Whats your favorite jazz fusion chord progression?

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Holy Katana

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I've always liked the changes to "Havona" by Weather Report.

|: Emaj7#11 | % | Cmaj9 | % | Bmaj7#11 | % | Gmaj7 | % | Em7 | Emaj7#11 | Cmaj9 | Cmaj7 | Bmaj7#11 | % | Gmaj7 | % | B7sus | % | % | % | % :|
 

freepower

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Unless he has the hang of the % scale he'll never be able to blow on that though, what's the point?
 

Holy Katana

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Unless he has the hang of the % scale he'll never be able to blow on that though, what's the point?

:lol:

I looked up some information on the song, and apparently, Jaco wrote it a long time before he joined Weather Report. Also, he recorded it for his first solo album, but it was never included.

It's probably my favorite tune on Heavy Weather.
 

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MLI

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Yeah, Luan has the idea. Shifting the same chord shape non-diatonically produces a good effect. The Faceless make use of that extensively, as do I. Moving chords in minor thirds like he said works nice, also in half steps, and combinations there of. Try

Gmi7(9) Abmi7(9) Cbmi7(9)

Also, try to use notes from scales to build chords which form minor seconds and major 7ths, like again Gmi7(9), for example, the third and ninth (Bb and A) make a major 7th together, which alone would be dissonance, but in the context of the chord is quite nice/eerie.

Try a minor chord with a major 6th, which is what you'd find in the dorian mode. So, in G dorian it'd be G Bb D E.

Also, spread the notes out as much as you can in fifths and fourths. Like D minor ninth, do D A E F.

Ask me more questions if you like, I enjoy this type o' stuff.
 

Luan

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The thing on tribal tech tunes is that they use a chord progression in which you can play the pentatonic over and won't clash. Those chord progressions are really hard if you try to analize them, it's not the point.
 

AbeRudder

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Yeah i posted it for the chords themselves not how they move. Their stuff is weird as hell, i dont know they come up with that shit.
 

MLI

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The Big Wave Power Tab by Tribal Tech @ Ultimate-Guitar.Com

Check out the chords on that song. I don't advise playing over it just take some of those chord voicings. Fusion to me is more about the vibe and the chords themselves as opposed to how they move (if that makes sense). Chord extensions like 9ths 11ths 13ths have a real fusion sound to em.

Wow, man, thanks a lot for posting that. I've never heard of them before, but that's exactly the type of music I've been looking for. This type o' shit is the ingredient that makes me like The Faceless so much, but to a much greater degree.

Who else should I look into? Are there any groups that do music like this but perhaps that is more organized and less improvised?

Thanks
 

Keytarist

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Try quartal harmony (chords made of fourths). It is most used in modern jazz, if you apply quartal harmony voicings in standard progressions, as II|V|I, turnarounds, rhythm changes, etc. you will get a meaner and hard sound, and modern jazz often requires this type of voicing. Just listen to McCoy Tyner playing the chord progression of "My favorite things", while John Coltrane does a solo over it. Now play the same progression, using the drop 2 voicing and you'll sound like anything else...now try with quartal voicings and you will get close to McCoy and modal jazz, just by the movement of parallel fourths.
Quartal harmony is hard to achieve on the guitar, find some help in harmony books, Jim Hall wrote one about this (I can't remember the name).
 

concertjunkie

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Wow, man, thanks a lot for posting that. I've never heard of them before, but that's exactly the type of music I've been looking for. This type o' shit is the ingredient that makes me like The Faceless so much, but to a much greater degree.

Who else should I look into? Are there any groups that do music like this but perhaps that is more organized and less improvised?

Thanks

If you haven't heard of em, check out Exivious, which has members of Cynic and Textures, pure metal fusion goodness
 

MLI

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I hadn't heard of them, but wow...I really like it. That's exactly what I've been looking for. Too bad they'll never play live around here.
 
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