Chord Progressions

In this great clip from the "You'll Hear It" podcast (Open Studio Jazz), Adam and Peter talk about slick turnarounds and start with "Lady Bird," written by Tadd Dameron in 1939.

Here's the two-bar turnaround as found in my copy of the Real Book.

This is a number chart for the turnaround

Let's take a look at two different ways to play this chord progression as notated above.  In the first progression, we'll keep the chords shapes close together, and not worry about including the melody note in each shape.

Cmaj7

Abmaj7

C 6/9

Now let's take a look at some different, and more complex, shapes to keep the melody note present within the chords.

This Cmaj7 shape puts the G melody note on top

This Eb7 shape puts the G melody note on top, that note carries through from the previous shape

This Abmaj7 shape puts the G melody note on top, that note carries through from the previous two shapes

Db13

Instead of a Db7, we use a Db13 shape to put the Bb melody note on top

Cmaj13

Instead of a C 6/9, we use a Cmaj13 shape to keep the 6 and 9 notes and put the B natural melody note on top

Nashville Number System Lesson

Lady Bird Turnaround

Cmaj7

Cmaj7