Whats your favorite jazz fusion chord progression?

Andrew · 05-18-2009, 08:41 PM

im just trying to find some new chords that sound good that are outside sounding

Excalibur · 05-19-2009, 12:40 AM

Dm7 - G7 - Cmaj7.

SchecterWhore · 05-19-2009, 03:38 AM

Quote:

Originally Posted by Excalibur

Dm7 - G7 - Cmaj7.

ii-V-I lol

Chromatic circle of fifths is fun.

Excalibur · 05-19-2009, 12:15 PM

Quote:

Originally Posted by SchecterWhore

ii-V-I lol

Chromatic circle of fifths is fun.

What about it :P?

SchecterWhore · 05-19-2009, 04:52 PM

Quote:

Originally Posted by Excalibur

What about it :P?

I don't know, if it was good enough for Theolonius, it's good enough for me.

HammerAndSickle · 05-19-2009, 04:59 PM

Well, if he's looking for outside sounding and you posted the simplest jazz chord progression in existence... :P

kung_fu · 05-19-2009, 08:37 PM

Quote:

Originally Posted by SchecterWhore

I don't know, if it was good enough for Theolonius, it's good enough for me.

I'm actually reading "Monk" by laurent de wilde. He said when they were recording the Brilliant Corners album they couldn't get through a single useable take because of progressions like this so all of the songs are spliced from various takes. I was quite shocked, considering we are talking about monsters like Sonny Rollins, Max Roach, and Oscar Pettiford. It may not be the most out-there progressions, but it can be deceptively tricky (at least in the 50's

).

ivancic1al · 05-19-2009, 08:46 PM

try the "giant steps" progression, that should prove to be 'different sounding" and maybe challenging for ya. or, just look for a cool mike stern riff and see what chords he uses, that man is a genius!

Luan · 05-19-2009, 11:08 PM

Quote:

Originally Posted by SchecterWhore

I don't know, if it was good enough for Theolonius, it's good enough for me.

It wasn't enough for thelonious, it's not like he only used II V I's! in fact there are some weird chord progressions in his tunes sometimes.

Try using the same chord but with a specific interval between every chord, this way:
Cmaj7, Ebmaj7, F#maj7, Amaj7

That way it would be maj7 chords separated by minor thirds. Very fusion-ish

SchecterWhore · 05-20-2009, 04:14 AM

Monk didn't use typical progressions, that's for sure, but he used ii V I often enough.

Excalibur · 05-21-2009, 03:25 AM

Quote:

Originally Posted by HammerAndSickle

Well, if he's looking for outside sounding and you posted the simplest jazz chord progression in existence... :P

Haha, crawl before you can walk

SchecterWhore · 05-21-2009, 04:27 AM

Quote:

Originally Posted by Excalibur

Haha, crawl before you can walk

iim7 bII7 IM7 tritone sub lol

Tritone substitutions are actually really cool. Considering that a dominant chord typically goes to I or vi, or i or VI in minor, you can get to some pretty wild places pretty fast.

darbdavys · 05-22-2009, 04:53 AM

Quote:

Originally Posted by Luan

It wasn't enough for thelonious, it's not like he only used II V I's! in fact there are some weird chord progressions in his tunes sometimes.

Try using the same chord but with a specific interval between every chord, this way:
Cmaj7, Ebmaj7, F#maj7, Amaj7

That way it would be maj7 chords separated by minor thirds. Very fusion-ish

Eb and F# is actually augmented second

Luan · 05-22-2009, 12:33 PM

Quote:

Originally Posted by darbdavys

Eb and F# is actually augmented second

ORILLY?

SchecterWhore · 05-22-2009, 04:42 PM

Quote:

Originally Posted by darbdavys

Eb and F# is actually augmented second

That's nitpicking, now, isn't it?

Luan · 05-22-2009, 05:47 PM

Cmaj7, Ebmaj7, Gbmaj7, Bbmaj7 for mister academic.

polydeathsphere · 05-22-2009, 06:16 PM

A section: Cm7 FM7 Em7 EbM7 Dm7 DbM7

B section: Am7 AbM7 Gm7 GbM7 Fm7 EM7

SchecterWhore · 05-23-2009, 04:22 AM

Quote:

Originally Posted by polydeathsphere

A section: Cm7 FM7 Em7 EbM7 Dm7 DbM7

B section: Am7 AbM7 Gm7 GbM7 Fm7 EM7

The chromatic root movement is very understandable, but what's that from?

Unknown Doodl3.2 · 05-23-2009, 09:56 AM

I like the Major thirds cycle.

Bmaj7 Gmaj7 Ebmaj7

now make a ii V in each of these!

Excalibur · 05-23-2009, 10:59 AM

Actually, to improve on my previous post....

Dm7 - G7 - Cmaj7 - Fmaj7 - Bm7b5 (Half Dim) - Em7 - Am7 - Am7.

There

Holy Katana · 05-26-2009, 04:13 PM

I've always liked the changes to "Havona" by Weather Report.

|: Emaj7#11 | % | Cmaj9 | % | Bmaj7#11 | % | Gmaj7 | % | Em7 | Emaj7#11 | Cmaj9 | Cmaj7 | Bmaj7#11 | % | Gmaj7 | % | B7sus | % | % | % | % :|

freepower · 05-27-2009, 08:51 AM

Unless he has the hang of the % scale he'll never be able to blow on that though, what's the point?

Holy Katana · 05-27-2009, 03:10 PM

Quote:

Originally Posted by freepower

Unless he has the hang of the % scale he'll never be able to blow on that though, what's the point?

I looked up some information on the song, and apparently, Jaco wrote it a long time before he joined Weather Report. Also, he recorded it for his first solo album, but it was never included.

It's probably my favorite tune on Heavy Weather.

MLI · 06-08-2009, 01:21 AM

Yeah, Luan has the idea. Shifting the same chord shape non-diatonically produces a good effect. The Faceless make use of that extensively, as do I. Moving chords in minor thirds like he said works nice, also in half steps, and combinations there of. Try

Gmi7(9) Abmi7(9) Cbmi7(9)

Also, try to use notes from scales to build chords which form minor seconds and major 7ths, like again Gmi7(9), for example, the third and ninth (Bb and A) make a major 7th together, which alone would be dissonance, but in the context of the chord is quite nice/eerie.

Try a minor chord with a major 6th, which is what you'd find in the dorian mode. So, in G dorian it'd be G Bb D E.

Also, spread the notes out as much as you can in fifths and fourths. Like D minor ninth, do D A E F.

Ask me more questions if you like, I enjoy this type o' stuff.

AbeRudder · 06-10-2009, 06:35 AM

The Big Wave Power Tab by Tribal Tech @ Ultimate-Guitar.Com

Check out the chords on that song. I don't advise playing over it just take some of those chord voicings. Fusion to me is more about the vibe and the chords themselves as opposed to how they move (if that makes sense). Chord extensions like 9ths 11ths 13ths have a real fusion sound to em.

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05-20-2009, 04:14 AM	#10
SchecterWhore Theory God Join Date: May 2008 Location: Los Angeles, CA Posts: 4,218 Thanked: 67 Feedback Score: 5 reviews	Monk didn't use typical progressions, that's for sure, but he used ii V I often enough. Skype theory lessons. PM me.

05-27-2009, 08:51 AM	#22
freepower is overrated Join Date: Mar 2009 Location: Dublin, Ireland Posts: 294 Thanked: 12 Feedback Score: 0 reviews	Unless he has the hang of the % scale he'll never be able to blow on that though, what's the point? My Youtube Lessons My friggin' HUGE guide on every technique Phrasing Music Theory for Complete Beginners onwards...

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05-18-2009, 08:41 PM	#1
Andrew ss.org Regular Join Date: Nov 2007 Location: New Jersey Posts: 271 Thanked: 6 Feedback Score: 0 reviews	Whats your favorite jazz fusion chord progression? im just trying to find some new chords that sound good that are outside sounding

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05-19-2009, 12:40 AM	#2
Excalibur :O Join Date: Jan 2009 Location: Dublin Posts: 591 Thanked: 7 Feedback Score: 0 reviews	Dm7 - G7 - Cmaj7.

05-19-2009, 04:59 PM	#6
HammerAndSickle Guitar Comrade Join Date: Apr 2008 Location: Baltimore, MD Posts: 721 Thanked: 13 Feedback Score: 1 reviews	Well, if he's looking for outside sounding and you posted the simplest jazz chord progression in existence... :P

05-19-2009, 08:46 PM	#8
ivancic1al Probrem? Join Date: May 2009 Location: Buffalo, NY/St. Catharines, ON Posts: 1,484 Thanked: 5 Feedback Score: 0 reviews	try the "giant steps" progression, that should prove to be 'different sounding" and maybe challenging for ya. or, just look for a cool mike stern riff and see what chords he uses, that man is a genius!

05-22-2009, 05:47 PM	#16
Luan ss.org Regular Join Date: Feb 2006 Location: Argentina Posts: 816 Thanked: 24 Feedback Score: 0 reviews	Cmaj7, Ebmaj7, Gbmaj7, Bbmaj7 for mister academic.

05-22-2009, 06:16 PM	#17
polydeathsphere ss.org Regular Join Date: Oct 2008 Location: Yonkers, NY Posts: 130 Thanked: 3 Feedback Score: 0 reviews	A section: Cm7 FM7 Em7 EbM7 Dm7 DbM7 B section: Am7 AbM7 Gm7 GbM7 Fm7 EM7

05-23-2009, 09:56 AM	#19
Unknown Doodl3.2 look at each other.. Join Date: Oct 2005 Location: Montreal Posts: 3,204 Thanked: 28 $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ $Unknown Doodl3.2 is rather kvlt and tr00. \m/$ Feedback Score: 2 reviews	I like the Major thirds cycle. Bmaj7 Gmaj7 Ebmaj7 now make a ii V in each of these!

05-23-2009, 10:59 AM	#20
Excalibur :O Join Date: Jan 2009 Location: Dublin Posts: 591 Thanked: 7 Feedback Score: 0 reviews	Actually, to improve on my previous post.... Dm7 - G7 - Cmaj7 - Fmaj7 - Bm7b5 (Half Dim) - Em7 - Am7 - Am7. There

05-26-2009, 04:13 PM	#21
Holy Katana Wait, what? Join Date: Jun 2007 Location: Franklin, TN Posts: 795 Thanked: 5 Feedback Score: 0 reviews	I've always liked the changes to "Havona" by Weather Report. \|: Emaj7#11 \| % \| Cmaj9 \| % \| Bmaj7#11 \| % \| Gmaj7 \| % \| Em7 \| Emaj7#11 \| Cmaj9 \| Cmaj7 \| Bmaj7#11 \| % \| Gmaj7 \| % \| B7sus \| % \| % \| % \| % :\|

06-08-2009, 01:21 AM	#24
MLI ss.org Regular Join Date: May 2009 Location: AR Posts: 78 Thanked: 4 Feedback Score: 0 reviews	Yeah, Luan has the idea. Shifting the same chord shape non-diatonically produces a good effect. The Faceless make use of that extensively, as do I. Moving chords in minor thirds like he said works nice, also in half steps, and combinations there of. Try Gmi7(9) Abmi7(9) Cbmi7(9) Also, try to use notes from scales to build chords which form minor seconds and major 7ths, like again Gmi7(9), for example, the third and ninth (Bb and A) make a major 7th together, which alone would be dissonance, but in the context of the chord is quite nice/eerie. Try a minor chord with a major 6th, which is what you'd find in the dorian mode. So, in G dorian it'd be G Bb D E. Also, spread the notes out as much as you can in fifths and fourths. Like D minor ninth, do D A E F. Ask me more questions if you like, I enjoy this type o' stuff.

06-10-2009, 06:35 AM	#25
AbeRudder ss.org Regular Join Date: Apr 2009 Location: Sydney Posts: 8 Thanked: 0 Feedback Score: 0 reviews	The Big Wave Power Tab by Tribal Tech @ Ultimate-Guitar.Com Check out the chords on that song. I don't advise playing over it just take some of those chord voicings. Fusion to me is more about the vibe and the chords themselves as opposed to how they move (if that makes sense). Chord extensions like 9ths 11ths 13ths have a real fusion sound to em.