quatuor d'un million de dollars résonne avec la sensibilité de la classe de 55 • chanson de guitare

[you can play:

a Dm7 arpeggio for the whole second bar
a G7 arpeggio for the whole second bar
a D Dorian scale
a G Mixolydian scale
or all of the above and it would all sound great…

0:000:14
TEMPO
-

+
Guitar chord turnaround 2

Basic Substitutions – Example 3

Now that we have filled up the second bar we can add a second chord to the first bar.

The Am7 chord is the vim7 chord in the key of C major and is the most common chord found between a Imaj7 and iim7 chord in the jazz idiom.

Listen to how the bass movement is much more interesting now that we have four chords within a two-bar phrase. Even though we are still only technically playing C major for two bars, the added bass notes really create energy and movement within those bars.

0:000:14
TEMPO
-

+
Guitar chord turnaround 3

Basic Substitutions – Example 4

The next example contains what is commonly referred to as the VI dominant chord. We are adding it in place of the Am7 chord (the vim7) which leads into the Dm7 chord.

The reason this works is that A7b13 is the V chord of Dm7.

So we are using “secondary dominant” chords (like Bach would do).]:”Jerry Lee Lewis, Carl, and Roy's multi-million dollar quartet resonates with the sensibilities of the class of ’55”
 
cautioning against fickleness
happily doused in ink
Brother Dorsey’s
fiery red-hot bread
 
Memphis nostalgia
 
Martian beings
On amphetamines
circulating considerable amounts
to induce psychotic reactions
 
And as you took a bite
it just kept growing
miraculously
 
How Do You Know
 
I have the Devil within me!
Mr. Phillips
 
Stylishly from Beale Street at Lanskys
Meat and three
antagonistically
and jealously proclaimed
in a meticulously spaced
tale that the King
was fortunate in
 
What would later be unfoundedly recounted by Public Enemy’s Chuck D—Elvis meant nothing to him, Spike, or Flava Flav who, through righteousness done improperly, misunderstood that, because Elvis was a White Rockabilly Wigger, the industry favored his misappropriated songs.
 
as if the industry favored those they exploited while overlooking the unworthy, who they tossed aside. By interjecting co-writer credits for royalties on lyrics that undeniably the artist had not well elaborated, it was a resilient yet tiresome commentary from a racially superior and intellectually derivative, economically circumstantial backdrop. It would indeed be a remarkable day when a songwriter or artist originating from the streets. . .

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[you can play: a Dm7 arpeggio for the whole second bar a G7 arpeggio for the whole second bar a D Dorian scale a G Mixolydian scale or all of the above and it would all sound great… 0:000:14 TEMPO - + Guitar chord turnaround 2 Basic Substitutions – Example 3 Now that we have filled up the second bar we can add a second chord to the first bar. The Am7 chord is the vim7 chord in the key of C major and is the most common chord found between a Imaj7 and iim7 chord in the jazz idiom. Listen to how the bass movement is much more interesting now that we have four chords within a two-bar phrase. Even though we are still only technically playing C major for two bars, the added bass notes really create energy and movement within those bars. 0:000:14 TEMPO - + Guitar chord turnaround 3 Basic Substitutions – Example 4 The next example contains what is commonly referred to as the VI dominant chord. We are adding it in place of the Am7 chord (the vim7) which leads into the Dm7 chord. The reason this works is that A7b13 is the V chord of Dm7. So we are using “secondary dominant” chords (like Bach would do).]:”Jerry Lee Lewis, Carl, and Roy's multi-million dollar quartet resonates with the sensibilities of the class of ’55” cautioning against fickleness happily doused in ink Brother Dorsey’s fiery red-hot bread Memphis nostalgia Martian beings On amphetamines circulating considerable amounts to induce psychotic reactions And as you took a bite it just kept growing miraculously How Do You Know I have the Devil within me! Mr. Phillips Stylishly from Beale Street at Lanskys Meat and three antagonistically and jealously proclaimed in a meticulously spaced tale that the King was fortunate in What would later be unfoundedly recounted by Public Enemy’s Chuck D—Elvis meant nothing to him, Spike, or Flava Flav who, through righteousness done improperly, misunderstood that, because Elvis was a White Rockabilly Wigger, the industry favored his misappropriated songs. as if the industry favored those they exploited while overlooking the unworthy, who they tossed aside. By interjecting co-writer credits for royalties on lyrics that undeniably the artist had not well elaborated, it was a resilient yet tiresome commentary from a racially superior and intellectually derivative, economically circumstantial backdrop. It would indeed be a remarkable day when a songwriter or artist originating from the streets. . .

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