#1
Hi all... i've been learning a Jazz progression (from this video) consisting of the followinging chords in this order:

Em7 (x79787)
A7 (575655)
Dmaj7 (x57675)
Gmaj7 (3x443x)
C#m7b5 (x4545x)
F#7 (242322)
Bm (x24432)

... what other Jazz chords could i include either at the beginning, end or in between these chords to extend the progression?

Thanks.
#5
Quote by branny1982
That is in the Key of Dmajor.

You have named every root chord to the 7th... but they can all be extended beyond the 7th. This is very common in jazz.

Try A11, Dmaj9, E7sus4 to name a few.


Thanks for that... those sound great. Found a page with over 50 different versions of A11 on it!! Choices, choices...

... also should the chords go in any particular order or can i just mix-and-match.

Quote by :-D
Try playing all your different inversions such as drop-2 and drop-3 voicings to expand that even more.


Could you explain this a bit more... thanks.
#6
Quote by geetarmanic
Could you explain this a bit more... thanks.

Sure, here's a little chord crash course. Alliteration aside, there are different inversions that can be used with chord. A first inversion means the third is in the bass, second inversion means the fifth is in the bass, and a third inversion chord has the seventh in the bass. Working with C7, we have:
Root position C7: C E G Bb
First inversion C7: E G Bb C
Second inversion: G Bb C E
Third inversion: Bb C E G
That allows you to work with some different voice leading concepts and will allow for more interesting progressions.

As for the drop voicings, this ties directly into the inversion concept and can be used to create inversions of chords. A drop chord is simply when you take out one of the notes and drop it down an octave, hence the name. In a drop-2 voice, you take the second note (voice) from the top and do this. Working with a Cmaj7 on the top four strings, we can get something like:

e-3---
B-1---
G-4---
D-2---

And if we take out the second voice from the top (the C) and drop it down an octave, you'd get this:
e-3---
B-----
G-4---
D-2---
A-3---
E-----
And there's a version of a drop-2 voicing of Cmaj7. The same will apply with drop-3 voicings, just that you use the third voice from the top. In my initial example, that'd be the B.

Does that help at all?
#7
You can try using secondary dominants and tritone substitution.
#8
Apologies, you've used the F#7 as a sec dom of Bm already.
Last edited by mdc at May 8, 2008,
#10
Nice, with the dominant chords, to get more jazzy just try extending them to a dom 13 or altering then to dom7#5. Something like that maybe.