Category Archives: Blog

Blog Posts by Jens

How To Make A Set Of Solid Jazz Chords on Autumn Leaves

You need to play the chords and you also need to improvise and play some great Riffs when you are comping. This video builds a set of Autumn Leaves Chords that connects different Jazz Chords to give you something you can use to improvise with.

A lot of the time when you practice you think you need to learn completely new things, but often it is much more efficient to make new connections and find better ways to use what you already know. And become much more flexible if you can mix the different things you know like drop2 and shell-voicings for example. So That is also the way I am going to build the material in this lesson.

https://youtu.be/WpX7rSn4h24

I am using Autumn Leaves as an example because that is a very common standard and covers a lot of ground with chords, so it is a perfect example for teaching jazz chords in a guitar lesson.

Autumn Leaves Chords – Basic Shell-Voicings

Let’s start with a set of basic Shell-voicings for the first 8 bars of Autumn Leaves. If you want more information on Shell-voicings then check out this very old lesson (in fact my first YouTube Lesson) The basic construction of a Shell-voicing is either 1 7 3 (as on Cm7) or 1 3 7 (as on F7).

The first place to go is to take the shells and leave out the root, so the lowest note:

Rootless Shell-voicings or Guide-Tone Chords

In this lesson, you don’t need to use the root, and you also want to be more flexible to add more things on top of the voicings so let’s take away the bass note:

Adding notes to create 3-note chords

Now we have two-note voicings that are easy to add extra material to. The first step is to add the notes on the next string, so the B string.

That is shown here below:

Keep in mind that I am trying to be practical and I am only adding notes that I think are useful and easy to play. You should do the same and it may differ from what I do. Keep it practical!

A Comping Example using the 2 and 3-note jazz chords

An example of what you now can do already with this simple set of voicings is shown below:

From Triads to Drop 2 Voicings

Notice that the 3-note voicings are often Triads and you can add the notes on the high E string as well and that will mostly give us Drop 2 voicings (Check out the explanation of Drop voicings here)

Adding the extra notes gives you these voicings:

Combining all the voicings

Putting this to use on the song would give you an example like this:

Combining and Embellishing Chords on a Blues

If you want to check out a more in-depth application of this on a 12-bar Blues in Bb then have a look at this WebStore lesson:

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You can also download the PDF of my examples here:

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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New Book: Advanced Jazz Guitar Concepts!

It is here! My New Book:

Advanced Jazz Guitar Concepts

In Advanced Jazz Guitar Techniques I provide more deep insights into the techniques and theory of contemporary jazz guitar. 

You’ll discover a practical, no-nonsense guide to jazz guitar topics that have mystified even experienced jazz musicians – such as effective soloing with triad pairs, applying quartal harmony, how to use altered scales, and much more!

Master the advanced guitar techniques and melodic concepts you’ve heard in the music of everyone from Charlie Parker and Wes Montgomery, to Kurt Rosenwinkel, Michael Brecker and Mike Moreno. 

What you’ll learn:

  • How to use tritone substitution more effectively in your playing
  • Chord and scale substitution ideas to create new sounds with scales you already know
  • How to use triad pairs from the Altered Scale
  • How to combine triads, arpeggios and scale runs to create melodic, modern-sounding licks that avoid clichés
  • Intervallic patterns to introduce exciting melodic leaps into your jazz soloing
  • The Augmented and Tritone scales and how to use them

Learn More

Here’s What You Get:

  • A step-by-step jazz guitar method that starts simple and adds layers of complexity
  • Perfectly notated examples with tab and studio-quality audio to download for FREE
  • A full-length blues with a solo analysis demonstrating all the concepts at work
  • Apply your knowledge to the most common progressions in jazz

You can get the Paperback on Amazon here: Advanced Modern Jazz Guitar

You Can also order it as a PDF on the Fundamental Changes Website here: Advanced Modern Jazz Guitar

I am so proud of this book. I think it really presents some information on soloing in with a more modern sound that is not really available anywhere else but is certainly a key ingredient for a lot of the Jazz Musicians of today.

Learn Jazz – Make Music!

Best regards,
Jens

Drop Voicings – How to Understand The Construction

Drop Voicings like Drop 2 and Drop 3 are very common in Jazz, and as a Jazz guitarist, you want to know and use them in your comping and chord melody arrangements. Especially Drop 2 voicings are very common in the playing of Wes Montgomery, George Benson and many others. In this video, I am going to break down how these terms work and how to construct drop voicings so that you have a better understanding of the voicing technique and can create your own drop voicings.

I will go over this and also give some examples of how the different voicings sound on a II V I. In the end, it is more important how they sound. It is maybe also interesting in itself how different they sound with the same notes just different voicings.

Content:

0:00 Intro – What is a Drop2 or a Drop3 voicing

0:24 Understanding Drop Voicings and how they sound

0:37 The Difference in Sound

0:50 #1 Drop2 – Wes Montgomery and George Benson

1:23 How We Assign Numbers to Voices in a Chord

2:00 Drop2 voicings

2:09 II V I Example with Drop2

2:25 #2 Drop3 

2:57  II V I Example with Drop3

3:18 #3 Drop 4

4:00  II V I Example with Drop4

4:14 #4 Drop2&4 – Allan Holdsworth

4:57 II V I Example with Drop2&4

5:17 Drop2&3

6:05 II V I Example with Drop2&3

6:19 Different Voicing = Different Sound

6:53 Like The Video? Check out My Patreon Page!

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

How To Add Bebop Embellishments To Your Licks

Bebop is famous for having solos of long 8th note lines and bebop licks are often a lot of notes. But an important part of what makes the lines really beautiful and breaks up the constant flow of 8th notes.

In this video, I am going to go over some great lines from Bebop Masters like Dexter Gordon, Clifford Brown and Sonny Stitt. The way they use embellishments and construct lines is a great resource for learning and enhancing your own playing.

Content:

0:00 Intro

0:00 Adding Variation to lines

0:50 Example #1 – Dexter Gordon – Confirmation

0:53 Triplet- Enclosures

2:10 Using Chromatic Triplet enclosures in Your own lines

2:30 Example Lick Using Gm7

2:37  Example Lick Using C7

2:43 16th Note Trills

3:24 Example Lick Using Gm7

3:32 Example #1 Slow

3:39 Example #2 – Clifford Brown

3:43 Joy Spring Solo

4:06 Melodic Enclosure (Peter Bernstein’s Favourite?)

4:37 Triplet Embellishment of an 8th-note line

5:15 Example #2 Slow

5:21 8th Note Triplets in Bebop

5:43 Example Charlie Parker – Using A Similar Idea

6:06 Example #3 Sonny Stitt

6:11 Sonny Stitt on Ornithology

6:40 16th note triplet Embellishment of an Arpeggio

7:03 Example Grant Green Using this rhythm

7:18 Stitt Altered Dominant line

7:50 Using this idea on other lines, like Wes

8:09 Example #3 Slow

8:14 Like The Video? Check out my Patreon Page

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Do this Every Time you Learn a New Jazz Chord

You need to check out a lot of different jazz chords and voicings when you want to learn Jazz, and you need them for comping and for chord melody arrangements.

In this lesson, I am going to show you some techniques that can really help you get more out of your voicings so that you don’t have to spend too much time practicing chords and help you use one voicing that you already know to create a ton of other chords that you then don’t need to practice as much.

A little music theory can really save you a lot of time!

I am going to do this in 3 parts – first look at finding similar voicings, then change the voicing and finally what other chords we can use this voicing for.

This is all about using what you practice as much as possible and getting the most out of what you have learned.

Part 1 – Connect the voicing to all the other things you know.

Let’s keep it a little practical. Let’s say you have learned a shiny new voicing like this Drop2 voicing for a C7(9).

It’s a drop2 voicing, but if we forget that and just look at it and associate it with other types of voicings then something great happens:

Below, you can see that it is coming from this voicing (bar2) and that it is also related to this voicing (bar3)

The reason that I am saying this is that it is important to tie see how the chord has different components from other voicings that we know.

That makes it easier to use it with other chords and for examplie having C-D top note melody.

Another thing that is good to notice is that it is related to this Drop3, this triad or this shell voicing.

We are just taking a look at how it works and finding things we can do with it.

Right now we can make a melody like this with what we just discovered:

or a comping riff like this:

Part 2 – Change The Voicing – Make a New Jazz Chord

This is really an important way to look at how to come up with more sounds and really explore what we can do with a chord.

To keep it a bit practical I am not going to change the 3rd and 7th of the chord because then we have a completely different type of chord and open up for a lot more information, that is possible and you should experiment with it, but my video would get too long.

If we explore changing the 2nd highest note, the G, then we have these chords:

So, of course, you need to understand where you want to use the chords to figure out what fits. A blues in C with C7(9,b13) chords may not be the sound you want (or are hired to play)

We can do the same with the top note:

And I am not going to go over the different combinations of this, but that can be fun to explore as well!

Part 3 – Using this voicing for other Jazz chords

Now we have connected the chord to a ton of other voicings and made a lot of variations on it.

If you look at the notes that are in the C7(9) voicing we have Bb,E, G and D.

If you order these in different ways we have:

E G Bb D which is Em7(b5) or You can look at it as G Bb D E which is a Gm6

So this means that the original voicing could be used like this:

These are two of the obvious choices, but you could also go through this in a systematic way and just check out what these notes are against any root.

They could work as a Bb6(#11) or F#7alt. Thinking of notes against a root is something that is also very useful for soloing!

If you use the chord as an F#7alt then you have this: Example 8

Connect the chords don’t just remember separate things

This way of thinking about voicings where you are looking at it not only within a system but also really connecting to other types of chords and voicings is a very good practice for developing and making your vocabulary more useable. If you want to see another video where I talk about this then check out this video where I am going over a 3 level process of creating and using jazz chords.

Jazz Chords – The 3 Levels You Need To Know

And you could also consider checking out the Jazz Chord Study Guide

Apply it to a Bb Jazz Blues

Take things even further by using some of the same principles on a Jazz Blues:

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Get the PDF!

You can also download the PDF of my examples here:

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Why Reharmonization Is For You And How To Get Started

Reharmonization! I imagine the word itself sets off alarms for some people thinking: “Crazy Music Theory will follow” and there are going to be the weirdest examples of chord substitutions and bass-notes over triads with extensions.

But it isn’t that bad. Reharmonization is a great way to add variation to both your solos and your interpretation of a song, for example in a chord melody arrangement.

In this video I am going to give you some basic reharmonization ideas to use, it is pretty basic and stuff you might know already but not use like this or maybe have played examples off. The video is not going to make you the best arranger of our time but it will give you some things you can put to use in a lot of places and if you are only playing the basic changes all the time then starting to work on improvising with the chords could be just the thing you should do to get to a higher level.

Content

0:00 Intro

0:24 How Do We Use Reharmonization.

0:52 Playing with the Expectations of the Listener

1:25 #1 Major instead of Minor

2:17 Example on Stella By Starlight

2:37 Solo Example 

2:50 Hearing this in context – Timing and Placement in the form

3:25  #2 Tritone Substitutes – Using Complete II V’s

3:45 Example on There Will Never Be

4:30 The Effect

4:48 Solo example

5:06 #3 Parallel Minor Chords – Dim Chords

5:15 The Two Types of Minor chords

5:47 Example 1 – Dim to m7 – Someday My Prince Will Come

6:48 Recorded examples

7:18 Solo Example

7:28 #4 Parallel Minor Chords – Harmonized Bassline

7:33 The Progression that is reharmonized.

8:23 Example on Days of Wine and Roses

8:45 Using this in Melodies and Recorded examples in solos

9:20 Solo Example

9:27 Like the Video? Check out My Patreon Page!

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

How to Improve your vocabulary of Jazz Rhythms

We don’t often talk about is how rhythm is actually also a melody, and how to work on your vocabulary for jazz rhythm. But,of course, a very important part of playing jazz is interesting and great rhythms.

In this video, I am going to go over some great examples of rhythms used in a jazz solo taken from Chet Baker, Kenny Burrel, and Jim Hall. I also discuss how you might want to work on improving this part of your own playing.

Content:

0:00 Intro – Adding New Rhythms To Your Solos

0:14 Getting Inspirations from Kenny Burrell Jim Hall and Chet Baker

0:32 Example #1

0:39 Kenny Burrell – Mastering Medium Swing

1:06 How To Use Simple (but great 8th Note Rhythms)

1:24 Example #1 Slow

1:34 How To Use The Material

1:57 Example Lick #1

2:14 Example Lick #2

2:22 Ideas with more of a concept

2:40 Example #2

2:46 Chet Baker – Strong Rhythm and Simple Notes

3:02 Analyzing the line

3:58 Example Lick #3

4:26 Example Lick #4

4:52 Example #3 

4:59 Jim Hall – Rhythmical Diversity and Strong Melodies

5:36 Motif and a Scale Sequence

5:59 Example #3 Slow

6:07 Getting More Out of the Pattern and understanding why it is great!

6:30 Example Lick #5

6:40 Like the video? Check out my Patreon Page!

Check out more lessons on Jim Hall

Here are a few more Lessons I did on Jim Hall and his fantastic playing that always contains a strong and interesting rhythmical concept as well as beautiful melodies.

Jim Hall – Ingredients Of The Best Solos

Jim Hall on Autumn Leaves – Can it get any better?

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

3 Things You Want To Know In All Keys And Positions

When you play jazz you are improvising over chord progressions that move through different scales. And you need scale positions that you can connect and have an overview off in a way that makes it easy to improvise solos.

In this video, I am going to go over a basic way to practice and test your fretboard knowledge by taking progressions and use them to work on scale positions on the guitar neck. This will help you memorize the right information in the right context for when you want to improvise solos and will help you become freer when you play.

The 3 Levels

I am going to go over the exercises in 3 levels getting more and more difficult, but the exercises are essentially quite basic. This is about knowing essential chord progressions, scales, and arpeggios in a position and being able to improvise with them.

Working on this is not really something that belongs to every day practice for hours and hours, just go check this and find ways to work on this that also involve the repertoire you play.

2 Approaches

When you work on this type of exercise you can do this 2 ways: Staying in one position and going through all keys or choosing one key and going through all positions. Both are useful and you should try what works better for you.

Level 1 – 1 Position, Basic Scale and Chords

The idea is to work on knowing essential material for a position. If you improvise in G major, then the G major scale and the arpeggios for the basic cadence are essential to know. The same goes for the arpeggio from the 3rd of these chords.

For G major we have this scale position:

And the basic cadence is Am7 D7 Gmaj7.

These arpeggios are shown below:

And the arepggios from the 3rds of these chords would be

Am7: Cmaj7, D7: F#ø, Gmaj7 Bm7.

Once you know these arpeggios you should work on being able to make lines with them in this position on a II V I.

Two examples of this, one with the basic arps and one with the arpeggio from the 3rd are shown below:

Level 2 – Altered Dominant

A logical next step would be to alter the dominant, in this case D7.

Let’s first take a new position for G major:

And for the D7alt I am using an Ab7 and a Cø arpeggio.

Both are found in the D7 altered scale and contain the C and the F# really spelling out the D7 sound.

And the arpeggios from the 3rd (with Cø being the arpeggio from the 3rd of Ab7)

Improvising with these arpeggio sets could yield lines like these two:

Level 3 – Making it a complete Turnaround

The next thing to do is to add a secondary dominant for the II chord. This is one of the most common dominants to come across so it makes perfect sense to add this to the exercse.

First a new scale position:

For the E7alt I am doing the same thing as the D7alt which gives us a Bb7 and a Dø arpeggio.

And then the basic arpeggio positions:

The Arpeggio from the 3rd:

Get Your Changes Playing from Turnarounds to Giant Steps.

If you want to check out some more material on how to really nail changes and still play great lines then check out this lesson on using Target notes on Rhythm Changes:

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Get the PDF!

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

3 Scale exercises You Need To Know And Use

Any scale exercise is a melody. When you practice scale exercises you are practicing playing a lot of similar melodies that you want to have in your ears and in your fingers so you can use them when you improvise Jazz Solos. In Jazz, Scale exercises are a part of building vocabulary.

This video covers some great melodic structures that you can practice as scale exercises and add to your vocabulary. I find that them extremely useful and you will also hear them being used in a lot of especially more modern jazz solos by people ranging from Michael Brecker via Peter Bernstein to Kurt Rosenwinkel.

Content:

0:00 Intro

0:32 Practice the things you need when You solo

0:50 Modern Jazz that’s 60 years old.

1:03 #1 Sus4 Triads

1:25 The Sound Of Rosenwinkel, Brecker and Mark Turner

1:32 Example Lick with Sus4 triads

1:49 Exercises

2:41 String-set Practice

3:34 #2 Quartal Arpeggios – Modal Jazz Sounds

3:52 Chords with Quartal Structures

4:08 Kurt’s solo on I’ll Remember April

4:34 3-Part Quartal Voicings and Sus Triads

5:12 Exercises with Quartal Arpeggios

5:58 Example Lick with Quartal Arpeggios – Chromatic Shifting

6:25 #3 Shell-Voicings – Mike Moreno and Pat Metheny

7:21 Exercises for Shell-voicings

8:15 Applying Shell-voicings

8:37 Example with Shell-voicings

8:41 Bonus: From Shells to open upper-structure triads

9:18 Spreat Triad Example

9:21 Arpeggios = Melodies

9:52 Like the video? Check out My Patreon Page 

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Get the PDF!

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.