#1
Ok today i went to the library and picked up a "real" fake book full of jazz chord progressions.
it is an AWSOME book, great for getting better at improv.

but i have two relatively simple questions on an interesting chord progression i found in the book.
the chord progression goes:

D/F# - F(little circle)7 - Em7 - A7 - D/F# - F(little circle)7 - Em7 - Eb7

ok my first question is, the little cirle between the F and the 7 on the second chord means diminished right?
i know this is a stupid question, but i dont want to be improvising over the wrong chords.

and my second question is a better one, i think.

the second time the progression is played the A7 is substituted for the Eb7.
thats a tritone substitution right?
OR is it a "neapolitan chord"?

(because from what i have learned, a neapolitan chord is a major chord on the lowered second degree of the major scale, so in this case Eb major.)


EDIT: and if anyone wants to show me how to put in the little circle in stead of writing (little circle) everytime, it would be greatly appreciated, so i dont look like a retard.
my 6 best friends:
Ibanez Artcore AF75
Schecter C-1 Hellraiser
LTD H-207 7 string
Ibanez Acoustic
Last edited by musicTHEORYnerd at Jan 24, 2009,
#2
i can only answer your first question, the little circle is indeed the diminished symbol. i wish i knew blues/jazz, but i cant decide on the a7 chord. maybe someone with more knowledge can answer for him?
Schecter C-1 Classic in Seethru blue <333
Schecter Damien FR
Roland AC-60 acoustic amp
Boss GE-7 EQ
Line6 Ubermetal Distortion
Sigma Dx Acoustic
#3
Quote by Zinnie
i can only answer your first question, the little circle is indeed the diminished symbol. i wish i knew blues/jazz, but i cant decide on the a7 chord. maybe someone with more knowledge can answer for him?

thanks =]
my 6 best friends:
Ibanez Artcore AF75
Schecter C-1 Hellraiser
LTD H-207 7 string
Ibanez Acoustic
#4
It's a tritone substitution.
"And everybody knows that you live forever
Ah, when you've done a line or two"
#5
Quote by mr_magic
It's a tritone substitution.

i should have put this in my original post, but whats the best way to improvise over it?
should i just play chord tones over the Eb7?
my 6 best friends:
Ibanez Artcore AF75
Schecter C-1 Hellraiser
LTD H-207 7 string
Ibanez Acoustic
#6
That's good approach.

You could think of the Eb7 as being an A7b5b9 chord, and scale choices, well, Eb mixolydian, Eb lydian dominant, A diminished beginning with a half step, or you know w/e.

There are a lot of possibilities, just experiment some and you will probably find a sound you like.

EDIT:

If you superimpose Eb7 over A7 you get:

1 b2 3 #4(b5) 5 b7
"And everybody knows that you live forever
Ah, when you've done a line or two"
Last edited by mr_magic at Jan 24, 2009,
#7
1. The circle with the 7 next to it, that's a full diminished chord. The formula is 1, b3, b5, bb7. It's made up of 3 minor thirds.

2. It's a tritone substitute.

3. Play the changes. Jazz progressions are not like rock progressions, you can't pick one scale and hope to hell you're playing in key. Even the first two changes aren't in a key.

You need to pick a different scale/mode for each chord. For beginners you can play the mixolydian mode over dominant chords, dorian/aeolian/phrygian over minor seventh chords, lydian/ionian over major seventh chords, locrian over half diminished chords and ultralocrian/locrian nat6 over full diminished chords.

So I would solo over that progression like this:

D/F# - D ionian (D major scale)
F(little circle)7 - F locrian natural sixth (E harmonic minor scale)
Em7 - E dorian (D major scale)
A7 - A mixolydian (D major scale
E7 (for the second time round) - E mixolydian (A major scale)
D/F# - D ionian (D major scale)
F(little circle)7 - F locrian natural sixth (E harmonic minor scale)
Em7 - E aeolian (G major scale)
Eb7 - Eb mixolydian (Ab major scale).

Notice how the root of the chord and the tonal center of the mode I'm improvising with are the same?

And yes, play as many chord tones as possible. Especially on strong beats (first beat of every bar).
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.