Jens Larsen I somewhat take an analytical approach to learn all of my voicings first. So I can see everything available. Learning all 24 voicings of a 7th chord in a scale then using a modal approach first typically to get used to the tonality of the chord, and then voice leading in progressions to get used to function. Another thing I've been working on is learning all triad voicings in a scale. I.e you have 6 inversions of triads, 7 scale tones, and 4 basic triads to derive that from...123 , 124, 125, and 135. I know I didn't go through to 126 or 127 because those are technically inversions of 124 and 123. You end up with some interesting arpeggios and melodies that come from this. Cheers 😊
I mostly play on only 2345 (middle string) drop two voicings for now. I can find and play a II, V, I in one position. Also I found an Arpeggio app and site that shows jazz chords and I can figure out anything but need to notate the progression.
Here's an approach to finding a way to make inversions part of my everyday playing. Pick any standard you know and find a way to play it by cycling through the progression this way: for the first chord the lowest note must be on the D string. 2nd chord, A string. 3rd chord E string. And so on. A struggle at first, but it opens a very large door. Eventually you will find very easy ways to sound great.
I do this as well, I also run this exercise by playing it staying in one position on the neck, or moving up and down the neck so I'm forced to find the chord that fits within the parameters.
I'd been trying to figure out a way to memorize the order of the notes as they appear in each successive inversion and the only tip I found was that the 1&5 are always on adjacent strings and that the 3&7 are always on adjacent strings. But, I still had the problem of figuring out how to memorize WHICH order each pair of notes appear: then i figured out that it was so obvious I was surprised I didn't realize it earlier: the highest note in each inversion is the lowest note in the next inversion!!! 1, 5, 7, 3 ... 3, 7, 1, 5 ... 5, 1, 3, 7 .... 7, 3, 5, 1
I know this is somewhat old now, but I have a nice way to get new inversions into my playing. I take a standard that I am used to playing with certain fingerings, then I take each chord and figure out the voicing that starts on the next highest or lowest chord tone (this also forces you to analyze all the voicings you know) . Then I play through the standard at a slower tempo and incorporate all the new voicings and try to come up with nice melodies with the compling. If you can get just 1-2 new voicings to your vocabulary per week, it will add up to huge progress over time.
Thank you for this amazing (and FREE) content Jens. It means a lot, for a musician that didn't have many resources growing up, that this information is vital. Your information has taken my understanding of the guitar to a new level.
I’m not a jazz player I prefer alternative rock. However, I learn new approaches to the guitar from you & Rotem Sivan. (I am subscribed) This lesson was right up my alley. I appreciate the theory & examples you provided. I’ve been investigating sus2 voicings & their inversions. I’ve always loved the sound of those chords & they’re neutral. I can get away with inserting them as substitutes for major or minor chords, in most diatonic cases. I’m going to apply this videos’ teaching to this pursuit.
I love to see how easy you are in front of the camera now! You look like a natural That goes to show that with hard work you can overcome anything Great work as usual
Thank you very much! You are great! I wish you good, prosperity, good health, happiness, peace and success, so you can keep doing this great job! This is very helpful to me! Greetings! 🙏🏻🙏🏻🙏🏻
You are very welcome! I think it is very common to fall into the trap of just doing some technical exercises and not really get it all in your system 🙂 Let me know how it works out!
I am studying close and spread triad inversions using voice leading in school this semester, and prepping to be tested on it in six more weeks. It’s brutal! I have to be able to play all the voice lead inversions of the diatonic chords of c major in all six cycles. The professor will call out two close and two spread triads in any cycle starting at any inversion of the first C chord. I have to voice lead them using the correct inversions. I am having trouble nailing down a practice routine. Possibly I could memorize how many common notes are in each cycle and how the inversions layout, like root for C, Second inversion for F, first inversion for Bb, then root inversion on Eb (cycle 4) and spell each chord, which gets very hard on my thought process after a couple of cycles, or try to memorize all the voice lead cycles. The triad spelling even changes from close to spread voicing. Any help would be greatly appreciated.
Hi, Jens. There's a Sal Salvador book, Four Part Harmony for Solo & Comping, which lays out chord scales in various inversions: 5-1-3-7, 1-5-7-3, etc. Each inversion is presented in each of the 12 keys in major, harmonic and jazz melodic minor.
Dude your videos are a true public service, thank you! However I did notice that at 6:52 the tablature for the Gmaj7 chord is incorrect. Thank you so much for these videos, just subscribed.
Good video, thanks ! =) For me i always try to figure out what would be the most "logic" notes to play after my first chord without even knowing/thinking the chords i will play, then i find my next chords (which is sometimes result in a chord inversion) .
I am working on the song Sunny and I am finding the version of which I am learning the cord changes are harder because they are not set using this method. I would like to learn both giving me more freedom on the fret board. this certainly has helped me and looking forward to my practice session.
In trying to find some way to practice and internalize these drop2 chords, I chose five 2-5-1 progressions in the keys of A,D,G,C,and F. This allows the use of all 7 natural chords without any flat/sharp roots. Then wrote out the root and 3 inversions of each progression using the the grip(s) with the best voice leading while still using the root and all three inversions for each progression. This is 20 progressions with 60 chords total. Then copied these to flash cards that are served up at random. After a month or so of testing and practice I'm getting better at quickly finding each progression. Later I'll incorporate the remaining 6th and 7th chords, min.7b5, dim.7, min.6 and 6th. For now I'm only using the 1st~4th strings voicings. Your thoughts?
I would incorporate them into music rather than flash cards and exercises. One thing is finding them on the neck, but I feel you are missing the part where you also place them in a musical context. But of course you should work in a way that you want...
Thanks Jens!:) I like use quartal and sus chords with simple inversions of 7th . Quartal chords give move and connections other chords. But i cant understand how use inversions of altered chords)
You're very welcome Marvin! Maybe think of altered chords like tritone subs? So instead of Dm7 G7alt Cmaj7 try to think Dm7 Db7 Cmaj7 and see what you can come up with 🙂
Pat Martino geometry tells about this ) G7#5 can be playing by Ab Doriand because Db7 it triton sub and Abm7 it sub for Db9. But since diminished chord have simmetrical structure and four inversion on between which different intervals, this allow move chords on minor 3th interval: Db7 (minor 3th of Db7)E7, (minor 3th of E7)Bb7 . And G7#5 can be playing by Ab Dorian, B Dorian , F Dorian, D Dorian. But it is not always possible to apply this))
To be honest: If you just learned music theory first and then left Pat Martino for a little later then you would probably not have such a hard time. The fact that you are aware that it is not always possible to apply this should tell you how strong it is a basic system. I know he talks about it like this, but he doesn't seem to play that on the records I have. Do you have examples of it?
Your English is extremely good. One suggestion. When you pronounce the word "idea" you pronounce it as "ideaR" This one change will make your English almost perfect. You get the idear! (oops! idea.)
Hey @jens you are doing great job . I m bass player follow your guitar tutorials it’s amazing thanks for sharing so much . Jens wanted to ask you what why did you play B higher in g major voicing . Which 9-11-8-7 shouldn’t it be 9-11-8 -10 ? Since you are already playing B note which is on the 9th fret . Please answer if possible to clear my confusion . Love from India Jivi
Hi Jens, I have watch this video several times, because each times I learn something. Okay the way I approach this chord "minor" inversions is by see the hole fretboard as a "HOLE block" minor pentatonic scale "See note 04:55". Note: I don't think really in blocks but by ear I hear the notes(chord-tone) and chords. Is for difficult to explain it. But Major/minor pentatonic is no issues for me. So by instinct I combine the M/m pentatonic together. Does it make sense???
It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
Ok thanks. I've seen others use similar gadets but have always been unsure about what it was used for. Muting open strings when doing legato makes great sense. thanks
Thanks! Not really. If you want to learn voicings you can better learn systems like drop2 and triads and learn to build them into all sorts of voicings. That is a lot more flexible 🙂
the explanation of this is far too arduous a process for this place and forum. but a short for me trying would be to learn all inversions of one chord type. then all the others up and down the neck. then place the types as if from the same root to see thier differences. then to do this in all inversions. because I've done this in 7th chord voicings, I also felt the need to throw in fully diminished chords as well. you really begin to understand the similarities and ability to voice lead and what ones sound good together for you personally this way imo. say, B over G may sound nice to someone, but maybe you want to outline the F half diminished right before the C chord hit in the rhythm section. idk.... to me, it can be as easy as a comparison of a chord built off the root of each of the main comped chords inversions and a comparison.... or maybe not. seems to be an easy way for me any who.
A little late today because things are a bit crazy busy :) What is your favourite approach to learn and play chord inversions? 🙂
Jens Larsen I somewhat take an analytical approach to learn all of my voicings first. So I can see everything available. Learning all 24 voicings of a 7th chord in a scale then using a modal approach first typically to get used to the tonality of the chord, and then voice leading in progressions to get used to function. Another thing I've been working on is learning all triad voicings in a scale. I.e you have 6 inversions of triads, 7 scale tones, and 4 basic triads to derive that from...123 , 124, 125, and 135. I know I didn't go through to 126 or 127 because those are technically inversions of 124 and 123. You end up with some interesting arpeggios and melodies that come from this. Cheers 😊
Sounds intensive! 😀 Good luck with it!
Transcribing your comping videos! Seriously - those voicings that I transcribe and recognise on my own flow really naturally into my head :)
I mostly play on only 2345 (middle string) drop two voicings for now. I can find and play a II, V, I in one position. Also I found an Arpeggio app and site that shows jazz chords and I can figure out anything but need to notate the progression.
hey there! that app sounds interesting what is the name of it?? thanks!
Here's an approach to finding a way to make inversions part of my everyday playing. Pick any standard you know and find a way to play it by cycling through the progression this way: for the first chord the lowest note must be on the D string. 2nd chord, A string. 3rd chord E string. And so on. A struggle at first, but it opens a very large door. Eventually you will find very easy ways to sound great.
I do this as well, I also run this exercise by playing it staying in one position on the neck, or moving up and down the neck so I'm forced to find the chord that fits within the parameters.
I'd been trying to figure out a way to memorize the order of the notes as they appear in each successive inversion and the only tip I found was that the 1&5 are always on adjacent strings and that the 3&7 are always on adjacent strings. But, I still had the problem of figuring out how to memorize WHICH order each pair of notes appear: then i figured out that it was so obvious I was surprised I didn't realize it earlier: the highest note in each inversion is the lowest note in the next inversion!!! 1, 5, 7, 3 ... 3, 7, 1, 5 ... 5, 1, 3, 7 .... 7, 3, 5, 1
I know this is somewhat old now, but I have a nice way to get new inversions into my playing. I take a standard that I am used to playing with certain fingerings, then I take each chord and figure out the voicing that starts on the next highest or lowest chord tone (this also forces you to analyze all the voicings you know) . Then I play through the standard at a slower tempo and incorporate all the new voicings and try to come up with nice melodies with the compling. If you can get just 1-2 new voicings to your vocabulary per week, it will add up to huge progress over time.
Exactly what I’ve been doing today.
In my "idear post I forgot to say how much I love your playing. "A beautiful touch!!!"
Thank you very much Randall!
Thank you for this amazing (and FREE) content Jens. It means a lot, for a musician that didn't have many resources growing up, that this information is vital. Your information has taken my understanding of the guitar to a new level.
You're very welcome!
Great lesson Lars! You’re a thorough teacher. Trust me, in today’s educational climate that’s rare.
Thank you very much! It's Jens actually 😄 But I am really happy you like the style of video!
Jens Larsen I apologize Jens. My brain juxtaposed your first and last name and I haven’t been able to recover. 😂 Thanks again!
good video, this is exactly what i was looking for , didn’t want to read a theory book!! thank u so much
Glad it was helpful 🙂
I’m not a jazz player I prefer alternative rock. However, I learn new approaches to the guitar from you & Rotem Sivan. (I am subscribed) This lesson was right up my alley. I appreciate the theory & examples you provided. I’ve been investigating sus2 voicings & their inversions. I’ve always loved the sound of those chords & they’re neutral. I can get away with inserting them as substitutes for major or minor chords, in most diatonic cases. I’m going to apply this videos’ teaching to this pursuit.
I really loved the analysis/interpretation for this week's installment. Great job!
Thank you so much Kenneth!
I love to see how easy you are in front of the camera now! You look like a natural
That goes to show that with hard work you can overcome anything
Great work as usual
Thank you GIovanni!
Such an amazing bassist :)
But very clearly demonstrates what I needed to hear explanation wise
Thank you very much! You are great! I wish you good, prosperity, good health, happiness, peace and success, so you can keep doing this great job! This is very helpful to me! Greetings! 🙏🏻🙏🏻🙏🏻
You're very welcome Dani! I am glad you found it useful!
If you are looking for something on the channel then just ask 🙂
Thanks man! memorizing jazz chords is something that I consonantly struggle with, I will totally implement these tips! (:
You are very welcome! I think it is very common to fall into the trap of just doing some technical exercises and not really get it all in your system 🙂 Let me know how it works out!
I am studying close and spread triad inversions using voice leading in school this semester, and prepping to be tested on it in six more weeks. It’s brutal! I have to be able to play all the voice lead inversions of the diatonic chords of c major in all six cycles. The professor will call out two close and two spread triads in any cycle starting at any inversion of the first C chord. I have to voice lead them using the correct inversions. I am having trouble nailing down a practice routine. Possibly I could memorize how many common notes are in each cycle and how the inversions layout, like root for C, Second inversion for F, first inversion for Bb, then root inversion on Eb (cycle 4) and spell each chord, which gets very hard on my thought process after a couple of cycles, or try to memorize all the voice lead cycles. The triad spelling even changes from close to spread voicing. Any help would be greatly appreciated.
Hi, Jens. There's a Sal Salvador book, Four Part Harmony for Solo & Comping, which lays out chord scales in various inversions: 5-1-3-7, 1-5-7-3, etc. Each inversion is presented in each of the 12 keys in major, harmonic and jazz melodic minor.
Ok. But really you can do that yourself too right? 🙂
Yeah, it's really an intellectual exercise, and doing it yourself is how it gets into your brain and fingers for real.
Thanks very helpful!
Glad it was helpful!
Dude your videos are a true public service, thank you! However I did notice that at 6:52 the tablature for the Gmaj7 chord is incorrect. Thank you so much for these videos, just subscribed.
You're very welcome! I am afraid I quite often have typos in my sheet music though 🙂
Good video, thanks ! =) For me i always try to figure out what would be the most "logic" notes to play after my first chord without even knowing/thinking the chords i will play, then i find my next chords (which is sometimes result in a chord inversion) .
Hi Jens....I like these ideas...a fantastic way to start my day...thank you...ron
Thanks Ron! Glad you like it! 🙂
Great lesson; thank you for sharing.
Glad you like it Jon!
Good advice overall.
Thank you 🙂
Exactly what I needed right now! For once the TH-cam algorithm works for me 🤣
Such good videos!
Thanks you very much Rowan! Glad you like them! If you are looking fro something specific then just let me know!
I am working on the song Sunny and I am finding the version of which I am learning the cord changes are harder because they are not set using this method. I would like to learn both giving me more freedom on the fret board. this certainly has helped me and looking forward to my practice session.
That's great Michael! Hope you can find a way to get it to work better! :)
In trying to find some way to practice and internalize these drop2 chords, I chose five 2-5-1 progressions in the keys of A,D,G,C,and F. This allows the use of all 7 natural chords without any flat/sharp roots. Then wrote out the root and 3 inversions of each progression using the the grip(s) with the best voice leading while still using the root and all three inversions for each progression.
This is 20 progressions with 60 chords total. Then copied these to flash cards that are served up at random.
After a month or so of testing and practice I'm getting better at quickly finding each progression. Later I'll incorporate the remaining 6th and 7th chords, min.7b5, dim.7, min.6 and 6th. For now I'm only using the 1st~4th strings voicings. Your thoughts?
I would incorporate them into music rather than flash cards and exercises. One thing is finding them on the neck, but I feel you are missing the part where you also place them in a musical context.
But of course you should work in a way that you want...
Thanks Jens!:)
I like use quartal and sus chords with simple inversions of 7th . Quartal chords give move and connections other chords. But i cant understand how use inversions of altered chords)
You're very welcome Marvin!
Maybe think of altered chords like tritone subs? So instead of Dm7 G7alt Cmaj7 try to think Dm7 Db7 Cmaj7 and see what you can come up with 🙂
Yes i use it ) But can i move triton sub on minor triads? For Example: Galt have Db7 E7 Bb7 tritons sub
Galt is Db7, but it isn't E7 or Bb7?
Pat Martino geometry tells about this ) G7#5 can be playing by Ab Doriand because Db7 it triton sub and Abm7 it sub for Db9. But since diminished chord have simmetrical structure and four inversion on between which different intervals, this allow move chords on minor 3th interval: Db7 (minor 3th of Db7)E7, (minor 3th of E7)Bb7 . And G7#5 can be playing by Ab Dorian, B Dorian , F Dorian, D Dorian. But it is not always possible to apply this))
To be honest: If you just learned music theory first and then left Pat Martino for a little later then you would probably not have such a hard time.
The fact that you are aware that it is not always possible to apply this should tell you how strong it is a basic system.
I know he talks about it like this, but he doesn't seem to play that on the records I have. Do you have examples of it?
Your English is extremely good. One suggestion. When you pronounce the word "idea" you pronounce it as "ideaR" This one change will make your English almost perfect. You get the idear! (oops! idea.)
Well, I am not a native English speaker so there are bound to be a few quirks here and there :)
Thank you
You're very welcome! 🙂
Subscribed to your channel!
Thank you! 🙂
Hey @jens you are doing great job . I m bass player follow your guitar tutorials it’s amazing thanks for sharing so much .
Jens wanted to ask you what why did you play
B higher in g major voicing . Which 9-11-8-7 shouldn’t it be 9-11-8 -10 ? Since you are already playing B note which is on the 9th fret .
Please answer if possible to clear my confusion . Love from India Jivi
Where in the video is that? I'll check :)
Jens Larsen 6.48 .
But thank you for taking out time n replying!
I’m looking forward for ur videos . Thanks anyways .
Jivi .
Greeting from India 🇮🇳
I am not playing the high B, it's a typo in the sheets. I am playing a high D 🙂
Jens Larsen yeah sheet only! :)
Nice one
Hi Jens, I have watch this video several times, because each times I learn something. Okay the way I approach this chord "minor" inversions is by see the hole fretboard as a "HOLE block" minor pentatonic scale "See note 04:55". Note: I don't think really in blocks but by ear I hear the notes(chord-tone) and chords. Is for difficult to explain it. But Major/minor pentatonic is no issues for me. So by instinct I combine the M/m pentatonic together. Does it make sense???
I am not sure exactly what you mean, but be aware that if you think in pentatonic scales you don't have access to all extensions 🙂
Hi Jens some days bevor i ordered your clip from the mollblues and scale and the 10 II V I chord embellishment. I pay by Paypal. I never recieve it!
I will send you an email 🙂
What IS that blur fuzzy thing for:)
It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
Ok thanks. I've seen others use similar gadets but have always been unsure about what it was used for. Muting open strings when doing legato makes great sense. thanks
Does anyone have a sheet for drop 2 on string sets 2-5 and 1-4?
There are diagram downloads on my website 🙂
Is the Gmaj7 at 6:52 a typo? Shouldn't that high B be a D?
are there any internet page that you recommend to find guitar chords?always watch your vids
Thanks! Not really. If you want to learn voicings you can better learn systems like drop2 and triads and learn to build them into all sorts of voicings. That is a lot more flexible 🙂
thanks jens !
Wow..
Could anybody help please? What the bass player plays, if I'm playing for example a Dm/A? Must be A or can play D?
The bass should still play a D
@@JensLarsen In arpeggio too? There will be D and A bass in the same time.
In that case I can make use of the hundreds of chords I learned during the lockdown.
C F/C G/C . The bass is still C F G?
the explanation of this is far too arduous a process for this place and forum. but a short for me trying would be to learn all inversions of one chord type. then all the others up and down the neck. then place the types as if from the same root to see thier differences. then to do this in all inversions. because I've done this in 7th chord voicings, I also felt the need to throw in fully diminished chords as well. you really begin to understand the similarities and ability to voice lead and what ones sound good together for you personally this way imo. say, B over G may sound nice to someone, but maybe you want to outline the F half diminished right before the C chord hit in the rhythm section. idk.... to me, it can be as easy as a comparison of a chord built off the root of each of the main comped chords inversions and a comparison.... or maybe not. seems to be an easy way for me any who.
maybe I'm missing something here, but that's the basics of it for me.
Ok! That's a big routine :)
Bro teach me how to practice bridge
I found that the 3rd inversion of the 7th chord doesn´t always work like the others.
Actually I think they all work different :) According to you which one is the 3rd inversion of a 7th chord drop2?
Jens Larsen It is BEGC from bottom to top (CMaj7). The b9 interval from B to C is abrasive
Buy that is only an issue with a maj7 chord though 🙂
Jens Larsen Yes. Another thing is the register: higher vocings sounds better using drop2
I'm so frustrated with jazz chords, I find myself sitting at my piano instead of guitar because its easier.
Play songs, and use them instead of thinking about them :)
Small bites.
Good advice overall.