(Jazz Guitar Chords)
Hi everybody, my name is Jens Larsen.
When I started to plan this lesson,
I was actually just going to give you
some different chord versions for some II V I progressions,
similar to what I played at the beginning of this video,
but when I played the example that I have
at the beginning of the video, then I realized
that these two voicings
(Jazz Guitar Chords)
are in fact inversions of each other,
so they are the same notes, but just in a different order.
That made me think about the fact that maybe
checking out some inversions for some of these voicings
is actually more useful, because that means
that you actually have more voicings
that you can use in other situations,
like more of a modal setting, or other progressions,
and of course, also just inverting voicings
is always something that can give you some new,
interesting material.
If you want to learn more about jazz guitar,
about improvising over chord changes,
interesting chord voicings, or analyzing progressions,
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(Jazz Guitar Chords)
The first voicing I want to talk about
is the one that I'm already inverting in the example.
So that's the voicing that I'm using for Cmaj7.
Strictly speaking, this is a C6/9,
because it doesn't actually have a major seven
but it does have a six,
and where I start is,
(guitar note rings out)
and so I start from the fifth,
and then I just actually stack fifths from there,
so I have G, D, and then a fifth up is A,
and another fifth up is E.
So that's the voicing I start with.
(arpeggiated guitar chord)
If you want to invert this,
so first you're going to need to figure out
what is the order of the notes
so you can make inversions of it,
and the way I did that was just to
put them all together in one octave,
and it could be something like G, A, D, and E,
and what you'll also notice is
that those four notes together
are kind of spelling out like an Asus4,
(arpeggiated guitar chord)
with an A7sus4,
which is also useful to remember,
because that means that some of your A7sus4 chords
are actually really good for using a Cmaj7
so that's another way of thinking about
finding material for a Cmaj7.
But in this case, (arpeggiated guitar chord)
we have this voicing,
so really at I'm going to do is,
right now you have the order of the notes,
so the G, A, and D, and E on the screen hopefully,
and then you can see that if I take the G,
then the note lower than that one will be,
so I actually have to go back up the octave
to the E, and if I take the D,
then the note under that one would be an A,
and if I take the A,
then the note under that one would be a G,
and if I take the E, then the note under that one
would be a D, so that's kind of how
I'm finding the version of this,
and then that gives me this one,
(arpeggiated guitar chord)
which I actually already had
in the example obviously, but still,
so now we have (arpeggiated guitar chord)
this one, and then this one. (guitar chord)
If we do that again, then E goes down to D,
A goes down to G,
G goes down to E,
and D goes down to A,
and then I have this voicing.
(Jazz guitar chord)
(arpeggiated guitar chord)
And if I do that one more time,
so D goes down to an A,
G is down to E,
E is down to D,
and A is down to G,
and then I have (arpeggiated guitar chord)
which is also, this is kind of clearly
an Asus4 voicing, this low.
Now we have the inversions.
(gentle guitar chords)
and you can try and use that.
So this will work as well if you just have
sort of a static Cmaj chord at some point,
you can start messing around
with how it is to move these around.
I would say that Holdsworth voicings,
I just made a video probably that went up last week
when you see this, about different ways of comping,
and I think the Holdsworth voicings probably work better
if you're really trying to just spell out the harmonies,
so you're not going to be just playing short steps,
you're going to be playing sustained chords
the way you can really hear,
because it's important that you have these open structures,
and if you just play short rhythms with short notes
for short chord steps, you're not really
going to get the effect of the chord out there,
so probably this kind of stuff you want to play
where you play long, sustained voicings.
So let's try and take one of the m7 voicings,
so if you take the first one that's
(arpeggiated guitar chord) this one
and there the a few different things about this,
I think it's from Looking Glass,
I'm not really sure, but this voicing
I think also is probably played like this,
(arpeggiated guitar chord)
because I checked out the video,
but the way I always remember playing it and checked it out
was like this (arpeggiated guitar chord)
so that's how I'm playing it,
so I don't have the G on the G string,
I have it here on the B string.
If we order those notes in pitch,
then we get an E, an F, a G, and a C,
so there are different things,
you can also start looking at this chord
and get different versions out of it,
because if you take this one,
this is really also an open voiced C major triad
over an F, (arpeggiated guitar chord)
so of course, you can also experiment
with moving around the top part
and then just having a bass note, an F bass note,
so that is one open voiced triad,
this one would be another one,
(mellow guitar chord)
so we have (arpeggiated guitar chord)
and you can also have this one.
(mellow guitar chord)
So that's another way of coming up with
some other voicings just by thinking
this one as a triad and a bass note,
but the way I'm going to do it here
for the rest of this session,
it'll be just the inversions,
so those really straight inversions.
I'm going to be a little bit quicker
than I was the first one,
because the principle's completely the same.
(guitar chord)
So let's see, so we have D, and we have all of the notes
as being E, F, G, and C,
that means that if we take this,
let's take it maybe up actually,
so we have the F goes to G,
the C goes to E, and then we have here,
the G goes up to a C,
and the E goes up to the F.
So that's this, which is really difficult to play,
so you get this voicing that it's like,
you could play it I guess like this
(arpeggiated guitar chord)
but an easier way would be to play it like this,
(arpeggiated guitar chord)
where now I'm shifting the E over to the D string here.
(arpeggiated guitar chord)
If we repeat that process, then we get this voicing
(Jazz Guitar Chords)
and then we can take this also,
so the last one, let's just take that one down,
and that would be this one.
(arpeggiated guitar chord)
The difficult thing about this one is
not to mute the D string.
(Jazz Guitar Chords)
We can of course also do the same
with one of the voicings that I'm using
for the altered dominant,
so if we take the first one again, so that will be,
(arpeggiated guitar chord) this voicing,
and if I order the pitches in that one,
then that would be like, Eb, F, B, and Db.
Then if I start making inversions,
then we get this.
(jazz guitar chord)
(arpeggiated guitar chord)
So this one's really hard to play
in this key anyway.
You could move it up actually to this,
(arpeggiated guitar chord)
and then we move it up to that one,
and then we get this one,
(arpeggiated guitar chord)
and then we also get, well, this one,
there are a few versions,
you can play it like this,
or you can almost play it as a bar, like this.
(mellow guitar chord)
Now that we have a few different altered dominant voicings,
let's look at how we can put everything together
in some II V I examples.
So the first one sounds like this.
(Jazz Guitar Chords)
So here, I'm using this version of the Dmin7 voicing,
but I'm playing it up here,
and then of course, this altered dominant,
and then one of the original,
actually the original voicing I used for the major seven,
which of course is still a major 6/9 voicing.
Another example could be this.
(Jazz Guitar Chords)
So it has a nice ascending melody,
so this is starting with,
(arpeggiated guitar chord)
this kind of spicy minor seven voicing,
because we have this interval in there,
so it's really, it still wants to move on,
you can really tell that it's a dissonant voicing,
even if it is just a minor seven chord in the progression.
And this altered dominant, (Jazz Guitar Chords)
and then resolving to this major 6/9 voicing.
As you can tell, we get a lot more options
when we start making inversions
of the different chord voicings.
I think the whole idea of using inversions
is definitely something you want to check out
with whatever chords you're using,
and especially also if you can combine it
with other ways of looking at a chord,
so one of the chords that I sort of split up
into also being a Cmaj triad over an F bass note,
even though I'm still using it as a Dmin voicing,
but that way of thinking of it
is going to give me some other ways
to come up with some new material
just using those same four notes,
and really, I think stuff like that is worth exploring,
because it's just going to give you more options,
and hopefully if you play something,
when you try this out, my it resonates with you,
maybe you get a new idea and it's something you can use
in your own playing or in a composition
or an arrangement, so for that,
I think it's a really useful way to spend your time
if you want to explore some stuff with harmony.
Of course, you can also try and use these,
I know they're a little bit tricky to play,
but you could use them as arpeggios in a solo as well.
When you're practicing these voicings,
you have to be a little bit careful with your hand,
because they can be kind of heavy
for your left hand to play,
so you have to make sure that you're warmed up,
and also if it feels very difficult to play them,
see if you can find a better place on the neck
to try and work with them in the beginning,
and in general, just be careful
that you don't strain your left hand,
because that can be something
that can be difficult to get rid of again.
So think about that when you're trying to play it,
if it feels very difficult to play,
I would actually just advise you not to really play it.
For the rest, really just have fun with them.
If you want to check out more stuff like this,
I have another lesson I'll link to in the description
that's covering these types of voicings,
but done on a complete jazz standard,
and it's actually on Days of Wine and Roses,
so there's a video there, and you can also just download
all the voicings on my website
if you want to check that out.
If you want to learn more about jazz guitar,
and this is the first time you've seen one of my videos,
then subscribe to my channel.
I publish a new video every Monday and every Thursday,
and I've been doing this for quite some time,
so that's really a lot of material
already available on my channel.
If you want to help me keep making videos,
then check out my Patreon page.
It's because of the support that I'm getting from my patrons
that I can keep on going and make videos every week,
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then I can also give you something in return
for your support.
That's about it for this time,
thank you for watching, and until next week.
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