Jazz Chord Progressions.pdf

Jazz Chord Progressions JazzGuitarLessons.net

Progression #1 (I - VI - II - V) Am7 Dm7

C^

     F^

     Dm7

    

   

G7

   

Progression #2 (Major Cycle) Bm7(b5) Em7

   

  

    Am7

   

G7

C^

   

   

    [C7]

  

   

Progression #3 (Blues) C7

     F7

 







Dm7

     Fm7

     Dm7(b5)

    

F7

C7

   

   

[F#º]



C7









[A7]





G7

C7

   

   



[A7]

Progression #4 (Minor Cycle) Bb7 Eb^

    G7(b9)

   

 Dm7







G7

   

  

Ab^

    Cm

   

   

¸[or Cm6]

   

   

  

2

Progression #5 (Minor Blues)

Cm

    

   

Fm

 

[C7]

   

[A7]

Cm







Dm7(b5)









G7(b9)

    

   

C^

    

 Cm

   







[A7]

   

 Dm7(b5)



 G7(b9)

   

Progression #6 (I - VI7 - II - V) A7 Dm7

G7

   

   

   

   

  

Progression #7 (I - VI7 - II7 - V7) C^

    

C^

A7

D7

G7

   

   

   

Progression #8 (modulating to IV and back) C7 F^ Fm6

     C^

    

  

    D7

   

    Dm7

   

    G7

   

  

Progression #9 (Back cycling from # IV) B7(b9) Em7

F#m7(b5)

     Dm7

     C^

     Em7

   

A7

   

G7

C^

   

   

    Am7

   

   

  

Fm7

    Dm7

Am7/G

   

Progression #10 (tritone subs) Gb7 F^

Eb7

    

3

    Db7

   

   

  

Progression #11 (tritone subs with I-VI-II-V) C^

     D7

     C^

     C^

    

Bb7

A7

   

   

Ab7

G7

   

   

Eb^

   

    Db7

Progression #12 (Modal Interchange) Em7 Fm7

   

Eb7

    Bb7

    Ab^

   

  

    Db^

   

  

4

Progression #13 (Diminished passing chords) C#º Dm7 D#º

C^

     Em7

    

    F^

    F#º

   

    G7

   

  

   

Progression #14 (Diminished reharmonization) Em7(b5) A7(b9) Dm7 F#m7(b5) B7(b9)

C^

    

   

Em7

    

   

F^

Am7(b5)

   

   

  

   

D7

G7

  

   

Progression #15 (chromatic basslines) C^

     Em7

A7

Bm7(b5)

G7

Am7/G

    C^

   

F#m7(b5)

Ebº

   

    

   

F^







Eb^

    

Ebm7







Ab7

   

  

C7

    

G7

   

Fm7



Fm7

    Dm7

Progression #16 (Solar by Miles Davis) Gm7

Cm

 

Am7

    Dm7

    

E7(b9)

    Bb7





Db^

   



 Dm7(b5)





G7(b9)

   

