Tag Archives: major 7th

Maj7 Chords – 7 Great Solo ideas!

Maj7 Chords are one of the most important tonic chord types. This video will show you 7 different ideas that you can use when improvising over Maj7 chords. The concepts I cover are using different arpeggio types, triad pairs and super-imposed pentatonic scales both common and more exotic.

Content of the video

0:00 Intro – Maj7 Chords and ideas

1:18 Example 1 – Solo

1:40 Interesting versions of Cmaj7 and Em7 arpeggios

2:29 Using arpeggios and making them less boring

3:38 Example 2 – Solo

4:04 Pentatonic scale from the 3rd of the chord

4:34 Different sounds from different phrasings

5:05 Less Rock/Blues sounding ideas

5:58 Example 3 – Solo

6:23 Triad pairs: G & Am

6:54 Analyzed relative to the C root

7:27 Melodic approach from triad pairs and that specific sound

8:23 Example 4 – Quartal Arpeggios

8:48 The “new” sound of Quartal melodies in a solo

9:17 two ways to check them out over a chord

9:50 Some technical ideas for playing quartal arpeggios

10:53 Example 5 – Solo

11:16 Am6 pentatonic – Robben Ford on a Maj7 chord

11:50 Constructing an Am6 pentatonic scale

12:35 Simple ideas from this type of phrasing.

12:55 Example 6 – Solo

13:20 Am & Bm – Lydian Triad pair.

13:57 Phrasing using Spread Triads and inversions

14:43 Example of a line using the triad pairs

14:58 Example 7 – Solo

15:22 Emaj(b6) Pentatonic scale on a Cmaj7 chord

15:42 Where it comes from

16:15 How to construct and play the Emaj(b6) Penta scale.

17:07 Phrasing and making lines with the scale

17:40 Do you have other good suggestions you like to use? Leave a comment!

18:32 Like the video? Check out my Patreon Page!

Jazz Chord Essentials – Drop2 voicings – Part 2

In this lesson I want to continue with exploring the Drop2 voicings that I introduced in the 1st part: Jazz Chord Essentials – Drop 2 voicings – Part 1. Mainly I want to talk about how you make voicings with extensions and what sort of voicings you end up with.

Adding extensions to chords

Let’s look at how we can add more colors to the voicings we already have and a few tricks that will help you use and expand what you already know.

So far we’ve been concerned with the basic chords so Am7 was simply root, third, fifth and seventh, but as I explained in the first lesson you can use Am9 or Am11 instead of Am7. Instead of making 5 or more note voicings we can use these rules to exapand the sounds:

  • 9th (or b9 or #9) can replace the root
  • 13th, b13th, b5, #5 can replace the 5th
  • 6th can replace the 7th
  • 4th or 2nd can replace the 3rd

This means that if we want to make an Am9 voicing you take the Am7 voicing and change A to B. You might notice that this means that you’ll be playing the notes B C E G which is a Cmaj7, so you can use Maj7 voicings to play minor 9 voicings. If you use the same approach to D7, you have D F# A C and that becomes E F# A C which is F#m7(b5). On Gmaj7 you have G B D F# and get  A B D F# which is Bm7.

These are vocings you already know, but you still need to get used to thinking of them as another type of chord. While playing you don’t have time to think of a voicing as a Bm7 inversion when the chord is a Gmaj7.

Jazz Chord Essentials - Drop 2 voicings part 2 ex 1

To get used to how the chords sound with 9s I have made II V I cadences in all positions:

Jazz Chord Essentials - Drop 2 voicings part 2 ex 2

You’ll notice that I prefer just using the “category” Chord symbols Am7 even though I am playing the 9th. Think of it as part of the process of not having a one to one combination from chord symbol to voicing, something you probably already had to abandon with several ways to play a C or a G chord.

In example 3 I employ some more of the rules I listed above to make some more common voicings.

Jazz Chord Essentials - Drop 2 voicings part 2 ex 3

One of the ways I’d suggest you work on this is that you experiment with the voicings in a context, so that you can hear what they sound like. Learning inversions up and down the neck out of context is probably not very useful, and often you will not be practicing associating the voicing with the chord you need to use it for.

Example 4 is demonstrating a few variations of how a Gmaj7 chord can be played using Maj7, 9ths and 6th chords.

Jazz Chord Essentials - Drop 2 voicings part 2 ex 4

To give an example of how this works on a song I made a demonstration of it on the first 16 bars of Autumn Leaves. You could go check out how it compares with the exercise in the first lesson.

Jazz Chord Essentials - Drop 2 voicings part 2 ex 5

In the etude you’ll notice that I used mostly 9 chords through out. I did not add a 9 to the Am7b5 because I think the natural 9  does not fit the context here (it is of course possible, but I’d consider it a departure from the song). On the D7 I added a b9 since that is the most natural sound for a dominant resolving to a minor chord. I chose to use Gm6 and Gm6/9 on the tonic minor chords because I think that is a beautiful sound and it is often done in jazz.

I hope you can use the exercises to expand your Drop2 voicing repertoire and come up with some nice new chord voicings for the music you play.

In the 3rd lesson on Drop2 voicings I will talk more about alterations and give some examples of some more modern or advanced sounding harmonic choices.

As always you can download the examples as a PDF here:

Jazz Chord Essentials – Drop 2 voicings part 2

Check out how I use Drop2 voicings in this 3 chorus transcription/lesson:

Drop2 voicings on There will never be another you

I hope that you liked the lesson. If you have any questions or comments then feel free to leave them here or on the video. Please subscribe to my YouTube channel and feel free to connect with me via Facebook, Google+ or Twitter to keep up to date with new lessons, concerts and releases.

 

Drop 2 voicing charts, 1st batch

I have added 4 reference charts of Drop2 voicings in the PDF download section of my website:

PDF downloads and charts

Each chart shows the 4 inversions of the chord for each of the 3 string sets both as individual chords and together on the neck.

Drop2 voicings

Feel free to let me know if you have any requests or comments!

You can do so by connecting with me via YouTube, Facebook, Instagram, Google+ or Twitter, or sent me an e-mail. Then you will also stay up to date with new lessons, concerts and releases.

Arpeggios in positions derived from 3 notes per string scales

Here’s a list of the pdf’s and pictures with arpeggio fingerings in positions.

This is made in 3 note per string scale fingerings so it might be useful to look at them if you don’t know them already. There are links at the bottom of the page.

The arpeggios are derived from these scale positions:

If you have any questions or comments then feel free to let me know! You can do so by connecting with me via YouTube, Facebook, Instagram, Google+ or Twitter, or sent me an e-mail. Then you will also stay up to date with new lessons, concerts and releases.

Melodic minor Scale – 3 notes per string

Here is an overview of the Melodic minor scale in the key of C, using the 3 notes per string system.

It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3 notes.

Melodic Minor Scale 3 notes per string
Scale and Arpeggio charts also as PDF download

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You can also download the chart as a pdf here: Melodic Minor scales 3 nps

If you have any questions or comments then feel free to let me know! You can do so by connecting with me via YouTube, Facebook, Instagram, Google+ or Twitter, or sent me an e-mail. Then you will also stay up to date with new lessons, concerts and releases.

Major Scale – 3 notes per string

Here is an overview of the Major scale in the key of C, using the 3 notes per string system.

It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3 notes.

Major Scale 3 notes per string
Scale charts

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You can also download the chart as a pdf here: Major scales 3 nps

If you have any questions or comments then feel free to let me know! You can do so by connecting with me via YouTube, Facebook, Instagram, Google+ or Twitter, or sent me an e-mail. Then you will also stay up to date with new lessons, concerts and releases.

Harmonic minor Scale – 3 notes per string

Here is an overview of the Harmonic minor scale in the key of C, using the 3 notes per string system.

It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3 notes.

Harmonic Minor Scale 3 notes per string
Scale and Arpeggio charts also as download

Embed this on your site


 

You can also download the chart as a pdf here: Harmonic minor scales 3 nps

If you have any questions or comments then feel free to let me know! You can do so by connecting with me via YouTube, Facebook, Instagram, Google+ or Twitter, or sent me an e-mail. Then you will also stay up to date with new lessons, concerts and releases.