Tag Archives: jazz chords guitar

Do this Every Time you Learn a New Jazz Chord

You need to check out a lot of different jazz chords and voicings when you want to learn Jazz, and you need them for comping and for chord melody arrangements.

In this lesson, I am going to show you some techniques that can really help you get more out of your voicings so that you don’t have to spend too much time practicing chords and help you use one voicing that you already know to create a ton of other chords that you then don’t need to practice as much.

A little music theory can really save you a lot of time!

I am going to do this in 3 parts – first look at finding similar voicings, then change the voicing and finally what other chords we can use this voicing for.

This is all about using what you practice as much as possible and getting the most out of what you have learned.

Part 1 – Connect the voicing to all the other things you know.

Let’s keep it a little practical. Let’s say you have learned a shiny new voicing like this Drop2 voicing for a C7(9).

It’s a drop2 voicing, but if we forget that and just look at it and associate it with other types of voicings then something great happens:

Below, you can see that it is coming from this voicing (bar2) and that it is also related to this voicing (bar3)

The reason that I am saying this is that it is important to tie see how the chord has different components from other voicings that we know.

That makes it easier to use it with other chords and for examplie having C-D top note melody.

Another thing that is good to notice is that it is related to this Drop3, this triad or this shell voicing.

We are just taking a look at how it works and finding things we can do with it.

Right now we can make a melody like this with what we just discovered:

or a comping riff like this:

Part 2 – Change The Voicing – Make a New Jazz Chord

This is really an important way to look at how to come up with more sounds and really explore what we can do with a chord.

To keep it a bit practical I am not going to change the 3rd and 7th of the chord because then we have a completely different type of chord and open up for a lot more information, that is possible and you should experiment with it, but my video would get too long.

If we explore changing the 2nd highest note, the G, then we have these chords:

So, of course, you need to understand where you want to use the chords to figure out what fits. A blues in C with C7(9,b13) chords may not be the sound you want (or are hired to play)

We can do the same with the top note:

And I am not going to go over the different combinations of this, but that can be fun to explore as well!

Part 3 – Using this voicing for other Jazz chords

Now we have connected the chord to a ton of other voicings and made a lot of variations on it.

If you look at the notes that are in the C7(9) voicing we have Bb,E, G and D.

If you order these in different ways we have:

E G Bb D which is Em7(b5) or You can look at it as G Bb D E which is a Gm6

So this means that the original voicing could be used like this:

These are two of the obvious choices, but you could also go through this in a systematic way and just check out what these notes are against any root.

They could work as a Bb6(#11) or F#7alt. Thinking of notes against a root is something that is also very useful for soloing!

If you use the chord as an F#7alt then you have this: Example 8

Connect the chords don’t just remember separate things

This way of thinking about voicings where you are looking at it not only within a system but also really connecting to other types of chords and voicings is a very good practice for developing and making your vocabulary more useable. If you want to see another video where I talk about this then check out this video where I am going over a 3 level process of creating and using jazz chords.

Jazz Chords – The 3 Levels You Need To Know

And you could also consider checking out the Jazz Chord Study Guide

Apply it to a Bb Jazz Blues

Take things even further by using some of the same principles on a Jazz Blues:

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25 Jazz Guitar Exercises – How To Improve Skills In A Musical Way

It is important that we practice and improve our technique, and often a good way to do this is to work on jazz guitar exercises like a phrase or musical fragment. In this video I am going to go over some technical topics you can work on and a few phrases to help you develop your technique.

The format of this lesson is different from what I normally do since it is a set of exercises to work on that will work as technical and musical exercises teaching you.

#1 Triads are great Jazz Chords

#2 Mix Triads with 3-part Quartal chords and sus4 triads

#3 Advanced 3-Part Jazz Chords

#4 Drop2 chords

#5 Drop2 chords with extensions

#6 Beautiful Inner-voice movement

#7 Must Know Drop2 voicings

#8 Medium-swing Bop Lines

#9 Chaining Arpeggios together

#10 Charlie Christian Inspired

#11 F7 Blues line #1

#12 F7 Blues line #2

#13 F7 Blues line #3

#14 Challenge your right-hand

#15 String Skips in arpeggios

#16 Quartal arpeggios

#17 Using Legato in lines

#18 Using Slides

#19 Legato in arpeggios

#20 8th note triplets in lines #1

#21 8th note triplets in lines #2

#22 8th note triplets in lines #3

#23 Sweeping Arpeggios #1

#24 Sweeping Arpeggios #2

#25 Sweeping Arpeggios #3

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Jazz Chords – The 3 Levels You Need To Know

In this video I am to cover some different types of Jazz Chords and talk about the order you should learn them. I’ll show you the basic idea with the chords and how you can use this order to gradually build a chord vocabulary that you can also make music with.

I don’t focus on the types of voicings, like drop2 drop3, etc. because they are just names, it is more important to chords you can play music with.

Level 1 – A Set For Playing Music and Songs

To play songs and easily find the chords we need one set with the root on the 5th and one set with the root on the 6th string. This is shown in the example here below:

If you are used to finding chords in other genres this is probably how you think about it.
These chords are basic chord sounds, not too many extensions. 

  • They are Easy to play.
  • Similar to the bar chords you already know
  • Include the root – full picture of the harmony
  • A Complete set of chords

Why start with these:

  • You can play the song alone and hear the harmony. 
  • Works well in a duo
  • Easy to add extensions and develop
  • Easy to turn into very flexible rootless voicings

Level 2 – Rootless voicings for Bands and Flexibility

Now you can play the chords and to get some more options then the best place to go is to just take the chords from Level 1 and then remove the lowest note: The Root.
The essential exercise is this:

We can now start making the chords more flexible and add melody by changing the top note and even adding an extra higher note as shown below in example 3 for a C7.

Why:

  • Works better in a band
  • Is much more flexible
  • You can play melodic ideas with the chords

Level 3 – Inversions and more melodic options

Now we can start working on inversions, and a good place to start is to take these voicings that we come across while adding notes to the 3-note chords.

The idea of a chord inversion is really just to find the same notes in another order on the neck. The chords we have are called drop2 voicings, and I go over how to make the inversions in the Drop2 lessons in this guide: How To Learn Jazz Chords

If I take the four basic chords and play those inversions then I have this:

How To Learn Using These Chords

Whenever you practice something like this it is very important that you also practice using it in songs. Learning a lot of stuff that you don’t use in music is usually a waste of time and you just forget it again.

Check out some more in ideas with Drop 2 voicings

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Block Chords – The Ultimate Jazz Guitar Challenge

In this lesson, I am showing you how to use Block Chords on the guitar by breaking down an arrangement of the melody to Solar.

Playing Block Chords is quite demanding on guitar but at the same time Chord Solos, and Block Chord Harmony is a big part of the Jazz Guitar Tradition. There are countless great Block chord solos by Wes Montgomery, George Benson, and Joe Pass. It is in some ways the highest level of putting chords to a melody.

I made The Chord Melody arrangement using some of the core principles in harmonizing melodies with block chords. This also links a bit to the Barry Harris 6th diminished scale system, though that system has a lot of other aspects as well.

Harmonizing the melody – Simple Rules

It is really quite simple:

The core principle that I am using for this harmonizing is that I am splitting the melody up in notes that are chord tones and notes that are leading notes.

You harmonize The Chord tones with voicings that are for the chord itself. The leading or passing notes you can harmonize with a chord that can resolve to the chord itself.

Block Chords for the first line

For the first chord The melody notes are C, B, D and G.

You can harmonize C and G with Cm6 voicings. B and D are harmonized with G7 or in this case rootless G7(b9) chords, also known as B dim chords.

The final note in the 2nd Cm bar is an A leading up to Gm7. I harmonized that as a leading note to a Gm7 chord using F#dim.

The Gm7 and C7 melodies are harmonized in the same way. Alternating between Gm7 and F#dim voicings. The first note on C7 is played as a C7sus4, which is really a Gm7/C. This is because that works really well with having a preceding F#dim voicing. Later in the bar, I resolve the sus4 to C7(b9).

Making Exercises for the different chords

You can create exercises for each chord alternating the chord with a diminished chord belonging to the dominant of the chord. I wrote This out here below for Cm6:

You can also check out some of the similar exercise I use in this lesson:

Best exercise for jazz guitar chord solos!

Taking the Passing note strategy a little further

I am using the same approach to harmonize the Fmaj7 line. Here the melody notes are A, G#(or Ab), Bb and C.

The A and C I harmonize with Fmaj7 voicings. For the low C, I am using an Am triad because a four-note Drop2 is a bit heavy.

The Bb is again the dim chord associated with C7(b9: E dim. The Ab is harmonized with a C7alt voicing. The Ab is a chromatic leading note and there are many ways that you can harmonize it, but in this case I find that the C7alt sounds better than for example an Emaj7.

The Fm7 Bb7 bars are harmonized exactly like the Gm7 C7 so I am not going to break that down.

Faster melodies and other strategies

For the last four bars of the melody I am using another more practical strategy.

When the melody starts moving in 8th notes it becomes very difficult to change chord for each note. This is not impossible, but not easy and also tends to sound a little too busy.

Instead I am using a static chord and move the melody on top of that.

In this case, the entire chord is 3 notes, so the static part is just two notes. If you listen to Bill Evans you will hear him do this quite often as well. On Piano that is playing a melody with the right hand and a chord in the left hand. His recording of Beautiful Love has a long section of the solo like this.

For the Ebmaj the underlying chord is the 5th and 3rd of the chord. That is also what I use on the Dø. The Ebm7 Ab7 bar has the 7th and 3rd as the static part of the chord.

Download the Solar Chord Melody Arrangement

If you want to download a Pdf of the entire arrangement then fill in the form here below to get a mail with a PDF link.

Up Your Chord Melody with some solo improvisation skills!

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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.

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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.

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10 II V I Chord Embellishments – The Ultimate Guide

The most important chord progression in Jazz is probably the II V I. It is every where and we play it all the time. But if we play it all the time then it is also important to have a lot of different ways to play these jazz chords.

In this video I am going to take a look at 10 different ways you can embellish and add some variation to your II V I comping and chord melody playing.

The Examples on the II V I Chord Progression are different ways to use line-clichés, passing chords and secondary dominants.

#1 Stairway To Heaven

The first example is using the descending line-cliche associated with Stairway to Heaven or My Funne Valentine. This way of adding some extra movement and color to a II V I is a great addition to your chord melody or comping vocabulary.

#2 James Bond 

A similar and equally famous idea is this use of the line-cliché on the 5th of the minor chord.

In this example it is working great as a way to add a chromatic approach that lands on the V chord. Usually it is all on Dm and the movement A A# B is related to Dm. Here the B is used as a target and marks the transition to G7.

#3 Diatonic Passing Chords

Adding Diatonic Passing chords is a fantastic way to add movement to a chord progression. Notice that this way of comping the II V I would still work if the bass player is still playing a regular II V I bass line.

The Passing chords are really just adding two chords so that the progression walks up from Dm7 to G7. Looking for step-wise or 4th intervals in the bassline are both strong and common ways to add passing chords like this.

#4 Tritone Substitution

The Tritone substitution is a very powerful way to add some extra tension and color to a II V I cadence. In this example I am substituting a Db7 for the G7 and creating a top-note melody that helps move the progression along.

#5 Tritone II V Progression

Taking the tri-tone idea a step further is to substitute the G7 with a complete II V, so in this case an Abm7 Db7.

The idea is roughly speaking the same as #4 but instead of just using the Db7 it is now a complete II V: Abm7 Db7. 

This example is played as a continuous stream of chords and a great little chromatic inner-voice movement on the Cmaj7

#6 Secondary Dominants

A variation of the Tritone substitution is also to use it as a secondary dominant. In the example below I am using Ab7 to pull towards the G7. So here Ab7 is a tritone substitute of D7, the secondary dominant of G7.

#7 Borrowing Minor Cadence

Modal Interchange is a great way to add color to a cadence. When ever we use a G7(b9) in a II V I in C major it is actually a dominant that is borrowed from C minor.

In this example I am borrowing an entire cadence, so first a bar of Dm7 and then followed by the minor cadence Dø G7 before resolving to Cmaj7

#8 Chromatic Passing Chord

Chromatic Passing Chords are a really useful addition to your comping and chord melody vocabulary.

This example is approaching the G7 from a half-step below. The idea is to have an F#7 at the end of the Dm7 bar that then resolves to G7 in the second bar.

#9 Neapolitan Subdominant

The Neapolitan Subdominant is an overlooked way to color cadences. In this example I am using the Dbmaj7 as a way to add a different color and pull to the Cmaj7.

The Neapolitan Subdominant is a IVm chord with a bII in the bass, so it is Fm/Db. Which is also why it is a (minor) subdominant chord.

#10 Chromatic Resolution

Of course it is also possible to use Chromatic passing chords in the resolution to the I chord. 

This example uses the 2nd half of the G7 bar to introduce a Bmaj7 chord that is then used to create a chromatic approach to Cmaj7.

How To Use This Lesson

The way I think you can benefit from this material is probably to think about how I am playing the examples and try to insert that into your own comping or chord melody using your own voicings and songs.

In the end the best way to learn something new is to insert it into what you already play and use it when you are playing real music

Check out more Comping Ideas

If you want to check out how I comp and many of the ideas I use then check out this lesson on a 5 chorus example on Autumn Leaves:

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The Quick Way To Learn Jazz Comping – Simple & Direct

One of the nicest things about playing jazz is Jazz comping where you play fills and small melodic statements behind the soloist. In this video I am going to go over a very easy way to get started playing jazz chords like this, starting with a very simple version of the chords and an easy way to add melodies to these chords.

I am going to demonstrate this on a Bb jazz blues. Starting with reduced shell voicings and expanding this into a set of chords that you can make melodies with while comping. I also demonstrate how this might work on the blues.

Reducing the voicings for comping

The first thing we need to do is to find some really easy chords for the blues. The way I am going to do that in this video is to just play the 3rd and 7th of each chord. This is also a great way to practice knowing the notes of the chords.

Bb7: Ab,D
Eb7: G,Db
G7: B,F
Cm7: Bb, Eb
F7: A, Eb

Before we start adding different variations to the chords to open up how we play them the we can Take this through the Blues this sounds like this:

Getting more options for each chord when comping

This way of playing the chords is pretty easy and is actually giving us a very clear sound of the chords.

To be able to play some more interesting melodies we need have some different melody notes. We already have one, namely the top note of each chord.

The way to do this is to add two more notes on the next string.

Bb7: D F G, 3,5,13
Eb: Db Eb F b7,1,9
G7: F, Ab, Bb b7,b9,#9
Cm7: Eb, F, G 3,11,5
F7: Eb,Gb,Ab b7,b9,#9

Before we start improvising with this we can play this through the Blues as an exercise:

To get started improvising it can be a good idea to work a bit per chord. In the video I give a short example on a Bb7 that you can check out.

Jazz Comping in Action

Once you get a bit more familiar with the chords you can play through the blues likes this:

Make chord voicings easier to remember.

Connecting different types of voicings is important because it makes it easier to use, remember and understand

An important thing to notice here is that the chords on Bb7 are really just like rootless versions of chords you probably already know. If we think about the chords as different variations based on the middle tritone Ab D (marked red) then we have this:

Take your comping further

If you want to check out more on how to practice and think about comping you can check out this lesson on comping on Autumn Leaves:

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The Best Jazz Comping Concept Awesome and Easy

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

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

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

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

3-Note Jazz Blues Chords

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

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

Constructing another voicing to close the gap

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

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

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

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

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

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

Another voicing to check out!

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

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

This can be turned into a complete other chorus:

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

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

Harmonizing the F7 scale based on the 3 voicings

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

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

3-note flexibility and voice-leading

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

Get the PDF!

You can also download the PDF of my examples here:

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

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How to Learn to Play Jazz Chords – Study Guide

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

Your Feedback is very valuable

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

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

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

The Jazz Chord Survival Kit and vocabulary

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

Leaving out the root and getting used to upper-structures

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

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

The Essential Drop2 Voicings

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

Developing Comping skills beyond the chords

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

More Modern sounds

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

Allan Holdsworth Chord Series

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

Chord Solos

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

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

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