Do you work like this with chords? Are there common songs you would like to see in a video? Content: 0:00 Intro 0:22 Chords + Rhythms + Melodic Concepts 0:52 Satin Doll - 5 Levels of Jazz Comping 1:06 Level 1 Basic Chords 2:24 Level 2 Top-note Melodies 4:01 Level 3 Mixing Voicing Types 5:44 Level 4 Chromatic Passing Notes 7:39 Level 5 Chromatic Chords 9:31 Like The Video? Check out my Patreon Page!
Hello! Sorry, I would like to ask if you have any lessons about accompaniment in jazz fusion music in the style of Allan Holdsworth? Or similar styles of fusion? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hlGFkVa98wQ.html
I don't really do fusion that much, it is not really my thing. I do have a few lessons on Holdsworths chords though: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-K2sR0itSxkw.html
This is the lesson I’ve been looking for! I spent a lot of time learning drop 2 chords on the top 4 strings but I didn’t know how to make them sound melodic. Thank you!!!
I really enjoy these chordal type exercises. For many many years I've restriced myself to just a handful of chord shapes. Over the last few weeks, I've been practicing Drop2 and other jazz style chord shapes thanks to your videos. It seems to help open up my playing style. Thank you Mr Jens Larsen.
Another really solid lesson. I think you do a great job of getting the most out of a voicing; I often jump up or down the fretboard when I may not have to.
Thank you so much! I have been trough 4 or 5 versions previously on youtube from easy but sounding harsh to the ear to too complicated (really Wes...) and again I was brought to one of your lesson : not too hard, sounding very well .
Hi Jens--- you have so many great lessons, and you are a great teacher. In my opinion this lesson is one of your very best. The chord shapes, the melody, the rhythms, the simplicity and the beauty of how it sounds---- and the many possibilities that lie within it even for advanced players, have all made it a classic standard for the greatest players on every instrument. Joe Pass and Wes and George and many other great players often took simple shapes and ideas like this, and then turned them inside out into virtuoso performances. Whenever you show us the great standards, it's an education.
Very nice video :-) I am working on a video for writing SuperSax style harmonization for guitar with Satin Doll. I was checking out the other videos that exist around this general topic and found a few of your videos. I like your channel. Keep in touch.
Hello Jens, great video as always! I have a question about that voicing of the CM7 chord. It contains the notes D, E, G and B. Does it work like a CM7(9), but without the C itself? Thanks!
@@JensLarsen well looking at that voicing it could be seen as a drop 2 Em7 if you take the E en the fourth string as the root of the chord right? nice!!
Are the Cmaj7 and F7 you’re using actually drop 2 voicings, strictly speaking? There isn’t even a C in the Cmaj7. I understand you just dropped the root, but even with the root, they’re not really drop 2, right? I get that it doesn’t really matter in a musical context, just trying to understand what’s really happening 😅
Hey Jens, nice lesson but I'm just curious about the G7 chord XX3453. I would call this chord G13/F or am I missing something ?. The chord formula is 1 3 6 b7.
No, it is what you would describe as a G7(13), but here's why: In jazz, the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason, I usually try to stick with the chord type and not specify the extensions like 9 or b9. You would not write it as a G7(13)/F when the bass is playing a G.
Well, I do that in a lot of other Drop2 videos already, and it isn't relevant to playing them. You can check it out here: jenslarsen.nl/drop-voicings-how-to-understand-the-construction/
Thanks mr Jens. One question: Level 4 and level 5, the melody in comping could clash with the theme (ex Ab and A in theme..)?. But if no theme is great of course...
I think many of them are too busy to really work behind the melody, if those examples will clash then it also depends on how the melody is phrased. In a video like this I have to choose what to demonstrate and whether it makes more sense to do that in a short example than trying to have a more realistic but also less interesting example.
That's not a normal G7 you are using, is it? I thought it must have been X-X-3-4-3-3 instead of X-X-3-4-5-3. What is this X-X-3-4-5-3 chord called? Is this a G7add 6 chord?
No, it is what you would describe as a G7(13), but here's why: In jazz, the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason, I usually try to stick with the chord type and not specify the extensions like 9 or b9.
@@riddiish Substitution is a big word for this. You can only really call it a substitution if it sounds like a different type of chord, which it clearly doesn't :)
@@JensLarsen Sooo, last question about the chords ;) X-X-4-5-5-7 is a G7(9/13) right? That one sounds a little bit different than the normal X-X-4-5-3-5, doesn't it? Did yo choose it, because it is easier to grab?
@@riddiish 4557 is a D7 (9,13) right? And no I did not choose it because it is easier to play (I am not sure it actually is? ) I chose it because that sounds better in the context coming from the Am7 and going to the Abm7.
@@JensLarsen when you said "the old real book" I was thinking, "What is this guy talking about? What is the name of the book." Then I googled the old real book and found out that it is called the old real book. Thank you so so very much. I been looking around for a year trying to find this.
In jazz, the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason, I usually try to stick with the chord type and not specify the extensions like 9 or b9.
why label a voicing that it makes more sense to call an e-7 a cmaj7? what is the point when the following chord that you label as f7 also works as an a-7flat5 (but would require no extra effort to simply finger as a bog-normal f9)? & then the following chord labeled e-7 also works as a g6 leading to a rootless a7 (with 7th as root). you're assuming a bass line to center those voicings, cuz w/o it these voicings point to key centers different than how you label the chords --which is cool & opens up neat ways to really open up what is perhaps the most boring of all ellington tunes.
In music context is everything, and the way I apply them here is very common in Jazz. When you use Drop2 voicings like this then it is usually in the context of a band. That and the song should make it easy for you to hear what is going on. In fact what is triggering you is your eyes not your ears :) In Jazz, we leave the root for the bass and play an extension instead, but don't take my word for it just go check out some Joe Pass, George Benson or Wes Montgomery. You should turn it around: Any (close) voicing that you can only use on one chord is at least one missed opportunity (and probably more like 3)
