Tag Archives: passing chords

Beautiful Jazz Chords That Make You Less Boring

Do you get bored listening to yourself playing chords? Let’s look at some 3-note jazz chords that change things up a bit so you are not always playing the same tired harmony.

Warning: Some of the chords in this video can be both rootless jazz chords and incomplete, they are so hip that they are almost only alterations.

Make Chords Your Own

This example has a few “advanced” sounds but it also still makes sense and has a natural flow.

You could see this example as derived from these chords that you then change a few notes and make more interesting, and the way I do that is something you can also do with the chords you play.

On the Am7 we have the 11 instead of the 5

On the D7, #9 instead of b9

Gmaj7: First  #11 instead of 5 and then chromatic up to #5 and then #11 instead of 5

Why You Use 3-Note Jazz Chords

As you can see some of what makes it more interesting is also that I move around voices in the chords, and that type of movement is a lot easier to execute if you play 3-note chords, in fact, you can really start to improvise with them as if they were 3 voices. This is much harder with 4-note voicings that are a lot less flexible. (B-Roll 3-note voicings?)

Open Up How You Think About Chords (No More Wonderwall)

One of the things that you should develop if you want to play chords and Jazz harmony is that you don’t want to get stuck only thinking about the chords as static grips where you don’t know what notes are in there. As you can see in the previous example you open up an entire world if you are able to start changing the different voices in the chord. (b-roll, changing the notes of a chord?)

Exploring chords and working with the type of things I do in this video is a great way to get into that. Making your own chord melody arrangements is another one. In the end it is important that you don’t find yourself screwing up the music and say

Next: Let’s try the same type of thing but then also break a few rules for the chords.

Color is more important than Rules!

When you play voicings like these then the context of the II V I is pretty predictable, and therefore you can really get away with playing pretty vague chords as you can see here.

The voicings in the example above are derived from this set:

Here I chose to have a 9th instead of a 7th on the Am7

The D7 doesn’t have a 7th either because I include both b5 and b13. You could see it as coming from this voicing.

The Gmaj7 is actually a G6/9 and you could see it as an Em triad where the G is replaced with an A.

This is followed by a voicing that is really just constructed from what you can fit under the melody, which is the 3rd. The important part of the sound is the minor 2nd interval between #11 and 5th.

But of course, you can also explore these sounds on the high-string sets as I do in the next example.

It Is Fantastic Not To Be Tuned In 4ths

With these voicings you don’t have to sit on the middle string set all the time, you can also branch out to the top strings, and with standard tuning that makes some voicings a lot easier to play.

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5 Levels Of Maj7 Chords & How To Make Your Own Voicings

One of the most fun parts of learning and playing Jazz is exploring the Jazz chords and the beautiful colors you can add to it and the freedom you have to improvise with them.

In this video, I am going to go over how we start with basic shell-voicings and then end up with voicing with lots of extensions and colors.

And this is also a great way to really get better at checking out and connecting different types of chords and explore the fretboard

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Content:

00:00 Intro

00:34 Level 1 – Shell-voicings, Maj7 & Maj6 chords

01:18 Maj7 & Maj6 chords

01:59 Samba comping with Shell-voicings

02:24 Level 2 – Shell with extension & Drop3

03:25 Comping with The Bigger Chords

03:43 Level 3 – Triads & Rootless Jazz Chords

05:17 Jazz Standard with Triad Voicings

05:36 Level 4 – Drop2 and Inversions

07:24 Level 5 -Inverting Shells with extensions

08:36 Adding more colors to a Standard

08:58 More Colorful Chords and Less boring Chord Progressions!

09:05 Like the video? Check out my Patreon page!

 

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Easy Way To Make Your Jazz Chords Sound More Interesting

Just playing Jazz chords isn’t enough to make it sound great. You have to know how to make it interesting and keep the song moving.

In this video, I am going to give you some really easy examples that you can make your chords sound a lot better, stuff that helps you sit in the groove and keep things moving, and it is a simple trick that is more visual than a lot of complicated music theory.

A Basic G7 Voicing

The basic technique that I am using in this video and develop into a lot of great ideas is extremely simple. For a G7(13) chord like this:

You can add a harmonized chromatic melody to this chord like this:

And the rootless version of this which is often a little more practical.

What is happening here is really just that I am playing a melody going down in half-steps and then the chord use the chord on the D, the last note in the melody as a way to harmonize the note leading to it. In that way everything just slips into place and it is also very easy to play.

And this works for other chords as well, not just dominant chords, let’s check that out.

Chromatic Passing Chords on a II V I

Here you can hear how it also works on the II Chord, and of course, you can also use it on a tonic chord like this:

Here I am using a Db6 to get from the Cmaj7 to the C6

Another Great Trick With Chromatic Chords

Now you have one way to harmonize chromatic passing notes, but there is another one that is also pretty easy and works just as well and even makes

In bar 3 I am playing a melody that moves down in half steps, but instead of harmonizing it with the chord a half step above then I shift the first G7(13) chord down a half step, and then the lower part of the chord moves up and the melody moves down

This means that you now have two ways to create some chromatic melodies with chords. Let’s try that out on a few chords.

Exploring More Melodies And Options

To give you a way to get this into your playing let’s go over how this works on a few chords.

If you want to move from this voicings to this voicing:

If you use these two options then you can start with a voicing like this (1st chord in example 6) and then there are two ways you can move the melody down in half-steps:

With the starting chord, you have two ways you can move down, you can use the target chord as we did in the beginning, and you can also start by shifting the first chord.

Here’s another version. If you go from then you have these two options: 7a then there are these two ways to do this:  

Putting this to use on a Jazz Standard

You can put this to use on a song like Ladybird like this. Try to see if you can analyze what is going on.

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5 Jazz Chords You Need To Use More

You probably already know some Jazz Chords, Drop2 or Drop3 voicings, or Shell-voicings, and those systems are really great to build a vocabulary. But sometimes you want to play some different chords that sound really beautiful and a little more surprising to the ear so that you don’t make the song boring.

Those voicings are what this video is about!

Some of these chords are a little stretchy, but as you will hear, they are worth the effort, just don’t start by playing them in the 1st position.

I am going to introduce them in chord progressions because I think that is how they are the easiest to hear, but you can of course also use them one a single chord vamp.

#1 – Beautiful m7(9,11) Upper-structure Triad

Upper-structure Triads

These 3 voicings really fit well together and they are all using upper-structure triads, something that makes them sound both colorful and strong.

The Am7 is a C and a G major triad which gives us 3rd, 11th, 7th and 9th

Here I am combining it with a D7(13b9) and a G6/9

The D7 uses a B major upper-structure and the G uses an Asus4 triad as an upper-structure, and this is something that you will see throughout the video.

Any Easy Way To Be Creative With These Chords

Arpeggiating chords

Turning it into a Maj7 chord

In the later examples, you will also see that a lot of these voicings can be used for different chords, and in that way they are a very practical way to increase your chord vocabulary.

The Am7 voicings is also great as a tonic chord in C major, even though it does not have a 3rd.

Here it is a more modern sounding Cmaj7 in this II V I with a tritone substitution.

#2 – Close-voiced Maj7(9,13)

This vamp is using the Cmaj7(9,13) voicing which is 7th,9th,3rd,13th and then alternating that with a Bb7, the backdoor dominant.

Notice that this Cmaj7(9,13) also works as a G6/9 which was how I used it in Example 1

There it is 3rd 5th 6th and 9th.

#3 – Dom7(13b9) the most beautiful Dominant sound

The 13b9 sound on a dominant is one of my favorites. It is a great mix of an altered and unaltered sound which I find really rich.

Here I am using that on a II V I in F major, mixing it with a Gm7(11) and an Fmaj7(9,13)

The C7(13b9) is a voicing with an A major triad as upper-structure which is also a part of why it sounds so stable while still working as a dominant.

Another great way to use this same type of voicing is as a diminished chord. You can do that like this on “The Song Is You”

Here it becomes a Dim(b6) but you can also move it around to get to other extensions.

#4 – The Magic Chord – The Maj(b5)

Can you hear it? It is the sound of the #11 Police coming to get us for notating this chord as a Maj(b5) – Clip from Mad Max

You are probably using this set of notes, but using it in this voicing is really a great sound and it is so incredibly flexible.

In this example, I am using it as both a tonic minor chord and a half-diminished chord.

First, an F#ø(11) which leads into a B7(13b9) using another version of the Ab major upper-structure and continuing to an Em6/9 played with two different voicings.

#5 – Dom7th(#5)

The Dom7(#5) chord is a great voicing for melodic minor sounds, and you can make some really beautiful sounds with the inversions as I do in this example, where it is used on the II chord in a minor II V I in Am.

But you can also use it for the tonic minor chord and use the same type of fill like this:

 

 

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Diminished Chords – Beautiful Progressions and How To Use Them

The Diminished Chords are often causing a lot of people trouble, and that is a shame because there are so many amazing sounding progressions that use diminished chords and you can make beautiful chord progressions with them as well.

In this video, I am going to show you the two main categories of dim chords and how you can use diminished chords in some great sounding progressions.

It isn’t that difficult there are just a lot of people telling you to think stuff on dim chords that don’t fit with what you hear, and that is probably getting in your way.

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Content:

00:00 Intro

00:27 The Two Types of dim chords

01:41 Dominant Diminished

02:16 Common Dominant Diminished Progressions

04:28 Subdominant Diminished

05:20 Resolving Diminished Problems

05:53 Common #IV dim progressions

07:32 Soloing over Diminished Chords

07:40 Like the video? Check out my Patreon page!

 

 

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Beautiful Chromatic Sounds And how to add them to Jazz Chords

When you solo in Jazz you use chromatic passing notes and enclosures all the time, it is really a part of the sound, and actually this is true for Jazz chords as well. There are many ways to use chromaticism in your comping or chord melody and it is a great way to add more movement and color to what you play.

In this video, I am first going to show you one way of adding chromatic passing chords that is pretty visual and easy to use and then later I am going to start creating chromatic melodies in the chords and this is a great way to get to know your chords a lot better and also gives you a lot of great-sounding options to add to your playing.

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Content:

00:00 Intro

00:47 Chromatic Passing Chords – Look where you are going

01:36 You can also move down a half-step

01:46 G7= G7(13) and Cmaj7 = C6?

03:02 Chromatic Chords in Context

03:43 Beyond Shifting Chord Shapes

05:14 Analyzing the voice-leading example

05:48 The Bebop Trick

06:58 Two Types of contrary motion

08:27 Suspending notes in the chord

09:40 Passing Chords And How To Sound Amazing With Them

 

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Passing Chords And How To Sound Amazing With Them

Passing chords are a great Jazz trick to add some surprising but also beautiful sounds to chords. In this video I will show you 4 types of passing chords and examples of how they sound and how to use them. You can use the examples to get them into your own playing and add amazing new colors to how you play chords.

I am going to go over examples using, diatonic, chromatic, diminished and dominant passing chords and show you how you can make some beautiful embellishments of a simple II V I turnaround in C.

I am going to cover the 4 types of passing chords by giving you some examples of how they sound. For this lesson I am not going to discuss the music theory involved with the chords. I think it is more important that you have some options and that you explore what they sound like.

Ironically the last one is the easiest to play, the one that adds the most color and movement and it would be the hardest to explain.

https://www.youtube.com/watch?v=q2ERumJZ0eo

Basic Progression

I am using a simple turnaround to show you where you can add extra chords, and the basic progression is this one:

The first version is using complete chords with the bass note, but the 2nd one is using drop2 voicings which are a little more flexible. Most of the chords I am using in the lesson will be drop2 chords.

Diatonic Passing Chords

The first type of Passing chord is a diatonic passing chord. You mainly use diatonic passing chords in a step-wise manner where you are walking from one chord in the scale to the next.

The first example shows a descending approach from Fmaj7 to Dm7.

This 2nd Diatonic example is using a single Em7 as a passing chords going up to Em7 and then back down to Dm7(9)

Diminished Passing Chords

The Diminished chord is often a bit mysterious but it is a great very flexible chord to add to a progression. In this example I am using different types of diminished chords, but mainly there is a C#dim pulling us to Dm7 and a Gdim resolving to the G7.

For more information on the theory behind the diminished chords and the different functions they can have you can check out this article: Secret to play over Diminished Chords

This example is using a diminished chord as a type of suspension of the Cmaj7.

Dominant Passing Chords

The way a passing chord works is by having a natural resolution to the chord it is targeting. Using the dominant of that chord is of course a great approach.

Below you can see how the A7 on beat 4 works as a passing chord towards the Dm7.

This is repeated in the next bar with the A7(b13) resolving to the Dm7(9)

Side note: Em7 voicing for Cmaj7

I very often get asked why I write Cmaj7 and then the chord voicing looks like an Em7 (for example beat one of example 6)

The explanation is fairly simple. If you look at bar 1 below then it is clear that it is an Em7 chord.

Em7 is E G B D, but if the bass plays a C then the notes sound like a Cmaj7(9): E(3rd of C), G(5th), B(7th), D(9th)

Another way to look at it is shown in bars 2 and 3 below.

You probably know the Cmaj7(9) in bar2. The rootless version of that is, of course, still a Cmaj7(9), and you could add a high G to that which would give you the voicing in bar 1.

Chromatic Passing Chords

A huge part of the sound of a Jazz solo is the use of chromatic passing notes and enclosures. The chromatic passing chords is a way to harmonize this type of melody, maybe even the harmonic counterpart to this.

The first example has a C#m7 to pull toward the Dm7. You should notice that to get this to work you have to think in melodies, and the top-note melody should be pretty strong. Here is D, D# to E.

the 2nd bar has an Ab7 approaching the G7 with a similar descending melody.

You can also use the chromatic passing chords as suspensions similar to how I used the diminished chord in example 5.

Here there are also chromatic approach chords for the Dm7 and Cmaj7.

Take your comping skills up a level

This collection of lessons will teach you a lot of material with passing chords, top-note melodies and riff comping. Focus is on using this on songs so that you can get it into your own playing.

Comping – Putting It All Together

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Passing Chords – The 3 Types You Need for Comping and Chord Solos

Passing chords are a great way to expand the sounds you have available in your comping and chord solos. As you will see in this lesson they are also making it easier to make you comping sound more melodic and musical. In this lesson I am going to discuss 3 types of passing chords and demonstrate how they can be used.

The Diatonic Passing chords

The easiest place to look for chords to use when harmonizing a melodic comping idea is of course to use the diatonic chords of the scale at that point in the song.

If you want to know more about Drop2 chords and other voicings then check out the Jazz Chords Study guide

This is what I am doing in example 1 here below. The example is on a II V I in G major, which is the chord progression that I will use for all the examples.

In the example the diatonic passing chords are used on the Am7 chord. The first part of melody consists of the notes C, D and E. On the Am7 I am harmonizing the melody with the chords Am, Bm7 and Am7. Using the neigboring chord when harmonizing notes is a very common and very useful way to use diatonic passing chords. In this example the Bm7 chord is used to harmonize the D and it voice-leads nicely up to the following Am7(9) voicing that harmonizes the E.

Different versions of Passing chords solutions for an Am7 melody

Of course there are several ways you can take diatonic passing chords. Below you’ll see examples using only Am7 voicings, a Bm7 and a G6 diatonic passing chords.

Diminished Passing chords

This approach to using passing chords is to harmonize melody notes with a dominant diminished chords. On the II chord, Am7, the dominant is E7 and the associated is a G#dim.

This example is also using a G# diminished chord to harmonize some notes on the Am7 chord. The notes that belong to the dominant in the scale are the prime candidates for using the diminished chord. In the example below I am using it to harmonize the D and B notes.

Practicing the Diminished passing chords

One way to work on practicing the this way of alternating a II chord with a diminished chord is to do the exercises here below.

You may recognize this exercise as the Barry Harris 6th diminished scale, which is build on exactly this idea of alternating tonic with a dominant chord.

Chromatic Passing Chords

Chromatic passing chords is a great way to especially harmonize chromatic passing notes in the melody. This means that having this in your vocabulary is going to make it possible to add chromaticism to your comping melodies. 

The example below shows how you can use chromatic passing chords on both the Am7 and the D7 chords.

On the Am7 the B, Bb, A melody is harmonized with Am(9), Bbm7 Am7 and in the same way the D,Eb,E melody on the D7 is harmonized with D7,Db7 and D7.

Notice that the voicie-leading is also chromatic, so the way to use this is to look at the note that the chromatic note is resolving to. The chord that is used to harmonize the resolution will also work well to harmonize the chromatic note. On the D7 it is clear that the Db7 is just shifting up a half step to become the D7. 

Sometimes you can also reverse this so that the chord moves one way and the melody another which can be a great effect, but that is for another lesson. You can always leave a comment on the YouTube video if you would like a video on this,

Expand you the possibilities with chords

Passing chords is a very powerful tool in comping and chord solos and of course also in chord melody arrangements. Checking out these techniques are really something that is applicable in so many areas of playing and will pay off on a lot of levels besides the direct use.

In-depth examples of Passing Chords

Drop 2 & Chromatic Passing Chords – Take The A-Train

 

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Chromatic Chords – part 1

Chromaticism has been an important part of the jazz language since the 40’s.  In this lesson I want to show how you can add chromatic chords to you comping or chords solos, so that you also have that aspect of the style in you vocabulary.

I already have made 3 lessons on adding chromatic notes to improvisations. These lessons are on my YouTube channel, and the article that accompanies them are published on the fundamental-changes.com website. Since a lot of jazz melodies have chromatic passing notes we need to have a way to deal with them when we are playing that kind of melodies in chord solos or while comping. On guitar this is surprisingly easy (for once..)

I have chosen to work only on dominant chords for this 1st lesson on chromatic chords. Mainly because it is an easy place to start and it is also a little easier to hear in the beginning. I also won’t go too much into the theory of what the chromatic chords are since it is not that important, and easy to use without knowing that.

Exercises

I don’t have an actual system for this approach, and have chosen to make an exercise based on two main positions on the neck. The principle is easy to grasp and will work on any sort of voicing even if we are looking at it in a guitaristic way.

The first example is a few examples of melodies that you can use with voicings based around a standard G7(13) voicing in the 3rd position.

Chromatic Chords - Part 1 - ex 1

As you can see I have chosen to harmonize the chromatic note with a chord voicing that is the same as the one it resolves to, so when the melody resolves down it is an Ab7 chord, and if it is aascending it is a F# voicing. Fairly simple and very easy to execute on guitar without having to think too much about it.

The second example is doing the same but around a G7(9) voicing at the 10th fret.

Chromatic Chords - Part 1 - ex 2

Since the chromatic passing notes are harmonized in a way where we have one chord that just shifts up or down a fret this concept is very nice to use for chord soloing.

Examples

So just to illustrate how this might work in a context I’ve made a few II V I lines. Another good place to practice with these chord runs would be a blues since it has a lot of dom7th chords.

Chromatic Chords - Part 1 - ex 3

Example 1 is first using a drop2 voicing for a Dm7(9), followed by a melody harmoniced with an F amjor triad (or you could view it as the top part of a Dm7 drop2 voicing. On the G7  I first use a chromatic run resolving the 13th(E) to the 5th(D) via the Eb. On the four I use a G7 altered drop2 voicning that then resolves to Cmaj7 that I play with a drop2 Eminor voicing.

The second line is using the higher position of the G7. On the Dm7 I made a short melody using basically the same chord voicing but then with different top notes. Another good way to get some practical and playable melodies for chord soloing. The chord I am using could be seen as the top part of a Drop3, an F major triad or a Drop2 Dm7 voicing. The rhythmical language of chord solos always reminded me of bigband lines, so if you want to work on chord solos and have some good ideas for rhythms to use then big band (Count Basie era) is a great place to listen for some. On the G7 I am infact using a part of the 2nd exercise, the only difference is that I have changed the rhythm a bit. The line then resolves to a Cmaj7 which is played with an Em triad.

Chromatic Chords - Part 1 - ex 4

As you can see it is important to start to see how all the voicings end up overlapping when you use them in lines and comping, even to the point where it can be hard to say what a certain voicng type is in the context.

The last example is again using a bigband like rhythms, especially because of the quarter note phrasing. The Dm7 voicings are first using the F major triad as in Line no 1 and then the one used in line no 2. In this example I chose to use a G7 altered chord instead, just to demonstrate that the same principle works just as well for altered dominants.  The melody is a chromatic movement from the #9 to the b9 and then back before it resolves to the same Cmaj7 voicing as in the previous example.

Chromatic Chords - Part 1 - ex 5

I hope you can use the exercises and the examples I gave here to make some harmonized lines with chromatic passing notes for yourself.

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

Chromatic Chords – Part 1

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