Tag Archives: how to play jazz guitar chords

Passing Chords And How To Sound Amazing With Them

Passing chords are a great Jazz trick to add some surprising but also beautiful sounds to chords. In this video I will show you 4 types of passing chords and examples of how they sound and how to use them. You can use the examples to get them into your own playing and add amazing new colors to how you play chords.

I am going to go over examples using, diatonic, chromatic, diminished and dominant passing chords and show you how you can make some beautiful embellishments of a simple II V I turnaround in C.

I am going to cover the 4 types of passing chords by giving you some examples of how they sound. For this lesson I am not going to discuss the music theory involved with the chords. I think it is more important that you have some options and that you explore what they sound like.

Ironically the last one is the easiest to play, the one that adds the most color and movement and it would be the hardest to explain.

https://www.youtube.com/watch?v=q2ERumJZ0eo

Basic Progression

I am using a simple turnaround to show you where you can add extra chords, and the basic progression is this one:

The first version is using complete chords with the bass note, but the 2nd one is using drop2 voicings which are a little more flexible. Most of the chords I am using in the lesson will be drop2 chords.

Diatonic Passing Chords

The first type of Passing chord is a diatonic passing chord. You mainly use diatonic passing chords in a step-wise manner where you are walking from one chord in the scale to the next.

The first example shows a descending approach from Fmaj7 to Dm7.

This 2nd Diatonic example is using a single Em7 as a passing chords going up to Em7 and then back down to Dm7(9)

Diminished Passing Chords

The Diminished chord is often a bit mysterious but it is a great very flexible chord to add to a progression. In this example I am using different types of diminished chords, but mainly there is a C#dim pulling us to Dm7 and a Gdim resolving to the G7.

For more information on the theory behind the diminished chords and the different functions they can have you can check out this article: Secret to play over Diminished Chords

This example is using a diminished chord as a type of suspension of the Cmaj7.

Dominant Passing Chords

The way a passing chord works is by having a natural resolution to the chord it is targeting. Using the dominant of that chord is of course a great approach.

Below you can see how the A7 on beat 4 works as a passing chord towards the Dm7.

This is repeated in the next bar with the A7(b13) resolving to the Dm7(9)

Side note: Em7 voicing for Cmaj7

I very often get asked why I write Cmaj7 and then the chord voicing looks like an Em7 (for example beat one of example 6)

The explanation is fairly simple. If you look at bar 1 below then it is clear that it is an Em7 chord.

Em7 is E G B D, but if the bass plays a C then the notes sound like a Cmaj7(9): E(3rd of C), G(5th), B(7th), D(9th)

Another way to look at it is shown in bars 2 and 3 below.

You probably know the Cmaj7(9) in bar2. The rootless version of that is, of course, still a Cmaj7(9), and you could add a high G to that which would give you the voicing in bar 1.

Chromatic Passing Chords

A huge part of the sound of a Jazz solo is the use of chromatic passing notes and enclosures. The chromatic passing chords is a way to harmonize this type of melody, maybe even the harmonic counterpart to this.

The first example has a C#m7 to pull toward the Dm7. You should notice that to get this to work you have to think in melodies, and the top-note melody should be pretty strong. Here is D, D# to E.

the 2nd bar has an Ab7 approaching the G7 with a similar descending melody.

You can also use the chromatic passing chords as suspensions similar to how I used the diminished chord in example 5.

Here there are also chromatic approach chords for the Dm7 and Cmaj7.

Take your comping skills up a level

This collection of lessons will teach you a lot of material with passing chords, top-note melodies and riff comping. Focus is on using this on songs so that you can get it into your own playing.

Comping – Putting It All Together

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The 3 Most Important Things For Solid Jazz Comping

Think about how you would feel soloing over your own comping.

That is probably the best way to evaluate how you comp. There are some things that you need to get right if you want to be effective in comping. You don’t want to just play jazz chords while the music is happening. You want to be part of the music. That is what this Jazz Guitar Lesson is all about and if you can comp then you get asked to play at sessions and gigs.

Related Guitar Lessons on Comping

10 important comping rhythms

Video on being your own teacher

Great examples of comping:

Wynton Kelly behind Miles Davis: So What Live https://www.youtube.com/watch?v=5Amyp4v-I84

Herbie Hancock behind Wayne Shorter: 502 Blues https://www.youtube.com/watch?v=1aTwWZweGSw

Content:

0:00 Intro

0:50 #1 It is Clear

1:34 Beat One is your friend

1:59 Don’t be afraid of repetition

2:38 #2 Don’t Get In The Way

3:31 Not just the soloist, there are more people in the band

3:39 A Great Strategy

4:08 Great Examples: Wynton Kelly and Herbie Hancock

4:38 Understand what fits the soloist

4:49 #3 Are You Playing Music?

5:42 Listen, Listen, Listen, Listen!

6:14 How Do You Practice comping?

6:30 Like the video? Check out my Patreon Page!

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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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Chord Fills and a Great Pentatonic Trick on the Guitar

If you want to really open up the way you play chords and be a lot more free with how you comp or make fills in a chord melody arrangement, then you have to start working on different ways to make harmonized melodies that you can fit into a chord progression.

In this lesson, I am going to show you how I make chord runs or chord fills like I was using in the intro and break down a few examples.

One thing that is really useful for this is a way to use the pentatonic scale as chords and in that way make some really great sounding fills.

Let’s first take a look at a few examples and then talk about developing the pentatonic ideas later in the lesson.

3 Chord Runs Mixing Scales and Chord Voicings

The above example has a different run for each chord. Let’s have a look at how they are constructed.

Mixing Am pentatonic and Dm7

The Dm7 run below is the most complicated of the 3. Here I am harmonizing a melody that is from the Am pentatonic scale. The Am pentatonic scale is a “neutral” sound over a Dm7. All notes sound good but the scale lacks a little color because there is no F.

In the run, I start with a Dm triad and I also end with a Dm7(9) or Fmaj voicing. These two ensure that the sound of the chord is clear. In between, I am using C major and Am voicings. They sound neutral but are not too clear.

Harmonized G altered scale

The G altered run is mixing voicings and the scale. You can see how the 3 voicings shown in diagrams below work as a way of harmonizing the melody on each string. The red note marks where the melody is moving to in the line.

The entire voicing in the scale is shown in the lowest diagram, with the voicing in Blue.

Em pentatonic scale as a Jazz Chords for Cmaj7

In the example above I am generating voicings by stacking notes in the Em pentatonic scale. Since the entire Em pentatonic scale works as a Cmaj7 sound then this produces some great sounding voicings and I can move around and have a scale to play melodies with,

In this case, it is an ascending melody harmonizing every other note.

Two-layer Chord Runs

This example is using quarter note triplets to create a floating effect over the meter. It is also separating the melody from the chords to give the run a call response or solo-comp character.

On the Dm7 the technique used is similar to what I did on Cmaj7 in the previous example. The only difference is that here the chord is split into two so that the highest note in the chord is played separately.

Dm Pentatonic Run

Turning this into an exercise down the neck would give you this run:

The Cmaj7 bar is using the exact same thing but with an Em pentatonic scale instead of a Dm pentatonic.

G7 altered Exercise

You can also turn the G7 altered lick into a longer exercise moving in the scale. SInce the G altered scale is a 7 note scale I had to adapt the melody a little to get it to work.

A way to practice for more flexibility

The exercise below is using the Em pentatonic scale. This is really just a way to practice playing several pentatonic voicings but builds your ability to make melodies and create variations.

Using Pentatonic Positions

The pentatonic chords that I have used until now were all along the neck. This is a great way to work with voicings, but the open sound of the chords you get makes it possible to also do this in position.

These 3 exercises help you explore that:

Pentatonics and Arpeggios on a Jazz Standard

If you want to explore how you can get some great solo lines mixing pentatonics and arpeggios on Lady Bird then check out this lesson, or get it at a reduced price as a part of the Easy Standards Bundle:

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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:

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.