#1
I got this progression:

C#m, A, B, E.


Which chords can I change to make it sound more jazzy?

I tried C#m7, Amaj7, B7, Emaj7, But it sounded bad, mainly the transition between the first 2 chords. B7 to Emaj7 sounds good though.
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#2
throw in a Gb7sus4 and a few Db7#9's and you'll be fine
i play an 8 string
Last edited by loganrocksabass at Jun 7, 2011,
#3
Throw an F#m7 before the last two, that will make the ending a ii-V-I progression.

Actually, See if you can get an F# in all those chords. That will make the C#m a C#m11, the A an AM13, and the E an EM9
Quote by CLVPX
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#4
Substitute an Fm for the A. Your current progression is vi-IV-V-I, where as in a traditional jazz idiom the subdominant is usually a ii7, not a IV. The key is root movement down by fifths. I'd go C#m7, F#m7, B7, Emaj7.

If you want to go more advanced, you can use a secondary dominant in place of the F#m7, making it: C#m7, F#7, B7, Emaj7

Now you have a nice succession of descending fifths.
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Last edited by ns9977a at Jun 7, 2011,
#5
I like the

Cm7 //// Amaj9 /// Asus2 / Badd9 / Bsus4 / Bsus2 / B7-Badd9 / Ema7 or Ab7sus4-Ab7 to give a mixolydian sound.

/ = quarter note or one strum

during the B7-Badd9 is a quick change You dont have to play all those different B inversions but they sound nice if you follow the chords quickly. During the Emaj7 you can switch bass note to come back to Cm7.
#7
ns9977a is probably right about switching to an F#m instead of an A major. You could do the A major, but it's just not the most typical jazz movement - it's too... poppy, I suppose you could say. In any case, an F#m7 chord and an Amaj7 chord can essentially substitute for each other, as they both contain most of the same notes. You might end up with a 9 or a 6 thrown in somewhere, but everything still functions the same. Anyway, I liked the idea of keeping a C# in everything, so I tried going C#m7-F#m9-B13-Emaj13.

--9--9--9---9----------
--9--9--9---9----------
--9--9--8---8----------
--9--7--7---9----------
-----9------7-------
--9-----7-----------
Last edited by Glen'sHeroicAct at Jun 7, 2011,
#8
Hehe kinda late, but try: Esus4, Bsus2, C#m7 and really, i'd just use regular A. There is ONE song i know that sounds good with an Amaj7 but it's just that one.
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#9
Stick with the chords you've got man. You can make it sound jazzy by harmonizing the chords to the 7th degree, and experimenting with voice leading and inversions.

Here's an idea.

-------------
-7--9-11-12
-9--9-8--9
-9--7-9--13
------9--11
-9--9---------


C sharp m11 / Amaj7 / Bmaj7 / Emaj7

To make it more theoretically correct, try flattening the 7th in the last 2 voicings to make them dominant.
Last edited by mdc at Jul 27, 2011,
#11
9ths deff create the beautiful jazz sounds.
11ths and 13ths as said above work beautiful ^

7ths sound great in moderation.

also performing a tri-tone substitution on the 5th with a dominant 13th works wonders.
infact you can do this to pretty much all the chords.
#12
Quote by Lennon993
Hehe kinda late, but try: Esus4, Bsus2, C#m7 and really, i'd just use regular A. There is ONE song i know that sounds good with an Amaj7 but it's just that one.


rly cant imagine a jazz sound with sus2's and 4's.
thrown in now and again works, but thats more prog rock?! i shall give this a play myself i think.
Last edited by Leigh01 at Jul 28, 2011,
#13
Quote by Leigh01
9ths deff create the beautiful jazz sounds.
11ths and 13ths as said above work beautiful ^

7ths sound great in moderation.

also performing a tri-tone substitution on the 5th with a dominant 13th works wonders.
infact you can do this to pretty much all the chords.

Yay someone mentioned me!