Chord progressions in early jazz  part III

 The somehow romantic sounding minor subdominant, IVmin, chord was mostly used after the major subdominant, IVmaj, or after the IImin chord. After this, the chord progression could end in the Imaj chord, leading to the beginning of a new section, or could continue with a V7-Imaj progression, with a similar effect.

 Of course, the minor subdominant chord could be used as a stand-alone chord. A good example is the ending of a section where normally a long Imaj chord is torn apart by the IVmin chord, thus creating a Imaj-IVmin-Imaj progression.

To summarize, the chord progressions using the minor subdominant, IVmin, could be (examples in C major):

Fmaj  Fmin  Cmaj
Dmin  Fmin  Cmaj
Fmaj  Fmin  G7  Cmaj
Dmin  Fmin  G7  Cmaj
G7  Cmaj  Fmin  Cmaj

 Also, one note/tab example:

 The minor subdominant could also be coloured by an added sixth, as described in the previous part.

Practice the above chord progressions with the least possible fret hand movement! Also, listen to the sound of the progressions and the feeling they convey.

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