Tag Archives: jazz chords

5 Quick Tips When You Are Stuck In A Jazz Solo

We all get stuck in solos, even though you know the song, the chord or the scale. You still don’t know what to play. This video will give you some jazz guitar tips that you can use to get past this.

The 5 tricks are about looking at things differently or taking a step back and finding more options, but working on them will make you a better jazz improviser and improve how you make music.

More tips on improving your Jazz Guitar Solos

The Scale is NOT That Important – This is!

More Melodic Guitar Solos – Three Critical Techniques without Arpeggios and Scales

Content:

0:00 Intro

0:42  You Know The Song, but still..

1:51 #1 Play The Melody  

2:59 #2 Play The Chord

3:43 #3 What Do You Hear? Nothing? Then Play That! (Jim Hall!!)

4:54 #4 What Did You Play Right Before

5:34 How This Sounds on A Song

7:36 #5 Check Available Triads, Arpeggios, Pentatonics

7:52 Share your list

8:12 A Part of My List

9:10 Like The Video? Check out my Patreon Page

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The Magic Chord – 10 ways to Use this Amazing Jazz Chord

The Magic Chord is a great name for this Maj7(b5) voicing. This is because it can work for a lot of different jazz chords sounds and sounds really great as a lot of useful chords. The Magic Chord can be seen as an advanced chord concept, but really is a very practical way of playing a lot of chords.

In this video, I am going over 10 examples of how you can use this voicing as dominants, tonic minor, half-diminished, Phrygian chords and altered dominants. It really hits some great extensions and chord sounds in harmony from both Major and Melodic minor scales.

Content:

0:00 The Magic Chord (just ask Herbie Hancock)

0:43 II V I in C major

1:17 II V I in D minor

1:52 Phrygian Chord to Tonic – C Major

2:26 II V I in D major

2:58 IIø Valt I in A major

3:31 II bVII I in C major

4:02 II Valt I in Bb major

4:37 II bII I in C major

5:09 II V I in Eb major

5:42 II bVII I in G Major

6:15 Like The Video? Check out my Patreon Page!

How To Learn Jazz Guitar – Suggestions To Begin Studying

This is a question I get very often. And that is in no way strange. Starting to learn Jazz guitar is the beginning of a long journey with a lot of interesting stops along the way.

In this video and post, I will try to give you some places where you can look for the things you feel you need to check out and of course also what you think is interesting.

Learning Jazz, or any other style of music is not a set path the fits everybody. We all take different routes and need to work on different things longer or shorter. That is also the reason that there is no set way to go through this and why I am calling it suggestions. You need to figure out for yourself where to go next. If I have a student learning Jazz it is common that I take a few lessons to figure out what to work on and how to work on it, so expect that when you start working as well.

That said, I will try to make this a little less complicated and stop the information overload a little because I don’t think that is really necessary.

To keep it a bit short I am going to focus on three main topics:

  • Technique and Scales
  • Chords
  • Improvisation and Songs

Technique and Scales

Keep it simple. Start with the Major scale. Don’t overdo technique practice.

Start with one position and one key. You can add positions and keys along the way, with basic exercises.

Start with these exercises:

  1. The Scale
  2. The Scale in 3rds
  3. The Diatonic 7th chords (Maybe Triads first, but many don’t have to)

For more information on what to do work on and how to use it:

The Most Important Scale Exercise In Jazz – Basic Scale exercise and Scale in Diatonic 7th arpeggios

Practice Major Scales like this and You will get more out of it! – More thoughts on scale practice.

How to practice your scales and why – Positions – A bit of a deeper look into options with scale practice and suggestions for exercises

Jazz Chords – A solid set and learn some songs

It is practical to learn some jazz chords so that you can play chords on songs. As jazz guitarists, we spend more time comping than soloing. It is also a huge help to be able to hear the harmony that you are soloing over.

I have a study guide for Jazz Chords where the first two or three lessons will give you more than enough. How to Learn to Play Jazz Chords – Study Guide

Especially I would start with a set of diatonic chords for the major scale which is exercise one or two of this lesson: How to play Jazz Chords on Guitar

From that material you can gradually expand chord vocabulary, learn songs and progress into rootless voicings and more complex comping and harmonization ideas.

Improvisation and Songs

This is the most important part of how to learn jazz guitar because this is where we talk about playing music. So it is about using the material that is practiced in the scales.

If you want to play jazz you need to spend time playing the songs and improvising and you should start doing this from the very beginning. Even if you can’t really play solos that sounds like jazz, just by trying you are building repertoire and skills to use later.

A few things about improvising over changes:

How To Solo Over Chord Changes The Right Way

A practical example of improvising with arpeggios:

How to start soloing over a II V I with arpeggios

For more examples of songs, easy chord melody arrangements and similar then you should browse through this playlist of easy YouTube lessons:
How To Begin Jazz Guitar – Easy lessons to gain an overview

Jazz Standards to start with and how to learn them

When it comes to which songs to start with then I would suggest you start with one of these 10 songs:

The First 10 Jazz Standards You Need To Know

And some of the exercises and things to focus on when learning them are covered here:

Learning Jazz Standards – Important Exercises

Next level for Jazz Guitar

Maybe you already feel comfortable with the things I covered here, and you are looking for more challenges and explore the music further. Of course, you can browse the YouTube channel and my Website.

Another option is to join the 3000+ members of the Jazz Guitar Insiders Facebook group and ask there, get inspired by the posts and comments of others:

Jazz Guitar Insiders

Or join me on Patreon where you can support and help shape the content on the channel in the future. Patreon is really what has made all these lessons and the channel possible.
Check it out here: Jens Larsen YouTube Lessons on Patreon

Rootless Jazz Chords – 15 Beautiful Examples You Need To Know

If you want to play really interesting comping then you need to work with rootless jazz guitar chords so that you have the freedom to play more interesting and interactive things behind a soloist.

A good starting point to explore some useful II V I voicings. Focus on connecting the chords with some great melodies, rhythms, and inner-voice movement.

Traditional and more modern sounds working with some reharmonizations of the II V I as well.

Content:

0:00 Intro

0:23 Why You Use Rootless voicings

00:45 The Basic Position and II V I chord set

—- 3-note chords —-

0:54 #1 – A Strong Top-not melody is essential. You can always move from 7 to 6 on the I chord.

1:25 #2 – Let the Melody carry and drive the progression

1:53 #3 – You can have chromatic passing notes in the inner-voices as well. 6 to 5 on the I chord is another cool inner-voice

2:27 #4 – Incomplete altered dominant chords often work well (because the altered notes are clear enough)

2:58 #5 – busy chromatic melody  (but it is possible)

—- 4-note chords —-

3:27 #6 – You can also repeat a melody note

3:53 #7 – Make more layers by splitting the chord

4:20 #8 – A little more rhythm and a So-What voicing for the II Chord

4:49 #9 – Rich sounding 13b9 and Maj7(13) chords!

5:16 #10 – A little more rhythm and counter-movement on the II chord

—- Changing the Chord Sounds —-

5:45 #11 – Line cliche with Dm, DmMaj7, Dm7

6:17 #12 – C# dim chord to lead to G7

6:46 #13 – Ab7 to lead to G

7:15 #14 – Building the chord with the melody

7:42 #15 – Quartal Voicins and Clusters

8:09 Check out the 15 minor II V I video!
8:16 Like the Video? Check out My Patreon Page!

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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15 Minor II V I – Beautiful Jazz Chords You Need To Know

Having good Jazz Chords for a minor II V I can be difficult. This progression is much more complicated than it’s Major counterpart. At the same time, it is a really beautiful progression. Especially because of the rich tonic minor chords and altered dominants.

15 Jazz Chord Sets

In this video, I am going to go over 15 sets of jazz chords for a minor II V I in D minor. They will give you some solid ideas with extensions, the melodies and also some inner-voice movement.

What makes this progression difficult is probably in part the IIø chord that is a little hard to get used to and also the mix of harmonic minor and melodic minor used on the V and the I chord. Very rich colors but also a bit hard to handle.

I am of course very curious about what you think about the video format, so if you have ideas for other topics that would work in a video like this then let me know!

Content:

0:00 Intro -15 Minor II V I chord sets

0:30 Do you have suggestions for another topic?

0:42 #1 – Upper-structures for Eø

1:01 #2 – Cluster-like Altered Dominant and Rich Tonic Minor 

1:31 #3 – Inner-voice movement in Melodic Minor

1:56 #4 – Expanding Melody

2:20 #5 – ø11 Cluster-like voicings – maj6 and maj7 on a I chord

2:44 #6 – Melodic Skips in the Top-note melody

3:08 #7 – Maj7(b5) voicings and Altered Voicings for the Tonic Chord

3:32 #8 – The Minor 3rd Trick and the Maj7(#5) voicing

3:54 #9 – Diminished Voicings for Dominants

4:18 #10 – Melodic Pedal Point

4:42 #11 – Arpeggiating is a forgotten art!

5:06 #12 – Counter-movement in the lower voices

5:31 #13 – b5 Upper-structure triad on the V

5:56 #14 – Tune Up in Minor

6:21 #15 – Tritone voicings and a great way to resolve them

6:45 Like the video? Check out my Patreon Page!

More lessons like this

If you want to check out similar lessons then maybe one of these are useful:

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

10 Arpeggios over a Maj7 chord

10 arpeggios over a m7 chord

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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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You can also download the PDF of my examples here:

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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Why Reharmonization Is For You And How To Get Started

Reharmonization! I imagine the word itself sets off alarms for some people thinking: “Crazy Music Theory will follow” and there are going to be the weirdest examples of chord substitutions and bass-notes over triads with extensions.

But it isn’t that bad. Reharmonization is a great way to add variation to both your solos and your interpretation of a song, for example in a chord melody arrangement.

In this video I am going to give you some basic reharmonization ideas to use, it is pretty basic and stuff you might know already but not use like this or maybe have played examples off. The video is not going to make you the best arranger of our time but it will give you some things you can put to use in a lot of places and if you are only playing the basic changes all the time then starting to work on improvising with the chords could be just the thing you should do to get to a higher level.

Content

0:00 Intro

0:24 How Do We Use Reharmonization.

0:52 Playing with the Expectations of the Listener

1:25 #1 Major instead of Minor

2:17 Example on Stella By Starlight

2:37 Solo Example 

2:50 Hearing this in context – Timing and Placement in the form

3:25  #2 Tritone Substitutes – Using Complete II V’s

3:45 Example on There Will Never Be

4:30 The Effect

4:48 Solo example

5:06 #3 Parallel Minor Chords – Dim Chords

5:15 The Two Types of Minor chords

5:47 Example 1 – Dim to m7 – Someday My Prince Will Come

6:48 Recorded examples

7:18 Solo Example

7:28 #4 Parallel Minor Chords – Harmonized Bassline

7:33 The Progression that is reharmonized.

8:23 Example on Days of Wine and Roses

8:45 Using this in Melodies and Recorded examples in solos

9:20 Solo Example

9:27 Like the Video? Check out My Patreon Page!

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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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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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Get the PDF!

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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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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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