Tag Archives: voice leading guitar

One Of The Best Exercises For Jazz Chords (and most fun)

An Amazing Nerdy Chord Exercise

This exercise is probably one of the best ways to really explore and discover beautiful Jazz harmony and chord voicings, and it is one of my favorite things to do but I don’t really work on it that often. There are a few weird things about this way of practicing:

  • It is amazing for learning harmony and voicings
  • It is also incredible for developing your fretboard overview
  • If you do it while comping in a band you should be fired, at least I would probably fire you.

I think I picked up this way of working from going to the Barry Harris piano workshops even before I started studying in the Hague, and it is also really fun to do with others if you are hanging out and playing songs to get dig into what is possible, some of the most beautiful details and tricks.

This is going to get a bit nerdy with chords, but I think you’ll find that it is worth it.

Why The Basic Exercises Are Not Enough

There is a problem with the way we practice and look at chords. Mainly because too much of it is about reducing things to exercises(Diatonic chords) and systems with inversions

Exercises like that are not useless but similar to practicing scales and arpeggios it is removed from the music, and you have to keep in mind that playing a bunch of inversions or exercises doesn’t mean that you can magically make the chords of a song sound amazing.

And often we don’t get much further than just using stuff on a II V I progression (II V I with drop2) which is fine, but there is a lot more happening in Jazz harmony than just II V I progressions, so that is nowhere near enough.

This exercise is more about taking what you already know and then exploring what you can do with that, and also just opening up what a chord is without being too restricted by theory and chord symbols.

Learning Is Easier When You Are Not Alone

In a way, I got the exercise or this way of working from the Barry Harris workshops. Going to the Barry Harris workshops in the Hague exposed me to two things that changed my musical and my real life. At the time I was living in Copenhagen and went there for the workshop at the Royal Conservatory in the Hague.

Of course, one of the things that changed everything was how and what Barry taught us which I have talked about many times, but the other aspect was probably just as important, I just never thought about it like that until I started working on this video, and I will return to why that might be something you want to keep in mind.

This was not about the large classes teaching how to make lines, but more about all the piano workshops in the evening which were much smaller and in smaller rooms (with a lot of people smoking because that was still a thing back then). In those workshops the topic was mostly specific songs and how to harmonize them, what to do with the chords and it was not a lecture or a lesson but much more an exchange of ideas and showing how you play something. The first year, I was there I could not follow a lot of what was going on because I did not know the theory and most of the songs, but the attitude of exchanging ideas and exploring the songs was inspiring and also made me realize that I needed to be in a place with more people who were exploring Jazz, and I had probably found the perfect place to for that.

Not Everything is A Chord!

We want to dig into the harmony and find some great ways to connect the chords, so let’s focus on a song that is not just a bunch of II V’s like “It Could Happen To You”.

Later I will understand why this way of working should get you thrown out of the band.

For the first 5 bars you could play these chords, maybe let’s start with shell voicings

Just to have a little bit more to work with maybe let’s use Drop2 voicings, and pay attention to how these chords are very much connected in a flow:

Like this, the basic chords are already flowing, but instead of just playing them in time and leaving it at that, you can also go over it rubato and find some stuff that

1- sounds amazing and 2- is easy to play in this chord progression.

The first chord change going from Ebmaj7 to Edim.

An easy way to add a bit of inner voice movement is to move from maj7 to 6 and then to the dim chord, you can look at it as a chromatic enclosure in the middle of the chord:

Of course, you can do a lot of other stuff and that is exactly what you want to explore, you use more voices to move to the Edim.

This one doesn’t work here probably because I am hearing the Bb in the melody in the back of my mind,

but maybe in some other song, it sounds great?

Beautiful Wrong Notes

As you see, I am not naming the passing chord,

and that is because I don’t think making it an independent chord makes sense, it is just voice-leading and more horizontal movement than a chord symbol. Here’s a way that you can use wrong notes to add a bit of counter-movement and a suspension going from Edim to Fm7

I am sure you would agree that, usually, Ab is a less-than-fantastic note on an E dim chord, but as you hear then it works really well here, and what I am doing is just moving the two top voices, one up and one down

and using notes from the scale that fits this dim chord: F harmonic minor.

Of course, you can also do great things with adding chords and using substitutions, but this way of really getting into the song opens up a lot of options, and if you are starting with a different chord then you might find very different but still practical sounds:

From A Static Voicing To Moving Music!

So you can do a lot with the chords and not have to try to name everything with chord symbols that have to make sense or follow some rule.

And, what you are doing and developing is your fretboard overview by seeing the voicing in the scale on the fretboard

and then using that to create movement and connect to the next chord

And, you could use a simpler version of this on the F#dim while also adding a little melody on the Fm7:

You’re Fired

Obviously, you don’t want to get fired, but I am sure that if you work enough on stuff like this then you can learn to do some of it in real-time while you are playing, but to work towards that, then isolating a section of the song out and exploring what you can come up with will help you discover some great new things. The reason why I say that this exercise will get you fired is that I have seen both guitar players and piano players be very busy with the chords like this and in doing so, completely fail in being a part of the music. This is for practice, and NOT something you want to distract you when you are playing with other people, and working through stuff like this is still fun.

What you really need to work on this is having a good overview of the chords, not thinking in static grips but instead having a more flexible way of understanding chords, and you can check out how to develop that in this video:

The Biggest Misunderstanding About Jazz Chords And How To Quickly Fix It

 

 

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Jazz Chords – Here Is Why You Want To Make Inversions

We mostly think about jazz chord inversions when it comes to types of chords like Drop2 and triads, but there is a lot more to discover when it comes to using inversion to create beautiful jazz chords.

In this lesson, I am going to start with a Dm7(9) voicing that you are probably already familiar with and then use that and a little voice-leading to create some great voicings and make inversions of entire chord progressions.

Later in the lesson, I will also show you a few great “guitaristic” tricks that are easy to play but sound incredible.

A great Dm7(9) voicing

You probably know this great Dm7(9) voicing and maybe you also use the rootless version.

But from this rootless 3-note chord you can make beautiful voicings like this with inversions:

Putting inversions to use on a progression, not just a chord

If I took the first one and played a II V I in C then that could be this: II V I in C

Since it is only 3 notes you can easily look at how the voices move: F, F, E,   E, Eb, D and C, B, B
Working through a few progressions like this is incredible for your fretboard knowledge and understanding of chords and voice-leading, even if you don’t use these voicings that in itself is a great exercise.

If you do this in the other postions you get this:

Inversions of Shell-voicings

If you try the same with a Shell-voicing like for example Cmaj7. Below is first the shell-voicing and then the two inversions.

Creating and inverting a II V I for the shell-voicing

Now we can construct a II V I with the shell-voicing and make inversions of these chord sets.

First the basic II V I:

And the inversions we can create from this set of chords:

A great trick with Shell-Voicings

A great way to create some moving voices when you use shell voicings is to move the outer voices in opposite directions.

In this case, that means moving the C, on the D string, up to a D and the B, on the B string, down to an A.

This is a pretty easy thing to play that also sounds great. The basic idea is shown below:

This works great with a lot of voicings. You could use that like this:

Or make a simpler variation like this one:


Another thing that these voicings can do really well is inner-voice movement that could be something like this.


And it also works in this place:

In the last one, it would be the melody which also sounds really good.

If you want to check out some more ideas then check out this video and learn some beautiful chord voicings and inner-voice ideas with 15 rootless II V I voicings.

How to use Great Flexible 3-note Jazz Voicings

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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

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Voice Leading – Breaking a Few Rules

Voice leading is the method you use to create smooth transitions between chords. Often it is described with voice-leading rules that determine how we move specific notes in a chord move to specific note in the next jazz chord. In this video I will explain voice-leading quickly and then give some examples of how you can actually be very creative and create some interesting sounds and new chord voicings by using voice-leading.

The lesson also illustrates how you can create some great progressions by breaking some of the rules. There is no reason to be tied down and not be creative

Jazz Harmony quickly becomes a science and research, but it is better to be a little free and also just try out the opposite of what is expected once in a while. In the end it is not about music theory but about what sounds good. 

Basic Voice Leading 

The most basic voice-leading rules in jazz are probably the movement of the core chord tones. In general voice-leading is about taking the closest route to a note in the next chord.

Below in the example I have Shell voicings for a II V I in C major.

Notice how the 7th(C) of Dm moves to the 3rd(B) of G7 and stays there as the 7th of Cmaj7.

The same goes for the 3rd(F) of Dm, stays to become the 7th of G7 and then resolves to the 3rd(E) of Cmaj7.

In this case the chords are moving in a smooth way from one to the next and in all changes one note stays while the other descends.

Opposite Voice-leading from II to V

In the example below I am voice-leading the 7th of Dm7 in the opposite direction, namely up to Db.

This means that the Dm7(11) chord is moving to a G7(b9b5) with no 3rd. The 5th of Dm7 naturally moves to the b9 (Ab) of G7. The G7 resolves to the C6/9 quartal voicing.

Against the rules on V I

In example 3 I have written out a II V I that resolves the 7th(F) of G upwards to a #11(F#) on Cmaj7.

The transition from Dm7 to G7 is pretty straight forward with G(11) moving to Ab(b9), E(3rd) and C(7th) lead to Eb(b13) and B(3rd). The F remains.

When the G7(b9b13) resolves to Cmaj7 it is moving the F up to F#, B stays and Eb resolves to the 3rd(E). The b9 is also surprisingly resolving up to an A that in this case is a 13th on the Cmaj7.

Suspensions and Surprises

An advantage of starting to explore thinking of the individual voices is that it can free up how we think of chords as vertical blocks that can’t be changed.

This example is showing how you can use voice-leading to create some interesting suspensions in your playing and blur the lines between the chords.

The basic II V in this example is pretty straight forward with a bit of contrary movement in the top-voices. The G7(b9b13) is resolved to Cmaj7(9) also in the way you would expect, but the b9 is left hanging. This creates a suspension of the b9 and gives us a #5 sound on the Cmaj7 that is then resolved down to the 5 on the 3rd beat. 

Not Getting Stuck in Drop2 

Often when you think in voice-leading it keeps you in one type of voicing, so “strict” voice-leading will take a triad to another triad or a drop2 voicing to a drop2 voicing. 

But once you start going in other directions you open for getting other results. In the example here below I am voice-leading the Drop2 Dm7(9) into a G7(b5b13) and then back to a Cmaj7.

Voice-Leading for new Voicings

Thinking in moving voices is also a great way to come up with completely new voicings. In the example below I am creating a G7(b9b5) voicing that I actually didn’t know before preparing this lesson. 

The voicing is a little tricky to play but really sounds great and resolves perfectly to the C6/9.

More Drop 2 voicings in Action!

Of course if you want to dig a little deeper into using Drop2 Chords in comping then check out this lesson on using Drop2 voicings and adding Chromatic Passing Chords:

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