CHORD LINE WITHOUT A HOOK：Using arpeggios to imply dominant 9th chords in your solos sounds

chord line without a hook   chord do you want to know a secret When moving back to A7 in bar 7 of Figure 1, I once again use elements of an A9 arpeggio, with similar chromaticism brought into play as the line evolves. Bar 9 brings us to E7, and here I make use of the same form I had applied to the IV chord, but moved up two frets, or a whole step, to describe an E9 sound E, G#, B, D, F#

chord a million dreams The diminished chord here essentially functions as a rootless D7b9 chord, which we’d expect in a minor ii-V. This is another type of chord substitution used in jazz chord progressions. Whether you play an F7 to F#° or an A-7b5 to D7, you are playing a minor ii-V progression leading to the iii chord at the beginning of the last four bars

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