Tag Archives: how to play guitar

Can You Do This On The Chord Progressions You Know?

You practice improvising jazz solos over progressions and spend hours or days learning to solo over songs. One thing that we mostly leave almost random is when do we know it. How do you answer if you know a song or a chord progression? Having a way of judging how well you know a song is very important but also difficult to really describe.

In this video, I am going over 4 exercises that I use and that my students use to learn chord progressions. Two are technical and two are more about being musical and working on playing what you hear.

I find that learning Songs and Chord Progressions is extremely important for learning jazz or jazz guitar, so if you have any thoughts on when you know a progression or exercises that are useful then please leave a comment.

Content:

0:00 Intro – When Do You Know A Chord Progression?

0:37 4 Exercises – Two Technical, Two Musical – Know what there is and Play What You Hear

1:15 The Turnaround – Scales

1:52 #1 Only Using The Arpeggios

2:25 Basic Technical Exercise

2:45 Solo only using Basic Chord Tones and Arpeggios

3:27 #2 Never Ending Scale Exercise

4:24 The Scale version

4:51 Using Diatonic Arpeggios instead of the Scale

5:11 The Diatonic Triad version

5:52 #3 Rubato Solo from chord to chord

6:24 The Exercise and the Goal

7:01 Giving you time to listen to what you hear in your solo

7:36 #4 Motif Exercises

8:16 Learn from Wes Montgomery

8:42 It is a great measure of how free you are on a progression

9:04 Hearing motifs and then playing them.

9:27 What Exercises do you find very useful? Leave a comment!

9:46 Like the video? Check out my Patreon Page!

Improvise using Target Notes

One of the core ideas that I used when I learned how to improvise over chord changes was using target notes. This method took me from working on Rhythm Changes to Giant Steps. It is such a strong concept that it will help you deal with any progression.

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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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Phrygian Chords – Some Of The Best Places To Use Them

Phrygian Chords are a great chord substitute to have in your vocabulary. It can be used in reharmonizing songs for arrangements or as something to throw in there in solos and comping. In this video, I talk about some of the places where you can apply a phrygian chord. Some more “out” than others. I demonstrate this using a chord melody of the song “I fall in love too easily” which I then harmonized using a lot of Phrygian, or Dom7thsus4(b9) chords.

I use the arrangement of the song but also talk about applying this type of chord substitution or reharmonization on Stella By Starlight and Night And Day.

Content:

0:00 Intro – Phrygian Chords

1:12 Chord Melody – I Fall In Love Too Easily

2:41 Phrygian Chords – What is it

3:00 A few Phrygian Voicings – The Abmaj7(b5) connection

4:30 Phrygian Chord as a substitute for a II V

5:02 Scale Choices and variations for the chords

5:57 Reharmonizing a minor II V I

6:42 Night And Day Reharmonization

7:06 Stella By Starlight

7:49 A few bars with “normal” changes

8:40 Minor II V substitutes and the consequences

10:47 What is the melody actually?

11:34 Tonic chord substitute #1: Phrygian on III

12:30 Using this on Night And Day – Consequence of this choice

13:00 Arranging: Think in expectation of the listener

13:33 Tonic chord substitute #2: Phrygian on I

14:40 Learning to use new chord sounds

15:24 Like the video? Check out my Patreon Page.

Learn using Reharmonizations in your solos

A huge expansion of your vocabulary happens once you learn to improvise not only with the notes of the chord but also with the chords in the progression.

This video lesson demonstrates and discusses that.

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Get the PDF!

The PDF with the chord melody and 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 Google+ or Facebook to keep up to date with new lessons, concerts and releases.

7 Minor Scales You Need To Know About

Having different Minor Scale will help you not always sounding the same in your solos. It is important to have a solid vocabulary to chose a minor scale from. The minor scale guitar solos in this video demonstrate 7 different sounds and I also talk about what the notes are and how I improvise with the scale.

Hope you like it!

Content

0:00 Intro

0:46 Melodic Minor Solo

1:05 Scale break down and improvisation suggestions

2:59 Harmonic Minor Solo

3:21 Scale break down – It’s a sound not just a set of notes!

5:32 Dorian Solo

5:56 Scale Discussion – Modes are not really tonal

8:23 Natural Minor/Aeolian Solo

8:46 The Scale and the Folk Sound

10:31 The Blues Scale

10:51 A scale sound on top of a minor chord?

11:58 Dorian #4

12:23 Scale break down – A harmonic minor sound and a triad pair

14:35 The Augemented Scale

14:55 A scale that doesn’t really fit but it still does…

17:52 Did I forget a scale?

18:25 Like the video? Check out my Patreon Page

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

All The Things You Are – Getting Started Soloing

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Get the PDF!

You can also download the PDF of my examples here:

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.

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.

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!