Tag Archives: jazz chords lesson

5 Jazz Chords You Need To Use More

You probably already know some Jazz Chords, Drop2 or Drop3 voicings, or Shell-voicings, and those systems are really great to build a vocabulary. But sometimes you want to play some different chords that sound really beautiful and a little more surprising to the ear so that you don’t make the song boring.

Those voicings are what this video is about!

Some of these chords are a little stretchy, but as you will hear, they are worth the effort, just don’t start by playing them in the 1st position.

I am going to introduce them in chord progressions because I think that is how they are the easiest to hear, but you can of course also use them one a single chord vamp.

#1 – Beautiful m7(9,11) Upper-structure Triad

Upper-structure Triads

These 3 voicings really fit well together and they are all using upper-structure triads, something that makes them sound both colorful and strong.

The Am7 is a C and a G major triad which gives us 3rd, 11th, 7th and 9th

Here I am combining it with a D7(13b9) and a G6/9

The D7 uses a B major upper-structure and the G uses an Asus4 triad as an upper-structure, and this is something that you will see throughout the video.

Any Easy Way To Be Creative With These Chords

Arpeggiating chords

Turning it into a Maj7 chord

In the later examples, you will also see that a lot of these voicings can be used for different chords, and in that way they are a very practical way to increase your chord vocabulary.

The Am7 voicings is also great as a tonic chord in C major, even though it does not have a 3rd.

Here it is a more modern sounding Cmaj7 in this II V I with a tritone substitution.

#2 – Close-voiced Maj7(9,13)

This vamp is using the Cmaj7(9,13) voicing which is 7th,9th,3rd,13th and then alternating that with a Bb7, the backdoor dominant.

Notice that this Cmaj7(9,13) also works as a G6/9 which was how I used it in Example 1

There it is 3rd 5th 6th and 9th.

#3 – Dom7(13b9) the most beautiful Dominant sound

The 13b9 sound on a dominant is one of my favorites. It is a great mix of an altered and unaltered sound which I find really rich.

Here I am using that on a II V I in F major, mixing it with a Gm7(11) and an Fmaj7(9,13)

The C7(13b9) is a voicing with an A major triad as upper-structure which is also a part of why it sounds so stable while still working as a dominant.

Another great way to use this same type of voicing is as a diminished chord. You can do that like this on “The Song Is You”

Here it becomes a Dim(b6) but you can also move it around to get to other extensions.

#4 – The Magic Chord – The Maj(b5)

Can you hear it? It is the sound of the #11 Police coming to get us for notating this chord as a Maj(b5) – Clip from Mad Max

You are probably using this set of notes, but using it in this voicing is really a great sound and it is so incredibly flexible.

In this example, I am using it as both a tonic minor chord and a half-diminished chord.

First, an F#ø(11) which leads into a B7(13b9) using another version of the Ab major upper-structure and continuing to an Em6/9 played with two different voicings.

#5 – Dom7th(#5)

The Dom7(#5) chord is a great voicing for melodic minor sounds, and you can make some really beautiful sounds with the inversions as I do in this example, where it is used on the II chord in a minor II V I in Am.

But you can also use it for the tonic minor chord and use the same type of fill like this:

 

 

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Beautiful Chromatic Sounds And how to add them to Jazz Chords

When you solo in Jazz you use chromatic passing notes and enclosures all the time, it is really a part of the sound, and actually this is true for Jazz chords as well. There are many ways to use chromaticism in your comping or chord melody and it is a great way to add more movement and color to what you play.

In this video, I am first going to show you one way of adding chromatic passing chords that is pretty visual and easy to use and then later I am going to start creating chromatic melodies in the chords and this is a great way to get to know your chords a lot better and also gives you a lot of great-sounding options to add to your playing.

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Content:

00:00 Intro

00:47 Chromatic Passing Chords – Look where you are going

01:36 You can also move down a half-step

01:46 G7= G7(13) and Cmaj7 = C6?

03:02 Chromatic Chords in Context

03:43 Beyond Shifting Chord Shapes

05:14 Analyzing the voice-leading example

05:48 The Bebop Trick

06:58 Two Types of contrary motion

08:27 Suspending notes in the chord

09:40 Passing Chords And How To Sound Amazing With Them

 

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This Is How To Play The Chords When You Want To Learn The Song

We have a huge advantage as guitarists: We can play the chords of a song and hear how the harmony sounds. When you play a jazz standard that you want to learn then you want to keep Jazz Chords easy. There is no reason to make it harder than it is so building a strong foundation and really checking out how the basic harmony in moves and sounds is very important.

In this video, I am going to show you how to play voicings like that, and also give you some suggestions for how you can take this to the next level by adding a basic chord melody, extensions and colors, or playing walking bass and chords.

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Content:

0:00 Intro

0:41 What is a Shell-Voicing

1:58 How to Practice the Jazz Chords

3:02 Shell-Voicings on a Jazz Standard

4:59 Adding More Notes and Extensions

6:06 Chord Melody with Shell-voicings

7:25 Walking Bass and chords

8:18 Like the video?

Get Your Chord Skills Up a Few Levels

Jazz Chords – 5 Exercises You Need To Know About

Playing Jazz Chords is a huge chunk of what you do when we play Jazz on the guitar. It is what we need for comping, chord melody arrangements and, chord solos.

Learning new chord voicings and especially learning to use new chord voicings can be very difficult and often a lot of time is wasted just playing inversions and exercises when that is not how you would playing the chords if you are playing a piece of music.

Content:

0:00 Intro

0:43 The Strategy

1:17 #1 Inversions

2:52 #2 Diatonic Chords

4:57 #3 Turnarounds or Short Basic Progressions

6:35 #4 Composing Comping Melodies -Step-wise melodies and making music

7:58 #5 Making Music With The Chords

8:41 #6 Bonus exercise

9:13 Like the video? Check out my Patreon page!

Use the Voicings on Jazz Standards!

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Passing Chords And How To Sound Amazing With Them

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

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

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

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

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

Basic Progression

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

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

Diatonic Passing Chords

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

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

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

Diminished Passing Chords

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

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

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

Dominant Passing Chords

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

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

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

Side note: Em7 voicing for Cmaj7

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

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

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

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

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

Chromatic Passing Chords

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

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

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

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

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

Take your comping skills up a level

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

Comping – Putting It All Together

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Jazz Chord Magic On Take The A Train – This Is How To Use Triads

Triads and triad based chords are fantastic jazz voicings! In this lesson, I am going to show you how you can get started with some triad voicings from what you already know and then go over 5 levels of how you can play some great sounding comping ideas using these voicings.

This is something I use all the time myself, and if you check out the Chord solos of Joe Pass he is also using this all the time.

Take The A-Train – Basic set of chords

Let’s start with taking the A-part on Take The A-train and play that with a set of chords that you already know:

Triad-based voicings

If we play these without the root then you have these voicings:

Converting the Jazz voicings and doing great things

I am going to show you two important things about these voicings:

#1 There are more melody options. You can change the top note and give us some options:

#2 All the voicings are triads

Cmaj7 without C is E G B = Em

D7 without D is F# A C = F#dim

Dm7 without D is F A C = F major

G7(b9) without G is (in this voicing) F Ab B = F dim

A7(b9) without A is Gdim = G Bb C#

Top-Note Melodies and Some Jazz Rhythm

First, you should look at the chords and find another melody note for each one. (this is powerful because you can make start making riffs and making things sound a lot more interesting.

Using Inversions of the triads

Since all the voicings are triads then you can also use the inversions of these triads. If you use the inversions as well then you have some options similar to this:

Chromatic melodies & Inner-voice movement

Of course, it is possible to use movement in the other voices, not only the melody. In fact, that is what I am doing on the D7 above.

The example below takes that a bit further.

I am also using some chromatic movement in the melodies most clearly in the top note melodies on the D7 and G7 chords, and in the inner voice melody on the Cmaj7.

Altering the voicings for more modern jazz sounds

And beyond changing the top note you can also experiment with changing notes inside the chord and in that way create some new voicings.

In the example below on the D7, you will see one such voicing. The first voicing on G7 is a similar construction.

How to make music when comping

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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

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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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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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