Tag Archives: jazz guitar chords advanced

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

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Get 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.

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!

Check out how to use Rootless chords on Autumn Leaves