Tag Archives: jazz chords guitar easy

New Beautiful Jazz Chords With This Powerful Triad Strategy

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

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

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

Basic Jazz Chords

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

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

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

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

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

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

Exercises To Discover New Things

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

Adding More Colors And Tricks

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

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

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

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

The Advantage of Rootless Voicings and Chromatic Voice-leading

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

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

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

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

Jazz Chord Heaven!

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

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

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

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

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

 

Get the PDF and GuitarPro on Patreon:

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

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

Get the PDF!

You can also download the PDF of my examples here:

Get a free E-book

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

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

Jazz Guitar Insiders Facebook Group

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

If you have any questions, comments, or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter Google+, or Facebook to keep up to date with new lessons, concerts, and releases.

Easy Way To Make Your Jazz Chords Sound More Interesting

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

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

A Basic G7 Voicing

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

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

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

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

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

Chromatic Passing Chords on a II V I

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

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

Another Great Trick With Chromatic Chords

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

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

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

Exploring More Melodies And Options

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

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

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

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

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

Putting this to use on a Jazz Standard

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

Get the PDF and GuitarPro on Patreon:

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

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

Get a free E-book

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

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

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

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

If you have any questions, comments, or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter Google+, or Facebook to keep up to date with new lessons, concerts, and releases.

 

 

Diatonic Chords Exercises – The Most Useful & Important

Learning The Diatonic Jazz Chords for any scale is an important part of exploring what harmonies and melodies are contained in the scales.

In this video I am going to go over how to construct diatonic 7th chords and a few exercises to help you learn and play them. This should help you get started playing songs like jazz standards.

It is also very important to realize that the diatonic chords are the same as the diatonic arpeggios and you need to know and use your solos.

Constructing Diatonic 7th Chords

To construct the chord let’s first have a look at the scale:

For each note in the C major scale we can stack thirds, which is like taking every other note in the scale:
C: C E G B = Cmaj7

D. D F A C = Dm7

E: E G B D = Em7
etc.

If we play these then you get these chords:

More Playable Jazz Chords

The Chords in example 2 are a bit tricky, but you can easily play the same chords using these voicings.

The chord voicings are what is known as Drop2 voicings, which is not essential in this context but you can check out more here.

The order of the Diatonic chords

This row of chords is the same for all major scales, so you want to remember:
maj7, m7, m7, maj7, 7, m7, ø, maj7

Adding Another Set of Chords

I am going to use these chords for the exercises, but it is practical to also have a set of diatonic chords with the root on the 6th string. The lowest note on the E string I am using here is an F, so I am starting with F which is a maj7 chord. After that the G is the dom7th etc. 

Exercises to Internalize Diatonic Chords

These exercises are to help you learn the diatonic chords, get a good overview and gain some flexibility with playing them

#1 Move around the keys

THis is a really basic exercise. Since the order of the chords is always the same it is very useful to just play the diatonic chords in different keys.

In Example 5 and 6 I have written out the diatonic chords in the key of Ab Major.

#2 Playing The Scale in 3rds

Playing the scale in different patterns like 3rds is a great way to just work through the scale and skip around from chord to chord. This is very efficient for building an overview.

#3 Circle of 4ths/5ths

Chords very often move in 4th and 5th intervals, just think of a II V I or III VI II V I.

Playing through the scale like this is a great exercise:

#4 The Fly Me To The Moon Exercise

If you start Am then you have Fly me to the moon: A D G C F B E A
except one thing: the E is an E7 because it is a secondary dom7th and actually Bø E7 is a minor cadence to Am7.

#4 Secondary Cadences

In the previous example the Em7 was turned into an E7 and in that way creating a cadence to Am: Bø E7 Am7.

For every chord in the scale it is possible to create a cadence like this.

We have two basic cadences. To a Major chord: m7 dom7th maj7

and to a minor chord: ø dom7th m7

To get more overview and be better at having an overview of the scales and chord it is a great exercise to go over the cadences for each of the diatonic chords.

These exercises will help you also recognize a lot of the progressions you will come across in Jazz Standards.

Get a free E-book

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

Download 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.