Jazz Theory Passing Chords

You start by changing how u view passing chords. Contrary to popular

NOT

belief, passing chords are  a separate separate box box of chords. chords. They are just regular chords used that aren't part of your basic progression pattern. Next, you look at your basic progression pattern. Find the spots where u stay on a chord for a while. Look at those chords and the chords that follow them and see if u can throw in some logical chords that connect the 2 together. Example: 1-4-5-6-7 progression Key F LH/RH [4/4 time count] 60-70bpm [1,2,3,4] F / C-F-A [1,2,3,4] Bb / F-Bb-D [1,2,3,4] C / G-C-E [1,2] D / Bb-D-F [3,4] E / C-E-G *the numbers in parenthesis are for the tempo Now, look at the the first 2 chords. You see how u stay on the 1st chord for a full count. Well, Well, why not add a chord there there instead of just staying on that a while. Your next question is probably: What are my options? To To answer that question, u need to know what chords resolve or lead to 4. Here are some great options: Options Set #1 1 dominant type chord (7th, 9th, 11th, or 13th) 1 chord with the 3rd in the bass #4 chord, *a chord 1/2 step above ur target chord So, now that u got ur options, plug each one in and see if u like the sound: [1,2] F / C-F-A [3,4] F / C-Eb-F-A *added Eb to make an F7 chord [1,2,3,4] Bb / F-Bb-D [1,2] F / C-F-A [3,4] F / A-Eb-G *added Eb and G to make an F9 chord

[1,2,3,4] Bb / F-Bb-D [1,2] F / C-F-A [3,4] F-Eb / Bb-Eb-G *added an Eb major chord to make an Fm11 [1,2,3,4] Bb / F-Bb-D [1,2,3,4] F / C-F-A [3,4] F-Eb / A-D-Gb *added a b9 and a 13 to make an F7 b9/13 [1,2,3,4] Bb / F-Bb-D [1,2] F / C-F-A [3,4] A / C-F-A *1 chord, with 3 in the bass [1,2,3,4] Bb / F-Bb-D [1,2] F / C-F-A [3,4] B / A-Db-Eb-F *chord 1/2 step higher, B9 b5 [1,2,3,4] Bb / F-Bb-D [1,2] F / C-F-A [3,4] B / A-Db-Eb-G *chord 1/2 step higher, B9 #5 [1,2,3,4] Bb / F-Bb-D Look at that, u got 7 options right there. And u can even vary the rhythm in which u play those chords. U can bring the passing chord in on beat 2 or beat 3 which gives u 14 more options, for a total of 21 passing chord options right here. Something else u can do is see if u can add in a passing chord "move", meaning playing more than one chord. Knowing theory here is good. The ZIP CODE IS: (7)-3-6-2-5-1-(4) Now, using the 1st two chords of this progression example, u have a 1 going to a 4. But, right before u get to 1, u have a 5, a 2-5, a 6-5, a 6-2-5, a 3-6-2-5, and a 7-3-6-2-5. Judging by how much time u have in between chords, u can choose either one of those options to play with your 1 chord then go to 4: Options Set #2 [1,2] F / C-F-A [3] C / Bb-Eb-G *5 chord, Cm7 [4] F / A-Eb-G *1 chord, F9 [1,2,3,4] Bb / F-Bb-D

[1] F / C-F-A [2] G / B-F-A *2 chord, G9 [3] C / Bb-Eb-G *5 chord, Cm7 [4] F / A-Eb-G *1 chord, F9 [1,2,3,4] Bb / F-Bb-D [1] F / C-F-A [2] D / C-F-A *6 chord, Dm7 [3] C / Bb-Eb-G *5 chord, Cm7 [4] F / A-Eb-G *1 chord, F9 [1,2,3,4] Bb / F-Bb-D And the list goes on and on. Like I said ealier, u can experiement with the rhythm on these chords to make even mor options. U can come in on the in between beats as well: [1,2] F / C-F-A [an] G / B-F-A *2 chord, G9 [3] C / Bb-Eb-G *5 chord, Cm7 [4] F / A-Eb-G *1 chord, F9 [1,2,3,4] Bb / F-Bb-D Now, after u have found a passing chord or passing chord move that u like,

WRITE IT DOWN AND TRANSFER IT TO EVERY KEY. This way, it becomes a part of your music and then u won't even view it as passing chords. U will view it as a progression within itself. This is how the pros do it. They practice these moves over and over and over again until its a natural part of their music. You can do the same thing. If anyone has questions about what I've posted, feel free to ask!

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1)In the key of C, you get these seven 7th chords: I = C-E-G-B = Cmaj7: tonic chord ii = D-F-A-C = Dm7: supertonic, also works as subdominant; resolves to G or G7

iii = E-G-B-D = Em7: mediant; resolves to Am, or works as tonic substitute IV = F-A-C-E = Fmaj7: subdominant, resolves to G/G7 V = G-B-D-F = G7: dominant, resolves to C vi = A-C-E-G = Am7: submediant; resolves to Dm, or works as tonic substitute vii = B-D-F-A = Bm7b5: leading tone chord, or subtonic; resolves to C or Em. Other movements are possible, of course, but those are the main "resolving" ones, AFAIK. You can arrange all 7 chords in a key in a "cycle of 5ths": Bm7b5-Em7-Am7-Dm7-G7-Cmaj7-Fmaj7-Bm7b5... (etc) The point of rest is Cmaj7 (tonic). The F-B root move is a diminished 5th (or augmented 4th), but the other root movements are all perfect 5ths (down) or perfect 4ths (up). This kind of progression sounds most "natural" and familiar, has been used (in part at least) in 1000s of songs. The "ii-V-I" (Dm7-G7-Cmaj7 in this key) is the basis of jazz progressions. 2)secondary dominants 3)i = A-C-E-F# = Am6. Am(maj7) - A-C-E-G# - is also possible, and both imply the melodic minor scale ii = B-D-F-A = Bm7b5. Resolves to V. Common in jazz, but rare in pop or rock. bIII = C-E-G-B = Cmaj7 iv = D-F-A-C = Dm7. Resolves to V. V = E-G#-B-D = E7. From the A harmonic minor scale. Resolves to the tonic. bVI = F-A-C-E = Fmaj7. Resolves to V.

vii = G#-B-D-F = G#dim7. Leading tone chord, from harmonic minor. Resolves to the tonic. Other possible chords are: bVII = G-B-D. Subtonic in natural minor (aeolian mode); resolves to Am. (Add a 7th, F, and it will more likely resolve to C (III), indicating a modulation to the relative major.) IV = D7. Subdominant in A melodic minor or dorian mode. May resolve to V (E), but as likely to return to i (Am). With DISSONANT chords, they do traditionally resolve. These are 7th chords. Traditionally, ALL 7th chords are dissonant, and the resolve to a chord that contains a note a whole or half step lower than the 7th of the chord. For example, G7 - the 7th of the chord is an F note. That means a G7 can resolve to chords with an E or an Eb in them. IN A KEY, this means that G7 (which appears in C major and C minor) can resolve to: G7 - C G7 - am G7 - em (uncommon) G7 - Cm G7 - Ab G7 - Eb (uncommon) These resolutions are called "Authentic" (root a 4th up), "Deceptive" (root a 2nd up), and "Mediant" (root a 3rd down).

 Authentic is by far the most common type of resolution, and is seen in "circle of 5ths" (cycle of 4ths) chord progressions with 7th chords. Deceptive is the next most common, and mediant is least common. HOWEVER, there are some exceptions. For example: B-D-F-A, or vii%7 (% means half-diminished) resolves Deceptively (to C) and Mediantly (to G7) far more commonly than it resolves Authentically - Authentic resolutions are typically only seen in sequence patterns. In CPP Tonality, there are very strict ways in which chords progress and resolve. Interestingly, chords that don't need to resolve (such as Major and minor triads) actually DO progress to the same chords they would if they were 7th chords. But because of the Leading Tone, and other dissonances in keys,not all resolutions/progressions are possible (or a better way to put it is, were used) on all chords. Here's a brief rundown: I - can go to, or follow any other chord. ii - typically moves to V, may move to viio, may move to iii. iii - typically moves to vi and IV. IV - typically moves to ii, V, and viio. V - typically moves to I and vi. vi - typically moves to ii, IV - interestingly, rather than on to viio, it's more likely to move to V (an exception to the rules) viio - almost always to I, but V7 is common, and iii in sequences. Minor keys work basically the same way with a few exceptions for chords using #6 or #7 as opposed to natural 6 and 7 (which is beyond the scope of the current discussion).

Now, this is TRADITIONAL CPP TONALITY, not other styles.  AND, these are FUNCTIONAL PROGRESSIONS. That doesn't mean that other progressions weren't used, they were just A. Less common, B. Used in certain specific passages, and C. are considered non-functional or retrogressions. Some styles of music follow these ideas pretty closely - you will find these exact same progressions in Jazz, Country, Pop, etc. music. But as a quick example, wheres V-IV is not a standard functional progression in CPP Tonality, it is a basic ingredient in Blues forms. So the real answer to your question is, it depends on what style of music you're trying to emulate. And for that, the best teacher is to listen to and analyze the music, and learn to play it your self. HTH, Steve * minor chords: Can't find the car keys and you might be late for work... again or your pet cat just died. * diminished chords: you've had a gun pulled on you. * half diminished 7th chord: the gun is is fully automatic and the hammer has been pulled back. * fully dim. 7th chord: you've been shot and you're in the middle of no wheres-ville at 3:00a.m. on a Wednesday morning (what are you doing out here anyways?!?!) slowly bleeding out and your cell is getting NO RECEPTION or has been stolen along with your money by the shooter. Say goodnight. * Cluster chords:

Yes, you can have the "cello" *TREMELOS* and half-steps (minor seconds) in "Jaws" to create tension (the fully dim. chord creates FOUR half step possibilities), but you also have: * * * *

Augmented 6th chords (pre-dominant functional harmony), Half diminished 7th chords, Dominant 7th or 9th (which contains the dominant 7th as well), Augmented triad chord