Tag Archives: jazz chords

Rootless Jazz Chords – This Is What You Want To Know

If you are getting into some of the rich sounding Jazz chords on the guitar and want to use that in your playing then one thing that can really add a lot more life and color to your chord playing is to start using rootless Jazz chords.

Playing Rootless Jazz chords in your chord melody, comping and chord soloing will give you 10x as many options and also really start to free you from thinking static grips and more work with playing progressions that flow into one another.

And it is pretty simple to get into…

Basic Example with Chords Already You Know

You probably already know these chords:

Making these chord voicings that you already know into rootless voicings is really simple:

Now you are probably asking what is the big deal? They are a little bit easier to play but for the rest it doesn’t really matter.

Advantages to Rootless Voicings

There are two advantages to using rootless voicings:

1 If you are in a band then you want to stay out of the way of the bass player, and constantly having the root in that register is often clashing with the bass player which is not so nice for you or the bass player.

2 You have a lot more freedom to improvise with the notes when you don’t have to play the root. I am going to give you a lot of examples of this in the video, but if we take the example from above then you could start working on changing the top note of the chords and get some really great sounding chord movements That’s what I am going to cover next.

Making Easy variations to the chords

In this example I am using other melody notes from the scale that are easy to add to the chord. The examples are all practical and pretty easy to play

But there is one note that is added in there which is the b9 which acts as a chromatic leading note in the G7 to the 5th of Cmaj7. This is another way to understand alterations on dominants.

And you can go a lot further than this by adding notes on the top string as well, which is now a lot easier:

And with this you can also start to make movement inside the chord and make the different voices move independently. That’s the next thing to explore

Voices not chord grips

Let’s try this with another set of chords that you probably already know:

This can be turned into this set of rootless voicings:

And a basic variation of this could be something like this:

Notice how I am again using a b13 as a chromatic leading note to go from E down to D on the Cmaj7.

Another thing to notice is that I am only playing the chord once and then moving the melody on top while the other notes are sustaining, this gives it more of a polyphonic or even orchestral sound.

And you can expand on this quite easily adding more movement in the voices, especially G7:

Chromatic inner-voices

The next thing to start experimenting with is adding chromatic movement in some of the lower voices not just moving the melody.

Here I am adding the melody C A# to lead to the B on G7 and a great chromatic movement from B to Bb to A moving the maj7th to the maj6th

Get a solid foundation in Rootless Jazz chords

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This Is A Better Strategy For Jazz Guitar

Most jazz guitar lessons will tell you that you need to know your scales all over the neck, you need to know all the arpeggios and all the chords, understand all the theory. But what nobody seems to talk about is what order you should learn this in, and does learning jazz guitar mean that you first have to learn 3-5 scales in 7 positions with 7 diatonic arpeggios each?

Content:

0:00 Intro – Can you play Jazz without 2 years of scale practice?

0:34 How Most of us get into Jazz (me included)

1:16 Wes Montgomery Practicing Scales

1:36 Jazz is not a skill

1:56 Where does it go Wrong?

3:32 What Are You missing?

4:14 How To Fix It

4:46 A more simple approach

5:32 How It Works on a Song

5:58 Quick Analysis of the Chord Progression

7:07 The Scales we need

8:02 Making it a short compact amount of material to practice in 5-10 minutes,

8:45 Like the video? Check out my Patreon page.

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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.

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.

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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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5 Things That Will Boost Your Jazz Guitar Playing

When I look back at when I learned how to play jazz guitar then there are some things that I did which in hindsight clearly helped me get further and took me up sometimes several levels.

Most of these habits I didn’t think about in a strategic way, but I think that if you are trying to learn Jazz then these 5 tips are important for you to consider and will help you learn more and learn faster, which in the end also often means having more fun doing so.

Check out how to Practice Jazz Guitar

This is a Good 10-minute Practice Routine

30 min Jazz Practice Routine How To Find The Perfect Balance

Content

0:00 Intro

0:34 #1 Be Consistent

2:32 #2 Focus on Playing Music 

2:50 Achievable goals and using what you practice

3:14 Difference between learning an Arpeggio and Using it in music

4:08 #3 Play with Others

4:23 Responsibility and using what you practice

5:34 It is also about motivation

6:29 #4 Learn by Ear

6:59 What You Learn

7:29 A song I learned from Vic Juris

7:59 How to learn a song by ear

8:27 Learn Jazz Solos by Ear – What You Learn

9:03 A great alternative to start with

9:35 #5 Be Creative and Decide How It Should Sound

9:54 How do YOU want to sound?

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Jazz Scales – What Do You Need To Know And Why

If you want to play jazz you probably figured out that you need to play the scale that fits the chord or the song when you improvise. We don’t need jazz scales but we do need scales.

But just knowing what scale and maybe a single position of it is not really helping you come up with better things in your solos.

You need to learn and practice things within the scale that will help you have material to play that sounds good in a solo.

Sometimes it seems that most people forget that about practicing scales…

Other useful Lessons on Scale Practice

The Most Important Scale Exercise In Jazz

How to practice your scales and why – Positions

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Content:

0:00 Intro – Jazz and Scales

0:32 Playing the Scale

0:49 Positions and beyond

1:48  Make sure you know the notes

2:48 Diatonic 7th chords

3:34 A Step-wise method for learning the Arpeggios

4:08 Using Arpeggios in Solos

4:47 Example using arpeggios in a Lick

5:33 Triads (are also great in Jazz)

6:07 Example using triads in a Jazz Lick

6:50 Triad Patterns 315 and 513 

7:32 Which scales to learn?

7:55 Chromaticism and Turning licks into scale exercises

8:31 Exercise adding chromaticism to diatonic structures

8:43 Developing a Peter Bernstein Lick into an exercise

9:32 Like the video? Check out my Patreon Page!

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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

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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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57 Ways To Play a Cmaj7 with a G in the melody

Exploring the Fretboard and the options you have for chords is a great exercise. This video takes one melody note and one chord and I go through 57 maj7 chords and show you how I come up with voicings, how I listen to harmony and think about the chords.

This video is a bit of an experiment, but exercises like this are very very useful for developing your fretboard knowledge, your taste in harmony and your understanding of chords and how they sound.

Content:

0:00 Intro

0:46 Three Note Voicings (12)

3:47 The importance of exploring and experimenting in Practice

4:39 Spread Triad (9)

6:15 A Few Thoughts on Range and in which octave you put notes

6:54 Drop2 and Derived Voicings (13)

9:52 Drop3 Voicings(10)

12:10 Drop2&3 (5)

13:29 Drop2&4 Voicings (8)

15:36 Hear Voicings, understand chords better.

16:16 Weird Messiaen voicing

16:35 How you work with this and what you learn

16:59 Like the video? Check out my Patreon Page.

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The Real Magic of Jazz Chords – Easy & Amazing

What is really great about Jazz chords or comping in Jazz is that you are allowed to improvise with the chords and choose what sounds you play, especially in terms of extensions but it can go a lot further as you will see in this jazz chords guitar lesson.

In this video, I am going to show you some really simple but also really great ways to add some chromatic notes and even entire chords to your playing. This works great if you are playing Jazz of course but it is also really useful in other genres that use extended chords.

In chord progressions and static chords

I am going to go over some different examples of how to mess around with a chord. I am going to show you how it works on a single chord but also how you can use it on a chord progression.

The first few are examples only moving one note in the chord and then it is going to get a little more extensive and you will learn how to start to add chromatic chords as well.

When it says Cmaj7 in the chart you can play a Cmaj7, but you can also play a C6. The difference between these two is a B and A :

We can play what we want as long as it sounds like the right chord in the context and as long as it does not clash with the melody or the soloist. For the different chords in this video, I will give you some examples of extensions you can use.

Why I Don’t Add Extensions to Chord Symbols

This way of improvising with the chords is also why I often don’t write extensions on the chords of a song: We are allowed to chose. (b-roll? comping You Stepped out of a dream with chord symbols)

You can also move from one to the other, and you can even add a chromatic leading note in between like this:

If you use this on a II V I then it becomes:

It does not have to be in the top note melody, it sounds great in the middle of the chord too:

The 9th – Another great extension

Another extension you can add to a Maj7 chord is the 9th. That can move down to the root:

The example is also moving the b13 to the b5 on the altered dominant. Whenever I chose a note to move to in the scale that works with the chord.

In example 5 I am moving the 7th and the 9th, but one of them alone

Stealing from Stairway to Heaven

So now we start moving several notes and before I go into chromatic chords, let’s have a look at how you can also move them in opposite directions (ala Stairway to Heaven)

Here are two ways of doing that on a Dm7. On a Dm7 you can use other extensions from the scale, the 9th and the 11th are pretty safe most of the time if Dm7 is the II or the VI chord in the scale.

Notice that the chord in between is actually an Fm7, but that is actually a coincidence which is why I did not write the chord symbol.

Chromatic Passing Chords on a G7

Now let’s add some chromatic chords. For a G7 you can play the G7 but also choose to add either a 9th or a 13th.

A 3-note version of adding some chromatic chords as leading chords could be something like this:

The idea is really just to move the chord a fret up or down when it resolves as you can see I do both in the first bar going down and the second moving up.
This is pretty easy to play on guitar so you should really explore that for more chords than just the dominants.

Another way to use this is to let the melody move one way and the chord another. This is what I am doing in this example:

Here the melody is the same in bars 1 +2 and bars 3 + 4.

The first example is using an Ab7 to harmonize the Ab in the melody, and the 2nd example is using a Gb7. The difference is that in the second example the melody is moving down while the chord is moving up (Gb7 up to G7).

If you want to explore more sounds and chords that you can use when you comp then check out this video where I am covering different inversions of chords you probably already know plus some great voice-leading tricks you can add to your playing.

Add some Chromatic chords to your comping

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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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