Tag Archives: jazz chords

Don’t Waste Your Practice Time On These 3 Things

It is important to know how to practice jazz guitar so you don’t waste your time or focus on the wrong things. Here are three topics that I think too many jazz guitarists spend practice time on and think that they need to know which they really don’t. Most of this is related to a myth or misunderstanding and I think this is really worth talking a bit about because it doesn’t help you and it really works against you.

This may also be the first video I ever made telling you to not practice something instead of giving you stuff to practice.

Of course I would love to hear what you think, because maybe it’s different for you or maybe I am completely wrong?

Content:

0:00 Intro – Don’t Wast Your Practice Time

0:58 #1 Sight Reading – What Do You Actually Need?

1:23 The Big Myth about Sight Reading

1:53 How the real process is.

2:20 Learn Music By Ear

2:31 A More Useful Goal and Approach

3:15 #2 Voice-Leading

3:50 A Time and A Place for Everything

4:35 Don’t think just play

5:23 #3 Scales – What You Need and What You Don’t

5:54 New scales ≠ New Melodies

6:32 The Gypsy Mixolydian #4 b9 scale

6:39 What Else Are We Wating Time on?

7:01 Like The Video? Check out my Patreon Page.

Jazz Guitar Licks With No Scales – This Is Why Its Great

The ingredients of most common approach to jazz guitar: Scales and Arpeggios. never thought I would hear myself say this, but you can make some really great lines by ignoring scales completely. This way of thinking is quite different from the idea of assigning scales to the chords the way we usually do. At the same time it is a traditional way of making lines and a very useful approach to changing things up.

The problem with too much scale movement

The way of making lines that I am going to cover here is at the very least helping you get rid of lines that sound as predictable and boring as this:

Of course in the long run you probably want to learn you scales just the same. It is better to have more options after all. I will talk about why later.

The George Benson Connection

I came across this way of making lines while analyzing a George Benson solo and I realized that if create lines with this concept you can make some really strong lines that don’t move in a predictable way but still make sense.

In this video I am going to show you how it works and how you can start experimenting with it in your own playing.

The basic concept: Triads and Leading notes

This is a really simple concept. Instead of making lines with scales and arpeggios (my entire system for guitar just fell apart) then we can also just think in simple triad arpeggios and leading notes. So Lines are constructed by having triad tones as targets and adding small melodies of leading notes that point towards those triad tones.

The Chord and The Progression

For this lesson I am going to focus on how to use this on a II V I in Bb major, and especially the Cm7 in that progression!

Cm Triad and leading notes – Two Exercises

So the way the melodies are made are from using the simple triads for example: Cm. The basic material I am using is an enclosure and a leading note on a Cm triad like this:

Putting the idea to use in a II V I lick

And an example of a line using this could be something like this:

Above the triad targes are first Eb, then a low G and finally a C. The beginning of the F7 line is also using a chromatic enclosure to move to the 3rd.

The big advantage to Chord and Leading notes approach

What is liberating is that when we play like this then it often works to just jump from one place to the next and you don’t have to think so much about the direction of the scale run or arpeggio run, and because it is using a very basic arpeggio then the leading note melodies make a lot of sense.

Here’s another example on a II V I. Again using chromatic approach phrases to move to both Cm7 and F7 chord tones.

Of course there are also some things that this doesn’t do, and I would not only use this way of playing as a total approach to everything, but it is a nice way to come up with some lines that sound different and still work with the chords. Using this method to create lines with more more extensions gets a little difficult because the extensions also want to sound like leading notes and the leading notes for the extensions are often chord tones.

This example is using one of the lines that Benson uses a lot on the dominant. It is in fact a Parker lick that Benson learned.

How to work on this approach

So the best way to work on this is to mix it with another approach. This is also what George Benson does in his solo. I will link to my video analyzing this in the description of this video.

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

8 Awesome Types Of 3-Note Chord Voicings And How To Use Them

You probably see Jazz Chords as chord voicings with lots of notes, alterations and extensions which makes them big and difficult to play. But actually most of the time when I am comping or playing chord melody I am using 3-note chord voicings, and it is amazing how rich and diverse you can still sound just using 3 notes, and most of those are pretty easy to play.

In this video I am going to go over 8 types of 3-note voicings including different ways to use Shell-voicings, Upper-structure Triads, Quartal Voicings, Sus chords and different types of Cluster-like Interval Structures.

The Voicing types I cover in this lesson is:

  • Shell Voicings (137)
  • Triads
  • Quartal Harmony
  • Shell Voicings (157)
  • Sus4 Triads
  • Triad Derived Cluster Voicings #1
  • Triad Derived Cluster Voicings #2
  • Shell Derived Cluster Voicing

This is a lot of material but going from one type of 3 note voicing to another is surprisingly easy as you will see in the main example.

The Practical Approach: Solar Chords

The way I have chosen to approach this is to make an example chorus of comping on the song Solar. I will break down the chorus and while going over the chord voicings also talk about what type of voicing it is also give you an overview of a set of Diatonic Chords using this type of voicing.

Basic Shell Voicings and Triads – “The Power Chords”

The first part of the chorus on Solar is shown here below. For the first three voicings I am using Shell voicings and then from the middle of the Gm bar there are two triad voicings.

The first Shell voicing is a CmMaj7 Shell voicing. You probably know the shell-voicings as the basic chord voicings that are used for Freddie Green comping or as a basic building block to create voicings with extensions.

In this case I am using the shell-voicings both as basic chords and as upper-structures with extensions and colors.

To Practice shell voicings you can do this exercise of the diatonic shells in C minor melodic:

The CmMaj voicing in bar 2 is a B7 shell voicing. This is not the diatonic chord that is found on the B. This is constructed in a different way but is a chord that you can find in C melodic minor. You just need to be a little creative.

The B7 voicings is great for CmMaj as it contains the Maj7th, b3 and 6th.

The voicing on the Gm7 is a Bbmaj7 shell voicing which works as a Gm7 without the 7th.

Triads as Jazz Chords

The second half of the Gm bar is covered with a Bb major triad. The Bb major triad is a Gm7 without a G: G Bb D F

On the C7 the chord is a Bb dim triad. This set of notes is Bb Db E so it works as a C7b9.

A way to go over the triads is to play them through the scale, but think of them as the chords that you would use them. This is shown in the example below.

Triad inversions: An easy set of extra chords

A bonus from working with triad voicings is that they are easy and practical to invert. If you take the C7(b9) chord as an example then we have these possible chord voicings that all work:

Quartal voicings and 157 Shells

The voicing is a triad voicing for the Fmaj. An Am triad. Again the triad found on the 3rd of the chord.

From there the next three voicings are quartal voicings, two on F and one on Fm7.

3-part Quartal chords

Quartal voicings are hard to really tie to only one type of chord, so instead of assigning them to a specific chord I have written them out without a chord name.

The way the chords are moving in Solar example is a good example of how quartal voicings are used moving in a step-wise manner.

157 Shell-Voicings

The second chord in the Fm7 bar is another type of Shell voicing. I am using an Ab 157 shell voicing which is Ab Eb G. This spells out an Fm7(9). 

The Bb7alt voicing is an Abm7(b5) 157 Shell-voicing, moving on to a BmMaj7 137 Shell voicing.

Moving the 157 Shell-voicings through a scale you get this exercise:

Sus4 Triads as Chord Voicings

The last 4 bars of the example is introducing quite a few voicings.

First a sus4 triad for the Ebmaj7 and then three types of cluster voicings that I will go over.

Sus4 triads – Extra colors

The Ebmaj7 voicing is a Gsus4 triad. This spells out an Ebmaj7(13): G(3) C(13) D(7).

Using the sus4 triads like this is a really useful way to add colors to a chord. Taking this chord through an Eb major scale like this yields these voicings.

Especially the Bb7(13) is a nice sound here, and some to the b13 voicings can be a bit hard to put to use.

Triad based Cluster Chords #1

One way to get a 2nd interval in a triad is to substitute the root with the 9th. This is similar to how you add extensions to a drop2 chord.

Below is shown how the Ebm7 voicing is constructed. Strictly speaking this is an Ebm(add9) voicing since it does not have a b7.

Taking these voicings through the sale yields these voicings:

The Ab7 is an AmMaj7 shell voicing working as an incomplete Ab7(b9) voicing.

Triad based Cluster Chords #2

On the Dbmaj7 I am using another triad derived voicing. This is a the set of notes C Eb F which is derived from a Bbm triad. Here the Bb is replaced with C and the Db with an Eb.

Taking this through the scale gives us these voicings:

Shell Voicing Derived Cluster Voicing

The final voicing type is create from a 137 shell voicing where the 3 is replaced with a 2 or 9. As shown here below:

This chord voicings through the scale yields these chords. My notation software is unable to turn these voicings into chord diagrams.

Taking 3-note Jazz Chords further

If you want to check out more examples of how I use these types of chord voicings on a standard then check out this WebStore Lesson:

Get A Free Book!

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get The PDF

Download the PDF to check out the exercises away from the article:

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

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.

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Download the PDF

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Voice Leading – Breaking a Few Rules

Voice leading is the method you use to create smooth transitions between chords. Often it is described with voice-leading rules that determine how we move specific notes in a chord move to specific note in the next jazz chord. In this video I will explain voice-leading quickly and then give some examples of how you can actually be very creative and create some interesting sounds and new chord voicings by using voice-leading.

The lesson also illustrates how you can create some great progressions by breaking some of the rules. There is no reason to be tied down and not be creative

Jazz Harmony quickly becomes a science and research, but it is better to be a little free and also just try out the opposite of what is expected once in a while. In the end it is not about music theory but about what sounds good. 

Basic Voice Leading 

The most basic voice-leading rules in jazz are probably the movement of the core chord tones. In general voice-leading is about taking the closest route to a note in the next chord.

Below in the example I have Shell voicings for a II V I in C major.

Notice how the 7th(C) of Dm moves to the 3rd(B) of G7 and stays there as the 7th of Cmaj7.

The same goes for the 3rd(F) of Dm, stays to become the 7th of G7 and then resolves to the 3rd(E) of Cmaj7.

In this case the chords are moving in a smooth way from one to the next and in all changes one note stays while the other descends.

Opposite Voice-leading from II to V

In the example below I am voice-leading the 7th of Dm7 in the opposite direction, namely up to Db.

This means that the Dm7(11) chord is moving to a G7(b9b5) with no 3rd. The 5th of Dm7 naturally moves to the b9 (Ab) of G7. The G7 resolves to the C6/9 quartal voicing.

Against the rules on V I

In example 3 I have written out a II V I that resolves the 7th(F) of G upwards to a #11(F#) on Cmaj7.

The transition from Dm7 to G7 is pretty straight forward with G(11) moving to Ab(b9), E(3rd) and C(7th) lead to Eb(b13) and B(3rd). The F remains.

When the G7(b9b13) resolves to Cmaj7 it is moving the F up to F#, B stays and Eb resolves to the 3rd(E). The b9 is also surprisingly resolving up to an A that in this case is a 13th on the Cmaj7.

Suspensions and Surprises

An advantage of starting to explore thinking of the individual voices is that it can free up how we think of chords as vertical blocks that can’t be changed.

This example is showing how you can use voice-leading to create some interesting suspensions in your playing and blur the lines between the chords.

The basic II V in this example is pretty straight forward with a bit of contrary movement in the top-voices. The G7(b9b13) is resolved to Cmaj7(9) also in the way you would expect, but the b9 is left hanging. This creates a suspension of the b9 and gives us a #5 sound on the Cmaj7 that is then resolved down to the 5 on the 3rd beat. 

Not Getting Stuck in Drop2 

Often when you think in voice-leading it keeps you in one type of voicing, so “strict” voice-leading will take a triad to another triad or a drop2 voicing to a drop2 voicing. 

But once you start going in other directions you open for getting other results. In the example here below I am voice-leading the Drop2 Dm7(9) into a G7(b5b13) and then back to a Cmaj7.

Voice-Leading for new Voicings

Thinking in moving voices is also a great way to come up with completely new voicings. In the example below I am creating a G7(b9b5) voicing that I actually didn’t know before preparing this lesson. 

The voicing is a little tricky to play but really sounds great and resolves perfectly to the C6/9.

More Drop 2 voicings in Action!

Of course if you want to dig a little deeper into using Drop2 Chords in comping then check out this lesson on using Drop2 voicings and adding Chromatic Passing Chords:

Drop 2 & Chromatic Passing Chords – Take The A-Train

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Download the PDF

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Minor Blues Comping – How To Use Drop2 Chords

The Minor Blues is a great vehicle for improvisation and a very common chord progression that you want to be able to comp and solo on. In this lesson I am going to show you two different sounds that you can use in minor blues comping. One of the great things about minor is that the options we have several options when it comes to the extensions or sounds available on the blues.

The easiest way to think about this is probably to link the chords to scales and use that to describe the sound of the chords. This way of thinking also opens up what you can use and gives you more options when it comes to using different extensions on the chords.

The Different Comping Sounds


The easiest way to think about this is probably to link the chords to scales and use that to describe the sound of the chords. This way of thinking also opens up what you can use and gives you more options when it comes to using different extensions on the chords. 

Therefore this lesson has three main parts. Two on different sounds, Melodic Minor and Dorian, and one final example which is more open and as concerned with rhythms as it is with the voicings.

Minor Blues Drop2 voicings

The voicings I use for this video are all drop2 voicings and all on the top string set. Drop2 voicings are very practical for playing chords with extensions, both on guitar and piano. I won’t cover the basic Drop2 voicing stuff in this video, but if you want to check it out then maybe have a look at the Jazz Chords Study Guide

Melodic Minor – Rich Jazz Minor!

The best place to start when it comes to Minor sounds is the Melodic Minor scale. Melodic minor is the go to tonic minor sound for Jazz. Dorian, the other topic in this lesson, was added later after the introduction of Modal Jazz. If you check out the original Coltrane solo on Mr PC you will find that it is mostly Melodic minor on the tonic chord.

The first example is using Cm6 and Fm6 for the I and IV chord in the Blues. These are both the most stable versions of chords from the melodic minor scale. The m6 chord is a little more stable than the mMaj7 chord.

Example 1 is a very basic way to play the Blues Chorus, but if you want to expand on your options then it is a good idea to harmonize all the notes of the melodic minor scale with the chords that you need.

Below is the C minor melodic scale harmonized with Cm chords.

And you can do the same exercise with the Fm6 chords:

The Dominant Chords

In the form I also have 3 dominant chords. A C7alt to pull towards the Fm6 in bar 5, and the final cadence with Ab7 and G7alt.

These are all played using the melodic minor scale, so C7alt and G7alt are both altered dominants using Dbm and Abm melodic respectively.

C7 altered:

G7 altered:

The Ab7 is a Lydian dominant so that uses Ebm melodic:

Dorian Sound – Modal Minor Blues

The Dorian sound only differs one note from the Melodic minor sound: It has a b7 instead of a maj7. But the sound of the chords changes quite drastically because of this.

Below is an example of one chorus of Drop2 voicings using Cm7(9,11) and Fm7(9,11) on the I and IV chords. The dominants are the same as in the previous example so they are still using material coming out of the melodic minor scales Lydian b7 and Altered sounds.

Dorian Scale Harmonizations

Similar to the exercises with the melodic minor scales it is also possible to harmonize the Dorian scales with the chords. Here is how this is done with the Cm7 chord

Chord Extensions

With the Dorian scale there are still quite a few ways to color the chords that are used. Here are some of the options you can create from a basic Cm7 voicing.

The basic rules:

  1. The Root can be replaced by the 9th
  2. The 5th can be replaced by an 11th or a 13th

In one example I am also replacing the root with a 13th.

Minor Blues Comping Example

In the previous part of the lesson I was focused on how to find some simple clear solutions with a very basic set of chords. The transcription below is demonstrating how you can put some of this to use adding some more interesting rhythms and tying it all together with top note melodies.

More Drop 2 voicings in Action!

Of course if you want to dig a little deeper into using Drop2 Chords in comping then check out this lesson on using Drop2 voicings and adding Chromatic Passing Chords:

Drop 2 & Chromatic Passing Chords – Take The A-Train

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Download the PDF

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

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:

Autumn Leaves Comping – Lesson

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Download the PDF

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Lage Lund – Favourite Voicing and Solid licks!

In this Lage Lund Lesson I am taking a look at three licks from a live solo with the OWL Trio. The three examples are demonstrating things that Lage does very well in his playing. Making strong melodies with basic arpeggios. A great chord voicing and also an example of a more modern sounding Lage Lund Lick.

I also discuss some of the many ways the chord voicing can be put to use and that you can actually use it to play the entire song Green Dolphin Street.

Satin Doll – Easy Jazz Chords (and a little beyond)

The Ellington/Strayhorn tune Satin Doll is a standard that you need to have in your repertoire. It is also a great standard if you want to work on some easy jazz chords and playing II V progressions, since the progression is mostly made up of one bar II Vs.

In this lesson I am going to go over two sets of easy jazz chords that you can use to comp Satin Doll, namely two versions of shell-voicings. They work really well for Freddie Green rhythm guitar, but are also a great place to start and something that you can build a lot on. This is what I demonstrate with an example at the end of the video adding a lot more color and melodic material to the way I comp it.

The Song and the Form

When learning a song like Satin Doll it is extremely useful to also take the form into consideration. In this case Satin Doll is a 32 bar AABA form.

If you realize that it is an AABA then you also realize that you only need to know the A and the B parts by heart to know the entire progression.

A II V is one unit

Another thing that is very practical is to think of the II V progressions as one thing. Most of the progressions in Satin Doll are one bar II V progressions and by thinking of those as one progression you make it a lot easier to both play and remember.

Shell Voicings for Satin Doll

A Shell voicing is a chord voicing containing the root, 3rd and 7th of the chord.

In Jazz harmony this is enough to spell out the color and the function of the chord most of the time and is a great way to play the basic progression.

Shell voicings are also very useful as a starting point where you can add more melodic material on top in terms of other chord tones or extensions.

In example 1 I have written out the first A part played with shell voicings around fret 10:

First A – Shell Voicings

Notice that there are two different sets of II V voicings used: One with the m7 root on the 6th string and the other with the m7 root on the 5th string.

The Bridge in the same position

Now that we have an A-part covered then the next thing to sort out is the bridge:

The 2nd set of voicings

A good way to expand the options is to take a look at what the A-part might be with the other II V set. 

This is shown in example 3:

For practical reasons I have the same chords in use in the turnaround. After all music is not an exact science…

Adding Variation and Melody chords

The next step is to start expanding the voicings. The way I am going to do that is by taking a shell-voicing and add extensions on top of it.

For the Dm7 and G7 voicings in the 10th fret this would be:

For the other II V set we have these options

Putting the variations to use

To get used to improvising with this material it can be a good idea to first just improvise some melodies using a single II V as I do in the video.

After this you can also start making exercises such as this:

Here I am playing the chords on 1 and 3 and then adding an extra melody note in between. The goal is to add a strong melody on top of the chords.

Shell-voicings for Chord Melody

If you want to use this material in chord melody arrangements then you can check out this WebStore lesson on Chord Melody arranging:

Chord Melody Survival Kit

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Download the PDF

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Jazz Turnaround – How To Get Started

The Jazz Turnaround or I VI7 II V is a very common and useful progression to learn after you have checked out some basic II V I lines. In this video I will go over some basic material to use on a Turnaround: Jazz Chords, Scales and Arpeggios and then demonstrate how to solo over the form with this.

The lesson includes some exercises as well to get you more familiar with the chord progression, arpeggios and scales and get it into your ears and fingers.

The Progression and some Basic Jazz Chords 

The turnaround I am going to focus on in this lesson is a Bb major I VI II V. I have chosen to use altered dominants for the VI and the V chords.

A good place to start when learning a chord progression is to play the chords. Here are the chords both as diagrams and as notation:

It is important to play the chords and get used to how they sound, and for any progression you want to solo on you also want to be able to play the chords.

These voicings are fairly basic versions with a root.

Scales and a position of the neck

When you are starting to work on a progression then you want to keep scales and arpeggios in one position. If you have to move around the neck to cover the chords while soloing then it is going to be very difficult to play any logical sounding melodies.

I am going to cover the turnaround using the 6th positions.

The Bbmaj7 and the Cm7 are covered by a basic Bb major scale:

The  G7 altered scale is the same as the Ab melodic minor scale. In this position that is this scale:

And finally the F altered or Gb melodic minor:

Arpeggios – Diatonic and altered dominant

The basic arpeggios for the Bbmaj7 and Cm7 are easy to come up with. The altered dominants are a bit more tricky. Here I am using m7b5 arpeggios from the 7th of the chord.

Decoding the Arpeggio choice for the Altered dominants

The altered dominants don’t have a straight diatonic arpeggio. In Ab melodic minor the diatonic chord on G is a half diminished chord. One way of dealing with that is to look at a G7alt chord voicings as shown below.

The top part of that chord is an Fm7(b5) chord and this means we can use that arpeggio as a good arpeggio for G7alt since it gives us a

F Ab B Eb = b7, b9, 3, b13

Exercises on the Progression

When you are learning a progression it is really useful to do some exercises that follow the changes and help you not only familiarize yourself with both the chords and the scales and arpeggios you need to improvise over it.

In the video I also demonstrate how to do similar exercises with the arpeggios and two examples of the never-ending scale exercise.

Improvising using Target Notes

One of the best ways to approach soloing over changing harmony and to have melody lines that flow naturally from one chord to the next is to use target notes.

Using target notes in your solos is to choose a note in advance and then try to play a melody towards that note. This way of constructing lines is very useful because if you have that in your system you will always play melodies that are moving towards something and not sound like you are trying out how notes sound or that melodies are moving at random. By choosing target notes that are related to the chords it is also a very powerful way to really spell out the chords.

The Target notes for this progression

The Target notes are chosen to be really clear so they are very indicative of the sound of the chord and not repeating notes from the last chord.

An example of a line using the target notes is shown below. Notice how I am using the target notes on the 1st beat of the chord and making a line that really points to that target notes.

Taking the Target note strategy further

If you want to check out some more material on Turnarounds and target notes then you can also check out this webstore lesson where I am using that approach on the Rhythm Changes.

Rhythm Changes – Target Note Strategies

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter

Get the PDF!

You can also download the PDF of my examples here:

Jazz Turnaround How To Get Started

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.