The Most Important Solo Tools For a Half Diminished Chord

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I think many consider the half diminished or m7b5 the most difficult chord to improvise over, but it is a very common sound in Jazz Standards so you do need to figure it out.
I often people try to choose another scale and run up and down that without making any sense r really having anything to say, which isn't really a solution either.
In this video, I am going to go over some solid solutions for this chord that can help you play better solos and have an easier time improvising over m7b5 chords and minor II V I's in general, and they are surprisingly simple.
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Content:
0:00 Intro
0:39 The m7b5 Chord - Contruction
1:14 Chord Symbols and Chord Names
1:34 Danish Heritage in Jazz Harmony
1:53 Half Diminished vs Diminished
2:30 The m7b5 Arpeggio
3:02 Triad from the 3rd
3:28 Great for Jazz Chords as well
3:44 Maj7 Arpeggio from b5
4:21 Magic Arpeggio
4:57 Why not always Locrian #2?
5:15 3 reasons for not using Locrian nat 2
6:10 Quartal Arpeggios (They always work!)
6:56 Locrian Pentatonic
7:50 Half Diminished Chords are versatile!
8:02 Like the video? Check Patreon page
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My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
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9 июл 2024

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Комментарии : 195

@JensLarsen 4 года назад

Do you have a favourite arpeggio or melodic idea for m7b5 chords? Content: 0:00 Intro 0:39 The m7b5 Chord - Contruction 1:14 Chord Symbols and Chord Names 1:34 Danish Heritage in Jazz Harmony 1:53 Half Diminished vs Diminished 2:30 The m7b5 Arpeggio 3:02 Triad from the 3rd 3:28 Great for Jazz Chords as well 3:44 Maj7 Arpeggio from b5 4:21 Magic Arpeggio 4:57 Why not always Locrian #2? 5:15 3 reason for not using Locrian nat 2 6:10 Quartal Arpeggios (They always work!) 6:56 Locrian Pentatonic 7:50 Half Diminished Chords are versatile! 8:02 Like the video? Check Patreon page

@pleximanic 4 года назад

F sharp altered scale on Em7b5

@jorgtully1774 4 года назад

Halftone Wholetone works finde. Beneath Arpeggios my favourite way to go.

@ManuelPassarella1 2 года назад

Hi Jens, I found useful also to expand the min7/5b downward. You mention use a minor arpeggio starting from the 3rd. I like to expand considering it as a portion of a dominant 9 arpeggio, in your example would be a C9.

@JensLarsen 2 года назад

@@ManuelPassarella1 If that works for you then sure :)

@gabrielrothley 2 года назад

There is a scale called Iwato Pentatonic Scale which has the formula 1 b2 4 b5 b7. It works over m7b5 but is also used in Rock over Phrygian Dominant Riffs because it doesn't have a Third and sounds quite exotic

@BL55 4 года назад

I always wondered how you found the time to keep putting out such quality lessons so often. I didn’t realize you had the half-diminished symbol right there on your keyboard.

@JensLarsen 4 года назад

Hahaha! Good one 😂

@That52TeleGuy 4 года назад

Jens, much appreciate the Danish heritage comment, as an American of Danish parents. To an engineer the half-diminished symbol is also the symbol for diameter, go figure, but gives me something to relate to. Also, I never related to pentatonics beyond the pure major and minor pentatonics. As i relate to modal theory more; I need to go back a relate to all the modes in a pentatonic 5 note scale. Definitely a Locrian pentatonic is something I never considerate.

@Thayne2222 3 года назад

Lmao at the “Danish advantage”! Love your vids as always Jens. You have a wealth of knowledge, skill, and most importantly, the PACE of your lessons is easy to follow. Been playing jazz and improvising for years now but I always come to your vids for some hot licks, conceptual ideas, or just when I need clarification of jazz harmony/improvisational ideas.

@JensLarsen 3 года назад

Thank you! Really great to hear 🙂

@charliejoeralph62 4 года назад

Just wanted to say thank you. I've been watching your videos for years now and I honestly don't know where i'd be without them. :)

@charliejoeralph62 4 года назад

Oh yeah, and the production quality recently has been awesome!!

@JensLarsen 4 года назад

You are so welcome!

@chrisrobson2203 4 года назад

Love these videos. I'll definitely be watching this one a few times over. As always, there's a lot to digest! Thanks Jens!

@larry8453 3 года назад

Jens, thank you so much for your videos, very nice tools to learn improvisation on bass too.

@joejoe5921 4 года назад

excellent lesson jens!! youre the best

@stuartthorne4872 4 года назад

“They just ... that's just, that's just... I mean yeah, that's just..” If I hadn’t already swallowed the water I’d been drinking right before you said that, I would probably have sprayed it across the room, and the very thought of that is just...that’s just... I mean yeah, that’s just.... 🤣🤣🤣 (BTW thank you so much for yet another informative, instructive and entertaining clip. I’ve been getting extraordinary musical mileage from your videos, especially over the last three months. Many thanks! 🙏🏿🦁☀️)

@JensLarsen 4 года назад

Thank you very much Stuart. I am glad you appreciate the humor as well as the content 🙂

@johngallagher672 4 года назад

😆he described what I play over half diminished chords

@thepartimemusician65 4 года назад

@@JensLarsen Yeah that was great Jens :)

@stanits1983 3 года назад

great examples Jens !very usefull approach!Thanks !nice lesson

@JensLarsen 3 года назад

Glad you liked it!

@ignaciojauregui7423 4 года назад

so well presented as usual, thank you for this channel.

@JensLarsen 4 года назад

Glad you find it useful 🙂

@jamesmcfarland2648 4 года назад

Great ideas and tone. Thanx

@3r1cratpool22 3 года назад

i realy like the min7/9 chord, lots of crucial info in all your videos. thank you

@richarddupre7880 Год назад

Thanks for doing this! It’s given me a lot of new ideas

@JensLarsen Год назад

Happy to help!

@downhill240 4 года назад

Great lesson! I'll watch it more than once to try to wrap my head around it!

@JensLarsen 4 года назад

Thank you 🙂

@germansalvatierra9579 4 года назад

Great Jens !!!!as always, thanks for share BROTHER 🤗🤗🤗

@JensLarsen 4 года назад

Thank you 🙂

@coolseattledude 2 года назад

Fantastic material for practice, thanks so much Jens. Love how you hit the dorian 6th at the end, such a nice color : )

@billapplegate8567 4 года назад

Another great Job.

@novembrinewaltz90 4 года назад

I use over the Em7b5 the same identical material that I use over Gm, and that is lines and ideas that come either from G dorian or from G melodic minor (that would be E locrian and E locrian 9). So I always think of minor a minor third above, I never think of locrian. Same goes for C mixolydian and C lydian b7, I always think of G minor... After some practice you really start to see all the scales at the same time, and you understand that there's no real distinction between them, only the root is changing. Guitar player Emily Remler used to think the same way.

@thepartimemusician65 4 года назад

yes i am leaning towards that area

@charliejoeralph62 4 года назад

Sounds similar to Pat Martino's 'minor conversion' method

@novembrinewaltz90 4 года назад

@@charliejoeralph62 Exactly, it is also called "minorism". I think it works perfectly in a modal context, for instance when you have the same harmony for several measures. In a tonal context it may not work 100% of the time, because often times you may want to play in a more "horizontal" way rather than "vertical", meaning that you may want to use more linear ideas that lead you to the harmonic resolution, instead of emphasizing the colours of each chord. But anyway both ways of playing very often intersect with each other, so...

@Jamsville 4 года назад

Love this video Jens. I struggled with half diminished for a while, and one thing I think helped me a lot was to allow myself to play BOTH the b2 and natural 2 on that chord, as part of a chromatic line. Whenever I would play Locrian natural 2 it always felt like I was running a scale, never felt right. Basically I just stopped trying to obsess over sticking to a scale exactly. But then again that approach has also helped the rest of my playing lol

@JensLarsen 4 года назад

That makes a lot of sense actually 🙂

@ramii1988 4 года назад

If you hit the the tonic before modulating it will sound natural most of the time(at least within a smaller scalefragment) Its exploited heavily in arabic music.

@ashishashen 4 года назад

I always watch and enjoy your videos even though most of them are above my playing or music theory knowledge level. And most of the time I'm able to get 20-40% out of the full video but man that takes my playing to another level. Thank You!

@jorsdruhli6120 4 года назад

Jens, your channel is real treasure. So glad to have found i t!!!

@JensLarsen 4 года назад

You're very welcome! I am glad you like it! 🙂

@japhney 4 года назад

Thanks, Jens. Good info!

@JensLarsen 4 года назад

Glad you like it 🙂

@artompkins7958 4 года назад

Another week, another action-packed video by Jens! This is practically the only reason I get out of bed on Thursdays. Life without half-diminished would be dreadful. You can think of Locrian on the 2 chord, but I find it less of a mental leap to just think natural minor on the chord you’re resolving to. In your examples, D natural minor. Also if in a hurry, just D pentatonic and remember to twist a little on the A to remind us of the flat 5.

@stallionstudios 9 месяцев назад

You are such a great guy Jens. Love your vids.

@JensLarsen 9 месяцев назад

Thank you! Glad you like them!

@tonoayala3367 3 года назад

Excellent your classes, greetings from méxico .

@steelplayer811 2 года назад

Beautiful ! Thank you.

@JensLarsen 2 года назад

Glad you like it 🙂

@Bluescat13 4 года назад

I am working on your "diminished" lessons (half diminished chords and scales, diminished scales, arps...), I already had some knowledge but I never got clearer and well made lessons! Private tuition, commercial lessons like TrueFire or various RU-vid lessons, whatever... you are better. What can I add? Oh yes.... Thank you so much! :-)

@JensLarsen 4 года назад

Thank you Christian! :)

@KiraPlaysGuitar 4 года назад

Wow. Using the maj7 from the b5, so simple and sounds so good.

@johngallagher672 4 года назад

I tend to run up and down minor third scales as quick fix over half diminished chords, or just inverting the half diminished chord voicings. Thank you for all the options!

@JensLarsen 4 года назад

Glad you like it 🙂

@thepartimemusician65 4 года назад

You are the Master Jens

@stevierayvirus2 4 года назад

Awesome awesome awesome lesson sir...

@JensLarsen 4 года назад

You are very welcome 🙂

@danieljsanders 3 года назад

Great. thanks

@miguelcastano3210 4 года назад

Thanks! Helpfull : )

@JensLarsen 4 года назад

You're welcome!

@lightful_ 4 года назад

Great videos always adding value. Thanks a lot sir. Please which lesson did you suggest at the end sir? I didn't see any way to identify it. Thanks once again

@shizzrich 11 месяцев назад

Hi Jens I love your videos, please add a few filling bars at the end of your videos, so I find time to hit the like button before the commercial of your next video kicks in 😅

@JensLarsen 11 месяцев назад

You need to stay sharp if you want to learn Jazz 😁

@voronOsphere 4 года назад

Thanks, Jens! I explore mostly rock & metal, but I like to bring other ideas into it. Playing Metal in E Minor is challenging, because the F# wouldn't diatonically be a root-5 power chord. Common solutions are root-4 power chord, F#-C tritone diad, borrowed F#-5 power chord, single F# root note... This lesson here gives me a whole new world of jazzy possibilities to handle the 2nd chord/2nd scale degree in a minor key!

@voronOsphere 4 года назад

Hmmmmm.... Locrian Pentatonic.... I think I'll start with that!!!! Thanks, again, Jens! B Locrian Pentatonic: B, D, E, F, A, B F# Locrian Pentatonic: F#, A, B, C, E, F# E Locrian Pentatonic: E, G, A, Bb, D, E

@juancarlos-dx1or 4 года назад

Ive always approached it the Pat Martino way , thinking it like a minor chord up a minor third, this is a lot of new posibilities to explore.

@QuistJam 3 года назад

Hahahaha, had a good chuckle at the ø segment :)

@JensLarsen 3 года назад

You are culturally advanced enough to get that 😁

@xiowa_6371 4 года назад

Amazing!!!!!

@JensLarsen 4 года назад

Thank you 🙂

@jamescopeland5358 3 года назад

I love the m7b5

@briankeegan8089 4 года назад

Thanks Jen, your series of recent videos related to the m7b5 have really sharpened my thinking.Although it's so obvious to you, I still appreciate these related insights found here: • think about what you do want to play, not what you're trying to avoid. You don't sound good just by avoiding sounding bad. (and you're not expressing, either) • don't just run the scales, because don't. If the m7b5 is an intrinsic part of the harmony, your melody should bring that out, not just get through it. Maybe a lot of us, while learning, can feel like soloing over a lot of changes is an obstacle course to "get through." But that's a path to mediocrity, no?

@jean-pierretartary2657 Год назад

Awsome. Since I discovered that this chord is referred as the "Tristan chord" from the wagner opera, it sounds to me as very tragic! Even if you don't like opera listen to the crazy overture and the crazy final.

@JensLarsen Год назад

Not ALL m7b5 chords are tristan chords, in fact most are not because the Tristan chord has the minor 3rd resolving up to the major 3rd making it a type of suspension. That is much more complicated than all the "normal" m7b5 chords 🙂

@jean-pierretartary2657 Год назад

@@JensLarsen glad to hear that! I spent a bit of time to understand what happened around there. Music is such an amazing territory to explore!

@RC32Smiths01 4 года назад

Half Diminished Chords are definitely interesting! Amazing how you can center a solo around them indeed!

@JensLarsen 4 года назад

Thank you, RC

@RC32Smiths01 4 года назад

@@JensLarsen Always a pleasure!

@DESIENASHOES 4 года назад

nice lesson, very useful, & very fast speaking :-)

@tomaszmakowski2766 4 года назад

That's just, I agree!

@Noexistemas 4 года назад

Thanks

@stumpshot70 4 года назад

Hi Jens...I really love the natural 6 over half diminished...probably because my ear hears the diminished triad a tritone away....IE if its E half diminished I hear E Bb Db...or Bb Db E. So kind of tritone sub idea

@larrysixstring6790 4 года назад

Reposted thanks Jens.

@tonepoet 4 года назад

There's no shame in laying out for a chord or two when playing jazz. I usually use that half diminished chord to breathe and lay out and build tension and......oh, who the hell am I kidding. This lesson is great, going to spend this weekend really taking this apart and get past being a jazz sissy.

@JensLarsen 4 года назад

Haha! Worthy way to leave space though 🙂

@DrJoshGuitar 4 года назад

If the tempo is fast I often ignore it and just play it as a V to i. IF it's slow, I like to think of it as a iv6 (it actually is an inversion of iv6) because it allows me to use all my minor dorian and melodic minor stuff.

@JensLarsen 4 года назад

Solid solution :)

@Julioguitarra 4 года назад

Tank you

@JensLarsen 4 года назад

You're very welcome!

@robertzullo8707 4 года назад

Your lines are always so tasty. Thanks for breaking that down.

@JensLarsen 4 года назад

Thank you 🙂

@patbreacadh 4 года назад

Locrian Pentatonic sounds *amazing* !

@JensLarsen 4 года назад

Thank you, Pat 🙂

@AAAA-lt9hq Год назад

Thank you as always for your lessons, Mr. Larsen. They fill a serious gap in my knowledge of the guitar. My question is: is it common/acceptable to move from a half diminished to a fully diminished 7th chord? Ex: Cmin7b5 to Cdim7. It seems very natural and melodic to simply move that min7 down one half-step as a form of chord melody/voice leading, especially if the chord is voiced so that the b7 is the highest note. Thank you. Aaron

@JensLarsen Год назад

Thanks! If you listen to songs in Jazz, then that is not a very common progression, but it is essentially a rootless minor II V

@loftyheights8742 3 года назад

I agree with what you have said about the natural 2. It sounds odd to me, and has a really distinct sound that pops out. I also haven’t transcribed any lines that have it which is where I think most players get the context for those type of notes.

@justinjonesexperiencejje8444 4 года назад

I always use this pentatonic scale in my music which is another position of that locrian pentatonic a Japanese scale that's a phrygian pentatonic A Bb D E G I'm not sure how convient it is for a minor 2 5 1 probably best on the 5 but it's a really cool sounding scale you probably already know

@ChuloDavidcito 4 года назад

Great ideas for this kind of unstable transitional chord. Here's a thing I used to do: melodic minor up a minor third for the ii7b5, and then move that up another minor third to get an altered dominant scale over the V chord. Sounds good, but It's kind of licky, though. I like your ideas better. btw, love the Danish chord symbol concept! 😁

@JensLarsen 4 года назад

Thank you! The vikings are coming! We are taking over Jazz Harmony, one chord symbol at a time

@doitnowvideosyeah5841 4 года назад

Isn't the sixth form of melodic minor sometimes called a half diminished scale (nother name for locrian#2) Thanks for showing some.alternatives

@Mats.Fagerberg 4 года назад

The ASCII system has two numbers for the ø: 216 and 248. In Windows you press and hold ”Alt” and type the three numbers. I’m not sure how you do it in a Mac.

@JensLarsen 4 года назад

Hey! Hands off my cultural advantage 😂

@KiraPlaysGuitar 4 года назад

As far as knowing what triads are inside 7th (and other) chords, that is something I missed entirely. I went from triads to 7ths chords, but never actually learned the note names of each triad. In order for me now to identify what triads are within larger chords, do I have to go back and study the notes of each chord, triad voicings on different string sets, essentially the circle of fifths and what accidentals there are in each scale (and subsequently each diatonic chord)? This is something that always hits me as a huge undertaking. I have a solid understanding of theory, but lack those fundamentals. If I play an Amaj7 (6 string root) I can work out that there's a second inversion Dmin triad above the root, but it takes me a few minutes to figure out what's actually happening there.

@screemerx 4 года назад

Hey Jens Tak for nogle super spændende videoer. Det gør du virkelig godt 👍🏼 Alt hvad du siger i videoen er jo rigtigt, først blot et enkelt spørgsmål. Hedder det ikke kun en IIø akkord, når den fungerer som dominant til tonika. Hedder den ikke IIm7b5, når den kommer før en dominant akkord? Hvilket leder mig hen til mit take på mol kadencen i jazz. Andentrins akkorder er for mig et af musikkens mysterier. For hvad er de? Vi har de funktionelle akkorder i skalaen I IV og V. De leder os gennem musikken og fortæller os, hvor vi er, og hvor vi er på vej hen. Så har vi mediant akkorderne III og VI. Medmindre at de bliver brugt til modulation, har de ingen selvstændig funktionsværdi. Det er farverne i det landskab vi bevæger os i, eller mindre poetisk, de medierer mellem funktions akkorderne. II trins akkorden står tilbage som et mysterium, for hvad er den? Walter Piston benævner den som supertonika. - akkorden over tonika. I klassisk musik bliver den ofte opslugt af subdominanten (subdominant med tilføjet sekst), og så hører vi den som klar IV trins akkord. Hvis den derimod har seksten i bassen, får den sit eget køn. Men her optræder den i mit øre som et dominant forudhold. Den har altså et ben i begge lejre. Og nu kommer vi til mine to måder at tænke den på i jazz. I D-mol kadencen kan man se den som en A7b911. Simpelthen springe den over, og spille det man ville have spillet over den efterfølgende dominant. En smukkere måde at høre den på i mine øre er at opfatte den som tonika - eller en form for farvning af tonika eller et tonika forudhold. Her ville jeg spille en harmonisk d-mol med en tilføjet stor sekst, og fortsætte med den klang ind i dominanten, eller alterere dominanten med en harmonisk Bb-mol skala med tilføjet stor sekst. Fordelen er, at jeg kun behøves at kende mine harmoniske mol ottetoneskalaer for at spille molkadancen, eller over de fleste dominant septimakkorder. Hvis man man opfatter dominantseptim akkorder, lad os tage C7 som eksempelt, som gm769/c, kan man blot spille harmisk g-mol ottetoneskala hen over den. I den nederste del af skalaen får man alt det konsonante, og i den øverste del, de to altererede blues klang (Eb og F#). Det er på en måde som at høre mol over dur. Ret fedt klangunivers i mine øre. Det er mit take på den. Kan godt være det er forkert, men engang i mellem lykkes det da at spille noget som lyder godt over mol kadencen. Hvad siger du til det approach? Mvh Karl

@GiovanniBottaMuteWinter 4 года назад

This video put my other comment in perspective :) I think this approach makes sense to me for a traditional minor II V I. I wonder how you would approach a tune like Gloria's step?

@JensLarsen 4 года назад

Glad you like it! Remember that the way I teach something isn't a description of how I solo on it, I usually have quite a few options that I don't include in the video 🙂

@thewoodys_surf_instrumental 4 года назад

Hi Jens .. Did you blur the background in post or was that a lens choice? Great video as always .. Thanks!

@JensLarsen 4 года назад

That is the lens 🙂

@mannoplanet 4 года назад

@@JensLarsen yes, videos are looking better and better.

@JensLarsen 4 года назад

@@mannoplanet Thank you Doug 🙂

@jimmyc5498 4 года назад

Jens, great video, especially the quartal and pentatonic options. Can you explain the natural 2 or 9 that you bring up? Do you mean using F vs F# over the Em7b5?

@JensLarsen 4 года назад

Yes, I mean the F vs the F# in the context of a minor II V I

@jimmyc5498 4 года назад

Jens Larsen Ok, so you prefer the F because it sits diatonically within context, works better with the Gm and BbM (#11) to the V chord?

@JensLarsen 4 года назад

@@jimmyc5498 Well, I do use Locrian nat. 2 but when I do then I do that to get that 9 in there. For the rest, try to play the 9 in some songs and really hear how it sounds, then you can decide what to use and when. My point is that just going with the other one by default is questionable and usually not what you hear in the song if you check what your ear tells you.

@jimmyc5498 4 года назад

Ok, think I know what you mean. A good amount of jazz tunes rely on the vii chord moving to V to relative minor so it fits diatonically as the F note. When a tune uses a m7b5 not in the key, then the F# would flow better I think. Thanks

@angeljavier9541 4 года назад

Magistral..where can I meet this backing track for to practice? Thanks a lot

@JensLarsen 4 года назад

I don't have a backing track for this lesson, sorry :)

@pickinstone 4 года назад

Locrian Natural 2, I am leaving a comment because I don't agree with you--but I actually do :) Everyone on the internet seems to harp on the locrian nat 2 like it's the bread and butter of a minor ii V progression. They NEVER talk context. Think of the reality of playing a nat 2 in the context of a minor ii V. Let's say, take a ii7b5 V7b9 in C minor. Spell out that ii7b5 and you get D F Ab C, all those tones work well in C minor. Now add the natural 9, that's E natural--what is that in the original C minor tonality? That's playing a major 3rd on a minor tonality. Everyone argues with me because they love chord scales--I don't. Context. Harmony also moves horizontally through time. That means that major third is now functioning, in time, in a minor sound (if you are resolving to a minor sound). Jazz Guitar Scrapbook mentioned relating that ii7b5 to it's parent minor 6th chord--he explains it better than I. If you take that approach and say that Dm7b5 relates to the Fm6 sound, then it's easier to use the nat 9th as the min/maj sound of the minor 6th chord... Does that make sense? Eek, theory can get hard to communicate over the interwebs these days. I love your major 7th arpeggio built off the b5th of the m7b5.

@eternalrainbow-cj3iu 4 года назад

With two note per string it would be nice to have the intervals parallel with the fingering also if you study the esoteric aspect of the 5th then you now that the power is out it and that's why I would recommend entatonic scales without the 5th so just Tetratonic if you want to call it 4 tone scale.. so over Em7b5 are more then one option of course+ fingering: E(3)D(1) A(3)G(1) (E1) D(3) this fingering is chosen with a reason(2 at least) it is making possible to really shred this and the next would be AG ED AG etc or base upon Gm or D12+5 or even F#Triad resolving to F triad on it is modern but the 13 is not an avoid in practice maybe in theory in dorian but all the cats play it this is really working if your ears are ready for it on Gm tetr.: GF(or F# if you want to play with a piano player, who will often F# meldau+ Keith Jarret Non Root voicing system a F will sound off key in such a case) depends on level of your piano player also what to play...GF# CBb G F# or GF CBb GF in this case there is not a root so the GF D(or Db to sound more out) CBb G F throw in the F# to sound more modern,) CBb or leave out the root completely why not? F# F C Bb F# F > C Bb GbF C BbIf you want to kick some as on a gig or jam session....or just want to make the listener wake up.... AF# DC F#A is nice with DC F#A DC or even sus4> DAGF# DA or the bebop theory to play C7 over it CBb GE CBb(al to fingers per string theory vertical playing...what I like that this was mentioned thank you Jens so I liked your lesson, there were nice licks and very clear theoretical instructions...In piano land the more advanced players play really NR on m7b5 and they will play a natural 9 okay mentioned that beforthe IV minor step with a guide tone is seeable as sort of a advanced baroque thing if you in to it....so b9 or 0 or both possible in my book and also over both chords...those things are right great because you wouldn't expect it....Thank you for the lesson and maybe you like some of those suggestions for later video's when you decide to present other options....

@W.E. 4 года назад

05:50 - 56 must be included in your outtakes video!

@JensLarsen 4 года назад

😂

@antonp976 3 года назад

muy bueno

@JensLarsen 3 года назад

Thank you 🙂

@patpogoallroundguitarist5814 4 года назад

In traditional Swedish harmony there is only one type of diminished chord. That so called half diminished chord is just called m7-5 or m-5 if it’s a triad. I think that is a less confusing system than the american, besides the european name ”h” for ”b” is. I think traditional danish is the same. Isn’t it?

@JensLarsen 4 года назад

Actually we have a diminished and a half diminished chord in Denmark 🙂 And the H is only in a few countries not in all of Europe

@patpogoallroundguitarist5814 4 года назад

Jens Larsen I think I wasn’t clear enough. According to traditional swedish harmony The diminished seventh chord is called dim7 or m6-5. The diminished triad is called dim or m-5.

@AlexIsiv 4 года назад

Me not understanding music: 2:06 hey look, a smiling face!

@JensLarsen 4 года назад

Haha! 🙃🙂

@LarrySiden 4 года назад

Jens, what about the half dim cords in the bridge of Gloria's Step? All but the last have no discernable function. How do you treat them? As mode 6 of the related melodic more scales? Then it will have a natural 9, but that's probably okay because they are not resolving. Have you played that tune?

@JensLarsen 4 года назад

You answer it yourself: It's modal so it doesn't matter what scale you use, just do what you think sounds better.

@thunderrosa2258 4 года назад

I mostly think about locrian nat2 as a tool to enclose the 3rd between the 2nd and 4th degrees :)

@JensLarsen 4 года назад

But then it is just an enclosure and not really an extension :)

@alejandrouribe6680 4 года назад

Hey Mr. Larsen, how can I find ways people play certain jazz chords? Is there a Jazz chord book out there that I can reference to learn chords done in Jazz standards and in general to add to songs. Like if I see a standard that used a D7b5, and I want to see where else I can play it (E or A string for example) How can I learn these chords to add to my vocab, and be able to identify them when written out on a standard. I see that people write out chords differently (tabs/standards)

@JensLarsen 4 года назад

Well, I have tons of lessons on Jazz chords, maybe check out the lessons on my website, both in the study guides and if you want some real application on songs then check out the webstore lessons. For the rest you can of course also transcribe some comping? That is really good practice :)

@rockstarjazzcat 4 года назад

Hi Jens, the distaste for casually slapping a mode of melodic minor on the ii7b5 in isolation is understood. What are your thoughts about harmonic minor over the iib5-Vb9b13 leading to melodic minor over the tonic Imin? Thanks in advance and cheers from Denver, Daniel

@JensLarsen 4 года назад

Thank you! It is possible to use that scale, but essentially you just add one note that you don't want to play until the chord changes 🙂

@rockstarjazzcat 4 года назад

@@JensLarsen I should have said b9b13 (updated the mistake). Don't know if that alters your answer at all (no pun intended). Both chords are diatonic to harmonic minor where they are not to melodic minor, hence the question. I don't think of it as adding a note so much as using the notes the chords derive from? Assuming proper care with avoid note issues, it seems less fiddly than some of the other chord by chord approaches, at least as a starting point for exploration. Anyhow, great topic that in retrospect at least, I could have mastered much sooner. Thanks for sharing your take on things. :)

@jfickrow 3 года назад

Could someone list some tunes that these licks could work over?

@JensLarsen 3 года назад

What is this thing called Love Stella By Starlight Beautiful Love Alone Together Blue Bossa Minor Blues

@luismendoza9195 4 года назад

Hello Jens, thanks for your video, very interesting. Is quartal harmony always a safe way to solo over 7ths chords?...I have the impression that they are safe must of the times, but I guess that perhaps in certain contexts they don't fit as good. Another unrelated question, what would you say that are the main characteristics of bebop music?. Cheers.

@JensLarsen 4 года назад

Glad you like it! Quartal arpeggios always fit but won't necessarily sound good in a country song or a Dixieland solo. As for defining Bebop, I don't think I can do that in a comment, it is a complete musical style.

@luismendoza9195 4 года назад

@@JensLarsen Thanks Jen.

@adwinters6599 4 года назад

I am a jazz beginner. Do you have a video on quartal arpeggios. I am not familiar with them.

@JensLarsen 4 года назад

I do have several videos on them, just search on the channel 🙂

@cortenbfrancois1036 Год назад

HI BUT What I miss of thos approach is could you also improvise what you say interms of realy spelli g out the diifference of playimg solid lines bit still coming from head ( strong) instead of coming out of the moment I mean please use also the improviatipnal aspect... Please?

@JensLarsen Год назад

Sorry I don't understand what you mean?

@rickshafer6688 4 года назад

So it's the Locrian. In the melodic minor super locrian . In fact, the Super locrian is the flattest of all scales. Persechetti book ' 20th Century Harmony'. That mode is the foundation for the melodic minor. 7th, locrian. I like it. I think in modes.

@MrMarcoAlvarado 2 года назад

Running up and down the scale can be cool if you do it like Frank Gambale!!

@TimBeauBennett 4 года назад

I've always done my best to avoid playing any type of 9 over a half-diminished, but it's had the effect of me only really playing the straight 7th arpeggio. Hopefully, this video will help a bit :D On a side note, I really love the shirt you're wearing in this.

@JensLarsen 4 года назад

That is not a horrible strategy, in the end it is more about learning what works than what doesn't. Glad you like the shirt 🙂 (that is almost a jazz burn by the way, but that is another story 😂)

@snoogie6015 4 года назад

Hej Jens. Jeg har spillet guitar i mange år, men jeg er begyndt at spille jazz og du har lært mig nogle tips og tricks, så det skal du have tak for. Jeg tænkte på om du kunne prøve at spille lidt på den der Stevie Ray Vaghan strat du har der i baggrunden, den ser ret fed ud :)

@JensLarsen 4 года назад

Fedt! Det kan jeg da nemt: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-zQjdDuK3g-4.html

@Mats.Fagerberg 4 года назад

The advantage of having ”ø” on the keyboard is really important. I have no use whatsoever for my ”ö” , ”å” or ”ä” when I write chord names. But I think they use ”ø” in Norway too.

@JensLarsen 4 года назад

Haha! Thanks Mats 👍😁

@rockstarjazzcat 4 года назад

The effect of that which is unfamiliar, on learning, should not be underestimated. :)

@adwinters6599 4 года назад

what is the best way to use your videos? They have lots of great information, but they go by so fast! The tab goes by fast, the chord chart goes by fast. I guess you could stop the video every few seconds but that does not seem practical. The clips of artists are very short too. I am sure that is so your videos don't get taken down. Anyway, enjoy your videos a lot, I am just trying to figure out the best way to incorporate them into my practice. Thanks for making them!

@JensLarsen 4 года назад

Thank you 🙂 You could check them out via the articles on my website, that might work better for you

@MAP448 3 года назад

Should u use the half- whole diminished scale or the whole-half??? My guess is half-whole over a m7b5 or half diminished & then over a full diminished chord use the whole-half diminished scales??? Please someone let me know if I'm close?

@JensLarsen 3 года назад

You are not that close. Don't get lost in scale names and try to understand the chord in the context. That will get you further 🙂

@MAP448 3 года назад

@@JensLarsen great advice. Thank you

@indiefret 4 года назад

Hello Jens, I am one of your fans and learnt a lot from your videos. But this time I have to stand with Locrian natural 2. Here are the reasons, respectively responding to your 3 reasons: 1) Caring what notes we choose doesn't mean we have to avoid a scale that is safe and nice. We can use a safe scale and know what we are playing, steping in and out of the comfort zone as we wish. On the other hand, choosing a scale itself is also a choice. Choosing scales without avoid notes is an important part of the jazz sound. 2) By context, I think you mean in D minor, there should be an F instead of F#, but the natural 2 of Em7b5 is an F#, which doesn't fit into context. But in 4:06, you agree that F is tricky in a Em7b5 chord, and need to be buried (instead of highlighted), then why is F# a problem? Firstly, it can also be buried like the F. Secondly, I will prefer F# over F anytime, if it is highlighted. At least it is not as tricky. 3) Running up and down a scale may be a bad way to use a scale. Playing a scale badly is not the scale's fault. If that is the case, no scales are good. A scale doesn't NEED to be played up and down. All the devices you showed in the first half of the video, could also be used to highlight a Locian natural 2 sound. For example, a D triad, or a GCF# quartal chord, could be used on an Em7b5 to highlight the Locian natural 2 sound. Even scalar lines can be used with taste. Like your example in 7:28, you basically run up the Locrian pentatonic scale. Is is a case of That's just? No. I think it's good. Scale runs is a resource, a device, just like triad pairs, 3579 arpeggios, and rhythm. Together, they are incorporated to make good music. Yet I am not totally disagreeing with you. I also think that 1) 4 is a very nice note to use on the m7b5 chord, and more importantly, 2) one should be concious of their choices, instead of noodling around. I think this very statement should be what you meant to get across in this video, instead of discrediting Locrian natural 2 scale. From your sincere audience.

@JensLarsen 4 года назад

Don't forget that I am not saying never to use it, I am just saying don't make it a (horrible unmusical) solution to all your problems because you "think" it is better....

@indiefret 4 года назад

@@JensLarsen I totally understand and agree with this, just afraid that some people could get the wrong message like one of my students.

@EdgardoPlasencia 4 года назад

Yeah.. the chord from Tristan... Eternal !

@matteozardinilacedelli7966 4 года назад

Your books are just arrived. They are beautiful but a little difficult for me ciao

@JensLarsen 4 года назад

Hope you still find something you can use 🙂

@matteozardinilacedelli7966 4 года назад

Okay I try to do it Grazie thanks

@zozovaca 4 года назад

Not sure that this chord is the most difficult one, but for me it is the most beautiful one, for sure.

@jirodiaz4612 4 года назад

Thats just

@rccarsandmusic2641 3 года назад

Just use the m7b5 arpeggio or m7b5 add6

@JensLarsen 3 года назад

Fair enough, I really like the quartal from the b5 and the b5 Maj7 chord though :)

@Lurco8 4 года назад

1:50 I've found my new excuse for not being a world renowned jazz virtuoso.

@JensLarsen 4 года назад

Hahaha! 👍

@musterionsurly 4 года назад

say it's a G#m7b5 in night and day, i'll think of it as an E7 and play E half whole sym. dim. haha also i love that Em7b5 is Gm6. for min 251 in Dm i might play C lyd. dom. to Eb lyd. dom. to G lyd. dom.

@JensLarsen 4 года назад

In the end you can use what ever scale you want, but I don't think that this one really reflects the sound of the song since the chord is not in the scale you are using (and neither is the melody)

@musterionsurly 4 года назад

@@JensLarsen yes i agree Jens that melody on the b7 of G#m7b5 or the 9 of E if thinking of G#m7b5 as E9 really makes it an outside choice that's just :)

@MattBrillant 4 года назад

" I think many consider the half diminished or m7b5 the most difficult chord to improvise over", "I often people try to choose another scale and run up and down that without making any sense r really having anything to say", " i think ther's too much of a trend" "i think too much people...", " i also think that people choose for this strategy they just ... that's just, that's just, i mean yeah, that's just" " there's no avoid notes.... emphasize on the natural nine..." "...great sound..." me : " Ouch "

@JensLarsen 4 года назад

It's not that bd, surely 🙂

@MattBrillant 4 года назад

@@JensLarsen Good Evening, what's bd ?