Chords for jimmy bruno Chord Substitutions for Common Progressions lesson
Tempo:
76.775 bpm
Chords used:
E
B
G
C#
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [D] [B] [C]
[A#] [G]
[C#] [B]
[F#m] [G] [C#]
[E] We're going to start with a 1-6-2-5, okay?
I'm going to start very, very basic, like C, A minor, triads, D minor, [N] G seventh, okay?
These are things that you might find in some very basic 1950s rock tunes, okay?
First thing the jazz players did was they made these chords, C major seventh, or it
could be a sixth.
We're adding a fourth tone, A minor seventh, we got D minor seventh, G seventh, okay?
Now, 1-6-2-5, we all know that's the C pitch collection, C tone sets, okay?
I don't care what you call it.
All right, next thing, jazz players kind of wanted, they like dominant seventh chords
because of the tension that they can apply to a line.
You see, so we got, by making this an A seventh, we have a G and a C sharp in here, okay?
And that's the tri-tone that makes a pull.
It pulls better towards D minor seventh than the A minor seventh, okay?
This is more in line with pop music, okay?
This is more in line with, more of a jazz style by making the sixth chord a dominant, okay?
Now, so we go down here, I'm going to connect these all.
Okay, so now, somebody might say, might think, oh, what can I put in front of an A seventh?
How about a two chord or a three chord, a minor seventh chord, right?
Don't worry about the degree right now of being one or three.
So we got this.
So now, guys can play, and these are all two beats.
I'm sorry, let's get rid of this.
They're all two beats each, okay?
Like that, okay?
Two bar phrase, right?
Now, what happens if we use a tri-tone here?
We got E minor seven, E flat seven, D minor seven, G seven, okay?
My notation for this, my Roman numeral notation for this is a sixth chord with a line through it,
okay?
That denotes tri-tone, okay?
Now, what if we go this way?
E minor seven, we can make this an E flat nine, make it a little richer sounding, okay?
A D minor nine and a D flat nine.
We're using the tri-tone of that, and that's five with a line through it, okay?
Now, it's kind of like a Chinese menu, okay?
Now, the way we do the Chinese menu is, look, let's pick one from here.
Let's go C major seven, E flat seven, D minor seven, and let's keep this a G seven for now,
okay?
So you can pick one from one column, second column, third column, fourth column.
So this one went C, E flat, D minor, G seven, okay?
Or we could go C, E flat seven, D minor, D flat seven.
Any combination, okay?
So now, what I'm going to do is, the next lesson, the next series, I'm going to show
you how to voice lead all these, okay?
And then the one after that is I'm going to play some lines through it and analyze the
lines and show you various ways that one can address these solo [F#] changes, okay?
A good tune to use for this is cheek to cheek, very, very old tune.
It goes one, six, two, five, one, six, two, five, okay?
And we'll take melodic considerations, vertical considerations, horizontal considerations,
rhythmic considerations.
Now, there'll also be, coming up too, is going to be one for just the beginners to explain
the theory of tone sets, pitch collections.
And also how the modes and scales work into this, and also how the modes and scales come
after the music, not before.
They're not used to create improvisation, okay?
So, and I'll explain how I came to this conclusion.
And then when you put the guitar into it, the mechanics of the instrument changes everything,
okay?
In other words, how does this theory apply to the, how do you apply the theory to the guitar?
Theory's great.
It's great to talk about, and it goes round and round on the internet, and you type and
this and all that kind of, you know, the stuff that really doesn't address anything, doesn't
address anybody's questions, any answers or anything, because music is sound.
And theory is designed in such a way that after you make some great sounds, then the
theory gets applied, okay?
Well, that's backwards, okay?
It's the music first, the theory next, but why does anybody need the theory?
I don't know, okay?
I certainly don't need it, and I don't think any of you need it.
It's make good sounds.
It's all about sounds against chord progressions, through chord progressions, over chord progressions,
etc.,
etc.,
etc.
It just goes on and on.
What you have to remember is there's a melodic line going, there's harmony going that's separate.
It's people comp.
They don't comp and let chords ring, you know?
Otherwise, you got no rhythm.
And you also have the bass line, which is a third part going, okay?
So if you have guitar, bass, piano, and drums, you have counterpoint, okay?
Even the drums are counterpoint rhythmically, okay?
So stay tuned to these lectures, and if you have questions, we'll start a thing on the
forum about this classroom lecture series.
Thank you very much.
[A#] [G]
[C#] [B]
[F#m] [G] [C#]
[E] We're going to start with a 1-6-2-5, okay?
I'm going to start very, very basic, like C, A minor, triads, D minor, [N] G seventh, okay?
These are things that you might find in some very basic 1950s rock tunes, okay?
First thing the jazz players did was they made these chords, C major seventh, or it
could be a sixth.
We're adding a fourth tone, A minor seventh, we got D minor seventh, G seventh, okay?
Now, 1-6-2-5, we all know that's the C pitch collection, C tone sets, okay?
I don't care what you call it.
All right, next thing, jazz players kind of wanted, they like dominant seventh chords
because of the tension that they can apply to a line.
You see, so we got, by making this an A seventh, we have a G and a C sharp in here, okay?
And that's the tri-tone that makes a pull.
It pulls better towards D minor seventh than the A minor seventh, okay?
This is more in line with pop music, okay?
This is more in line with, more of a jazz style by making the sixth chord a dominant, okay?
Now, so we go down here, I'm going to connect these all.
Okay, so now, somebody might say, might think, oh, what can I put in front of an A seventh?
How about a two chord or a three chord, a minor seventh chord, right?
Don't worry about the degree right now of being one or three.
So we got this.
So now, guys can play, and these are all two beats.
I'm sorry, let's get rid of this.
They're all two beats each, okay?
Like that, okay?
Two bar phrase, right?
Now, what happens if we use a tri-tone here?
We got E minor seven, E flat seven, D minor seven, G seven, okay?
My notation for this, my Roman numeral notation for this is a sixth chord with a line through it,
okay?
That denotes tri-tone, okay?
Now, what if we go this way?
E minor seven, we can make this an E flat nine, make it a little richer sounding, okay?
A D minor nine and a D flat nine.
We're using the tri-tone of that, and that's five with a line through it, okay?
Now, it's kind of like a Chinese menu, okay?
Now, the way we do the Chinese menu is, look, let's pick one from here.
Let's go C major seven, E flat seven, D minor seven, and let's keep this a G seven for now,
okay?
So you can pick one from one column, second column, third column, fourth column.
So this one went C, E flat, D minor, G seven, okay?
Or we could go C, E flat seven, D minor, D flat seven.
Any combination, okay?
So now, what I'm going to do is, the next lesson, the next series, I'm going to show
you how to voice lead all these, okay?
And then the one after that is I'm going to play some lines through it and analyze the
lines and show you various ways that one can address these solo [F#] changes, okay?
A good tune to use for this is cheek to cheek, very, very old tune.
It goes one, six, two, five, one, six, two, five, okay?
And we'll take melodic considerations, vertical considerations, horizontal considerations,
rhythmic considerations.
Now, there'll also be, coming up too, is going to be one for just the beginners to explain
the theory of tone sets, pitch collections.
And also how the modes and scales work into this, and also how the modes and scales come
after the music, not before.
They're not used to create improvisation, okay?
So, and I'll explain how I came to this conclusion.
And then when you put the guitar into it, the mechanics of the instrument changes everything,
okay?
In other words, how does this theory apply to the, how do you apply the theory to the guitar?
Theory's great.
It's great to talk about, and it goes round and round on the internet, and you type and
this and all that kind of, you know, the stuff that really doesn't address anything, doesn't
address anybody's questions, any answers or anything, because music is sound.
And theory is designed in such a way that after you make some great sounds, then the
theory gets applied, okay?
Well, that's backwards, okay?
It's the music first, the theory next, but why does anybody need the theory?
I don't know, okay?
I certainly don't need it, and I don't think any of you need it.
It's make good sounds.
It's all about sounds against chord progressions, through chord progressions, over chord progressions,
etc.,
etc.,
etc.
It just goes on and on.
What you have to remember is there's a melodic line going, there's harmony going that's separate.
It's people comp.
They don't comp and let chords ring, you know?
Otherwise, you got no rhythm.
And you also have the bass line, which is a third part going, okay?
So if you have guitar, bass, piano, and drums, you have counterpoint, okay?
Even the drums are counterpoint rhythmically, okay?
So stay tuned to these lectures, and if you have questions, we'll start a thing on the
forum about this classroom lecture series.
Thank you very much.
Key:
E
B
G
C#
D
E
B
G
_ [E] _ _ [D] _ _ _ [B] _ [C] _
_ _ [A#] _ _ [G] _ _ _ _
_ [C#] _ _ _ _ _ [B] _ _
_ [F#m] _ _ _ [G] _ _ _ [C#] _
_ _ _ _ [E] _ _ We're going to start with a 1-6-2-5, okay?
I'm going to start very, very basic, like C, A minor, _ _ triads, D minor, [N] _ G seventh, okay?
These are things that you might find in some very basic 1950s rock tunes, okay?
First thing the jazz players did was they made these chords, C major seventh, or it
could be a sixth.
_ We're adding a fourth tone, A minor seventh, we got D minor seventh, G seventh, okay?
Now, _ 1-6-2-5, we all know that's the C pitch collection, C tone sets, okay?
I don't care what you call it.
All right, next thing, jazz players kind of wanted, they like dominant seventh chords
because of the tension that they can apply to a line.
You see, so we got, _ by making this an A seventh, we have a G and a C sharp in here, okay?
And that's the tri-tone that makes a pull.
It pulls better towards D minor seventh than the A minor seventh, okay?
This is more in line with pop music, _ okay?
This is more in line with, more of a jazz style by making the sixth chord a dominant, okay?
Now, so we go down here, I'm going to connect these all.
Okay, so now, somebody might say, might think, oh, what can I put in front of an A seventh?
How about a two chord or a three chord, a minor seventh chord, right?
_ Don't worry about the degree right now of being one or three.
So we got this.
So now, guys can play, and these are all two beats.
I'm sorry, let's get rid of this.
They're all two beats each, okay?
Like that, okay?
Two bar phrase, right?
Now, what happens if we use a tri-tone here?
We got E minor seven, E flat seven, _ D minor seven, G seven, okay?
My notation for this, my Roman numeral notation for this is a sixth chord with a line through it,
okay?
That denotes tri-tone, okay?
Now, what if we go this way?
E minor seven, _ we can make this an E flat nine, make it a little richer sounding, okay?
A D minor nine _ and a D flat nine.
We're using the tri-tone of that, and that's five with a line through it, okay?
Now, it's kind of like a Chinese menu, okay?
Now, the way we do the Chinese menu is, look, let's pick one from here.
Let's go C major seven, _ _ E flat seven, _ _ _ _ D minor seven, and let's keep this a G seven for now,
okay?
So you can pick one from one column, second column, third column, fourth column.
So this one went C, E flat, D minor, G seven, okay?
Or we could go C, E flat seven, D minor, D flat seven.
Any combination, okay?
So now, what I'm going to do is, the next lesson, the next series, I'm going to show
you how to voice lead all these, okay?
And then the one after that is I'm going to play some lines through it and analyze the
lines and show you various ways that one can address these solo [F#] changes, okay?
A good tune to use for this is cheek to cheek, very, very old tune.
It goes one, six, two, five, one, six, two, five, okay?
And we'll take melodic considerations, vertical considerations, horizontal considerations,
rhythmic considerations.
Now, _ there'll also be, coming up too, is going to be one for just the beginners to explain
the theory of tone sets, pitch collections.
And also how the modes and scales work into this, and also how the modes and scales come
after the music, not before.
They're not used to create improvisation, okay?
So, and I'll explain how I came to this conclusion.
And then when you put the guitar into it, the mechanics of the instrument _ changes everything,
okay?
In other words, how does this theory apply to the, how do you apply the theory to the guitar?
Theory's great.
It's great to talk about, and it goes round and round on the internet, and you type and
this and all that kind of, you know, the stuff that really doesn't address anything, doesn't
address anybody's questions, any answers or anything, because music is sound.
And theory is designed in such a way that after you make some great sounds, then the
theory gets applied, okay?
Well, that's backwards, okay?
It's the music first, the theory next, but why does anybody need the theory?
I don't know, okay?
I certainly don't need it, and I don't think any of you need it.
It's make good sounds.
It's all about sounds against chord progressions, through chord progressions, over chord progressions,
etc.,
etc.,
etc.
It just goes on and on.
What you have to remember is there's a melodic line going, there's harmony going that's separate.
It's people comp.
They don't comp and let chords ring, you know?
Otherwise, you got no rhythm.
And you also have the bass line, which is a third part going, okay?
So if you have guitar, bass, piano, and drums, you have counterpoint, okay?
Even the drums are counterpoint rhythmically, okay?
So stay tuned to these lectures, and if you have questions, we'll start a thing on the
forum about this classroom lecture series.
Thank you very much. _ _ _ _
_ _ [A#] _ _ [G] _ _ _ _
_ [C#] _ _ _ _ _ [B] _ _
_ [F#m] _ _ _ [G] _ _ _ [C#] _
_ _ _ _ [E] _ _ We're going to start with a 1-6-2-5, okay?
I'm going to start very, very basic, like C, A minor, _ _ triads, D minor, [N] _ G seventh, okay?
These are things that you might find in some very basic 1950s rock tunes, okay?
First thing the jazz players did was they made these chords, C major seventh, or it
could be a sixth.
_ We're adding a fourth tone, A minor seventh, we got D minor seventh, G seventh, okay?
Now, _ 1-6-2-5, we all know that's the C pitch collection, C tone sets, okay?
I don't care what you call it.
All right, next thing, jazz players kind of wanted, they like dominant seventh chords
because of the tension that they can apply to a line.
You see, so we got, _ by making this an A seventh, we have a G and a C sharp in here, okay?
And that's the tri-tone that makes a pull.
It pulls better towards D minor seventh than the A minor seventh, okay?
This is more in line with pop music, _ okay?
This is more in line with, more of a jazz style by making the sixth chord a dominant, okay?
Now, so we go down here, I'm going to connect these all.
Okay, so now, somebody might say, might think, oh, what can I put in front of an A seventh?
How about a two chord or a three chord, a minor seventh chord, right?
_ Don't worry about the degree right now of being one or three.
So we got this.
So now, guys can play, and these are all two beats.
I'm sorry, let's get rid of this.
They're all two beats each, okay?
Like that, okay?
Two bar phrase, right?
Now, what happens if we use a tri-tone here?
We got E minor seven, E flat seven, _ D minor seven, G seven, okay?
My notation for this, my Roman numeral notation for this is a sixth chord with a line through it,
okay?
That denotes tri-tone, okay?
Now, what if we go this way?
E minor seven, _ we can make this an E flat nine, make it a little richer sounding, okay?
A D minor nine _ and a D flat nine.
We're using the tri-tone of that, and that's five with a line through it, okay?
Now, it's kind of like a Chinese menu, okay?
Now, the way we do the Chinese menu is, look, let's pick one from here.
Let's go C major seven, _ _ E flat seven, _ _ _ _ D minor seven, and let's keep this a G seven for now,
okay?
So you can pick one from one column, second column, third column, fourth column.
So this one went C, E flat, D minor, G seven, okay?
Or we could go C, E flat seven, D minor, D flat seven.
Any combination, okay?
So now, what I'm going to do is, the next lesson, the next series, I'm going to show
you how to voice lead all these, okay?
And then the one after that is I'm going to play some lines through it and analyze the
lines and show you various ways that one can address these solo [F#] changes, okay?
A good tune to use for this is cheek to cheek, very, very old tune.
It goes one, six, two, five, one, six, two, five, okay?
And we'll take melodic considerations, vertical considerations, horizontal considerations,
rhythmic considerations.
Now, _ there'll also be, coming up too, is going to be one for just the beginners to explain
the theory of tone sets, pitch collections.
And also how the modes and scales work into this, and also how the modes and scales come
after the music, not before.
They're not used to create improvisation, okay?
So, and I'll explain how I came to this conclusion.
And then when you put the guitar into it, the mechanics of the instrument _ changes everything,
okay?
In other words, how does this theory apply to the, how do you apply the theory to the guitar?
Theory's great.
It's great to talk about, and it goes round and round on the internet, and you type and
this and all that kind of, you know, the stuff that really doesn't address anything, doesn't
address anybody's questions, any answers or anything, because music is sound.
And theory is designed in such a way that after you make some great sounds, then the
theory gets applied, okay?
Well, that's backwards, okay?
It's the music first, the theory next, but why does anybody need the theory?
I don't know, okay?
I certainly don't need it, and I don't think any of you need it.
It's make good sounds.
It's all about sounds against chord progressions, through chord progressions, over chord progressions,
etc.,
etc.,
etc.
It just goes on and on.
What you have to remember is there's a melodic line going, there's harmony going that's separate.
It's people comp.
They don't comp and let chords ring, you know?
Otherwise, you got no rhythm.
And you also have the bass line, which is a third part going, okay?
So if you have guitar, bass, piano, and drums, you have counterpoint, okay?
Even the drums are counterpoint rhythmically, okay?
So stay tuned to these lectures, and if you have questions, we'll start a thing on the
forum about this classroom lecture series.
Thank you very much. _ _ _ _