Jazz Guitar Lessons • Jazz Chord Substitution Part Two • Charts, Altered Chords, Videos.

I play this version fingerstyle. I have notated the chords exactly as played.

This is the first progression with an altered chord, the G75. If you are jamming this with another player such as a keyboardist or another guitar player, they would have to know that this Piano lessons medford change is coming up. Obviously, you cannot have Singing lessons medford another player voicing a G7, G9 or G13 on top of this chord. The clash of the sharp fifth with the natural fifth would sound wrong.

The descending chromatic change on the second string from the E in G13 to the D in G75, to the D natural in Gm7 (occurring in measures four and five) is an excellent example of voice leading within chords.

In measure eight, the G13 to G75 has been substituted with the movement from Bm7 to Bm7. This is a complete change and sounds great moving into the Am7 in measure nine. As far as I know, there is no real theoretical explanation for this substitution, unless you treat this measure as one bar of G Major instead of trying o associate these chords (Bm7 and Bm7) with the substituted dominant chords (G13 and G75). Even at that, it is a stretch. As stated above, the Bm7 can be respelled as GMaj9/B, but the Bm7 bears little resemblance to a G Major chord.

In the measure before this change, measure seven, I have notated different voicings for the Major seventh and Major sixth chords. These song great leading into measure eight.



Measures nine and ten would stay on the fifth (D7) in the original progression, instead of the normal movement from D7 to C7. There is much chromatic movement in jazz in both chord and melody work. The G7 leading into the turnaround is an excellent sound. Once again, the other players would have to know that this is coming up.