(guitar music)
- Hi everybody, my name is Jens Larsen.
We don't usually think about positions
when it comes to chords.
That's something that's connected more
to arpeggios and scales.
But, when you're improvising and playing a solo
in a chord melody setting, so basically,
when you're playing a solo jazz guitar performance
and you need to harmonize your solo,
then it actually does make sense
to look at some different areas and positions
that are useful in terms of connecting both
the melodies of the scales that you need
with some chords so you can harmonize them.
In the first video I did on this topic,
I was looking at one position that's very practical
for this, and there is one more position
that I think is a main position that you need to check out
and that's what I'm gonna cover in this video.
If you wanna learn more about jazz guitar
and improve the way you solo,
check out some interesting arpeggios,
chord versings, 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 the first video I did on this topic,
I was focusing on one position and one area of the neck
which was for a 2-5-1 in C, where we have the
root of the two chord on the fifth string
and then the root of the five chord on the sixth string
and then again the root of the tonic on the fifth string.
So that creates lines like this.
(guitar music)
And in that video, I'm of course going over
different ways of creating melodies here
and different ways of finding the notes.
But besides that, because of course this is
this area of the neck and when we wanna play
complete chords then it makes a lot of sense
to also use the other place where we have those
because the bass notes that we are playing
are usually on the fifth and the sixth string.
So now I have the first root here on the fifth string
but I can also start on the sixth string.
And then I have these for sixth.
(guitar music)
So really this is just, I'm turning it into shell voicing
because that's just a nice way to play these chords.
It's very clear.
And that position is what I'm going
to explore in this video.
(guitar music)
This first example here is we're just starting
with the shell voicing so that's nice and clear.
And when I'm playing the shell voicing like this
which I attempt to do when I'm just going
through the 2-5-1 with shell voicings,
then I have my first finger out here
and that makes it easy to just go
to the other scales or from F up to G up to A.
I'm skipping the B and then going up to the C.
And then I'm shifting up and playing this voicing
which I guess is an F Major 7 drop two voicing
but in this case we're just seeing it
as a rootless D Minor 9 voicing.
And I think a last part of this is really also
about sort of getting used to the fact
that playing all of these different versings
is really just thinking D Minor all the time.
This is all D Minor and I'm only thinking
about the fact that it's sort of around here
and not really worried about exactly which voicing
I'm using or what extension it is.
I'm just thinking about the melody.
Because when you're improvising,
that's what you have to think about.
And the chords are so, things that you wanna add
to it to keep it clear and of course it's difficult
in this setting to make sure that everything stays clear.
But the chords are actually still secondary
to the melody that you're improvising.
But I'm only thinking about the melody and not thinking
in individual voicings that much.
(guitar music)
So that's the line on the D Minor.
Again, really just keeping it practical.
Notice that the first time when I'm ascending
the C is here and when I'm up here, it's up here.
Then I'm moving to G7.
And here I'm just going, also again, nice and clear
in the melody there's a B, and I'm just playing
the shell voicing under it.
(guitar music)
And then down the scale, back up to the A to play a B9.
Reaching under here and then resolving to the third
of C Major which is neat.
So one way to map out the melody notes
that we have available here is to just look
at this shell voicing and then start adding notes.
We have this first, the F, G, A.
Then I'm skipping the B because I don't really wanna have
the G minor 13 in there.
I mean you can still play it but we'll just play it
like this or this.
And then the C up here,
the D, E, F
and you can actually reach all the way up to G.
And right now I'm playing it with the root.
Of course sometimes I'll play stuff
and I'll add the root with my thumb.
There are all these different ways of playing
the chords which I cannot really put in this,
you kind of have to find versions of this that will fit you.
And I also find, myself, that I actually go back and forth
and do different things every time I play it.
So it's good to be really flexible with this.
Think more about the melody you're playing than the chords.
That's the important part.
For the G7, so again starting with the shell voicing,
so F, G, A, B.
I'm leaving off the C but you could do this
but of course it's not so beautiful.
And then the D, E and F.
And then as you saw in the example,
sometimes when I play this, once you play the chord
on a heavy beat or on the three, for instance,
like I'm doing in the example, you can go under it also.
Like this, kind of what I'm doing in the example.
For the C Major 7, so we have this shell voicing
E, I'm skipping the F, G, A, B, and then C.
And here I am using my thumb, you can play this
like is four across and the D.
And of course also like this.
I think most of the time I'll actually play this
voicing with my thumb for the bass.
(guitar music)
This example is using the different notes
that I just came up with in the previous example.
So I'm starting really clearly with a melody
that's F on the D minor, so,
and then immediately also just letting go of the chord.
And just playing this arpeggio.
Essentially what I'm playing here in the melody
is an F Major 7 arpeggio.
So just letting go of the chord because it's already stated,
we don't need to worry about it anymore.
And then I'm harmonizing the third beat
and here I'm leaving out the root
and then just playing the upper shell
and then the melody which is a C.
And then this A minor scale fragment.
Moving to G7, so we have first the full G7
with a nine because the nine is in the melody.
And then on the third beat I'm playing the chord again
but I'm not playing the bass note so.
(guitar music)
Resolving to C Major and then just adding
this small melody as a tack.
The reason that I can keep on publishing these videos
every week is that I have a community of people
over on Patreon that are supporting the channel.
I'm very grateful for their support
and it's because of them that I can keep on making all these
very specific desk guitar and music theory videos.
If you wanna help me keep on making videos,
then check out my Patreon page.
If you join us over on Patreon, I can also give you
something in return for your support.
For the first two lines, I was using the G7
that didn't have any alterations.
But it's also useful of course to check out
what happens when you start to alter the G7.
And in this case, if we just look at a two-five-one
where we have the alter done in there,
so the G minor stuff is still the same.
(guitar music)
These voicings, then the G7, starting
with the shell voicing again.
The root, all still the same, and then we get
flat nine, sharp nine, the third
and then the sharp 11 or flat five and the flat 13.
And then the C Major 7 is the same still.
(guitar music)
In this example I'm making a few variations
with the rhythm and opening that up a little bit.
And I'm also sort of changing around where I'm placing
the chords and again, this is sort
of a practical consideration.
So on the D minor 7, I'm starting with this D minor.
Notice that I tend to play that with these two fingers,
which is just the way that I'm used to doing this,
of course if you want to play it in another way,
you should just do that.
And first just stating that the first melody note is an A.
Then I'm skipping up to a high E
and adding a chord under that on B2.
And this is practical because when you play
the chord like this, and I'm up in this area
with the melody, then I can kinda just sustain
the chord without any effort
and then just play small melodies with this.
And that's also what I'm doing here.
So I'm playing here the E, going down to the D.
And then really just running down the chords.
So E, B, C, A, G, F and then to the G7 altered.
Which in this case is starting on the sharp nine, so.
(guitar music)
And that's just the scale one really
so down to the flat nine and then up the scale.
And then down to the B, resolving to the nine
on the C Major 7, and then just continuing down
the G Major triad so D and then stopping on the G.
As you can probably tell, I don't have
sort of a finished structured method,
I'm kinda still developing how I'm presenting this material.
And that's also just because I was never taught this.
Well actually I was never taught this,
I just kinda figured it out along the way.
I got a few hints and tips and other stuff
and combined that.
The one thing that I did do was I checked out some
Joe Pass Chord Solos and they are a little bit
more difficult to check out than the material
that I'm going over here because you have
to find your own fingering, that's not included
in those, it's just written out sheet music,
there are no tabs, but it is a very good book
to check out, and I'll link to that in the description
if you really wanna dig into playing like this
then that's something that's very useful to check out.
But it's also a lot of hard work.
But since I'm still developing how I'm teaching this,
then I'm of course also curious about your guys' feedback
so if there's something that I'm not talking about
that you think would be useful to include in later videos,
then please leave a comment.
(guitar music)
And of course when you're improvising like this,
it quickly becomes sort of a technical riddle
that you have to solve, or a problem, or a puzzle.
But really, you also still wanna see if you can create
some strong melodies and in this example
I'm using a motif melody and trying to work with that
through the two-five-one and doing exercises
like that are also gonna really improve the way
that it sounds when you're playing this
because you can actually also get a lot to work
if you just have really strong melodic ideas
and then you don't need to play as many chords.
And if you're playing a lot of chords
but the melodies are completely random,
then it's anyway not going to work that well.
So hopefully this is an example of that.
I'm starting on the D minor like this
with the fifth on the melody,
and then I have this small melody
which is essentially an F Major triad.
(guitar music)
And then a similar movement on the G7 altered
when I'm starting on the flat nine
and then going up to the sharp nine and down to the F.
So it's a little bit like I'm voice leading
the A and the C down to an A flat and the B flat.
And then a different ending to that which is coming
out of the flat nine and then resolving to the third
of the C Major 7, and then adding the G in the melody.
If you want to check out another video
talking about how to construct lines and improvise
in a chord melody setting, then check out this video
where I'm talking about losing the other position
and working a bit more with how to construct the lines
and how to come up with some interesting melodies.
You can also check out the rest of the playlist
because it contains a lot of other useful information.
For more infomation >> THIS GLITCH WILL GET YOU FREE FIFA 19 PACKS FOR TOTY... - Duration: 8:55. 
For more infomation >> never planned that one day i'd be losing you - Duration: 0:27. 
For more infomation >> How the Jacksonville Public Library May Help You with Your New Year Resolution (FCL January 3rd) - Duration: 5:04. 
For more infomation >> •you won't ever look back; - Duration: 0:37. 
For more infomation >> Cookin' Time With H-E-B: Delicious recipes that won't weigh you down - Duration: 2:34. 
Không có nhận xét nào:
Đăng nhận xét