Tag Archives: how to play jazz chords

The Missing Triad in your Jazz Blues Chords – Simple and Easy

Flexible voicings like triads are very practical to add to your jazz blues chords. We can do a lot with Triads and they are fairly easy to play and move around. This video is taking a look at how we construct 3 note voicings for a jazz blues and then adding a triad voicing that fills a gap on the fretboard.

From there I show how you can take that thorugh a chorus and develop it into another similar type of chord which also gives us a complete set of voicings on the blues.

3-Note Jazz Blues Chords

Most of us use triad chords coming out of the chords that we already use but without a root, so for F7 we end up with these two voicings: F7 + F9 as seen in example 1 here below:

They work really well, but there is a long gap from rootless F9 to F7.

Constructing another voicing to close the gap

If we look at the F7 chord then a basic F7 is an F root and an A diminished triad and we can use that triad as a voicing as well.

A C Eb and that sort of bridges the gap between the two.

If I use a bit of voice- leading I can comp through a blues using this type of voicing as shown in the example 2:

The F7 is here the A dim triad: A C Eb. On the Bb7 this is voicelead into Ab C D which works as a Bb7(9). Then back to F7 and going to a F7(b13) : A Db Eb.

In bar 5 the chord is again the Bb7(9): Ab C D. The B dim is easy to create changing the C in to a B, so Bdim: Ab B D.  This moves up chromatically to the F7: A C Eb. The D7(b9) is achieved by moving up the entire voicing so that the top note is an F#: C Eb F#. 

The Gm7 is the upper-structure: Bb major triad: Bb D F.  This is turned into a C7(9) by lowering the F: C7(9) Bb D E. The F7 is the original voicing and the last C7 is the C7(b9) version of the other voicings: Bb Db E. 

Another voicing to check out!

There is one more voicing that we can check out from the previous example.

The 2nd chord on Bb7 is this Bb7(9): Ab C D. If this is transposed to F7(9): Eb G A

This can be turned into a complete other chorus:

In example 3 I have a shift from the D7(b13) down to a Gm7 chord that is a 1st inversion Bb major triad. This is one way of doing this, but another way would be to really aim for getting smooth voice-leading:

This is a bigger stretch but also a very smooth moving chord progression.

Harmonizing the F7 scale based on the 3 voicings

A cornerstone in my vision on comping is that the top note melody has to make sense. To make this possible it is very important to also be able to play the entire scale with a chord sound.

This lesson started with two 3 note voicings that I then added a 3rd voicing to, and using these 3 chord voicings you can harmonize the F7 scale as shown here below:

3-note flexibility and voice-leading

The flexibility and the fact that you can easily be quite free when working with 3-note chords is probably a huge part of why I use these voicings so much. I hope you can use this material to get more out of your comping and make it easier to play some solid ideas in your comp and in your solos.

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You can also download the PDF of my examples here:

Jazz Blues – The Forgotten Triad Chords – Great, Simple and Easy

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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How to Learn to Play Jazz Chords – Study Guide

You want to learn how to play Jazz Chords. An important part of playing Jazz is to be able to interpret and play the rich chord language of the genre. This list of lessons is an ordered way to work your way through this from getting to know a basic vocabulary to having more freedom in comping with different types of chord voicings.

Your Feedback is very valuable

Remember that the guides are here to help you so if you have suggestions for this or other guides then let me know! I might have missed something or you have another idea for something that is important to check out! Feel free to send me an e-mail or message via social media.

I have also collected the videos in a Playlist on Youtube if you prefer that:

Playlist: How to Learn to Play Jazz Chords – Study Guide

The Jazz Chord Survival Kit and vocabulary

The first three lessons deal with a basic chord vocabulary and how to use it when playing important chord progressions and jazz standards

Leaving out the root and getting used to upper-structures

Once you know some chords and can play a few songs you can start to expand your vocabulary.

There are two main topics you should add first: Triads as Jazz chord voicings and Drop2 voicings. These two are the foundation for most other voicings and you can build on this knowledge to really build an extensive chord vocabulary.

The Essential Drop2 Voicings

Drop2 chords form a huge chunk of all the voicings that are used in jazz. These lessons will take you through a lot of material using drop2 voicings. If you want to hear Drop2 chords in action then just put on a Wes Montgomery album, he used them extensively in his chord solos and comping.

Developing Comping skills beyond the chords

Playing Chords does require more than just knowing what chord to play where. Some of the other skills that are equally important are discussed in these lessons:

More Modern sounds

If we look beyond the triads and Drop2 voicings it is of course possible to start checking out more modern sounds that may not immediately be covered in the lessons I already included. These voicings are both more extreme with having large intervals or much more cluster like with second intervals:

Allan Holdsworth Chord Series

One of my favorite players when it comes to modern jazz chords is Allan Holdsworth. Since I have made several lessons inspired by his chordal language I though it only right to include some of these lessons. 
I am obviously a huge fan, but there is a lot to be learned from him and the chords are very beautiful and worthwhile checking out. Even if they are not all easy to play.

Chord Solos

One way of getting good at comping is to get good at playing chord solos. Being able to improvise solos with chords really helps develop your freedom and ability to play solid comping behind others. 

For that reason I have included a few of the lessons I have on chord soloing that you can dig into if you want to take this approach.

 

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Jazz Chord Voicings – The 9 Different types you should know

Once you start having a vocabulary of Jazz Chords it becomes clear that there are many different ways to play any jazz chord on the guitar. For that reason it can be very useful to star working with different categories of chord voicings. If you have categories you have an idea of voicings that may work well together and you have an overview of the chords you know where you can also fill any gaps or chords you don’t already know.

In this video I will go over 9 very common types of chord voicings that I use a lot when comping and playing chord melody.

List of content

0:00 Intro 

1:15 Drop2 voicings — Diatonic set in C major 

1:37 Construction of Drop2 voicings (even though it doesn’t matter..) 

2:50 Inversions of a Cmaj7 Drop2 voicing for jazz chords 

3:14 Drop2 videos playlist — adding extensions, altered dominants 

3:28 Drop3 Voicings — construction 

4:08 Where you use Drop3 

4:32 Drop3 voicings — Diatonic set in C major 

4:41 Drop2&4 Voicings — Construction

5:14 Allan Holdsworth Lessons with Drop2&4 chords

5:35 Shell Voicings — Construction 

5:56 Diatonic set of Shell voicings 

6:05 Different places Shell voicings are useful 

6:27 Shell Voicing Based Chords — Construction 

7:00 Diatonic seof of Shell voicing based chords 

7:28 Shift from Voicings with a clear root in the chord 

8:16 Triads as Jazz Chords — Basic use as upper structure 

8:41 Triads through the scale 

9:08 II V I example with triads 

9:40 Spread Triads or Open-voiced triads — Construction (triad drop2) 

10:08 Diatonic Spread Triads 

10:18 II V I example 

10:57 3-part Quartal Harmony 

11:10 Diatonic Quartal Voicings 

11:17 How we use Quartal Voicings as Jazz Chords 

11:33 II V I example 

12:17 4-part Quartal Harmony 

12:25 Diatonic Quartal Voicings 

12:36 m13 voicings and How we might use Quartal harmony 

13:51 Inversions and detailed way sto use these voicing types 

14:10 Did I forget a type of voicing? 

14:45 Like this video? Check out my Patreon Page!

Look Mom No Root! Jazz Chord Survival Kit Part 2

You are probably familiar with reading basic jazz chord shapes and you can work your way through a tune without too much trouble. The next logical step is to take that knowledge and then turn the basic jazz chords into rootless voicings and start adding more melodic variation and interesting rhythms.

In this video I am going to go over how you can take a set of jazz chords for the song Lady Bird and then reduce them to rootless 3 note voicings. Then I will try to cover a way you can add more options for top note melodies and play an example of how you can use this.

A basic set of Jazz Chords for Lady Bird

The chords we start with are a set of voicings that you would get if you went over this progression using the material from my lesson How to play jazz chords

You can check out that lesson if you are not familiar with any of the chord voicings.

Look mom no root!

Taking away the root is a fairly simple task since it is just removing the lowest note.

This transforms the voicings in example 1 to the jazz chords shown here below:

Notice how most of them are in fact triads. The mighty triad is there in every aspect of music…

More Melody and more rhythm!

Now that we are using one finger less it is going to get easier to come up with some melodic variations by changing the top note of the chord.

Once we have more than one melody note available for each chord it also starts to make a lot more sense to playing small riffs and explore more rhythms while comping.

In example 3 here below you see the different options. I ket it quite simple so that everything is fairly easy to use and relate back to the original chord shape. For each of the chords there are 2 or three choices for top note.

You can of course work on the different chords isolated to get started with making small riffs and then later try to combine them in the progression. I actually expect that once you have tried to make a few riffs with each of the chords you should quickly be able to do so.

In the video I also show a chorus where I comp through the progression with this material improvising a melody through the changes.

Taking a more sytematic approach.

Besides the advantage of putting the ideas directly to use on a song it can also be very useful to take the concept through some of the exercises you may or may not already know for the standard chords.

This will help you keep the overview of the chords even if you don’t play the root and also just open up for more options when playing the chords in terms of passing chords etc.

In Example 4 I have one of the exercises from the How To Play Jazz lesson, the rootless version i shown in example 5

 

Putting it all together

Playing the more compact rootless voicings is a much more efficient way to play chords in an ensemble. The chords you play will sit much more in a register where they don’t interfere with the bass player and that also makes it much easier to get complicated rhythms to sound good.

You should try work on this both on tunes and once in a while take voicings through a scale or inversions and work with the rootless versions.

The place you could go if you want to continue from here would be to start working on Drop2 voicings: Drop2 playlist

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Get the PDF!

You can also download the PDF of my examples here:

Look Mom No Root! Jazz Chord Survival Kit Part 2

If you have any questions, comments or suggestions for topics or how I can make the lessons better 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 play Jazz Chords on Guitar

Sometimes we bury ourselves in exercises and details and forget to play music with what we work on. In this lesson I am going to go over a few exercises that should enable you to play the chords of most jazz standards. It is important to practice towards using the material we work on and hear how it sounds in the context of a song.

This lesson is a remake of a lesson I recorded 2 years ago on my mobile phone. I thought it deserved a better video and audio which is why I chose to go over it again. You can have a look at the original here: Jazz Chord Survival Kit

Diatonic chords

The exercises are meant to give you the vocabulary of chords to work your way through a jazz standard, and a jazz standard is always in a key. The first two exercises are the diatonic chords of a key which should give you the majority of the chords you’ll come across in a standard.

As guitar players we are usually identifying chords from their root notes on the 5th or 6th string, so to use this I have made two set of diatonic chords one with the root on the 5th string (example 1) and one with the root on the 6th string (example2)

How to play Jazz Chords on Guitar - ex 1

And with the root on the 6th string.

How to play Jazz Chords on Guitar - ex 2

You should notice that while the two exercises have the root on different strings the chord part of each voicing is on the on the B, G and D strings so that we can go from one type to the other and have a fairly smooth transition if we stay in the same position on the guitar.

Already with the chords of example 1 and 2 you can get through most jazz standards, but another part of learning to play jazz chords is to read progressions.

II V progressions

If you see a lead sheet for a jazz standard for the first time it is quite likely that you will be overwhelmed by the amount of chords that are in there. For that reason it is very practical if not essential to learn to view groups of chords as one thing rather than each chord by itself, since that makes it a lot easier to remember the song by heart, and in the end also analyse or understanding the song while playing it. That is the reason why I have made the next 4 exercises. One of the most common two chord progressions in jazz is a II V.

A II V is a minor 7th chord moving up a 4th or down a 5th to dominant 7th chord like this:

Dm7 G7

The reason why I am not including the I chord, ie II V I is that very often the II V is resolving differently so it is handy to just pair those two for now.

The II V voicings that I can build with the voicings in the first two exercises are pretty ok, but by adding a bit of extensions I can make them easier to play and transition better from one to the other so here’s an exercise where I let the II V resolve to another II V etc.

How to play Jazz Chords on Guitar - ex 3

And starting on the 6th string:

How to play Jazz Chords on Guitar - ex 4

In examples 3 and 4 I started adding more extensions and colors to the chord voicings which is of course also a part of jazz tradition. There are rules for how you add extensions and alterations, but I won’t go into them too much right now. Try to judge by ear, you will get further than you think on songs that you know!

Minor II V

Since we are already busy with II V cadences in major the next logical is to add the minor II V as well. Same idea as the major counterpart. We add some extensions, and in this case alterations to the dominant to make it easier to play and make the II V move more smooth from II to V, and also to color the V so that it fits with a dominant resolving to a minor chord.

How to play Jazz Chords on Guitar - ex 5

The m7b5 chord is probably one of the most hated voicings by beginning students and it is a bit difficult and takes some practice, but there is really no way around them and with a bit of work everybody gets used to them!

Here’s the set with the root of the II chord on the 5th string:

How to play Jazz Chords on Guitar - ex 6

 

The diminished chord

The final chord type that we need to play standards is a diminished chord. These are not diatonic to a major scale but are found in harmonic minor or major. In example 7 I have written out two voicings for dim chords with roots on the 5th and on the 6th string.

How to play Jazz Chords on Guitar - ex 7

The way you want to use this lesson is probably to check out diatonic chords in a few keys and when you play any of the exercises to keep in mind what chord you are playing. You should probably follow it up with trying to work through a jazz standard and try to play the chords without skipping up and down the neck.

If you want to study the examples away from the video or article you can download a pdf here:

How to play Jazz Chords on Guitar

You can also check out one of the drop2 lessons in my webstore:

Drop2 voicings on There will never be another you

 

If you want to see how I use these exercises on the Standard “I Remember You”

You can download a PDF of the voicings here:

How to play Jazz Chords – I Remember You

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please feel free to leave 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 want to hear.

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.