How To Play Chord Progressions In Any Key Over The Entire Fretboard
Advanced Chord Progressions For Guitar Guitar By Dan Denley
2
Table Of Contents Intro ......................................................... ....................................................................................... ............................................................ ............................................................ .......................................................... ............................ 4 Reasons Why You Should Study These Progressions ........................................................ .................................................................................... ............................ 4 What You Should Know Before Your Start Playing ........................................................ .....................................................................................5 .............................5 Each progression is movable.................................................... movable.................................................................................. ............................................................. ............................................5 .............5 DonÊt take the rhythmic patterns literally .......................................................... ......................................................................................... .......................................5 ........5 How To Choose A Scale To Improvise ............................................................ ........................................................................................... .................................................5 ..................5 Chord fretboards wonÊt always match the tab..................................................................................... tab........................................................................................6 ...6 When in doubt, leave out the t he hard stuff .......................................................... ......................................................................................... ............................................6 .............6 What You Can Expect .......................................................... ........................................................................................ ............................................................ ......................................................6 ........................6 The Major Tonal Center: I ............................................................ .......................................................................................... ............................................................. ..................................7 ...7 The Minor Tonal Center: i ............................................................ .......................................................................................... ............................................................. ..................................7 ...7 Two - Five: ii-V ............................................................. ........................................................................................... ............................................................ ......................................................8 ........................8 Two - Five: II7-V7.............................................. II7-V7............................................................................ ............................................................ ............................................................. ..................................9 ...9 Major Cycle Five: iii-vi-ii-V7........................................................ iii-vi-ii-V7...................................................................................... ............................................................. ..................................9 ...9 Cycle Five: iii-VI7-ii-V7......................................................... iii-VI7-ii-V7....................................................................................... ............................................................. .......................................... ...........10 10 Cycle Five: III7-VI7-II7-V7........................................................ III7-VI7-II7-V7...................................................................................... ............................................................. ......................................11 .......11 Cycle Five: ii7-V7-iii........................................... ii7-V7-iii......................................................................... ............................................................ ............................................................. ...................................11 11 Turnaround: I-vi-IV-V..................................................... I-vi-IV-V................................................................................... ............................................................. ...............................................12 ................12 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. ..................................... ......13 13 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. .....................................14 ......14 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. .....................................14 ......14 Turnaround: I-vi-ii-V.................................................. I-vi-ii-V................................................................................ ............................................................ ....................................................15 ......................15 Suspension: I-V7............................. I-V7 ........................................................... ............................................................ ............................................................ ....................................................15 ......................15 Suspension: i-v ......................................................... ....................................................................................... ............................................................ .........................................................16 ...........................16 Ascending/Descending: I-ii-iii-ii ............................................................ .......................................................................................... ....................................................16 ......................16 Ascending/Descending: I-ii-iii-biii-ii............................................................... I-ii-iii-biii-ii.............................................................................................. .......................................... ...........17 17 Ascending/Descending: I-ii-iii-IV-iii-ii....................................... I-ii-iii-IV-iii-ii..................................................................... ............................................................. ................................. 17 Ascending/Descending: I-ii-#ii-iii-IV-iii-ii........................... I-ii-#ii-iii-IV-iii-ii ......................................................... ............................................................. ..................................... ...... 18 Ascending/Descending: I-ii-I/III-ii............................................................. I-ii-I/III-ii............................................................................................ ............................................... ................ 18 Ascending: I-bii-ii-V ......................................................... ....................................................................................... ............................................................. ...............................................19 ................19 Hidden ii-V: ........................................................... ......................................................................................... ............................................................ ............................................................. ................................. 19 Ascending: I-II-III ......................................................... ....................................................................................... ............................................................ ...................................................20 .....................20 Descending: iii-ii-I ......................................................... ....................................................................................... ............................................................ ...................................................20 .....................20 Descending: I-ii-I............................. I-ii-I ........................................................... ............................................................ ............................................................ ....................................................21 ......................21 Ascending: i-ii-V............................. i-ii-V ........................................................... ............................................................ ............................................................ ....................................................21 ......................21 Turnaround: i-ii-VI-V ........................................................... ......................................................................................... ............................................................. ........................................ ......... 22 Ascending: i-iv-V............................................................... i-iv-V............................................................................................. ............................................................. ............................................. .............. 22 Ascending: i-VI-iv-V ............................................................. ........................................................................................... ............................................................. .........................................23 ..........23 Suspension: I-V................................................................... I-V................................................................................................. ............................................................. ..............................................23 ...............23 Suspension: i-V7 ........................................................... ......................................................................................... ............................................................ .................................................. .................... 24 Suspension: I-bII........................................................................... I-bII......................................................................................................... ............................................................. ................................... .... 24 Suspension: I-II........................... I-II ......................................................... ............................................................ ............................................................ ........................................................25 ..........................25
2
Table Of Contents Intro ......................................................... ....................................................................................... ............................................................ ............................................................ .......................................................... ............................ 4 Reasons Why You Should Study These Progressions ........................................................ .................................................................................... ............................ 4 What You Should Know Before Your Start Playing ........................................................ .....................................................................................5 .............................5 Each progression is movable.................................................... movable.................................................................................. ............................................................. ............................................5 .............5 DonÊt take the rhythmic patterns literally .......................................................... ......................................................................................... .......................................5 ........5 How To Choose A Scale To Improvise ............................................................ ........................................................................................... .................................................5 ..................5 Chord fretboards wonÊt always match the tab..................................................................................... tab........................................................................................6 ...6 When in doubt, leave out the t he hard stuff .......................................................... ......................................................................................... ............................................6 .............6 What You Can Expect .......................................................... ........................................................................................ ............................................................ ......................................................6 ........................6 The Major Tonal Center: I ............................................................ .......................................................................................... ............................................................. ..................................7 ...7 The Minor Tonal Center: i ............................................................ .......................................................................................... ............................................................. ..................................7 ...7 Two - Five: ii-V ............................................................. ........................................................................................... ............................................................ ......................................................8 ........................8 Two - Five: II7-V7.............................................. II7-V7............................................................................ ............................................................ ............................................................. ..................................9 ...9 Major Cycle Five: iii-vi-ii-V7........................................................ iii-vi-ii-V7...................................................................................... ............................................................. ..................................9 ...9 Cycle Five: iii-VI7-ii-V7......................................................... iii-VI7-ii-V7....................................................................................... ............................................................. .......................................... ...........10 10 Cycle Five: III7-VI7-II7-V7........................................................ III7-VI7-II7-V7...................................................................................... ............................................................. ......................................11 .......11 Cycle Five: ii7-V7-iii........................................... ii7-V7-iii......................................................................... ............................................................ ............................................................. ...................................11 11 Turnaround: I-vi-IV-V..................................................... I-vi-IV-V................................................................................... ............................................................. ...............................................12 ................12 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. ..................................... ......13 13 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. .....................................14 ......14 Turnaround: I-vi7-ii7-V7 ......................................................... ....................................................................................... ............................................................. .....................................14 ......14 Turnaround: I-vi-ii-V.................................................. I-vi-ii-V................................................................................ ............................................................ ....................................................15 ......................15 Suspension: I-V7............................. I-V7 ........................................................... ............................................................ ............................................................ ....................................................15 ......................15 Suspension: i-v ......................................................... ....................................................................................... ............................................................ .........................................................16 ...........................16 Ascending/Descending: I-ii-iii-ii ............................................................ .......................................................................................... ....................................................16 ......................16 Ascending/Descending: I-ii-iii-biii-ii............................................................... I-ii-iii-biii-ii.............................................................................................. .......................................... ...........17 17 Ascending/Descending: I-ii-iii-IV-iii-ii....................................... I-ii-iii-IV-iii-ii..................................................................... ............................................................. ................................. 17 Ascending/Descending: I-ii-#ii-iii-IV-iii-ii........................... I-ii-#ii-iii-IV-iii-ii ......................................................... ............................................................. ..................................... ...... 18 Ascending/Descending: I-ii-I/III-ii............................................................. I-ii-I/III-ii............................................................................................ ............................................... ................ 18 Ascending: I-bii-ii-V ......................................................... ....................................................................................... ............................................................. ...............................................19 ................19 Hidden ii-V: ........................................................... ......................................................................................... ............................................................ ............................................................. ................................. 19 Ascending: I-II-III ......................................................... ....................................................................................... ............................................................ ...................................................20 .....................20 Descending: iii-ii-I ......................................................... ....................................................................................... ............................................................ ...................................................20 .....................20 Descending: I-ii-I............................. I-ii-I ........................................................... ............................................................ ............................................................ ....................................................21 ......................21 Ascending: i-ii-V............................. i-ii-V ........................................................... ............................................................ ............................................................ ....................................................21 ......................21 Turnaround: i-ii-VI-V ........................................................... ......................................................................................... ............................................................. ........................................ ......... 22 Ascending: i-iv-V............................................................... i-iv-V............................................................................................. ............................................................. ............................................. .............. 22 Ascending: i-VI-iv-V ............................................................. ........................................................................................... ............................................................. .........................................23 ..........23 Suspension: I-V................................................................... I-V................................................................................................. ............................................................. ..............................................23 ...............23 Suspension: i-V7 ........................................................... ......................................................................................... ............................................................ .................................................. .................... 24 Suspension: I-bII........................................................................... I-bII......................................................................................................... ............................................................. ................................... .... 24 Suspension: I-II........................... I-II ......................................................... ............................................................ ............................................................ ........................................................25 ..........................25
3 Suspension: i-ii-i-vii................................................ i-ii-i-vii.............................................................................. ............................................................ ........................................................26 ..........................26 Suspension: I-IV ............................................................ .......................................................................................... ............................................................ ...................................................26 .....................26 Suspension: i-V.................................................... i-V.................................................................................. ............................................................ .............................................................27 ...............................27 Suspension: i-V.................................................... i-V.................................................................................. ............................................................ .............................................................27 ...............................27 Suspension: i-vii ............................................................ .......................................................................................... ............................................................ ...................................................28 .....................28 Suspension: i-idim ............................................................. ........................................................................................... ............................................................. .............................................. ...............28 28 Suspension: I-IV ............................................................ .......................................................................................... ............................................................ ...................................................29 .....................29 Suspension: i-iv ............................................................. ........................................................................................... ............................................................ ...................................................29 .....................29 Final Thoughts .......................................................... ........................................................................................ ............................................................ ............................................................. .................................... ..... 30
4
Intro Chord progressions are simply a way of putting chords together, in a certain order to make music. ThatÊs it. Nothing fancy. This book will give you the fundamental chord p rogressions that you can play over the fretboard in any key. YouÊll notice that none of the progressions use open strings. This is to make each progression movable . In other words, once you understand how to play a I-IV-V progression in the key of G, you can easily transpose it to A or B or C, just by changing which fret you start on. This is not by any means a comprehensive study of chord progressions. Nor does this book contain each and every progression youÊll encounter as a guitarist. It is however a pretty decent treatment of the most common progressions. And it will certainly point you in the right direction for creating your own improvisations.
Reasons Why You Should Study The These se se Progressions Many of the progressions are going to sound like jazz to your ears. This is no accident. Jazz th chords as well as altered and extended music is largely made up of harmonies that contain 7 chords. You should make an effort to learn as many of these progressions as possible. There are several reasons for this. Regardless of what your goal as a guitarist is, you should expose yourself to as many different styles of music. This will help you become a well-rounded player. One of the most brilliant guitarists IÊve ever know was, Sean Lane (1963-2003). He was a child prodigy musician. At age 4, Sean was playing the piano accompaniment for the vocal lessons of his mother and sisters. He played cello in school. He picked up the guitar at 10 and was playing locally in Memphis at 12. He toured with the country band Black Oak Arkansas at the age of 15. I remember when he released an album called „The powers of ten.‰ (I suppose the album titled referred to his ten fingers. And yes, they were powerful indeed.) He played every instrument on the album: drums, guitar, bass, piano, etc. IÊve seen many guitarists in my life, including Clapton, Vai and Eric Johnson. And I can tell you that none of them surpassed Sean in any capacity. The point IÊm driving at is this: Sean Lane became the musician he was by being exposed to many different styles of music: classical, rock, country, blues, jazz, and more. Had any of those influences not been in his life, it would have changed who he was as a guitarist. So, whether your goal is to be the next Chet Atkins or Steve Vai, or whether you just want to play in a 3-chord garage band, it canÊt hurt to put a little time and effort into studying the chord progressions in this book. ItÊll make you a better guitarists. And that means youÊll be a happier guitarist.
5
What You Should Should Know Before Your Start Playing Each progression is movable movable ItÊs important understand that each chord progression is movable . In other words, each progression is given to you in one key. But you can transpose these progressions into any key just by changing the starting chord. For example, a I-V progression in the key of G, would start on G (6 th string, 3rd fret). But you could easily transpose that progression into the key of A, just by starting on A (6 th string, th 5 fret). The point is, that each example is just that: an example. ItÊs doesnÊt mean that you canÊt move that same progression to other keys. In fact, you should start moving these patterns around just as soon as you can. This will give you the ability to hear them in numerous keys.
DonÊt tak takee the rhythmic patterns literally literally Another thing to note is the rhythm. The rhythmic patters are examples and shouldnÊt shouldnÊt be taken literally. I could have just given you slash notation. But I wanted to give you the standard notation for each progression so you can start leaning how tablature relates to the standard notation staff (if you donÊt already). So donÊt think that the rhythmic patterns are literal. They arenÊt. I had to choose some rhythmic pattern in order to notate the progressions. So, for most, IÊve chosen very straight forward patterns. Just remember that you can play these chords in any rhythm you want. The notated rhythm isnÊt important. ItÊs just the progression that you should focus on.
How To Choose A Scale To Improvise Improvise ItÊs a good idea to have a friend handy to play these progressions with you. (If donÊt have a friend handy, you can always use some recording software or heck, even a tape recorder from Radio Shack will do.) That way you can have someone play the progression while you improvise a solo. With this book, choosing the scale to improvise is synch. Why? Because each progression has already been theoretically analyzed for you. Think about it. If the progression is a I-vii-I-IV in the key of G, what scale would you use? G major. Because the I chord tells you which scale to use. If itÊs a ii-V progression and the chords are B minor-E major, then all you have to do is ask yourself, „In which key is E major the V chord?‰ Then you quickly remember that itÊs the fifth of A. So youÊd use the A major scale to improvise. You should definitely record these progressions (or have a buddy play them) and improvise some solos. Because thatÊs half the fun!
6 Chord fretboards wonÊt always match the tab tab As you play these progressions, youÊll notice that the chord as pictured on the fretboard wonÊt always match whatÊs written in the tablature or standard staff. This is on purpose. ThereÊs often more than one way to play a chord. With this approach youÊll be exposed to several ways as once.
When in doubt, stuff d oubt, leave out the hard stuff If you come across a G7#5 and you donÊt know how to play that chord, just play a G7. If canÊt remember how to play a G7, just play G. Remember: the further you go the right in a chord symbol, the less critical the note.
What Expect What You Can Expect As you learn these different progressions and they become a part of your everyday playing, youÊll start to hear them in your favorite songs and books. And when that happens, itÊs pretty cool. Picking things out by ear gets a lot easier when you can hear entire patterns, verses individual chords. ItÊs kind of like reading. When you first learned to read, you had to sound out each individual word. Eventually you could recognize entire words. Then you could read books, quickly and easily. ItÊs the same thing here. As these different progression start to become ingrained in your ears, youÊll begin to hear them all over the place. LetÊs get started!
7
The Major Tonal Center Center:: I The „I‰ chord of a chord progression is the also called the „tonic.‰ It is the tonal center of the progression. All the other chords of a chord progression want to resolve to the tonic. Any of the following chords can be considered the tonic in a major key. Figure 1:
The Minor Tonal Center: Center : i The „i‰ chord (pronounced, „one-chord‰) in a minor key is also called the „tonic.‰ All t he chords in minor scale harmony want to resolve to the minor one chord. Any of the following chords can be considered the tonic in a minor harmony. Figure 2
8
Two - Five: iiii--V The classic two-five progression is found in practically all music in the west. ItÊs one of the foundational progressions found in everything from a Beethoven symphony to a Neil Young ballade. Remember, the ii-V is derived from the major scale (because the ii chord in a minor scale is diminished). ItÊs also found in the jazz minor scale. So you could use either of those scales to solo over this progression. Keep in mind that the ii-V can be repeated over and over during a solo. IÊve gone ahead and resolved the ii-V to the I chord for you. Therefore youÊd use F major scale of the progression. You could also use Dorian mode on G over the ii-V then switch to F major. If you resolved the iiV to F minor, you could use the F jazz minor scale. Figure 3
9
Two - Five: II7II7 -V7 V7 This is virtually the same as the ii-V7. But the II7-V7 is bolder because the II7 functions like a V7/V (pronounced, „Five-seven of five‰). So the ear hears two V-I cadences in succession. Because of this, you could use C major to solo over the G7 and C7 chords then move to F major over the I chord (F in this example). Figure 4
Major Cycle Five: iii-vi-iiii--V7 V7 iii vi vi The chords which form the major cycle five come directly from the harmonize major scale. In this example, youÊd improvise with the F major scale. Figure 5
10
Cycle Five: iiiV7 iii-VI7VI7 -iiii--V7 th. This cycle five is exactly like figure 5, with one exception: the ii chord is now a dominant 7 Notice the II7-V7 progression hidden in the middle. The ear is carried from key-to-key with the II7 functioning as a V7/V.
Another way to think of this progression is two, descending ii-V7 progressions p ut together. The Am7-D7 would be ii-V7 in the key of G. The Gm7-C7 would be ii-V7 in F. If you start high up on the fretboard (for example on the 12 th fret) you can keep this two-five modulation going for long time. If youÊre feeling adventurous, use G jazz minor over the Am7-D7-Gm7, and then switch to C Mixolydian over the C7-F. Another alternative is to use G harmonic minor over the first three chords and F major over the C7-F. Figure 6
11
Cycle Five: III7V7 III7 -VI7VI7 -II7II7 -V7 This is an interesting twist on the iii-vi-ii-V7 classic. Basically, this progression is now like a series of tonal cadences (V-I) strung together. But, instead of resolving to I chord, the I chord th th. You could easily becomes another dominant 7 , which in turn leads to another dominant 7 substitute a D9 for the D7 and a C9 for the C7. Figure 77
Cycle Five: ii7V7--iii ii7 -V7 This is an interesting twist on the old ii-V standby. Since iii is in the tonic family, the iii chord substitutes for the I chord to keep the progression going. The biii is simply used as non-diatonic passing tone to get back to ii. This progression would resolve nicely to an F major 7th chord. Just make sure you go directly from the C9 to the I when youÊre ready to end the progression. Figure 8
12
Turnaround: II- vi-vi-IV IV--V vi Turnarounds, like the name implies always „turnaround‰ to the I chord. The progression wants to resolve to I. Unlike the Cycle five where the progression goes from V directly back to a chord other than the I chord (or i chord in minor), the turnaround progression always contains the tonic (I chord). The following progression is found in everything from Roy Robison to Gretchen Wilson. As with all the progressions in this book, this one is movable (no open strings). But you could easily play this same progression using the CAGED chords in their open position. Figure 9
13
Turnaround: II- vi7-vi7 -ii7 7V7 vi7 7- V7 th. Also, the ii7 This time things are a bit more interesting the one chord now being a major 7 substitutes where the IV chord had been before. Diatonically speaking this is a common substitution because both the ii and IV chords are of the subdominant family. If youÊre feeling adventurous, try playing the progression with ii7 the first time through, and then s ubstitute the IV on the repeat. This wonÊt throw off the soloists because both chords are part in the subdominant family. Then if you really want to mix it up, substitute F#dim for the D7 (remember, the vii and V are both in the dominant family).
Figure 10
14
Turnaround: II- vi7-vi7 -ii7V7 vi7 ii7 -V7 This should look really familiar. ItÊs almost exactly the same as the previous turnaround except this time the minor Em7 and the D7 chords have and added 9 th. Remember, when you add a 9 th itÊs always a major 9 th unless otherwise specified (b9 or #9). Figure 11
Turnaround: II- vi7-vi7 -ii7V7 vi7 ii7 -V7 This is just a transposition of the previous progression. This time itÊs in the key of D minor, but with a twist: watch out for the altered dominant (#5). Figure 12
15
Turnaround: II- vi-vi-iiii--V vi This is a simplified version of the previous progression. This time all the chords are barre chords. These are easily movable. Once you get the hang of this progression, try moving it t o different keys by starting on a different fret. Figure 13
Suspension: II--V7 V7 A suspension is used to keep the harmony moving while a soloist performs. This is classic example of the I-V progression. But thereÊs a twist: the altered d ominant with the augmented 5 th. Use the D major scale to solo over this progression. Figure 14
16
Suspension: ii- v -v v This is the minor counter part to the previous I-V progression. D Aeolian or D Dorian would be nice modes to use in an improvisation over this suspension. This progression is t he result of harmonizing the D natural minor scale. That scale produces a minor five chord. You could also th to the Dm chord for a little variety. add a 7 Figure 15
Ascending/Descending: II--iiii--iiiiii-ii A simple ascending/descending pattern. Each chord comes directly from the harmonized major scale. Use the G major scale to improvise a solo. Figure 16
17
Ascending/Descending: II--iiii--iiiiii-biiibiii-ii This is a simple I-ii-iii-ii progression with a twist: the biii. The biii is a non-diatonic (not in the key) chord which acts like a passing tone. It just gets you from the three chord back to the two chord. Try playing the progression with and without it. Figure 17 17
Ascending/Descending IV--iiiAscending/ Descending: Descending : II-iiii--iiiiii-IV iii-ii Again, this is just an extension of the previous progression. This time i t ascends all the way up to the four chord and back down. You can play around with the chords in this progression by going straight from the four chord to the one chord. This will yield a IV-I cadence that you can end the progression on. Figure 18
18
Ascending/Descending: II--iiii--#iiIV--iii#ii-iiiiii-IV iii-ii Another variation on the previous progression. This time the #ii acts like a pass ing tone to get to the three chord. Figure 19
Ascending/Descending: II--iiii--I/IIII/III-ii This time the I/III is substituted for the iii chord. Figure 20
19
Ascending: bii--iiii--V Ascending: II--bii This is really a hidden ii-V progression. The bii chord is the non-diatonic chord that pulls the ear toward the ii chord. Because itÊs fully diminished, it functions sort of like a vii/i with the C#min7 acting like a i chord. Try the progression with and without the bii. Figure 21
Hidden iiii--V: I call this progression a „hidden ii-V‰ because if youÊre not listening carefully it may sneak up on you. Remember the half diminished two is of the subdominant family, so you c ould easily substitute the IV chord here. All the chords are derived from the C harmonic minor scale. Use that scale to solo here. Or you could use the 5 th mode of that scale: Spanish Phrygian (just start on the fifth of the C harmonic scale, G, and play the notes of the C harmonic scale.) IÊve arpeggiated the progression for you. Try playing it with straight chords (as in the chord fretboards) and arpeggiated for variety. Figure 22
20
Ascending: II--IIII--III This is a simple variation on the diatonic I-ii-iii progression. This time the ii and iii chords are not only major, they are dominant 7ths. Remember that a II7 can easily function as V/V. So try playing the progression as written, and then substitute a V7 for the III chord. Figure 23
Descending: iii iii--iiii-I This is just he I-ii-iii in reverse. Use the G major scale to solo. Figure 24
21
Descending: II-iiii--I There is only a one note difference between this progression and the previous one. Can you see it? ItÊs the GM7/B. This just a I chord in first inversion. In other words itÊs a GM7 with B on the bottom of the chord. This is called „first inversion.‰ You could easily substitute a V7 for the Am7 because the ii and V are both in the dominant family. Figure 25
Ascending: ii-iiii--V A simple ii-V progression in C harmonic minor. Keep an eye out for the #5 in t he V chord. Figure 26
22
Turnaround: ii--iiVI--V ii-VI This progression is derived from the C harmonic minor scale. Remember that the VI c hord is in the tonic family. So you could easily substitute a III chord (Eb+) for the AbM7. Try using the Spanish Phrygian on G (the 5 th mode of C harmonic minor) for your solo. Figure 27 27
Ascending: ii--iv iv--V The classic i-iv-V progression in C harmonic minor. Try substituting the ii chord for the IV chord. They are both of the subdominant family and are mostly interchangeable. Figure 28
23
Ascending: VI--ivAsce nding: ii--VI iv -V The exact same as the previous progression with one exception: the VI chord is now inserted between the i and iv chords. Remember the III is also in the tonic family. So you could substitute a Eb chord (III) for the AbM7 (VI). Figure 29
Suspension: II--V A simple I-V suspension in A major. Usually the tonic (A in this case) is not a dominant chord. th. Try dropping out the 7 th in the A7 chord on However, in blues the tonic is often a dominant 7 a few passes and try to hear the harmonic difference between a plain, I-V7 and a I7-V7. Use A major pentatonic or A blues pentatonic for your solo. Figure 30
24
Suspension: ii--V7 V7 This is just the minor counterpart of the previous progression. But this time, IÊ ve added a D9 instead of a plain, D7. Try it with and without the 9 th. Use A minor pentatonic or A blues pentatonic for your solo. Figure 31
Suspension: II--bII The bII is really like a passing tone. It „pulls‰ the ear toward the tonic. ItÊs really just a slight departure from the tonic. You could easily use this suspension for long solo opportunities. Because the bII is a non-diatonic chord, you have several scale possibilities with which to solo: A major, A Phrygian, A minor, A harmonic minor, A Locrian, A jazz minor. Try them all! Figure 32
25
Suspension: II--II This is a simple I-II progression. Keep in mind that in a major key the two chord is minor. In a minor key the two chord is diminished. Modal harmony is really the only place you find a major one and a major two chord. Since the two chord contains the 2nd , 4 th and th 6 degrees of the scale, in order for it to be th major, you need the 4 degree of the scale to be raised a half-step (augmented). There is only one mode that has a raised 4 th: Lydian. So, try using A Lydian mode over this progression. ItÊll sound great! Figure 33
26
Suspension: ii--ii-vii ii-i vii This is kind of like a I-IV-V in disguise. Now, you might be thinking, „What the...?‰ Well think of it like this. The ii chord is of the subdominant family. So you could substitute a iv chord (Gm) for the Edim. The fully diminished vii is of the dominant family. So you could substitute a V7 (A7) for the C#dim. IÊve given you the arpeggiated version of this progression. Try playing it with straight c hords and arpeggiated. Use D Dorian or D harmonic minor over this progression. Figure 34
Suspension: II--IV This is a simple power chord progression. You hear this riff all the time in rock and roll as well as blues. Figure 35
27
Suspension: ii--V This is the minor version of the i-V. You could easily substitute an A9 for the A7 chords. You have several scale possibilities to use for your solo: D minor, D harmonic minor, D jazz minor, D pentatonic minor, D blues minor, etc. Figure 36
Suspension: ii--V The exact same progression as the previous, but now in E minor instead of D . I want you to see how easily you can transpose these progressions. Try moving all the way up the fretboard with the pattern. Think of which key youÊre transposing to. For example, if you slide the Em chord up the 8 th fret youÊd be in the key of F minor. If you start th fret youÊd be in G. Starting on on the 9 th fret youÊd be in F#/Gb minor. If you start on the 10 the 12 th fret would yield A minor. And so-on and so-forth. Figure 37 37
28
Suspension: ii- vii -vii This is a simple variation of the i-V progression. IÊve arpeggiated it for you. Try playing it with straight chords and the arpeggios. This is classic example of substitution. Knowing the vii chord is in the dominant family, I simply substituted the vii for the V chord. Try going back and forth between the vii chord (C# dim) and the chord V chord (A7). If youÊre feeling adventurous try using C# Locrian mode for your solo. D harmonic minor would also be a great choice. Figure 38
Suspension: ii--idim This is just a slight departure from the i chord to create motion. Figure 39
29
Suspension: II--IV th in these chords, A classic I-IV progression in the key of A major. You donÊt have to add the 7 itÊs optional. You could easily play A D and achieve the same results. This th 7 chords are diatonically correct (occur naturally in the key of A major). Try to play this progression with th to practice identifying the th and without the 7 7 of the chord.
Figure 40
Suspension: ii--iv iv This is the minor counterpart of the previous progression. These chords occur naturally in the A minor scale. Try using A blues pentatonic in your solo for a blues feel. You could easily make the Dm7 a D7, too. This would allow you to use A natural minor in your solo because the four chord in natural minor is major. Figure 41
