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Hello friends,

and welcome back to Swiftlessons for another rhythm & music theory guitar tutorial. In today's session I'm responding to a request I received from a patron who needed a little more explanation on how jazz embellishments, chord substitutes, and passing chords, work when applied to the 12 bar blues. 

In this lesson I'll discuss using upper and lower neighbors, diminished passing chords between the 4 and 1 chords, and how jazzers mix the 3, 6, 2, 1 progression in with the 12 bar blues. Let's get started!

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Jazz Blues Passing Chords & Substitutions Explained

Gain access to TABS, exclusive tutorials and other awesome supporter perks at http://www.patreon.com/swiftlessons Hello friends, and welcome back to Swiftlessons for another rhythm & music theory guitar tutorial. In today's session I'm responding to a request I received from a patron who needed a little more explanation on how jazz embellishments, chord substitutes, and passing chords, work when applied to the 12 bar blues. In this lesson I'll discuss using upper and lower neighbors, diminished passing chords between the 4 and 1 chords, and how jazzers mix the 3, 6, 2, 1 progression in with the 12 bar blues. Let's get started! __________________________________________________________________ Links: Request a song at: http://swiftguitar.com/request Facebook: http://facebook.com/swiftguitarlessons Instagram: https://instagram.com/swiftguitarlessons Twitter: https://twitter.com/swiftlessons

Comments

Anonymous

Rob, this is amazing! Thank you so much. I can’t tell you how much I appreciate your taking the time to reply with such an outstanding video which answered all my questions and then some. You’re really, really good at explaining these quite complex harmonic concepts. This will take time to digest but your lessons have already done more to add to my repertoire and understanding of chords and harmony than years of playing the piano. I will definitely check out the jazz progression you mentioned. Cheers, Oliver

Anonymous

The timing of this lesson is perfect, Rob. This is exactly what I’ve been working on. Thanks!

Anonymous

Hi Rob,

Anonymous

Hi Rob, 1st message from a brand new member here (your lessons are great!) --- I'm having trouble figuring out how to transpose this theory over to a different jazz blues-- Here you are in A, but the main jazz-blues I play are Bb (Bb7 to Eb7 to F7) and F (F7 to Bb7 to C7?) . . . and thus I'm having trouble figuring out what the 3-6-2-5-1's are for Bb and F . . . I know this is a huge topic (I'm only a beginner at theory!), but any advice you can give would be most helpful-----thanks--ted