Example 4 Changing Chord Types

EIn this example we experiment with changing chord types, so that where we might normally see a dominant chord ( V7) for example, instead we insert a different chord type instead, like a Vm7. Notice the ‘descending’ progression starting from bar 5 (Gmaj7- G7- G6), where we go through different types of G chords. This is a classic move, and part of the reason it works so well is the underlying chromatically descending movement of the major 7th (F#), to the dominant 7th (F), to the 6th (E) - this is of course known as voice leading. For the C13 shape in bar 8, use your third finger on the sixth string, fourth finger on the fourth string, second on the third and finally use the first finger to barre your two top strings. In bar 9-10 we have a clear example of a lovely ear-pleasing phenomenon called ‘modal interchange’. This means that although we are in G major, we are playing chords (Cm7 and Cm9) - these are borrowed from a different mode – Aeolian mode – or in plain terms, from G minor. The final four bars start with two 6/9 chords (a major and a minor version). This chord type is common in Latin music, like bossa nova, and almost any Antonio Carlos Jobim song will contain it. The penultimate bar features another case of modal interchange, before resolving on the root (Gmaj7).