Why Is This A Jazz Chord Secret? It Sounds Amazing!

[@JensLarsen]

Do you like chromatic notes and chords in your comping and chord melody playing? 😎 3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024 kzbin.info/www/bejne/rWLViGyNqtaUgrs

[@EpsilonAD]

Yes. 😎🎵

[@reinh]

Love this stuff. Amateur tip: Anything you can do in a single line, you can do as voice movement in a chord - if you can figure out the fingering. Try an enclosure! Instead of 7, b7, 6, try 7, b6, 6 (scale tone above, half-step below double enclosure). George Van Eps's books are great for this stuff. Also, Ted could do partial bars with his pinky finger for chords like x76477. Absurd.

[@bsorryrthatsit7055]

The Sheraton sounds great.The chorus sound is fading from the scene. Terrific lesson.

[@JensLarsen]

Thanks! Chorus sound?

[@BuckJoFiden]

@@JensLarsen Ha ha ha !

[@jaimelamusik214]

Jens is definitely the best of the best. Thank you very much for all these ideas :)

[@JensLarsen]

Glad you think so!

[@eric_james_music]

My fav trick is doing a m, m(maj7), m7, m6 descending line. Works for the ii and vi chords almost anywhere. x5776x, x5766x, etc

[@RobKandell]

I’ve been experimenting with some jazz harmonies lately and this video just explained what I was doing. So much for innovation. lol At least I had the joy of discovery. 😁

[@JensLarsen]

Haha! It can sound good without being completely new and unique 😁

[@antonparas4782]

This is among my favorite vids of yours. I’ve been investigating solo guitar (a la Ted Greene) and it’s a logistical nightmare lol. The difficulty in sustaining notes in a chord for lush harmony really made me envy pianists. The “sustain illusion” is my answer. Been wracking my brain & fingers trying all the possible approaches for months, if not at least a year. I had thought to reintroduce the bass note on a later beat (at a lower volume - as if it were still ringing & had decayed) in the measure like you showed, but didn’t investigate it thoroughly. You showed me that it actually works brilliantly, thanks! Guitar harmony techniques like this are under explored (or at least under-discussed), but that’s partially what makes the guitar world so exciting right now, I think. We have a lot to steal from pianists (e.g. Barry!). The guitar is experiencing a bit of a renaissance, powered by the accessibility of S tier educators like you. From power chords to polyphony. 🎸 P.S. the additional colors/notation to identify the chromatic notes *as* you play is very good. For people unused to reading sheet music (i.e. every guitar player), it’s not easy to see when certain events are occurring. I was like this, but watching a bunch of Francois Leduc’s transcriptions helped a lot. Still though, this is a great educational detail: colors/annotating the sheet music *in real time with the music*

[@JensLarsen]

Thank you so much Anton! Really appreciate the support!

[@EpsilonAD]

Thanks for another great clip of clearly explained and well articulated jazz guitar tips.

[@JensLarsen]

Glad you find it useful 🙂

[@markhoffman2322]

Thanks again for a great lesson! Love the Sheraton, too!

[@JensLarsen]

My pleasure!

[@surprisedmike]

Great lesson. I attended some of Barry's classes here in Toronto. A great musician and a lovely guy too. You have remiinded me that I need to put more of his ideas into practice which I don't do enough of.

[@JensLarsen]

Thank you! Go for it 😎

[@markrollinger5366]

I think not focusing on Bop Scales is worth thinking about. For me the Bop scale is useful as a way of harmonizing a melody line, using only 2 chords. Movement! Tension & release.

[@JensLarsen]

How often do you use it like that?

[@mandylupton9522]

Thanks Jens, really useful advice!

[@JensLarsen]

Thank you so much Mandy! Appreciate the support!

[@GuitarStrongFoundation]

The best teacher out there today!

[@JensLarsen]

Thank you!

[@frankvaleron]

Very cool topic. I think like a lot of people I do this implicitly and don't always worry about what extention I'm making. If you like the sound of a particular extension or chromatic addition use it, if you don't, don't

[@ryanmct1892]

Thanks for this lesson, Jens. I am still very new to figuring out my own way of playing jazz, but this initial moving C-G bass note really links my prior playing (country, blues and rockabilly) and how I can hybrid both; and how it still makes sense! Love your videos. Thank you!

[@JensLarsen]

Great that it is useful 🙂

[@ViaAurora-lp2wt]

Right? I went into the exercise thinking its gonna be easy, but nope, haha. That just makes it even more fun tho!

[@antonparas4782]

I find the country/jazz blend divine! I love Chet Atkins’ interpretations of jazz standards. The brightness of his tone, the “boom-chick” alternating bass, and banjo rolls for classical-like arpeggios are all so cool. In the future, I’d like to see ppl applying country guitar techniques to jazz guitar. I think there’s a lot of unexplored potential there

[@ViaAurora-lp2wt]

@@antonparas4782 That reminds me of a dream I had, where I heard this country music with really lively banjo playing, but it had like, the *coolest* jazzy walking bass line mixed with it, and I'm thinking in my dream: "This is so crazy, how come more people haven't thought of this?" So yea, I'd love to hear that country-jazz mix as well. If you have any songs that come to mind, let me know!

[@antonparas4782]

@@ViaAurora-lp2wt It's fertile ground to explore! :D My favorite example would be Chet Atkins' performances of Tenderly. There's one with him playing solo guitar (in the intro, at least): kzbin.info/www/bejne/aHevapatabuVaqc -- in the beginning, there are some intense banjo rolls. super cool IMO Here's another example, Chet & Lenny Breau: kzbin.info/www/bejne/pafTiZ2eeZ6fkLM Lenny is comping while Chet plays lead with some bends, slides, legato. SUPER tasty hope you find either one of these to be interesting! cheers :)

[@gmitter-sl3qq]

Thanks for this! Two things I would like to add: The Barry Harris piano move with the diminished in between is also described somewhere as "6th on the 5, diminished on the 5, 6th on the root". I only recently became aware of how the concept of one passing note between "WT above chord tone" down to the chord tone is a super useful strategy for improvising. The maj7 down to 6 could be seen like this when the Cmaj7 chord is interpreted as C6 chord, which is often the case in the BH thinking.

[@JensLarsen]

Usually the Barry Harris "6th on the 5th" is referring a voicing trick where voices a C7 as a Gm6 over a C. Josh Walsh has a good video on it.

[@gmitter-sl3qq]

​@@JensLarsen I indeed meant the BH voicing over a tonic Cmaj7: G6 over C, into Gdim over C, into C6 over C, which would exactly match your illustrated example.

[@JensLarsen]

@@gmitter-sl3qq Ah you mean the chord voicing and not the chromatic phrase that I am talking about? Sure you can think of it like that voicing. I don't think Barry Harris would think of the chords as separate chords though, he was talking about not doing that and how it opened up things when he showed this in the workshop.

[@gmitter-sl3qq]

Yes I mean the whole voicing / movement at 9:47, it's "6th chord on the 5" (G6), "diminished on the 5" (G dim), then "6th on the 1" (C6).

[@soundcanvas1450]

Nicely taught 👍👍

[@JensLarsen]

Glad you liked it

[@Andrea_Manconi]

I feel like this lesson has hit some deep level of gigging know-how! p.s.: way to go with your first 1/2 million subscribers! We should fund a party and a giant cake! 🏁

[@chrislandry5797]

All great!Your videos end up on repeat whenever you premiere a new 'un.Yes I said 'un.

[@JensLarsen]

Glad you like them!

[@gustavosuarez3855]

Always great sharing dear Jens, thanks!

[@JensLarsen]

Glad it is useful!

[@marceli155]

good lesson ! thanks

[@JensLarsen]

Thank you

[@boydross]

Really great video thanks for sharing

[@JensLarsen]

Glad you like it!

[@tomcripps7229]

Thanks!

[@rf2835]

Reminds of Line cliches

[@steellemonstudios]

Every time I hear 9-b9-R, I feel like getting I’m too old for this S#^*. Thanks, David Sanborn. (But seriously, great lesson, Jens!)

[@JensLarsen]

Thanks 🙂

[@cbolt4492]

I love the lessons, Jens one million percent. When is the new roadmap course being released please?

[@JensLarsen]

Thank you! It's hopefully coming in a month if we can get everything ready. I need to shoot one chapter, but there is a lot of editing and other stuff that needs to happen as well.

[@cbolt4492]

​@JensLarsen I'll be signing up!

[@JensLarsen]

@@cbolt4492 Thank you Christian!

[@ViaAurora-lp2wt]

can anyone in the comments help me with the sight reading on 2:41 . I've just started learning, and when I see this part, in my head I'm saying "1 (and) 2 (and) 3... 4..." and then bar two I go "1 (and) - wait, why was the chromatic note delayed passed the "and"? the chromatic note plays on the 2? but aren't those notes eighth notes?"

[@JensLarsen]

Yes, I put the wrong rhythm in the sheet music, it's just a typo 🙂🙂

[@antonparas4782]

rather the other way around, your comment actually helped me (reconcile that typo)!

[@giampierogirolamo7134]

UDO!!!😃

[@Jazzcabbage710]

When it comes to learning barry harris chromatic scale vs his half step rules, do they essentially serve the same function? Having chord tones land of strong beats?

[@JensLarsen]

The chromatic scale is a wide concept, the rules are more specific and if I remember correctly only applied to dominants?

[@matthewgoldberg1461]

I must protest the attribution of 7#9 chords to Jimi Hendrix. Listen to the 1st chord on the entire album, Kenny Burrell’s 1963 Midnight Blue. The first song is Chitlins Con Carne, and the first chord is C7#9

[@antonparas4782]

Jimi Hendrix popularized them, not originated them. Many other people associate 7#9 with Hendrix, so I believe it's fair to choose Hendrix over Burrell as the popularizer. I think Jens was aware of this. Actually, it's possible (and dare I say, likely) that someone before 1963 used a 7#9 chord. Same thing with "Travis Picking". Merle Travis did not originate the technique (IIRC Ike Everly & Moses Rager are more accurately considered the originators). We know this, but we still associate the technique with Merle Travis, because he popularized it. Hendrix is so closely associated with 7#9 that (1) googling "Hendrix chord" yields countless references to 7#9 and (2) wikipedia's article on 7#9 also comments on the chord's association with Hendrix. I did not see Burrell associated with the chord nearly as much, so I think Hendrix is more suitable for attribution (just not origination). Especially when we consider that (1) this video's target audience is beginner jazz guitarists and (2) such an audience is likely more familiar with Hendrix than Burrell.

[@JensLarsen]

Where in the video do I say that he invented that chord?

[@matthewgoldberg1461]

@@JensLarsen Jens, you never did make that claim. Peace to you

[@user-gm4fq2cm8h]

having a car would be really fucking nice right about now

[@lou2be247]

I wish I had a car

[@Avatar7x7]

Great lesson !

[@JensLarsen]

Glad you liked it!