VI. Jazz
Embellishing Chords
Megan Lavengood
Key Takeaways
Sometimes, jazz performers may add new harmonies into an existing chord progression. This chapter summarizes some of the common ways harmonies are added.
- When adding a harmony to a chord progression, you will have to change the harmonic rhythm to insert an additional chord.
- An applied V7 chord can be added before a chord.
- An applied ii7 chord, as in the ii–V–I schema, can be used to embellish a dominant-quality chord. In other words, preceding a dominant-quality chord with the mi7 or ∅7 chord a fifth above it creates the effect of a ii–V.
- Common-tone diminished seventh chords (CTo7) create neighboring motion in all voices that embellish a chord. The root of the chord of resolution is always shared as a member of the CTo7—hence the term “common tone.” (Note: See this chapter for more information on CTo7 chords in Western classical music.)
Jazz performers often aim to add their own twist to existing jazz standards. This chapter and the next explore some of the ways that performers improvise by embellishing harmonies in jazz. Sometimes, harmonies are replaced with other chords; this technique is discussed in the following chapter (Substitutions). At other times, a new harmony is added, so that the chord progression has more chords. These new harmonies embellish existing chords in the progression. The addition of new embellishing harmonies into a chord progression is the focus of this chapter.
This chapter will use the opening few bars of “Mood Indigo” by Duke Ellington (1930) as a backdrop and add embellishing chords to it. If you take a moment to familiarize yourself with the tune, the following discussions will make more sense. Listen to Louis Armstrong’s interpretation of this song, embedded below, while following the chords of the first four bars, given here.
Embellishing Applied Chords
Applied V7
Any chord in a progression can be embellished by preceding it with an applied dominant chord. takes the opening B♭ chord, divides it in half, and replaces the second two beats of the chord with an applied V7 chord that embellishes the following C7. In principle, this can be done with any chord in the progression.
Applied ii7
The chapter on ii–V–I discusses the use of applied ii–V–Is, i.e., ii–V–I progressions that occur in keys other than the tonic key. Many jazz tunes have these applied ii–Vs built in, but a performer could add their own as well. A dominant chord can often be embellished by adding its ii chord before it, transforming it into a ii–V schema.
“Mood Indigo” by Duke Ellington begins with the progression B♭–C7–Cmi7–F7–B♭. That first C7 could be embellished by adding a Gmi7 before it, creating a temporary ii–V that then proceeds to another ii–V. Rhythmically, this means cutting the duration of the C7 into two halves and replacing the first half with the applied ii chord. The result is the progression in
below.
Common-Tone Diminished Seventh Chords (CTo7)
The common-tone dimin