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Then use Dom7 chords cycling through the Cycle of 4ths/5ths (depends if you're going up or down) , say ....
E7 / A7 / D7 / G7 (then end with C)
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Blue Bossa is the 2nd learner tune (Blue Tosser) - introduces Min 251, far less common than Maj 251, but more interesting tonally.
If you want playalongs and theory - Jamey Aebersold's Maiden Voyage has both tunes. It's a common starter book. If you're on Spotify the playalongs are on there too.
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Agree with Autumn Leaves, Satin Doll & Blue Bossa.
Also worth checking are Misty and So What. So What is a good stepping stone one based on the fact it's not too far removed from traditional blues and encompass a riff. If you just wanna learn one piece to say to people "Yeah, I can play jazz" then So What is a good choice.
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Seriously: If you value it, take/fetch it yourself
Band Stuff: https://navigationofficial.bandcamp.com/album/silhouette-ep
Band Stuff: https://navigationofficial.bandcamp.com/album/silhouette-ep
A7+13
D9
A7+13
Em9 ->A alt (that's actually the 2 and 5 of a 251 in a temporary key of D)
D9 (this is the 1 of the previous 251 in D)
D9
A
F# hendrix
Bm
E hendrix
A -> F#
Bm ->E ....... A
The 2 runs of F# B E A (one slow, the other twice as fast) are examples of a 6251 - very common in jazz. The 6251 is actually a series of dominant chords, as each chord is a 4th higher than the previous one)
Here I dun a video on a VERY small guitar.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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So now your progression putting a few chord alterations in would be without the substitution Gmaj7-Am7-D7#9-Gmaj7. Try playing that and get the sound of it. Then put your substitution in so now you have Gmaj7-Am7-Ab13-Gmaj7. You'll notice ('cos you're dead clever) that the only difference between the D7#9 and the Ab13 is the root note but it gives the progression a whole different flavour. Tritone subs=good things.
In fact just the ability to throw 'tritone substitution' into a conversation will elevate you several degrees up in the jazz world...
The trouble I've found with using a Tritone sub is when the soloist plays the Dom7's 5th note in their well practice ii-V-I "improvisation", they're expecting the Dom7 and you have subbed the Tritone, which has the Dom7's b5, it then can sound terrible.
In your example progression, Am-D-G, You're playing "Ab", the soloist is playing the Dom's 5th "A".
A work round can be to play a Tritone sub, which includes a Dom7b9, because this has the Dom7's 5th.
Quick point on the definition of the tritone substitution. It's not only because the Ab is a tritone away from the D that it's called a tritone sub, though that's certainly true. It's really because of the fact that the major 3rd and the natural 7th of the D dominant 7 chord are a tritone apart. As two tritones make an octave, it stands that those two notes, which, in the case of D7, are F# and C, can therefore be 'swapped' to become ....... the natural 7th and major 3rd of another 7 chord! And that chord is thus a tritone away from the original V chord, in this case the Ab. Ab7 has C as its 3rd and Gb as its 7!
That's really what the tritone sub is and why it works. Isn't that nice?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.