In this lesson we explore the b9/#11 and #5#9 upper structures. We apply to major 251s and in context of 2 well-known jazz standards.
Passing chords are effective when added into common chord progressions such as 251s and 3625s which feature heavily in the tune.
In terms of harmonic structure, Bossa Nova has a lot common with jazz music as both share a sophisticated use of seventh and extended chords.
In this lesson, Jovino answers some questions on triads and explores some ideas on how to create complex sonorities from a simple base.
In a minor 251, the 5 chord will be an altered dominant chord. In this lesson we apply altered dominant chords to the major 251 progression.
We explore various ways to add harmonic interest over dominant chords using tritones. We use the tunes ‘Body and Soul’ and ‘Misty’.
We’re going to stack the chord tones sequentially in thirds, playing the 7th chord in our left hand, and the 9, #11, and 13 in our right hand.
In this lesson we will be exploring the major 251s with b9 and #5/b13 alterations. This will help you visualise alterations in all 12 keys.
In this lesson we drill UST 2 and UST 6 around all 12 keys. Both USTs contain a natural 13 which makes them related & interchangeable.
In part 2 of this tutorial, we are going to explore the bridge of the tune and then add some melodic interest for the final A section.
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