Jazz progression help - major to minor

[BowenMando]

I've been practicing this major chord progression for some time. I would like to work out the corresponding minor pattern. Unfortunately, my theory knowledge is lacking when it comes to minor keys.
I6, I#dim, iii7, VI7, ii7, V7, IMaj7
Can someone point me in the right direction? Thanks.

[Pete Martin]

There isn't to my knowledge a minor progression that is the "same in a minor key". But common patterns are

IIm7b5 V7b9 Im6 (Or ImMaj7)

A common minor turnaround, as used in tunes like Minority is

Im6 VIm7b5 IIm7b5 V7b9 Im6

Im6 and ImMaj7 can be interchanged most of the time. The V7b9 can be any type of V7alt chord.

Hope this helps!!

[55bar]

Not sure if this helps but you just change chord one to minor then make the last 3 chords a minor ii V I.

For example in C: C-7 B7Alt (#5,#9) E-7 A7alt (here you could play #5 #9) or A7b9, Dm7b5 G7alt (#5 #9) C-7 (or CminM7)

Play each chord 2 bars each sounds nice.

The voice leading of the B7 to E-7 sounds far better i than the I#dim you initially put, I would say this doesn't really work in the initial example either.

I , I#dim (would in many examples go straight to) ii.

Eg. I, i#dim,ii,ii#dim iii, vi,ii,V7,I

C C#dim, D-7, D#dim, E-7, A7, D-7, G7

E-7 Eb7b5 D-7 Db7b5 CM7 could be an alternate last 4 chords too.

In the First example I gave you you could also play E-7b5 so C-7 B7alt E-7b5 A7b9 D-7 G7b9

The last few bars of Stella by starlight are a good example of leaving the Chord major and playing minor7b5 to lead to it.

E-7b5 A7b9 D-7b5 G7b9 C-7b5 F7b9 BbM7.

I think that you have to use your ear listen to what works, where did you get the Initial progression?

[55bar]

+1 for what Peter said, think he just put my over complicated answer to shame! He is The man when it comes to this stuff!

[BowenMando]

Thanks, guys. As you've probably gathered, I'm a newbie trying to simplify jazz!
I learn in patterns, so I was trying to apply what I've learned in major keys to minor keys. I can see it's more complicated than that!

[Bruce Clausen]

Some good ideas here already. When you play

I6 | IIIm7 VI7 | IIm7 V7 | Imaj7

you're playing the "jazzy" (ca. 1950!) structural equivalent of

I | I | V7 | I

The II-V is an "enriched" form of V, and III-VI is a way of getting there.

In a minor key, a similar kind of vamp (a vamp is a progression that doesn't go anywhere) would be

Im | Im | V7 | Im

To get a little more movement and colour:

Im6 | VIm7-5 | IIm7-5 V7-9 | Im6

(VIm7-5 gives the same notes as Im6, but with a move in the bass.) Or try

Im6 | VIm7-5 II7-9 | IIm7-5 V7-9 | Im6

or maybe

Im6 | IIImaj7 VImaj7 | IIm7-5 V7-9 | Im6

That would give

Cm6 | Ebmaj7 Abmaj7 | Dm7-5 G7-9 | Cm6

Minor 6 and minor maj7 are structurally equivalent. You can choose one or the other according to the melody you're harmonising.

Hope this helps.