Tag Archives: Jens Larsen

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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You can get the PDF and the GuitarPro files for these examples through my Patreon page here:

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

The Most Important Solo Tools For A Maj7 Chord

Sometimes it is hard to come up with something that inspires you when you are improvising a jazz solo. There are a lot of things you can use if you want to improvise over a maj7 chord, and in this video, I am going to give you some of my favourites terms of arpeggios, triads, pentatonics and a few special tricks as well.

You should have a lot of things to start working with at the end of this video, and most of it is really just a new way to use the things you already know.

Focus on how it sounds because I think that is how you are going to be inspired by it, and I will also give you some other tips on getting new ideas that are not only about what notes to play.

Cmaj7 – You can always get more out of this!

The basic material in this video is this chord, the C major scale.

And the one Cmaj7 octave arpeggio

Chromaticism – Pure Bebop

A great way to tap into Jazz as a sound and getting this type of melodies into your playing is to use chromaticism.

The example below has two short lines using different chromatic enclosures and a melody build around a Cmaj7 chord. You can check out more information on different types of chromatic enclosures here: 5 chromatic enclosures

There are more examples in this lesson: 10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

Be creative! Don’t just run up and down arpeggios

Very often when I listen to a great line and check out what it is and how to use it. Often I find that the melody is actually a basic arpeggio melody. Below are some examples of lines like this that I have come across.

You can use a variation of the Rosenwinkel melody like this:

You can also experiment with inventing melodies playing patterns with a one octave arpeggio. Try to mess around and see if you find something that sounds like an interesting melody.

Em7 – Don’t Box yourself in, you are missing out

The Em7 arpeggio is the diatonic arpeggio from the 3rd of Cmaj7.

If you look at the notes of Cmaj7: C E G B – and look at the notes of Em7: E G B D you can see that they share most of the notes and the Em7 adds a D, the 9th of C. That makes it a great arpeggio to use on a Cmaj7.

In fact the arpeggio found on the 3rd of the chord works great for most chords.

Sometimes you miss great melodies because the focus is on learning in a position, in a scale or in some other shape. This example using an Em7 arpeggio is branching out of the regular patterns and making specific melodies a lot easier to play.

Gsus4 – Not Obivous and Very Cool

The thing with the sus triads is that they sound a little less obvious and that is why they are great to use once in a while. In this first example I am using the Gsus4 triad to make a 5-note group that I can repeat before continuing, another way to change things up in a solo: odd-note groupings.

Another way to play the notes of the Gsus4 triad is this beautiful C quintal arpeggio that is the perfect way to add some larger intervals to your lines. In this case, I am combining it with a sus4 triad which is another great tool on a Cmaj7.

The Esus4 triad is really useful (leave this clip out?)

Esus4 – Complete Chord And some Color!

The Esus4 is really the complete chord, it has an E and a B so the 3rd and 7th of Cmaj7 and also the 13th: A adding some color. Here I am using it as a 3-note grouping and again taking advantage of sus4 triads being less obvious so that it is easier to repeat them in a melody without it getting boring.

Em pentatonic – Quartal Cmaj7 licks

The Pentatonic scale is very closely related to the sound of quartal harmony, and since it is a scale that we guitarists are usually very familiar with then it is a great place to find some interesting lines.

Practicing the pentatonic scale in the way shown below can help you explore melodies similar to what I use in the example.

Triad Pairs

This triad pair works fantastic for Cmaj7, besides that they are also what I used to make the most annoying picking exercise I ever cam up with…. (B-roll) and the way I usually improvise with triad pairs is by chaining together inversions to get different colors on top of the chords. This has a sound that is different from other types of melodies and still produces very strong melodies.

Putting these concepts in a song

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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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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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Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 200 others supporting and helping shape the content on my YouTube channel.

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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 Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

7 Pentatonic Tricks That Will Make You Play Better Jazz Solos

You might be getting Pentatonic scales wrong, and it is a really great and powerful Jazz sound even when you are using a very basic version of it. In this video, I am going to talk about how to come up with great pentatonic scale jazz licks and go over 7 ways to use pentatonic scales over chords  I will start really simple and go pretty far out.

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You can get the PDF of the examples on Patreon:

https://www.patreon.com/posts/7-pentatonic-you-34711070

Content:

0:00 Intro – It is More Than Just an Easy Scale!

0:52 What is Pentatonic Sound?

1:10 #1 Minor Pentatonic   – Difference between bop sound and pentatonic melodies

2:02 Comparing Bop and Pentatonic melodies

3:05 #2 Minor Pentatonic 3rd of Maj7

4:06 #3 Lydian pentatonic

4:26 #4 Minor 6 pentratonic on Altered Dominant

6:40 #5 Minor 6 pentatonic on Dominant 

7:30 #6 Altered scale (maj b6 pentatonic)

9:30 #7 Lydian Augmented

9:53 Like the video? Check out my Patreon Page

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

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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https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.

Very Early Guitar Solo – Fake Fake Fake B – Excerpt from a Jam

Here’s a part of a jam session with two friends. We are playing Bill Evans’ fantastic Jazz Waltz: Very Early – Guitar solo and then out theme..

As you can tell by the ending this is a jam session and not a rehearsal or a real band, but I really liked how it sounded and thought the ending was funny.

Top Dog Live Solo – Jens Larsen

Here’s a short excerpt from my solo on Top Dog.

The clip is from a concert during a Traeben tour two years ago. I am always having fun playing with these guys!

Traeben:

Haye Jellema – Drums

Olaf Meijer – Doublebass

Søren Ballegaard – Sax

Jens Larsen – Guitar Top Dog (J.Larsen)

Are You Wasting Valuable Time Practicing Jazz Licks Like This?

We all study jazz licks to add new ideas and techniques to our improvisations and our vocabulary. But I often get told by students how they choose a very in effective way of studying licks and are in fact really just wasting their time. In this video I will outline what is not useful when studying licks and also what is a better approach if you want to add material to your repertoire.

I will also use a part of a Grant Green solo as an example of how he gets it right and uses it in his solo.

Practicing Jazz Licks – Contents

0:00 Intro – Learn licks and increase our vocabulary

0:53 The bad way to practice licks even though they are good examples

1:25 Playing some licks (from paper with a metronome?)

1:51 Play the licks over a song

2:22 What is wrong with this approach

2:27 Too Much Information

2:49 A more focused approach to learn from licks

3:10 A II V I lick is about the same as learning a Jazz Standard by heart.

3:35 Why Complete Licks don’t work well in solos

4:03 Converting licks to useful and flexible building blocks

4:33 A lick from the Grant Green Solo on I’ll Remember April and how he uses it

5:21 Finding a better Chunk size

5:39 Making lines with the Grant Green Phrase

6:01 Using the same idea on other chords

6:27 Other examples of how great players use licks.

7:18 How do you work with licks? Do you avoid them? Leave a comment!

7:35 Barry Harris story on learning from Charlie Parker

8:11 Like the video? Check out my Patreon Page!

Claus Levin Guest Lesson and collaboration

A few weeks ago I was talking to Claus Levin. We decided to work together on some guest lessons for each others channel.

I think it is a great way to meet other YouTube guitarists by having them do a guest lesson and get a small introduction. 

Claus Levin – The Core Of Improvisation!

The videos Claus Levin makes are mostly focused on the psychological and technical aspects of learning the instrument and with some useful insights and philosophies there is a lot to learn from his videos. 

His lesson on my channel is also taking a step back and then looking at what it actually is to improvise. 

You can check out the Claus Levin YouTube channel here: Claus Levin

The videos

 

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Get the 3 Notes Per String Pentatonics PDF!

My lesson on the Claus Levin channel is on using 3 notes per string pentatonics and the PDF that you can download via that is available here:  3 NPS Pentatonic scales