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.
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In this video I am going to explore the type of modern jazz chords that you can hear players like Lage Lund, Gilad Hekselman and Nelson Veras use. These compact 3 note voicings are very practical but also very beautiful.
This lesson will give you some insight in this type of voicings and also a look at how I work with new types of jazz chords and use one voicing to find more options and get the most out of and example.
High register incomplete 3 note voicings
To demonstrate the type of voicings I will first go over a few examples of cadences to demonstrate the sound of these chord types.
In the first example here below you see a Dm7 voicing that consists of the notes E, F and G. Since these are hard to play next to each other the E is placed an octave higher. As you can see there is no 7th(C) in the chord, so even though it is used as a Dm7 it is not a complete 7th chord.
The G7 chord is a G7b5. This chord is complete with F,B and a Db. The Cmaj7 is an Esus4 triad so in fact it is an C6/9.
The 2nd example is using a complete Dm7 voicing. The chord consists of E, F and C (low to high) so it is a DM7 with and added 9.
The G7 is a G7b13 which low to high is Eb, F and B.
On the Cmaj7 the voicing is again a C6: E, G and A. As you can see from this and the previous example I will use the Cmaj7 term quite loosely to mean anything that is a C tonic chord in a C major cadence, whether it is a C6 or a Cmaj7.
Finding other Diatonic voicings
In the next part of the lesson I will focuse on the first Dm voicing in example 1.
All voicings are of course diatonic to some scale, and since we are using it on a Dm7 in a cadence in the key of C major then the C major scale seems a good place to start.
Here in eample 3 and 4 I have written out the voicing taken through the C major scale on first the top and then the middle string set:
Extracting some more Dm7 chord options
The voicings that are the most obvious choices for a Dm7 are the ones that have an F in them.
SInce there are three notes in each chord we have three options. For the two that I didn’t already have an example. The first one is shown below in example 5 and the other one you can see in example 10 a bit further in the lesson.
Other ways of making variations of these voicings
Probably the biggest advantage to three note voicings is that they only have 3 notes and therefor are flexible and it is quite possible to add inner-voice movement and change other notes in the chords.
Two examples of this is shown here below in examples 6 and 7.
Other scales: Using the voicing in Melodic minor.
Another option is to look for other scales where you can find the voicing. For this lesson I will use the G altered scale/ Ab melodic minor scale as an example. In general it can be a good idea to also think about pentatonic, harmonic minor, diminised and other options that might be possible.
Below in example 8 I have written out two examples of where the voicing could be placed in Ab melodic minor.
Examples of using these two G7alt voicings are shown in the examples 9 and 10 here below.
In the context of a cadence we can be quite liberal with what is in the chord in terms of having a complete harmonic sound with 3rd and 7th, Because the chord for the rest will contain alterations that are not found int the scale then it is easier to get away with in complete versions. The 2nd G7(b9#9) is a good example of this.
Diatonic voicings in Ab melodic minor
Similar to what I did with the Dm7 voicing we can also explore the options that are found by moving the chord through Ab melodic minor. This is shown in the example here below:
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As I mentioned in the previous paragraph here will be a lot of voicings that will work as G7alt voicings in the context of a cadence because the voicings for the biggest part consist of altereations.
Of the examples that work I have made cadences for three of them:
I hope you can find some useful voicings and that you get some ideas on how to generate more material with the voicings you already know from this lesson. The idea of using a scale as a back drop for generating more voicings that we can then try to put to use is always a great way to explore the chords and since we are using the rest of the information that is surrounding the chord (ie. the scale) it will mostly give you some useful jazz chord ideas.
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If you have any questions, comments or suggestions for topics or how I can make the lessons better 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.
