Tag Archives: jazz chords tutorial

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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