![]() This example uses the 2nd half of the G7 bar to introduce a Bmaj7 chord that is then used to create a chromatic approach to Cmaj7. Of course it is also possible to use Chromatic passing chords in the resolution to the I chord. Which is also why it is a (minor) subdominant chord. The Neapolitan Subdominant is a IVm chord with a bII in the bass, so it is Fm/Db. In this example I am using the Dbmaj7 as a way to add a different color and pull to the Cmaj7. The Neapolitan Subdominant is an overlooked way to color cadences. The idea is to have an F#7 at the end of the Dm7 bar that then resolves to G7 in the second bar. ![]() This example is approaching the G7 from a half-step below. In this example I am borrowing an entire cadence, so first a bar of Dm7 and then followed by the minor cadence Dø G7 before resolving to Cmaj7 #8 Chromatic Passing ChordĬhromatic Passing Chords are a really useful addition to your comping and chord melody vocabulary. When ever we use a G7(b9) in a II V I in C major it is actually a dominant that is borrowed from C minor. Modal Interchange is a great way to add color to a cadence. So here Ab7 is a tritone substitute of D7, the secondary dominant of G7. In the example below I am using Ab7 to pull towards the G7. This example is played as a continuous stream of chords and a great little chromatic inner-voice movement on the Cmaj7 #6 Secondary DominantsĪ variation of the Tritone substitution is also to use it as a secondary dominant. ![]() The idea is roughly speaking the same as #4 but instead of just using the Db7 it is now a complete II V: Abm7 Db7. Taking the tri-tone idea a step further is to substitute the G7 with a complete II V, so in this case an Abm7 Db7. In this example I am substituting a Db7 for the G7 and creating a top-note melody that helps move the progression along. The Tritone substitution is a very powerful way to add some extra tension and color to a II V I cadence. Looking for step-wise or 4th intervals in the bassline are both strong and common ways to add passing chords like this. The Passing chords are really just adding two chords so that the progression walks up from Dm7 to G7. Notice that this way of comping the II V I would still work if the bass player is still playing a regular II V I bass line. Here the B is used as a target and marks the transition to G7.Īdding Diatonic Passing chords is a fantastic way to add movement to a chord progression. Usually it is all on Dm and the movement A A# B is related to Dm. In this example it is working great as a way to add a chromatic approach that lands on the V chord. #2 James BondĪ similar and equally famous idea is this use of the line-cliché on the 5th of the minor chord. This way of adding some extra movement and color to a II V I is a great addition to your chord melody or comping vocabulary. The first example is using the descending line-cliche associated with Stairway to Heaven or My Funne Valentine.
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