Most Common 'Chord Pairs/Friends'

[jamiehenderson1993]

In Micky Baker's Book 1, he 'pairs up' GMaj7 with GMaj6; and also Am7 with Am6.

Are there any other really common chords that I could add to this Practice Routine?

E.g. are there more chords I could follow the GMaj6 or Am6 with that come up a lot in Standards? Are there similar 'chord moves' for Dom7 chords?

If you can include good voicings too that would be cool.

[Mick-7]

Well, that's a big subject, could turn into a long thread.

Major 6 and Maj.6/9 chords, and minor 6, 6/9, chords and min#7 chords, usually function as I chords. As you said, a transition from Maj7 to M6 and m7 to m6 is common, especially when they are I chords. When they have a subdominant function, e.g., IVmaj7 or IIm7, they're likely to proceed to a dominant 7th chord (e.g., IVmaj7/V7 & IIm7/V7), so that's a common move you'll want to practice in different keys.

A fairly common minor chord progression, which you can hear in, say, "God Bless the Child", is minor > min#7 > min7 > m6.

In GBTC it could be played:
x-x-10-12-13-11 (Cm) >> x-x-10-12-12-11 (Cm#7) >> x-x-10-12-12-11 (Cm7, correction: x-x-10-12-11-11) >> x-x-10-12-10-11 (Cm6)

Then to: x-x-10-12-10-11 (D7b9) >> x-x-8-10-8-10 (Gm7) - etc.

You can hear me play that in my rendition here -- The Autumn of Solo Guitar 2024

P.S. - Cm6 = Am7b5, so it became a IIm7b5 to the V7 (D7b9) which follows it: x-x-10-12-10-11 (Cm6=Am7b5) >> x-x-10-11-10-11 (D7b9).

[Boss Man Zwiebelsohn]

Gmaj7 to G6 is just resolving a borrowed leading diminished note to a chord note.

[Reg]

That's one possibility...

Could imply, Gma7 to A-7, Gma7 to C13... there are many possibilities. You need a Reference to define. I tend to use those type of lines as Line Cliches to help imply harmonic movement on static chords.

The next step is to learn actual Chord Patterns.

[ragman1]

Here are three pairs that go together. The D6/A is a resolving chord for the third pair. You'll see/hear how they slide neatly into each other.

[pamosmusic]

Also probably worth noting that "chord pair" has a specific music theory definition -- two chords that don't have any notes in common.

That's not what you're talking about here, but they're pretty common in jazz playing (see: G and F triad pair), so we might want to be specific about that.

[Boss Man Zwiebelsohn]

Blues cliché that Miles also used in Freddie Freeloader: VIm to Vm gives you a 7/9/13

[jamiehenderson1993]

Here are three pairs that go together. The D6/A is a resolving chord for the third pair. You'll see/hear how they slide neatly into each other.

These are great! If you are aware of any more I'd love to see them! Thank you for taking the time to reply.

[pauln]

Well, that's a big subject, could turn into a long thread.

Major 6 and Maj.6/9 chords, and minor 6, 6/9, chords and min#7 chords, usually function as I chords. As you said, a transition from Maj7 to M6 and m7 to m6 is common, especially when they are I chords. When they have a subdominant function, e.g., IVmaj7 or IIm7, they're likely to proceed to a dominant 7th chord (e.g., IVmaj7/V7 & IIm7/V7), so that's a common move you'll want to practice in different keys.

A fairly common minor chord progression, which you can hear in, say, "God Bless the Child", is minor > min#7 > min7 > m6.

In GBTC it could be played:
x-x-10-12-13-11 (Cm) >> x-x-10-12-12-11 (Cm#7) >> x-x-10-12-12-11 (Cm7) >> x-x-10-12-10-11 (Cm6)

Then to: x-x-10-12-10-11 (D7b9) >> x-x-8-10-8-10 (Gm7) - etc.

You can hear me play that in my rendition here -- The Autumn of Solo Guitar 2024

P.S. - Cm6 = Am7b5, so it became a IIm7b5 to the V7 (D7b9) which follows it: x-x-10-12-10-11 (Cm6=Am7b5) >> x-x-10-11-10-11 (D7b9).

That is a nice rendition; x-x-10-12-11-11 (Cm7) ?

[Tal_175]

This shows applications of some of the most common chordal movement devices:
Harmonic Techniques to Create Moving Chord Progressions using Three Note Voicings

[joe2758]

Did you look ahead in the Mickey Baker book yet?