TWINKLE TWINKLE LITTLE STAR – Generic Chord Version

I I7 IV #IV° I
Twin-kle, twin- kle, lit- tle star

V V7 I      VIm IIm7 V7 I
How I won- der what you are

I I7   IV #IV° I
Up a-bove the world so high

V V7 I      VIm IIm7 V7 I
Like a dia- mond in the sky

IV I V7 I
Twin- kle, twin- kle lit- tle star

IV I V7 I
How I wonder what you are

Second Verse
   I I7 IV #IV° I
When the blaz-ing sun is gone

   V V7 I VIm IIm7 V7 I
When he no- thing shines up- on

   I I7 IV #IV° I
Then you show your lit- tle light

   V V7 I VIm IIm7 V7 I
Twin kle, twin- kle, all the night

IV I V7 I
Twin- kle, twin- kle lit- tle star

IV I V7 I
How I won-der what you are

TWINKLE TWINKLE LITTLE STAR II

I IIIm I7 VIm7 IV #IV° I I7
Twin- kle, twin- kle, lit- tle star

IV V7 I   VIm7 IIm7 V7 I I7
How I won- der what you are

I #I° V7 IIm7 I    #I° V7 V7+
Up a- bove the world so high

I #I° V7 IIm7 I IIIm I V7
Like a dia- mond in the sky

I IIIm I7 VIm7 IV #IV° I I7
Twin- kle, twin- kle lit- tle star

IV V7 I VIm7 IIm7 V7 I
How I won- der what you are

Second Verse
I IIIm I7 VIm7 IV #IV° I I7
When the blaz- ing sun is gone

IV V7 I      VIm7 IIm7 V7 I I7
When he no- thing shines up- on

I #I° V7 IIm7 I #I° V7 V7+
Then you show your lit- tle light

I #I° V7 IIm7 I IIIm I V7
Twin kle, twin- kle, all the night

I IIIm I7 VIm7 IV #IV° I I7
Twin- kle, twin- kle lit- tle star

IV V7 I VIm7 IIm7 V7 I
How I won- der what you are

PLAYING WITH CHORDS

Using both hands, keeping within two octaves (eg., C3 to C5 or D3 to D5, etc., thus in different inversions), play tonic triads, then dominant sevenths leading to their IV (in each case), going round the entire circle of fourths. NEXT, moving through the entire circle of fourths, using both hands, keeping within two octaves, play each tonic triad, dominant seventh, dominant-seventh-with-diminished-fifth. Learning the inversions… NEXT, moving through the entire circle of fourths, using both hands keeping within two octaves, play each tonic triad, dominant seventh, dominant-seventh-with-augmented-fifth. Learning the inversions.


The idea is to stay within the two octaves, so you must play inversions, get it? It’s learning how to hit the curveball, not allowed to go to your trusted old method of playing the chords, but forcing you to think of them within a certain area, thus play inversions. You could do it  in two octaves from D to D, or E to E, F to F, whatever to whatever, because it would teach you to figure out the chord where you find yourself, regardless of where the tonic lies.  
Okay, okay, between the chords, hit a bass note tonic of the chord you’re going to, so you know right away where you’re aiming; but keep the inversions between the two octaves you’ve chosen. It’s not easy, but you’ll learn to play where you are, not just go back to familiar territory. From there it’s wherever you want to go. It’s how to play the piano, a little bit of which I suggest you do every day. 
Try it with 9ths, or minors or sixths, the whole spectrum of chords (See chord Chart above). Just stay within the boundaries you set for yourself (two octaves is best). You'll find it bears doing. 
 And guess what… Melodies will come to mind! HJH

THE CHORD BOARD

Check

This

Out

–

Common

Chord

Connections

MUSIC

(To see Chord Charts, scroll to the bottom of this screen)

PLAYING THE PIANO USING CHORDS

All chords are based on the major scale (do-re-mi-fa-sol-la-ti-do) of the root of the chord. The most common chord, the major triad (3-note), called simply by the letter of the chord, is the first, third and fifth notes of the scale of that chord. So the major triad of C, simply called "C" is the first, third and fifth (1-3-5) (do-mi-sol), notes of the C Scale, thus C, E, and G.

For purposes of basic illustration, we'll use only the C, F, and G chords, and their major scales. For reference, the major scales of each are:
(C Scale) C-D-E-F-G-A-B-C (do-re-mi-fa-sol-la-ti-do) (1-2-3-4-5-6-7-8)
(F Scale) F-G-A-Bb-C-D-E-F (do-re-mi-fa-sol-la-ti-do) (1-2-3-4-5-6-7-8)
(G Scale) G-A-B-C-D-E-F#-G (do-re-mi-fa-sol-la-ti-do) (1-2-3-4-5-6-7-8)
The C major triad is the 1-3-5 (do-mi-sol), (first, third, fifth) of the C scale or C, E, and G.
The F major triad is the 1-3-5 (do-mi-sol), (first, third, fifth) of the F scale, or F, A, and C.
The G major triad is the 1-3-5 (do-mi-sol), (first, third, fifth) of the G scale or G, B, and D.

Roots and Inversions
The root position of each chord is the position with the name (root) of the chord as the lowest note, e.g., the root of the C major chord is C, thus the root position of the C major chord, is as stated above, C, E, and G. The root positions of the G and F major triads (three-note chords), are the same, 1-3-5 of the major scale of the chord. Other positions of the same chords are called "Inversions." Inversions of chords use the same notes as the root position of the chord, but in different configurations. For example, in each triad, there are three notes, thus three positions: The root position (root, or name of the chord at the bottom), the first inversion (3rd at the bottom) and the second inversion (fifth at the bottom), simply moving the same chord notes up or down to a new position. For Inversions of the three chords named above, move the notes around as follows: the first inversion of the C major chord is E, G, and C, the E being at the bottom, the C switched around to the top note; the second inversion is G, C, and E, with the G at the bottom and E at the top. Same with the F and G chords first inversion with the third at the bottom, second inversion with the fifth at the bottom. All just different ways of playing the same chords, C, F, and G

In music where chords are listed, when the root only is shown, that indicates the major triad of that chord, and you can play the root position or any of the inversions. So if you see "C" - that means the major triad, if you see "F" - that means its major triad, or "G" - its major triad. Any other alterations to the chord will be noted in the chord name, such as (in C) Cm, C7, C+ or Cdim (minor, seventh, augmented, diminished). More on these later.
SO, the positions of the F chord are Root 1-3-5, First Inversion 3-5-1, Second Inversion 5-1-3, thus F, A, C, or A, C, F, or C, F, A.
The positions of the G chord are 1-3-5, or First Inversion 3-5-1 or Second Inversion 5-1-3, thus G, B, D, or B, D, G, or D, G, B.

Practicing
1. Play each major chord (C, F, G) in its three inversions, Root - First Inversion, Second Inversion.

2. Go from chord to chord, i.e., C to F, or F to G, or C to G, or G to F, etc., using the most convenient movement, with the least jumping or finger-switching as possible, until you're perfectly comfortable with all the changes. For example, C to F: Root position of C to second inversion of F (C-E-G to C-F-A), or G to C: Root position of G to second inversion of C (G-B-D to G-C-E). Play all the inversions of each of these three chords parallel with both hands until you are comfortable with any and all of the possible switches.

3. Sing these songs and play the chords indicated. (C)Mary had a little lamb (G)little lamb (C)little lamb (C)Mary had a little lamb, its (G)fleece was white as (C)snow.

(C)Happy Birthday to (G)you, Happy Birthday to (C)you Happy (C)Birthday dear __(F)__, Happy (C)Birthday (G)to (C)you.

(C)One love (G)one heart (F)let's get to(C)gether and feel (G)all (C)right (from TV ads for Jamaica)

4. See if you can fit the chords to the following common song phrases, and perhaps their songs too. You may remember the tunes, but not the words, so just hum the melodies, playing the applicable chords, C, F, or G as you hum.

A-B-C-D-E-F-G (The alphabet song)
H-I-J-K-L-M-N-O-P
All Around The Mulberry Bush
Alouette Gentile Alouette
Away In A Manger
A Tisket A Tasket a green and yellow basket
Baa Baa Black Sheep, have you any wool
Be Kind To Your Web Footed Friends
Davy, Davy Crockett
Down By The Station early in the mornin'
Down In The Valley
East Side West Side, All Around The Town
Frosty The Snowman
Brahms Lullaby
Oh Beautiful For Spacious Skies
Camptown Ladies Sing This Song
For He's A Jolly Good Fellow
Frere Jacques
Getting To Know You
Glow Little Glow Worm Glimmer
Happy Talk Keep Talkin' Happy Talk
Hush Little Baby Don't Say a Word
I'm A Little Tea Pot
I'm Popeye The Sailor Man
In The Good Old Summertime
Jimmy Crack Corn And I Don't Care
Just A Spoonful of Sugar
London Bridge is Falling Down
Mairzy Doats and Dozy Doats
Mama's Little Baby Loves (Shortnin' Bread)
Merrily We Roll Along
My Bonnie Lies Over The Ocean
My Country Tis Of Thee
Nyah Nyah Nyah Nyah Nyah Nyah
Oh Danny Boy
Oh My Darling Clementine
Oh Say Can You See (The Star Spangled Banner)
Oh Susannah, Don't You Cry For Me
On The Good Ship Lollipop
On Top Of Old Smoky
Old King Cole Was A Merry Old Soul
Old MacDonald Had a Farm
Rockabye Baby On The Tree Top
Row Row Row Your Boat
Rudolph The Red Nosed Reindeer
Shave And A Haircut
Take Me Out to the Ball Game
Ta Ra Ra Boom De Ay!
The Farmer In The Dell
Three Blind Mice, See How They Run
This Land Is Your Land
Twinkle Twinkle Little Star
Whenever I Feel Afraid
When Irish Eyes Are Smiling
Whistle While you Work
Woody Woodpecker Song
My Wild Irish Rose
I'm A Yankee Doodle Dandy
You're a Grand Old Flag
You Are My Sunshine
Zip A Dee Doo Dah

IMPROVISING ON THE KEYBOARD

You don't have to practice scales to play the piano, but you do have to know enough about them to invent melodies.

Do-re-mi-fa-so-la-ti-do. Figure it out in every key.

MAJOR SCALES FINGERING

MAJOR SCALES FINGERING Two Octaves or more.
(Reverse fingering when descending scales).
"Do Re Mi Fa So La Ti Do Re Mi Fa So La Ti Do"

IN THE KEY OF:

C - G - D - A - E Major Scales
Right Hand: 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5
Left Hand: 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1
Or Think of it this way:
Right Hand: 4th Finger on 7th Degree of Scale (Ti)
Left Hand: 4th Finger on 2nd Degree of Scale (Re)

F Major Scale
Right Hand: 1-2-3-4-1-2-3-1-2-3-4-1-2-3-1
Left Hand: 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1
Or Think of it this way:
Right Hand: 4th Finger on the Bb
Left Hand: 4th Finger on 2nd Degree of Scale (Re)

Bb - Eb - Ab Major Scales
Right Hand: 4th Finger on the Bb
Left Hand: 4th Finger on 4th Degree of Scale (Fa)

C#/Db - F#/Gb - B/Cb Scales
Right Hand: 3 Black Key Group: 2-3-4 (4-3-2), 2 Black Key Group: 2-3 (3-2)
Left Hand: 3 Black Key Group: 4-3-2 (2-3-4), 2 Black Key Group: 3-2 (2-3)

Think of this standard fingering as a general guide, not a hard and fast rule, though it will usually serve you well. Play around with these scales, using the I-IV-V major triads in one hand while improvising on the scales with the other hand.

So you must learn the thumb-under maneuver. It's very important to be able to do 1-2-3-1-2-3-4-1-2-3-1-2-3-4-etc., and do the thumb-under to give continuity to your playing, for both hands.

Fingering: Try to only use the three long fingers on the black keys. Longer thus easier to reach, no? And your hand position doesn't have to shift for the thumb and the pinky.

All notes are "leading tones" - in that they "lead" somewhere. Take "shave and a haircut - two bits" as the original "leading tone" expression from V to I (so to do), but that's too constricting a "leading tone" rule. All notes can lead somewhere, even those that run counter to the harmonics being played, because in one way or another, they can resolve to something pleasing.

Guitar players learn chords first. Why not keyboard too?

You know the C F and G Major scales, right?
Learn the three Major chords of those scales: C Major, F Major, G Major (1-3-5) - All on white keys.
Learn all their inversions, eg.,    C Major = C-E-G, or E-G-C, or G-C-E
                           F Major = F-A-C, or A-C-F, or C-F-A
                           G Major = G-B-D, or B-D-G, or D-G-B
Practice them up and down the keyboard.
Start up any automatic rhythm/accompaniment pattern in your keyboard at a comfortable tempo, in which switching between chords also switches the rhythm/accompaniment pattern to suit the chord.
Practice switching between the three chords and inversions, bridging between them with notes of your choice.
Improvise a melody to suit your ear.
Next: Dominant 7ths (Do, Mi, So, Flatted Ti) of the same three chords, and playing the Blues

Make up a rhythm, any rhythm. Then play the rhythm into a chord position. Then change the inversion of the chord and fit the same rhythm to the new inversion. Play this through several inversions. Don't just stick to the notes of the chord itself, but retain the same position during each inversion.
Now invert the chord and improvise a melody within the same (new) position, using the same rhythm.

Check out the diminished seventh chords. There are only three diminished seventh chords, because they are made up of a series of minor thirds; for example Cdim7 is made up of C, Eb, Gb, and A. Thus Cdim7 equals Ebdim7 equals Gbdim7 equals Adim7. Just different inversions of the same chord.
Now, if you take any one of the notes in a diminished seventh chord and raise it one-half step, the chord changes to a minor-seventh-flatted-fifth, m7(b5) chord, and that note that you raised a half step becomes the seventh of the m7(b5) chord of the root (note) that is one full step above the note that you moved up.
It's not as complicated as it sounds.
Take for example, the Cdim7 chord (C, Eb, Gb, A): If you move the C up to a C#, changing the chord, that C# becomes the seventh of an Ebm7(b5).
Going back to the Cdim7 chord, if you move the Eb up to an E, changing the chord, the E becomes the seventh of a Gbm7(b5).
If you move the Gb of the Cdim7 chord up to a G, it's the seventh of the Am7(b5).
If you move the A of the Cdim7 chord up to a Bb, it becomes the seventh of the Cm7(b5).
Try it with all the diminished seventh chords and you'll see what I mean. It's a good way to learn the Minor7th(b5) chords too.

On an electronic keyboard, and with the idea of the harmonic structure in the background, the rhythm going at a suitably slow rate, play melodic (single finger) improvisations employing both hands at the same time in the chosen key. Take an easy piece, for example The Darktown Strutters' Ball.

Play chords with both hands the same inversions, and improvise short melodies or bridges from each and every position. Thus learning all inversions and melodic possibilities for all chords. When doing this exercise, pay no attention to rhythm or meter, just the chords, improvised melodies, inversions. Make up your own.

Here's a chord game: Play a chord. Change only one note 1/2 step and form (and name) another chord. Continue doing the same. For example a C Major chord, change the C to a B to form the E minor chord, then the E to Eb to form the G augmented, etc.

Chord Fact: The four top notes of the root position of the flatted ninth chord are the same as the diminished seventh chord of the note one-half step up.
For example, C7(b9) = C#dim7, or F7(b9)=F#dim7

Start with both hands playing the same thing, i.e., triads (chords) - white keys only - Fingers 5-3-1(Left Hand) and 1-3-5 (Right hand)* - eg., C-E-G (every other white key). Okay then move it all up one note to D-F-A (both hands), then up to E-G-B, then F-A-C, then G-B-D, then A-C-E, then B-D-F, then C-E-G - Then go back down. This gives you a series of chords to play around with, using both hands in parallel. All the way up, all the way down, up, down, etc. Turn on the rhythms on your keyboard to make it more interesting. Slowly though, increasing tempo as you get better.

Okay, Then, still just using the white keys, play a chord with one hand (usually the left), and make up a melody, or play a familiar one from the list below** with the other hand (usually the right); play around with the melody and all the chords to find the right chord to fit the melody you made up and your ear. You'll find it hard to make mistakes if you just keep with the white keys; most of the chords will fit most of your melodies. Then switch it around, playing the chords with the right hand and a suitable melody with the left hand.

To make this more interesting, turn on the Rhythm of your keyboard, the tempo slowly at first so you are thinking faster than the keyboard. Try it with different rhythms. Syncopate, playing the chords in rhythm like drums. Remember, the keyboard is a percussion instrument, with an infinite number of drums of varying pitches, and you are playing, not practicing, a suitable self-delusion.

If this line of thought interests you, write back and we'll discuss it some more.

ACCOMPANIMENT

First rule of accompaniment if you are playing with a soloist: Don't play the melody (unless the soloist absolutely needs it, in which case look for another soloist, or demand more money. Or if you are the soloist along with being the accompanist, learn the bloomin' song!). Accompaniment is your chance to be creative, in between the phrases of the soloist, but just chord in the background when the soloist is performing.

Now, if you are talking about the keyboard doing the accompanying, and you just changing the chords as indicated in whatever piece you're playing, play the chords on the beats where they are indicated, and play the melody, or using the notes of the scale of the key the piece is written in as a basis, bridge between the chords, inverting* the chords where necessary. Then venture outside of the scale, use "leading" tones (eg: flatted third to third, flatted fifth to fifth, let your ear guide you) to get to the scale notes, etc.

INVERSIONS
*Inversions of chords are described as using the same notes, but just in a different configuration. Eg: (Root Position for a C Major chord) C-E-G, or (First inversion) E-G-C, or (Second inversion) G-C-E, etc. Some chords have three or more inversions if they have more than three notes, but you get the idea...

The inversions are basically the same chord, so they will sound the same, though higher or lower (as you gain more experience, you'll learn to distinguish the different takes on the same harmonic item), and the inversions give you the opportunity to play differently to lead in or out of the next chord or play a variation on the same chord. Some more complicated chords can only be played in certain inversions.

Also, try varying your chords by playing one position with the left hand, and another with the right, eg., C-E-G with the LH and E-G-C with the RH. That way, you'll be training your hands to think differently, using different sides of your brain at the same time really. And learning the inversions of chords makes it far easier to change chords when you just have to move a finger or two, not jump several notes for the next chord.

In all cases, use the fingering that is comfortable, just push the keys where your hands fall, not unlike learning to use touch typing. If you ever watch Ray Charles play (or any blind player for that matter), his hands hardly move, but the harmonies change smoothly, you'd hardly notice with your eyes, but your ears hear the evidence...

Have fun. Play.

Of course, use what combinations that are comfortable. But there are some things that make playing more comfortable, for example:
1. Become fluent with the thumb-under maneuver. This is what practicing scales helps with. 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5-4-3-2-1-3-2-1-4-3-2-1-3-2-1 for the CMajor scale. For all scales fingerings, see
http://mysite.verizon.net/vzeq6peu/Music/academic/mjrsclfngr.html

2. Try to use the long fingers (2-3-4) for the black notes - easier to reach. But by no means a hard and fast rule, especially when chord-ing - use what's comfortable, what occurs to you as your hand addressed the piano.

3. Of course there are rules, and they're all good ones in which most piano teachers will give you instruction, but playing needs to triumph, sometimes at the expense of the rules, to make the practicing more interesting.

TAKE CARE OF YOUR HANDS

Take Care Of Your Hands
By Robert Dumm (in Sheet Music Magazine Winter 2007)
www.sheetmusicmagazine.com

Rachmaninoff, a man of few (even Russian) words, is said to have lain on his deathbed gazing at his hands, and whispering, "Goodbye, my hands." They had, after all, been his best, most trusted and intimate acquaintances. For most of his seventy years (1873-1934) he had worked them hard every day, coaxing them to open wider (they grew to the effortless span of a twelfth: C to the G in the next octave), and fine tuning the timing and intensity of their finger strokes. This great pianist/composer not only worked his hands, but also comforted them in a muff of Russian fur that contained a small heater as he waited to play in icy backstage spaces that must have made him think of Siberia. This care prevented the onset of bursting veins in fingertips that made some performances at the end of his life a near-martyrdom experience. We have not been able to test the advice of Rachmaninoff's Russian forebear, pianist Vladimir De Pachmann (1848-1933), who claimed the only handy therapy is the regular milking of cows - he had his own herd, which included goats. But I'd like to share with you some ways I've found to pamper hands to they will stay pain-free and ready to go at all times.

Iron Gloves
For A Velvet Hand Neither stretches nor repetitions are as hard on your hands as the night air. Exposed hands leak body heat like a cabin chimney, and hands will work their way topside as you sleep, even if you begin with them under the blankets. So wear light cotton work gloves, white or brown, which can be found in the supermarket for very little money. After a week of laughs at the Mickey/Minnie Mouse act, you will awake in the morning with the weightless, ready-to-play sensation it took two hours to achieve in your practice session.

The Mellow Submarine
Right after breakfast, or just before you sit down to play, run the washbowl half full of hot water - as hot as you can stand it - while you press both hands flat against the bottom. As they melt, extend your fingers flat out along the bowl bottom until their ends turn up. Then draw them slowly back, keeping palms as flat as possible. Continue that slow action of extending and withdrawing your fingers for four to five minutes, as long as the water stays hot. On cold days, do it longer, letting a steady trickle of hot water continue into the bowl. Your fingers will feel so loose you will forget you have hands.

Pinky Gloves To Go
Now get ruthless. Buy yourself another pair of cotton gloves and cut off each glove finger at its nail joint, so that pink tips peek out from very finger. Now play! Your hobo-clown masquerade is compensated for by increased finger flexibility. This also works at the computer keyboard!

Splay It Again
Cover the forward arms of your favorite chair with terry cloth, Then, as you watch TV or read, slowly rub your hands down and forward into the cloth, fanning palms and fingers flat (as you did under the water), and then letting them return. This concentrated action of the extensor muscles (along the top of the hand) counteracts the stiffness of the tensors, which manage thousands of daily clutches used in driving, twisting door knobs, screwing jar lids off and on, and so on. Once you feel the warm tingling that signals good circulation and wide-awake touch sensation, you'll want to play again. We'll always know where you've gone by the liquid tones that reach us from your well-cared for musical hands.

THE KEYBOARD SYMPHONY ORCHESTRA

PORT WHITMAN February 9, 2010 - Undaunted by the discontinuance of the Port Whitman Symphony Orchestra, disbanded early this year because of lack of community support amid financial problems, Michael Backstrom, the former conductor of the orchestra, whose controversial taste in programming ran from traditional classics to modern 12-tone pieces, has steered local music into a new direction, founding the Port Whitman Keyboard Ensemble, a full 60-piece orchestra employing electronic keyboards exclusively, to continue the community's musical traditions, hopefully satisfying the cravings of music lovers of all stripes.

At its first concert in Strong Vincent High School auditorium, the local glitterati came in full force,and the curious came from all strata of economic and social groups, filling every seat, showing their support for Maestro Backstrom and the Port Whitman Progressive Piano Society, proving that, as Barbara Weschler, chairperson of the PWPPS support group, stated, "Music of deceased composers isn't dead yet, so there!" The new group plans on presenting programs from living composers as well, the with names of pop and soul composers being mentioned, along with the time-tested traditionals.

Taking the podium in his usual white tie and tails, Mr. Backstrom led a group of keyboardists arranged in exact duplication of the standard symphony orchestra, a semi-circle around him, their Yamahachi-branded instruments looking for all purposes like rows of desks, with the "strings" in front, then "brass," "woodwinds" and "reeds," then the "percussion" in the rear, each keyboard set to play assigned instruments according to their section. Concert selections included "Symphonie Fantastique" by Hector Berlioz, "La Valse" by Maurice Ravel, "Rhapsody in Blue" by George Gershwin, and Duke Ellington's "Take The A Train" with impromptu jazz solos by random players selected on the spot by the conductor. "Just close your eyes, open your ears, listen and imagine" said the conductor at the outset.

The event was sponsored by Yamahachi of America, with their latest series keyboards supplied by the manufacturer through their network of music dealers in and about Port Whitman, and Freehand Systems, with MusicPadPro readers provided for each instrument. The keyboard orchestra concept is especially favored, and financed, by the Bilotti foundation, controlled by Charlene Bilotti, granddaughter of Dr. Louis Bilotti, a local surgeon and real estate investor who founded the Port Whitman Symphony in 1926.

There had been some controversy over the program and the choice of non-acoustic instruments, especially from traditionalists and instrument players who are not keyboard-qualified, thus excluded from concert personnel, but Backstrom plans to forge ahead with the players he has, augmented by advanced students specially selected from the Port Whitman Conservatory of Music, while offering a special brush-up keyboard course for any instrumentalists whose piano technique has deteriorated over the years. Many hurdles had to be negotiated, especially with the local musicians' union, and with the American Symphony Orchestra League, which originally thumbs-downed the project; however, Yamahachi International stepped in and applied its considerable economic influence to the groups, ameliorating the situation at least for the current season.

For its next concert, to be held this summer at the Port Whitman Dell, Maestro Backstrom has scheduled Gustav Mahler's "Symphony #5," The Beethoven "Eroica Symphony," special orchestrations of three Scott Joplin Rags, and the Spike Jones arrangement of "Cocktails for Two" with more impromptu solos, this time featuring the percussion section's novelty sounds. Auditions for keyboard players will be announced in The Port Whitman Times, and held by appointment only.

MUSICOLOGY

It doesn't matter if the idea is played on a bass guitar, or an oboe, or a piano, or any combination of instruments, if a musical idea, i.e., a melody, a rhythym, a bass line, a contrapuntal figure, is a great notion, that's musical innovation in its truest sense. Of course certain compositional ideas take better to certain instruments, but if you, the listener can perceive what the composer is trying to put across through the instrument played by the musician, the job is done, his state of mind has been committed to you.

People generally recognize good musical ideas, if they aren't covered up by a lot of gloppy instrumentation, but verbal ideas are flung at us rhetorically, with such regularity and in such volume (TV, Radio, Print, etc.), as ideas that we are advised by implication, to pick up on for our good, that we reject some of them without giving them reasonable audience, just because they are thrust at us so directly. Good verbal ideas are certainly plentiful, but so subject to capitalization by the perpetrator, that it seems that behind every good idea is an axe-a-grinding held by a would-be Machiavelli. Music however, is a subtle drug we imbibe gradually, and thus its ideas, sensual or practical, militant or merely academic, have an easier time with our rejection mechanisms, so before we know it we're hooked.

Lately however, music is lyrics, which may or may not conform to the listener's, or the parents of the listener's, tastes. It is usually the dearth of musical ideas that prompts a performer or group over into verbal ideas of questionable taste disguised as music. But please don't blame Music for these lapses of good judgement, blame the recording industry, blame the lyricists, blame the producers, the public, but Music? Nothing is as pure except the singing of the birds, and it's not since the early decades of the twentieth century that Music per se was (erroneously) thought to be a corrupting influence, before modern man had become fully conversant with his emotions and inner conflicts, realizing that Music was only the articulation of those phenomena, not their corrupters. Henry Francisco

MUSIC MUSING

What you're hearing when you listen to music are... ideas. Not those that we can understand on a verbal level mind you, but only on an abstract, non-verbal plane. That is not to say that music doesn't have a logic; it does, one chord or melodic series leads inevitably to another, or so it would seem after you hear it. And the true innovators of music are ever plotting new logics that afterwards seem inevitable too. So much for inevitability.

Musical ideas particularly can not be understood on an explanatory level, thus must be stated in their language, which one must learn to be able to approach on an academic level. Now lyrics are not music, they are poetic adjuncts to music, appendages to the aforementioned language. The two may go well together certainly, but shouldn't be confused with each other.

A "good" radio station is one that presents the best, the most innovative in musical ideas, whether they be melodic, harmonic or rhythmic, regardless of the lyrical, poetic ideas. In fact, listeners rarely hear all the words, that's why some artists are printing them on the record jackets. It's their poetry...Now you certainly don't find stations programming the reading of poetry for long. Poetic ideas per se just aren't attractive enough to garner listeners unless they're dressed up with music, Bob Dylan, Smokey Robinson, Joni Mitchell and Lionel Ritchie notwithstanding. Advertisers just won't buy ads for it, and they run the stations and the video programmers, in the final analysis. Advertisers need numbers, and the number of people who will listen to poetic ideas alone, unaided by music, is downright minuscule.

BUT the number who will listen to music (or tolerate it as background) is quite large, and that includes music with or without poetry, so long as the musical ideas are not oppressive. Since the innovations of Bob Dylan, pop music has slid by on its verbal ideas, but now that the gamut of rhetorical thought has pretty well run out, programming must fall back, as it does periodically, on purely musical ideas. Lyrics will still be there, but less prominently, more in the manner of cliche obligatos. People have become skeptical of the lyrical ideas lately anyway, even doubting their validity as ideas. So watch for a resurgence, a renaissance, in musical ideas. After all, once a good idea reaches a receptive mind, nothing can ever be the same again. In a small way anyway.

ARE CONCERT HALLS BECOMING MUSICAL MUSEUMS?

(Question posed by Lawrence Kramer in The Sunday New York Times 6/3/07)

ANSWER: Yes! Museums of sound, with the exception that, unlike other museums, you can't browse, you have to pay attention and be quiet! Oh, and sit still, turn off your cell, don't chew gum, jiggle your leg, talk, all the rest of the seventh grade discipline. It's a drag! On my iPod, I can listen to what I want when I want, while I'm doing all of the above bad behavior and more, replay it, rehear it, rethink it, relive it. I can re-experience the melodies of Mozart after 200 and some years, the musical thoughts of all the great geniuses of music. Why do I need to go sit still and behave to watch a bunch of musicians re-create the great symphonies?

Fact is, going to hear music played live by musicians - REAL music of whatever stripe (as opposed to pop), is itself slowly becoming obsolete. Oh, we go for the EVENT, whether it be dress up to the Philharmonic, or jeans to the rolling stoned. But to really listen, we buy or download the CD.

To get the musical ideas of the composer or improviser of honest-to-God music, it's much better to listen to it on a personal headset or in a well-equipped stereo-room. Even to get the subtleties of the performers. Actually, the future of performers, especially performing their own compositions, is YouTube, where you can see them interpret their own compositions. In the end, the transmission of the musical ideas of the composer to the appreciative mind of the listener is what it's all about, and as technology allows us to eliminate all the in-between folderol, even the performers become less important to musical purists.

Composing music, or any art, is a form of mental self-gratification. The composer does it for himself, sets it down just as he wants it, to hear it perfectly reflected back to him exactly as he thought it up.

Up to now, the way it works is: The composer either goes and plays the music himself, or finds an entity with cash to finance the production and performance of his musings so an audience can listen. But just imagine, if Mozart had all the technology we have available today, would he do all that? Or would he get out his music program to make his own Wolfgang Amadeus Mozart MP3? And guess what... If he did do that, using 100 voices on his computer instead of 100 musicians playing in a hall or studio, making the whole Jupiter Symphony or Eine Kleine Nachtmusic at his desktop, skillfully using all the musical dynamics and inflections and accents his computer and its application are capable of producing, I venture to say a large majority of listeners wouldn't be able to tell the difference.

That's a direction music is taking - away from the human performance and interpretation, and directly from composer's brain to listener's brain, or soul to soul. The rest is just commerce - selling tickets to an audience that will attend and listen. The final destination is the listening, and we can do that through earphones plugged into a computer (An iPod IS a computer after all). The art is in the composition, in the direct transmission of an idea, or feeling, or impression, from one mind to another, so the less in-between "stuff" needed to do that, the better. Like writing a letter, or blogging. Me to you.

This is already being done - by lesser minds than Mozart - but it IS being done, for example at http://mysite.verizon.net/vzeq6peu/Music/hjhcmps/cmps.html where all the music is composed in the mind of one person and notated on the computer, which then "plays" the music back just as the composer wants it. This is in its early stages, but there it is. And there will be more. Keep listening, keep watching on YouTube, and reading on Blogspot. It will all be there sooner than you think. Then the halls shall truly be museums.

THE ILLUSION OF MUSIC

Neal Gabler's NY Timesarticle on "The Illusion Of Entertainment," showing us what we think we are laughing at in the movies, might also have been written about music, i.e., Jazz, being faux melody as related to the real thing. Jazz, or the improvisation based on a harmonic and rhythmic pattern, is just like the song it parallels - sometimes even recognizeably - but it's really not. After all, how could you tell whether the I - VI - II - V chord progression is describing "Blue Moon" or "Heart And Soul" or any number of songs by Rodgers, Loesser, Arlen, Kern, Mercer, Carmichael, et al? Jazz is the American Illusion of Music.

Whereas the great old melodic and harmonic standards were carefully crafted pieces, the jazz versions take the same cadences and improvise endlessly around them. "Fake" them, as it were. And "Faking" is a whole area of music that has come out of the shadows to be known as music, but in many sad cases is simply ruminative, sometimes closer to scales and exercises than to the music on which it is based. The sale of "Fake Books" which condense hundreds of songs to their basics of melody, chords and words, has largely supplanted the sale of sheet music. Yet, in the hands of great melodists such as the Nat Coles or the Errol Garners, the jazz versions - fakes - become renditions that are sometimes more listenable than the originals.

It's the whole picture that makes the piece, not just the melody. You could take the entire article of Mr. Gabler and substitute "music" for "entertainment" and come to the same cultural conclusions, but Jazz is a well-established form, and "signaling in movies is just beginning. Perhaps what he says about well thought out character developments becoming mere signals is true, but this indicating is just in its infancy, and like Jazz, will develop into a full-fledged art in the not-so-distant future. Let's wait and see, meanwhile sort out and support the best of the present offerings.

COMPOSING BOOGIE WOOGIE

Boogie Woogie is not complicated music. You'll have more fun if you make it up yourself, as follows: First there is the bass line or left hand, which you can adapt from almost any blues or rock piece you hear. Isolate what the bass guitar or bass keyboard is playing, plus what the rhythm guitar or keyboard is playing, and adapt these to a left-hand 12-bar standard blues pattern. It may take some doing, but with a little work you can capture the essential notes and flavor of the bass/rhythm.

Now, with the right hand, play the I - IV - V chords (eg. in the key of C: C7 - F7 -G7 - all in dominant sevenths to give it the bluesy flavor) that go along with the left-hand pattern you've established. You might also fudge the thirds by mixing the minor and major notes. For example in C, go from the Eb to the E; in G, go from the Bb to the B, etc.

While executing this rhythm, hum or whistle a short melody to go along with what you are playing. Just something short, a little burst of a phrase ("Da da da DA doo doo wa" etc.). Work that out with your right hand alone, adding intervals or chords to make it sound "funky." Maybe while doing this, if you haven't got the bass/rhythm down perfectly, just play beat-octaves with the left hand to keep yourself straight, but keeping in mind the bass/rhythm pattern.

Finally, put the left-hand pattern that you played previously and the new phrase together, playing the same phrase in all three (I - IV - V) modes (with the IV you can usually just adapt I to a minor), interspersed with the chords from before as filler in between. Use this as an exercise.

Now make up another phrase, and another, plus more bass/rhythm patterns. When you have three phrases and three bass/rhythms, use one with the I, one with the IV, and one with the V patterns. String them all together any way you can, with little melodic bridges or chords. As you go along, let your phrases get longer, adapt phrases from any blues or rock music you hear, jot down the phrases on music paper for future reference, and you're on your way... Better than scouring the world for sheet music or boogie-woogie books that just set down what others have thought up and released for copyright, and usually cost much more than they're worth. You probably have more in your imagination and at your fingertips that way, rather than trying to read other people's music. And then it's your OWN, and it hasn't cost you a nickel. Start collecting bass patterns and phrases (Some are well-worn cliches, for good reason - because they're GOOD!). Good luck.

CHORD PROGRESSIONS

(To see Chord Charts, scroll to the bottom of this screen)

GENERIC BLUES PROGRESSIONS

BASIC BLUES Progression

||: I7| I7|I7| I7| IV7| IV7|I7| I7| V7 |IV7| I7| I7:||

BLUES Progression with TURNAROUND

||: I7| IV7|I7| I7| IV7| IV7|I7| I7| V7 |IV7| I7| IV7 #IV7 V7:||

JAZZING IT UP BLUES Progression
||: I7| IV7|I7| I7| IV7| IV7|I7| VI7| IIm7 |V7| I7 VI7| IIm7 V7:||

BLUES Progression - Another VARIATION
||:I7|IV7|I7|Vm7 I7|IV7|#IVdim7|I7 IIm7|IIIm7 bIIIm7|IIm7|V7| |I7 VI7|IIm7 V7:||

MIX & MATCH BLUES Progression #1
||:I7 I7b5|VII7b5 V7b5|I7 IIm7|Vm7 I7|IV7 #IVdim7| |IIm7 V7b5|I7 IIm7|IIIm7 VI7|IIm7 II7b5|V7 V7b5|I7 VI7| |IIm7 V7:||

MIX & MATCH BLUES Progression #2
||:Imaj7 #Idim7|IIm7 #IIdim7|IIIm7 Imaj7|Vm7 bV7|IV7 IIIm7|IIm7 V7|Imaj7 bVII7|VI7 bIII7|IIm7 IVmaj7| |#IVdim7 V7|Imaj7 bIIImaj7|bVImaj7 V7:||

CHARLIE PARKER BLUES Progression
||:Imaj7|VIIm7-5 III7-9|VIm7 II7|Vm7 I7|IVmaj7| |IVm7 bVII7|IIIm7 VI7| bIIIm7 bVI7| IIm7|V7|Imaj7 VIm7| |IIm7 V7:||

MINOR BLUES Progression
||: Im7|Im7|Im7|Im7|IVm7|IVm7|Vm7|Vm7| bIII7 |II7| Vm7|Vm7:||

BLUES Progression With "MOVEMENT"
||: Im7| IIm7-5 V7-9| Im7 |Vm7-5 I7-9| IVm7| IIm7-5 V7-9|Im7| Im7| bVI7 |V7| Im7 VIm7-5| IIm7-5 V7-9:||

DARKTOWN STRUTTERS BALL PROGRESSION

©Port Whitman Times 2011

I II7 V7 I II7 V7 II7 Vdim V II7 V V7 I II7 V7 I II7 V7 III7 III7b5 VIm VIm7b5 II7 II7b5 V V7 I VI7 II7 II7b5 V7 I bIIIdim II7 V7 I VI7 II7 I7b5 IV VII7 I VI7 VI7b5 II7 II7b5 V7 I

C D7 G7 C D7 G7 D7 Gdim G D7 G G7 C D7 G7 C D7 G7 E7 E7b5 Am Am7b5 D7 D7b5 G G7 C A7 D7 D7b5 G7 C Ebdim D7 G7 C A7 D7 C7b5 F B7 C A7 A7b5 D7 D7b5 G7 C

C# D#7 G#7 C# D#7 G#7 D#7 G#dim G# D#7 G# G#7 C# D#7 G#7 C# D#7 G#7 F7 F7b5 A#m A#m7b5 D#7 D#7b5 G# G#7 C# A#7 D#7 D#7b5 G#7 C# Edim D#7 G#7 C# A#7 D#7 C#7b5 F# C7 C# A#7 A#7b5 D#7 D#7b5 G#7 C#

Db Eb7 Ab7 Db Eb7 Ab7 Eb7 Abdim Ab Eb7 Ab Ab7 Db Eb7 Ab7 Db Eb7 Ab7 F7 F7b5 Bbm Bbm7b5 Eb7 Eb7b5 Ab Ab7 Db Bb7 Eb7 Eb7b5 Ab7 Db Edim Eb7 Ab7 Db Bb7 Eb7 Db7b5 Gb C7 Db Bb7 Bb7b5 Eb7 Eb7b5 Ab7 Db

D E7 A7 D E7 A7 E7 Adim A E7 A A7 D E7 A7 D E7 A7 F#7 F#7b5 Bm Bm7b5 E7 E7b5 A A7 D B7 E7 E7b5 A7 D Fdim E7 A7 D B7 E7 D7b5 G C#7 D B7 B7b5 E7 E7-5 A7 D

Eb F7 Bb7 Eb F7 Bb7 F7 Bbdim Bb F7 Bb Bb7 Eb F7 Bb7 Eb F7 Bb7 G7 G7b5 Cm Cm7b5 F7 F7b5 Bb Bb7 Eb C7 F7 F7b5 Bb7 Eb Gbdim F7 Bb7 Eb C7 F7 Eb7b5 Ab D7 Eb C7 C7b5 F7 F7b5 Bb7 Eb

E F#7 B7 E F#7 B7 F#7 Bdim B F#7 B B7 E F#7 B7 E F#7 B7 G#7 G#7b5 C#m C#m7b5 F#7 F#7b5 B B7 E C#7 F#7 F#7b5 B7 E Gdim F#7 B7 E C#7 F#7 E7b5 A D#7 E C#7 C#7b5 F#7 F#7b5 B7 E

F G7 C7 F G7 C7 G7 Cdim C G7 C C7 F G7 C7 F G7 C7 A7 A7b5 Dm Dm7b5 G7 G7b5 C C7 F D7 G7 G7b5 C7 F Abdim G7 C7 F D7 G7 F7b5 Bb E7 F D7 D7b5 G7 G7b5 C7 F

F# G#7 C#7 F# G#7 C#7 G#7 C#dim C# G#7 C# C#7 F# G#7 C#7 F# G#7 C#7 A#7 A#7b5 D#m D#m7b5 G#7 G#7b5 C# C#7 F# D#7 G#7 G#7b5 C#7 F# A#dim G#7 C#7 F# D#7 G#7 F#7b5 B F7 F# D#7 D#7b5 G#7 G#7b5 C#7 F#

Gb Ab7 Db7 Gb Ab7 Db7 Ab7 Dbdim Db Ab7 Db Db7 Gb Ab7 Db7 Gb Ab7 Db7 Bb7 Bb7b5 Ebm Ebm7b5 Ab7 Ab7b5 Db Db7 Gb Eb7 Ab7 Ab7b5 Db7 Gb Bbdim Ab7 Db7 Gb Eb7 Ab7 Gb7b5 B F7 Gb Eb7 Eb7b5 Ab7 Ab7b5 Db7 Gb

G A7 D7 G A7 D7 A7 Ddim D A7 D D7 G A7 D7 G A7 D7 B7 B7b5 Em Em7b5 A7 A7b5 D D7 G E7 A7 A7b5 D7 G Bbdim A7 D7 G E7 A7 G7b5 C F#7 G E7 E7b5 A7 A7b5 D7 G

Ab Bb7 Eb7 Ab Bb7 Eb7 Bb7 Ebdim Eb Bb7 Eb Eb7 Ab Bb7 Eb7 Ab Bb7 Eb7 C7 C7b5 Fm Fm7b5 Bb7 Bb7b5 Eb Eb7 Ab F7 Bb7 Bb7b5 Eb7 Ab Bdim Bb7 Eb7 Ab F7 Bb7 Ab7b5 Db G7 Ab F7 F7b5 Bb7 Bb7b5 Eb7 Ab

A B7 E7 A B7 E7 B7 Edim E B7 E E7 A B7 E7 A B7 E7 C#7 C#7b5 F#m F#m7b5 B7 B7b5 E E7 A F#7 B7 B7b5 E7 A Cdim B7 E7 A F#7 B7 A7b5 D G#7 A F#7 F#7b5 B7 B7b5 E7 A

Bb C7 F7 Bb C7 F7 C7 Fdim F C7 F F7 Bb C7 F7 Bb C7 F7 D7 D7b5 Gm Gm7b5 C7 C7b5 F F7 Bb G7 C7 C7b5 F7 Bb Dbdim C7 F7 Bb G7 C7 Bb7b5 Eb A7 Bb G7 G7b5 C7 C7b5 F7 Bb

B C#7 F#7 B C#7 F#7 C#7 F#dim F# C#7 F# F#7 B C#7 F#7 B C#7 F#7 D#7 D#7b5 G#m G#m7b5 C#7 C#7b5 F# F#7 B G#7 C#7 C#7b5 F#7 B Ddim C#7 F#7 B G#7 C#7 B7b5 E A#7 B G#7 G#7b5 C#7 C#7b5 F#7 B

GOSPEL TURNAROUND PROGRESSION

I I7 IV bVI7 V7 Vdim V7

C C7 F Ab7 G7 Gdim G7

Db Db7 Gb A7 Ab7 Abdim Ab7

C# C#7 F# A7 G#7 G#dim G#7

D D7 G Bb7 A7 Adim A7

Eb Eb7 Ab B7 Bb7 Bbdim Bb7

E E7 A C7 B7 Bdim B7

F F7 Bb Db7 C7 Cdim C7

F# F#7 B D7 C#7 C#dim C#7

Gb Gb7 B D7 Db7 Dbdim Db7

G G7 C Eb7 D7 Ddim D7

Ab Ab7 Db E7 Eb7 Ebdim Eb7

A A7 D F7 E7 Edim E7

Bb Bb7 Eb Gb7 F7 Fdim F7

B B7 E G7 F#7 F#dim F#7

ALL THE THINGS YOU ARE progression

I   V7   I   V7   VI7   bVI7   V7+   I   III7   I   IIm7   V7   I   III7+   VIm7   IIm7
V9   V7-9   I   IVmaj7   VII7   IIImaj7   IIIm7   VIm7   II9   bVI7   V   I   bV7
VII   bIIm7   bV7   VII   VII6   bVII7-5   bIII7   bVI   I7+   VIm7   IIm7   V9
V7-9   I   IV   IVm   I   Idim   IIm7   V7-9   I   bVI   Imaj7

C   G7   C   G7   A7   Ab7   G7+   C   E7   C   Dm7   G7   C   E7+   Am7   Dm7
G9   G7-9   C   Fmaj7   B7   Emaj7   Em7   Am7   D9   Ab7   G7   C   Gb7
B   Dbm7   Gb7   B   B6   Bb7-5   Eb7   Ab   C7+   Am7   Dm7   G9
G7-9   C   F   Fm   C   Cdim   Dm7   G7-9   C   Ab   Cmaj7

C#   G#7   C#   G#7   A#7   A7   G#7+   C#   F   C#   D#m7   G#7   C#   F7+
A#m7   D#m7   G#9 G#-9   C#   F#maj7   C7   Fmaj7   Fm7   A#m7   D#9
A7   G#   C#   G7   C   Dm7   G7   C   C6   B7-5   E7   A   C#7+   A#m7   D#m7
G#9   G#7-9   C#   F#   F#m   C#   C#dim   D#m7   G#7-9   C#   A   C#maj7

Db   Ab7   Db   Ab7   Bb7   A7   Ab7+   Db   F   Db   Ebm7   Ab7   Db   F7+
Bbm7   Ebm7   Ab9 Ab-9   Db   Gbmaj7   C7   Fmaj7   Fm7   Bbm7   Eb9
A7   Ab   Db   G7   C   Dm7   G7   C   C6   B7-5   E7   A   Db7+   Bbm7   Ebm7
Ab9   Ab7-9   Db   Gb   Gbm   Db   Dbdim   Ebm7   Ab7-9   Db   A   Dbmaj7

D   A7   D   A7   B7   Bb7   A7+   D   F#7   D   Em7   A7   D   F#7+
Bm7   Em7   A9   A7-9   D   Gmaj7   C#7   F#maj7   F#m7   Bm7   E9
Bb7   A   D   Ab7   C#   Eb7   Ab7   C#   C#6   C7-5   F7   Bb   D7+   Bm7
Em7   A9   A7-9   D   G   Gm   D   Ddim   Em7   A7-9   D   Bb   Dmaj7

Eb   Bb7   Eb   Bb7   C7   B7   Bb7+   Eb   G7   Eb   Fm7   Bb7   Eb   G7+
Cm7   Fm7   Bb9   Bb7-9   Eb   Abmaj7   D7   Gmaj7   Gm7   Cm7   F9
B7   Bb   Eb   A7   D   Em7   A7   D   D6   Db7-5   Gb7   B   Eb7+   Cm7
Fm7   Bb9   Bb7-9   Eb   Ab   Abm   Eb   Ebdim   Fm7   Bb7-9   Eb   B   Ebmaj7

E   B7   E   B7   C#7   C7   B7+   E   G#7   E   F#m7   B7   E   G#7+
C#m7   F#m7   B9   B7-9   E   Amaj7   D#7   G#maj7   G#m7   C#m7   F#9
C7   B   E   A#7   D#   Fm7   Bb7   Eb   Eb6   D7-5   G7   C   E7+   C#m7
F#m7   B9   B7-9   E   A   Am   E   Edim   F#m7   B7-9   E   C   Emaj7

F   C7   F   C7   D7   Db7   C7+   F   A7   F   Gm7   C7   F   A7+   Dm7
Gm7   C9   C7-9   F   Bbmaj7   E7   Amaj7   Am7   Dm7   G9   Db7
C   F   B7   D   F#m7   B7   E   E6   Eb7-5   Ab7   Db   F7+   Dm7
Gm7   C9   C7-9   F   Bb   Bbm   F   Fdim   Gm7   C7-9   F   Db   Fmaj7

F#   C#7   F#   C#7   D#7   D7   C#7+   F#   A#7   F#   G#m7   C#7   F#   A#7+
D#m7   G#m7   C#9   C#7-9   F#   Bmaj7   F7   A#maj7   A#m7   D#m7
G#9   D7   C#   F#   C7   F   Gm7   C7   F   F6   E7-5   A7   D   F#7+   D#m7
G#m7   C#9   C#7-9   F#   B   Bm   F#   F#dim   G#m7   C#7-9   F#   D   F#maj7

Gb   Db7   Gb   Db7   Eb7   D7   Db7+   Gb   Bb7   Gb   Gbm7   Db7   Gb   Bb7+
Ebm7   Abm7   Db9   Db7-9   Gb   Bmaj7   F7   Bbmaj7   Bbm7   Ebm7
Ab9   D7   Db   Gb   C7   F   Gm7   C7   F   F6   E7-5   A7   D   Gb7+   Ebm7
Abm7   Db9   Db7-9   Gb   B   Bm   Gb   Gbdim   Abm7   Db7-9   Gb   D Gbmaj7

G   D7   G   D7   E7   Eb7   D7+   G   B7   G   Am7   D7   G   B7+   Em7
Am7   D9   D7-9   G   Cmaj7   F#7   Bmaj7   Bm7   Em7   A9   Eb7   D
G   Db7   F#   G#m7   C#7   F#   F#6   F7-5   Bb7   Eb   G7+   Em7
Am7   D9   D7-9   G   C   Cm   G   Gdim   Am7   D7-9   G   Eb   Gmaj7

Ab   Eb7   Ab   Eb7   F7   E7   Eb7+   Ab   C7   Ab   Bbm7   Eb7   Ab   C7+
Fm7   Bbm7   Eb9   Eb7-9   Ab   Dbmaj7   G7   Cmaj7   Cm7   Fm7   Bb9   E7
Eb   Ab   D7   G   Am7   D7   G   G6   Gb7-5   B7   E   Ab7+   Fm7   Bbm7
Eb9   Eb7-9   Ab   Db   Dbm   Ab   Abdim   Bbm7   Eb7-9   Ab   E   Abmaj7

A   E7   A   E7   F#7   F7   E7+   A   C#7   A   Bm7   E7   A   C#7+   F#m7
Bm7   E9   E7-9   A   Dmaj7   G#7   C#maj7   C#m7   F#m7   B9   F7   E
A   Eb7   Ab   Bbm7   Eb7   Ab   Ab6   G7-5   C7   F   A7+   F#m7
Bm7   E9   E7-9   A   D   Dm   A   Adim   Bm7   E7-9   A   F   Amaj7

Bb   F7   Bb   F7   G7   Gb7   F7+   Bb   D7   Bb   Cm7   F7   Bb   D7+   Gm7
Cm7   F9   F7-9   Bb   Ebmaj7   A7   Dmaj7   Dm7   Gm7   C9   Gb7   F
Bb   E7   A   Bm7   E7   A   A6   Ab7-5   Db7   Gb   Bb7+   Gm7   Cm7
F9   F7-9   Bb   Eb   Ebm   Bb   Bbdim   Cm7   F7-9   Bb   Gb   Bbmaj7

B   F#7   B   F#7   G#7   G7   F#7+   B   D#7   B   C#m7   F#7   F#   D#7+
G#m7   C#m7   F#9   F#7-9   B   Emaj7   A#7   D#maj7   D#m7   G#m7
C#9   G7   F#   B   F7   G#   Cm7   F7   Bb   Bb6   A7-5   D7   G   B7+
G#m7   C#m7   F#9   F#7-9   B   E   Em   B   Bdim   C#m7   F#7-9   B   G   Bmaj7

CHARLIE PARKER BLUES PROGRESSION

Imaj7 VIIm7-5 III7-9 VIm7 II7 Vm7 I7 IVmaj7 IVm7 bVII7
IIIm7 VI7 bIIIm7 bVI7 IIm7 V7 Imaj7 VIm7 IIm7 V7 Imaj7

Cmaj7 Bm7-5 E7-9 Am7 D7 Gm7 C7 Fmaj7 Fm7 Bb7
Em7 A7 Ebm7 Ab7 Dm7 G7 Cmaj7 Am7 Dm7 G7 Cmaj7

C#maj7 Cm7-5 F7-9 A#m7 D#7 G#m7 C#7 F#maj7 F#m7 B7
Fm7 A#7 Em7 A7 D#m7 G#7 C#maj7 A#m7 D#m7 G#7 C#maj7

Dbmaj7 Cm7-5 F7-9 Bbm7 Eb7 Abm7 Db7 Gbmaj7 Gbm7 B7
Fm7 Bb7 Em7 A7 Ebm7 Ab7 Dbmaj7 Bbm7 Ebm7 Ab7 Dbmaj7

Dmaj7 C#m7-5 F#7-9 Bm7 E7 Am7 D7 Gmaj7 Gm7 C7
F#m7 B7 Fm7 Bb7 Em7 A7 Dmaj7 Bm7 Em7 A7 Dmaj7

Ebmaj7 Dm7-5 G7-9 Cm7 F7 Bbm7 Eb7 Abmaj7 Abm7 Db7
Gm7 C7 Gbm7 B7 Fm7 Bb7 Ebmaj7 Cm7 Fm7 Bb7 Ebmaj7

Emaj7 Ebm7-5 G#7-9 C#m7 F#7 Bm7 E7 Amaj7 Am7 D7
G#m7 C#7 Gm7 C7 F#m7 B7 Emaj7 C#m7 F#m7 B7 Emaj7

Fmaj7 Em7-5 A7-9 Dm7 &nbspG7 Cm7 F7 Bbmaj7 Bbm7 Eb7
Am7 D7 Abm7 Db7 Gm7 C7 Fmaj7 Dm7 Gm7 C7 Fmaj7

F#maj7 Fm7-5 A#7-9 D#m7 G#7 C#m7 F#7 Bmaj7 Bm7 E7
A#m7 D#7 Am7 D7 G#m7 C#7 F#maj7 D#m7 G#m7 C#7 F#maj7

Gbmaj7 Fm7-5 Bb7-9 Ebm7 Ab7 Dbm7 Gb7 Bmaj7 Bm7 E7
Bbm7 Eb7 Am7 D7 Abm7 Db7 Gbmaj7 Ebm7 Abm7 Db7 Gbmaj7

Gmaj7 F#m7-5 B7-9 Em7 A7 Dm7 G7 Cmaj7 Cm7 F7
Bm7 E7 Bbm7 Eb7 Am7 D7 Gmaj7 Em7 Am7 D7 Gmaj7

Abmaj7 Gm7-5 C7-9 Fm7 Bb7 Ebm7 Ab7 Dbmaj7 Dbm7 Gb7
Cm7 F7 Bm7 E7 Bbm7 Eb7 Abmaj7 Fm7 Bbm7 Eb7 Abmaj7

Amaj7 Abm7-5 C#7-9 F#m7 B7 Em7 A7 Dmaj7 Dm7 G7
C#m7 F#7 Cm7 F7 Bm7 E7 Amaj7 F#m7 Bm7 E7 Amaj7

Bbmaj7 Am7-5 D7-9 Gm7 C7 Fm7 Bb7 Ebmaj7 Ebm7 Ab7
Dm7 G7 Dbm7 Gb7 Cm7 F7 Bbmaj7 Gm7 Cm7 F7 Bbmaj7

Bmaj7 Bbm7-5 D#7-9 G#m7 C#7 F#m7 B7 Emaj7 Em7 A7
D#m7 G#7 Dm7 G7 C#m7 F#7 Bmaj7 G#m7 C#m7 F#7 Bmaj7

BLUE MOON PROGRESSION

I   VIm   IIm7   V7   I   VIm   IIm   V7   I   VIm   IIm7   I   IV   I   V7   I   VIm   IIm7   V7
I   VIm   IIm   V7   I   VIm   IIm7   I   IV   I   IV   V7   I   IV   V7   I   IVm   bVII7   bIII
V   VIm7   II7   IIm7   V7   I   VIm   IIm7   V7   I   VIm   IIm   V7   I   VIm   IIm7   I   IV   I

C   Am   Dm7   G7   C   Am   Dm   G7   C   Am   Dm7   C   F   C   G7   C   Am   Dm7   G7
C   Am   Dm   G7   C   Am   Dm7   C   F   C   F   G7   C   F   G7   C   Fm   Bb7   Eb
G   Am7   D7   Dm7   G7   C   Am   Dm7   G7   C   Am   Dm   G7   C   Am   Dm7   C   F   C

C#   Bbm   Ebm7   Ab7   C#   Bbm   Ebm   Ab7   C#   Bbm   Ebm7   C#   F#   C#   Ab7   C#   Bbm   Ebm7   Ab7
C#   Bbm   Ebm   Ab7   C#   Bbm   Ebm7   C#   F#   C#   F#   Ab7   C#   F#   Ab7   C#   F#m   B7   E
Ab   Bbm7   Eb7   Ebm7   Ab7   C#   Bbm   Ebm7   Ab7   C#   Bbm   Ebm   Ab7   C#   Bbm   Ebm7   C#   F#   C#

Db   Bbm   Ebm7   Ab7   Db   Bbm   Ebm   Ab7   Db   Bbm   Ebm7   Db   Gb   Db   Ab7   Db   Bbm   Ebm7   Ab7
Db   Bbm   Ebm   Ab7   Db   Bbm   Ebm7   Db   Gb   Db   Gb   Ab7   Db   Gb   Ab7   Db   Gbm   B7   E
Ab   Bbm7   Eb7   Ebm7   Ab7   Db   Bbm   Ebm7   Ab7   Db   Bbm   Ebm   Ab7   Db   Bbm   Ebm7   Db   Gb   Db

D   Bm   Em7   A7   D   Bm   Em   A7   D   Bm   Em7   D   G   D   A7   D   Bm   Em7   A7
D   Bm   Em   A7   D   Bm   Em7   D   G   D   G   A7   D   G   A7   D   Gm   C7   F
A   Bm7   E7   Em7   A7   D   Bm   Em7   A7   D   Bm   Em   A7   D   Bm   Em7   D   G   D

Eb   Cm   Fm7   Bb7   Eb   Cm   Fm   Bb7   Eb   Cm   Fm7   Eb   Ab   Eb   Bb7   Eb   Cm   Fm7   Bb7
Eb   Cm   Fm   Bb7   Eb   Cm   Fm7   Eb   Ab   Eb   Ab   Bb7   Eb   Ab   Bb7   Eb   Abm   Db7   Gb
Bb   Cm7   F7   Fm7   Bb7   Eb   Cm   Fm7   Bb7   Eb   Cm   Fm   Bb7   Eb   Cm   Fm7   Eb   Ab   Eb

E   C#m   F#m7   B7   E   C#m   F#m   B7   E   C#m   F#m7   E   A   E   B7   E   C#m   F#m7   B7
E   C#m   F#m   B7   E   C#m   F#m7   E   A   E   A   B7   E   A   B7   E   Am   D7   G
B   C#m7   F#7   F#m7   B7   E   C#m   F#m7   B7   E   C#m   F#m   B7   E   C#m   F#m7   E   A   E

F   Dm   Gm7   C7   F   Dm   Gm   C7   F   Dm   Gm7   F   Bb   F   C7   F   Dm   Gm7   C7
F   Dm   Gm   C7   F   Dm   Gm7   F   Bb   F   Bb   C7   F   Bb   C7   F   Bbm   Eb7   Ab
C   Dm7   G7   Gm7   C7   F   Dm   Gm7   C7   F   Dm   Gm   C7   F   Dm   Gm7   F   Bb   F

F#   Ebm   Abm7   C#7   F#   Ebm   Abm   C#7   F#   Ebm   Abm7   F#   B   F#   C#7   F#   Ebm   Abm7   C#7
F#   Ebm   Abm   C#7   F#   Ebm   Abm7   F#   B   F#   B   C#7   F#   B   C#7   F#   Bm   E7   A
C#   Ebm7   Ab7   Abm7   C#7   F#   Ebm   Abm7   C#7   F#   Ebm   Abm   C#7   F#   Ebm   Abm7   F#   B   F#

Gb   Ebm   Abm7   Db7   Gb   Ebm   Abm   Db7   Gb   Ebm   Abm7   Gb   B   Gb   Db7   Gb   Ebm   Abm7   Db7
Gb   Ebm   Abm   Db7   Gb   Ebm   Abm7   Gb   B   Gb   B   Db7   Gb   B   Db7   Gb   Bm   E7   A
Db   Ebm7   Ab7   Abm7   Db7   Gb   Ebm   Abm7   Db7   Gb   Ebm   Abm   Db7   Gb   Ebm   Abm7   Gb   B   Gb

G   Em   Am7   D7   G   Em   Am   D7   G   Em   Am7   G   C   G   D7   G   Em   Am7   D7
G   Em   Am   D7   G   Em   Am7   G   C   G   C   D7   G   C   D7   G   Cm   F7   Bb
D   Em7   A7   Am7   D7   G   Em   Am7   D7   G   Em   Am   D7   G   Em   Am7   G   C   G

Ab   Fm   Bbm7   Eb7   Ab   Fm   Bbm   Eb7   Ab   Fm   Bbm7   Ab   Db   Ab   Eb7   Ab   Fm   Bbm7   Eb7
Ab   Fm   Bbm   Eb7   Ab   Fm   Bbm7   Ab   Db   Ab   Db   Eb7   Ab   Db   Eb7   Ab   Dbm   Gb7   B
Eb   Fm7   Bb7   Bbm7   Eb7   Ab   Fm   Bbm7   Eb7   Ab   Fm   Bbm   Eb7   Ab   Fm   Bbm7   Ab   Db   Ab

A   F#m   Bm7   E7   A   F#m   Bm   E7   A   F#m   Bm7   A   D   A   E7   A   F#m   Bm7   E7
A   F#m   Bm   E7   A   F#m   Bm7   A   D   A   D   E7   A   D   E7   A   Dm   G7   C
E   F#m7   B7   Bm7   E7   A   F#m   Bm7   E7   A   F#m   Bm   E7   A   F#m   Bm7   A   D   A

Bb   Gm   Cm7   F7   Bb   Gm   Cm   F7   Bb   Gm   Cm7   Bb   Eb   Bb   F7   Bb   Gm   Cm7   F7
Bb   Gm   Cm   F7   Bb   Gm   Cm7   Bb   Eb   Bb   Eb   F7   Bb   Eb   F7   Bb   Ebm   Ab7   Db
F   Gm7   C7   Cm7   F7   Bb   Gm   Cm7   F7   Bb   Gm   Cm   F7   Bb   Gm   Cm7   Bb   Eb   Bb

B   Abm   C#m7   F#7   B   Abm   C#m   F#7   B   Abm   C#m7   B   E   B   F#7   B   Abm   C#m7   F#7
B   Abm   C#m   F#7   B   Abm   C#m7   B   E   B   E   F#7   B   E   F#7   B   Em   A7   D
F#   Abm7   C#7   C#m7   F#7   B   Abm   C#m7   F#7   B   Abm   C#m   F#7   B   Abm   C#m7   B   E   B

BOSSA NOVA PROGRESSION

I VIIm7-5 III7 VIm7 Vm7 I7 IVmaj7 bVII7 IIIm7 VI7 IIm7 V7 I

C Bm7-5 E7 Am7 Gm7 C7 Fmaj7 Bb7 Em7 A7 Dm7 G7 C

C# Cm7-5 F7 Bbm7 Abm7 C#7 F#maj7 B7 Fm7 Bb7 Ebm7 Ab7 C#

Db Cm7-5 F7 Bbm7 Abm7 Db7 Gbmaj7 B7 Fm7 Bb7 Ebm7 Ab7 Db

D C#m7-5 F#7 Bm7 Am7 D7 Gmaj7 C7 F#m7 B7 Em7 A7 D

Eb Dm7-5 G7 Cm7 Bbm7 Eb7 Abmaj7 C#7 Gm7 C7 Fm7 Bb7 Eb

E Ebm7-5 Ab7 C#m7 Bm7 E7 Amaj7 D7 Abm7 C#7 F#m7 B7 E

F Em7-5 A7 Dm7 Cm7 F7 Bbmaj7 Eb7 Am7 D7 Gm7 C7 F

F# Fm7-5 Bb7 Ebm7 C#m7 F#7 Bmaj7 E7 Bbm7 Eb7 Abm7 C#7 F#

Gb Fm7-5 Bb7 Ebm7 Dbm7 Gb7 Bmaj7 E7 Bbm7 Eb7 Abm7 Db7 Gb

G F#m7-5 B7 Em7 Dm7 G7 Cmaj7 F7 Bm7 E7 Am7 D7 G

Ab Gm7-5 C7 Fm7 Ebm7 Ab7 Dbmaj7 Gb7 Cm7 F7 Bbm7 Eb7 Ab

A Abm7-5 C#7 F#m7 Em7 A7 Dmaj7 G7 C#m7 F#7 Bm7 E7 A

Bb Am7-5 D7 Gm7 Fm7 Bb7 Ebmaj7 Ab7 Dm7 G7 Cm7 F7 Bb

B Bbm7-5 Eb7 Abm7 F#m7 B7 Emaj7 A7 Ebm7 Ab7 C#m7 F#7 B

BODY AND SOUL PROGRESSION

IIm   V7   I   V7+   I   bIIIdim   IIm7   V7   #Vdim   VIm   IIm7   I   I6   I   bVI9
bII   bVI7   bII   bV   bII   bVI7   bII   #Im7   #IV7   VIImaj7   VIIdim   #Im7   #IV7
VII7   bVII7VI7   IIm   V7   I   V7+   I   bIIIdim   IIm7   V7#Vdim   VIm   IIm7   I   I6

Dm   G7   C   G7+   C   Ebdim   Dm7   G7   G#dim   Am   Dm7   C   C6   C   Ab9
Db   Ab7   Db   Gb   Db   Ab7   Db   C#m7   F#7   Bmaj7   Bdim   C#m7   F#7
B7   Bb7A7   Dm   G7   C   G7+   C   Ebdim   Dm7   G7G#dim   Am   Dm7   C   C6

D#m   G#7   C#   G#7+   C#   Edim   D#m7   G#7   Adim   A#m   D#m7   C#   C#6   C#   A9
D   A7   D   G   D   A7   D   Dm7   G7   Cmaj7   Cdim   Dm7   G7
C7   B7Bb7   D#m   G#7   C#   G#7+   C#   Edim   D#m7   G#7 Adim   A#m   D#m7   C# C#6

Ebm   Ab7   Db   Ab7+   Db   Edim   Ebm7   Ab7   Adim   Bbm   Ebm7   Db   Db6   Db   A9
D   A7   D   G   D   A7   D   Dm7   G7   Cmaj7   Cdim   Dm7   G7
C7   B7   Bb7   Ebm   Ab7   Db   Ab7+   Db   Edim   Ebm7   Ab7   Adim   Bbm   Ebm7   Db   Db6

Em   A7   D   A7+   D   Fdim   Em7   A7   Bbdim   Bm   Em7   D   D6   D   Bb9
Eb   Bb7   Eb   Ab   Eb   Bb7   Eb   Ebm7   Ab7   Dbmaj7   Dbdim   Ebm7   Ab7
Db7   C7   B7   Em   A7   D   A7+   D   Fdim   Em7   A7   Bbdim   Bm   Em7   D   D6

Fm   Bb7   Eb   Bb7+   Eb   Gbdim   Fm7   Bb7   Bdim   Cm   Fm7   Eb   Eb6   Eb   B9
E   B7   E   A   E   B7   E   Em7   A7   Dmaj7   Ddim   Em7   A7
D7   Db7   C7   Fm   Bb7   Eb   Bb7+   Eb   Gbdim   Fm7   Bb7   Bdim   Cm   Fm7   Eb   Eb6

F#m   B7   E   B7+   E   Gdim   F#m7   B7   Cdim   C#m   F#m7   E   E6   E   C9
F   C7   F   Bb   F   C7   F   Fm7   Bb7   Ebmaj7   Ebdim   Fm7   Bb7
Eb7   D7   Db7   F#m   B7   E   B7+   E   Gdim   F#m7   B7   Cdim   C#m   F#m7   E   E6

Gm   C7   F   C7+   F   Abdim   Gm7   C7   C#dim   Dm   Gm7   F   F6   F   Db9
Gb   Db7   Gb   B   Gb   Db7   Gb   F#m7   B7   Emaj7   Edim   F#m7   B7
E7   Eb7   D7   Gm   C7   F   C7+   F   Abdim   Gm7   C7   C#dim   Dm   Gm7   F   F6

G#m   C#7   F#   C#7+   F#   Adim   G#m7   C#7   Ddim   D#m   G#m7   F#   F#6   F#   D9
G   D7   G   C   G   D7   G   Gm7   C7   Fmaj7   Fdim   Gm7   C7
F7   E7   Eb7   G#m   C#7   F#   C#7+   F#   Adim   G#m7   C#7   Ddim   D#m   G#m7   F#   F#6

Abm   Db7   Gb   Db7+   Gb   Adim   Abm7   Db7   Ddim   Ebm   Abm7   Gb   Gb6   Gb   D9
G   D7   G   C   G   D7   G   Gm7   C7   Fmaj7   Fdim   Gm7   C7
F7   E7Eb7   Abm   Db7   Gb   Db7+   Gb   Adim   Abm7   Db7   Ddim   Ebm   Abm7   Gb   Gb6

Am   D7   G   D7+   G   Bbdim   Am7   D7   D#dim   Em   Am7   G   G6   G   Eb9
Ab   Eb7   Ab   Db   Ab   Eb7   Ab   Abm7   Db7   Gbmaj7   Gbdim   Abm7   Db7
Gb7   F7   E7   Am   D7   G   D7+   G   Bbdim   Am7   D7   D#dim   Em   Am7   G   G6

Bbm   Eb7   Ab   Eb7+   Ab   Bdim   Bbm7   Eb7   Edim   Fm   Bbm7   Ab   Ab6   Ab   E9
A   E7   A   D   A   E7   A   Am7   D7   Gmaj7   Gdim   Am7   D7
G7   Gb7   F7   Bbm   Eb7   Ab   Eb7+   Ab   Bdim   Bbm7   Eb7   Edim   Fm   Bbm7   Ab   Ab6

Bm   E7   A   E7+   A   Cdim   Bm7   E7   Fdim   F#m   Bm7   A   A6   A   F9
Bb   F7   Bb   Eb   Bb   F7   Bb   Bbm7   Eb7   Abmaj7   Abdim   Bbm7   Eb7
Ab7   G7   Gb7   Bm   E7   A   E7+   A   Cdim   Bm7   E7   Fdim   F#m   Bm7   A   A6

Cm   F7   Bb   F7+   Bb   Dbdim   Cm7   F7   F#dim   Gm   Cm7   Bb   Bb6   Bb   Gb9
B   Gb7   B   E   B   Gb7   B   Bm7   E7   Amaj7   Adim   Bm7   E7
A7   Ab7   G7   Cm   F7   Bb   F7+   Bb   Dbdim   Cm7   F7   F#dim   Gm   Cm7   Bb   Bb6

C#m   F#7   B   F#7+   B   Ddim   C#m7   F#7   Gdim   Abm   C#m7   B   B6   B   G9
C   G7   C   F   C   G7   C   Cm7   F7   Bbmaj7   Bbdim   Cm7   F7
Bb7   A7   Ab7   C#m   F#7   B   F#7+   B   Ddim   C#m7   F#7   Gdim   Abm   C#m7   B   B6

CHARLIE'S PLACE PROGRESSION

I IIm7 #IIdim I II IIIm7 IVm6 II V VIm7 #VIdim V I VIm bVI9 V7 I
III7 III7 VIm VIm II7 II7 IIm IIIm IV #IV V

C Dm7 D#dim C D Em7 Fm6 D G Am7 Bbdim G C Am Ab9 G7 C
E7 E7 Am Am D7 D7 Dm Em F F# G

C# D#m7 Edim C# D# Fm7 F#m6 D# G# A#m7 Bdim G# C# A#m A9 G#7 C#
F7 F7 A#m A#m D#7 D#7 D#m Fm F# G G#

Db Ebm7 Edim Db Eb Fm7 Gbm6 Eb Ab Bbm7 Bdim Ab Db Bbm A9 Ab7 Db
F7 F7 Bbm Bbm Eb7 Eb7 Ebm Fm Gb G Ab

D Em7 Fdim D E F#m7 Gm6 E A Bm7 Cdim A D Bm Bb9 A7 D
F#7 F#7 Bm Bm E7 E7 Em F#m G G# A

Eb Fm7 F#dim Eb F Gm7 Abm6 F Bb Cm7 C#dim Bb Eb Cm B9 Bb7 Eb
G7 G7 Cm Cm F7 F7 Fm Gm Ab A Bb

E F#m7 Gdim E F# G#m7 Am6 F# B C#m7 Ddim B E C#m C9 B7 E
Ab7 Ab7 C#m C#m F#7 F#7 F#m G#m A Bb B

F Gm7 G#dim F G Am7 Bbm6 G C Dm7 Ebdim C F Dm Db9 C7 F
A7 A7 Dm Dm G7 G7 Gm Am Bb B C

F# G#m7 Adim F# G# A#m7 Bm6 G# C# D#m7 Edim C# F# D#m D9 C#7 F#
A#7 A#7 D#m D#m G#7 G#7 G#m A#m B C C#

Gb Abm7 Adim Gb Ab Bbm7 Bm6 Ab Db Ebm7 Edim Db Gb Ebm D9 Db7 Gb
Bb7 Bb7 Ebm Ebm Ab7 Ab7 Abm Bbm B C Db

G Am7 Bbdim G A Bm7 Cm6 A D Em7 Fdim D G Em Eb9 D7 G
B7 B7 Em Em A7 A7 Am Bm C C# D

Ab Bbm7 Bdim Ab Bb Cm7 Dbm6 Bb Eb Fm7 F#dim D Ab Fm E9 Eb7 Ab
C7 C7 Fm Fm Bb7 Bb7 Bbm Cm Db D Eb

A Bm7 Cdim A B C#m7 Dm6 B E F#m7 Gdim E A F#m F9 E7 A
C#7 C#7 F#m F#m B7 B7 Bm C#m D D# E

Bb Cm7 C#dim Bb C Dm7 Ebm6 C F Gm7 G#dim F Bb Gm Gb9 F7 Bb
D7 D7 Gm Gm C7 C7 Cm Dm Eb E F

B C#m7 Ddim B C# D#m7 Em6 C# F# G#m7 Adim F# B G#m G9 F#7 B
D#7 D#7 G#m G#m C#7 C#7 C#m D#m E F F#

HAPPY FACE PROGRESSION

I   I6   IIIm7   VI7   IIm7   V9   IIm7   V9   I   I6   IIIm7   VI7   IIm7   V9   Vm7   I7
IVmaj7   VII7   III7   VI7   II7   V7   Imaj7   I7   I6   IVmaj7   VII7   III7   VI7   II7   IIm7   V9
I6   IIIm7   VI7   IIm7   V9   I   IIm7   V9   I   I6   IIIm7   VI7   IIm7   V9   Vm7   I7
IVmaj7   V9   I   IIm7   V7   III7+   III7   VI9   II9   IIm7   V9   I   I6   IIm7   I

C   C6   Em7   A7   Dm7   G9   Dm7   G9   C   C6   Em7   A7   Dm7   G9   Gm7   C7
Fmaj7   B7   E7   A7   D7   G7   Cmaj7   C7   C6   Fmaj7   B7   E7   A7   D7   Dm7   G9
C   C6   Em7   A7   Dm7   G9   C   Dm7   G9   C   C6   Em7   A7   Dm7   G9   Gm7   C7
Fmaj7   G9   C   Dm7   G7   E7+   E7   A9   D9   Dm7   G9   C   C6   Dm7   C

C#   C#6   Fm7   Bb7   Ebm7   Ab9   Ebm7   Ab9   C#   C#6   Fm7   Bb7   Ebm7   Ab9   Abm7   C#7
F#maj7   C7   F7   Bb7   Eb7   Ab7   C#maj7   C#7   C#6   F#maj7   C7   F7   Bb7   Eb7   Ebm7   Ab9
C#   C#6   Fm7   Bb7   Ebm7   Ab9   C#   Ebm7   Ab9   C#   C#6   Fm7   Bb7   Ebm7   Ab9   Abm7   C#7
F#maj7   Ab9   C#   Ebm7   Ab7   F7+   F7   Bb9   Eb9   Ebm7   Ab9   C#   C#6   Ebm7   C#

Db   Db6   Fm7   Bb7   Ebm7   Ab9   Ebm7   Ab9   Db   Db6   Fm7   Bb7   Ebm7   Ab9   Abm7   Db7
Gbmaj7   C7   F7   Bb7   Eb7   Ab7   Dbmaj7   Db7   Db6   Gbmaj7   C7   F7   Bb7   Eb7   Ebm7   Ab9
Db   Db6   Fm7   Bb7   Ebm7   Ab9   Db   Ebm7   Ab9   Db   Db6   Fm7   Bb7   Ebm7   Ab9   Abm7   Db7
Gbmaj7   Ab9   Db   Ebm7   Ab7   F7+   F7   Bb9   Eb9   Ebm7   Ab9   Db   Db6   Ebm7   Db

D   D6   F#m7   B7   Em7   A9   Em7   A9   D   D6   F#m7   B7   Em7   A9   Am7   D7
Gmaj7   C#7   F#7   B7   E7   A7   Dmaj7   D7   D6   Gmaj7   C#7   F#7   B7   E7   Em7   A9
D   D6   F#m7   B7   Em7   A9   D   Em7   A9   D   D6   F#m7   B7   Em7   A9   Am7   D7
Gmaj7   A9   D   Em7   A7   F#7+   F#7   B9   E9   Em7   A9   D   D6   Em7   D

Eb   Eb6   Gm7   C7   Fm7   Bb9   Fm7   Bb9   Eb   Eb6   Gm7   C7   Fm7   Bb9   Bbm7   Eb7
Abmaj7   D7   G7   C7   F7   Bb7   Ebmaj7   Eb7   Eb6   Abmaj7   D7   G7   C7   F7   Fm7   Bb9
Eb   Eb6   Gm7   C7   Fm7   Bb9   Eb   Fm7   Bb9   Eb   Eb6   Gm7   C7   Fm7   Bb9   Bbm7   Eb7
Abmaj7   Bb9   Eb   Fm7   Bb7   G7+   G7   C9   F9   Fm7   Bb9   Eb   Eb6   Fm7   Eb

E   E6   Abm7   C#7   F#m7   B9   F#m7   B9   E   E6   Abm7   C#7   F#m7   B9   Bm7   E7
Amaj7   Eb7   Ab7   C#7   F#7   B7   Emaj7   E7   E6   Amaj7   Eb7   Ab7   C#7   F#7   F#m7   B9
E   E6   Abm7   C#7   F#m7   B9   E   F#m7   B9   E   E6   Abm7   C#7   F#m7   B9   Bm7   E7
Amaj7   B9   E   F#m7   B7   Ab7+   Ab7   C#9   F#9   F#m7   B9   E   E6   F#m7   E

F   F6   Am7   D7   Gm7   C9   Gm7   C9   C   C6   Am7   D7   Gm7   C9   Cm7   F7
Bbmaj7   E7   A7   D7   G7   C7   Fmaj7   F7   F6   Bbmaj7   E7   A7   D7   G7   Gm7   C9
F   F6   Am7   D7   Gm7   C9   F   Gm7   C9   F   F6   Am7   D7   Gm7   C9   Cm7   F7
Bbmaj7   C9   F   Gm7   C7   A7+   A7   D9   G9   Gm7   C9   F   F6   Gm7   F

F#   F#6   Bbm7   Eb7   Abm7   C#9   Abm7   C#9   F#   F#6   Bbm7   Eb7   Abm7   C#9   C#m7   F#7
Bmaj7   F7   Bb7   Eb7   Ab7   C#7   F#maj7   F#7   F#6   Bmaj7   F7   Bb7   Eb7   Ab7   Abm7   C#9
F#   F#6   Bbm7   Eb7   Abm7   C#9   F#   Abm7   C#9   C#   C#6   Bbm7   Eb7   Abm7   C#9   C#m7   F#7
Bmaj7   C#9   F#   Abm7   C#7   Bb7+   Bb7   Eb9   Ab9   Abm7   C#9   F#   F#6   Abm7   F#

Gb   Gb6   Bbm7   Eb7   Abm7   Db9   Abm7   Db9   Gb   Gb6   Bbm7   Eb7   Abm7   Db9   Dbm7   Gb7
Bmaj7   F7   Bb7   Eb7   Ab7   Db7   Gbmaj7   Gb7   Gb6   Bmaj7   F7   Bb7   Eb7   Ab7   Abm7   Db9
Gb   Gb6   Bbm7   Eb7   Abm7   Db9   Gb   Abm7   Db9   Db   Db6   Bbm7   Eb7   Abm7   Db9   Dbm7   Gb7
Bmaj7   Db9   Gb   Abm7   Db7   Bb7+   Bb7   Eb9   Ab9   Abm7   Db9   Gb   Gb6   Abm7   Gb

G   G6   Bm7   E7   Am7   D9   Am7   D9   G   G6   Bm7   E7   Am7   D9   Dm7   G7
Cmaj7   F#7   B7   E7   A7   D7   Gmaj7   G7   G6   Cmaj7   F#7   B7   E7   A7   Am7   D9
G   G6   Bm7   E7   Am7   D9   G   Am7   D9   G   G6   Bm7   E7   Am7   D9   Dm7   G7
Cmaj7   D9   G   Am7   D7   B7+   B7   E9   A9   Am7   D9   G   G6   Am7   G

Ab   Ab6   Cm7   F7   Bbm7   Eb9   Bbm7   Eb9   Ab   Ab6   Cm7   F7   Bbm7   Eb9   Ebm7   Ab7
Dbmaj7   G7   C7   F7   Bb7   Eb7   Abmaj7   Ab7   Ab6   Dbmaj7   G7   C7   F7   Bb7   Bbm7   Eb9
Ab   Ab6   Cm7   F7   Bbm7   Eb9   Ab   Bbm7   Eb9   Ab   Ab6   Cm7   F7   Bbm7   Eb9   Ebm7   Ab7
Dbmaj7   Eb9   Ab   Bbm7   Eb7   C7+   C7   F9   Bb9   Bbm7   Eb9   Ab   Ab6   Bbm7   Ab

A   A6   C#m7   F#7   Bm7   E9   Bm7   E9   A   A6   C#m7   F#7   Bm7   E9   Em7   A7
Dmaj7   G#7   C#7   F#7   B7   E7   Amaj7   A7   A6   Dmaj7   G#7   C#7   F#7   B7   Bm7   E9
A   A6   C#m7   F#7   Bm7   E9   A   Bm7   E9   A   A6   C#m7   F#7   Bm7   E9   Em7   A7
Dmaj7   E9   A   Bm7   E7   C#7+   C#7   F#9   B9   Bm7   E9   A   A6   Bm7   A

Bb   Bb6   Dm7   G7   Cm7   F9   Cm7   F9   Bb   Bb6   Dm7   G7   Cm7   F9   Fm7   Bb7
Ebmaj7   A7   D7   G7   C7   F7   Bbmaj7   Bb7   Bb6   Ebmaj7   A7   D7   G7   C7   Cm7   F9
Bb   Bb6   Dm7   G7   Cm7   F9   Bb   Cm7   F9   Bb   Bb6   Dm7   G7   Cm7   F9   Fm7   Bb7
Ebmaj7   F9   Bb   Cm7   F7   D7+   D7   G9   C9   Cm7   F9   Bb   Bb6   Cm7   Bb

B   B6   Ebm7   Ab7   C#m7   F#9   C#m7   F#9   B   B6   Ebm7   Ab7   C#m7   F#9   F#m7   B7
Emaj7   Bb7   Eb7   Ab7   C#7   F#7   Bmaj7   B7   B6   Emaj7   Bb7   Eb7   Ab7   C#7   C#m7   F#9
B   B6   Ebm7   Ab7   C#m7   F#9   B   C#m7   F#9   B   B6   Ebm7   Ab7   C#m7   F#9   F#m7   B7
Emaj7   F#9   B   C#m7   F#7   Eb7+   Eb7   Ab9   C#9   C#m7   F#9   B   B6   C#m7   B

SLOW SWING PROGRESSION

I VIm7 IIm7 V7 I VIm7 IIm7 V7 I IIIm7-5 IV6 IVm6 IIIm7 bIII7 IIm7 V7
I VIm7 IIm7 V7 I VIm7 IIm7 V7 I IIIm7-5 IV6 IVm6 I V7 I

C Am7 Dm7 G7 C Am7 Dm7 G7 C Em7-5 F6 Fm6 Em7 Eb7 Dm7 G7
C Am7 Dm7 G7 C Am7 Dm7 G7 IC Em7-5 F6 Fm6 C G7 C

Db Bbm7 Ebm7 Ab7 Db Bbm7 Ebm7 Ab7 Db Fm7-5 F#6 F#m6 Fm7 E7 Ebm7 Ab7
Db Bbm7 Ebm7 Ab7 Db Bbm7 Ebm7 Ab7 Db Fm7-5 F#6 F#m6 Db Ab7 Db

D Bm7 Em7 A7 D Bm7 Em7 A7 D F#m7-5 G6 Gm6 F#m7 F7 Em7 A7
D Bm7 Em7 A7 D Bm7 Em7 A7 D F#m7-5 G6 Gm6 D A7 D

Eb Cm7 Fm7 Bb7 Eb Cm7 Fm7 Bb7 Eb Gm7-5 Ab6 Abm6 Gm7 Gb7 Fm7 Bb7
Eb Cm7 Fm7 Bb7 Eb Cm7 Fm7 Bb7 Eb Gm7-5 Ab6 Abm6 Eb Bb7 Eb

E C#m7 F#m7 B7 E C#m7 F#m7 B7 E G#m7-5 A6 Am6 G#m7 G7 F#m7 B7
E C#m7 F#m7 B7 E C#m7 F#m7 B7 E G#m7-5 A6 Am6 E B7 E

F Dm7 Gm7 C7 F Dm7 Gm7 C7 F Am7-5 Bb6 Bbm6 Am7 Ab7 Gm7 C7
F Dm7 Gm7 C7 F Dm7 Gm7 C7 F Am7-5 Bb6 Bbm6 F C7 F

Gb Ebm7 Abm7 Db7 Gb Ebm7 Abm7 Db7 Gb Bbm7-5 B6 Bm6 Bbm7 A7 Abm7 Db7
Gb Ebm7 Abm7 Db7 Gb Ebm7 Abm7 Db7 Gb Bbm7-5 B6 Bm6 Gb Db7 Gb

G Em7 Am7 D7 G Em7 Am7 D7 G Bm7-5 C6 Cm6 Bm7 Bb7 Am7 D7
G Em7 Am7 D7 G Em7 Am7 D7 G Bm7-5 C6 Cm6 G D7 G

Ab Fm7 Bbm7 Eb7 Ab Fm7 Bbm7 Eb7 Ab Cm7-5 Db6 Dbm6 Cm7 B7 Bbm7 Eb7
Ab Fm7 Bbm7 Eb7 Ab Fm7 Bbm7 Eb7 Ab Cm7-5 Db6 Dbm6 Ab Eb7 Ab

A F#m7 Bm7 E7 A F#m7 Bm7 E7 A C#m7-5 D6 Dm6 C#m7 C7 Bm7 E7
A F#m7 Bm7 E7 A F#m7 Bm7 E7 A C#m7-5 D6 Dm6 A E7 A

Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7 Bb Dm7-5 Eb6 Ebm6 Dm7 Db7 Cm7 F7
Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7 Bb Dm7-5 Eb6 Ebm6 Bb F7 Bb

B Abm7 C#m7 F#7 B Abm7 C#m7 F#7 B Ebm7-5 E6 Em6 Ebm7 D7 Dbm7 F#7
B Abm7 C#m7 F#7 B Abm7 C#m7 F#7 B Ebm7-5 E6 Em6 B F#7 B

SOPHISTICATED LADY PROGRESSION

©Port Whitman Times 2004

IIm bVII7 VI7 bVI7 V7 I I7 VII7 bVII7 VI7 II7 V7 I I7 IIIm bV7 VII bVIm
bIIm bV7 VII bVdim III IIIm bV+ VII bVIm bIIm bV7 VII bVdim IIIm V7 bV7

Dm Bb7 A7 Ab7 G7 C C7 B7 Bb7 A7 D7 G7 C C7 Em Gb7 B Abm
Dbm Gb7 B Gbdim E Em Gb+ B Abm Dbm Gb7 B Gbdim Em G7 Gb7

Ebm B7 Bb7 A7 Ab7 Db Db7 C7 B7 Bb7 Eb7 Ab7 Db Db7 Fm G7 C Am
Dm G7 Bb Gdim F Fm G+ C Am Dm G7 C Gdim Fm Ab7 G7

Em C7 B7 Bb7 A7 D D7 Db7 C7 B7 E7 A7 D D7 F#m Ab7 C# Bbm
Ebm Ab7 C# Abdim F# F#m Ab+ C# Bbm Ebm Ab7 C# Abdim F#m A7 Ab7

Fm Db7 C7 B7 Bb7 Eb Eb7 D7 Db7 C7 F7 Bb7 Eb Eb7 Gm A7 D Bm
Em A7 D Adim G Gm A+ D Bm Em A7 D Adim Gm Bb7 A7

Gbm D7 Db7 C7 B7 E E7 Eb7 D7 Db7 Gb7 B7 E E7 Abm Bb7 Eb Cm
Fm Bb7 Eb Bbdim Ab Abm Bb+ Eb Cm Fm Bb7 Eb Bbdim Abm B7 Bb7

Gm Eb7 D7 Db7 C7 F F7 E7 Eb7 D7 G7 C7 F F7 Am B7 E Dbm
Gbm B7 E Bdim A Am B+ E Dbm Gbm B7 E Bdim Am C7 B7

Abm E7 Eb7 D7 Db7 Gb Gb7 F7 E7 Eb7 Ab7 Db7 Gb Gb7 Bbm C7 F Dm
Gm C7 F Cdim Bb Bbm C+ F Dm Gm C7 F Cdim Bbm C#7 C7

Am F7 E7 Eb7 D7 G G7 Gb7 F7 E7 A7 D7 G G7 Bm C#7 F# Ebm
Abm C#7 F# C#dim B Bm C#+ F# Ebm Abm C#7 F# C#dim Bm D7 C#7

Bbm Gb7 F7 E7 Eb7 Ab Ab7 G7 Gb7 F7 Bb7 Eb7 Ab Ab7 Cm D7 G Em
Am D7 G Ddim C Cm D+ G Em Am D7 G Ddim Cm Eb7 D7

Bm G7 Gb7 F7 E7 A A7 Ab7 G7 Gb7 B7 E7 A A7 C#m Eb7 Ab Fm
Bbm Eb7 Ab Ebdim C# C#m Eb+ Ab Fm Bbm Eb7 Ab Ebdim C#m E7 Eb7

Cm Ab7 G7 Gb7 F7 Bb Bb7 A7 Ab7 G7 C7 F7 Bb Bb7 Dm E7 A Gbm
Bm E7 A Edim D Dm E+ A Gbm Bm E7 A Edim Dm F7 E7

C#m A7 Ab7 G7 Gb7 B B7 Bb7 A7 Ab7 C#7 F#7 B B7 Ebm F7 Bb Gm
Cm F7 Bb Fdim Eb Ebm F+ Bb Gm Cm F7 Bb Fdim Ebm F#7 F7

P.S. I LOVE YOU PROGRESSION

I   IIIm7   VI7   IIm7   V7   IIIm7-5   VI7   II7   V7   II7+   V7   I   II7
IIm7   V7   I   bVII7   Imaj7   I   I7   Vm7   I7   Vm7   I7-9   IVmaj7
IV6   IV   II7   VIm7   II7   VIm7   II7-9   V7add6   VI7+   II7   bVI7   V7

C   Em7   A7   Dm7   G7   Em7-5   A7   D7   G7   D7+   G7   C   D7
Dm7   G7   C   Bb7   Cmaj7   C   C7   Gm7   C7   Gm7   C7-9   Fmaj7
F6   F   D7   Am7   D7   Am7   D7-9   G7add6   A7+   D7   Ab7   G7

C#   Fm7   Bb7   Ebm7   Ab7   Fm7-5   Bb7   Eb7   Ab7   Eb7+   Ab7   C#   Eb7
Ebm7   Ab7   C#   B7   C#maj7   C#   C#7   Abm7   C#7   Abm7   C#7-9   F#maj7
F#6   F#   Eb7   Bbm7   Eb7   Bbm7   Eb7-9   Ab7add6   Bb7+   Eb7   A7   Ab7

Db   Fm7   Bb7   Ebm7   Ab7   Fm7-5   Bb7   Eb7   Ab7   Eb7+   Ab7   Db   Eb7
Ebm7   Ab7   Db   B7   Dbmaj7   Db   Db7   Abm7   Db7   Abm7   Db7-9   Gbmaj7
Gb6   Gb   Eb7   Bbm7   Eb7   Bbm7   Eb7-9   Ab7add6   Bb7+   Eb7   A7   Ab7

D   F#m7   B7   Em7   A7   F#m7-5   B7   E7   A7   E7+   A7   D   E7
Em7   A7   D   C7   Dmaj7   D   D7   Am7   D7   Am7   D7-9   Gmaj7
G6   G   E7   Bm7   E7   Bm7   E7-9   A7add6   B7+   E7   Bb7   A7

Eb   Gm7   C7   Fm7   Bb7   Gm7-5   C7   F7   Bb7   F7+   Bb7   Eb   F7
Fm7   Bb7   Eb   C#7   Ebmaj7   Eb   Eb7   Bbm7   Eb7   Bbm7   Eb7-9   Abmaj7
Ab6   Ab   F7   Cm7   F7   Cm7   F7-9   Bb7add6   C7+   F7   B7   Bb7

E   Abm7   C#7   F#m7   B7   Abm7-5   C#7   F#7   B7   F#7+   B7   E
F#7   F#m7   B7   E   D7   Emaj7   E   E7   Bm7   E7   Bm7   E7-9   Amaj7
A6   A   F#7   C#m7   F#7   C#m7   F#7-9   B7add6   C#7+   F#7   C7   B7

F   Am7   D7   Gm7   C7   Am7-5   D7   G7   C7   G7+   C7   F   G7
Gm7   C7   F   Eb7   Fmaj7   F   F7   Cm7   F7   Cm7   F7-9   Bbmaj7
Bb6   Bb   G7   Dm7   G7   Dm7   G7-9   C7add6   D7+   G7   C#7   C7

F#   Bbm7   Eb7   Abm7   C#7   Bbm7-5   Eb7   Ab7   C#7   Ab7+   C#7   F#   Ab7
Abm7   C#7   F#   E7   F#maj7   F#   F#7   C#m7   F#7   C#m7   F#7-9   Bmaj7
B6   B   Ab7   Ebm7   Ab7   Ebm7   Ab7-9   C#7add6   Eb7+   Ab7   D7   C#7

Gb   Bbm7   Eb7   Abm7   C#7   Bbm7-5   Eb7   Ab7   Db7   Ab7+   Db7   Gb
Ab7   Abm7   Db7   Gb   E7   Gbmaj7   Gb   Gb7   Dbm7   Gb7   Dbm7   Gb7-9   Bmaj7
B6   B   Ab7   Ebm7   Ab7   Ebm7   Ab7-9   Db7add6   Eb7+   Ab7   D7   Db7

G   Bm7   E7   Am7   D7   Bm7-5   E7   A7   D7   A7+   D7   G   A7
Am7   D7   G   F7   Gmaj7   G   G7   Dm7   G7   Dm7   G7-9   Cmaj7
C6   C   A7   Em7   A7   Em7   A7-9   D7add6   E7+   A7   Eb7   D7

Ab   Cm7   F7   Bbm7   Eb7   Cm7-5   F7   Bb7   Eb7   Bb7+   Eb7   Ab   Bb7
Bbm7   Eb7   Ab   F#7   Abmaj7   Ab   Ab7   Ebm7   Ab7   Ebm7   Ab7-9   Dbmaj7
Db6   Db   Bb7   Fm7   Bb7   Fm7   Bb7-9   Eb7add6   F7+   Bb7   E7   Eb7

A   C#m7   F#7   Bm7   E7   C#m7-5   F#7   B7   E7   B7+   E7   A   B7
Bm7   E7   A   G7   Amaj7   A   A7   Em7   A7   Em7   A7-9   Dmaj7
D6   D   B7   F#m7   B7   F#m7   B7-9   E7add6   F#7+   B7   F7   E7

Bb   Dm7   G7   Cm7   F7   Dm7-5   G7   C7   F7   C7+   F7   Bb   C7
Cm7   F7   Bb   Ab7   Bbmaj7   Bb   Bb7   Fm7   Bb7   Fm7   Bb7-9   Ebmaj7
Eb6   Eb   C7   Gm7   C7   Gm7   C7-9   F7add6   G7+   C7   F#7   F7

B   Ebm7   Ab7   C#m7   F#7   Ebm7-5   Ab7   C#7   F#7   C#7+   F#7   B   C#7
C#m7   F#7   B   A7   Bmaj7   B   B7   F#m7   B7   F#m7   B7-9   Emaj7
E6   E   C#7   Abm7   C#7   Abm7   C#7-9   F#7add6   Ab7+   C#7   G7   F#7

LAURA PROGRESSION

©Port Whitman Times 2004

VIm7   II7-9   V   V   Vm7   I7-9   IVmaj7   IV6   IVm7   bVIm6   bVII7-9
bIIImaj7 bIII   VIm7-5   bVI7   II9-5   II7   VIIm   III9   III7-9   VIm7   II7-9   V
V   Vm7 I7-9   IVmaj7   IV6   IVm7   IVdim   I   II7   II7-9   II7+5-9   V9   I6

Am7   D7-9   G   G   Gm7   C7-9   Fmaj7   F6   Fm7   Abm6
Bb7-9   Ebmaj7   Eb   Am7-5   Ab7   D9-5   D7   Bm   E9   E7-9   Am7   D7-9   G
G   Gm7   C7-9   Fmaj7   F6   Fm7   Fdim   C   D7   D7-9   D7+5-9   G9   C6

Bbm7   Eb7-9   Ab   Ab   Abm7   C#7-9   F#maj7   F#6   F#m7   Am6
B7-9   Emaj7   E   Bbm7-5   A7   Eb9-5   Eb7   Cm   F9   F7-9   Bbm7   Eb7-9   Ab
Ab   Abm7   C#7-9   F#maj7   F#6   F#m7   F#dim   C#   Eb7   Eb7-9   Eb7+5-9   Ab9   C#6

Bbm7   Eb7-9   Ab   Ab   Abm7   Db7-9   Gbmaj7   Gb6   Gbm7   Am6
B7-9   Emaj7   E   Bbm7-5   A7   Eb9-5   Eb7   Cm   F9   F7-9   Bbm7   Eb7-9   Ab
Ab   Abm7   Db7-9   Gbmaj7   Gb6   Gbm7   Gbdim   Db   Eb7   Eb7-9   Eb7+5-9   Ab9   Db6

Bm7   E7-9   A   A   Am7   D7-9   Gmaj7   G6   Gm7   Bbm6
C7-9   Fmaj7   F   Bm7-5   Bb7   E9-5   E7   C#m   F#9   F#7-9   Bm7   E7-9   A
A   Am7   D7-9   Gmaj7   G6   Gm7   Gdim   D   E7   E7-9   E7+5-9   A9   D6

Cm7   F7-9   Bb   Bb   Bbm7   Eb7-9   Abmaj7   Ab6   Abm7   Bm6
Db7-9   Gbmaj7   Gb   Cm7-5   B7   F9-5   F7   Dm   G9   G7-9   Cm7   F7-9   Bb
Bb   Bbm7   Eb7-9   Abmaj7   Ab6   Abm7   Abdim   Eb   F7   F7-9   F7+5-9   Bb9   Eb6

C#m7   F#7-9   B   B   Bm7   E7-9   Amaj7   A6   Am7   Cm6
D7-9   Gmaj7   G   C#m7-5   C7   F#9-5   F#7   Ebm   Ab9   Ab7-9   C#m7   F#7-9   B
B   Bm7   E7-9   Amaj7   A6   Am7   Adim   E   F#7   F#7-9   F#7+5-9   B9   E6

Dm7   G7-9   C   C   Cm7   F7-9   Bbmaj7   Bb6   Bbm7   Dbm6
Eb7-9   Abmaj7   Ab   Dm7-5   Db7   G9-5   G7   Em   A9   A7-9   Dm7   G7-9   C
C   Cm7   F7-9   Bbmaj7   Bb6   Bbm7   Bbdim   F   G7   G7-9   G7+5-9   C9   F6

Ebm7   Ab7-9   C#   C#   C#m7   F#7-9   Bmaj7   B6   Bm7   Dm6
E7-9   Amaj7   A   Ebm7-5   D7   Ab9-5   Ab7   Fm   Bb9   Bb7-9   Ebm7   Ab7-9   C#
C#   C#m7   F#7-9   Bmaj7   B6   Bm7   Bdim   F#   Ab7   Ab7-9   Ab7+5-9   C#9   F#6

Ebm7   Ab7-9   Db   Db   Dbm7   Gb7-9   Bmaj7   B6   Bm7   Dm6
E7-9   Amaj7   A   Ebm7-5   D7   Ab9-5   Ab7   Fm   Bb9   Bb7-9   Ebm7   Ab7-9   Db
Db   Dbm7   Gb7-9   Bmaj7   B6   Bm7   Bdim   Gb   Ab7   Ab7-9   Ab7+5-9   Db9   Gb6

Em7   A7-9   D   D   Dm7   G7-9   Cmaj7   C6   Cm7   Ebm6
F7-9   Bbmaj7   Bb   Em7-5   Eb7   A9-5   A7   Gbm   B9   B7-9   Em7   A7-9   D
D   Dm7   G7-9   Cmaj7   C6   Cm7   Cdim   G   A7   A7-9   A7+5-9   D9   G6

Fm7   Bb7-9   Eb   Eb   Ebm7   Ab7-9   Dbmaj7   Db6   Dbm7   Em6
Gb7-9   Bmaj7   B   Fm7-5   E7   Bb9-5   Bb7   Gm   C9   C7-9   Fm7   Bb7-9   Eb
Eb   Ebm7   Ab7-9   Dbmaj7   Db6   Dbm7   Dbdim   Ab   Bb7   Bb7-9   Bb7+5-9   Eb9   Ab6

F#m7   B7-9   E   E   Em7   A7-9   Dmaj7   D6   Dm7   Fm6
G7-9   Cmaj7   C   F#m7-5   F7   B9-5   B7   Abm   Db9   Db7-9   F#m7   B7-9   E
E   Em7   A7-9   Dmaj7   D6   Dm7   Ddim   A   B7   B7-9   B7+5-9   E9   A6

Gm7   C7-9   F   F   Fm7   Bb7-9   Ebmaj7   Eb6   Ebm7   Gbm6
Ab7-9   Dbmaj7   Db   Gm7-5   Gb7   C9-5   C7   Am   D9   D7-9   Gm7   C7-9   F
F   Fm7   Bb7-9   Ebmaj7   Eb6   Ebm7   Ebdim   Bb   C7   C7-9   C7+5-9   F9   Bb6

Abm7   C#7-9   F#   F#   F#m7   B7-9   Emaj7   E6   Em7   Gm6
A7-9   Dmaj7   D   Abm7-5   G7   C#9-5   C#7   Bbm   Eb9   Eb7-9   Abm7   C#7-9   F#
F#   F#m7   B7-9   Emaj7   E6   Em7   Edim   B   C#7   C#7-9   C#7+5-9   F#9   B6

OH PROMISE ME! PROGRESSION

©Port Whitman Times 2004

I IV V7 I V7 IV IVm I IIm bVII VI7 IIm IV III V7 I VIm
V7 VIm IV III III7 IV III7 VIm IV6 bVI7 I IV I IIm7 V7 I

C F G7 C G7 F Fm C Dm Bb A7 Dm F E G7 C Am
G7 Am C G E E7 C G E7 Am C G6 Ab7 C F C Dm7 G7 C

C# F# Ab7 C# Ab7 F#7 F#m C# Ebm B Bb Ebm F# F Ab7 C# Bbm
Ab7 Bbm F# F F7 C# Ab F7 Bbm C# Ab6 A7 C# F# C# Ebm7 Ab7 C#

Db Gb Ab7 Db Ab7 Gb7 Gbm Db Ebm B Bb Ebm Gb F Ab7 Db Bbm
Ab7 Bbm Gb F F7 Db Ab F7 Bbm Db Ab6 A7 Db Gb Db Ebm7 Ab7 Db

D G A7 D A7 G Gm D Em C B7 Em G F# A7 D Bm
A7 Bm G F# F#7 G F#7 Bm G6 Bb7 D G D Em7 A7 D

Eb Ab Bb7 Eb Bb7 Ab Abm Eb Fm Db C7 Fm Ab G Bb7 Eb Cm
Bb7 Cm Ab G G7 Ab G7 Cm Ab6 B7 Eb Ab Eb Fm7 Bb7 Eb

E A B7 E B7 A Am E F#m D C#7 F#m A Ab B7 E C#m
B7 C#m A Ab Ab7 A Ab7 C# A6 C7 E A E F#m7 B7 E

F Bb C7 F C7 Bb Bbm F Gm Eb D7 Gm Bb A C7 F Dm
C7 Dm Bb A A7 Bb A7 Dm Bb6 Db7 F Bb F Gm7 C7 F

F# B C#7 F# C#7 B Bm F# Abm E C#7 Abm B Bb C#7 F# Ebm
C#7 Ebm B Bb Bb7 B Bb7 Ebm B6 D7 F# B F# Abm7 C#7 F#

Gb B Db7 Gb Db7 B Bm Gb Abm E Db7 Abm B Bb Db7 Gb Ebm
Db7 Ebm B Bb Bb7 B Bb7 Ebm B6 D7 Gb B Gb Abm7 Db7 F#

G C D7 G D7 C Cm G Am F E7 Am C B D7 G Em
D7 Em C B B7 C B7 Em C6 Eb7 G C G Am7 D7 G

Ab C# Eb7 Ab Eb7 C# C#m Ab Bbm F# F7 Bbm C# C Eb7 Ab Fm
Eb7 Fm C# C C7 C# C7 Fm C#6 E7 Ab C# Ab Bbm7 Eb7 Ab

A D E7 A E7 D Dm A Bm G F#7 Bm D C# E7 A F#m
E7 F#m D C# C#7 D C#7 F#m D6 F7 A D A Bm7 E7 A

Bb Eb F7 Bb F7 Eb Ebm Bb Cm Ab G7 Cm Eb D F7 Bb Gm
F7 Gm Eb D D7 Eb D7 Gm Eb6 F#7 Bb Eb Bb Cm7 F7 Bb

B E F#7 B F#7 E Em B C#m A Ab7 C#m E Eb F#7 B Abm
F#7 Abm E Eb Eb7 E Eb7 Abm E6 G7 B E B C#m7 F#7 B

NAGASAKI PROGRESSION

©Port Whitman Times 2004

I #Idim V7 I #Idim V7 I VIIdim VIm III7 IV IIIdim IIm bVI7
I bVI7 V7 I IV IVm I I7 IV IVm I IV I IV bIII7 II7 V7

C C#dim G7 C C#dim G7 C Bdim Am E7 F Edim Dm Ab7
C Ab7 G7 C F Fm C C7 F Fm C F C F Eb7 D7 G7

C# Ddim Ab7 C# Ddim Ab7 C# Cdim Bbm F7 F# Fdim Ebm A7
C# A7 Ab7 C# F# F#m C# C#7 F# F#m C# F# C# F# E7 Eb7 Ab7

Db Ddim Ab7 Db Ddim Ab7 Db Cdim Bbm F7 Gb Fdim Ebm A7
Db A7 Ab7 Db Gb Gbm Db Db7 Gb Gbm Db Gb Db Gb E7 Eb7 Ab7

D D#dim A7 D D#dim A7 D Dbdim Bm F#7 G Gbdim Em Bb7
D Bb7 A7 D G Gm D D7 G Gm D G D G F7 E7 A7

Eb Edim Bb7 Eb Edim Bb7 Eb Ddim Cm G7 Ab Gdim Fm B7
Eb B7 Bb7 Eb Ab Abm Eb Eb7 Ab Abm Eb Ab Eb Ab F#7 F7 Bb7

E Fdim B7 E Fdim B7 E Ebdim Dbm Ab7 A Abdim Gbm C7
E C7 B7 E A Am E E7 A Am E A E A G7 Gb7 B7

F F#dim C7 F F#dim C7 F Edim Dm A7 Bb Adim Gm C#7
F C#7 C7 F Bb Bbm F F7 Bb Bbm F Bb F Bb Ab7 G7 C7

F# Gdim C#7 F# Gdim C#7 F# Fdim Ebm Bb7 B Bbdim Abm D7
F# D7 C#7 F# B Bm F# F#7 B Bm F# B F# B A7 Ab7 C#7

Gb Gdim Db7 Gb Gdim Db7 Gb Fdim Ebm Bb7 B Bbdim Abm D7
Gb D7 Db7 Gb B Bm Gb Gb7 B Bm Gb B Gb B A7 Ab7 Db7

G G# D7 G G# D7 G Gbdim Em B7 C Bdim Am Eb7 G Eb7 D7
G C Cm G G7 C Cm G C G C Bb7 A7 D7

Ab Adim Eb7 Ab Adim Eb7 Ab Gdim Fm C7 C# Cdim Bbm E7
Ab E7 Eb7 Ab Db Dbm Ab Ab7 Db Dbm Ab Db Ab Db B7 Bb7 Eb7

A Bbdim E7 A Bbdim E7 A Abdim F#m C#7 D Dbdim Bm F7
A F7 E7 A D Dm A A7 D Dm A D A D C7 B7 E7

Bb Bdim F7 Bb Bdim F7 Bb Adim Gm D7 Eb Ddim Cm F#7
Bb F#7 F7 Bb: Eb Ebm Bb Bb7 Eb Ebm Bb Eb Bb Eb C#7 C7 F7

B Cdim F#7 B Cdim F#7 B Bbdim Abm Eb7 E Ebdim C#m G7
B G7 F#7 B E Em B B7 E Em B E B E D7 Db7 F#7

SOUL BALLAD PROGRESSION

I VIIm7-5 III7 VIm7 Vm7 I IV6 #IVdim I VI7

II7 V7 III7 VI7 II7 V7 I VIIm7-5 III7 VIm7 Vm7

I IV6 #IVdim I VI7 II7 V7 I IV7 I V+ I

C   Bm7-5   E7   Am7   Gm7   C   F6   F#dim   C   A7
D7   G7   E7   A7   D7   G7   C   Bm7-5   E7   Am7   Gm7
C   F6   F#dim   C   A7   D7   G7   C   F7   C   G+ C

C#   Cm7-5   F7   Bbm7   Abm7   C#   F#6   Gdim   C#
Bb7   Eb7   Ab7   F7   Bb7   Eb7   Ab7   C#   Cm7-5   F7   Bbm7   Abm7
C#   F#6   Gdim   C#   Bb7   Eb7   Ab7   C#   F#7   C#   Ab+ C#

Db   Cm7-5   F7   Bbm7   Abm7   Db   Gb6   Gdim   Db
Bb7   Eb7   Ab7   F7   Bb7   Eb7   Ab7   Db   Cm7-5   F7   Bbm7   Abm7
Db   Gb6   Gdim   Db   Bb7   Eb7   Ab7   Db   Gb7   Db   Ab+ Db

D   C#m7-5   F#7   Bm7   Am7   D   G6   G#dim   D
B7   E7   A7   F#7   B7   E7   A7   D   C#m7-5   F#7   Bm7   Am7
D   G6   G#dim   D   B7   E7   A7   D   G7   D   A+ D

Eb   Dm7-5   G7   Cm7   Bbm7   Eb   Ab6   Adim   Eb
C7   F7   Bb7   G7   C7   F7   Bb7   Eb   Dm7-5   G7   Cm7   Bbm7
Eb   Ab6   Adim   Eb   C7   F7   Bb7   Eb   Ab7   Eb   Bb+ Eb

E   Ebm7-5   Ab7   C#m7   Bm7   E   A6   Bbdim   E
C#7   F#7   B7   Ab7   C#7   F#7   B7   E   Ebm7-5   Ab7   C#m7   Bm7
E   A6   Bbdim   E   C#7   F#7   B7   E   A7   E   B+ E

F   Em7-5   A7   Dm7   Cm7   F   Bb6   Bdim   F
D7   G7   C7   A7   D7   G7   C7   F   Em7-5   A7   Dm7   Cm7
F   Bb6   Bdim   F   D7   G7   C7   F   Bb7   F   C+ F

F#   Fm7-5   Bb7   Ebm7   C#m7   F#   B6   Cdim   F#
Eb7   Ab7   C#7   Bb7   Eb7   Ab7   C#7   F#   Fm7-5   Bb7   Ebm7   C#m7
F#   B6   Cdim   F#   Eb7   Ab7   C#7   F#   B7   F#   C#+ F#

Gb   Fm7-5   Bb7   Ebm7   Dbm7   Gb   B6   Cdim   Gb
Eb7   Ab7   Db7   Bb7   Eb7   Ab7   Db7   Gb   Fm7-5   Bb7   Ebm7   Dbm7
Gb   B6   Cdim   Gb   Eb7   Ab7   Db7   Gb   B7   Gb   Db+ Gb

G   F#m7-5   B7   Em7   Dm7   G   C6   C#dim   G
E7   A7   D7   B7   E7   A7   D7   G   F#m7-5   B7   Em7   Dm7
G   C6   C#dim   G   E7   A7   D7   G   C7   G   D+ G

Ab   Gm7-5   C7   Fm7   Ebm7   Ab   C#6   Ddim   Ab
F7   Bb7   Eb7   C7   F7   Bb7   Eb7   Ab   Gm7-5   C7   Fm7   Ebm7
Ab   C#6   Ddim   Ab   F7   Bb7   Eb7   Ab   C#7   Ab   Eb+ Ab

A   Abm7-5   C#7   F#m7   Em7   A   D6   D#dim   A
F#7   B7   E7   C#7   F#7   B7   E7   A   Abm7-5   C#7   F#m7   Em7
A   D6   D#dim   A   F#7   B7   E7   A   D7   A   E+ A

Bb   Am7-5   D7   Gm7   Fm7   Bb   Eb6   Edim   Bb
G7   C7   F7   D7   G7   C7   F7   Bb   Am7-5   D7   Gm7   Fm7
Bb   Eb6   Edim   Bb   G7   C7   F7   Bb   Eb7   Bb   F+ Bb

B   Bbm7-5   Eb7   Abm7   F#m7   B   E6   Fdim   B
Ab7   C#7   F#7   Eb7   Ab7   C#7   F#7   B   Bbm7-5   Eb7   Abm7   F#m7
B   E6   Fdim   B   Ab7   C#7   F#7   B   E7   B   F#+ B

MISTY PROGRESSION

V9   Imaj7   Vm7   bIIdim   IVmaj7   IVm   bVII9   Imaj7   VIm   IIm7
V7-9   (III7-5   VI7   II7-5)   I   VIm7   IIm7   V7-9   I6   (fine)   Vm7
bIIdim   IVmaj7   IV6   bVm7   VII7   II7   V7   bIIdim   IIm7   V7-9

G9   Cmaj7   Gm7   C#dim   Fmaj7   Fm   Bb9   Cmaj7   Am   Dm7
G7-9   (E7-5   A7   D7-5)   C   Am7   Dm7   G7-9   C6   (fine)   Gm7
C#dim   Fmaj7   F6   F#m7   B7   D7   G7   C#dim   Dm7   G7-9

Ab9   C#maj7   Abm7   Ddim   F#maj7   F#m   B9   C#maj7   Bbm   Ebm7
Ab7-9   (F7-5   Bb7   Eb7-5)   C#   Bbm7   Ebm7   Ab7-9   C#6   (fine)   Abm7
Ddim   F#maj7   F#6   Gm7   C7   Eb7   Ab7   Ddim   Ebm7   Ab7-9

Ab9   Dbmaj7   Abm7   Ddim   Gbmaj7   Gbm   B9   Dbmaj7   Bbm   Ebm7
Ab7-9   (F7-5   Bb7   Eb7-5)   Db   Bbm7   Ebm7   Ab7-9   Db6   (fine)   Abm7
Ddim   Gbmaj7   Gb6   Gm7   C7   Eb7   Ab7   Ddim   Ebm7   Ab7-9

A9   Dmaj7   Am7   Ebdim   Gmaj7   Gm   C9   Dmaj7   Bm   Em7
A7-9   (F#7-5   B7   E7-5)   D   Bm7   Em7   A7-9   D6   (fine)   Am7
Ebdim   Gmaj7   G6   Gbm7   C#7   E7   A7   Ebdim   Em7   A7-9

Bb9   Ebmaj7   Bbm7   Edim   Abmaj7   Abm   C#9   Ebmaj7   Cm   Fm7
Bb7-9   (G7-5   C7   F7-5)   Eb   Cm7   Fm7   Bb7-9   Eb6   (fine)   Bbm7
Edim   Abmaj7   Ab6   Am7   D7   F7   Bb7   Edim   Fm7   Bb7-9

B9   Emaj7   Bm7   Fdim   Amaj7   Am   D9   Emaj7   C#m   F#m7
B7-9   (Ab7-5   C#7   F#7-5)   E   C#m7   F#m7   B7-9   E6   (fine)   Bm7
Fdim   Amaj7   A6   Bbm7   Eb7   F#7   B7   Fdim   F#m7   B7-9

C9   Fmaj7   Cm7   F#dim   Bbmaj7   Bbm   Eb9   Fmaj7   Dm   Gm7
C7-9   (A7-5   D7   G7-5)   F   Dm7   Gm7   C7-9   F6   (fine)   Cm7
F#dim   Bbmaj7   Bb6   Bm7   E7   G7   C7   F#dim   Gm7   C7-9

C#9   F#maj7   C#m7   Gdim   Bmaj7   Bm   E9   F#maj7   Ebm   Abm7
C#7-9   (Bb7-5   Eb7   Ab7-5)   F#   Ebm7   Abm7   C#7-9   F#6   (fine)   C#m7
Gdim   Bmaj7   B6   Cm7   F7   Ab7   C#7   Gdim   Abm7   C#7-9

Db9   Gbmaj7   Dbm7   Gdim   Bmaj7   Bm   E9   Gbmaj7   Ebm   Abm7
Db7-9   (Bb7-5   Eb7   Ab7-5)   Gb   Ebm7   Abm7   Db7-9   Gb6   (fine)   Dbm7
Gdim   Bmaj7   B6   Cm7   F7   Ab7   Db7   Gdim   Abm7   Db7-9

D9   Gmaj7   Dm7   Abdim   Cmaj7   Cm   F9   Gmaj7   Em   Am7
D7-9   (B7-5   E7   A7-5)   G   Em7   Am7   D7-9   G6   (fine)   Dm7
Abdim   Cmaj7   C6   C#m7   F#7   A7   D7   Abdim   Am7   D7-9

Eb9   Abmaj7   Ebm7   Adim   Dbmaj7   Dbm   Gb9   Abmaj7   Fm   Bbm7
Eb7-9   (C7-5   F7   Bb7-5)   Ab   Fm7   Bbm7   Eb7-9   Ab6   (fine)   Ebm7
Adim   Dbmaj7   Db6   Dm7   G7   Bb7   Eb7   Adim   Bbm7   Eb7-9

E9   Amaj7   Em7   Bbdim   Dmaj7   Dm   G9   Amaj7   F#m   Bm7
E7-9   (C#7-5   F#7   B7-5)   A   F#m7   Bm7   E7-9   A6   (fine)   Em7
Bbdim   Dmaj7   D6   Ebm7   Ab7   B7   E7   Bbdim   Bm7   E7-9

F9   Bbmaj7   Fm7   Bdim   Ebmaj7   Ebm   Ab9   Bbmaj7   Gm   Cm7
F7-9   (D7-5   G7   C7-5)   Bb   Gm7   Cm7   F7-9   Bb6   (fine)   Fm7
Bdim   Ebmaj7   Eb6   Em7   A7   C7   F7   Bdim   Cm7   F7-9

F#9   Bmaj7   F#m7   Cdim   Emaj7   Em   A9   Bmaj7   Abm   C#m7
F#7-9   (Eb7-5   Ab7   C#7-5)   B   Abm7   C#m7   F#7-9   B6   (fine)   F#m7
Cdim   Emaj7   E6   Fm7   Bb7   C#7   F#7   Cdim   C#m7   F#7-9

GIVE ME YOUR TIRED YOUR POOR PROGRESSION

I #Im7-5 #Idim IIm IIm7 V7 I I IV IV VIIm7-5 III7 VIm IIm7 #Iidim
I IV V7 I V7 I VI9 VI-9 IIm7 #IIdim I IV6 I V9 I IIm7 V7 I

C C#m7-5 C#dim Dm Dm7 G7 C C F F Bm7-5 E7 Am Dm7 Ebdim
C F G7 C G7 C A9 A-9 Dm7 Ebdim C F6 C G9 C Dm7 G7 C

C# Dm7-5 Ddim Ebm Ebm7 Ab7 C# C# F# F# Cm7-5 F7 Bbm Ebm7 Edim
C# F# Ab7 C# Ab7 C# Bb9 Bb-9 Ebm7 Edim C# F#6 C# Ab9 C# Ebm7 Ab7 C#

Db Dm7-5 Ddim Ebm Ebm7 Ab7 Db Db Gb Gb Cm7-5 F7 Bbm Ebm7 Edim
Db Gb Ab7 Db Ab7 Db Bb9 Bb-9 Ebm7 Edim Db Gb6 Db Ab9 Db Ebm7 Ab7 Db

D Ebm7-5 Ebdim Em Em7 A7 D D G G C#m7-5 F#7 Bm Em7 Fdim
D G A7 D A7 D B9 B-9 Em7 Fdim D G6 D A9 D Em7 A7 D

Eb Em7-5 Edim Fm Fm7 Bb7 Eb Eb Ab Ab Dm7-5 G7 Cm Fm7 F#dim
Eb Ab Bb7 Eb Bb7 Eb C9 C-9 Fm7 F#dim Eb Ab6 Eb Bb9 EbFm7 Bb7 Eb

E Fm7-5 Fdim F#m F#m7 B7 E E A A Ebm7-5 Ab7 C#m F#m7 Gdim
E A B7 E B7 E C#9 C#-9 F#m7 Gdim E A6 E B9 E F#m7 B7 E

F F#m7-5 F#dim Gm Gm7 C7 F F Bb Bb Em7-5 A7 Dm Gm7 Abdim
F Bb C7 F C7 F D9 D-9 Gm7 Abdim F Bb6 F C9 F Gm7 C7 F

F# Gm7-5 Gdim Abm Abm7 C#7 F# F# B B Fm7-5 Bb7 Ebm Abm7 Adim
F# B C#7 F# C#7 F# Eb9 Eb-9 Abm7 Adim F# B6 F# C#9 F# Abm7 C#7 F#

Gb Gm7-5 Gdim Abm Abm7 Db7 Gb Gb B B Fm7-5 Bb7 Ebm Abm7 Adim
Gb B Db7 Gb Db7 Gb Eb9 Eb-9 Abm7 Adim Gb B6 Gb Db9 Gb Abm7 Db7 Gb

G Abm7-5 Abdim Am Am7 D7 G G C C F#m7-5 B7 Em Am7 Bbdim
G C D7 G D7 G E9 E-9 Am7 Bbdim G C6 G D9 G Am7 D7 G

Ab Am7-5 Adim Bbm Bbm7 Eb7 Ab Ab Db Db Gm7-5 C7 Fm Bbm7 Bdim
Ab Db Eb7 Ab Eb7 Ab F9 F-9 Bbm7 Bdim Ab Db6 Ab Eb9 Ab Bbm7 Eb7 Ab

A Bbm7-5 Bbdim Bm Bm7 E7 A A D D Abm7-5 C#7 F#m Bm7 Cdim
A D E7 A E7 A F#9 F#-9 Bm7 Cdim A D6 A E9 A Bm7 E7 A

Bb Bm7-5 Bdim Cm Cm7 F7 Bb Bb Eb Eb Am7-5 D7 Gm Cm7 C#dim
Bb Eb F7 Bb F7 Bb G9 G-9 Cm7 C#dim Bb Eb6 Bb F9 Bb Cm7 F7 Bb

B Cm7-5 Cdim C#m C#m7 F#7 B B E E Bbm7-5 Eb7 Abm C#m7 Ddim
B E F#7 B F#7 B Ab9 Ab-9 C#m7 Ddim B E6 B F#9 B C#m7 F#7 B

AN "ENDING" PROGRESSION

I I7 IV bVI7 V7 V7+ I I7 Idim IVm6 I

C C7 F Ab7 G7 G7+ C C7 Cdim Fm6 C

C# C#7 F# A7 Ab7 Ab7+ C# C#7 C#dim F#m6 C#

Db Db7 Gb A7 Ab7 Ab7+ Db Db7 Dbdim Gbm6 Db

D D7 G Bb7 A7 A7+ D D7 Ddim Gm6 D

Eb Eb7 Ab B7 Bb7 Bb7+ Eb Eb7 Ebdim Abm6 Eb

E E7 A C7 B7 B7+ E E7 Edim Am6 E

F F7 Bb C#7 C7 C7+ F F7 Fdim Bbm6 F

F# F#7 B D7 C#7 C#7+ F# F#7 F#dim Bm6 F#

Gb Gb7 B D7 Db7 Db7+ Gb Gb7 Gbdim Bm6 Gb

G G7 C Eb7 D7 D7+ G G7 Gdim Cm6 G

Ab Ab7 Db E7 Eb7 Eb7+ Ab Ab7 Abdim Dbm6 Ab

A A7 D F7 E7 E7+ A A7 Adim Dm6 A

Bb Bb7 Eb F#7 F7 F7+ Bb Bb7 Bbdim Ebm6 Bb

B B7 E G7 F#7 F#7+ B B7 Bdim Em6 B

JAZZ PROGRESSION #1

Imaj7 #Idim IIm #IIdim IIIm I7 IVmaj7 VII7 I VI7 IIm7 V7 I

Cmaj7 C#dim Dm Ebdim Em C7 Fmaj7 B7 C A7 Dm7 G7 C

C#maj7 Ddim Ebm Edim Fm C#7 F#maj7 C7 C# Bb7 Ebm7 Ab7 C#

Dbmaj7 Ddim Ebm Edim Fm Db7 Gbmaj7 C7 Db Bb7 Ebm7 Ab7 Db

Dmaj7 Ebdim Em Fdim F#m D7 Gmaj7 C#7 D B7 Em7 A7 D

Ebmaj7 Edim Fm F#dim Gm Eb7 Abmaj7 D7 Eb C7 Fm7 Bb7 Eb

Emaj7 Fdim F#m Gdim Abm E7 Amaj7 Eb7 E C#7 F#m7 B7 E

Fmaj7 F#dim Gm Abdim Am F7 Bbmaj7 E7 F D7 Gm7 C7 F

F#maj7 Gdim Abm Adim Bbm F#7 Bmaj7 F7 F# Eb7 Abm7 C#7 F#

Gbmaj7 Gdim Abm Adim Bbm Gb7 Bmaj7 F7 Gb Eb7 Abm7 Db7 Gb

Gmaj7 Abdim Am Bbdim Bm G7 Cmaj7 F#7 G E7 Am7 D7 G

Abmaj7 Adim Bbm Bdim Cm Ab7 C#maj7 G7 Ab F7 Bbm7 Eb7 Ab

Amaj7 Bbdim Bm Cdim C#m A7 Dmaj7 Ab7 A F#7 Bm7 E7 A

Bbmaj7 Bdim Cm C#dim Dm Bb7 Ebmaj7 A7 Bb G7 Cm7 F7 Bb

Bmaj7 Cdim C#m Ddim Ebm B7 Emaj7 Bb7 B Ab7 C#m7 F#7 B

JAZZ PROGRESSION #2

I II7 V7+ Imaj7 VI7 II7 V7+ I7 I7+
IVmaj7 #IVdim Imaj7 VI7 II7 IIm7 V7 I

C D7 G7+ Cmaj7 A7 D7 G7+ C7 C7+
Fmaj7 F#dim Cmaj7 A7 D7 Dm7 G7 C

C# Eb7 Ab7+ C#maj7 Bb7 Eb7 Ab7+ C#7 C#7+
F#maj7 Gdim C#maj7 Bb7 Eb7 Ebm7 Ab7 C#

Db Eb7 Ab7 Dbmaj7 Bb7 Eb7 Ab7+ Db7 Db7+
Gbmaj7 Gdim Dbmaj7 Bb7 Eb7 Ebm7 Ab7 Db

D E7 A7+ Dmaj7 B7 E7 A7+ D7 D7+
Gmaj7 G#dim Dmaj7 B7 E7 Em7 A7 D

Eb F7 Bb7+ Ebmaj7 C7 F7 Bb7+ Eb7 Eb7+
Abmaj7 Adim Ebmaj7 C7 F7 Fm7 Bb7 Eb

E F#7 B7+ Emaj7 C#7 F#7 B7+ E7 E7+
Amaj7 Bbdim Emaj7 C#7 F#7 F#m7 B7 E

F G7 C7+ Fmaj7 D7 G7 C7+ F7 F7+
Bbmaj7 Bdim Fmaj7 D7 G7 Gm7 C7 F

F# Ab7 C#7+ F#maj7 Eb7 Ab7 C#7+ F#7 F#7+
Bmaj7 Cdim F#maj7 Eb7 Ab7 Abm7 C#7 F#

Gb Ab7 Db7+ Gbmaj7 Eb7 Ab7 Db7+ Gb7 Gb7+
Bmaj7 Cdim Gbmaj7 Eb7 Ab7 Abm7 Db7 Gb

G A7 D7+ Gmaj7 E7 A7 D7+ G7 G7+
Cmaj7 C#dim Gmaj7 E7 A7 Am7 D7 G

Ab Bb7 Eb7+ Abmaj7 F7 Bb7 Eb7+ Ab7 Ab7+
C#maj7 Ddim Abmaj7 F7 Bb7 Bbm7 Eb7 Ab

A B7 E7+ Amaj7 F#7 B7 E7+ A7 A7+
Dmaj7 Ebdim Amaj7 F#7 B7 Bm7 E7 A

Bb C7 F7+ Bbmaj7 G7 C7 F7+ Bb7 Bb7+
Ebmaj7 Edim Bbmaj7 G7 C7 Cm7 F7 Bb

B C#7 F#7+ Bmaj7 Ab7 C#7 F#7+ B7 B7+
Emaj7 Fdim Bmaj7 Ab7 C#7 C#m7 F#7 B

JAZZ PROGRESSION #3

I VIIm7-5 III7 VIm7 bVI7 Vm7 I7 IVmaj7 IVm7 bVII7
bIIImaj7 bIIIm7 bVI7 bIImaj7 IIm7-5 V7 IIIm7 bIII7 IIm7 V7

C Bm7-5 E7 Am7 Ab7 Gm7 C7 Fmaj7 Fm7 Bb7 Ebmaj7
Ebm7 Ab7 C#maj7 Dm7-5 G7 Em7 Eb7 Dm7 G7

C# Cm7-5 F7 Bbm7 A7 Abm7 C#7 F#maj7 F#m7 B7
Emaj7 / Em7 A7 Dmaj7 Ebm7-5 Ab7 Fm7 E7 Ebm7 Ab7

Db Cm7-5 F7 Bbm7 A7 Abm7 Db7 Gbmaj7 Gbm7 B7
Emaj7 Em7 A7 Dmaj7 Ebm7-5 Ab7 Fm7 E7 Ebm7 Ab7

D C#m7-5 F#7 Bm7 Bb7 Am7 D7 Gmaj7 Gm7 C7
Fmaj7 Fm7 Bb7 Ebmaj7 Em7-5 A7 F#m7 F7 Em7 A7

Eb Dm7-5 G7 Cm7 B7 Bbm7 Eb7 Abmaj7 Abm7 C#7
F#maj7 F#m7 B7 Emaj7 Fm7-5 Bb7 Gm7 F#7 Fm7 Bb7

E Ebm7-5 Ab7 C#m7 C7 Bm7 E7 Amaj7 Am7 D7
Gmaj7 Gm7 C7 Fmaj7 F#m7-5 B7 Abm7 G7 F#m7 B7

F Em7-5 A7 Dm7 C#7 Cm7 F7 Bbmaj7 Bbm7 Eb7
Abmaj7 Abm7 C#7 F#maj7 Gm7-5 C7 Am7 Ab7 Gm7 C7

F# Fm7-5 Bb7 Ebm7 D7 C#m7 F#7 Bmaj7 Bm7 E7
Amaj7 Am7 D7 Gmaj7 Abm7-5 C#7 Bbm7 A7 Abm7 C#7

G F#m7-5 B7 Em7 Eb7 Dm7 G7 Cmaj7 Cm7 F7
Bbmaj7 Bbm7 Eb7 Abmaj7 Am7-5 D7 Bm7 Bb7 Am7 D7

Ab Gm7-5 C7 Fm7 E7 Ebm7 Ab7 C#maj7 C#m7 F#7
Bmaj7 Bm7 E7 Amaj7 Bbm7-5 Eb7 Cm7 B7 Bbm7 Eb7

A Abm7-5 C#7 F#m7 F7 Em7 A7 Dmaj7 Dm7 G7
Cmaj7 Cm7 F7 Bbmaj7 Bm7-5 E7 C#m7 C7 Bm7 E7

Bb Am7-5 D7 Gm7 F#7 Fm7 Bb7 Ebmaj7 Ebm7 Ab7
C#maj7 C#m7 F#7 Bmaj7 Cm7-5 F7 Dm7 C#7 Cm7 F7

B Bbm7-5 Eb7 Abm7 G7 F#m7 B7 Emaj7 Em7 A7
Dmaj7 Dm7 G7 Cmaj7 C#m7-5 F#7 Ebm7 D7 C#m7 F#7

ON BEHALF OF FIREMEN PROGRESSION

V7+ I6 V7+ I6 IIIm IV6 I7+ IV6 #IVdim I I V7 IIm bVII7 V7 V7+ I6 V7+ I6 IIIm IV6 I7+ IV6 #IVdim I IIm7 V7 I IV7 I #Idim V7 V9 V6 V7 I IIIm bVII7-5 VI7 VI7-9 VI+ VI7 IIm V7+ I6 V7+ I6 IIIm IV6 I7+ IV6 #IVdim I IIm7 V7 I IV7 I

G7+ C6 G7+ C6 Em F6 C7+ F6 F#dim C C G7 Dm Bb7 G7 G7+ C6 G7+ C6 Em F6 C7+ F6 F#dim C Dm7 G7 C F7 C C#dim G7 G9 G6 G7 C Em Bb7-5 A7 A7-9 A+ A7 Dm G7+ C6 G7+ C6 Em F6 C7+ F6 F#dim C Dm7 G7 C F7 C

Ab7+ C#6 Ab7+ C#6 Fm F#6 C#7+ F#6 Gdim C# C# Ab7 Ebm B7 Ab7 Ab7+ C#6 Ab7+ C#6 Fm F#6 C#7+ F#6 Gdim C# Ebm7 Ab7 C# F#7 C# Ddim Ab7 Ab9 Ab6 Ab7 C# Fm B7-5 Bb7 Bb7-9 Bb+ Bb7 Ebm Ab7+ C#6 Ab7+ C#6 Fm F#6 C#7+ F#6 Gdim C# Ebm7 Ab7 C# F#7 C#

Ab7+ Db6 Ab7+ Db6 Fm Gb6 Db7+ Gb6 Gdim Db Db Ab7 Ebm B7 Ab7 Ab7+ Db6 Ab7+ Db6 Fm Gb6 Db7+ Gb6 Gdim Db Ebm7 Ab7 Db Gb7 Db Ddim Ab7 Ab9 Ab6 Ab7 Db Fm B7-5 Bb7 Bb7-9 Bb+ Bb7 Ebm Ab7+ Db6 Ab7+ Db6 Fm Gb6 Db7+ Gb6 Gdim Db Ebm7 Ab7 Db Gb7 Db

A7+ D6 A7+ D6 F#m G6 D7+ G6 G#dim D D A7 Em C7 A7 A7+ D6 A7+ D6 F#m G6 D7+ G6 G#dim D Em7 A7 D G7 D D#dim A7 A9 A6 A7 D F#m C7-5 B7 B7-9 B+ B7 Em A7+ D6 A7+ D6 F#m G6 D7+ G6 G#dim D Em7 A7 D G7 D

Bb7+ Eb6 Bb7+ Eb6 Gm Ab6 Eb7+ Ab6 Adim Eb Eb Bb7 Fm C#7 Bb7 Bb7+ Eb6 Bb7+ Eb6 Gm Ab6 Eb7+ Ab6 Adim Eb Fm7 Bb7 Eb Ab7 Eb Edim Bb7 Bb9 Bb6 Bb7 Eb Gm C#7-5 C7 C7-9 C+ C7 Fm Bb7+ Eb6 Bb7+ Eb6 Gm Ab6 Eb7+ Ab6 Adim Eb Fm7 Bb7 Eb Ab7 Eb

B7+ E6 B7+ E6 G#m A6 E7+ A6 Bbdim E E B7 F#m D7 B7 B7+ E6 B7+ E6 G#m A6 E7+ A6 Bbdim E F#m7 B7 E A7 E Fdim B7 B9 B6 B7 E G#m D7-5 C#7 C#7-9 C#+ C#7 F#m B7+ E6 B7+ E6 G#m A6 E7+ A6 Bbdim E F#m7 B7 E A7 E

C7+ F6 C7+ F6 Am Bb6 F7+ Bb6 Bdim F F C7 Gm Eb7 C7 C7+ F6 C7+ F6 Am Bb6 F7+ Bb6 Bdim F Gm7 C7 F Bb7 F F#dim C7 C9 C6 C7 F Am Eb7-5 D7 D7-9 D+ D7 Gm C7+ F6 C7+ F6 Am Bb6 F7+ Bb6 Bdim F Gm7 C7 F Bb7 F

C#7+ F#6 C#7+ F#6 Bbm B6 F#7+ B6 Cdim F# F# C#7 Abm E7 C#7 C#7+ C#6 C#7+ F#6 Bbm B6 F#7+ B6 Cdim F# Abm7 C#7 F# B7 F# Gdim C#7 C#9 C#6 C#7 F# Bbm E7-5 Eb7 Eb7-9 Eb+ Eb7 Abm C#7+ F#6 C#7+ F#6 Bbm B6 F#7+ B6 Cdim F# Abm7 C#7 F# B7 F#

Db7+ Gb6 Db7+ Gb6 Bbm B6 Gb7+ B6 Cdim Gb Gb Db7 Abm E7 Db7 Db7+ Db6 Db7+ Gb6 Bbm B6 Gb7+ B6 Cdim Gb Abm7 Db7 Gb B7 Gb Gdim Db7 Db9 Db6 Db7 Gb Bbm E7-5 Eb7 Eb7-9 Eb+ Eb7 Abm Db7+ Gb6 Db7+ Gb6 Bbm B6 Gb7+ B6 Cdim Gb Abm7 Db7 Gb B7 Gb

D7+ G6 D7+ G6 Bm C6 G7+ C6 C#dim G G D7 Am F7 D7 D7+ G6 D7+ G6 Bm C6 G7+ C6 C#dim G Am7 D7 G C7 G G#dim D7 D9 D6 D7 G Bm F7-5 E7 E7-9 E+ E7 Am D7+ G6 D7+ G6 Bm C6 G7+ C6 C#dim G Am7 D7 G C7 G

Eb7+ Ab6 Eb7+ Ab6 Cm Db6 Ab7+ Db6 Ddim Ab Ab Eb7 Bbm F#7 Eb7 Eb7+ Ab6 Eb7+ Ab6 Cm Db6 Ab7+ Db6 Ddim Ab Bbm7 Eb7 Ab Db7 Ab Adim Eb7 Eb9 Eb6 Eb7 Ab Cm F#7-5 F7 F7-9 F+ F7 Bbm Eb7+ Ab6 Eb7+ Ab6 Cm Db6 Ab7+ Db6 Ddim Ab Bbm7 Eb7 Ab Db7 Ab

E7+ A6 E7+ A6 C#m D6 A7+ D6 D#dim A A E7 Bm G7 E7 E7+ A6 E7+ A6 C#m D6 A7+ D6 D#dim A Bm7 E7 A D7 A Bbdim E7 E9 E6 E7 A C#m G7-5 F#7 F#7-9 F#+ F#7 Bm E7+ A6 E7+ A6 C#m D6 A7+ D6 D#dim A Bm7 E7 A D7 A

F7+ Bb6 F7+ Bb6 Dm Eb6 Bb7+ Eb6 Edim Bb Bb F7 Cm Ab7 F7 F7+ Bb6 F7+ Bb6 Dm Eb6 Bb7+ Eb6 Edim Bb Cm7 F7 Bb Eb7 Bb Bdim F7 F9 F6 F7 Bb Dm Ab7-5 G7 G7-9 G+ G7 Cm F7+ Bb6 F7+ Bb6 Dm Eb6 Bb7+ Eb6 Edim Bb Cm7 F7 Bb Eb7 Bb

F#7+ B6 F#7+ B6 Ebm E6 B7+ E6 Fdim B B F#7 C#m A7 F#7 F#7+ B6 F#7+ B6 Ebm E6 B7+ E6 Fdim B C#m7 F#7 B E7 B Cdim F#7 F#9 F#6 F#7 B Ebm A7-5 Ab7 Ab7-9 Ab+ Ab7 C#m F#7+ B6 F#7+ B6 Ebm E6 B7+ E6 Fdim B C#m7 F#7 B E7 B

PIANO PLAYING

Playing the piano is easy
There are three basic elements
Melody, harmony, and rhythm:
Melody is what you hum or whistle
Harmony is what you dress it up with
Rhythm is the beat, the heart.
Start with the white keys only
Make up a melody, any tune
Hum it, whistle it, play it;
Play a three note chord
(With no adjoining keys: a Triad)
Move the triad so the melody fits.
Count: 1-2-3-4-1-2-3-4...
Put 'em all together;
You're playing the piano.