If you look at bar 1 below then it is clear that it is an Em7 chord.Įm7 is E G B D, but if the bass plays a C then the notes sound like a Cmaj7(9): E(3rd of C), G(5th), B(7th), D(9th)Īnother way to look at it is shown in bars 2 and 3 below. I very often get asked why I write Cmaj7 and then the chord voicing looks like an Em7 (for example beat one of example 6) This is repeated in the next bar with the A7(b13) resolving to the Dm7(9) Side note: Em7 voicing for Cmaj7
Using the dominant of that chord is of course a great approach.īelow you can see how the A7 on beat 4 works as a passing chord towards the Dm7. The way a passing chord works is by having a natural resolution to the chord it is targeting. This example is using a diminished chord as a type of suspension of the Cmaj7. In this example I am using different types of diminished chords, but mainly there is a C#dim pulling us to Dm7 and a Gdim resolving to the G7.įor more information on the theory behind the diminished chords and the different functions they can have you can check out this article: Secret to play over Diminished Chords The Diminished chord is often a bit mysterious but it is a great very flexible chord to add to a progression. This 2nd Diatonic example is using a single Em7 as a passing chords going up to Em7 and then back down to Dm7(9) Diminished Passing Chords The first example shows a descending approach from Fmaj7 to Dm7. You mainly use diatonic passing chords in a step-wise manner where you are walking from one chord in the scale to the next. The first type of Passing chord is a diatonic passing chord. Most of the chords I am using in the lesson will be drop2 chords. The first version is using complete chords with the bass note, but the 2nd one is using drop2 voicings which are a little more flexible. I am using a simple turnaround to show you where you can add extra chords, and the basic progression is this one: Ironically the last one is the easiest to play, the one that adds the most color and movement and it would be the hardest to explain. I think it is more important that you have some options and that you explore what they sound like. For this lesson I am not going to discuss the music theory involved with the chords. I am going to cover the 4 types of passing chords by giving you some examples of how they sound. I am going to go over examples using, diatonic, chromatic, diminished and dominant passing chords and show you how you can make some beautiful embellishments of a simple II V I turnaround in C. You can use the examples to get them into your own playing and add amazing new colors to how you play chords.
In this video I will show you 4 types of passing chords and examples of how they sound and how to use them. Passing chords are a great Jazz trick to add some surprising but also beautiful sounds to chords.