Lesson Nine

More Melodic Chord Phrases

Continuing with our discussion of adding melodic dialogue to your comping, this lesson gives two more examples of common chord progressions with embellishment

Example one begins with a pretty standard idea on the II chord (Gm9). The middle voice of the chord (D-string) begins on an A-note and continues to move until landing on the 3rd of the V chord (C13). The second bar uses a C7(#5#9) which resolves to an Fmaj9 voicing. An ideal phrase for a II-V-I situation.

Example 1 Audio Clip (70K au)

Example Two is a longer phrase over the progression II-V-I-VI-II-V-I again in the key of F. All the voicings are pretty straight-ahead. Bar 1 uses the tritone substitution (Gb9)on the V chord (C13). Bar 2 uses two of the I chord voicings mentioned in the previous lesson (Fmaj7,F6/9). Bar 3 shows the VI chord (D7#9) moving back up to an Eb9sus. This chord could be thought of as bV of V of VI. It provides some movement or "activity" in and around the VI chord. We then move to an Ab7(b5)which is the tritone sub for the VI chord, again providing movement until resolving to the II chord (Gm7). Bar 4 shows the same sort of idea as bar 3. The move from Gm7 to Db9(sus) to C13 could be thought of as a "rhyming shape", lending a certain coherence to the overall phrase. We end on an Fmaj9 voicing, some will have trouble with the stretch on this one. Be sure you're good and warmed up before you practice this chord if it's new to you. For maximum stretch potential, keep your left hand thumb low and leaning in the direction of the stretch.

Example 2 Audio Clip (142K au)

Previous Lesson