O8�H&y’�E