Here Are Fanciful Variations Of The 7-3-6 Chord Progression For Intermediate Players

In today’s lesson, you’ll be learning fanciful variations of the 7-3-6 chord progression.

Attention: This lesson is written with the intermediate level piano player in mind. However, pre-advanced players can also find the chord progressions helpful.

Before we go into the fanciful progressions, let’s talk about the 7-3-6 chord progression

A Short Note On The 7-3-6 Chord Progression

There are  two key types in tonal music – the major key and the minor key.

Every key has eight degrees. In the key of C major:

C is the first degree

D is the second degree

E is the third degree

F is the fourth degree

G is the fifth degree

A is the sixth degree

B is the seventh degree

C is the eight degree

The movement of chords from one degree of the scale to another produces a chord progression. So, a 7-3-6 chord progression is basically a chord progression from the seventh tone to the third tone, then to the sixth tone.

In the key of C major:

…this implies a root progression from B (the seventh tone):

…to E (the third tone):

…then to A (the sixth tone):

“Check Out The 7-3-6 Chord Progression In The Key Of C Major…”

Chord 7:

…the B half-diminished seventh chord.

Chord 3:

…the E dominant seventh (flat nine) chord:

Chord 6:

…the A minor ninth chord.

Fanciful Variations Of The 7-3-6 Chord Progression

It’s important for every serious pianist to know the basic 7-3-6 chord progression. Beyond the basic 7-3-6 chord progression, there are fanciful variations that are commonly applied in jazz and gospel music and I’ll be sharing them with you.

In this segment, you’ll learn a variety of extended chords, rootless chords, altered chords, etc., that can give you a spicier 7-3-6 chord progression.

Attention: All examples are in the key of C major.

Variation #1

Over B:

…which is the seventh tone, is the rootless voicing of the B dominant thirteenth (sharp eleven) chord:

Over E:

…which is the third tone, is the rootless voicing of the E dominant seventh (sharp nine, sharp five) chord:

Over A:

…which is the sixth tone, is the rootless voicing of the A minor eleventh chord:

Variation #2

Over B:

…which is the seventh tone, is the B minor eleventh chord:

Over E:

…which is the third tone, is the E dominant seventh (sharp nine, sharp five) chord:

Over A:

…which is the third tone, is the A minor eleventh chord:

Final Words

Congratulations! I’m doubly sure you’ve sophisticated your chordal arsenal. I recommend the transposition of these 7-3-6 chord progressions to other keys on the keyboard.

See you in the next lesson.

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Chuku Onyemachi

Head of Education at HearandPlay Music Group

Onyemachi "Onye" Chuku is a Nigerian musicologist, pianist, and author. Inspired by his role model (Jermaine Griggs) who has become his mentor, what he started off as teaching musicians in his Aba-Nigeria neighborhood in April 2005 eventually morphed into an international career that has helped hundreds of thousands of musicians all around the world. Onye lives in Dubai and is currently the Head of Education at HearandPlay Music Group and the music consultant of the Gospel Music Training Center, all in California, USA.

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