Tag Archives: jazz chords guitar lesson

How To Embellish Jazz Chords With Beautiful Chromaticism

A great way to add some surprising sounds to your Jazz Chords and comping is to add chromatic passing notes in the different voices but also as complete chromatic chords.

Using Chromatic passing notes is a part of jazz and we all know how the greats like Charlie Parker and George Benson use chromaticism in their solos. But you can also use this in your comping in several different ways to get some great sounds.

In this video I am going to go over some example of how you can add chromatic passages to your chords in a few different ways: in the melody, as inner-voice movement, and as complete chromatic passing chords.

When you start using chromatic notes in the melody and in voice-leading then sometimes you are going to come across chords that may seem out really of place but make perfect sense in the context. This is where we can let the melody over-rule all the rules we know about chords.

Expand your voicing Vocabulary

If you want to check out some more voicings that you can use and add these types of voice-leading and chromatic ideas then check out this video where I go over 9 types of very useful voicings that are common in Jazz.

Jazz Chord Voicings – The 9 Different types you should know

Content:

0:00 Intro – Chromaticisim in Chords

0:34 Passing Notes, Inner-voices, and Chromatic Chords

0:43 Melody is more important than Harmony!

1:08 #1 Top Note-Melody

2:06 Example 1 Slow  

2:14 #2 Inner-voices Polyphonic Chromatic Ideas

2:58 Common ideas on a Maj7

3:18 Example 2 Slow

3:28 #3 In-complete chords and Line-Clichés

4:05 Example 3 Slow

4:12 #4 Close voicings with chromatic passing notes

4:51 Example 4 Slow

4:59 #5 Chromatic Passing Chords

5:44 Example #5 Slow

5:51 #6 A Tritone Dominant as a Chromatic Chord

7:22 Example #6 Slow

7:33 Like The Video? Check out my Patreon Page

Get a free E-book

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

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

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.

Beautiful Jazz Chords That You Never Played

Learning Drop2 and Shell-voicings is a great way to learn some systems of jazz chords and a lot of inversions all at once. But if you only think in systems you forget to explore what chords you can come up with that are not in those systems. That’s what I explore in this Jazz Chords Lesson.

In this lesson, I am going to talk about some of the guitar jazz chords that I like to use and find really beautiful which I don’t really hear people use a lot, probably because they don’t fit in the systems. And they are not even that difficult to play, so there is no need to not check them out!

Looking outside the systems

It is important not to be locked down by systems, also when it comes to learning chords. The Chords that I am using in this lesson are more aimed to be beautiful rich sounding chords. I mostly use them as sustained chords that I can leave there as a rich harmonic background for a soloist. They are not really intended for more rhythmical comp. When I do that I go for other chords and focus not on a single chord but as much on the movement.

Adding extra notes to a Dominant

The voicing that I am first going to show you is a chord that is really associated with the melodic minor scale. The first way to use it is as an altered dominant. In this case a G7(#9):

The Dm7 is a straight Drop2 voicing for an Fmaj7, which in this context is a Dm7(9). The G7 voicing is a basic 3-note G7 with an added #9(Bb) on top. This resolves nicely to another surprising voicing which is the Cmaj7. Here I play this with a G triad and a lower C (you can’t really call it a bass note).

Turning it into a Lydian Dominant.

In some ways this voicing works even better when you use it as a Lydian dominant. That is shown here below where I use it as a backdoor dominant in C major.

When used like this it becomes a Dominant chord with a #11 and a 13.

The Cmaj7 voicing is another rich chord voicing which has a 9th and a 13th. It is an Asus4 upper-structure and a B.

New Altered Options

This chord is another way to play an altered voicing and also have the 7th in the melody. The voicing in this case is a G7(#9): B(9), G(1), Bb(#9), F(b7). In the example I am moving the F down to a b13(Eb) and resolves it to the 9th of Cmaj7.

The Dm7 voicing is derived from a Drop 2 where the 5th has been replaced with the 11th and the root with the 9th.

The same voicing is also great for a Lydian dominant. Here it becomes a dom7th(13#11).

In the example below I am using it as a Bb7 in a backdoor dominant chord progression.

Bb7: Ab(b7),E(#11), G(13), D(3).

I am using the same voicing for the Cmaj7 as in the very first example.

Sus4 triads can be upper-structures too

This example is using three chords all based on upper-structures.

The Dm7 voicing is a Dm7(11) using a C major triad.

G7 uses an E major triad to create a G7(13b9)

C6/9 is made using a Dsus4 triad.

Why don’t you ever play a b5,b13 chord?

This last “bonus” example is a little different because it is a chord that you probably already know, but don’t use like this.

The Dm7 and Cmaj7 voicings are both drop2 chords.

The G7 voicing is a chord you probably know as a Db7(9) chord. Since Db is the tritone substitute of G7 we can also use this voicing as a G7.

That would give us this G7: B(3) Eb(b13) F(b7) Db(b5) – G7(b5,b13)

Explore more voicings

A great place to start exploring new sounds and voicings is to work with 3-note jazz chords. These are very flexible and great to use both as they are and as a starting point for adding more voicings.

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:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 1000+ 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.