Tag Archives: guitar chords

Autumn Leaves Chords – 5 Useful ways to unlock Extensions

How you add extensions and color to the Autumn Leaves Chords is a big part of the sound of Jazz Harmony. In this video I am going to go over 5 different sets of chords ranging from a very basic Drop2 set via a various extensions and alterations to a spacy modal harmonization.

When checking out the possiblities for adding and changing the chords it is practical to use a chord progression that you already know and have in your ears. In that way it doesn’t become only theory but you can also relate it to a song you already know.

In the lesson I am going to use the first 8 bars of Autumn Leaves and I have 5 different variations of the chords on this song that you can use to explore what is possible and of course also directly start using in your playing.

#1 The Song and the Drop2 voicings

When you are checking out a jazz standard like Autumn Leaves it is a good idea to just go through it with a basic drop2 voicings. The Drop2 voicings are anyway very useful for any type of jazz comping so you should check them out. You can check out the How To Play Jazz Chords Study guide

The voicing set using only drop2 chords and no extensions is shown here below in Example 1.

#2 Adding Basic Extensions

Now that we have a basic set of chords to work with we can start adding extensions to them.

The basic rule is that you can work with when adding extensions to chord voicings are:

  1. The 9th replaces the root
  2. The 13th replaces the 5th

With these two concepts it is easy to add an extension to a chord and putting it in there won’t change the core part of the chord which is covered with the 3rd and 7th.

In the first version I used a higher Bbmaj7 voicing. Mainly to avoid having a b9 interval in the chord which is not so great for that chord. Now that I am exchanging the root for the 9th the b9 (between A and Bb) is gone and I can use the lower version of the Bb and Eb chords.

On the Am7(b5) we can’t really us a 9th since the Bb is not the greatest extension on an Aø chord. In this case I am using an 11th and I am using it instead of the 3rd. This can work sometimes, but won’t always workout for a lot of chords. In this case the b5 combined with the 11th will still make it a clear m7b5 sound.

#3 Adding several extensions to the chords

The next logical step is to start using two extensions for each chord. Which is what I am doing here below.

The Cm7 is turned into a Cm7(9,11). The 9th is replacing the root, and the 11th is replacing the 5th. In a minor chord the 13th doesn’t work well with this m7 chord, but using the note below the 5th is a viable option.

The F7 is turned into a 13b9 which is from the diminished scale. 

The Bb chord uses the rules above to add a 9th and a 13th. The Ebmaj7 stays with a 9th.

On the Aø I have now added a 9th. The 9th is implying another scale on this chord. The first choice would be G minor, but now with the B in there it is coming out of C melodic minor.

The D7 is analtered chord adding b9 and alterering the 5th to a b5.

On the tonic chord I am using a GmMaj7 with an added maj6th which really drives home the melodic minor sound.

The final G7 is coming out of the altered scale and is derived from the original G7 voicing. 

#4 Autumn Leaves Chords: Other Sounds and voicing types

Sometimes another way of adding different sounds is not to add more notes to the chords but instead to opt for certain voicings that have a characteristic sound. The last two examples use this quite a lot.

The first Cm7 is voiced as an Bb triad over an Eb which has a distinct sound with the  second interval between the Eb and the F.

On the Bbmaj7 the  sounds is tweaked a bit by adding a #11 instead of the 5th. For the rest the 9th is added.

The Aø the sound is again A Locrian nat. 2 (or C mel minor) The voicing has a 9th instead of the root and an 11th instead of the 3rd. You could see it as an Ebmaj7(#5)

The D7(#9b5) is constructed similar to the rules above.

Another example of the GmMaj7 where I am using a Drop2 voicng but now using the minor 2nd between the root and the maj7th to color the sound.

With the G7alt voicing it is clear how this sound is really closely related to it’s tri tone substitute: Db7.

#5 The Spacy Herbie Hancock meets Brad Mehldau Jam

The final version is more a modal treatment of the chords. The focus is completely changed here. When harmonizing in a modal way the priority is not helping the chord to function but just to give it an interesting sound.

The Cm7 is now with an added 13th which really ruins its function: To delay the A (the 13th that is now in the chord). The F7 altered that follows compensates the harmonic movement with altereations.

On The Bbmaj7 chord is an incomplete chord, which here means that it has no 3rd. It does contain the 7th, 13th and #11. The Ebmaj7 is left untouched to change up the pace a bit.

The cadence to Gm is reharmonized with a tritone substitution to Eb7 D7 instead of Aø D7. The two dominants are then embellished by adding the II chord as well: Bbm7 Eb7 Aø D7. To add even more sounds I have turned the Aø into a Am7(9) which is essentially borrowing it from G Major rather than G minor.

With the tonic chord I also added another more colorful sound: Gm6(9#11) this chord is coming out of D harmonic minor and is really just meant as a surprising sound on the Gm chord.

The final G7 is a G7(#9) which is using a Bb triad over a B. This is coming out of the diminished scale.

The Chord Diagrams

If you prefer to check out the chord diagrams you can reference this chart:

Content:

0:00 Intro

0:58 Drop2 voicings

1:26 Ex 1 Basic Drop2 voicings

3:42 Ex 2 Adding Extensions + basic rules

7:07 Ex 3 More Extensions + advanced rules

9:51 Ex 4 Advanced Sounds

13:09 Ex 5 Modal Harmonization (Herbie Hancocks Playground)

18:06 A few thoughts on comping

18:57 Do you have a great approach for working with chord extensions?

Learn, Listen and Experiment

The best way to integrate these things is to try and play through them and relate them Autumn Leaves. But also try to incorporate them into your own playing and combine it with what you play already. It is always good to keep experimenting.

Finding more ideas on Autumn Leaves

If you are looking for more ideas and examples on Autumn Leaves then check out this WebStore lesson with 5 choruses of examples:

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Autumn Leaves Chords – 3 ways to add colors and extensions

Autumn Leaves Chords – Chord Diagrams

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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Walking Bass Jazz Guitar Lesson on All The Things You Are

Playing Walking Bass Jazz Guitar Comping is really a great full way to comp in a duo setting. The walking bass really helps you lay down the groove and you can add the chords to make the harmony clear but also as accents in the rhythm. All The Things You Are is a great jazz standard to check this out on and you probably are already familiar with the song.

Playing these two layers at the same time is challenging in this lesson I am going to discuss some of the things that you want to check out like playing bass lines over several bars of one chord. Adding variation in the bass line rhythms and dealing with higher tempos.

All The Things You Are – Walking Bass Jazz Guitar

This example is a little faster than what I usually do. It demonstrates how I reuse bigger parts of lines on similar progressions very well. It also shows how I use changing positions when playing on the same chord for several bars. 

The First A part – Arpeggio basslines and sliding leading notes

The bassline and chords are clearly displaying that I mostly add the chords on the 1& except on the strong parts of the form like in the first bar. Having the chord on the 1& is technically quite easy and just adds a little extra color and an accent.

The basslines in the first 6 bars are really all constructed from arpeggio notes adding a chromatic leading notes on beat 4 when necessary. This makes the lines very clear and easy to relate to the chords.

On the G7 in bar 6 I have an extra leading note that I slide into the resolution on the Cmaj7. This a great way to embellish the basslines and it will work even at higher tempos where for example 8th note triplets might not be that practical.

On the Cmaj7 the first bar is in the position around the 3rd fret and then moves up to the 8th fret for the second bar. This is one way to deal with several bars of Cmaj7.

Second A – Shifting position and keeping the groove going

The 2nd A also has basslines consisting of arpeggio notes and the occoasional leading tone. Except for the first chord Cm7, which has a more scalar bass melody.

The Transition from Bb7 to Ebmaj7 is aided with an extra sliding leading note from D to Eb.

On the Gmaj7 the bass line is again shifting from 3rd to 10th position and in this case I don’t include a chord on the 2nd bar of the Gmaj7.  To me the most important part of playing like this is to keep the bass moving and therefore it is not always essential to have a chord in there.

The Bridge – Walk yourself out of a tight spot

The first part of the bridge is a II V I in G major. The bass and chords are actually playing the exact same movement as in Bars 2-4 This is a good example of a large chunk being “re-cycled” in another key.

This time the Gmaj7 bassline does not shift position in the second bar. this is because I want to stay in the same region for the II V I in E that follows.

In the II V I to E major the F#m is again an arpeggio but this time the arpeggio is shifting up along the 6th string.  This makes the B7 in the 7th fret is easy to reach. Playing bass lines like this can be very useful to not “walk yourself into a corner”. Having the B7 up there makes it possible to avoid the Emaj7 which is not so easy to have in there with the low open E string.

The C7 is approached with an slide extra and the bassline is a straight C major triad. 

The Last A part

I have an extra leading note on the C7 at the end of the bridge, but in this case the transition to the Fm7 is using a hammer-on instead of a slide to move from E to F.

The Bbm7, Eb7 and Abmaj7 are very similar to the first A.

The descending IV IVm progression

The final 8 bars of the song is IV IVm, III, bIIIdim to a II V I.

The First Dbmaj7 is played in the 4th position but then moves up to play Dbm6 in the 9th position. From here it descends to th 8th for Cm7 and the 7th for the Bdim chord.

The final II V I cadence is again using the same bass line as bars 2-3. This time the final Ab chord is placed on the beat mark the ending of the song. The last bars are a II V back to F incase you want to loop the chorus.

Walking bass etudes and making your own

I hope you can use the exercises and the example to get started making your own Walking bass and chords comping examples. Of course my example can serve as a good etude. You should also used it as a source of inspiration for your own walking bass ideas.

Get Started Soloing on All The Things You Are

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Walking Bass – All The Things You Are

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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Maj7 Chords – 7 Great Solo ideas!

Maj7 Chords are one of the most important tonic chord types. This video will show you 7 different ideas that you can use when improvising over Maj7 chords. The concepts I cover are using different arpeggio types, triad pairs and super-imposed pentatonic scales both common and more exotic.

Content of the video

0:00 Intro – Maj7 Chords and ideas

1:18 Example 1 – Solo

1:40 Interesting versions of Cmaj7 and Em7 arpeggios

2:29 Using arpeggios and making them less boring

3:38 Example 2 – Solo

4:04 Pentatonic scale from the 3rd of the chord

4:34 Different sounds from different phrasings

5:05 Less Rock/Blues sounding ideas

5:58 Example 3 – Solo

6:23 Triad pairs: G & Am

6:54 Analyzed relative to the C root

7:27 Melodic approach from triad pairs and that specific sound

8:23 Example 4 – Quartal Arpeggios

8:48 The “new” sound of Quartal melodies in a solo

9:17 two ways to check them out over a chord

9:50 Some technical ideas for playing quartal arpeggios

10:53 Example 5 – Solo

11:16 Am6 pentatonic – Robben Ford on a Maj7 chord

11:50 Constructing an Am6 pentatonic scale

12:35 Simple ideas from this type of phrasing.

12:55 Example 6 – Solo

13:20 Am & Bm – Lydian Triad pair.

13:57 Phrasing using Spread Triads and inversions

14:43 Example of a line using the triad pairs

14:58 Example 7 – Solo

15:22 Emaj(b6) Pentatonic scale on a Cmaj7 chord

15:42 Where it comes from

16:15 How to construct and play the Emaj(b6) Penta scale.

17:07 Phrasing and making lines with the scale

17:40 Do you have other good suggestions you like to use? Leave a comment!

18:32 Like the video? Check out my Patreon Page!