ricoche
12-27-2008, 03:00 AM
Hello Willie,
I have an interesting question that perhaps others may find interesting as well. That is, how does one learn how to "substitute" or correctly "extend" their chords for a progression. This week I was introduced a "classic" jazz progression which is the following:
I-vi-ii-V
In the key of Ab, I was shown the following chords to play the progression:
I AbMaj9
vi Fdim9
ii Bbmi9
V Eb13
Now, I know that the following is true if I understand my Chord/Scale Theory correctly. ( Ex: Key Ab ):
I Ab (Maj7)
ii Bb (mi7)
iii C (mi7)
IV C# (Maj7)
V Eb (7 or dominant 7)
vi F (mi7)
vii G (min7 flat5 or half dim?)
So, with the "classic" progression example above in Ab, I can understand the use of the 9th chords ( just extended from the 7th ) for the I and ii chord. I also can understand the 13th chord ( again, just extended from the 7th ) for the V chord.
What I don't really understand is how one comes up with the vi chord as a "diminished". At my Jazz Level (beginner?), if someone told me to play a I-vi-ii-V progression in Ab, I would probably start with a Abmaj7, Fmi7, Bbmi7, Eb7 then dive into 9ths and go from there. Why 9ths? because I know them better than the other extended chords...laugh.
Is it more experimentation or is there a method on the best way to add these 9th, 11th, 13th, or dim/aug chords to this "classic" progression? I play a lot of 9th chords and now am dabbling more with 11th and 13th so I can understand just by experience what I like to use, but when I saw the Fdim9 for the vi chord, I was like "Wow! How did they come up with that." Note, I am understanding more that diminished chords ( and perhaps augmented too ) are used more as "passing chords" so perhaps the intention here is to add emphasis or tension on the passing from the vi to the vii chord? Not sure.
I'm sure while viewing your DVDs I'll come up with some answers on my own, but I thought I would post this observation. To get a better understanding of chord progression theory, I've been trying to understand how progressions are constructed a little bit by using the circle of 5ths and studying how progressions are formed ( other than just blindly creating one by ear of course). I'm having a lot of fun with the I-vi-ii-V progression but I often find myself stuck with the same chords and am trying to find a way to expand.
Thanks for any thoughts or advice you can throw my way.
Jim
I have an interesting question that perhaps others may find interesting as well. That is, how does one learn how to "substitute" or correctly "extend" their chords for a progression. This week I was introduced a "classic" jazz progression which is the following:
I-vi-ii-V
In the key of Ab, I was shown the following chords to play the progression:
I AbMaj9
vi Fdim9
ii Bbmi9
V Eb13
Now, I know that the following is true if I understand my Chord/Scale Theory correctly. ( Ex: Key Ab ):
I Ab (Maj7)
ii Bb (mi7)
iii C (mi7)
IV C# (Maj7)
V Eb (7 or dominant 7)
vi F (mi7)
vii G (min7 flat5 or half dim?)
So, with the "classic" progression example above in Ab, I can understand the use of the 9th chords ( just extended from the 7th ) for the I and ii chord. I also can understand the 13th chord ( again, just extended from the 7th ) for the V chord.
What I don't really understand is how one comes up with the vi chord as a "diminished". At my Jazz Level (beginner?), if someone told me to play a I-vi-ii-V progression in Ab, I would probably start with a Abmaj7, Fmi7, Bbmi7, Eb7 then dive into 9ths and go from there. Why 9ths? because I know them better than the other extended chords...laugh.
Is it more experimentation or is there a method on the best way to add these 9th, 11th, 13th, or dim/aug chords to this "classic" progression? I play a lot of 9th chords and now am dabbling more with 11th and 13th so I can understand just by experience what I like to use, but when I saw the Fdim9 for the vi chord, I was like "Wow! How did they come up with that." Note, I am understanding more that diminished chords ( and perhaps augmented too ) are used more as "passing chords" so perhaps the intention here is to add emphasis or tension on the passing from the vi to the vii chord? Not sure.
I'm sure while viewing your DVDs I'll come up with some answers on my own, but I thought I would post this observation. To get a better understanding of chord progression theory, I've been trying to understand how progressions are constructed a little bit by using the circle of 5ths and studying how progressions are formed ( other than just blindly creating one by ear of course). I'm having a lot of fun with the I-vi-ii-V progression but I often find myself stuck with the same chords and am trying to find a way to expand.
Thanks for any thoughts or advice you can throw my way.
Jim