Tag Archives: how to play jazz chords on guitar

New Beautiful Jazz Chords With This Powerful Triad Strategy

The best way to learn something new is to build on things that you already know. That way it is much easier to really get into your playing and more likely that you get something out of it.

That is how this exercise works and it is a great way to learn some very useful and flexible jazz chords that you can do really amazing things with.

And of course, you can also explore some that sound great and are a little more tricky to play.

Basic Jazz Chords

Let’s start with these basic voicings for a II V I and then work out how to create a lot more chords, and more importantly, chords that you can add color and embellishments to.

If we turn them into rootless voicings by removing the bass note then you get

Notice that the Dm7 voicing is, in fact, an F major triad.

And you can play Dm7 on the same string set in 3 ways by playing the different inversions of the F major triad:

And if you look at the II V I then you can see that all that is changing is a single note, C moves to B. So you can create II Vs for all the Dm7 chords by finding the C and then changing it to B:

Already here there might be G7 chord voicings that you don’t use that often, and we are only just getting started! Let’s make them complete II V I’s by adding the Em triads that are used for Cmaj7:

Exercises To Discover New Things

Usually, when you think of exercises, and maybe even practice, then it is about drilling scales and arpeggios with a metronome. Of course, you need stuff like that as well, but it is very useful to also have exercises that help you discover new things. Here, you start with chords that you know and play, and then you develop more options from that, and you can do this with any voicing or chord progression, and as you will see then we can add a lot of beautiful colors to these chords. This is not about repeating material 100s of times, it is about discovering things that sound great and then using that.

Adding More Colors And Tricks

The first thing you can do is make the G7 a G7(b9), so that it has more tension and adds more energy to the progression. This is really just lowering the A a half step to Ab:

and then you can take that through the inversions as well.

Notice that I am also adding a variation to the Cmaj7 chords because I move the 5th up to the 13th for all of them. You could also try to move it down to the #11

But I’ll let you explore that by yourself. For me, it is very important to think of chords as things you can change, not static grips so that you have some freedom to create the sound that you want from some basic chord symbols.

The Advantage of Rootless Voicings and Chromatic Voice-leading

A very common thing to play on a tonic chord like the Cmaj7 is to from the maj7th down to the maj6th in half-steps like this:

When I am playing this then that is not that difficult to do with these 3-note voicings, but if I was playing with the root then that is a very different story.

So playing with the 3-note chords adds quite a lot of flexibility or options for what you can do when playing chords. Which, as you will see, is where all the fun stuff really starts to come up.

When I was in the first few years of my study at the conservatory, then most of the gigs that I did were these long 3-4 hour standard gigs comping singers. Depending on the singer then everything from 1/3 to 1/2 of the songs was ballads. This can get a bit boring, but it is the perfect place to also develop voicings and voice-leading like this. This also helped keep it interesting not only for me but also for the rhythm section while the soloist was still happy (so that I didn’t get fired)

Jazz Chord Heaven!

Let’s try to take that a bit further, so you can start to see all the things that are possible, just starting with those 3 basic Jazz chords.

You have the 7th to 6th thing and you can also work with the 11th on the minor chord. Try to pay attention to how the sound changes when the movement is in different parts of the chords.

What is happening here is often referred to as inner-voice movement, and it is a beautiful way to embellish chords and add some interesting twists and turns that keep the harmony flowing in a nice way.

You also want to notice that I don’t rely on a static fingering for the chords, but instead try to find a solution that helps me play what I want to play. That can be really useful to keep in mind so that you are not stuck with only being able to play a chord in one way.

You can of course also take ideas that start with another inversion like this one:

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/new-beautiful-60759600

Get the PDF!

You can also download the PDF of my examples here:

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

From Basic Jazz Chords To Beautiful Comping

You probably already know how beautiful Jazz chords can sound and how great Jazz players just seem to flow through the progression getting it to sound amazing.

But when you learn Jazz chords then you are stuck looking at chord progressions and trying to read diagrams, and it has very little to do with actually making music!

In this video, I am going to help you past that, starting with simple chords, and then show you how you can turn them into beautiful harmony with fills, rhythms, and interesting sounds. so you sound a lot better.

Level 1 – Basic Chords With Extensions

Let’s start with this set of chords for a II V I. You probably already know these:

Notice that I am playing chords with extensions, so there’s a 9th on the Dm7 which becomes a 13th on the G7. Extensions are a big part of the sound of Jazz chords, but there are some other things that you also need to get right so we need to change the chords a little!

Level 2 – Something To Work With: Rootless Voicings

As you saw in the intro then I am not playing the complete voicing all the time, and you want to learn to use voicings that leave out the root:

When you are playing Jazz chords on the guitar then there are two important reasons to not play the root:

  1. Get out of the way of the bass player so he or she is happy
  2. Free up a finger and can start to create great variations and fills

Playing the Dm7 voicing like this:

Means that you can figure out how to add or change notes and really just play something like this:

This is a very important part of learning Jazz chords, that you don’t get stuck with static grips, you want to see a voicing as something you can change, move the melody, add and leave out notes.

Also because that is a lot easier to remember than 1 million different chord grips.

Quick side note: As you will see, I am not using substitutions in this video because that is not nearly as powerful a tool or skill as the other things that I will cover, and it is much more important to learn to be creative with the chord progression that is already there.

Level 3 – Get The Rhythm Right

You already know that rhythm is one of the most important parts of Jazz, but when it comes to getting comping to sound good then something else is much more overlooked: The length of the chord!

What really makes the difference with the rhythms is how long you play notes, and so many rhythms sound so much better if you use short notes.

You want to use rhythms like these:

There are two things you want to learn to do:

#1 – Anticipation

Anticipating the 1: Try to get learn to play the chord on the 4& and anticipate the harmony in the next bar as I am doing on the G7.

Maybe:

You can do that by just playing through the progression and playing on the off beats an exercise like this:

#2 Length of the Chords

You also want to be aware of whether you are playing long or short notes in your comping. There is a big difference between

And:

Nothing is as important in Jazz as rhythm! Let me know if you agree in the comments, or if you think something else is more important, then tell me what that is!

Level 4 – Making It Into Music

Now you have the chords and you can play better rhythms with both long and short notes. The next thing you want to focus on is to not just play separate and isolated chords, but really turn the whole thing into music, and give it a flow.

Level 4 example

What you want to work on is trying to play the chords, but also have something in there that makes it sound like each bar is a part of a larger story, not just isolated things next to each other.

In this case, you can hear how the melody on the G7 is a variation of the motif on the Dm7 chord. Ant that is one way to connect them. I made a video on Patreon with examples of different ways to do this, maybe that is something I should also make a YT video about? Let me know in the comments.

Next, Let’s look at a secret weapon that you can use that sounds amazing and really levels up your comping in a very subtle way.

Level 5 – The Inside Job

This is a hidden gem when it comes to playing chords, but it is such a great thing to also add in there every now and again.

Here you can see how there are things happening inside the chords, so moving the inner-voices. Here it is going from Dm7 to G7 and also moving the 7th down to the 6th of Cmaj7.

The way you start exploring this is by finding melodies and ways to move voices on the chords:

On guitar, this is about being practical and finding the places where it is possible and still playable. In this example, you see inner-voice movement on the G7 and a variation on the Cmaj7.

But it does sound great and is worth exploring to add a bit more polyphony to the music.

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/from-basic-jazz-58208641

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

 

How To Explore Jazz Chords – A Better Approach

I very often get asked: “How can I learn to remember all those chord shapes?” and the answer to that is maybe a little surprising.

There is one way that you should be learning and practicing chords that is really overlooked, and that is a pity because it is very efficient and a practical way to come up with some great sound chord ideas that you can actually use.

Inversions And What You Might Be Missing

Usually when you are starting with learning a type of Jazz chords like Drop2, then the first thing that you focused on is learning inversions of a chord like this Dm7:

Obviously, that is a good way to learn the voicings for a specific chord, and anyway a good exercise, but you also need to learn the inversions for the other chords

And then you would have to repeat that process for voicings when you add extensions or alterations. And in the meantime, you are not working on actually using the chords to make music. It is not put together and used for anything.

So instead of focusing too much on practicing tons of inversions where the chords are not in any type of context and you are not making music with them then there is another thing that is much more useful to explore.

That is what I will show you how to do in this video.

Finding The Music in the Chords

As you can see, I am using Drop2 voicings in this video, but really the same is true for all other types of chords whether they are drop3 or triad voicings.

If you went over the chords that I showed at the beginning of the video then you can put 3 voicings together and play a II V I like this:

And you could go over inversions of this as well, but I think there is something else that is more useful.

If you want to comp with these chords in a piece of music then that could be something like this.

 

So you want to add different melodies and rhythms, and as you can hear I am using a lot of different voicings, but it is really just coming from the 3 basic chords that I started with. So the next thing to do is to take one of those basic voicings and then try to open it up so you can comp like this with it.

And this is not about learning some other chord voicings that you put in instead, it is about knowing variations of these chords, it is about opening up the voicing so that you can create some interesting colors, melodies, and voice movement. When you practThat is what we all love about Jazz chords after all.

How To Remember All The Chord Shapes

If you are using chords to comp or play a chord solo then the most important thing is flexibility. And if you only practice chords as grips and inversions then you are not organizing the chords in a way that helps you make music with them.

So instead it is much more practical to not think about different chord voicings, and instead, just have a lot of variations of the same voicing.

It is a little bit like a Pizza, we just think of it as one thing, but you can have pizza’s with all sorts of toppings and we still think of it as a pizza and don’t have to remember them as separate meals.

Let me show you what I mean.

Voice over example 6

If you look at the Dm7 voicing I am using:

If you know the notes around this chord then you can make some variations of this voicing:

Example 6

And it is still really the same chord, it is just adding different colors to it. Similar to putting different things on top of your pizza.

*Cut-in: The big question now is what extension is the pine-apple on the Pizza, but maybe we can leave that discussion to the comment section

The big advantage is that I have all these voicings as variations on one thing, so I don’t have to practice all of them in inversions, I am checking them out in a place where I can use them, and if you were to try to work through all these in inversions then you would get some pretty difficult chords and maybe not get to making music.

So the answer to the question at the beginning of the video: “How can I learn to remember all those chord shapes?” Is that I don’t remember different chord shapes I just know a lot of variations of the same chord, and I practice them so that I can use them together instead of only working on them as separate things.

So I am using that if I can make a pizza with pepperoni then I can also make a Pizza Hawaii.

The next thing to work on is how you practice to think like that

Practicing and Exploring Towards Making Music

Let’s start with the Dm7 voicing and explore some options there around that.

If you want more voicings with different extensions or alterations then you need to understand the context of the chord.

For this video, you can just see the Dm7 as being a part of the C major key and the II chord in a II V I.

If you want to have different options then you need to know the scale around this voicing.

Of course, we only need the top part, but you want to know your scales anyway.

If you look at the first voicing in this example:

then the notes of the chord are put so that we have low to high

3rd – 7th – root – 5th

To make changes to the chord then you still want to keep the core notes in the chord, and those are the 3rd and 7th. The root and the 5th you can change around and replace with other notes you want to use.

So you can play the 9th(E) instead of the root, the 11th instead of the 5th, or both so you have a 9th and an 11th in the chord. You can also replace the 5th with a 13th.

Give Your Comping A Melody

The easiest way to make your comping sound good is to tie together the chords with melody. This is in part, voice-leading so that the transition from chord to chord is pretty smooth, but it is just as important that you think about the melody in the chords and also the rhythm in that melody to really make it a piece of music.

Here is an example of a II V I using the Dm7 voicings and this area to play chords.

The Dm7 you can probably recognize. The main thing to notice is that it is really about the top-note melody.

The G7alt voicings are really done in the same way as the Dm7, but I am using a G7 from the altered scale.

The Cmaj7 is also using the same concept, but for the tonic chords in a II V I you can actually choose between having a maj7 and a maj7 so I am using that as well to make the Cmaj7 into a C6/9.

So what you want to practice is more about exploring the melodies you can play with the chords and not only playing them but also making small phrases as I did here.

A thing that will really open up your comping is also to realize that you can leave out the top note for this set of voicings so that you can play a big chunk of a scale and use that as well in comping.

I do have some videos where I explore this type of thinking on Satin Doll, I will link to one in the description.

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/how-to-explore-51908756

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Jazz Chords – From Easy to Advanced in 5 Solid Exercises

It is easy to get lost in difficult Jazz chords that you don’t have control over and can’t use when you are playing, and that means that you are not really getting anything out of them, so in this video, I am going to show you a set of easy jazz chords and then show you how much you can do with it and how you can really play pieces with them.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/jazz-chords-from-45476744

Content:

00:00 Intro – Easy Jazz Chords To Expand On

00:28 #1 Shell-Voicings – What Does The Chords Sound Like

02:11 #2 Add Some Rhythm And Make It Interesting

02:41 #3 More Notes = More Color

04:39 #4 Less Notes = Even More Color (And More Notes)

05:25 #5 Become Free With The Chords

05:57 Get More Out Of Your Shell Voicings

06:03 Like the video? Check out my Patreon page!

 

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Beautiful Jazz Chords That Make You Less Boring

Do you get bored listening to yourself playing chords? Let’s look at some 3-note jazz chords that change things up a bit so you are not always playing the same tired harmony.

Warning: Some of the chords in this video can be both rootless jazz chords and incomplete, they are so hip that they are almost only alterations.

Make Chords Your Own

This example has a few “advanced” sounds but it also still makes sense and has a natural flow.

You could see this example as derived from these chords that you then change a few notes and make more interesting, and the way I do that is something you can also do with the chords you play.

On the Am7 we have the 11 instead of the 5

On the D7, #9 instead of b9

Gmaj7: First  #11 instead of 5 and then chromatic up to #5 and then #11 instead of 5

Why You Use 3-Note Jazz Chords

As you can see some of what makes it more interesting is also that I move around voices in the chords, and that type of movement is a lot easier to execute if you play 3-note chords, in fact, you can really start to improvise with them as if they were 3 voices. This is much harder with 4-note voicings that are a lot less flexible. (B-Roll 3-note voicings?)

Open Up How You Think About Chords (No More Wonderwall)

One of the things that you should develop if you want to play chords and Jazz harmony is that you don’t want to get stuck only thinking about the chords as static grips where you don’t know what notes are in there. As you can see in the previous example you open up an entire world if you are able to start changing the different voices in the chord. (b-roll, changing the notes of a chord?)

Exploring chords and working with the type of things I do in this video is a great way to get into that. Making your own chord melody arrangements is another one. In the end it is important that you don’t find yourself screwing up the music and say

Next: Let’s try the same type of thing but then also break a few rules for the chords.

Color is more important than Rules!

When you play voicings like these then the context of the II V I is pretty predictable, and therefore you can really get away with playing pretty vague chords as you can see here.

The voicings in the example above are derived from this set:

Here I chose to have a 9th instead of a 7th on the Am7

The D7 doesn’t have a 7th either because I include both b5 and b13. You could see it as coming from this voicing.

The Gmaj7 is actually a G6/9 and you could see it as an Em triad where the G is replaced with an A.

This is followed by a voicing that is really just constructed from what you can fit under the melody, which is the 3rd. The important part of the sound is the minor 2nd interval between #11 and 5th.

But of course, you can also explore these sounds on the high-string sets as I do in the next example.

It Is Fantastic Not To Be Tuned In 4ths

With these voicings you don’t have to sit on the middle string set all the time, you can also branch out to the top strings, and with standard tuning that makes some voicings a lot easier to play.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/beautiful-jazz-45104501

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

5 Levels Of Maj7 Chords & How To Make Your Own Voicings

One of the most fun parts of learning and playing Jazz is exploring the Jazz chords and the beautiful colors you can add to it and the freedom you have to improvise with them.

In this video, I am going to go over how we start with basic shell-voicings and then end up with voicing with lots of extensions and colors.

And this is also a great way to really get better at checking out and connecting different types of chords and explore the fretboard

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/5-levels-of-maj7-44173428

Content:

00:00 Intro

00:34 Level 1 – Shell-voicings, Maj7 & Maj6 chords

01:18 Maj7 & Maj6 chords

01:59 Samba comping with Shell-voicings

02:24 Level 2 – Shell with extension & Drop3

03:25 Comping with The Bigger Chords

03:43 Level 3 – Triads & Rootless Jazz Chords

05:17 Jazz Standard with Triad Voicings

05:36 Level 4 – Drop2 and Inversions

07:24 Level 5 -Inverting Shells with extensions

08:36 Adding more colors to a Standard

08:58 More Colorful Chords and Less boring Chord Progressions!

09:05 Like the video? Check out my Patreon page!

 

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Easy Way To Make Your Jazz Chords Sound More Interesting

Just playing Jazz chords isn’t enough to make it sound great. You have to know how to make it interesting and keep the song moving.

In this video, I am going to give you some really easy examples that you can make your chords sound a lot better, stuff that helps you sit in the groove and keep things moving, and it is a simple trick that is more visual than a lot of complicated music theory.

A Basic G7 Voicing

The basic technique that I am using in this video and develop into a lot of great ideas is extremely simple. For a G7(13) chord like this:

You can add a harmonized chromatic melody to this chord like this:

And the rootless version of this which is often a little more practical.

What is happening here is really just that I am playing a melody going down in half-steps and then the chord use the chord on the D, the last note in the melody as a way to harmonize the note leading to it. In that way everything just slips into place and it is also very easy to play.

And this works for other chords as well, not just dominant chords, let’s check that out.

Chromatic Passing Chords on a II V I

Here you can hear how it also works on the II Chord, and of course, you can also use it on a tonic chord like this:

Here I am using a Db6 to get from the Cmaj7 to the C6

Another Great Trick With Chromatic Chords

Now you have one way to harmonize chromatic passing notes, but there is another one that is also pretty easy and works just as well and even makes

In bar 3 I am playing a melody that moves down in half steps, but instead of harmonizing it with the chord a half step above then I shift the first G7(13) chord down a half step, and then the lower part of the chord moves up and the melody moves down

This means that you now have two ways to create some chromatic melodies with chords. Let’s try that out on a few chords.

Exploring More Melodies And Options

To give you a way to get this into your playing let’s go over how this works on a few chords.

If you want to move from this voicings to this voicing:

If you use these two options then you can start with a voicing like this (1st chord in example 6) and then there are two ways you can move the melody down in half-steps:

With the starting chord, you have two ways you can move down, you can use the target chord as we did in the beginning, and you can also start by shifting the first chord.

Here’s another version. If you go from then you have these two options: 7a then there are these two ways to do this:  

Putting this to use on a Jazz Standard

You can put this to use on a song like Ladybird like this. Try to see if you can analyze what is going on.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/easy-way-to-make-43523614

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

 

 

5 Jazz Chords You Need To Use More

You probably already know some Jazz Chords, Drop2 or Drop3 voicings, or Shell-voicings, and those systems are really great to build a vocabulary. But sometimes you want to play some different chords that sound really beautiful and a little more surprising to the ear so that you don’t make the song boring.

Those voicings are what this video is about!

Some of these chords are a little stretchy, but as you will hear, they are worth the effort, just don’t start by playing them in the 1st position.

I am going to introduce them in chord progressions because I think that is how they are the easiest to hear, but you can of course also use them one a single chord vamp.

#1 – Beautiful m7(9,11) Upper-structure Triad

Upper-structure Triads

These 3 voicings really fit well together and they are all using upper-structure triads, something that makes them sound both colorful and strong.

The Am7 is a C and a G major triad which gives us 3rd, 11th, 7th and 9th

Here I am combining it with a D7(13b9) and a G6/9

The D7 uses a B major upper-structure and the G uses an Asus4 triad as an upper-structure, and this is something that you will see throughout the video.

Any Easy Way To Be Creative With These Chords

Arpeggiating chords

Turning it into a Maj7 chord

In the later examples, you will also see that a lot of these voicings can be used for different chords, and in that way they are a very practical way to increase your chord vocabulary.

The Am7 voicings is also great as a tonic chord in C major, even though it does not have a 3rd.

Here it is a more modern sounding Cmaj7 in this II V I with a tritone substitution.

#2 – Close-voiced Maj7(9,13)

This vamp is using the Cmaj7(9,13) voicing which is 7th,9th,3rd,13th and then alternating that with a Bb7, the backdoor dominant.

Notice that this Cmaj7(9,13) also works as a G6/9 which was how I used it in Example 1

There it is 3rd 5th 6th and 9th.

#3 – Dom7(13b9) the most beautiful Dominant sound

The 13b9 sound on a dominant is one of my favorites. It is a great mix of an altered and unaltered sound which I find really rich.

Here I am using that on a II V I in F major, mixing it with a Gm7(11) and an Fmaj7(9,13)

The C7(13b9) is a voicing with an A major triad as upper-structure which is also a part of why it sounds so stable while still working as a dominant.

Another great way to use this same type of voicing is as a diminished chord. You can do that like this on “The Song Is You”

Here it becomes a Dim(b6) but you can also move it around to get to other extensions.

#4 – The Magic Chord – The Maj(b5)

Can you hear it? It is the sound of the #11 Police coming to get us for notating this chord as a Maj(b5) – Clip from Mad Max

You are probably using this set of notes, but using it in this voicing is really a great sound and it is so incredibly flexible.

In this example, I am using it as both a tonic minor chord and a half-diminished chord.

First, an F#ø(11) which leads into a B7(13b9) using another version of the Ab major upper-structure and continuing to an Em6/9 played with two different voicings.

#5 – Dom7th(#5)

The Dom7(#5) chord is a great voicing for melodic minor sounds, and you can make some really beautiful sounds with the inversions as I do in this example, where it is used on the II chord in a minor II V I in Am.

But you can also use it for the tonic minor chord and use the same type of fill like this:

 

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/5-jazz-chords-to-42946787

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Jazz Chords – Using Triads in Jazz Comping – Study Guide

You can use triads to play jazz chords, and it is a very powerful tool for this. Triads are very flexible and easy to play while also sounding great as chords. In this playlist, I will go over how you can use the triads you already know to play great sounding jazz progressions using only easy 3-note jazz chords.

We can play a wide range of chords with these 3-note easy jazz chords and they are very easy to add notes to or change notes to give us the extensions or alterations we want.

You can check out the videos here or go through the playlist on YouTube through this link:

Jazz Chords – Using Triads in Jazz Comping – Study Guide

Working with Triads as Jazz Chords and making it a flexible tool

This video discusses how you can work with triads and inversions when comping, showing you how to voice-lead them, use inversions, and add extensions and alterations.

Finding Triads for 7th chords

This video is actually about soloing, but the first few minutes provide a very thorough method for relating triads to a 7th chord.

Playing a Jazz Standard using Triad voicings

In this lesson, I am going to show you how you can get started with some triad voicings. Starting with what you already know and then go over 5 levels, step-by-step, of how you can play some great sounding comping ideas using these amazing voicings.

Applying Triad voicings to a Jazz Blues

This lesson is going over how you find triad voicings for a C jazz blues. You will also learn what you can do with the voicings you find using melodies and inversions.

 

Other great 3-note Jazz Voicings to Add To Your Vocabulary

When you think about Jazz Chords then you are probably thinking about rich chords with a lot of beautiful extensions. Of course, the rich colors of Jazz are about having chords that are embellished like this. At the same time when you are playing Jazz and when you are comping then you also want to have flexible chords so that you can move from one to the next, create small melodies and 3-note chords are fantastic for this.

 

Using less common Triad choices on a Maj7 chord

This video is going over 6 triads that I use for my Cmaj7 voicings and will also demonstrate how you can use them in a II V I cadence in C major. At the end of the video, I go over 4 more triads that are a bit tricky to use but also yield more interesting sounds!

Let me know what you think!

These videos give you a path to work on using triads and becoming very flexible with them, is there something you are missing or maybe something else you would like to see?

Leave a comment on the post!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

 

 

Beautiful Chromatic Sounds And how to add them to Jazz Chords

When you solo in Jazz you use chromatic passing notes and enclosures all the time, it is really a part of the sound, and actually this is true for Jazz chords as well. There are many ways to use chromaticism in your comping or chord melody and it is a great way to add more movement and color to what you play.

In this video, I am first going to show you one way of adding chromatic passing chords that is pretty visual and easy to use and then later I am going to start creating chromatic melodies in the chords and this is a great way to get to know your chords a lot better and also gives you a lot of great-sounding options to add to your playing.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:  

https://www.patreon.com/posts/beautiful-sounds-38832611


Content:

00:00 Intro

00:47 Chromatic Passing Chords – Look where you are going

01:36 You can also move down a half-step

01:46 G7= G7(13) and Cmaj7 = C6?

03:02 Chromatic Chords in Context

03:43 Beyond Shifting Chord Shapes

05:14 Analyzing the voice-leading example

05:48 The Bebop Trick

06:58 Two Types of contrary motion

08:27 Suspending notes in the chord

09:40 Passing Chords And How To Sound Amazing With Them

 

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 200 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.