This is probably the most powerful type of voicing for me. What do you use? Content: 0:00 Intro 0:54 Take The A-Train - Basic set of chords 1:38 Triad-based voicings 2:20 Converting the Jazz voicings and doing great things 2:56 Recognizing the triads 4:10 Top-Note Melodies and Some Jazz Rhythm 4:32 Using Inversions of the triads 6:10 Chromatic melodies & Inner-voice movement 8:03 Altering the voicings for more modern jazz sounds 10:07 Like the video? Check out my Patreon Page!
@@onursarim Yes, I actually tried that out a few years ago, but people leave the video whenever that is there so I stopped doing that very fast. Sorry.
even if it's true for the video's health, my wish was in this direction as I have a guitar in my hand :) I'm very happy for your teachings, thank you again! :)
I'm a rock guitar player and this is the first time in my life that I found a video where I can approach jazz easily. So clear! I look forward to watch and study all your videos. Channel subscribed.
Wow. Just spent two hours with this lesson. I understand harmony well and theory too but the principles of how to apply in a 'Jazz setting' was something I couldn't really get. This lesson is invaluable! Thank You Jens. As a professional teacher myself, I really appreciate these lessons.
Jens, I think this is a very important lesson. In an attempt to get a "fuller sound," whether it's a desire to emulate what we hear on a recording or because the player doesn't have the opportunity to play with others, guitarists often succumb to the false ideal that they must "do it all." This results in imposing upon oneself all sorts of requirements of what one must learn and get good at to perform even at a basic level, when playing alone. Breaking things apart like this helps anyone learn the relationship of harmony, rhythm, and melody in the context of a song by *listening*, which opens the door to being able to play it. Thank you for getting this out there and your continued work on jazz/music education. You're a musical saint and inspiration! 👍😁
Wow, between this and a couple other of your videos, I have already surpassed my playing ability on ALL jazz songs, thanks to you. Excellent instruction, clear and concise. I have always played a mash-up of folky, jazzy, Latin stylizations, but now I finally feel confident enough to tackle more complex jazz standards. :)
Jen's this is a great lesson. Thank you for teaching that jazz chords don't always have to be these knuckle busting shapes. The examples you use are easy to understand and make so much sense even to a beginner jazz player like myself. Also now I learned the beginning of take the A train so this is like a double whammy lesson. Thank you so much.
Really great lesson! I try to watch all your vids as I get something out each and everyone of them. This one is really "magic" as it's helping me keep things simple w/ triads and I even sound jazzy :) ...Jim
I'm finally confident enough to make basic harmonization from a simple sheet. Looking for a way to color my arrangements so I'm going back through your videos.
I love these videos on triadic comping that you put out. Your single line videos are also great, but comping with triads is really fun on any comping instrument (including the piano). Going through the short George Van Eps Guitar Method exposed me to a lot of this material. Amazing how much you can convey with 3 notes and attention to melodic movement. Hope you are getting some sort of payment from all this. Not easy to put out this level of content, there's A LOT to explore in each video. Thanks!
Hi Jens, Great stuff again. Only last week, insprired by the 10 Jazz standards you once proposed, I was practicing this song, but got stuck. Your timing couldn't have been better. Excellent !
Brilliant. Beautifully explained. I really appreciate the sheet music. The m7, b7, 6 inner voicing looks really useful and I will try that in my playing as you suggested in your "the wrong way to practice" video. In my comping, I often rely on rootless chords and inversions. That is the bassists job. :0) Arpeggiating rootless voicings and adding voice leading, chromatics and enclosures is a very good way to come up with ideas. Speaking of the wrong way to practice, I have always struggled with practicing the coltrane pentatonics. Popping them in between chord arps and scales has been getting the sound in my ear.
Great!! I usually use a half disminished in a b7 second inversion , or the bass in b7 with a rise or flat 9. Or a Eb7/9 as a Ab9b13 in 3rd inversion XD Its curious because mathematically (not always works) the same voicing (in 5-4-3-2 strings) are a lot of diferent things but in resume are only a few positions. Its difficult to have a good aproach. Great lesson. I will see it again with calm. I really appreciate your lessons, you clarify some things, are helpfull. Thank you!
Súper lesson as always. I really like the variations, the base idea is simple but it’s easy to miss all the available options. Thanks Jens! A question: when you do a triad, eg playing an FMaj triad over a D root, do you really think of it as an FMaj triad, or do you just think of it as part of the D minor chord? I’m asking because sometimes you (and other teachers) refer to those other chords, but I feel that is more complicated for me. I would rather focus on the F as minor third, A as the fifth, and C as minor seventh. Can you describe how you a picturing or hearing the harmony in your mind as you play? Cheers and thanks again! Jz
Jens, how should we approach playing solo jazz guitar? How can I improvise playing solo without it sounding empty? A video on different techniques would be great! Thanks!
Good one. Will watch it after work. Lest i forget to ask, Lars: Please can I ask how much of another artist's song you can use in a video before youtube flags it as a copy right issue? I wanna do country music and rock covers, and when I build an audience I would like to monetise the channel.
Some artists/acts are more finicky about this than others. In some cases, it's actually driven by the music conglomerates, in their desire to preserve their revenue streams. I'd recommend looking at some of the videos from Rick Beato. He's had to deal with many of his RU-vid videos getting blocked and/or demonetized, despite his use of something being within the guidelines associated with the "fair use" doctrine. Given this, some things you do may "fly under the radar," some will not. If you aren't overly concerned about the potential for losses, I say go for it! The worst that can happen is to have your content blocked 😉
Thanks for the great lesson! Perfect timing as im following your prior advise to learn solos by ear using A Train. A question - I've chosen a Paul Desmond solo to learn by ear, as he stays around the melody and is easier for me to grasp than some other versions. Is this a sound approach for a relative beginner?
Jens - can I ask you how you get that great jazz tone with your Gibson 335? I can never achieve this even with the tone rolled off using mine. Are you using flat wound strings? What kind of amp do you use? Sorry for the string of questions. Thank you.
I don't actually roll the tone off (at least not most of the time). I use a twin model in my fractal audio AX8. Very little bass and treble and quite a bit of mids. That is what you want to go for to not have very dark sound but not too much treble. You can see the settings I use in the video on getting a jazz tone on a strat (it is the same settings)
Jens Larsen - excellent. Thank you! That’s exactly what I’m doing wrong. I’ve been emphasizing the bass instead of the mids, so way too boomy with my Supro Supreme which I take around with me - especially if I use a hollow body, and not especially good either with the semi hollow 335.
Jens, one more question How that A7(b9) on the turnaround works? I see that it's 2-5-1 to G but why it has 2 dominant chords? is it dominant 2-5-1 always dominant, minor, dominant instead of minor, dominant, major or diminished, dominant minor ?
I have a video on secondary dominants if you want to know more about them? In the end, the why something ahs a certain melody or chord progression is of course up to the composer. Composers don't just write stuff according to formulas there are some creative choices as well 🙂
It is one I made myself. Since you just signed up for Patreon you should have access to some of the Take The A-Train Webstore lessons that have backing tracks :)
For a lesson like this it is not that important to have it fit the melody (most choruses are probably not the melody) and you would have to make it x x 10 11 9 x with a lot of explaining. For the material in the lesson I think this is a better solution. If it really bothers you you can always think of it as "So Danco Samba" in swing, then it doesn't clash 😁
@@JensLarsen Granted. I just wonder whether a soloist would expect to play over the D7 or the D7#11 chord. Sorry if I'm being thick, but how would you resolve that? Or would you not worry about it, i.e. because the tension resolves by the next chord anyway?
@@JensLarsen How did I not see that? :-/ My copy of Modern Jazz Guitar Concepts is arriving on Thursday! Am looking forward to getting stuck in to it :-D
