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Jazz Guitar Lessons • Jazz Chord

Substitution Part One • Stormy
Monday Variations • Chords,
Charts, Theory, Videos
Updated on May 25, 2016

Lorne Hemmerling more

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Starts at the beginning and breaks the blues down in a well articulated way. It exponentially grows from
there. Doesn't keep it safe but goes for that blues-jazzy feel throughout. Not your average blues book! |
Source

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To purchase a PDF copy, please follow this link:

Learning Blues Guitar | Lorne K. Hemmerling - Sellfy.com

Learning Blues Guitar

I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was
established. Over the years, I have taught countless students (beginners to advanced) how to
play or improve their chops. Past students include four members of PROTEST THE HERO.

With this book, my goal is to relate the scales with chords and rhythms as opposed to just
learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge
is crucial to good soloing and vice versa. This comes through understanding the relationship
between chords and scales. This book provides that important foundation.

The book is unique in the fact that each chapter is based around a different key signature and an
open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering
the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the
pentatonic scale. Eventually all the box patterns are covered, from the open strings to the
fifteenth fret.

There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a
chord progression, moves into various rhythm patterns derived from the chord progression, and
then culminates with solos based on the scale and key covered. These solos tie in with the chord
progression and rhythm patterns to form a complete lesson for each chapter.

The book is progressive. Upon completion, the student will have a solid foundation in blues guitar,
and will understand the rhythm, lead connection.

The book is best studied from beginning to end, without slighting any material. All theory is
explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and
photos of hand positions as well as videos posted on YouTube to aid in the learning process.

It is best, but not necessary, to have a knowledge of barre and open chord shapes before
beginning this course. All the chords have fretboard grids associated with them.

Good luck and have fun. Music is a celebration. Enjoy!

Lorne K. Hemmerling

Progression One
Below is a standard 12 bar, 3 chord blues progression in G. The simplest form of this is: the I
(one) chord for 4 bars the IV (four) chord for 2, back to the I for 2 bars, the V (five) chord for 1,
the IV chord for one, then the turnaround (the last 2 bars of the progression). This progression
contains 'the quick change', that is, the chords move from the I shape to the IV shape in the
second bar. The turnaround is simply the I chord to the V chord. The movement is always to the V
chord, if you are 'turning around' and going back to the start. If you are at the end, the turnaround
returns to the I chord. Normally, as in this example, the chords are all 7ths. Use Gm Pentatonic to
improvise over this.

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Progression Two
With embellishment, we can give the progression more of an 'uptown sound'. The 7ths have been
replaced by 9ths and 13ths. The 'quick change' is still in place and the turnaround has been
elaborated to I to IV, back to I then to V. As long as there is no altered chords,( that is, the chords
contain no sharps or flats), this progression can be played over top of the above progression and
the same scale (Gm Pentatonic) can be used for the entire piece.

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Progression Three
Finally, this is a complete overhaul of the standard chords. I have substituted Gm7 and Gm6 for
the original C7, and Am7 and Am6 for the D7. This is a standard jazz substitution for the IV and V
chord and sounds great! The G7 in bars 7 and 8 have been replaced by another standard jazz
progression found in many songs: GMaj7, Am7, Bm7, Bbm7. For these chords switch to the G
major scale (or more precisely, G Ionian), but be careful with the Bbm7 if the tempo is slow. I
usually move into an arpeggio at this point. Try Gm Pentatonic over the first 6 bars, move into G
Ionian or G Major Pentatonic for the next 3 then back to Gm or G Dorian for the next bar. For the
turnaround, return to G Ionian or G Major Pentatonic. Or better yet, arpeggiate the chords.

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Jazz Turnarounds In G Major

Here is eight common turnarounds in the key of G Major. Each one has it's own unique sound and
can be plugged into the last two measures of progression number three. Learn each one (watch
the video for the correct fingering and voicings), and then insert them into the progression. Play
the entire pattern with each new turnaround. Also, try transposing them to different keys (flat keys
are great, since many jazz tunes are written in these keys to accommodate the horns). Eg: play
the entire progression with each new turnaround one fret higher, and you are in the key of A flat
Major. Also, I am playing these on the video with the 'grab' technique (with my fingers), also try
strumming them. Mute out the unwanted strings with your fret hand. This all takes quite a bit of
practice!

Common Jazz Chord Voicings

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions. | Source

Stormy Monday • Standard Progression

This is the standard chord progression to one the most covered blues songs: Stormy Monday.
This version is closer to the Allman Brothers version, than the original by T Bone Walker. It
seems when anyone covers this song, this is the progression they use. Measures one and two
are standard, with the 'quick change' in place. In measure three, the G7 moves into a G♯7, then
resolves back to the G7 chord. This creates tension in this part of the song, a very nice touch!
Chromatic movement is used in jazz and blues quite often. The same formula is applied in
measures nine and ten, when the normal movement from the dominant D7 (one measure), to the
subdominant C7 (one measure), is replaced by one measure of D7, modulating into D♯7 then
resolving back to D7 before the turnaround in measures eleven and twelve. The last chord of the
turnaround is a D augmented. Augmented chords are spelled: root, third, sharp fifth (in this case:
D, F♯, A♯, D). Augmented chords are used much the same way as diminished chords, as passing
chords connecting two others.

T Bone Walker

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Stormy Monday • Standard Progession

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Stormy Monday • Chord Substitution One

All the seventh chords in the standard progression have been substituted with ninth chords.
Dominant ninth chords must be built on the dominant seventh chord, in this way, they are just an
extension of the seventh chord. Chord spelling is: root, third, fifth, flat seventh, ninth. In some
voicings, different intervals are omitted in order to form the chords on guitar. For instance, the G9
does not even contain a root (G). Chord spelling for this shape is: B (third), F (minor seventh), A
(ninth) and D (fifth). When I play this voicing, I think of the root as being the G on the the first
string, right next to my fourth finger. This tends to make the position easier to visualize. As in
progression number two above, the ninth chords lend more of an 'uptown' sound. They are a bit
grittier than the seventh chords. Once again, none of these progressions contain altered chords,
meaning that they can be played over or in place of the standard progression. Layering chords
like this adds more interest to the sound.

Stormy Monday • Chord Substitution One

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Stormy Monday • Chord Substitution Two

This version features two chords per measure and a mixture of dominant chords: sevenths, ninths
and thirteenths. As in chord substitution one, the top voice of the chords (the highest note) is
always on the second string. In this way, I have created a melody along that string to give the
chords more continuity and to make them flow, instead of just random voicings. It should be noted
here, that I have not given much thought to bass movement in the progressions, focusing more on
the upper melody. There are still no alterations (chords with sharps or flats). This also means that
one scale can be used to improvise over this progression (Gm Pentatonic, still would be the first
choice, although you may want to move into G Major Pentatonic for measures seven and eight:
G, Am7, Bm7, B♭minor 7. This lends a very pleasant sound to your improvisation for this section.
I have used the 'grabbing the chords' technique for this video.

Stormy Monday • Chord Substitution Two

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

Stormy Monday • Chord Substitution Three

This version is a challenge! One chord per beat, four chords per measure. I have broken the
progression into two measures per line, to make it easier to read. Once again the melody is all
along the second string and there are no altered chords. I have substituted minor sevenths and
sixths for the dominant D7 and D sharp 7 movement in measures nine and ten. This is explained
in Progression Three above. The Am7 and Am6 are very similar in sound to the D9 and D7
chords (the structure is almost identical, in fact the Am6 is a D9, without the root D, while the Am7
lends a suspended sound to the dominant D7). The D augmented chord at the end of the
turnaround is identical in shape to the one in beat three, just a different voicing. Like diminished
chords, they repeat every certain number of frets. Chord spelling for the shape on beat four is: F
sharp, A sharp, D, F sharp. Once again, I am 'grabbing the chords'. I have also substituted some
alternate fingerings (using a third finger barre) for some of the chords on the video. This tempo is
closer to the real recording.

Stormy Monday • Chord Substitution Three

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Jazz Chord Substitution Part One • Stormy Monday Chord Substitutions.

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