Tag Archives: jazz chords

Beautiful Chromatic Sounds And how to add them to Jazz Chords

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

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

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Content:

00:00 Intro

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

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

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

03:02 Chromatic Chords in Context

03:43 Beyond Shifting Chord Shapes

05:14 Analyzing the voice-leading example

05:48 The Bebop Trick

06:58 Two Types of contrary motion

08:27 Suspending notes in the chord

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

 

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Skills You Need To Develop – Important Jazz Exercises

You need to learn scales, arpeggios, and vocabulary to play solos and to get it to sound like Jazz, but there are other aspects of improvising a solo that you need to develop as well if you want to sound good.

This week, the focus is on some of the other essential skills you need to develop to become good at improvising Jazz. So it is not really about scales, arpeggios, and vocabulary. I take a standard and go over some of the exercises you can start to do to really learn how to become a better soloist.

The focus is on playing solos that:

  • Play real phrases
  • Make the solo one piece of music
  • Play what you hear

It takes more than just scales and arpeggios to play a great Jazz Solo

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Content:

00:00 Intro

00:22 The Song

00:34 #1 – Limit Yourself – 2 or 3 notes

01:14 Choosing notes for a solo

02:47Tips for doing the exercise

03:22 Challenge your Creativity

03:50What you improve in your playing

04:52 #2 – Motivic Development

05:59 Basic practice

06:42 Motivic Development on a song

07:10 Digging into the Harmony

07:21 Melodic Voice-leading

07:47 Rhythmic Displacement = Motivic Development

08:20 What You Learn

08:58 #3 – Improvise with chord tones

09:44 Two variations

09:47 #1 Arpeggios within one octave

10:27 #2 One Position

11:06 How to play over chord changes and make sense 


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Chord Solos – How To Get Started The Easy Way

I am sure you have heard Wes, George Benson or Joe Pass play great chord solos, and it is a great sound that seems almost impossible to get into your own playing, but if you are a little practical about how you start working on it then it may not be as difficult as you think. In this lesson, I am going to take one area of the neck and a II V I in G major and then I will show you how to start making your own chord solo licks with a few voicings that you probably already know.

 

The II V I

Keep in mind that this will help you develop your own chord solos, but it can also be a great addition to your comping and chord melody arrangements. I am going to build this up using drop2 voicings. The starting point is this II V I in G major. A chord solo is a melody that is harmonized with chords, so from these chords you want to be able to play a melody. Let’s start with the Am7 and the D7.

Chords for Am7

For Am7 you caa use these 4 melody notes which only really use two chords: In the sheet music I have written out what extensions are in the chord, but that is not that important, you can better just think of all of them as Am7 and as chords you can use to make melodies You might be thinking, 4 notes? That’s not enough for solos! But actually you can make some really good melodies just with these simple voicings Chord solos tend to have a lot simple melodies, which is good because that also makes it a lot easier to play them. Since you are playing a full chord you don’t have to spell out the harmony with arpeggios and It is as much about the rhythm. Here is another basic example:

Chords for D7

The same top note melody for the D7 could be these voicings:

A II V I Chord Solo Lick

For now I am going to stick with one Gmaj7 voicing and then we can expand on that later in the video along with adding alterations and some different types of chromatic chords. With these voicings then you already can make a line like this: The melody is pretty simple and I am as much trying to make the rhythm interesting while having a strong stepwise (and often repeating) melody.

Chromatic Passing Chords

The next thing to do is to add some chromatic chords. For the Am7 you could add two chromatic leading notes to the melody that you can harmonize by inserting a chord that is a going to slide into its target note from a half step below: You can play the slides like that or pluck both chords. The same but then descending where I am adding an Eb7 that moves down to D7 would be this: With these chromatic passing chords you can now make a much more interesting II V I lick like this: And as you can see I am just using the chords and melodies from the previous examples. How to work on this and get it into your playing. When you practice this then you should first just play through the exercises and get those into your fingers a bit. If you then use my examples as inspiration to make some II V I licks for yourself and from there move it into a song that you know. Remember that a great way to practice this is also to use that way of thinking and playing when you are comping, there you have more time to work with it and it doesn’t have to be so busy so you can really get the techniques and the melodies into your playing in a more natural way.

The b9 Guitar-hack

If you look at a D7(b9): D F# A C Eb  then that is really a F#dim with a D in the bass. This is useful because diminished chords are symmetrical so they are really really easy to move around on the guitar and that makes them perfect for chord solos. For the area of the neck that I am using that means that I have these voicings: This you could use in a II V I like this: On the D7 you can also use chromatic chords similar and here that means more dim chords which are nice and easy to play

A few more options for Gmaj7

Now we can have a look at what to do with the Gmaj7. Here are 3 voicings that will work really well. Notice that I am using a G6 to harmonize when the G is in the melody. This is also going to give us some more options in the next section.

Some Chromatic tricks for Gmaj7

There are few ways to add chromatic movement to a Gmaj7. The first one is a similar passing chord to the previous examples, but the second one is keeping some of the chords in one place and move the outer voices in half steps.

II V I lick with the new Chromatic voice-leading

If you put these to use in a II V on lick then that could be something like this:

Level up your chord soloing!

Summertime – Chord Solo

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How To Analyze Songs – Music Theory and Functional Harmony

Music Theory and Harmonic Analysis can be great tools when you want to learn jazz and figure out how to improvise over a chord progression. These videos help you get started understanding how to do that, understanding functional harmony, tonal centers, and the rich harmonic language found in Jazz standards.

The videos will give you examples of how to analyze songs and also how to choose scales from that analysis. You will learn a lot from analyzing the songs that you play.

Remember that it is more important to hear the changes and recognize the sound of the theory as it is to know the name, so working on the songs you already know well will really help you. A fancy name probably won’t.

Analyzing Jazz Standards – Understand what you play!

How To Analyze Chords and Progressions – This video uses the song There Will Never Be Another You as an example and discusses the progressions found in there.

All The Things You Are – Harmonic Analysis – All The Things You Are is a great Jazz standard that we all need to have in our repertoire. In this video I am going to go over a thorough All The Things You Are Harmonic Analysis.

Analyzing a Standard: All Of Me – This song is a great example of IV minor chords and secondary dominants

Analyzing a Standard – Stella By Starlight – Functional Harmony in Jazz – I guess Stella by Starlight is in many ways one of the most mysterious chord progressions among the jazz standards. At the same time, it is so beautiful that everybody just keeps at it until they can play it

General videos on Music Theory and Analysis

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords – Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

This video has a PDF download of the overview of the analysis – Click Here 

5 Types of Chord Progressions You Need To Recognize and Be Able To Play – Harmonic Analysis – In this video, I will go over 5 types of progressions that if you can use to better understand the functional harmony that you find in a jazz standard.

Music Theory Is The Effective Way For You To Learn Faster – If you know you basic Music Theory well then you can easily start to add another level to how you analyze melodies and chord progressions which will help you work more focused and learn faster when you practice.

 

You can also go through the playlistson YouTube:

Analyzing a Jazz Standard – Harmonic analysis of Jazz Pieces

 

 

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5 Basic Jazz Chord Exercises That You Want To Know

There is something special about how we play chords in Jazz. A part of that is the jazz chords themselves but another part that is just as important is how you play those chords. This video is going over 5 basic jazz guitar exercises that you can play and get started developing your Jazz chord skills. Some of them you probably know and some of them you can add to your playing.

I am using parts of songs to demonstrate this, so going through these exercises will also help you get started learning Jazz Standards which is another important part of learning Jazz.

#1 Shell-voicings – 6 chords in 30 seconds

First, we need some chords to play. To keep it simple I am going to quickly cover some voicings and then give you an example of how you can practice them on a song. To keep it simple I am going to start with easy 3-note voicings called shell voicings. A shell voicing is a simple chord that covers the basic sound of the chord and is very playable. They consist of a root, 3rd, and 7th (or 6th) Later I will start adding some notes to these to add a little color, but it is great to start playing music with these already. If you put these to use on a song like “Afternoon in Paris”, then you get something this: You can use this exercise to get the chords into your fingers, but you won’t really get them into your playing before you start playing other songs with them, so don’t forget to try that.

#2 Great basic rhythm – Charleston

Rhythm is more important than notes in Jazz, so the rest of these exercises are going to be more on rhythm and how to rhythms that sound like Jazz. The most basic and most important rhythm to know is probably the Charleston rhythm. You can practice that with Shell-voicings through 8-bars of Satin Doll like this: In this exercise, I play two chords per bar to make it a little more difficult, but it also helps you learn to anticipate a chord which is also important for Jazz phrasing.

#3 Two layers and a little more groove

Before we start adding notes to the voicings then you want to try to get the most out of them and actually, you can split up the shell-voicing in the bass note and the chord, and then you can play some rhythms with two layers. This is especially useful for giving it a little more groove and to keep things moving when you have more than one bar of one chord like this in Take The A Train:

#4 Bossa Nova

Another great groove to play is a Bossanova groove. In this example, I am using the first 8 bars of Girl From Ipanema. To change things up and make it a little more challenging I also add a note to each voicing for a little more color. The chords I use are: And then if we add this basic Bossanova pattern then you can play Girl From Ipanema like this: Like the other exercises in this video, this is just a basic example and you can do a lot more with both extensions and rhythms. You can check out links in the video description if you want to dig deeper into this.

#5 Simple Walking Bass

Another way to become more flexible and really lay down a swing groove is to play chords and walking bass. This works really well with Shell-voicings and could be something like this:

Playing Jazz Chords – What’s next?

If you want to explore more things with Jazz Chords and how to play them then check out this collection of lessons:

Comping – Putting It All Together

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

Jazz Blues Chords – How To Make It Sound Like Jazz

If you are trying to learn to play Jazz Guitar and especially comping songs then you have probably already found out that it is not only about knowing the right chords, there is a lot more to it.
In this video, I am going to show you how I comp a slow medium jazz blues. I have transcribed a chorus and I will go over the chords but I will also show you how I play the chords and make the comp more interesting by using melodies, arpeggios and other tricks to color the chords. In fact, it may surprise you how rarely I “just” play a chord.

The Blues Transcription

Let’s first check out my comping with the transcription, then I will break down 5 of the techniques I use to make it sound more like a piece of music and more interesting.

The next thing to do is to have an overview of the voicings. If I play through the blues with just the chords because that is the backdrop for what I am doing.

Just the chords

After that, I am going to talk about how I am using melodies and fills, inner-voices and arpeggiation to make it come alive and I am going to give you some easier examples to work with.

As you can see most of the voicings are really simple and for the most part chords you probably know already.

If there is a chord that you don’t recognize then try to play or imagine playing the root under it.

bar 1 Bb789,13) magic chord

bar 6 Edim

bar 8 Dø G7  – It is a II V, and the movement is done by moving the 7th(C) of Dø down to the 3rd(B) on G7(b9)

Melody is more important than voice-leading

The first two bars are more about the melody I am playing than connecting the chords. I am using the chords to fill in around the melody.

The first chord is just a color, after that, you get this melody and on the long note in bar 2 I add the rest of the chord but I arpeggiate the chord to create a little extra movement.

The same type of thing is happening on the Eb7 moving to Edim. First the chord, then a melody that takes me to a G, and under that, I add the rest of the chord.

Playing Jazz Chords One Note at The Time

In the previous example, you could see how I arpeggiate the chords and in that way get more movement out of a single chord.
This is something that I use quite a lot. Two examples in this blues are bar3:

and bar 7

Both are using the same basic Bb7 voicing and the notes are spread out across the bar.

In bar 6 I do this as well, but here I am adding an extra note while arpeggiating and in that way starting to have two melodic layers, something that I use to create almost a counterpoint in another place.

Notice how I actually use voice leading to go from the Edim to the Bb7 even though it is hidden by the way I play Bb7

Electric Counterpoint (in a Jazz Blues)

In bar 8 we have this fragment:

Here I play a sustained F as the melody on Dø, and then add the rest of the notes and that turns into a second melody under the F that yields the G7(b9) voicing. This is an example of adding the chord tones in arpeggiating and that gradually takes on its own meaning as a melody and I treat it like that as well, not just as an arpeggio.

Grab what is easy to get by

Being efficient is important when you comp, also because you need to be ready to react to what is happening around you.

One of the ways I use block chords in comping is to just change the melody and keep the same chord which is what I am doing in bar 9 on the Cm7.

Improvising with the harmony

Since you are improvising when you comp then you can also change the chords a bit. The final turnaround has two examples of this. The 2nd chord is written out as a Db7, though you would expect a G7 there I play (and think) Db7

Whenever you have a dominant chord that resolves then you can choose to use the tritone substitute. That is what I am doing here. And added bonus is that the Db is the #9 of Bb which makes it sound like a harmonized blue note. That is also why I have that note at the top of the chord. In Music context is everything.

In the last bar, I am also changing the harmony, but I am doing so by delaying the F7. II V cadences are very flexible and you can often get away with leaving out one of the chords or as I do in this case, leave the F7 until beat 4 and then use it almost as a chromatic leading chord for the Bb7 in the next chorus. The quarter note triplet rhythm also adds extra energy by being a sort of tension against the groove.

Learn some amazing drop2 voicings

The majority of chords that I use in this video are drop-2 voicings, and a lot of the other ones can easily be seen as derived from drop2 by being drop2 without a root note for example. So studying drop2 voicings and being flexible with them is very useful if you want to be good at comping and free to choose what to play.

Drop2 Bundle – Build Your Voicing Vocabulary

 

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Maj7 Chords

How To Use Maj7 Chords As Amazing Substitutions

Maj7 chords have a great open yet resolved sound, but even if they sound very much at rest you can easily use them in some very interesting chord substitution concepts.

In this video, I am going to show you some of the great sounding chord progressions you can make using maj7 chords in chord substitution, and later in the video, I am going to show you how changing one note in the voicing gives you a lot more beautiful sounds.

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Content:

0:00 Intro – Maj7 Chords for reharmonization

0:39 Tonal and Chromatic

0:50 bVImaj7 – Borrowing from minor in major

1:41 Using it on a few Jazz Standards

2:47 bIImaj7 – The Neapolitan Subdominant

4:01 Finding a scale for the chord

4:28 How to use it on a few Songs

6:09 Chromatic maj7 chords #1

6:54 Chromatic approach #2 

7:28 Maj7(b5) Chords (and a little disclaimer)

8:58 Maj7(b5) as an Altered dominant

9:48 Maj7(b5) as a Backdoor dominant

10:28 Like the video? Check out my Patreon page

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