Me too. I’m more of a metal player and improvisational rock. He came up as a suggestion and I ended up buying my first hollowbody and follow all his lessons
Every time I look at your lessons i end up making something really groovy sounding right after.makes me feel like I'm floating in an indestructible cloud of confidence and intrigue
In life it's not always easy to find someone who is so willing to share in Jazz Chord/ Theory voicings in a straight forward and humble way, one of my favorite discussion points. The doors you are opening here for many are infinite. As someone who no longer (if ever) has the ability to stretch and twist fingers out and around 5-6 frets, I especially like the "shell" concept. I've heard explanations of Drop 2 that would give Einstein a headache. Beautiful work here. Thanks .
Jens, there are 2 areas of chord study I've spent a lot of time exploring I'd like to mention that include voicing types you've demonstrated in your video. They are pentatonic and hexatonic voicings. For the pentatonic voicings, if you take the C major pentatonic and stack every other note in the scale (C, D, E, G, A becomes C, E, A, D, G) and then build voicings from the other notes in the scale, you get 5 voicings which could function as C6/9 or Am11 or D9sus or Fmaj9add13, etc. Moving the basic 1, 2, 3, 5, 6 formula through a C scale diatonically you could arrive at Dm6/9 or Am(b6/9) which could function as F Lydian. Change the basic pentatonic formula by one note to 1, 2, 3, 5, 7 and you come up with all the variations of 9th chords. Any 5-note voicing could be reduced to 4 or 3 notes, many of which are quartal voicings. Any 3-note voicing could be inverted to include more cluster-like voicings. Example: E A D inverts to A D E or D E A. Constructing voicings from triad pairs yields many intriguing voicing possibilities. Taking an F and G triad, you could combine notes from both triads: example, (from bottom to top) F A C G, G B D A, A C F B, B D G C, C F A D, D G B F. Any combination of 3 from one triad, one from the other, or 2 from one triad, 2 from the other are possible and may include some beautiful clusters: example, from bottom to top, F G C D, G A D F, A B F G, B C G A, C D A B, D F B C. Some of these are physically difficult to play but could be made easier by reducing a set of 4-note voicings down to 3 notes. For either chords from the pentatonic or hexatonic, every manner of spread voicing is possible by simply dropping a voice down one or two octaves. Example from F and G triad pair (skipping a string between the lowest note to the triad on top: G - F A C, A - G B D, B - A C F, C - B D G, D - C F A, F - D G B. I have spent years exploring these sounds and don't see anyone discussing them on the internet. Hopefully, I've given you some food for thought.
the name given by Mick Goodrick to the shell voicing with the 9 is “Spread Cluster” because Cmaj9 is BCDE. Others chords I use for auto comp is just the 3th and 7th or 7h and 3th. Jim Hall use it a lot in the record with Sonny Rollins “The Bridge”. Thanks for the videos
I am not sure that I like that name too much, it only describes the notes and not construction of the chord at all, but maybe that is just me :) Using the 2-note shells is indeed always solid!
@@JensLarsen Cmaj7+9. As Mario said, Cmaj9 has the 3rd and 5th, no 7th. Cmaj7/9 would have the 3rd, 5th, and 7th. The plus means no 5th, or 1379. That's how I've always understood it at least. Google seems to provide the same information. Google +9 chords and it says that it indicates a ninth added to a triad. So Cmaj7+9 is a Cmaj7 triad with the ninth. I suppose Cmaj7+9 shell voicing would be the most specific name for it.
Another thing to mention are power chords. That’s a problem with rock that often it gets to thick and overdriven. The solution is what Eric Johnson does in Cliffs of Dover. Basically spreads that powerchord or plays that 5th and octave on different, thinner strings, sometimes adding 9th. One way or another, if you play 5th or 4th(inverted fiftht) on 1st and 2nd strings, you double tonic one octave lower.
That’s not a problem with rock, that’s just a different aesthetic choice that has value to it like more clear and thin sounds. There’s a place for that thick sound in jazz too. Listen to McCoy Tyner, especially on the recording of Afro Blue from Coltrane’s Live at Birdland album. Tyner frequently uses straight power chords (like in rock) and fourths in his soloing and comping. It fits the music and makes it heavy, thick, and intense. There’s value in both.
Enzo Lo The whole mentality of the original comment is part of the problem with a lot of jazz music (especially fusion): people think complexity is inherently better than simplicity. I think that what really matters is how it serves the music. If AC/DC didn’t use thick sounding power chords, what would be the point? Likewise, the complex harmony of Giant Steps creates a desirable effect in that context. This applies to every aspect of music. I don’t want to hear someone playing in 19/16 just because they can, but if it adds to the effect of the music, then it should be used. Complex harmony, rhythm, etc. are means to an end, but too often they become an end in and of themselves.
For a while I've wanted to figure out a practical way to use power chords in jazz-style chords, mostly for rock songs with jazz harmony. Now I've got an example to look towards, thanks.
One of my favorite lessons from you Jens. I think the most valuable lessons are those in which you teach the student discover things on their own. Teaching "systems" is much more beneficial than teaching voicings, although some students may look for the quickest and shortest route. I'm certain there are a number of other systems that you didn't cover. Vic Juris, for example, has some fantastic ideas for intervallic structures that are very similar to the principle of quartal harmony (chords built on intervallic content and modal character rather than function). Another system I would have liked to see is polychord fractions. For example Eb / C is C7(#9), or Ab / C7 is C+7(#9).
Thank you very much! Poly chords are rarely something we can really play on guitar without leaving out most of the information, which is probably why it isn't used as much as a voicing system. 🙂
By far the most helpful jazz material on TH-cam! Thank you for laying out so much of the important material in a short amount of time and completely comprehensive
Had always skipped over quartal harmony in my reading but, listening to this, realize it opens up some really cool, subtle, sounds...I mean, they sound much more laid back to me, like giving more space to the listener. Thanks so much for having turned me on to this as I feel much more comfortable with this type of sound.
Jens Larsen Yes, I grasped that immediately and have put in a good word for you at the North Pole, through my connections...In music, as in life, I am finding that the "hard part" is often finding one's path because after that "work", no matter how arduous, more likely than not becomes play...I am drawn to minimalism, nuance and space in the music I enjoy, whether Pink Floyd, Bill Evans or Debussy and this quartal harmony speaks to my personal sense of aesthetics, if that makes any sense to you. As an aside, learning to play the guitar this past year I have taught myself to sight-read and have recently begun to get much unexpected pleasure from simply reading music (just reading, no playing)...Would you know of an app similar to "Songster"? Its extensive library is tab only and I don't really plan on learning tab as I like the traditional notation because of its link to functional harmony and equally enjoy the sense of melodic motion coming off the page...
Thanks! 😀 I don't know of an app like that, though I wouldn't be surprised if there is one. I have a video on some of the books I have used, and two of them contain a lot of transcriptions and exercises that are very useful to check out: th-cam.com/video/GCELBK8TPos/w-d-xo.html If you find an app then do let me know!
Jens Larsen Yes, of course, I have watched that video and have many Ted Greene books. The Advancing Guitarist is the next one on my list as I simply have never heard anything other than raving reviews about it. I imagine I will eventually get an omnibook as it seems like the simplest way to develop an extensive vocabulary...As far as apps go, I use MusicNotes but would really like one that offers a streaming service, like "Songster" but I have a profound aversion towards tabs...By the way, you may find it amusing to learn that I learned to read in what I gather is a rather unorthodox manner. I knew the chord construction formulas so I just used an old set of chord flashcards (I had bought this for my kids, long ago) to figure out the chords...The notes (and key signatures) became so ingrained in my mind after having mastered these chords on the staff that learning to read was relatively simple, the time subdivisons being the hardest part but easy enough, in the long run, once I stopped winging it and started to count...Best money I ever spent on an app is the "Sight Reading Factory" app...Use it every day, sometimes for hours (no kidding) just because I enjoy reading and it arbitrarily generates an infinite amount of lines according to various parameters. Thanks for the great lessons and vibe as well as everything else in between, man. Enjoy the holiday season.
+pixelatedparcel That is indeed an unusual way to get started with reading ☺️ If you like reading then you will probably prefer omnibook over the advancing guitarist
This is very helpful for classical players like me who don’t know jazz terminology. I knew most of these voicings but not the jazzy names. Thanks! Now I will be able to communicate with my jazz friends!
Jens, have you explored sets? They are literally sets of notes labeled by semitones. For instance the set [0,1,3] from the note C would be [C,Db,Eb]. I won't get into all the details, but essentially these sets can be played any number of ways. I've tried them as "voicings" and have come up with some rather interesting sounds. In this example you can take the notes C, Db, and Eb and spread them out to play them like a chord. The sound would be very modern indeed, but can serve a purpose in certain situations. You can use other sets too, [0,2,3], [0,1,4], [0,2,4]. These are also commonly called trichords. They are really handy in melodic playing as well, where once the player is familiar with the sound of a set and how it can be rotated (kind of like inversions of a chord), new melodic contours become available in spontaneous situations. Check them out!
I have done very similar things, but I tend to not just start with intervals and begin with a scale since it gives me more of a reference point to where I can apply it. There is a video on some voicings developed like this from a few months ago. 🙂
man, I found a few inversions on my own but theres some here that i wasnt aware of. this is gonna make playing standards a lot more interesting. playing the same shape every time becomes torturous
WOWWW!!! Just ran across this video. I saw a video you did about arpeggios and soloing techniques... And was unclear on the Drop voicings Shell voicings and Spread Triads.. this video explains it and even includes quartal harmony which sound beautiful. Thanks Jen's you're one of the best out there... Keep up the good work.🥂
This was life changing for me Mr. Larson. I keep pushing myself in Jazz to make sure that Matteo Mancuso will obey me. I'm attempting to take down Kubla Khan and he's jeopardizing the Xanadu hostage. It's not his fault that he doesn't understand, It's because he's not Gen Xanadu ... he's Gen Zulu.
From a compositional point of view, this type of lesson is valuable. How many Beatles songs must have come from Paul, John or George trying out new chord progressions or inversions as in these types of exercises! Thanks so much!
I really love your style of breaking things down. Would be great to see you do a video or even a live stream just showing what a typical practice session looks like while exploring one of these concepts. I find it really challenging to catalogue these ideas in a way that I can apply them to a variety of contexts easily.
Really good picture of what we can use. I just got the "missing" combinations of invertions. Normally we have 4 closed, 4 drop2, 4 drop3 and 4 drop2+4. I just checked and its playable another 4 drop2+3 and 4 drop3+2 voicings.
That's of course true, you can spend a life time exploring most of these concepts. I think you should start with just expanding one or two and keep in mind that the others exist :)
12:17) Sounds like where Paul McCarthy got the idea for that song with the lyrics, "Where so sorry, Uncle Albert." But specifically the part of the song where he sings, "The kettle is on boil and we're so easily called away." I don't know how anyone could write good lyrics in Pop music without learning Jazz. Jazz is like the image that you see in the clouds that sort of looks like something, but must be further interpreted. Kinda like a Disney movie. But not always correct in every interpretation, at least not in my opinion. I once had seen the perfect image of a child in the clouds above the Rescue Mission in Youngstown, Ohio. It was a child that had the same name as I had when I was Lisa's daughter and Betty's grand-daughter. There was multi color lightnings flashing all around her head and multi color rainbows all around. This was in the summer of the year 1985:)
Re. Shell based voicings...until someone comes up with a better description, I think "extended shells" would be the obvious description. Thanks you so much for all of these informative videos Jens, I often record them on MP3 and listen while driving... I need all the help I can get!
Cool! This is very useful! A honorable mention could be an addition to quartal chords. I believe that idea of quartal chords came with McCoy Tyner and Coltrane modal thinking (with a help of Tadd Dameron turnaround) - Chords always move in 4ths so why not move in major/minor thirds? Subsequently - if triads are stacked thirds, why not stack 4ths? ... And if quartal chorss are stacked fourths, why not stack any kind of intervals into 4 note chord, then transpose it in chord scale and see what comes out... Example in Am : A string (pedal) + G(4 string); C(3 string); D(2 string); B(1 string). It is 4-2-6 setting that can be moved further, like: A (keep pedal) + C (4 string); F# (3 string); G (2 string); E (1 string). When I come up with any interesting interval setting or find some accidentaly, I always transpose it in every scale that I practice. These chords can make pretty hip arpeggios and hello Holdsworth! :)
Great job 👍these drop voicings are something alot of semi pro players might not know,youv done a great job explaining this,inversions are a big part of jazz (and other genres) even when there IS a bassist present, these are still great techniques, you definitely know ur stuff,and ur a great person for sharing ur knowledge FREE here on TH-cam. 🤓
I think that it was somewhere around the 7 minute mark where you asked about what to call 'Shell Voicings' with additional notes. If you were referring to chords such as C+9, C+11, etc. one name which I have known these types of chords to be called is 'Enhanced Triads'. I don't know if that would be the term used in a music school, but as they all contain the R + 3 + 5 + (9 or 11 or 13, etc. anything but the 7!) it makes sense to me. If you were referring to chords which are missing the 5th, as many shell voicings do, I have heard those called 'Imperfect (insert chord name here)', because as the 5th is always perfect a chord without the 5th is considered imperfect. So long as all the band members use the same names it really doesn't what you call them.
Awesome lesson! I just opened for myself shell voicing a week ago, but this video gives me much more options on how to play chords. Thank you for this!
Since I believe the "Jazz" category of music is based on collaboration with others who are interested in extending their creativeness in cooperation with several instruments the concept of solo jazz guitarist cannot rise above a subset. I like teaching which helps to be aware of what to leave out so that others can join in responsively supporting development of a theme. When playing guitar with keyboards bass and percussion/drums (and some horns) I look for opportunities to listen for the silences which beg for tie-in between instruments. I want to tie the group tighter or looser as needed without attempting to usurp the melody. My solos are in response to the the melody and then extending that into harmony territory, and then my reaction to that before I return the melodic them back over to the others. That way I feel a part of the players ensemble and not just use them as a platform to display some technical skills I've acquired. Players who welcome that approach invite me back. Those who don't - well, "C'est la Vie".
Quartal voicings are my favourite simply because they're great ways to voice lead between drop 2 chords or triads or whatever, also it's a nice way to play some avoided notes intentionally to then, resolve them, for example Dm7 drop 2, then for the G7 (F#, C , F) to Cmaj7 (G, B, E), the 2 weird notes in G7 resolve by contrary motion so it's a way to cheat music theory and sound really edgy haha
Interesting! I was taught to construct drop 2 chords from the lowest note up. So your basic Cmaj7 'power' chord (2:38) is drop two because in the triad C (E) G B you physically 'drop' the 2nd note in your chord, hence C G B E from the root up. Then E (G) B C = E B C G and so on. I also play bass so it makes more sense for me to construct chords from the lowest voice. Both of these techniques work like a palindrome though, both ways produce the same chord voicings.
This takes me back to when I fell in love with jazz guitar, listening to the guy in the room next to mine playing jazz music on his cassette deck. The sound of the jazz chords moving around sold me and it has become a lifelong ambition to emulate this sound and become a solo artist since I rarely am able to play with other musicians, especially jazz musicians. Is the PDF available for this video? I will gladly pay for it.
The 12 note chromatic scale on guitar is really just positive and negative integers module 12 arithmetic. To me it’s about frets up or down. The Tonal center and harmonics of the frequency in Hz a topic for discrete Fourier analysis. There are cycles in any interval length in the chromatic scale which can be 3*24. = 3 *3* 4. = (3^2)* (2^2) the prime factorization of a finite group of that size. We have multiplication but not inverses. The the “units” will cycle through the Ring Z/3^2 * 2^2 if the greatest common divisor of 1,2,...3*24 is relatively prime. So gcd(k, 3*12)=d the cycle length is 3*12/d. If d=1 relatively prime every note out of 3*24 will be in a long interval cycle in the chromatic scale. When when use the 7 note major scale it is a subset of the 12 note chromatic scale relabeling of semitones with 1,2,3,4,5,6,7,8 in C Major with indexes only which also form an integer system but there are 2 exceptional cases on the chromatic scale it’s a step of +-1 instead of 2. So like when you explained quartile harmony the interval structure is diatonic but not with all perfect 4ths 5 chromatic steps. Or if we like perfect fifths like Holdsworth staying diatonic in the chord scale not all perfect fifths will sounds off on certain scale chords. So choosing only perfect intervals not diatonic still sound interesting and exotic. Any comments? I know you are busy but Just want another interpretation.
This type of learning begs the question: "Which came first?" Does theory inform the ear. Yes, but only after the ear informs the theory. Theory allows for accounting of explorations based on "logical" associations. Those "logical" associations are "ear" driven. Don't toss the ears into the back seat while driving creatively. Music is "creative".
yes i work these categories , there are the elementary triads for comping way , thank you Jens ; it's interesting from you to put all these informations ! some of them are news for me . Your mind is like an" explorateur "of multi-ways to make ring the jazz guitar ! merci!
Thanks Jens!!! Very cool lesson. I find it interesting to be able to put a label on voicings I have been using and to learn new voicings. I love your teaching style.
Hi Jens...fascinated by the content of your lessons. You’re really broadening my idea of how I want to play and sound. Do you have a video on the best chords and arpeggio shapes to use that wound bring out the sound of the melodic minor scale and Lydian dominant mode in different positions? Thanks for your ideas and advice...best wishes. Andy
Thank you Andy! 🙂 I don't really have a video on melodic minor voicings, my best advice would probably be to check out the drop2 voicings in melodic minor? th-cam.com/video/qCQS2BbCjOs/w-d-xo.html That is very worthwhile for all your lydian b7, tonic minor and altered dom7th chords!
Thank you Mr Jens May God bless you I am loving music than ever thks to your videos...I get excited when I watch your lessons although I have to go slowly and learn better.I am a beginner but now i start to understand..sir I think starting by memorizing chords would be the best solution..thks
jens it would be excellent if you could put subtitles in Spanish so that more people from Latin America can learn Jazz and understand musical theory. There are few channels in Spanish that teach theory and little jazz you are a great teacher and I have learned little from your videos I hope your channel continues to grow and as a musician you will arrive more high :) greetings from Monterrey Mexico
What about a Dmin7 as x-5-3-5-x-5. My own name for it is a "Swap34" voicing since you take the closed chord R-b3-5-b7 and swap the 3rd and 4th note giving R-b3-b7-5. It has the same spread range as a Drop3. Also, sometimes, mainly in classical guitar music, I come across what I call a "Swap24" voicing which results in R-b7-5-b3, eg Dmin7 as 10-x-10-x-10-13 which is I think as spread as you can make a four note chord without any compound intervals (not very plectrum-friendly). I don't know if they have any standard names..... As for that Cmaj9 example chord (x3243x), if I had to describe it I would be tempted to call it a drop2 since you can arrive at it by arranging the notes by pitch and dropping the 2nd highest note : eb[c]d=>[c]ebd, but i must stress that's only my unqualified opinion. On some sites I have seen other 4 note chords, where a note is omitted, such as the rootless 9th, expressed as drop2 by the same process.
* Plays a crazy stretch chord spanning 5 frets*........."These Alan Holdsworth type voicings, I think he really likes these kind of voicings" .......Yuh think?!?! LOL, priceless as always, great video!
At 2:25 you call this a 2 voicing but it just took me an hour of watching other videos to learn that this is a drop 2+4 voicing. A 2 voicing is G,C,E,B the 2+4 is C,G,B,E (1,5,7,3) as you are playing here
Confused right now. You explain it as B being the highest note (4) but the other video I watched explained it as C being the 4. B(1)G(2)E(3)C(4). Thanks for the knowledge BTW found the link oin reddit but was already subbed to you
I think you are forgetting that I start with an inversion of the original chord before I make it into the drop2? You should consider watching some of my Drop2 videos if you want a longer explanation :)
I notice that much of what you play is on electric guitar. Do you find that there are big practical differences with how someone goes about playing acoustic guitar vs. electric? I mainly play acoustic, and I find that the pressure needed on the strings is greater. Does that change the way I should think, theoretically, about the fretboard and chord voicings?
Hello Jens, any thoughts or video about switching beetween chords with efficiency and without any gap? I read somewhere that classical guitar players tend to ´´slide´´ beetween chord shapes, so each chord sounds with full duration.
Hi Rodolfo, I don't have any videos on that, in fact it is something I never really thought about to be honest. If I think of something I will let you know 🙂
Would you be able to help me understand when we would commonly use drop 3 voicings? Do we use them to strum as chords on the downbeat of swing jazz songs? Most of the time I use harmonisation of melodies with chords, I’d use drop 2 or triads, since the drop 3 has the bottom note so far away from the rest of the chord and sounds odd. Could you help me?
You want chords with open strings mixed with fingered notes, take up classical guitar !! No sarcasm meant. It's rampant in CG,..especially works by Villa Lobos .....M
Wow Jens, you have opened my mind up to all kinds of goodies that were right there in front of me the whole time! I'll be spending a week on these cozy shell voicings at least! Where you from?
Maybe a dumb question, at 4:32 when you cover Drop3 voicings why for the diatonic chord scale are you playing dom for the 3rd (instead of min), then a diminished #4 chord of the root (instead of maj 4 chord), a maj chord for the 5th (instead of dom), and then a minor chord for the 7th (instead of a dim)? It sounds nice and I would like to understand the theory behind why.
Hi Jens- one thing I don't understand- why do we start with inverted chords as our 'reference point' when deciding which note is the 'dropped note'? And how do you decide if it's a 2nd/3rd inversion you start with etc? Is it just looking for a starting point which you can change by dropping a note to create a nice fingering?
Hi James, It doesnt really matter whether you start with an inversion or a root position to do that. I probably chose something because I wanted a clear example in terms of register and the drop2 voicing I ended up with? (I don't remember since the video is some time ago) Does that help?
So how do you decide what voicing to choose? Why would you use a shell over a drop 2 or vic versa? Should you use the same type to get the best voice leading.
Jens Larsen thanks Jens. Something I’m having trouble finding a clear answer on is voice leading. When you are switching from chord to chord how do you know if your voice leading it properly?
Brilliant channel. Is there any way to get minor 3 minor 9 voicings work in functional or is the situation similar to 4-part quartals (you only want it in a very specific place in a piece)?
There is no specific trick for i. In the end it is about taste, but I think there is also something to be said for having a minor chord that does not have a 9th. It is great that not all m7 chords are the same
Thanks for the videos! I love the knowledge you share but feel a little overwhelmed with the music theory. Can you please share some ideas on how musicians who primarily play by ear can get a better handle on the theory too?
That's quite easy: Learn you scales by heart (the note names) learn the diatonic chords of those scales by heart and as arpeggios in the scales you play on your instrument. Start to analyze the songs you play.
6:20 Fig grrrr row. Like in that Bugs Bunny cartoon. 9:39:) I really don't use enough spred triads. These would come in handy because they are only excluding the flat fifth from the half diminished. Maybe I will drop the flat third and try (sus) half diminished chords. Perhaps some other angle or even voice another note or notes after the fact to create melody lines on top of the triads.
Funny how dificult an instrument guitar is..It takes years of playing,and studying to learn all of these voicings,and chord shapes..But I could just walk up to a keyboard right now and make all kinds of interesting voicings with minimal skills on keys..I guess it just gives us more to strive for as guitarists!!
Great lesson! I'm pretty familiar with all of the "drop" stuff, but the quartal approach is new to me. What's the thinking here, how do these chords come about? I mean, if I look at the fingerings you provide along the fretboard they're almost like, um, jazz power-chords in that they're all the same except for the diagonal shape on the 2nd degree. Why is that, and what's the theory behind stacking 4ths instead of 3rds?
Jens do you use a guitar pick when you're comping or playing chords? If not, what do you do with it and how do you quickly switch from comping to soloing?
I don't always think in chords but more in a melody that I want to put notes under and then I look at what is available. Sometimes I know the voicing, sometimes I don't. Another thing that I have done from time to time is: th-cam.com/video/YDa90da8sMA/w-d-xo.html
Hi all, but of a specific question, but would anyone know why the Em7 with the added 9th (at 7:26) has an F# added instead of the F, which I would expect if you stack the chord in line with the key of C major (E.. G.. (B, which is left out).. D.. F..). Thanks for anyone answering, and another great video btw. Cheers
Jens, do the “shell voicings” and “shell voicings based” chords have inversions, like drop 2 and drop 3 chords do? It doesn’t seem like they do (which makes learning them so much easier! LOL).
@@JensLarsen I didn’t phrase this correctly. Are there practical shapes of these inversions that can be used on guitar? I’m specifically referring to examples like Cmaj9 (C, E, B, D) where the notes of the chord extends beyond a single octave. What would the next inversion look like? If we had the first inversion E, B, D, C, these four notes are not practical to reach on the fretboard. Again, the next inversion B, D, C, E are not practical to reach either. How would we have inversions that are playable for these sorts of chords?
@@keycadearcadecontrollers467 your inversions are a bit off, 1st inversion would be D B C E, 2nd E C D B. I discuss it here: jenslarsen.nl/jazz-chords-here-is-why-you-want-to-make-inversions/
It would be great if you made videos analyzing the new jazz and rock musician who have included jazz nowadays. such as #Mateus Asato, Kiko Loueriro, Andreas Oberg and also Pholipya
Thanks so much for everything Jens. If I keep learning from your videos I might actually become a decent jazz guitar player one day and teach my students too :)! Currently doing a bachelor degree in pop guitar and we don't see any jazz :/.
So many years of stuff to learn from your videos :). Best jazz guitar content on the internet as far as I'm aware. I have also recommended you several times to the few students I have who are learning jazz. Thanks!!!
I love the extended versions of drop 3 voicings you showed (e.g. Cma7(13) going C, B, E, A). I love to mix them with the based voicings, because they voicelead smoothly as silk and they contain root (because I don't very often play with someone providing bassline, sadly)
Hi! cheers from Buenos Aires, Argentina. Thanks for your videos. They help me to sort, complement and clarify all the information that I have turning in the head.I have a question... On which scale do you build the 4 part-quartal voicing for the G7 (alt)? in the 13:49 minute approximately.
+Jacob Sholtes Thanks! That is interesting since I don't use CAGED ☺️ The neck on ny AS2630 is a lot thicker than other Ibanez models, which is what I personally prefer
firstly, this is a great lesson. Thanks. secondly, i have a question . . . In the first Chord scale you play in C, at 1:35, you play a Bm7(b5) but you label it as diminished. Many people often label m7(b5) as diminished (even though it's half diminished), and make no change to the symbol in the sheet music. It almost seems interchangeable. Am i not understanding something, or do people simply not care which chord you choose. Both sound nice in the key. BUT . . . I just don't know if we are all committing a sin, or if it's ok to switch between these chords? Many thanks Jens
If you want to check out which 3 Scales you need to know for Jazz then take a look here: th-cam.com/video/NEvBZTD-f6s/w-d-xo.html 🙂👍
Jens Larsen thank you for SHARING the knowledge!!
Your lessons are the reason why I finally got into learning to play jazz.
That's great to hear :)
nice!
Me too. I’m more of a metal player and improvisational rock. He came up as a suggestion and I ended up buying my first hollowbody and follow all his lessons
lol likewise
Every time I look at your lessons i end up making something really groovy sounding right after.makes me feel like I'm floating in an indestructible cloud of confidence and intrigue
Great, go for it 🙂
In life it's not always easy to find someone who is so willing to share in Jazz Chord/ Theory voicings in a straight forward and humble way, one of my favorite discussion points. The doors you are opening here for many are infinite. As someone who no longer (if ever) has the ability to stretch and twist fingers out and around 5-6 frets, I especially like the "shell" concept. I've heard explanations of Drop 2 that would give Einstein a headache. Beautiful work here. Thanks .
Thank you so much Brett! I am really happy you like the video and find it useful!
I always like how you ask if theres anything you missed or to explain how to use these methods in our own playing its very open minded
Thank you Justin!
Jens, there are 2 areas of chord study I've spent a lot of time exploring I'd like to mention that include voicing types you've demonstrated in your video. They are pentatonic and hexatonic voicings.
For the pentatonic voicings, if you take the C major pentatonic and stack every other note in the scale (C, D, E, G, A becomes C, E, A, D, G) and then build voicings from the other notes in the scale, you get 5 voicings which could function as C6/9 or Am11 or D9sus or Fmaj9add13, etc. Moving the basic 1, 2, 3, 5, 6 formula through a C scale diatonically you could arrive at Dm6/9 or Am(b6/9) which could function as F Lydian.
Change the basic pentatonic formula by one note to 1, 2, 3, 5, 7 and you come up with all the variations of 9th chords.
Any 5-note voicing could be reduced to 4 or 3 notes, many of which are quartal voicings. Any 3-note voicing could be inverted to include more cluster-like voicings. Example: E A D inverts to A D E or D E A.
Constructing voicings from triad pairs yields many intriguing voicing possibilities. Taking an F and G triad, you could combine notes from both triads: example, (from bottom to top) F A C G,
G B D A, A C F B, B D G C, C F A D, D G B F.
Any combination of 3 from one triad, one from the other, or 2 from one triad, 2 from the other are possible and may include some beautiful clusters: example, from bottom to top, F G C D, G A D F, A B F G, B C G A, C D A B, D F B C. Some of these are physically difficult to play but could be made easier by reducing a set of 4-note voicings down to 3 notes.
For either chords from the pentatonic or hexatonic, every manner of spread voicing is possible by simply dropping a voice down one or two octaves. Example from F and G triad pair (skipping a string between the lowest note to the triad on top: G - F A C, A - G B D, B - A C F, C - B D G, D - C F A, F - D G B.
I have spent years exploring these sounds and don't see anyone discussing them on the internet.
Hopefully, I've given you some food for thought.
Repasando tus vídeos después de 5 años y me parecen igual de sinceros ,rigurosos y estimulantes.Gracias
Thank you! 🙂
the name given by Mick Goodrick to the shell voicing with the 9 is “Spread Cluster” because Cmaj9 is BCDE.
Others chords I use for auto comp is just the 3th and 7th or 7h and 3th.
Jim Hall use it a lot in the record with Sonny Rollins “The Bridge”.
Thanks for the videos
I am not sure that I like that name too much, it only describes the notes and not construction of the chord at all, but maybe that is just me :)
Using the 2-note shells is indeed always solid!
@@JensLarsen Cmaj7+9. As Mario said, Cmaj9 has the 3rd and 5th, no 7th. Cmaj7/9 would have the 3rd, 5th, and 7th. The plus means no 5th, or 1379. That's how I've always understood it at least. Google seems to provide the same information. Google +9 chords and it says that it indicates a ninth added to a triad. So Cmaj7+9 is a Cmaj7 triad with the ninth. I suppose Cmaj7+9 shell voicing would be the most specific name for it.
Best jazz teacher and very approachable on Facebook!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Thank you Xavier! 🙂
Another thing to mention are power chords. That’s a problem with rock that often it gets to thick and overdriven. The solution is what Eric Johnson does in Cliffs of Dover. Basically spreads that powerchord or plays that 5th and octave on different, thinner strings, sometimes adding 9th. One way or another, if you play 5th or 4th(inverted fiftht) on 1st and 2nd strings, you double tonic one octave lower.
That’s not a problem with rock, that’s just a different aesthetic choice that has value to it like more clear and thin sounds. There’s a place for that thick sound in jazz too. Listen to McCoy Tyner, especially on the recording of Afro Blue from Coltrane’s Live at Birdland album. Tyner frequently uses straight power chords (like in rock) and fourths in his soloing and comping. It fits the music and makes it heavy, thick, and intense. There’s value in both.
@@Idonotsa49 i agree 100% !
Enzo Lo The whole mentality of the original comment is part of the problem with a lot of jazz music (especially fusion): people think complexity is inherently better than simplicity. I think that what really matters is how it serves the music. If AC/DC didn’t use thick sounding power chords, what would be the point? Likewise, the complex harmony of Giant Steps creates a desirable effect in that context. This applies to every aspect of music. I don’t want to hear someone playing in 19/16 just because they can, but if it adds to the effect of the music, then it should be used. Complex harmony, rhythm, etc. are means to an end, but too often they become an end in and of themselves.
For a while I've wanted to figure out a practical way to use power chords in jazz-style chords, mostly for rock songs with jazz harmony. Now I've got an example to look towards, thanks.
One of my favorite lessons from you Jens. I think the most valuable lessons are those in which you teach the student discover things on their own. Teaching "systems" is much more beneficial than teaching voicings, although some students may look for the quickest and shortest route. I'm certain there are a number of other systems that you didn't cover. Vic Juris, for example, has some fantastic ideas for intervallic structures that are very similar to the principle of quartal harmony (chords built on intervallic content and modal character rather than function). Another system I would have liked to see is polychord fractions. For example Eb / C is C7(#9), or Ab / C7 is C+7(#9).
Thank you very much! Poly chords are rarely something we can really play on guitar without leaving out most of the information, which is probably why it isn't used as much as a voicing system. 🙂
By far the most helpful jazz material on TH-cam! Thank you for laying out so much of the important material in a short amount of time and completely comprehensive
You're very welcome Jesse! I am glad you like it! 🙂
Had always skipped over quartal harmony in my reading but, listening to this, realize it opens up some really cool, subtle, sounds...I mean, they sound much more laid back to me, like giving more space to the listener. Thanks so much for having turned me on to this as I feel much more comfortable with this type of sound.
+pixelatedparcel You're very welcome! There is a lot open to you if you get used to using Quartal Harmony ☺️
Jens Larsen Yes, I grasped that immediately and have put in a good word for you at the North Pole, through my connections...In music, as in life, I am finding that the "hard part" is often finding one's path because after that "work", no matter how arduous, more likely than not becomes play...I am drawn to minimalism, nuance and space in the music I enjoy, whether Pink Floyd, Bill Evans or Debussy and this quartal harmony speaks to my personal sense of aesthetics, if that makes any sense to you. As an aside, learning to play the guitar this past year I have taught myself to sight-read and have recently begun to get much unexpected pleasure from simply reading music (just reading, no playing)...Would you know of an app similar to "Songster"? Its extensive library is tab only and I don't really plan on learning tab as I like the traditional notation because of its link to functional harmony and equally enjoy the sense of melodic motion coming off the page...
Thanks! 😀
I don't know of an app like that, though I wouldn't be surprised if there is one. I have a video on some of the books I have used, and two of them contain a lot of transcriptions and exercises that are very useful to check out: th-cam.com/video/GCELBK8TPos/w-d-xo.html
If you find an app then do let me know!
Jens Larsen Yes, of course, I have watched that video and have many Ted Greene books. The Advancing Guitarist is the next one on my list as I simply have never heard anything other than raving reviews about it. I imagine I will eventually get an omnibook as it seems like the simplest way to develop an extensive vocabulary...As far as apps go, I use MusicNotes but would really like one that offers a streaming service, like "Songster" but I have a profound aversion towards tabs...By the way, you may find it amusing to learn that I learned to read in what I gather is a rather unorthodox manner. I knew the chord construction formulas so I just used an old set of chord flashcards (I had bought this for my kids, long ago) to figure out the chords...The notes (and key signatures) became so ingrained in my mind after having mastered these chords on the staff that learning to read was relatively simple, the time subdivisons being the hardest part but easy enough, in the long run, once I stopped winging it and started to count...Best money I ever spent on an app is the "Sight Reading Factory" app...Use it every day, sometimes for hours (no kidding) just because I enjoy reading and it arbitrarily generates an infinite amount of lines according to various parameters. Thanks for the great lessons and vibe as well as everything else in between, man. Enjoy the holiday season.
+pixelatedparcel That is indeed an unusual way to get started with reading ☺️ If you like reading then you will probably prefer omnibook over the advancing guitarist
This is very helpful for classical players like me who don’t know jazz terminology. I knew most of these voicings but not the jazzy names. Thanks! Now I will be able to communicate with my jazz friends!
Glad it is useful 🙂
50K subs Jens! Congrats!!!!
Thank you Sean! 🙂
@@JensLarsen Now at 283K. Great channel!!
@@nairobiguitarclub5889 Thanks Tony! :)
Jens, have you explored sets? They are literally sets of notes labeled by semitones. For instance the set [0,1,3] from the note C would be [C,Db,Eb]. I won't get into all the details, but essentially these sets can be played any number of ways. I've tried them as "voicings" and have come up with some rather interesting sounds. In this example you can take the notes C, Db, and Eb and spread them out to play them like a chord. The sound would be very modern indeed, but can serve a purpose in certain situations. You can use other sets too, [0,2,3], [0,1,4], [0,2,4]. These are also commonly called trichords. They are really handy in melodic playing as well, where once the player is familiar with the sound of a set and how it can be rotated (kind of like inversions of a chord), new melodic contours become available in spontaneous situations. Check them out!
I have done very similar things, but I tend to not just start with intervals and begin with a scale since it gives me more of a reference point to where I can apply it. There is a video on some voicings developed like this from a few months ago. 🙂
man, I found a few inversions on my own but theres some here that i wasnt aware of. this is gonna make playing standards a lot more interesting. playing the same shape every time becomes torturous
WOWWW!!! Just ran across this video. I saw a video you did about arpeggios and soloing techniques... And was unclear on the Drop voicings Shell voicings and Spread Triads.. this video explains it and even includes quartal harmony which sound beautiful. Thanks Jen's you're one of the best out there... Keep up the good work.🥂
You're very welcome! I am glad you like it! 🙂
This was life changing for me Mr. Larson.
I keep pushing myself in Jazz to make sure that Matteo Mancuso will obey me.
I'm attempting to take down Kubla Khan and he's jeopardizing the Xanadu hostage.
It's not his fault that he doesn't understand, It's because he's not Gen Xanadu ... he's Gen Zulu.
From a compositional point of view, this type of lesson is valuable. How many Beatles songs must have come from Paul, John or George trying out new chord progressions or inversions as in these types of exercises! Thanks so much!
That is actually very true! I have that as well with a few songs. Great observation! 🙂
one of the first ones he did Alabama used it for the Hit "When we make love" These guys know it works..period!
I really love your style of breaking things down. Would be great to see you do a video or even a live stream just showing what a typical practice session looks like while exploring one of these concepts. I find it really challenging to catalogue these ideas in a way that I can apply them to a variety of contexts easily.
Really good picture of what we can use. I just got the "missing" combinations of invertions. Normally we have 4 closed, 4 drop2, 4 drop3 and 4 drop2+4. I just checked and its playable another 4 drop2+3 and 4 drop3+2 voicings.
Thank you for providing such a great resource for theory and jazz! Absolutely excellent!
You're very welcome, Matthew 🙂
Damn each one of these is like a month of study
That's of course true, you can spend a life time exploring most of these concepts. I think you should start with just expanding one or two and keep in mind that the others exist :)
The 4 part quartal makes a great 6/9 voicing
Really useful in chord melody when you need the root or 5th on top
12:17) Sounds like where Paul McCarthy got the idea for that song with the lyrics, "Where so sorry, Uncle Albert." But specifically the part of the song where he sings, "The kettle is on boil and we're so easily called away." I don't know how anyone could write good lyrics in Pop music without learning Jazz. Jazz is like the image that you see in the clouds that sort of looks like something, but must be further interpreted. Kinda like a Disney movie. But not always correct in every interpretation, at least not in my opinion. I once had seen the perfect image of a child in the clouds above the Rescue Mission in Youngstown, Ohio. It was a child that had the same name as I had when I was Lisa's daughter and Betty's grand-daughter. There was multi color lightnings flashing all around her head and multi color rainbows all around. This was in the summer of the year 1985:)
Re. Shell based voicings...until someone comes up with a better description, I think "extended shells" would be the obvious description.
Thanks you so much for all of these informative videos Jens,
I often record them on MP3 and listen while driving... I need all the help I can get!
Thank you Aidan! Extended shells might indeed be a good description! 👍
Cool! This is very useful!
A honorable mention could be an addition to quartal chords. I believe that idea of quartal chords came with McCoy Tyner and Coltrane modal thinking (with a help of Tadd Dameron turnaround) - Chords always move in 4ths so why not move in major/minor thirds? Subsequently - if triads are stacked thirds, why not stack 4ths?
... And if quartal chorss are stacked fourths, why not stack any kind of intervals into 4 note chord, then transpose it in chord scale and see what comes out... Example in Am : A string (pedal) + G(4 string); C(3 string); D(2 string); B(1 string). It is 4-2-6 setting that can be moved further, like: A (keep pedal) + C (4 string); F# (3 string); G (2 string); E (1 string).
When I come up with any interesting interval setting or find some accidentaly, I always transpose it in every scale that I practice. These chords can make pretty hip arpeggios and hello Holdsworth! :)
Thank you! Your honourable mention is in the video 🙂
Jens, I've seen a lot of lessons. Yours are among the most useful. Thank you.
Great job 👍these drop voicings are something alot of semi pro players might not know,youv done a great job explaining this,inversions are a big part of jazz (and other genres) even when there IS a bassist present, these are still great techniques, you definitely know ur stuff,and ur a great person for sharing ur knowledge FREE here on TH-cam. 🤓
I think that it was somewhere around the 7 minute mark where you asked about what to call 'Shell Voicings' with additional notes. If you were referring to chords such as C+9, C+11, etc. one name which I have known these types of chords to be called is 'Enhanced Triads'. I don't know if that would be the term used in a music school, but as they all contain the R + 3 + 5 + (9 or 11 or 13, etc. anything but the 7!) it makes sense to me. If you were referring to chords which are missing the 5th, as many shell voicings do, I have heard those called 'Imperfect (insert chord name here)', because as the 5th is always perfect a chord without the 5th is considered imperfect. So long as all the band members use the same names it really doesn't what you call them.
Awesome lesson! I just opened for myself shell voicing a week ago, but this video gives me much more options on how to play chords. Thank you for this!
Glad it was helpful!
Since I believe the "Jazz" category of music is based on collaboration with others who are interested in extending their creativeness in cooperation with several instruments the concept of solo jazz guitarist cannot rise above a subset. I like teaching which helps to be aware of what to leave out so that others can join in responsively supporting development of a theme. When playing guitar with keyboards bass and percussion/drums (and some horns) I look for opportunities to listen for the silences which beg for tie-in between instruments. I want to tie the group tighter or looser as needed without attempting to usurp the melody. My solos are in response to the the melody and then extending that into harmony territory, and then my reaction to that before I return the melodic them back over to the others. That way I feel a part of the players ensemble and not just use them as a platform to display some technical skills I've acquired. Players who welcome that approach invite me back. Those who don't - well, "C'est la Vie".
Quartal voicings are my favourite simply because they're great ways to voice lead between drop 2 chords or triads or whatever, also it's a nice way to play some avoided notes intentionally to then, resolve them, for example Dm7 drop 2, then for the G7 (F#, C , F) to Cmaj7 (G, B, E), the 2 weird notes in G7 resolve by contrary motion so it's a way to cheat music theory and sound really edgy haha
Well, if you play that you are not playing the G7 at all it is a different chord 🙂
Thanks, these are quite helpful. For me, it's very important to build a mental structure with chord types, and I'm exploring, it's fun!
Glad you like them! I will try to do another video similar to this in the future! 🙂
Interesting! I was taught to construct drop 2 chords from the lowest note up. So your basic Cmaj7 'power' chord (2:38) is drop two because in the triad C (E) G B you physically 'drop' the 2nd note in your chord, hence C G B E from the root up. Then E (G) B C = E B C G and so on. I also play bass so it makes more sense for me to construct chords from the lowest voice. Both of these techniques work like a palindrome though, both ways produce the same chord voicings.
Yes! Certainly there quite a few ways to construct drop2 voicings 😀
This takes me back to when I fell in love with jazz guitar, listening to the guy in the room next to mine playing jazz music on his cassette deck. The sound of the jazz chords moving around sold me and it has become a lifelong ambition to emulate this sound and become a solo artist since I rarely am able to play with other musicians, especially jazz musicians. Is the PDF available for this video? I will gladly pay for it.
3:50
3rd inversion chords have the Bossa seal of approval. Really common stuff to hear.
Great 🙂
Much thanks Jens! easy to follow and well arranged
Thank you Jens...I certainly will check that lesson out. Much appreciated.
+Noel Flur Thank you Noel! You can always ask if something is unclear ☺️
Thank you so much Jens. You have truly helped my jazz learning experience after years of searching.
The 12 note chromatic scale on guitar is really just positive and negative integers module 12 arithmetic. To me it’s about frets up or down. The Tonal center and harmonics of the frequency in Hz a topic for discrete Fourier analysis. There are cycles in any interval length in the chromatic scale which can be 3*24. = 3 *3* 4. = (3^2)* (2^2) the prime factorization of a finite group of that size. We have multiplication but not inverses. The the “units” will cycle through the Ring Z/3^2 * 2^2 if the greatest common divisor of 1,2,...3*24 is relatively prime.
So gcd(k, 3*12)=d the cycle length is 3*12/d. If d=1 relatively prime every note out of 3*24 will be in a long interval cycle in the chromatic scale.
When when use the 7 note major scale it is a subset of the 12 note chromatic scale relabeling of semitones with 1,2,3,4,5,6,7,8 in C Major with indexes only which also form an integer system but there are 2 exceptional cases on the chromatic scale it’s a step of +-1 instead of 2. So like when you explained quartile harmony the interval structure is diatonic but not with all perfect 4ths 5 chromatic steps. Or if we like perfect fifths like Holdsworth staying diatonic in the chord scale not all perfect fifths will sounds off on certain scale chords.
So choosing only perfect intervals not diatonic still sound interesting and exotic.
Any comments? I know you are busy but Just want another interpretation.
For a jazzer, you rock 😎
Thank you, Christian
This type of learning begs the question: "Which came first?" Does theory inform the ear. Yes, but only after the ear informs the theory. Theory allows for accounting of explorations based on "logical" associations. Those "logical" associations are "ear" driven. Don't toss the ears into the back seat while driving creatively. Music is "creative".
Do you work with categories like this? Another system? Did I forget a category? 🙂
yes i work these categories , there are the elementary triads for comping way , thank you Jens ; it's interesting from you to put all these informations ! some of them are news for me . Your mind is like an" explorateur "of multi-ways to make ring the jazz guitar ! merci!
True, but I think the exploring part is really fun! Thanks for checking out the video Valentin!
I like triads with one note doubled :)
I'm wondering if guitarists use Monk or Bud Powell voicings.
I work with the 9 different types of LORD VOICINGS. JENS LARSON IS STEALING YOUR SOULS FOR SATAN
Thanks Jens!!! Very cool lesson. I find it interesting to be able to put a label on voicings I have been using and to learn new voicings. I love your teaching style.
excellent video !! thank you for sharing all your knowledge ! i love spreads voicings
Glad you enjoyed it!
Dayummm this is so good! Very informative, so glad to have stumbled upon this video!!
Hi Jens...fascinated by the content of your lessons. You’re really broadening my idea of how I want to play and sound. Do you have a video on the best chords and arpeggio shapes to use that wound bring out the sound of the melodic minor scale and Lydian dominant mode in different positions? Thanks for your ideas and advice...best wishes. Andy
Thank you Andy! 🙂 I don't really have a video on melodic minor voicings, my best advice would probably be to check out the drop2 voicings in melodic minor? th-cam.com/video/qCQS2BbCjOs/w-d-xo.html That is very worthwhile for all your lydian b7, tonic minor and altered dom7th chords!
Thank you Mr Jens May God bless you I am loving music than ever thks to your videos...I get excited when I watch your lessons although I have to go slowly and learn better.I am a beginner but now i start to understand..sir I think starting by memorizing chords would be the best solution..thks
Your videos are awesome man. Thank you for your hard work
My pleasure!
This video was very helpful. Thank you Jens.
You're very welcome Ronald! I am glad you like it! 🙂
jens it would be excellent if you could put subtitles in Spanish so that more people from Latin America can learn Jazz and understand musical theory. There are few channels in Spanish that teach theory and little jazz you are a great teacher and I have learned little from your videos I hope your channel continues to grow and as a musician you will arrive more high :) greetings from Monterrey Mexico
Thank you Abiu, I rely on my audience to translate it. It is too expensive to buy it for all the videos
wonderful content! Thank you!
Glad you enjoyed it!
What about a Dmin7 as x-5-3-5-x-5. My own name for it is a "Swap34" voicing since you take the closed chord R-b3-5-b7 and swap the 3rd and 4th note giving R-b3-b7-5. It has the same spread range as a Drop3. Also, sometimes, mainly in classical guitar music, I come across what I call a "Swap24" voicing which results in R-b7-5-b3, eg Dmin7 as 10-x-10-x-10-13 which is I think as spread as you can make a four note chord without any compound intervals (not very plectrum-friendly). I don't know if they have any standard names..... As for that Cmaj9 example chord (x3243x), if I had to describe it I would be tempted to call it a drop2 since you can arrive at it by arranging the notes by pitch and dropping the 2nd highest note : eb[c]d=>[c]ebd, but i must stress that's only my unqualified opinion. On some sites I have seen other 4 note chords, where a note is omitted, such as the rootless 9th, expressed as drop2 by the same process.
The first one is called drop2&3 and the other one is a drop3&4 They are there certainly but not very common
Good call on finding them :)
Thanks for the great video! This helped me alot organizing what I know and what I should practice! Gonna get my Drop 2, 3 STRAIGHT!
You're very welcome! Great that you like it!
Do you want a link to some drop2 videos? 🙂
Jens Larsen yes please!!😆👍
Maybe this: th-cam.com/video/qCQS2BbCjOs/w-d-xo.html
or this: jenslarsen.nl/study-guides-how-to-learn-jazz/
* Plays a crazy stretch chord spanning 5 frets*........."These Alan Holdsworth type voicings, I think he really likes these kind of voicings" .......Yuh think?!?! LOL, priceless as always, great video!
Jens, you are the Master!! Thanks
Thank you very much Jume! 🙂
At 2:25 you call this a 2 voicing but it just took me an hour of watching other videos to learn that this is a drop 2+4 voicing. A 2 voicing is G,C,E,B the 2+4 is C,G,B,E (1,5,7,3) as you are playing here
Confused right now. You explain it as B being the highest note (4) but the other video I watched explained it as C being the 4. B(1)G(2)E(3)C(4). Thanks for the knowledge BTW found the link oin reddit but was already subbed to you
I think you are forgetting that I start with an inversion of the original chord before I make it into the drop2? You should consider watching some of my Drop2 videos if you want a longer explanation :)
I notice that much of what you play is on electric guitar. Do you find that there are big practical differences with how someone goes about playing acoustic guitar vs. electric? I mainly play acoustic, and I find that the pressure needed on the strings is greater. Does that change the way I should think, theoretically, about the fretboard and chord voicings?
There are differences, but not really in terms of how you think about chords and voicings.
Hello Jens, any thoughts or video about switching beetween chords with efficiency and without any gap? I read somewhere that classical guitar players tend to ´´slide´´ beetween chord shapes, so each chord sounds with full duration.
Hi Rodolfo, I don't have any videos on that, in fact it is something I never really thought about to be honest.
If I think of something I will let you know 🙂
Would you be able to help me understand when we would commonly use drop 3 voicings? Do we use them to strum as chords on the downbeat of swing jazz songs? Most of the time I use harmonisation of melodies with chords, I’d use drop 2 or triads, since the drop 3 has the bottom note so far away from the rest of the chord and sounds odd. Could you help me?
Can you learn more about the chords with empty strings used by Mike Moreno in solo guitar songs? Thank you
Chords with open strings? Yes, I guess we can do that at some point :)
You want chords with open strings mixed with fingered notes, take up classical guitar !! No sarcasm meant. It's rampant in CG,..especially works by Villa Lobos .....M
Great lesson
Thank you! 🙂 Glad you like it!
Wow Jens, you have opened my mind up to all kinds of goodies that were right there in front of me the whole time!
I'll be spending a week on these cozy shell voicings at least! Where you from?
Thank you Kent! 🙂 I am from Denmark, but I live in the Netherlands!
Jens Larsen I could tell you were Danish from the accent :) and your name too of course!
Maybe a dumb question, at 4:32 when you cover Drop3 voicings why for the diatonic chord scale are you playing dom for the 3rd (instead of min), then a diminished #4 chord of the root (instead of maj 4 chord), a maj chord for the 5th (instead of dom), and then a minor chord for the 7th (instead of a dim)? It sounds nice and I would like to understand the theory behind why.
Because I am not starting on the root? 🙂
wow this was legit thank you
You're very welcome! I am glad you like it! 🙂
Hi Jens- one thing I don't understand- why do we start with inverted chords as our 'reference point' when deciding which note is the 'dropped note'? And how do you decide if it's a 2nd/3rd inversion you start with etc? Is it just looking for a starting point which you can change by dropping a note to create a nice fingering?
Hi James, It doesnt really matter whether you start with an inversion or a root position to do that. I probably chose something because I wanted a clear example in terms of register and the drop2 voicing I ended up with? (I don't remember since the video is some time ago)
Does that help?
Hi Jens. That’s a 76 2630 ...I have one too. Pretty rare and a wonderful guitar
Yes it is a great guitar 🙂 Mine is from 77 actually
so much juicy knowledge
So how do you decide what voicing to choose? Why would you use a shell over a drop 2 or vic versa? Should you use the same type to get the best voice leading.
There is no formula. Try check some of the videos on specific voicing types to see how you make music with them 🙂
Jens Larsen thanks Jens. Something I’m having trouble finding a clear answer on is voice leading. When you are switching from chord to chord how do you know if your voice leading it properly?
Brilliant channel.
Is there any way to get minor 3 minor 9 voicings work in functional or is the situation similar to 4-part quartals (you only want it in a very specific place in a piece)?
There is no specific trick for i. In the end it is about taste, but I think there is also something to be said for having a minor chord that does not have a 9th. It is great that not all m7 chords are the same
Top jazz lesson ever
Really glad you like it! :)
Thank you!
You're welcome!
Jens can you make a lesson about drop 3 chord n voicing
Thanks for the videos! I love the knowledge you share but feel a little overwhelmed with the music theory. Can you please share some ideas on how musicians who primarily play by ear can get a better handle on the theory too?
That's quite easy: Learn you scales by heart (the note names) learn the diatonic chords of those scales by heart and as arpeggios in the scales you play on your instrument.
Start to analyze the songs you play.
Thanks for reply! I'll be visiting your site for your premium lessons as well!
Thank you Keenan!
Excelent vidio!! Very useful!
Glad it was helpful!
Anybooks for chord vocings lessons?
6:20 Fig grrrr row. Like in that Bugs Bunny cartoon. 9:39:) I really don't use enough spred triads. These would come in handy because they are only excluding the flat fifth from the half diminished. Maybe I will drop the flat third and try (sus) half diminished chords. Perhaps some other angle or even voice another note or notes after the fact to create melody lines on top of the triads.
Funny how dificult an instrument guitar is..It takes years of playing,and studying to learn all of these voicings,and chord shapes..But I could just walk up to a keyboard right now and make all kinds of interesting voicings with minimal skills on keys..I guess it just gives us more to strive for as guitarists!!
Thanks foto share this,thanks a lot !!!
You're very welcome! I am glad you like it! 🙂
Great lesson! I'm pretty familiar with all of the "drop" stuff, but the quartal approach is new to me. What's the thinking here, how do these chords come about? I mean, if I look at the fingerings you provide along the fretboard they're almost like, um, jazz power-chords in that they're all the same except for the diagonal shape on the 2nd degree. Why is that, and what's the theory behind stacking 4ths instead of 3rds?
Jens do you use a guitar pick when you're comping or playing chords? If not, what do you do with it and how do you quickly switch from comping to soloing?
I sometimes use a pick, and sometimes play with my fingers. And I sometimes hold the pick in my right hand and sometimes hold it in my mouth :)
@@JensLarsen Thanks! Really helpful. And thank you for the videos, too. They're so useful!
Really helpful , Thanks.
Very glad you like it! 🙂
Hey Jens, how do you go about finding/making new chord shapes and chord inversions on the guitar?
I don't always think in chords but more in a melody that I want to put notes under and then I look at what is available. Sometimes I know the voicing, sometimes I don't.
Another thing that I have done from time to time is: th-cam.com/video/YDa90da8sMA/w-d-xo.html
I have a question, what kind of voicings do you use when coming with piano?
Hi all, but of a specific question, but would anyone know why the Em7 with the added 9th (at 7:26) has an F# added instead of the F, which I would expect if you stack the chord in line with the key of C major (E.. G.. (B, which is left out).. D.. F..). Thanks for anyone answering, and another great video btw. Cheers
The extensions are named from intervals not from the scale, so a 9th is always an octave and a whole step. The F would be a b9 :)
@@JensLarsen That's clear, thanks Jens!
Very nice and informative...
+Vasili Prasad Thank you very much Vasili!
Jens, do the “shell voicings” and “shell voicings based” chords have inversions, like drop 2 and drop 3 chords do? It doesn’t seem like they do (which makes learning them so much easier! LOL).
You can make inversions of any group of notes.
@@JensLarsen I didn’t phrase this correctly. Are there practical shapes of these inversions that can be used on guitar? I’m specifically referring to examples like Cmaj9 (C, E, B, D) where the notes of the chord extends beyond a single octave. What would the next inversion look like? If we had the first inversion E, B, D, C, these four notes are not practical to reach on the fretboard. Again, the next inversion B, D, C, E are not practical to reach either. How would we have inversions that are playable for these sorts of chords?
@@keycadearcadecontrollers467 your inversions are a bit off, 1st inversion would be D B C E, 2nd E C D B.
I discuss it here: jenslarsen.nl/jazz-chords-here-is-why-you-want-to-make-inversions/
@@keycadearcadecontrollers467 And this jenslarsen.nl/find-new-jazz-chords-inversions/
@@JensLarsen This is perfect! Thanks so much - very clear explanations too.
It would be great if you made videos analyzing the new jazz and rock musician who have included jazz nowadays. such as #Mateus Asato, Kiko Loueriro, Andreas Oberg and also Pholipya
There are so many people doing this already,so luckily I don’t have to 🙂
Excellent lesson!
Thank you! 🙂
Thanks so much for everything Jens. If I keep learning from your videos I might actually become a decent jazz guitar player one day and teach my students too :)! Currently doing a bachelor degree in pop guitar and we don't see any jazz :/.
You're very welcome! I am glad you can get something from the videos even at your level! 🙂
So many years of stuff to learn from your videos :). Best jazz guitar content on the internet as far as I'm aware. I have also recommended you several times to the few students I have who are learning jazz. Thanks!!!
Thank you! That's very nice of you! :)
Great vid, thanks. The chords at 11:32 sound like On Green Dolphin St.
Hi Jens; I joined you on Patreon but can't find the pdf for these examples. Can you point me in their direction? Many thanks.
Great! I will send you some welcome messages later. Here's the post:
www.patreon.com/posts/jazz-chord-9-you-15942725
@@JensLarsen Found it! You're tops! Thanks Maestro!
Does he play anything with a pick? Finger picking, I am still hoping to learn.
I do indeed mostly play chords with fingers, but a lot of it you can play with a pick too
@@JensLarsen Cool! I tried a couple of the chords with finger picking, and it reaffirmed something I already knew: I GOT A LOT TO LEARN!!!!
Great stuff thanks👍🏻
You're very welcome Stephen! Glad you like it
I love the extended versions of drop 3 voicings you showed (e.g. Cma7(13) going C, B, E, A). I love to mix them with the based voicings, because they voicelead smoothly as silk and they contain root (because I don't very often play with someone providing bassline, sadly)
Hi! cheers from Buenos Aires, Argentina.
Thanks for your videos. They help me to sort, complement and clarify all the information that I have turning in the head.I have a question... On which scale do you build the 4 part-quartal voicing for the G7 (alt)? in the 13:49 minute approximately.
Glad you like the videos! I build Galt voicings from the G altered scale (so Ab melodic minor)
@@JensLarsen Thanks master! (Gracias maestro!)
Awesome. Touched on a lot of CAGED system voicings. How's the neck on that Ibanez, btw? I want one if the neck has that classic Ibanez thin feeling.
+Jacob Sholtes Thanks! That is interesting since I don't use CAGED ☺️ The neck on ny AS2630 is a lot thicker than other Ibanez models, which is what I personally prefer
firstly, this is a great lesson. Thanks.
secondly, i have a question . . . In the first Chord scale you play in C, at 1:35, you play a Bm7(b5) but you label it as diminished.
Many people often label m7(b5) as diminished (even though it's half diminished), and make no change to the symbol in the sheet music. It almost seems interchangeable. Am i not understanding something, or do people simply not care which chord you choose. Both sound nice in the key.
BUT . . . I just don't know if we are all committing a sin, or if it's ok to switch between these chords?
Many thanks Jens
I label it half-diminished, which is another name for m7b5.
Diminished and half-diminished are two pretty different sounds 🙂
Just edited this comment whilst you liked it . . . sorry for the disruption
@@JensLarsen Thanks for that. You certainly did. It has the half diminished sign. I just need to be more careful and play the right bleedin chord :)
@@MrMatthewKerr no worries, my answer is still the same 🙂
@@MrMatthewKerr don't worry, that will come 🙂