Tag Archives: Jens Larsen

The 3 Most Important Things For Solid Jazz Comping

Think about how you would feel soloing over your own comping.

That is probably the best way to evaluate how you comp. There are some things that you need to get right if you want to be effective in comping. You don’t want to just play jazz chords while the music is happening. You want to be part of the music. That is what this Jazz Guitar Lesson is all about and if you can comp then you get asked to play at sessions and gigs.

Related Guitar Lessons on Comping

10 important comping rhythms

Video on being your own teacher

Great examples of comping:

Wynton Kelly behind Miles Davis: So What Live https://www.youtube.com/watch?v=5Amyp4v-I84

Herbie Hancock behind Wayne Shorter: 502 Blues https://www.youtube.com/watch?v=1aTwWZweGSw

Content:

0:00 Intro

0:50 #1 It is Clear

1:34 Beat One is your friend

1:59 Don’t be afraid of repetition

2:38 #2 Don’t Get In The Way

3:31 Not just the soloist, there are more people in the band

3:39 A Great Strategy

4:08 Great Examples: Wynton Kelly and Herbie Hancock

4:38 Understand what fits the soloist

4:49 #3 Are You Playing Music?

5:42 Listen, Listen, Listen, Listen!

6:14 How Do You Practice comping?

6:30 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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57 Ways To Play a Cmaj7 with a G in the melody

Exploring the Fretboard and the options you have for chords is a great exercise. This video takes one melody note and one chord and I go through 57 maj7 chords and show you how I come up with voicings, how I listen to harmony and think about the chords.

This video is a bit of an experiment, but exercises like this are very very useful for developing your fretboard knowledge, your taste in harmony and your understanding of chords and how they sound.

Content:

0:00 Intro

0:46 Three Note Voicings (12)

3:47 The importance of exploring and experimenting in Practice

4:39 Spread Triad (9)

6:15 A Few Thoughts on Range and in which octave you put notes

6:54 Drop2 and Derived Voicings (13)

9:52 Drop3 Voicings(10)

12:10 Drop2&3 (5)

13:29 Drop2&4 Voicings (8)

15:36 Hear Voicings, understand chords better.

16:16 Weird Messiaen voicing

16:35 How you work with this and what you learn

16:59 Like the video? Check out my Patreon Page.

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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

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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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Triads – How To Use This Powerful Tool In Your Jazz Solos

Every arpeggio is a melody and Triads is a great very strong melodic building block you can use in your Jazz solos. In this lesson, I will show you:

You will learn how to:

  • Find Triads for Chords
  • Exercises to play them
  • How to use them as Odd-Note groupings, strong melodies and outside material

Let’s first look at how to find triads and then what to practice and how to use them going from diatonic to a little outside stuff as well.

The examples of lines using the triads are all on a static or modal Dm7.

Finding Triads – Analyzing Chords For Solo Material


This is really simple if you know a little theory. You only need to know the notes in the chords and the scale they are found diatonic to.

The basic way to look at this: II V I in C major – Dm7 G7 Cmaj7

The scale: is C major: C D E F G A B C

Dm7: D F A C

G7: G B D F

Cmaj7: C E G B

For each chord we can find a triad from the root, so Dm for Dm7 and from the 3rd of the chord. For the Dm7 that is F A C which spells out an F major triad.

By adding extensions and looking at the available triads you can construct this overview:

The available triads are:

Dm7: Dm, F, Am, C

G7: G, Bdim, Dm, F

Cmaj7: C,Em,G

What Should You Practice – Solid Triad Exercises

Now you can find the triads but you also need to be able to use them in your playing and for that, you need to have them as flexible sets of notes, so basically you want to be able to play triads in as many ways as possible.

You can try out these exercises, don’t focus on speed just on being able to play them in tempo with a good tone and technique, then you can use them in your playing.

Some of the triad exercises I play in the video are:

Diatonic triads

Triad arpeggios in Position

Across the neck (showing F major and G major triads)

Inversions on string sets

3-1-5 Pattern in the scale

Across the neck in a skipping pattern

You can check out more exercises in this Triads Lesson

or this lesson on a Blues Solo with only Triads

Making Lines – Using Triads In Solos

Whether it is Charlie Parker, Pat Metheny or Julian Lage, they all use triads as a part of their solo vocabulary. These 3 examples will give you some different ways to use them in solos.

Odd-note groupings and cascading triads

This lick starts with a chromatic enclosure and from the continues with cascading triads.

In this example, I use the F major, Am, and C major triads as 3-note groupings. The melody works because I am stacking the triads in 3rds to connect them.

Open-Voiced/Spread Triads

The 2nd lick is combining Dm, F major, and C major triads.

Dm in a standard root position followed by the open-voiced F major triad in bar 2, and finally the C major triad in 2nd inversion played in a pattern.

Outside Chromatic Triads

Another interesting way to use triads on a static chord is to use them as chromatic structures and approaches, similar to how you would use chromatic passing chords

In the example below you have the melody moving from Dm triad to Db major to C major triads.

An example of this in a Kurt Rosenwinkel solo on All or Nothing At All is shown below:

Kurt plays this at the beginning of his solo off the East Coast Love Affair album.

An equally powerful solo tool on Lady Bird

You can also purchase this lesson at a reduced price as a part of the Easy Jazz Standards Bundle

Get a free E-book

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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.

How To Make Chord Progressions More Simple

Some of the most common ways people tell you to reduce chord progressions are very likely to work against what you hear and the music you are trying to play. You need to apply the right type of harmonic analysis to not end up with complete gibberish when you reduce jazz chord progressions.

In this video, I am going to show you some of the places you can reduce the number of chords and talk about when that is possible.

Check out more Essential Music Theory for Jazz

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Why You Want To Think in Functional Harmony

The 10 Types Of Difficult Chords In A Jazz Standard

Content:

0:00 Intro – Using the Rules wrong.

0:28 Not only to make it simple but also to add possibilities

0:41 The II V I rule – A little theory goes a long way

1:15 #1 The Turnaround (almost a lesson on Rhythm Changes)

2:05 Functions AND chords

3:23 Listen to the reduced progression

3:40 Applying this to a Solo – Charlie Parker

4:22 #2 The II V Rule – When It doesn’t work and why

4:39 II chord or I chord? Wes Montgomery

5:33 III VI II V troubles

6:40 You want to end up with a logical progression

6:55 #3 Confirmation of a Parker Bles – Gone Slightly Wrong

7:45 When it is a little better..

8:35 #4 Tempo and Harmonic Rhythm

9:02 Ballads and Slow changes

9:41 #5 Other Progressions to Reduce

10:04 Embellished I [V]

10:52 Tonic chord filler

11:50 Did I forget some progressions?

12:05 Like the video? Check out my Patreon Page!

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Jazz Guitar Insiders Facebook Group

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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.

The Real Magic of Jazz Chords – Easy & Amazing

What is really great about Jazz chords or comping in Jazz is that you are allowed to improvise with the chords and choose what sounds you play, especially in terms of extensions but it can go a lot further as you will see in this jazz chords guitar lesson.

In this video, I am going to show you some really simple but also really great ways to add some chromatic notes and even entire chords to your playing. This works great if you are playing Jazz of course but it is also really useful in other genres that use extended chords.

In chord progressions and static chords

I am going to go over some different examples of how to mess around with a chord. I am going to show you how it works on a single chord but also how you can use it on a chord progression.

The first few are examples only moving one note in the chord and then it is going to get a little more extensive and you will learn how to start to add chromatic chords as well.

When it says Cmaj7 in the chart you can play a Cmaj7, but you can also play a C6. The difference between these two is a B and A :

We can play what we want as long as it sounds like the right chord in the context and as long as it does not clash with the melody or the soloist. For the different chords in this video, I will give you some examples of extensions you can use.

Why I Don’t Add Extensions to Chord Symbols

This way of improvising with the chords is also why I often don’t write extensions on the chords of a song: We are allowed to chose. (b-roll? comping You Stepped out of a dream with chord symbols)

You can also move from one to the other, and you can even add a chromatic leading note in between like this:

If you use this on a II V I then it becomes:

It does not have to be in the top note melody, it sounds great in the middle of the chord too:

The 9th – Another great extension

Another extension you can add to a Maj7 chord is the 9th. That can move down to the root:

The example is also moving the b13 to the b5 on the altered dominant. Whenever I chose a note to move to in the scale that works with the chord.

In example 5 I am moving the 7th and the 9th, but one of them alone

Stealing from Stairway to Heaven

So now we start moving several notes and before I go into chromatic chords, let’s have a look at how you can also move them in opposite directions (ala Stairway to Heaven)

Here are two ways of doing that on a Dm7. On a Dm7 you can use other extensions from the scale, the 9th and the 11th are pretty safe most of the time if Dm7 is the II or the VI chord in the scale.

Notice that the chord in between is actually an Fm7, but that is actually a coincidence which is why I did not write the chord symbol.

Chromatic Passing Chords on a G7

Now let’s add some chromatic chords. For a G7 you can play the G7 but also choose to add either a 9th or a 13th.

A 3-note version of adding some chromatic chords as leading chords could be something like this:

The idea is really just to move the chord a fret up or down when it resolves as you can see I do both in the first bar going down and the second moving up.
This is pretty easy to play on guitar so you should really explore that for more chords than just the dominants.

Another way to use this is to let the melody move one way and the chord another. This is what I am doing in this example:

Here the melody is the same in bars 1 +2 and bars 3 + 4.

The first example is using an Ab7 to harmonize the Ab in the melody, and the 2nd example is using a Gb7. The difference is that in the second example the melody is moving down while the chord is moving up (Gb7 up to G7).

If you want to explore more sounds and chords that you can use when you comp then check out this video where I am covering different inversions of chords you probably already know plus some great voice-leading tricks you can add to your playing.

Add some Chromatic chords to your 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:

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

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.

Chord Fills and a Great Pentatonic Trick on the Guitar

If you want to really open up the way you play chords and be a lot more free with how you comp or make fills in a chord melody arrangement, then you have to start working on different ways to make harmonized melodies that you can fit into a chord progression.

In this lesson, I am going to show you how I make chord runs or chord fills like I was using in the intro and break down a few examples.

One thing that is really useful for this is a way to use the pentatonic scale as chords and in that way make some really great sounding fills.

Let’s first take a look at a few examples and then talk about developing the pentatonic ideas later in the lesson.

3 Chord Runs Mixing Scales and Chord Voicings

The above example has a different run for each chord. Let’s have a look at how they are constructed.

Mixing Am pentatonic and Dm7

The Dm7 run below is the most complicated of the 3. Here I am harmonizing a melody that is from the Am pentatonic scale. The Am pentatonic scale is a “neutral” sound over a Dm7. All notes sound good but the scale lacks a little color because there is no F.

In the run, I start with a Dm triad and I also end with a Dm7(9) or Fmaj voicing. These two ensure that the sound of the chord is clear. In between, I am using C major and Am voicings. They sound neutral but are not too clear.

Harmonized G altered scale

The G altered run is mixing voicings and the scale. You can see how the 3 voicings shown in diagrams below work as a way of harmonizing the melody on each string. The red note marks where the melody is moving to in the line.

The entire voicing in the scale is shown in the lowest diagram, with the voicing in Blue.

Em pentatonic scale as a Jazz Chords for Cmaj7

In the example above I am generating voicings by stacking notes in the Em pentatonic scale. Since the entire Em pentatonic scale works as a Cmaj7 sound then this produces some great sounding voicings and I can move around and have a scale to play melodies with,

In this case, it is an ascending melody harmonizing every other note.

Two-layer Chord Runs

This example is using quarter note triplets to create a floating effect over the meter. It is also separating the melody from the chords to give the run a call response or solo-comp character.

On the Dm7 the technique used is similar to what I did on Cmaj7 in the previous example. The only difference is that here the chord is split into two so that the highest note in the chord is played separately.

Dm Pentatonic Run

Turning this into an exercise down the neck would give you this run:

The Cmaj7 bar is using the exact same thing but with an Em pentatonic scale instead of a Dm pentatonic.

G7 altered Exercise

You can also turn the G7 altered lick into a longer exercise moving in the scale. SInce the G altered scale is a 7 note scale I had to adapt the melody a little to get it to work.

A way to practice for more flexibility

The exercise below is using the Em pentatonic scale. This is really just a way to practice playing several pentatonic voicings but builds your ability to make melodies and create variations.

Using Pentatonic Positions

The pentatonic chords that I have used until now were all along the neck. This is a great way to work with voicings, but the open sound of the chords you get makes it possible to also do this in position.

These 3 exercises help you explore that:

Pentatonics and Arpeggios on a Jazz Standard

If you want to explore how you can get some great solo lines mixing pentatonics and arpeggios on Lady Bird then check out this lesson, or get it at a reduced price as a part of the Easy Standards Bundle:

Get a free E-book

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

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.

The 10 Types Of Difficult Chords In A Jazz Standard

If you are learning a Jazz Standard then the analysis is a great tool. It is very useful to know how the chords work and how they sound in the key of the song. But in a Jazz Standards Analysis, you are likely to come across chords that are not just a part of a II V I and more difficult to understand.

This video is on 10 types of chords that are like that and how you learn to recognize and deal with them. It should help you take your harmonic analysis up a level and help make it easy to learn jazz standards quickly.

My video on why you want to learn and use Functional Harmony
https://jenslarsen.nl/why-you-want-to-think-in-functional-harmony/

My video on why you don’t want to use modes:
https://jenslarsen.nl/learn-the-modes-is-horrible-advice-this-is-a-better-skill/

More information on Diminished Chords:

Secret to play over Diminished Chords

Content of the video

0:00 Intro

0:22 The chords that are not a II V I 

0:50 Secondary Dominants – Identifying and Playing

1:48 Function of a Secondary Dominants

2:13 #1 V of V

2:22 Example in C Major

2:58 Where they are in the form (ABAC + AABA forms)

4:05 Examples to hear V of V as Lydian and as “normal” dominant

4:22 #2 Secondary Dom7th that resolves to a major chord

4:45 Secondary II V Cadence

5:18 A Chord in the song vs A chord in a solo

5:52 #3 Secondary Dom7th that resolves to a minor chord

6:36 #4 Tritone Substitutions

7:18 Lydian Dominant on Tritone subs

7:34 Example in a Jazz Standard

7:45 #5 Secondary Diminished Chords

7:57 Example in a Standard + Reharmonization

8:45 Scale Choices for secondary diminished chords

8:57 #6 IVm chords

9:25 Basic IVm in C major

9:48 Example in a Standard

10:05 #7 Backdoor Dominants

10:18 It is a minor subdominant!

10:50  Scale choice and example in a song

11:11 #8 bIImaj7 and bVImaj7

11:23 bII – Neapolitan Subdominant

11:53 Standard Example You Stepped out of the dream and Suspension use

12:25 bVImaj7 

12:53 #9 #IVdim

13:05 Rhythm Changes example and voice-leading

13:30 Scale Choice for #IV dim

13:44 #10 bIIIdim

14:00 Typical Progression and Scale choice

14:40 #11 Reharmonized #IV dim chords

15:07 How it works

15:20 In a song: I remember you

15:40 Stella By Starlight

16:14 Understanding Jazz Harmony in Jazz Standards

16:35 Like the video? Check Out my Patreon Page

I Fall In Love Too Easily – Heeres Custom Guitars “Blue”

I was lucky enough that Richard Heeres asked me to try his new Semi-hollow model: “Blue”.

You can check out the specs of it on Heeres Custom Guitars Website here: Heeres “Blue”

Beautiful guitar that sounds and plays amazing, but you can check it out in the video.

If you want the PDF of my playing then have a look below:

If you want a download link for the latest post then sign up for my newsletter here below.

I will also send you a free PDF with 15 II Valt I licks if you are a new subscriber

Richard Heeres introducing Blue

Check out more chord melody arrangements

Here’s the Playlist: https://www.youtube.com/watch?v=dZa0CVLZ7kE&list=PLWYuNvZPqqcHEF3obcIJ-GaYghGgma9Rv&index=3

Drop 2 Magic On Satin Doll – This Is How To Use Jazz Chords

Drop 2 voicings are really useful for a lot of things in Jazz. They are essential for most jazz comping, Wes Montgomery or George Benson chords solos and other kinds of block harmony.

In this video, I am going to go over how you take a basic set of drop2 chords on the song Satin Doll and then expand them adding chromatic chords, making riffs and melodies. It will also show you how to really comp a song using melodic concepts like call response and motivic development that really are what separates you from just playing the harmony and sounding like a musical statement.

I am going to take the first 8 bars of Satin Doll and then in 5 levels add different things to the comping working on voicings, melodies, and rhythm.

Level 1 – Basic Chords

The first example is using one voicing for each chord. Keeping it simple

When you less complicated chords you can focus on great rhythms and that is also important.

Level 2 – Top-note melodies

Even though we are playing chords we still have to make musical statements. A big part of that is playing strong top-note melodies. The next step is really going to open up the possibilities for the melodies you can create.

Satin Doll and chord progression really lend itself to motivic development. There are a lot of repeating progressions like between bars 1-2 or between bars 1-2 and 3-4. This makes it easy to repeat and develop motifs.

Level 3 – Mixing voicing types

I have a lot of videos where I talk about how important it is to not get stuck in only using one chord type. You want to try to combine as many things as you can.

This example is it mixing the drop2 with 3-note voicings. The 3-note voicings are really just the drop2 but then leaving out the top string, which gives us a lot more options for melodies.

As you can see in the example below:

The II V I example mixing the different voicings is this:

Level 4 – Chromatic Passing notes

The top-note melodies we play are Jazz, so you can add a little chromaticism in there on top of the chords.

Level 5 – Chromatic Chords

With chromatic melodies, you can also harmonize them and get some great sounding chromatic passing chords.

Drop 2 Boost for your comping and chord solos

Get more examples of how to use and embellish Drop2 chords

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:

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

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.

How to write Jazz Licks – What You Want to Know

One of the best ways to practice Jazz and to learn to play better solos is to work on writing jazz licks. When you are composing licks you are working on how you can use the material that you can practice and really figuring out how to get it to sound great in a solo.

This video takes you through working on this in steps or levels and talks about important techniques you can use to make what you write sound better.

In this video, I am going to break down 6 levels that you can work on writing licks and discuss:

  • How you get started writing jazz licks
  • What does it mean to have a lick that follows the changes
  • How do you incorporate Arpeggios and chromatic melodies
  • What makes it sound like Jazz
  • How to get more surprising melodies in there.

Content:

0:00 Intro

0:18 Writing Licks and Solos as a way of practicing

0:33 Scary White Papers with empty lines

0:48 Level 1 – The Scale and Connecting to the changes

2:11 Why it is good to keep it simple

2:41 Bebop Scales – it is a bit too systematic

3:11 Level 2 – Arpeggios of the chords 

4:17 Level 3 – Arpeggios as Frames for lines

6:00 Level 4 – Arpeggios from the 3rd and Chromaticism 

6:20 Arpeggios from the 3rd 

8:19 Different way to use chromaticism 

9:11 Level 5 – Octave Displacement 

9:20 Rhythm and Joe Pass etudes

10:21 Explaining Octave Displacement on an Arpeggio 

12:15 Level 6 – Suspending Chord Tones

12:37 Chromatic enclosure as a suspension 

14:46 Like the video? Check out my Patreon Page!