Austin Guitar School

Jazz Rhythm Guitar

by Mark Bish _{copywright 1999}

In this lesson, we're going to look at a 2 5 1 chord progressior. This is the most important one used in jazz. We're going to look at the rhythm guitar's role in playing these changes.

When I see a minor 7th chord on a chart, I don't just think of one chord form. I think in terms of a melodic sequence of chord voicings, or in other words, a chord lick. So, for the A minor 7, I played an A minor 7 moving in an A minor 9. Then I played a higher voicing of an A minor 7 to an A minor 11. On the D7 I used D13 to D7b9 (the b9 adds some tension to the dom. chord). Then we resolve to the G major 7. These are chord melody licks that will work going up or down. Try these in all keys. Also, learn the inversions of each chord type and try fitting them in on every beat, etc. Always use your ear and taste when doing this, because sometimes fewer chords sound better; other times the more the better. Have fun!


	Jazz Rhythm Guitar by Mark Bish _{copywright 1999} In this lesson, we're going to look at a 2 5 1 chord progressior. This is the most important one used in jazz. We're going to look at the rhythm guitar's role in playing these changes. When I see a minor 7th chord on a chart, I don't just think of one chord form. I think in terms of a melodic sequence of chord voicings, or in other words, a chord lick. So, for the A minor 7, I played an A minor 7 moving in an A minor 9. Then I played a higher voicing of an A minor 7 to an A minor 11. On the D7 I used D13 to D7b9 (the b9 adds some tension to the dom. chord). Then we resolve to the G major 7. These are chord melody licks that will work going up or down. Try these in all keys. Also, learn the inversions of each chord type and try fitting them in on every beat, etc. Always use your ear and taste when doing this, because sometimes fewer chords sound better; other times the more the better. Have fun!