Tag Archives: jazz chords guitar advanced

The Ultimate Jazz Chord Guide – 12 Most Important Voicing Types

What you can do with Jazz Chords is pretty incredible! I am sure you already know that if you click on this video. I am going to give you an overview of 12 practical and important types of chords that you will come across if you start exploring Jazz guitar.

I am going to start with the ones that make the most sense as a beginner, but also add something that I often think is left out in teaching and understanding Jazz chords is that I will show how they fit together, because if you check out how Jazz chords are used then it is rarely just one type of chord used all the time, we mix it up quite a lot and often that is what makes it sound so great. Having that connection in there also makes it a lot easier to have an overview and remember all the chords.

#1 Shell-Voicings

These simple 3-note chords are the best place to start because they are easy to play, easy to hear, they cover all of the basic harmony, and as you will see they are also an amazing foundation to build a lot of other chords with.

The basic harmony in Jazz is built around 7th chords which is 4-part harmony, but you can get there using 3 notes instead of 4.

You want to look at the shell-voicings like this: Root on the 5th or 6th string and basic chord tones on the 2 middle strings. The note that is left out is the 5th.

So for a Cmaj7 chord you have C E G and B in the chord, we leave out the 5th, G, and then you can play the C either on the 5th string giving you this chord

Or on the 6th string giving you this chord:

Most Important Exercises For Chords

There are two ways that you want to explore chords if you are trying to get them into your playing:

Take them through a scale, so for the shell voicings that might be this:

And you also want to play some chord progressions to hear what they sound like in music.

Most of the chord voicings in this video will come from adding notes to the shell voicings or taking away notes,

as you will see, they are surprisingly important to know! I am also a bit surprised that there are quite a few types of chords that are very common, but you don’t have a good name for them, we’ll get to those a lot quicker than you think and feel free to suggest a name in the comments.

#2 Drop-3 voicings

Shell-voicings are a great example of how you can get things done with fewer notes and a bit of context, but as we all know then the Swedish Guitar Wizard says:

“How can Less Be More? More is More” – Yngwie Malmsteen

So let’s start adding some notes to the shell voicings and since “More is More”

The Shell-voicing with the root on the 6th string can have the 5th added like this:

So now you have a way to play all four notes again, and we call this a drop3 voicing because of how it is constructed. I’ll explain the Drop-something concept a bit later.

It is pretty clear how the Shell-voicings and drop3 voicings fit well together because you can treat them as just shell voicings with added notes, and that makes it possible to play short riffs mixing the two:

And of course, it is also useful to take these through a scale. Here’s an F major scale:

With the way Shell voicings are constructed then inversions don’t make sense, but it is more common with Drop3 voicings. For the Fmaj7 that would be:

But, it still is not something you want to spend too much time on. The root position version is by far the one that is used the most. With later voicings like Drop2, the inversions are much more useful.

This was only adding a note to one of the shell-voicing types, let’s look at what happens when you do the same with the other one, which starts adding extensions. That is also what will give you a way to play some smooth progressions using the drop3 which wouldn’t really work right now.

#3 Shell-Derived

The same process with a 5th string shell-voicing would give you this Cmaj7(9):

Because this adds a diatonic 9th to the chord then taking it through the scale does not yield only voicings that you are likely to use:

As I mentioned then there is not a common name for this chord construction, so I made one up for this video. If you have a better suggestion you can always leave a comment.

Together with the drop3, you can add more color to the chords because “more is more”

#4 Drop2 with a bass note

It’s maybe a bit odd to introduce these before I go over Drop2 but I think it makes more sense in linking the chords and how you use them.

You started with a shell-voicing, then added a note to the drop3 and you can even add one more note to create a Drop2. This is probably easier to demonstrate with a G7 chord:

The advantage here is that you really just learn a Shell-voicing

and then add notes to expand your options in terms of what melodies are available:

If you move these through the scale then you get something like this, but they are a bit difficult to play:

These are very practical for chord melody playing, even if some of them are a bit tricky to play.

To get to the Drop2 chords and some other very practical voicings it is useful to look at the smallest possible jazz voicings.

#5 2-Note Shells

Adding notes make things a bit more complicated both in terms of technique and having an overview of what notes are played, so this will make things easier!

When you play in a band then most of the time somebody else is taking care of the bass line, and that means that you don’t have to play that and it might sound better to get out of their way.

Going back to the shell-voicings then that is pretty easy:

For the 5thstring root:

And for the 6th string root:

With these chords you can easily play progressions and you are not very likely to clash with the soloist and get in the bass players way.

You can take these through the scale as well, but maybe you can also just think of the shell-voicing with the root

#6 Triads

If you take the drop2 voicings and remove the root:

Then you are left with a triad. You can see it if you write out the notes as well. Cmaj7 without a C is an Em triad, Dm7 without the D is an F major triad and G7 without a G is a B diminished triad

The biggest advantage here is that you can use this with the inversions as well.

The basic II V I could be:

 

And you can turn that into 2 more II V I progressions using the inversions of these triads, but maybe one of them is a bit mysterious:

The one for the G7(9) is in this case an F major b5 triad,

which sometimes causes a bit of discussion, and you have one more inversion:

The biggest advantage with the triads is that they become something else and are both very flexible and easy to work with for comping and chord solos. They also immediately connect to the next type of voicing:

#7 Drop2

Again you can lean on adding more notes to the shell-voicing and then end up with a Drop2, so the concept stays the same as when there was a bass note:

What Are “Drop Voicings”?

But maybe it is probably also useful to cover what the Drop concept means in voicings, even if that is not something you ever use when you are playing, that is a very common misunderstanding.

It isn’t super complicated. If you look at a root position G7 then you have

Constructing a drop2 is taking the 2nd highest note, D, and moving that down an octave. With a more practical way of playing the notes you have this voicing G7 drop2:

And, in the same way, if you take the 3rd highest note, B, and move that down an octave you have G7 drop3:

Knowing this is nice, but to get anything out of it in your playing then you need the voicings in your fingers and your ears. Just knowing is not knowing, because we don’t have time to think about constructing chords while we play. I think most people who use them never think about constructing them, they just learn the voicings.

With Drop2 it is useful to check out how they move through the key:

and also check out the inversions:

And the inversions make it easy to play chord progressions with smooth movement from chord to chord, like this turnaround:

Drop2 chords are incredibly flexible with what extensions and voicings you can put together, so they are worth the effort to study and way to big to cover in this video, because there are other sounds to explore, and now we can let go of starting with the shell-voicings.

#8 3-part Quartal Voicings

The way you usually construct chords, as you have seen earlier in the video, is usually by stacking 3rds in the scale, so from the G you create a G major triad by adding the B and the D on top

But you could also stack 4th intervals from G, giving you this 3-note chord of G C F:

With quartal voicings it becomes a bit more open, you don’t always have one chord that spells out the sound of the chord but rely on a few to get the sound across. That is also why I did not give this chord a name.

But it is still useful to take the chords through the scale and get some voicings to work with:

And you can put these to use on a II V I like this:

#9 Spread Triads

The construction of Drop2 chords where you move one of the notes down an octave also works very well for triads and can give you some nice open sounds.

If you have an F major triad like this:

And you have inversions for this as well:

You can put this to use on a II V I like this, and notice how beautiful they sound:

Again this works with the inversions as well, and what is great about them is that you can move the voices in beautiful melodies:

Let’s look at some beautiful voicings that are the opposite of open

#10 Cluster-like

It’s difficult to describe these chords with one construction since there are a few similar and common examples. The important part is the minor 2nd interval, and as you will see it is less important to have a complete voicing all the time.

One you want to explore using is, maybe surprisingly, the inversion of the shell-voicings. For Fmaj7 that will be:

And the shell-voicing that leaves out the 3rd and uses the 5th is also a good candidate:

You can use that for a II V I like this, combining it with Cmaj7:

There are more options for this that you can explore, but that is for another video, there are 2 more types of chords that should be mentioned here:

#11 4-Part Quartal Harmony

Similar to the 3-part Quartal harmony you also have 4-part quartal voicings which can sound great, even if they are a bit trickier to fit into progressions.

First, you can check out the chords through the scale, but again I have not given the voicings names, since that is a bit more open with this type of harmony:

You can put them to use on a II V I with an altered dominant like this:

Let’s look at another beautiful type of drop voicing that have sort of a Holdsworth sound to them.

#12 Drop2&4

You already know about the drop2 and drop3 voicings, but a more open version which is also sounds a bit like a colorful version of the spread triads, is Drop2&4.

You can create those by starting with a Cmaj7

which needs to move the 2nd and 4th highest note down an octave, so C and G.

The drop2 version of this chord would be:

and then moving the C down you have:

Taking this through the scale will give you these beautiful chords:

And you can use them as upper-structures as well giving you Fmaj7, Fø and Em7 as a beautiful II V I with an altered dominant:

But what about my favorite chord?

Is there a voicing type that I didn’t cover that happens to be your favorite? Maybe you use a lot of power chords? then let me know in the comments. I know Gilad Hekselman uses drop2&3 quite a lot but, it is as far as I know not that common.

When it comes to playing chords then there are other important things to work on than which voicing to play. You also need to be able to get the rhythms, the phrasing, and the progressions to make sense, and if you want to develop that side of your playing then the exercises in this video will help you level up your skills., and I know that because that is what I practice

3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024

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3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024

When you think about Jazz Chord Exercises then it is probably about learning new chords, but it is more important is that you have exercises that help you use those chords and get them to sound great. That is what these 3 exercises will help you do. The first one is also, by far, the most fun way to practice chords, and the other two will help you use the chords better and add some better rhythms to your comping. In all 3 exercises, you can see how it pays off to work on simple things not making it more complicated.

The Exercise Nobody Does!

If you are nerdy enough with Jazz chords, like I am,  then maybe you can enjoy just listening to interesting chord voicings,

but of course, there is more to it than just the notes, even if they do sound beautiful.

The last few weeks I sort of re-discovered this exercise. As you may know, I was in Taiwan to play at the Taichung Jazz Festival with Nick Javier.

I had an amazing time there, but since it is quite far away then I had to deal with some jetlag when I got back which had me waking up at 3:00 in the morning since that is 10:00 am in Taiwan. While I was re-adjusting, I realized that I really liked getting up before everyone else and then spending some time practicing and getting started before sending the kids to school, one of the exercises I started to do in my routine was to take a song and practice comping it with the metronome on 2&4

There are many reasons to practice like this! The most important one is that it is fun and you are giving yourself a chance to be creative with the chords and the harmony of the song. I’ll show you how you might get started in a bit.

When I work on this then I am working on timing, and rhythm but also how all the chords should sound as a piece of music together and it is a great way to start getting new chords or concepts into your playing.

Working on:

  • Timing
  • Rhythm
  • Making The Chords Music
  • Adding New Material

And, of course, if you want to be good at comping then you should practice comping. Nobody ever spent all their time doing pushups and running to win Tennis tournaments, and if you do then you might get frustrated in the match.

So while practicing chord inversions and diatonic chords is useful then that should not be the only thing you are doing, also just because when you are doing that then it doesn’t matter if you screw up stuff.

Getting Started: Turn The Chords Into Music

If you have never practiced like this then here are a few steps to get you started and also a few simple tricks that immediately will level up how you sound!

Start with a song or chord progression that you know really well, for example, a 12-bar Blues like this one in C.

The first level:  is to just play the song, so turn on your metronome and just lay down the basic chords, don’t use complicated rhythms or voicings but if you can then get the groove across with a simple Charleston rhythm or something like that:

as you can tell I am mostly just using Shell-voicings.

A few easy ways to get this to move a bit more and sound more interesting is to use chromatic passing chords, simply try to use a chord a fret above or under to approach the next chord:

But you can also use this to create some movement on a chord, which sounds amazing on a blues like this:

From here you can start to expand and see if you get new ideas for rhythms or melodies, and if it doesn’t work then you can try it again in the next chords without the soloist wanting to fire you

When you use your chords like this then you might find this next approach to thinking about chords useful, and better than what you are doing now!

A Better Way To Think About Chords And Chord Voicings

You are not thinking about your chord voicings in a way that helps you use them. I am guilty of this as well in my videos: The way that we teach chords and think about chords are in separate categories like Shell-voicings, drop2, upper-structure triads, and stuff like that.

This means that we end up practicing diatonic chords or inversions only using one type of chord, but that doesn’t fit with what you do when you play music at all, so you want to change that!

Chords Across not along the neck

The important thing to remember is that when you are comping then you don’t have to think about a C7 as “Eø Drop2 inversion with the 7th as the last note and a 11th instead of a 3rd” That is much much too complicated, does anybody think like that?

This is more a question of exploring and then using what you discover but it is a great more practical way to connect chords and level up your comping.

Try this out: Most of us navigate the neck by thinking of the root of the chord and finding that on the two lowest strings E and A,

so if you are looking for a C7 then you have a shell voicing here

and here

Notice how adding the G on the B string makes it a Drop3 voicing,

and you also have the C7(13) Drop3 within reach

You can add one more string, and then you are playing Drop2 voicing with a bass note,

and there are variations of this as well:

And it is very practical to sometimes leave out the root to first get this 2-note Shell:

and add notes to have triad voicings

and drop 2 voicings as a part of what is available

Mixing Full and Rootless Voicings

When you think of C7 then you should see all these options and not just be stuck with a single grip.

That way you can add moving voices, melody, and rhythm to your comping and you don’t have to think about inversions that move to another place on the neck where you might not know the next chord. Thinking like this you are still connecting back to the chords you know and you are expanding what you can play without getting lost on the neck.

A great way to use this to open up how you comp or how you use this in chord melody is first to state the basic Shell

or an easy variation of this to be more free before changing to the next chord. For the blues that could give you something like this:

Music is Like A Language

Playing more interesting rhythms in your comping is also not necessarily about learning a lot of short rhythms, in fact zooming out and focusing on a few rhythms is probably the easiest way to improve on that.

And this is a lot easier than you might think. If you start thinking in call-response then a very easy but also very natural way to play something that really makes sense is to repeat a rhythm and then finish the sentence with something different as a conclusion:

When you are playing the same thing several times as a riff then you are giving the soloist something predictable to play against and you are giving the rest of the band something to interact with.

Then you can practice doing that on a song but coming up with different conclusions, so that you train yourself to hear how the different rhythms work together.

Maybe the next 4 bars could have this in the 4th bar

Like this, you are using the rhythms you know to come up with more. And you get a more natural flow if you work with this as a type of call response.

You can also do that every other bar:

This is almost always true; If you try to learn things in the context where you want to use them, then it is both easier and you learn it a lot faster because you can throw away a lot of useless theoretical rhythms or arpeggios inversions or whatever might waste your time.

Just Play Simple Chords!

One guitarist who understood how important it was to make things simple was Joe Pass, and while his playing was sometimes amazingly complex then his approach to Jazz chords was all about simplicity, and that is really the way you want to do this. You can check that out in this video, where it is about both the chords and the progressions being made easier to handle, and he certainly has a point!

The Biggest Misunderstanding About Jazz Chords And How To Quickly Fix It

 

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One Of The Best Exercises For Jazz Chords (and most fun)

An Amazing Nerdy Chord Exercise

This exercise is probably one of the best ways to really explore and discover beautiful Jazz harmony and chord voicings, and it is one of my favorite things to do but I don’t really work on it that often. There are a few weird things about this way of practicing:

  • It is amazing for learning harmony and voicings
  • It is also incredible for developing your fretboard overview
  • If you do it while comping in a band you should be fired, at least I would probably fire you.

I think I picked up this way of working from going to the Barry Harris piano workshops even before I started studying in the Hague, and it is also really fun to do with others if you are hanging out and playing songs to get dig into what is possible, some of the most beautiful details and tricks.

This is going to get a bit nerdy with chords, but I think you’ll find that it is worth it.

Why The Basic Exercises Are Not Enough

There is a problem with the way we practice and look at chords. Mainly because too much of it is about reducing things to exercises(Diatonic chords) and systems with inversions

Exercises like that are not useless but similar to practicing scales and arpeggios it is removed from the music, and you have to keep in mind that playing a bunch of inversions or exercises doesn’t mean that you can magically make the chords of a song sound amazing.

And often we don’t get much further than just using stuff on a II V I progression (II V I with drop2) which is fine, but there is a lot more happening in Jazz harmony than just II V I progressions, so that is nowhere near enough.

This exercise is more about taking what you already know and then exploring what you can do with that, and also just opening up what a chord is without being too restricted by theory and chord symbols.

Learning Is Easier When You Are Not Alone

In a way, I got the exercise or this way of working from the Barry Harris workshops. Going to the Barry Harris workshops in the Hague exposed me to two things that changed my musical and my real life. At the time I was living in Copenhagen and went there for the workshop at the Royal Conservatory in the Hague.

Of course, one of the things that changed everything was how and what Barry taught us which I have talked about many times, but the other aspect was probably just as important, I just never thought about it like that until I started working on this video, and I will return to why that might be something you want to keep in mind.

This was not about the large classes teaching how to make lines, but more about all the piano workshops in the evening which were much smaller and in smaller rooms (with a lot of people smoking because that was still a thing back then). In those workshops the topic was mostly specific songs and how to harmonize them, what to do with the chords and it was not a lecture or a lesson but much more an exchange of ideas and showing how you play something. The first year, I was there I could not follow a lot of what was going on because I did not know the theory and most of the songs, but the attitude of exchanging ideas and exploring the songs was inspiring and also made me realize that I needed to be in a place with more people who were exploring Jazz, and I had probably found the perfect place to for that.

Not Everything is A Chord!

We want to dig into the harmony and find some great ways to connect the chords, so let’s focus on a song that is not just a bunch of II V’s like “It Could Happen To You”.

Later I will understand why this way of working should get you thrown out of the band.

For the first 5 bars you could play these chords, maybe let’s start with shell voicings

Just to have a little bit more to work with maybe let’s use Drop2 voicings, and pay attention to how these chords are very much connected in a flow:

Like this, the basic chords are already flowing, but instead of just playing them in time and leaving it at that, you can also go over it rubato and find some stuff that

1- sounds amazing and 2- is easy to play in this chord progression.

The first chord change going from Ebmaj7 to Edim.

An easy way to add a bit of inner voice movement is to move from maj7 to 6 and then to the dim chord, you can look at it as a chromatic enclosure in the middle of the chord:

Of course, you can do a lot of other stuff and that is exactly what you want to explore, you use more voices to move to the Edim.

This one doesn’t work here probably because I am hearing the Bb in the melody in the back of my mind,

but maybe in some other song, it sounds great?

Beautiful Wrong Notes

As you see, I am not naming the passing chord,

and that is because I don’t think making it an independent chord makes sense, it is just voice-leading and more horizontal movement than a chord symbol. Here’s a way that you can use wrong notes to add a bit of counter-movement and a suspension going from Edim to Fm7

I am sure you would agree that, usually, Ab is a less-than-fantastic note on an E dim chord, but as you hear then it works really well here, and what I am doing is just moving the two top voices, one up and one down

and using notes from the scale that fits this dim chord: F harmonic minor.

Of course, you can also do great things with adding chords and using substitutions, but this way of really getting into the song opens up a lot of options, and if you are starting with a different chord then you might find very different but still practical sounds:

From A Static Voicing To Moving Music!

So you can do a lot with the chords and not have to try to name everything with chord symbols that have to make sense or follow some rule.

And, what you are doing and developing is your fretboard overview by seeing the voicing in the scale on the fretboard

and then using that to create movement and connect to the next chord

And, you could use a simpler version of this on the F#dim while also adding a little melody on the Fm7:

You’re Fired

Obviously, you don’t want to get fired, but I am sure that if you work enough on stuff like this then you can learn to do some of it in real-time while you are playing, but to work towards that, then isolating a section of the song out and exploring what you can come up with will help you discover some great new things. The reason why I say that this exercise will get you fired is that I have seen both guitar players and piano players be very busy with the chords like this and in doing so, completely fail in being a part of the music. This is for practice, and NOT something you want to distract you when you are playing with other people, and working through stuff like this is still fun.

What you really need to work on this is having a good overview of the chords, not thinking in static grips but instead having a more flexible way of understanding chords, and you can check out how to develop that in this video:

The Biggest Misunderstanding About Jazz Chords And How To Quickly Fix It

 

 

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How To Make Jazz Chords Sound Amazing – 7 Recipes 😎

Jazz Chords Are Like Cake!

Beautiful Jazz Chords are chords like this: rich-sounding chords with lots of colors and extensions, they are the amazing pastry of harmony, and like cakes, it is not the only thing you need. But it is Nice, VERY NICE!

What makes a chord beautiful is in part the chord itself, but it is as much about the chord progression, so I am going to use a lot of rich and colorful chords but also show you how amazing they sound in some great chord progressions that work as II V I alternatives if you need to add a bit of variation to your chord playing.

So the starting point is this progression:

But as you will see then we can pretty much go anywhere starting here, and you can easily make your chords a LOT more interesting!

#1 Borrowing From Minor and Not Always A Maj7

The first thing you can try is to not play a normal II chord, but instead, use a half-diminished chord so in this case a Dø.

Another thing you want to notice is how I am not playing a maj7 chord for C, but instead going with a 6/9 chord.

You want to get used to mixing those up because they can pretty much always replace each other:

B-roll: C major diatonic + C minor diatonic chords (maybe highlight Dø?)

A theme you will see in a lot of these examples is that the progression is in C major, but I am using chords that are in C minor to change things up:

 

#2 Don’t Always Play A Dominant

 

The strongest pull in music is probably the dominant resolving to the tonic like G7 to C.

But it is then also a bit obvious and not so interesting, so in that respect, it is a pity that so many people try to explain all theory as V I resolutions, it makes it boring, and you can replace a V chord with a subdominant chord that is much tastier and mysterious with an Fm chord that has some nice colors added:

#3 Dark And Light – Night And Day

This next progression is using a bright chord for a minor subdominant, namely the bVI maj7th, but that then resolves via the dominant to an even brighter maj7 tonic. This is the main cadence in Cole Porter’s Night And Day,

and maybe the lyrics are actually fitting the harmony by starting in minor and ending in major?

For this one, I added a #11 to the tonic chord making it even more bright and shining,

And it it sounds great:

#4 Bright, Brighter And Brightest!

You can also choose to stick to only using maj7th chords and create a mysterious progression where it feels like every chord could be the resolution. Here I am starting on the IV chord, Fmaj7,

then moving to the Neapolitan subdominant Dbmaj7

before resolving to a beautiful Cmaj7 variation.

The Neapolitan subdominant is, in this case, a IVm triad, so Fm with a Db in the bass as a leading note down to Cmaj7, so it is still a minor subdominant and it always sounds fantastic.

Here’s the entire progression:

The next example will also add some pentatonic chord tricks on the Cmaj7 chord!

#5 How Is That Even A II V I?!

Before diving into the pentatonic passing chords, then I need to introduce another minor subdominant variation: The Backdoor dominant, in this case, Bb7 which is the bVII in C major, so this dominant chord is actually a subdominant chord in the context.

 

The next chord is a classic Jazz trick: The Tritone Substitution

This is a pretty simple idea: In C major, the dominant is G7, and a G7 chord actually shares a tritone with another dominant: Db7. So you can exchange one for the other and the basic flow of the harmony still works.

Check out the example then I’ll explain the pentatonic chords on Cmaj7.

Let me know which of these progressions or chords is your favorite in the comment section!

In this example, I am playing 3 chords on Cmaj7 (example) and if you take away the C that I sometimes add under it, then really this is just playing chords made from Em pentatonic:

This works because we need to hear a C in the bass and then notes that give us a maj7 sound, and Em pentatonic

Em pentatonic will give us a lot of nice colors against C:  E G A B D – 3 5 13 maj7 9 and the chords are pretty easy to play.

Here’s a different take on changing the chords with a progression pretending to be a II V

#6 Maj7 chords pretending to be a II V

This way of using maj7 chords can work as a nice suspension but here it also becomes a sort of motivic development with the chord progression that is really smooth combining the bVI

and bII maj7 chords.

There is another even more weird way to use maj7 chords, that I’ll show you after this one.

#7 Altered Dominant Maj7

In this next example, I am moving around maj7 chords, starting on the bVI so Abmaj7

and then going up to this Bmaj7(b5)

which is really like a Db7 with a B in the bass, so it is a disguised tritone substitute or altered dominant which then resolves beautifully to Cmaj7:

Improvising With Chords And Harmony

With a progression like this then you can also hear how you have a creative component to putting together chords both in how you voice-lead them and how you choose what chords to add to the progression. The best place to develop that is to use it in chord melody where you can color the chords and really add your own take to the melody. If you want to explore this way of playing then check out this video where I cover both the basic approach and some of the ways you can create variations of common progressions that actually fit the song.

How Chord Melody Will Help You Master Important Skills

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The Basic Jazz Chords That You Can Expand into Amazing Sounds

Wouldn’t it be great if you had some Jazz Chords that are easy to play so that you can use them to play songs and progressions? Something that also works as a starting point for a lot of beautiful grooves like Bossanovas, and chords & Walking Bass.

You do actually have chords like that. They are called Shell-voicings and they are great for playing a lot of things, they can teach you about harmony and you can expand them to make it easier to learn some more complicated jazz sounds.

What is a Shell-voicing

Shell voicings are called this because they are 3-Note versions of 7th chords. A 7th chord is of course 4 notes, 1, 3rd, 5th and 7th and for the shell voicings we leave out the 5th:

And you can place them in a very clever way on the neck. For a Cmaj7 you have two versions:

C E B with the root note on the 5th string

and the one where you have the root note on the 6th string and flip around the 3rd and 7th: C B E:

 

Notice that this splits the strings so that the root note is on the 5th and 6th strings. The core sound of the chord, so 3rd and 7th are on the middle strings, and you have the top strings free so that you can later add extensions and alterations or use that for the melody in a chord melody arrangement.

You can probably hear this is going to go places.

Exercise #1 Play songs

How do you practice these? The first exercise is to just learn some easy and common chord progressions and then use those to start playing songs. Anything that you practice and don’t put to use in a song is probably a waste of time, and practicing finding chords for a Jazz standard is a great exercise for so many reasons, since it is music, fretboard knowledge, harmony and theory

The chords I am going to cover here are:

And actually, some of them are the same shell-voicing which is a bit strange but you’ll see how that works later (highlight m6 = dim and m7(b5) = m7)

Let’s start with a basic II V I which is sort of the core progression to know in Jazz. Just like the maj7 chord you have two versions, starting on the 5th string:

and starting on the 6th string:

Like this, you can already start playing songs like Satin Doll. If you don’t know it then maybe check out the Joe Pass version which is pretty amazing.

Playing The Chords of Satin Doll!

The song is mostly II V progressions, so first you get the II V in C major, which is repeated

then you get a II V in D major twice using the same way of playing the chords.

Next, you have a II V in G major and Gb major and it sounds better to stay in the same area of the neck so here you can use the other version, before resolving to Cmaj7.

Rhythm And Groove

Of course, there is more to it than just finding the chords and playing the right notes: We need some rhythm and groove in there as well,  but luckily shell-voicings naturally are split between the root note and the chord,

 

so you can add groove to it by splitting those two and create rhythms like this:

Exercise #2 diatonic chords

Besides playing songs then a great way to explore any chord voicing is to take it through a scale. In that way, you learn some of the other chords that goes with it and i’s a great way to find new voicings.

This exercise is useful for knowing your scales and your diatonic chords, which is very important, but there is one weird spot.

For the 5th string Shell-voicings you can move them through C major like this:

And you want to try this in different keys, the other string set, and also other scales like melodic and harmonic minor

What about the other chords?

With the Diatonic chords in major then we have maj7, m7,dom7th and also m7b5

But with the m7b5 you can see an example of how shell-voicings can sometimes be a bit unclear, because

Bø and Bm7 are the same shell-voicing and that is because the shell-voicings leave out the 5th of the chord, so you can tell if it is a perfect 5th or b5th. Luckily your ear will fill in the right notes from the context most of the time.

This happens with two other, even more, different chords as well:.check out the first part of the beautiful Bossanova: Corcovado, played with Shell voicings:

Here I am really just playing the same shell voicing moved down one fret when I go from

Am6 which is A, F# C

G#dim which is G# F B.

Here it is again the 5th of the chord that makes the difference. If you look at this with the chords both having the root A, then

Am6 is A C E F#

A dim is A C Eb F#

so if you play shell voicing, and leave out the 5th, then you are playing the same chord, but again the context will tell you and when you play Corcovado then it doesn’t sound like you go from Am6 to Abm6.

Now we have all the chords except one: The Maj6.

But that is really easy. If you can play a Cmaj7

and then find the maj7th and replace that with a 6th then you have this:

and the other version is this

As you will see in a bit then using the Cmaj7 and the C6 together works really well, but there is another great sound that I use shell-voicings for really a lot:

The Joe Pass Groove – Chords and Walking bass

Shell-voicings are great for playing chords and walking bass mainly because when you play 3-note chords with a bass note then it is a lot easier to play a solid walking bass line.

I can’t start explaining bass lines in this video, but I will link to a video that shows that in the video description. Before I get into adding extensions then I want to look at another important groove to check out.

Bossanova – Beautiful Rhythm

 

One of my favorite grooves that has become a huge part of Jazz is Bossanova and shell-voicings are great for this because you can play the chord and the bass note.

This works especially well when the bass note is on the 5th string, because you can go easily get to the other lower 5th on the 6th string, and if the root is on the 6th string then you just repeat that note.

This sounds great on a song like Girl From Ipanema:

Making The Harmony Interesting

As you have seen then until now, it has been about two of the string sets containing the chords and the bass, but there is also a lot to be done on the top strings.

When it comes to playing Jazz chords then it is important to keep it practical and playable, but for a lot of the shell-voicings it is pretty easy to add extensions and color, just by looking at what is close by on the next higher string.

So if you have a basic II V I like this.

then you can add a 9th to the Dm7, a b13 to the G7, and a 9th to the Cmaj7, just by checking what is available on the B string, and that will give you this:

This is of course something you can take a lot further, but it is actually also the way you get started making chord melody arrangements and you can check out this video if you want to explore the beautiful harmonizations that you can create by making your own chord melody arrangements.

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Jazz Chords – Drop2 is a Powerful Tool

I always loved playing Jazz Chords, mostly because you don’t just play the chord. You can change it and add your own colors and movement to it.

One of the most flexible types of chords for this is Drop2 chords., and once I started working on playing Drop2 chords then it felt like I could tap into a lot of new sounds. It opened a new world for me with comping and harmony.

In this video, I focus on how you can use drop 2 voicings on a standard and give you some rules that you can use to open up how you play chords because it is that process of taking chord symbols and then turning them into beautiful music that I find amazing, but, I  will also briefly explain what a Drop2 voicing is and why that isn’t very important, but we’ll get to that later.

Let’s first just go over a basic set of chords for the song.

The Basic Chords And What To Play

The song is in C major, and the first chord is a Cmaj7 chord.

For now, I am just showing you what I am using in this video, if you want diagrams of all the inversions and string sets, then you can download those on my website, but right now, the important thing is what you can do with this type of chord. And then. In the long run, it can be great to explore the inversions as well.

Then you have a II V in Eb, Fm7 Bb,

It is practical to stay in the same area of the neck,

then it is Back to Cmaj7

Notice that I am really just playing the basic 4 note version of each chord, so the voicings just contain root, 3rd, 5th, and 7th:

Cmaj7: G C E B

Fm7: Ab Eb F C

Bb7: Ab D F Bb

Then you get a II V I in Ab major: Bbm7 Eb7 Abmaj7

Another thing that you should always try to do is to think about the chords in small groups, so II V in Eb and II V I in Ab. That is much more flexible and makes it easier to learn songs by heart because you don’t have to remember as many details. I am going to show you quite a few ways of thinking about chords that are like this and incredibly useful for being creative with chords.

Next, you have a II V in G: Am7 D7

And a II V I in C major: Dm7 G7 Cmaj7

For the turnaround I am just re-using the chords I already covered and adding a Db7.

Why Drop2 doesn’t matter

I think one of the most common questions I get whenever I talk about Drop2  is why it is called that and how they are constructed. Let me quickly show you why that isn’t that relevant for playing them.

Drop2 voicings are called like that because you take the 2nd highest note (Cmaj7 root position) and then you take that down an octave.

and you can play this in a much nice way like this (Cmaj7 drop2)

 

If you are playing chords then you have to know them, we don’t have time to think about what note is moving up or down an octave, and if you want to use drop2 voicings you need to have them in your fingers and your ears. Even if you are practicing the inversions then you don’t really think about how it relates to a closed voicing, so it is good to know but not something you really use while playing.

Let’s start putting the chords to use, because THAT is important, and that is what makes them great!

Rule #1 – Cmaj7 is also C6 and Cmaj7(9)

For “a Chord symbol is something you can interpret as” A Chord Diagram in Stone? (download cave painting and put2 chord diagrams on it)

When you play chords in Jazz then you improvise with the harmony. A Chord symbol is something you can interpret, it isn’t a static grip.

So when you see Cmaj7 then you are free to play

Cmaj7, C6, Cmaj7(9), Cmaj7(13)

And some of the other rules I will cover are about how you change the chords and add some of the more colorful extensions.

Now You can easily turn two bars of Cmaj7 into something much more interesting even add a bit of chromatic magic:  (Cmaj7 and C6 with Bb passing note

When you have all these options then you can also tell why I often just write the basic chord and don’t really spend time on the extensions. That is up to whoever is playing the chords

Rule #2 – 9th Instead of Root And Some Chord Relationships

When it comes to adding extensions to a 7th chord then one of the first ones to add is probably a 9th. For voicings with 4 notes then you need to play the 9th instead of something else, and in this case, the root is the obvious choice because it is right next to the 9th and the bass player is anyway taking care of the root.

I’ll demonstrate this with two chords and show you a useful connection at the same time: The basic Cmaj7 and Fm7 are

B-roll: sheet music replacing the diagrams and tabs

And the Root for Cmaj7 is here, so making that a D is giving us this Cmaj7(9).

On the Fm7 the root is on the B string and replacing it with the 9th gives you this:

Getting Out Of The “Grip” Of The Chord

It might seem like you have to learn even more chords to also have a Cmaj(9) and an Fm7(9), but if you look at those chords then notice that one is an Em7 voicing and the other is an Abmaj7 voicing

This is because:

Cmaj7 – C E G B – replace the C with D – D E G B which is Em7

and

Fm7 – F Ab C Eb – replace F with G – G Ab C Eb which is Abmaj7

Personally, I don’t like thinking other chords than what I am hearing, so I don’t want to think of that as an Em7, and I have become used to thinking of it as something that is both a Cmaj7(9) and an Em7 depending on what I hear in the music. But maybe that is different for you. I find it confusing to have these extra steps in between and I don’t want to think about stuff. You probably want to figure out what works for you with this.

Here you can also move with passing notes and create some beautiful movement, in fact, it works great to move both the 9th to the root and the 7th to the 6th on a maj7 chord:

The next extension that you want to add to a chord is a 13th, so let’s go over that.

Rule #3 – 13th instead of 5th

The basic chords work the best if you keep the 3rd and the 7th in the chord. If you take the Bb7:

Example (+adding examples of Bb7(9) )

For now, the root is used to get the 9th in the chord, so the next note to work with is the 5th.

You can replace the 5th in the chord with the 13th. This works great on dominant chords:

And the same process for the Eb7 can transform that into an Eb7(9,13).

The basic chord, the 9, and then the 9 and the 13.

Example Eb7 Eb7(9) Eb7(9,13)

With this you can create more movement on the II V I in Ab major by also adding the 9th to the Bbm7:

There is also a rule that sounds amazing for minor chords, I’ll get to that in a bit.

Getting Caught In The Grip of Chords

B-roll: G major, campfire, different bar chord options

When you are first learning chords then you learn a grip and that is how that chords sound, later you realize that there might be more ways to play that chord, but for Jazz, I would take that a bit further.

As you can probably tell, then you should not be thinking of these chords as different isolated things, they are more like a group, of chords. A set of options that I can use to make music. This is not so different from how you think about a scale or an arpeggio when you improvise and choose notes to put together in a solo line.

B-roll: Text Cmaj7 in sheet music, zoom in, and add different diagrams around it while blurring out the other chords.

Rule #4 – 11th instead of 5th

As you saw earlier, then you can replace the 5th with a 13th, but sometimes it is more useful to replace it with an 11th, which is a way to get a #11 on a maj7 chord and also have a very useful sound for m7 chords.

If you take the Fm7(9) that you already learned earlier in the video

then the 5th is the C on the high E string, and you can replace that with the 11th of F: Bb like this:

Besides being a beautiful chord this also gives you the chance to create some contrary motion in a II V which is when some voices move up and others down when going from chord to chord:

And using this to create a maj7(#11) is also really simple

Here’s a Cmaj7 and the 5th, G, is the lowest note in the voicing, so that becomes an F#, the #11:

And combining this with the Fm7 Bb7 you can get some cool sounds like this:

Simple Melodies – The Most Important Rule

When you are playing chords behind a soloist then it is incredibly important that you don’t get in the way of the soloist.

One of the ways to make melodic comping that does not get in the way is to focus on stepwise movement in the melodies. This ties together chords very well, and luckily is also a lot easier to play than skipping around.

It can also be a powerful tool to use short melodies that repeat through the changes creating a riff that the soloist can play over:

 

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Jazz Chords – Easy To Advanced in 5 Levels

The most fun thing about Jazz chords and comping is that you can improvise with the chords and create your own sound in the song. But when you work on this then you need to get everything to work together:

Chords, Rhythm, and Melody!

That is what I want to show you in this video.

#1 Easy Jazz Chords To Great Jazz Chords

Let’s start with a basic set of chords that you can make a bit more interesting and then add some rhythm to. You probably know these already:

I already added some color to these chords, so the Dm7 has a 9th, and the G7 has a 13th, For now, the Cmaj7 is just a basic Cmaj7 chord

These already sound great and you can use them to play lots of songs, but we need them to be a bit more flexible, so let’s throw away the bass notes:

#2 Rhythm Is As Important

Now you have some more flexible chords to work with so the rhythm is the next thing to level up.

Here’s a solid riff you can use:

This demonstrates two important things  about comping rhythms:

First: Repeating rhythms is a very strong concept, it connects to the groove and is really comfortable for a soloist to play over, and actually it is a little bit overlooked for people wanting to play Jazz. It sounds amazing to just sit in the groove with the rest of the rhythm section

Second: When you think about rhythm then you want to think in longer periods, not just a single bar or even less. Here it is a 4-bar statement that is laying down the groove and then making a variation before the next 4-bar period starts. Comping is really about thinking like a drummer and playing the form, and in fact also locking in with the drummer when you play.

With some chords and more ideas about rhythm then you can add some melody to the progression, and you can do that in a few different ways.

#3 Melody and Fills (and more rhythm)

First. you want to just use melody in the chords and then later add fills in between the chords, and check out how this next example also uses another concept for the rhythm.

Let’s first look at the melodies. Here I am using the melodies that are the easiest to add to the chord, simply what I can reach on the top string which here is the B string:

So for Dm7 and for The G7 I have the same melody notes: – and for the Cmaj7 there are two:

The point here is that it should be easy to play, and you don’t need a ton of notes, in fact being too busy will probably just mean getting in the way.

The structure of the rhythm in this example is a mix of call-response and motivic development, so you have a call, then a response. Then I repeat the call and add a different response. When you listen to the rhythm, then try to really think of them as melodies because that is how you can make that a strong part of your playing, especially comping.

Before I start adding extra chords then let’s try adding some fills, so short melodies that are not played with the chords.

There are two ways you can use these:

#1 As melodies leading into or ending on a chord (slow b-roll)

#2 Or short melodies that just add something else in between chords (slow B-roll)

They sound like this:

The fills here have different functions in the music: The first one is a scale run, and really moving to the G7, where I am now using a 2-note version of that chord. The other is more used as a color or variation and is much more arpeggio based since it then sort of takes the place of playing a chord.

While fills often sound great they very easily get in the way of the soloist so you probably want to be a little careful with using them.

Why Don’t You Write G7(13)

I often get this question:

As you can see with fills and the melodies then the sound of the chord changes, sometimes there is a 9th sometimes there isn’t so it doesn’t really make too much sense to write extensions in sheet music unless you want to force the one playing the chords to use a specific sound. That is also why you mostly stick with symbols that demonstrate the basic version of the chord and then the rest is up to the taste and skills of the one playing chords.

Let’s look at a few ways you can change chords and add some extra chords to create a bit more movement.

#4 More Chords!

A great way to keep the chord progressions moving is to add some chords that have more tension and really pull towards a resolution.

This next example uses two ways of doing that.

You can add a chromatic passing chord. There are somewhat complicated theoretical explanations for this, but really it is just about looking at where you want to go and then take a chord that you can slide into that chord.

So if you want to go to this G7 then you can come from above like this: or you can slide up to the Cmaj7 like this.

Notice that I don’t put a name on the chords, and that is because that is not that important, they are just chords that you use to get to the main chord.

The other way that you can create tension is by altering dominants which makes them have more drive towards the resolution, like this:

And an example with chromatic passing chords and altered dominants sounds like this:

Two Ways To Think About Alterations

In this example, you see a G7(b13) on beat 4 of the 2nd bar, and here I am using the alteration as a way to play a chromatic leading note before resolving to the Cmaj7. When you do this then it doesn’t really influence the soloist to use a specific scale and force a different sound on the entire dominant, it’s really just a chromatic passing note. That’s one way to think of alterations on a dominant.

The other way you can use an altered dominant is to play it for an entire bar and really use that sound which also means that the soloist should also play a scale that fits with that. This is a different sound:

#5 Secret Melodies

Until now it has been about chords and the top-note melody, but there is another secret weapon, a beautiful way to add movement in your Jazz chords: Inner-voice movement.

Instead of having the top-note melody it can be nice to have simple melodies move inside the chord like this way of going from Dm7 to G7 with a chromatic enclosure inside the Dm7 chord:

And this also works incredibly well for a static Cmaj7 chord that otherwise can be a bit boring:

In context, that sounds like this:

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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:

 

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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.

 

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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.

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