Major Jazz Minor Blues by Larry Coryell CD 1998 32 Jazz FAST FROM USA SHIPPING. These are the changes that one would play if a minor blues were called at a jam session, or if they were playing with a band for the first time. Free shipping . $14.99. Without writing 11 choruses (one for each variation in this lesson), the study below uses the basic minor blues changes for the first 12 bars, followed by variation 7 in the second 12 bars. These chords are built using three-note shapes (triads), but are used in a non-traditional sense to “jazz” them up a bit. I was playing them all with natural roots. The dominant chord (V) in the key of C minor is G7, which is the dominant of Cm7. In the next example, we will stretch out our cycle progression so that it stretches the length of the first four bars before it resolves into the Fm7 chord in bar five. Any further suggestions would be much appreciated. This amount is subject to change until you make payment. A favorite progression of mine, and many jazz musicians, to solo over is what’s known as the minor jazz-blues progression, featured on such jazz classics as John Coltrane’s “Mr. From there, it’s a normal tritone substitution to Ab7. Now that we have focused our turnaround substitutions on the tonic key, we can start to turnaround to secondary keys/chords. Thanks Dirk. Then, when you’re ready, put it all together. In quartal chords all of the intervals are symmetrical. The Minor Jazz-Blues Progression. PC.” and “Equinox,” “Stolen Moments” by Oliver Nelson and “Footprints” by Wayne Shorter, as well as, for those old enough to remember, the original “Spiderman Theme Song” … This is a good selection of progressions, but the explanation doesn’t make it clear to novices where a ‘fleeting’ or temporary modulation to another key is occurring. A turnaround is a series of chords that takes the listener from one chord (Cm7 in this case), and turning it around back to itself using a series of chords (Dm7b5-G7alt in this case). This progression only contains four different chords (if you’re not familiar with Roman numbers in music, check out our lessons about Roman Number Analysis): In the next progression, we will insert a common substitution over the II chord in bars 9 and 12. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. I’m confused. Before you dive into the chord study as a whole, here are a few important concepts that are used in the study. Thanks for your wonderful work and sharing. And resolves by half-step back to the top of the form. {"modules":["unloadOptimization","bandwidthDetection"],"unloadOptimization":{"browsers":{"Firefox":true,"Chrome":true}},"bandwidthDetection":{"url":"","maxViews":4,"imgSize":37,"expiry":300000,"timeout":250}}, This amount includes seller specified domestic shipping charges as well as applicable international shipping, handling, and other fees. This gives it a more ambiguous sound that many players like to use in their jazz guitar chords. There are two ways to go about 3 to 7 triads: Either is fine, so go with what works best for you…. Copyright © 1995-2020 eBay Inc. All Rights Reserved. Since the first chord of the progression is now a G7 chord, the last two bars must be altered to cadence into the new key. you can simply remove the root of the underlying 1-3-5-7 chord. A secondary dominant chord is the dominant chord (V) of a diatonic chord other than the I. I get that 2/4 notes in each chord is similar, but the other two notes are separated by a half step and it seems strange to me that you can substitute this. Please log in again. You can see this technique in action with the Am7 chord below. Also, how can this tritone substitution work for both major and minor/half diminished chords? While it’s an important form to have under your fingers, many guitarists spend the majority of their practicing on the major blues form and less on minor blues. The Eb7 chord in bar eight is replaced by an A7 chord. shipping: + $3.50 shipping . In this last progression, every chord found with the cycle progression in the first four bars of the previous example is replaced by its tritone sub. This is the chord progression of standards such as Equinox and Mr. PC. View cart for details. Each progression in the lesson has a backing track that you can listen to, jam along with, and use as a practice aid. Could you please explain the meaning of the f# note and the Bm triad on Am7 on bar 2 and 3. The Ebmaj7 chord is the relative major of C minor and allows for a smooth connection of the I and II chords. Larry Coryell - With the Wide Hive Players [New CD] $16.09. Thank you for all the material you post! In order to avoid this, you can alternate between using the standard turnarounds and the tritone turnarounds. In the last two bars, the tonic chord (Cm7) is replaced by a Bb7 which allows for a four chord cycle progression (Bb7-Eb7-Ab7-Db7) to occur. Thanks. Have fun with this chord study, and make sure to take these shapes, rhythms, and phrases into your other comping ideas of minor blues, and other minor jazz tunes. Is it because you are thinking of A dorian mode? T hough closely related in form and harmonic movement to its major blues cousin, the minor blues requires an understanding of a number of new scales and modes when first learning how to solo over this common jazz form. I’m much less a guitar player than composer/arranger, and this series of progressions is a rich, rich resource for my purposes. So should that just be treated as a given? We can now add tritone subs to the ii chords of each of the turnarounds, which produce cycle progressions. Dominant reharmonization is something that grew historically, Charlie Parker used it a lot in his solos. So, instead of Dm7b5, you can play D7, the V of G7 (V/V or II7). An example of a secondary dominant chord is C7, the dominant (V) of the Fm7 in bar 5. Introduction to Jazz Blues Guitar Volume 1, Introduction to Jazz Blues Guitar Volume 2, With this turnaround added to our progression, there are now four turnarounds used in our chorus: So without stepping outside of the main chords in our original progression, we are now able to create movement in almost every bar of the progression, simply by inserting turnarounds. 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Matt, As much as I’d like to devote more time to jazz, I am in a couple of pop/rock bands (in my late 50’s) and trying to infuse jazz techniques(big fan of Larry Carlton and Robben Ford) into songs like Thrill is Gone, While My Guitar Weeps, etc.