Tag Archives: how to learn jazz chords guitar

The Basic Music Theory You Need As A Jazz Beginner

Having the basics down in music theory is an incredibly powerful tool. If you are playing Jazz then interpreting chord symbols can be very difficult and if you have a solid basic overview of what notes are in there, you can find other ways to play the chord and add notes and fills to it, the things that make it a lot more fun to play!

That’s what I want to show you in this video because an overview like that is going to stop you from sounding like a Pat Metheny Clone, and instead of learning a single Jazz lick, you can figure out how it works and turn it into a recipe for 1000s of Jazz licks. There’s a chance you know a lot of this, but then you can use this as a checklist to see if you have it all under control!

The Most Important Scale For Jazz

The place to start is the scale that you need the most: The Major scale.

I assume you are already somewhat familiar with the but to keep it simple let’s use the C major scale:

The important thing to remember is that a major scale is constructed by a series of whole and half steps, and that recipe is:

On guitar you have a shortcut which is a physical solution where you are just moving a shape around,  that means that if you play a C major scale then you can turn that into an D major scale by just playing the same shape but start on the note D,

but that also means that you don’t really know what notes in there anymore, and when you play songs then it is very practical to know that the next chord is the IV chord in the key and that is THIS note in the scale, so here’s how you can start figuring out the notes in a scale.

I am going to show you this using D major as an example, but it works for any note can think of. It is just about using sharps and flats You need to remember or write down the row of intervals that make up the major scale:

For D major you can write out the notes from D to D . You can then go through the scale and make sure that the intervals fit and then correct that:

D to E is fine, but E to F is a half-step which should be a whole-step, so you turn the F into F#.

Now F# to G is a half-step so that is fine, G to A, and A to B are both whole steps

but B to C should be a whole-step as well

and again you turn the C into a C# to fix that and then you have D major

The next thing to do when you know what notes in the scale is to map that onto any scale position: just start on the root, play the scale, and say notes – in that way this is as much about connecting the things that you know on the neck, because that is where it is useful!

Dmajor:

That is the basic construction of the major scale, but what you need is to link this to chords because when you are playing a song then it looks like this:

The Strongest 3 Notes In The World

The Strongest Chord we have isn’t a Jazz chord which would be a chord with at least a 7th, The strongest chord only has 3 notes and it is, of course, the triad.

 

The basic construction of a triad is a stack of 3rds, so for C then

C major is 1 3 5 – C E G which is really just 1 3 and 5 out of the major scale:

 

C minor  would be 1 b3 5 C Eb G and the difference is the distance between the two first notes: C to E is a major 3rd

and C to Eb is a minor 3rd

Like this, you can also construct a diminished triad which is: 1 b3 b5 in C that would be C Eb Gb and you can create an augmented triad which is a major triad with an augmented 5th: C E G#

Those are the 4 basic triads, but you probably also want to know these 3:

Sus4 where the 3rd is replaced with the 4th:

Sus2 where the 3rd is replaced with the 2nd:

If you check then sus2 and sus4 are actually inversions of each other, so they are the same structure.

Another triad that is maybe less common in songs but very common in chord structures is major b5:

But right now, this is all just structures without any context, and while it is nice to know then the best way to know this is to place them in a scale.

The Strongest 3 Notes In The World, In The Scale

As I mentioned then chords are created by stacking 3rds, and actually that is easy to do in a scale so to construct the diatonic harmony and place the triads in a context . That tells you which triads go together.

Start with the C major scale:

and we can put 3rds on top using the notes in the scale to get first a row of diatonic 3rd intervals

and then these triads which is another useful row to remember, just like the intervals:

It is incredibly useful to know what triads go together, and as you will see later it is a huge help in finding more arpeggios you can use when improvising over a chord, which means more melodies that you can use in your solos

You can do this with any scale, and you should certainly know the triads of the major scale by heart, so this order:

It is also important to figure this out for Harmonic and Melodic minor which will give you examples of the other triads, you’ll see later.

Enough with the triads for now, let’s get to some Jazz chords!

The First Group of Beautiful 4-Note Jazz Chords!

In Jazz, we don’t work with triads as the basic chords so often, even though we still play triads in solos all the time.

The basic chord type is the 7th chord, but constructing the 7th chords is now super easy, barely an inconvienience: You just add another diatonic 3rd to the triads!

So these:

Become these:

Again the order of chord types is really useful to know, so for a major scale it is maj7, m7, m7, maj7, dom7th, m7, ø

And as you can see you there are 4 chord types in the scale:

The reason that I construct chords in scales is because that added context really tells you a lot about what is going on in the music:

If you take this lick:

As you can see that if over the over a G7 then you can use a Bø arpeggio which is the diatonic arpeggio from the 3rd of G7, so we are combining the knowledge of the chord with the diatonic harmony.

You can also see that the Em triad sounds great on Cmaj7, but that is just because an E minor triad, E G B, is a Cmaj7, C E G B without a C.

And the same thing applies to chords:

If you play II V I that sounds like this:

Here I am using an Fmaj7 chord, which is giving me the Dm7(9) sound:

and a Bø Chord for a G7(b9) before moving down to Cmaj7, so the diatonic chords become a part of how you learn things, and you cna use the same stuff for a lot of things, it is very efficient.

Of course, at some point you have done that so many times that you will just know what the notes of Dm7 is and that the arpeggio from the 3rd is Fmaj7, but being able to figure it out is a necessary step, and knowing it like this is, of course, a lot better than just having a diagram that you are moving around without knowing what is going on.

The Rest of The Beautiful 4-Note Jazz Chords!

As I said, there are more chord types than just the 4 I already covered.

To find some of those then let’s try to build chords in Harmonic minor, because that should give us some more. To keep it easy, A harmonic minor:

To get you more comfortable with the process then we can start with the triads

A B C D E F G# A

Then you have:

Am Bdim Caug Dm E F G#dim

And once you add a 7th to this then you get:

Notice that the G#dim has a diminished 7th from G# to F, that sometimes a bit confusing because it is the same interval as a 6th

And to immediately show you how useful this is, in the II V I in C I used the arpeggio from the 3rd of G7, and you do the same here and use a G#dim over an E7 because it is almost the same notes and they are from the same scale:

and, that is an great way to play an E7(b9) resolving to Am,

Working on this is something that can really speed up your learning process, because if you start practicing diatonic triads or arpeggios while also being aware of what triad or arpeggio you are playing then you

  • Have a better overview of the harmony and the scale
  • See the shapes you need for soloing on the fretboard
  • Figure out what is being played in Jazz solos so you can get that into your own playing.

All stuff that makes it easier to learn and play Jazz, but it probably isn’t going to be useful if you don’t learn any songs that you can use it on. Learning songs become a lot easier if you understand the harmony, and I talk about that in this video covering how I use Functional harmony but also how Barry Harris and Pat Martino have shortcuts that are opposite of each other, but it will all help you learn and remember songs. ! It doesn’t have to be difficult to learn songs. Check that out

If you start to figure this out for the different keys and practice diatonic arpeggios while also being aware of triad or arpeggio you are playing then you start to connect all of this and that will help you:

  • Know the scale and the diatonic harmony
  • See the shapes on the fretboard
  • Understand how the chords move

You can figure out what is being played in Jazz solos

And, all of these skills are important things that will speed up your learning process, but it probably isn’t  going to be very useful if you don’t learn songs and also learn to understand how the harmony works and that you can check out by watching this video which covers how I use functional harmony for that, but also how Barry Harris and Pat Martino think about chords and make things easier! Learning and remembering jazz songs doesn’t have to be difficult!

How The Pros Think About Chord Progressions (and you probably don’t)

How The Pros Think About Chord Progressions (and you probably don’t)

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5 Things That Stop You From Learning Jazz

I often see comments from people who are completely blown away by how complicated and difficult Jazz seems to be. I can easily understand why it will come across like that, but instead of being overwhelmed by funny scales names, crazy chords, or scary rhythms then there is a more relaxed way to get started. As you will see, you can make things simple and easy to work with so that you can start building your skills and enjoy the journey without being scared of falling off a cliff while climbing the Jazz Guitar mountain.

Let’s get into the first problem:

A Million Scales

That is, of course, not true, in fact, if you just start with the major scale and just use that then you will get really far, you could also start with the pentatonic scale, but that is a little more complicated and I will talk about that in a bit. In my experience, the easiest thing to do is to start with the major scale. Along the way, you need more, scales but there are plenty of songs where you can get through them with a major scale in a few different keys, think of songs like Pent Up House, Take the A-train or So Danco Samba.

And don’t start with the “all keys and all positions” stuff, if you can play the scales you need for the song in one position and in the key that you need them, then you can start playing solos. Remember that this is the real goal of the whole thing. Pick up the rest along the way. Don’t waste your life practicing all permutations, positions, and inversions of things that you don’t know how to use.

Starting With Pentatonics

When it comes to starting with pentatonic scales then that is possible, there are songs that you can work through and get started learning just using pentatonic scales. Mostly those are more modern modal pieces, so songs like Herbie Hancocks Cantaloupe Island or Maiden Voyage, which is probably also why both of those are on the famous Jamey Aebersold beginners album Maiden Voyage.

One thing that you do want to keep in mind with starting with pentatonic is that probably what you think of when you think of a Jazz phrase is not pentatonic. All Jazz artists use pentatonic scales, but the phrases you think of when you think of Jazz are very likely more major scale and arpeggios maybe with some chromatic leading notes, and you don’t have that material with the pentatonic scale.

That doesn’t mean you can’t improvise over the songs, but you want to be aware that you might not get the sound you want. So keep in mind that if you “upgrade” your pentatonic scale with 2 extra notes then you have a major scale, that is far from impossible to learn.

When you start out playing Jazz, then you might need some help finding songs and scales, and here I could try to sell you my course because that actually teaches a song like this, but you can also just join the Facebook group and ask there. That is free, and there is a link in the description.

Impossible Theory

When I started out learning Jazz and learning the first Jazz Standards then I did not know a lot of theory, I knew a bit of chord/scale stuff so that I, for the most part, could figure out what to play on the different chords and then practice that. In fact, in one of the first lessons I had, my teacher told me to play #9, b9, and b13 over a dominant, which for quite some time was the only thing I could play on dominants and I could NEVER get that to sound good!

But I still managed to power through. Mostly by being very stubborn, and in the beginning, my approach was that if I could really not figure out what to play on a chord then I could play the melody or find a few good notes like the arpeggio, which gave me a way to survive, and still play the song. It sort of gave me space to figure it out later..

The Advantage of NOT having Internet

In a way, this is one place where I was maybe better off that there was no internet. I would need to try to find a book in the library or wait until I had access to a teacher before I could figure out a chord that didn’t make sense, and that made it easier to just fix the problem with a temporary solution and then wait until I could learn more. Now you can go on the internet and disappear down a rabbit hole spending hours or days googling German augmented 6th and Common tone diminished chords, and the worst part is that often one source says one thing and another will tell you the exact opposite.

So I guess my advice is to not be afraid to cut some corners or only have one or two notes that work on a chord in the beginning. It is about playing the song, that is the bigger picture and you can work on the details along the way without having to spend hours on understanding the analysis of the voice-leading of the original piano arrangement.

The music theory is there to help you play and understand what you are playing, and most of the time you can get really far with Major scales, basic diatonic chords, and a few secondary dominants. No need to make it more complicated than it is.

Complicated Chords

If you are sitting down to play and look at a piece of sheet music like a lead sheet or a big band part then it can seem insane how complicated and detailed the chords are.

And it seems like you have to use quantum physics to play through the chords of the song.

One thing that is important to remember is that in Jazz, chords are there to be interpreted, so if a composer or arranger writes something with 2 or 3 extensions and alterations then that does not always mean that you have to play that, that is just a description of what is happening in the music at that point.

So instead of worrying about all of that then you can also start with just playing the basic chord, which on guitar usually means playing the shell voicings with or even without the root. You start there and then you can add the rest later when you are comfortable reading and interpreting chord symbols like that.

No matter what level you are at this is a great exercise, and all the chords can be boiled down to more basic 4-note chords and you just ignore the rest and don’t play those for now.

And shell-voicings is where you want to start. If you want to see how powerful the shell-voicings are and how there are many ways you can use them to play Jazz Standards then check out this video, there is a link in the video description.

Jazz Songs: Somebody Spilled Alphabet Soup On My Sheet Music

This is of course closely related to the previous topics of theory and chords and how things might seem incredibly complicated, but also with songs there are places you can begin where it is not immediately Giant Steps played backward in 11/8.

There are a few things you can get right that will make it easier to learn songs in the beginning. And these are pretty much all things that I did not manage to get right when I started out, I will tell you about that in a bit.

  1. Pick a song that has a clear and not too long form: 32 bars AABA or ABAC maybe a 16 bar form, these are all common Jazz Standard forms.
  2. Make sure that you stick to things with mostly basic progressions like II V I and turnarounds, stuff you can recognize
  3. Take a song in an easy key so that you don’t worry about that
  4. For ear training, it is often easier to take songs that don’t modulate too much and are clear and easy to hear

The first two songs that I learned were Stella By Starlight and There Is No Greater Love. Both great songs, but if you hold them up against my points here then they far from ideal

If you want some better options then check out the video I did suggesting 10 Jazz Standards to begin with, I’ll link to it in the description. There are a lot of fairly easy standards so you might as well start there and not shoot yourself in the foot to begin with.

For the first songs, you don’t have to learn them by ear, but it really does pay off to get started with that pretty quickly begin with the melody, and then later you can add the bass and use those two things to help you figure out the chord.

Transcribing Solos

A key ingredient when you set out to learn solos by ear is probably just enthusiasm that hopefully turns into stubbornness. That was at least what it was like for me. The first things that I transcribed really just came from loving how Charlie Parker and John Scofield played and then being really curious as to what the HELL they were doing because I really liked it. Then a ton of banging my head against the wall followed while I tried to figure things out. I guess I was lucky that I mostly connected with the bluesy Parker things so there were songs and solos that I could figure out like the theme from Bluebird and the solo from Now’s The Time where he uses the same lick as in Billie’s Bounce, and I did not learn entire solos just the bits and pieces that I could figure out. The same goes for Scofield where I had heard All The Things You Are and I could (probably sort off) play the melody but when I listened to his version on Flat Out it took me somewhere between 10 and 20 seconds to be completely lost.

But similar to how I made horrible choices for songs then you can actually find some pretty easy solos that you can learn, and learning solos by ear is the most efficient way to learn phrasing and begin to hear the right type of melodies and rhythms. It will teach you so many things that you don’t want to rob yourself of that experience.

When you are trying to choose solos that you want to learn by ear then try to check most of these boxes for the solos you want to learn, just to keep it practical:

  1. Take A Short Solo
  2. Choose a solo on a song you know
  3. Be sure that it is not technically out of reach?
  4. Pick an artist that you really like
  5. Pick an artist that you have already listened to A LOT!

And in general, listening to a lot of Jazz music will really help you with a lot of these issues. Even if it is just by listening for a few hours every day in the background then that will pay off massively later, just by getting the music into your ears, a basic feel for the melodies and the rhythms that you don’t get if you only practice the music without actually listening to it.

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Minor Chords – Unlock Some Beautiful Jazz Chords In Your Music

When you play chords or if you are writing songs then you reduce the harmony to chord symbols like Dm7 Bb7 Cmaj7. But the great thing about Jazz harmony is that you can make a lot of choices when it comes to how you want to color the chords, and especially with minor chords there are some incredibly beautiful choices that are not getting the attention they deserve, so let’s start easy and then go to the extremes with some minor chord options.

Level 1 – Jimmy Page Got It Right

The basic chord where it all begins is of course just a minor triad:

You have a root, a minor 3rd, and a 5th.

But it is only 3 notes, so you can add combinations of the remaining 9 notes and get a lot of different colors. The first, and most common one is level 2.

But Minor chords can even work as substitutions for altered dominants, which is a great way to make some interesting chord progressions. I’ll show you in a bit.

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock Scale Of Harmonic Goodness. I am going to give this the minor triad a “This is great if you are in Guns And Roses or another stadium rock band”

Level 2 – They Are Everywhere, So What!

The most common extension to add to a minor chord is probably the b7 which makes it a m7 chord:

This is the typical first chord in a II V I

But you actually have m7 chords in 3 places in the major scale, on the II, III and VI:

And two variations of a m7 chord that you can very often throw in there would be chords with the 9th:

or the 11th:

These are all nice, beautiful, calm sounds but also sometimes a little bit boring.

Herbie Hancock Scale Of Harmonic Goodness

So this is a clear “You Still Need To Check Some Things Out But Don’t Use The Real Book!” on the Herbie Hancock Scale Of Harmonic Goodness.

Let’s take this in a different and more colorful direction!

Level 3 – You Are Missing Out!

This is what I probably consider the most overlooked option.

Instead of adding a b7 you can also add a major 6th to the chord:

A C E G → A C E F#

And the m6 chord is a great sound that works especially well with tonic minor chords for example the Gm6 in Autumn Leaves which is also what is often played as a riff under that chord.

When you are soloing then the m6 chord is usually associated with melodic minor:

A B C D E F# G# A

This sound is often with the next type of minor chord, but a very common variation that you want to know is the m6/9 chord:

You want to explore how to use this chord and test how it sounds in different places, it can be a great sound and also add some much-needed variation to playing m7 chords everywhere.

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of harmonic goodness this gets a “Now we are talking!”

Level 4 – So Much More than Pink Panther!

You most likely already know this sound as the ending chord of this:

Or a more recent song like this:

The basic chord type here is a mMaj7 chord,

so that is a minor triad with a maj7 7th

A C E G#

This chord is dissonant and at rest at the same time and is a nice more spicy color you can add to a chord progression:

 

The mMaj7 chords sounds great if you add a 9th to it:

or even a 13th:

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of harmonic goodness, this gets a “Rick Beato Approves”

Level 5 – You Are Playing A Wrong Chord!

This chord is almost like a mistake!

Most of the time when you have a m7 chord then it is put to use as a suspension of a dominant chord, so a more independent version of a sus4 chord.

If you listen to a II V I then that is:

and it is really just a bass note away from:

If you look at how this chord works then the point of it is to move one note.

The 7th of the m7 chord down to the 3rd of the dominant. Here that is a G on Am7, down to an F# on D7.

That means that the one note that you don’t want on the m7 chord is probably the 13th because that is the note that you are trying to save for the next chord.

But if you just listen to it m7(13) chord is a great chord to use as a sound in itself, and as Herbie Hancock has demonstrated quite often. Paired with an altered dominant it sounds great in a II V I.

Herbie Hancock Scale Of Harmonic Goodness

Clearly, this should get a “There Are No Wrong Notes” on the Herbie Hancock scale of Harmonic goodness. But there are even minor chords that are so strange that almost don’t exist.

Level 6 – This Doesn’t Even Exist

If you have watched any mediocre YouTube guitar lesson on improvising then you have probably learned that Lydian is way better than Major. While that is of obviously complete nonsense then that does make you wonder:

“What is a Lydian m7 chord?”

The pragmatic and boring people will tell you that it is Dorian because of the major 6th interval, but the truly visionary out there will tell you about the legend of the m7(#11) chord.

This sound is mostly just a special effect that you can throw in there if you want to change things up on a minor blues or a song with a static minor chord for some time, but you can use it in a cadence:

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of Harmonic goodness, this is an obvious “Don’t Play The Butter Notes“

Level 7 – That is Not Even A Minor Chord!

With all these options then you can start to use the different minor chords as substitutions for other chords.

A great example of this is to use a mMa7 chord as an altered dominant, here it is EbmMaj7 instead of D7alt:

You can hear Jobim do this in the bridge of his song Dindi, and it is something you can get a lot of beautiful harmony out of.

You can also use a CmMaj7 instead of the D7:

Herbie Hancock Scale Of Harmonic Goodness

These need to be somewhere between “You Are Fired and Don’t Steal My Gig” on the Herbie Hancock scale of Harmonic goodness. Let me know in the comments which one!

Why Your Comping Doesn’t Work

Colorful chords are great and a big part of what is fun to explore about Jazz harmony and playing jazz songs, but if you want to get started playing Jazz then it is as important that you dig into the type of chords that have room for you to add extensions and colors to them. This video will introduce you to shell-voicings and also show you how they are fantastic for a lot of things from walking bass and chords to bossa nova and a great starting place for building some beautiful chords.

5 Basic Jazz Chord Exercises That You Want To Know

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Why Half Diminished Chords Are Amazing And How To Use Them

For many beginners, the half diminished chord or m7b5 chord is a weird mysterious chord, but it is actually a very flexible chord to have in your vocabulary

In this video, I am going to talk about how to construct and play them and then go through how you can use them in a song, not only as half-diminished chords but also as a lot of other chord sounds.

Content:

0:00 Intro

0:57 #1 Basics: Half diminished Chord construction and Voicings

2:08 #2 Basic use in a minor II V I

3:35 Two things!

4:33 #3 Dominant

6:56 #4 Altered Dominant

9:22 #5 Lydian Chords

11:13 Like the video? Check out my Patreon page.

Getting Comping and Chord voicings into your playing!

Comping – Putting It All Together

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How To Learn Jazz Guitar – Suggestions To Begin Studying

This is a question I get very often. And that is in no way strange. Starting to learn Jazz guitar is the beginning of a long journey with a lot of interesting stops along the way.

In this video and post, I will try to give you some places where you can look for the things you feel you need to check out and of course also what you think is interesting.

 

Learning Jazz, or any other style of music is not a set path the fits everybody. We all take different routes and need to work on different things longer or shorter. That is also the reason that there is no set way to go through this and why I am calling it suggestions. You need to figure out for yourself where to go next. If I have a student learning Jazz it is common that I take a few lessons to figure out what to work on and how to work on it, so expect that when you start working as well.

That said, I will try to make this a little less complicated and stop the information overload a little because I don’t think that is really necessary.

To keep it a bit short I am going to focus on three main topics:

  • Technique and Scales
  • Chords
  • Improvisation and Songs

Technique and Scales

Keep it simple. Start with the Major scale. Don’t overdo technique practice.

Start with one position and one key. You can add positions and keys along the way, with basic exercises.

Start with these exercises:

  1. The Scale
  2. The Scale in 3rds
  3. The Diatonic 7th chords (Maybe Triads first, but many don’t have to)

For more information on what to do work on and how to use it:

The Most Important Scale Exercise In Jazz – Basic Scale exercise and Scale in Diatonic 7th arpeggios

Practice Major Scales like this and You will get more out of it! – More thoughts on scale practice.

How to practice your scales and why – Positions – A bit of a deeper look into options with scale practice and suggestions for exercises

Jazz Chords – A solid set and learn some songs

It is practical to learn some jazz chords so that you can play chords on songs. As jazz guitarists, we spend more time comping than soloing. It is also a huge help to be able to hear the harmony that you are soloing over.

I have a study guide for Jazz Chords where the first two or three lessons will give you more than enough. How to Learn to Play Jazz Chords – Study Guide

Especially I would start with a set of diatonic chords for the major scale which is exercise one or two of this lesson: How to play Jazz Chords on Guitar

From that material you can gradually expand chord vocabulary, learn songs and progress into rootless voicings and more complex comping and harmonization ideas.

Improvisation and Songs

This is the most important part of how to learn jazz guitar because this is where we talk about playing music. So it is about using the material that is practiced in the scales.

If you want to play jazz you need to spend time playing the songs and improvising and you should start doing this from the very beginning. Even if you can’t really play solos that sounds like jazz, just by trying you are building repertoire and skills to use later.

A few things about improvising over changes:

How To Solo Over Chord Changes The Right Way

A practical example of improvising with arpeggios:

How to start soloing over a II V I with arpeggios

For more examples of songs, easy chord melody arrangements and similar then you should browse through this playlist of easy YouTube lessons:
How To Begin Jazz Guitar – Easy lessons to gain an overview

If you start making your own Jazz Licks and develop your improvisation by working on coming up with your own lines then maybe check out this lesson:

How to write Jazz Licks – What You Want to Know

Jazz Standards to start with and how to learn them

When it comes to which songs to start with then I would suggest you start with one of these 10 songs:

The First 10 Jazz Standards You Need To Know

And some of the exercises and things to focus on when learning them are covered here:

Learning Jazz Standards – Important Exercises

Next level for Jazz Guitar

Maybe you already feel comfortable with the things I covered here, and you are looking for more challenges and explore the music further. Of course, you can browse the YouTube channel and my Website.

Check out the other study guides here: Study Guides For Jazz Guitar

Another option is to join the 6000+ members of the Jazz Guitar Insiders Facebook group and ask there, get inspired by the posts and comments of others:

Jazz Guitar Insiders

The Jazz Guitar Roadmap

My online course is a series of lessons set up so that you start at the beginning and work towards playing solos and making lines.

✅ An organized approach for practicing and learning Jazz Guitar

✅ How to get you started playing solos that sound like Jazz

✅ What you need and how you start coming up with Jazz lines

But don’t take my word for it:

“This is by far the best  Course out there for anyone wanting to get into Jazz Guitar and overwhelmed by the amount of study material available. Jens Larsen has a way of providing you with what you need at the level you are at and you will be amazed at how much improvement you will see both in your playing and understanding of Jazz Guitar and associated Jazz vocabulary.

Thanks, Jens and I look forward to a follow up course if possible!”
– Ger Leahy

Get an invitation to check it out here: http://bit.ly/JazzGtRm

Or join me on Patreon where you can support and help shape the content on the channel in the future. Patreon is really what has made all these lessons and the channel possible.
Check it out here: Jens Larsen YouTube Lessons on Patreon

5 Common Mistakes When You Learn Jazz

Learning Jazz is difficult and you want to get it right the first time around so you don’t waste any time. When you learn Jazz Guitar then there are some things that you can keep in mind in terms of how you practice jazz, the type of music or jazz theory that you learn and also what you focus on with your jazz practice.

In this video, I am going to go over 5 mistakes that I see many students make and talk about how to approach learning jazz and practicing in a more efficient and useful way.

Content:

0:00 Intro – Be Efficient with your Practice

0:33 You can fix it by thinking differently

0:45 #1 Modes

1:00 Most Jazz Repertoire is Tonal, not modal

1:26 Breaking down Modal vs Tonal Analysis

2:04 Chords are in a context – use your ears

2:37 Play the movement

3:11 Dm7 G7 Cmaj7 vs Dbmaj7 E7 CmMaj7

4:06 Understanding and stripping down Chord Progressions

4:29 #2 Learn Songs

4:30 it’s not all exercises.

4:49 Just Listen to Scofield!

5:21 #3 Listen To Jazz

6:02 What Jazz Do You Like?

6:13 Jazz is not a Skill, it is a type of music….

6:58 #4 Learn Vocabulary

7:30 What is having Vocabulary?

7:48 How To Learn and Develop Vocabulary

8:15 #5 Practice the Right Techniques and Exercises

8:32 Arpeggios and how they appear in a Jazz Solo

9:31 Keep in mind that you need to improvise

9:54 Like The Video? Check out my Patreon Page!

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