(jazz guitar music)
- Hi everybody, my name is Jens Larsen.
Once you are familiar with sort of the basic
chord shapes that I talk about in my video
called How to Play Jazz Chords,
then you'll probably want to move on to create
some voicings that have a little bit more
variation in the melody, and you can
be a little bit more free with rhythmically.
So that's what I wanna go over in this video.
If you wanna learn more about playing jazz guitar,
about improvising, interesting chord voicings,
and voice leading, then subscribe to my channel.
If you wanna make sure not to miss anything,
then click the little bell notification icon
next to the subscribe button.
In this video, I'm going to go over the chord progression
of Lady Bird, and then I'm gonna show you
how you can find the chord voicings
using the material that I went over in the video
called How to Play Jazz Chords.
So if you don't already know, that's
the link in the description, you'll probably
want to check it out.
And then I'm gonna convert those voicings
to rootless voicings, and show you how
that opens up for some more interesting
top note melodies, and really a lot more variation
in the way you comp.
Let's just first look at the basic voicings
for this progression.
(plays "Lady Bird")
Now that we have the chords for this progression,
we can easily turn them into rootless voicings
by just leaving out the lowest note, so
if we take the Cmaj7 like this,
and then leave out the root, which is of course the C here,
then we get this.
And for the Fm7, we leave out the F.
And then we have this top part of it.
So now we have voicings for all the chords in the song,
and they're all on the middle string set,
and they don't contain any root.
And that sounds like this.
(plays "Lady Bird")
In the sheet music, I've only written out the voicings,
so I didn't write out the rhythm that I played,
but I think you can already hear that when I comp
different rhythms just using the upper part
of the voicing here, then I have a lot more freedom,
because it doesn't get so heavy.
If I play (strums jazz chord),
it takes up a little bit too much in the frequency spectrum
and it gets a little bit messy quite quickly.
Now that with have the chord voicings without a root,
we can also actually start to open up how we play
a top note melody on it.
For our first Cmaj7,
if we play it like this, we can also use
an alternative melody note in place of G,
so we can play the A.
(strums chord)
So we can make small melodies just using
that simple variation.
And for the F minor, we have this G top note,
where we can also use F and Ab.
And the same goes for the Bb7.
And then the next C major, I'm playing down here.
So here we have the E and the D.
For Bbm.
So, the F and the Eb.
And we have those two for the Eb seven as well.
And then also a G.
For the Abmaj7,
the Eb and the F.
For the Am7,
we have the E and the D.
And of course, for the D seven, we have
E and D as well.
And also an F#.
So the A minor, I don't like this one,
for this exercise, I think this minor 13 sound
is not so useful.
So I'm not really including that one.
And just staying with these two.
And then on the D seven, we can have the F sharp.
And then we get D minor.
So first that's E, D, and F,
and of course, the same for the G7.
E, D, and F.
And then, for the remaining chords,
we already covered, except for the Db7.
But that's the same as for the Eb7,
so we have the Eb,
the Db, and the F.
So now we have two or three versions
of each of the chords that we started with,
and we can put those to use on the chord progression.
And that sounds something like this.
(plays jazz comp on "Lady Bird")
There are, of course, several ways you can start
working with this material.
You can start working on Lady Bird, and use
the material that I went over in this lesson.
And you can also just take another song that
you already know, and that you can already play
with your other voicing sets, and then try and
use the same process to convert them to rootless voicings,
and start working out some different options,
and see how that works, because you already know that song.
Another thing you can do is also to take some of the
exercises from the original video.
So one of them was to play these, drop two voicings
through a scale, so if you do it in C, so C,
Dm7, Em7, Fmaj7,
G7, Am7, B half diminished,
and Cmaj7.
And then make a rootless version of that, so you get
(plays jazz chords)
and then start working on those also.
So there are many ways you can just start to experiment
with this.
You definitely wanna also start working on just
making your own sort of small riffs and
comping rhythms.
So if you know how to play this, then,
and convert it into the rootless version,
then it's okay to just sit around and vamp a little bit on
(plays riffs)
Or maybe also combine it with the lower version, so
(plays riffs)
And in that way, try to make music with it,
already when you've just figured out
what the different variations are.
If you wanna 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 Thursday,
and I've been doing this for quite some time,
so there's already really a lot of material on my channel.
If you wanna help me keep making all these videos,
then check out my Patreon page.
It's because of the support that I get from my patrons
that I can keep on going and making videos every week,
and if you support me on Patreon,
I can also give you something in return for your support.
That's about it for this week.
Thank you for watching, and until next week.
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