Another type of passing chord is a diminished chord. Label the chord with the chord Roman numeral, inversion label, and six-four chord type label. The application of the dominant thirteenth [flat ninth] chord is similar to that of the passing chords we covered earlier. D dominant thirteenth [suspended fourth] chord: Practicing the Diminished passing chords. Therefore, the Ab dominant thirteenth [add ninth] chord: Here you are: The dominant thirteenth [suspended fourth] chord The dominant seventh [flat ninth] chord The dominant thirteenth [flat ninth] chord The dominant thirteenth [add ninth] chord The dominant thirteenth [sharp eleventh] chord Let's explore these chord types. So, the Eb major seventh [flat fifth] chord: A fifth below Ab: D dominant thirteenth [flat ninth] chord: Consequently, the Ab dominant thirteenth [add ninth] chord: Db dominant thirteenth [add ninth] chord: …E major ninth chord: C dominant thirteenth [sharp eleventh] chord: A fourth above C: Passing chords generally have the following features: 1. Passing chords may be consonant or dissonant and may include flat fifth substitution, scalewise substitution, dominant minor substitution, approach chords, and bass-line -directed substitution. Diminished Chords Another type of passing chord is a diminished chord. This is what I am doing in example 1 here below. …C major seventh chord: Using the neigboring chord when harmonizing notes is a very common and very useful way to use diatonic passing chords. This example is also using a G# diminished chord to harmonize some notes on the Am7 chord. F# dominant thirteenth [add ninth] chord: …etc. You never sit on them for long, they are passingchords, you pass by them quickly; 2. Ab dominant thirteenth [suspended fourth] chord: …C major ninth chord: If you want to know more about Drop2 chords and other voicings then check out the Jazz Chords Study guide. E dominant thirteenth [suspended fourth] chord: Passing chords may be written into a lead sheet by a composer, songwriter, or arranger. Any other dominant thirteenth [add ninth] chord can be formed in the same manner. Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. This is a ‘slash’ chord, so called because it’s abbreviated using a forward slash — in this case, as B/D# — to indicate the use of a bass note (D#) that’s not the root note of the chord. A dominant thirteenth [sharp eleventh] chord: I started teaching musicians in my neighbourhood in April 2005. In this lesson, we’ll be learning some passing chord types that are succeeded by major chords in a chord progression. When we talk about chord tones we are talking about the fundamental notes that are used to build a chord. …is F: The dominant thirteenth [suspended fourth] chord resolves to a major chord that’s a fourth above (or fifth below) its root. The dominant thirteenth [sharp eleventh] chord resolves to a major chord that’s a fourth above (or fifth below) its root. …is C: They can be diatonic (a chord from the key that you are playing in) or non-diatonic(a chord NOT from the key that you are playing in); 4. The example is on a II V I in G major, which is the chord progression that I will use for all the examples. Every other dominant thirteenth [sharp eleventh] chord on the keyboard can be resolved following the procedure above. The dominant thirteenth [add ninth] resolves to a major chord that is a fourth above (or a fifth below) its root. …etc. They can be consonant … They are inserted between two harmonically important chords (i.e. Ab dominant thirteenth [sharp eleventh] chord: A dominant thirteenth [add ninth] chord: E dominant thirteenth [add ninth] chord: Db dominant thirteenth [suspended fourth] chord: In this lesson we will are going to apply passing chords to a major 251 and also in context to a few different jazz standards. For instance, “Bold as Love” places a Gs chord between G and A, fVII and I, at the end of measure 8 just before the beginning of the chorus. In this course, I have identified the seven most used passing chords in Gospel music, and I teach it all in the key of C. Eb dominant seventh [flat ninth] chord: …Db major seventh chord: The three bass notes follow two rising or falling steps: Passing. C dominant thirteenth [suspended fourth] chord: You can also download the PDF of my examples here. B dominant thirteenth [suspended fourth] chord: The dominant seventh [flat ninth] chord is an amazing passing chord type that every serious pianist must know. …is a classic example of the dominant thirteenth [flat ninth] chord, which is basically a dominant thirteenth chord with a flat ninth tone. Whenever you want to go to the 2nd, 3rd, 6th, and even 7th tones of the scale, try placing a diminished 7 chord a half step lower. One of the most common passing chords is the diminished 7. In this example the Bm7 chord is used to harmonize the D and it voice-leads nicely up to the following Am7(9) voicing that harmonizes the E. Of course there are several ways you can take diatonic passing chords. The first part of melody consists of the notes C, D and E. On the Am7 I am harmonizing the melody with the chords Am, Bm7 and Am7. 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