This is probably the most powerful type of voicing for me. What do you use? Content: 0:00 Intro 0:54 Take The A-Train - Basic set of chords 1:38 Triad-based voicings 2:20 Converting the Jazz voicings and doing great things 2:56 Recognizing the triads 4:10 Top-Note Melodies and Some Jazz Rhythm 4:32 Using Inversions of the triads 6:10 Chromatic melodies & Inner-voice movement 8:03 Altering the voicings for more modern jazz sounds 10:07 Like the video? Check out my Patreon Page!
@@onursarim Yes, I actually tried that out a few years ago, but people leave the video whenever that is there so I stopped doing that very fast. Sorry.
even if it's true for the video's health, my wish was in this direction as I have a guitar in my hand :) I'm very happy for your teachings, thank you again! :)
I'm a rock guitar player and this is the first time in my life that I found a video where I can approach jazz easily. So clear! I look forward to watch and study all your videos. Channel subscribed.
Wow. Just spent two hours with this lesson. I understand harmony well and theory too but the principles of how to apply in a 'Jazz setting' was something I couldn't really get. This lesson is invaluable! Thank You Jens. As a professional teacher myself, I really appreciate these lessons.
Jens, I think this is a very important lesson. In an attempt to get a "fuller sound," whether it's a desire to emulate what we hear on a recording or because the player doesn't have the opportunity to play with others, guitarists often succumb to the false ideal that they must "do it all." This results in imposing upon oneself all sorts of requirements of what one must learn and get good at to perform even at a basic level, when playing alone. Breaking things apart like this helps anyone learn the relationship of harmony, rhythm, and melody in the context of a song by *listening*, which opens the door to being able to play it. Thank you for getting this out there and your continued work on jazz/music education. You're a musical saint and inspiration! 👍😁
Wow, between this and a couple other of your videos, I have already surpassed my playing ability on ALL jazz songs, thanks to you. Excellent instruction, clear and concise. I have always played a mash-up of folky, jazzy, Latin stylizations, but now I finally feel confident enough to tackle more complex jazz standards. :)
Jen's this is a great lesson. Thank you for teaching that jazz chords don't always have to be these knuckle busting shapes. The examples you use are easy to understand and make so much sense even to a beginner jazz player like myself. Also now I learned the beginning of take the A train so this is like a double whammy lesson. Thank you so much.
I'm finally confident enough to make basic harmonization from a simple sheet. Looking for a way to color my arrangements so I'm going back through your videos.
Really great lesson! I try to watch all your vids as I get something out each and everyone of them. This one is really "magic" as it's helping me keep things simple w/ triads and I even sound jazzy :) ...Jim
I love these videos on triadic comping that you put out. Your single line videos are also great, but comping with triads is really fun on any comping instrument (including the piano). Going through the short George Van Eps Guitar Method exposed me to a lot of this material. Amazing how much you can convey with 3 notes and attention to melodic movement. Hope you are getting some sort of payment from all this. Not easy to put out this level of content, there's A LOT to explore in each video. Thanks!
Hi Jens, Great stuff again. Only last week, insprired by the 10 Jazz standards you once proposed, I was practicing this song, but got stuck. Your timing couldn't have been better. Excellent !
Brilliant. Beautifully explained. I really appreciate the sheet music. The m7, b7, 6 inner voicing looks really useful and I will try that in my playing as you suggested in your "the wrong way to practice" video. In my comping, I often rely on rootless chords and inversions. That is the bassists job. :0) Arpeggiating rootless voicings and adding voice leading, chromatics and enclosures is a very good way to come up with ideas. Speaking of the wrong way to practice, I have always struggled with practicing the coltrane pentatonics. Popping them in between chord arps and scales has been getting the sound in my ear.
Súper lesson as always. I really like the variations, the base idea is simple but it’s easy to miss all the available options. Thanks Jens! A question: when you do a triad, eg playing an FMaj triad over a D root, do you really think of it as an FMaj triad, or do you just think of it as part of the D minor chord? I’m asking because sometimes you (and other teachers) refer to those other chords, but I feel that is more complicated for me. I would rather focus on the F as minor third, A as the fifth, and C as minor seventh. Can you describe how you a picturing or hearing the harmony in your mind as you play? Cheers and thanks again! Jz
Jens, how should we approach playing solo jazz guitar? How can I improvise playing solo without it sounding empty? A video on different techniques would be great! Thanks!
Great!! I usually use a half disminished in a b7 second inversion , or the bass in b7 with a rise or flat 9. Or a Eb7/9 as a Ab9b13 in 3rd inversion XD Its curious because mathematically (not always works) the same voicing (in 5-4-3-2 strings) are a lot of diferent things but in resume are only a few positions. Its difficult to have a good aproach. Great lesson. I will see it again with calm. I really appreciate your lessons, you clarify some things, are helpfull. Thank you!
Good one. Will watch it after work. Lest i forget to ask, Lars: Please can I ask how much of another artist's song you can use in a video before youtube flags it as a copy right issue? I wanna do country music and rock covers, and when I build an audience I would like to monetise the channel.
Some artists/acts are more finicky about this than others. In some cases, it's actually driven by the music conglomerates, in their desire to preserve their revenue streams. I'd recommend looking at some of the videos from Rick Beato. He's had to deal with many of his UA-cam videos getting blocked and/or demonetized, despite his use of something being within the guidelines associated with the "fair use" doctrine. Given this, some things you do may "fly under the radar," some will not. If you aren't overly concerned about the potential for losses, I say go for it! The worst that can happen is to have your content blocked 😉
Thanks for the great lesson! Perfect timing as im following your prior advise to learn solos by ear using A Train. A question - I've chosen a Paul Desmond solo to learn by ear, as he stays around the melody and is easier for me to grasp than some other versions. Is this a sound approach for a relative beginner?
Jens - can I ask you how you get that great jazz tone with your Gibson 335? I can never achieve this even with the tone rolled off using mine. Are you using flat wound strings? What kind of amp do you use? Sorry for the string of questions. Thank you.
I don't actually roll the tone off (at least not most of the time). I use a twin model in my fractal audio AX8. Very little bass and treble and quite a bit of mids. That is what you want to go for to not have very dark sound but not too much treble. You can see the settings I use in the video on getting a jazz tone on a strat (it is the same settings)
Jens Larsen - excellent. Thank you! That’s exactly what I’m doing wrong. I’ve been emphasizing the bass instead of the mids, so way too boomy with my Supro Supreme which I take around with me - especially if I use a hollow body, and not especially good either with the semi hollow 335.
Jens, one more question How that A7(b9) on the turnaround works? I see that it's 2-5-1 to G but why it has 2 dominant chords? is it dominant 2-5-1 always dominant, minor, dominant instead of minor, dominant, major or diminished, dominant minor ?
I have a video on secondary dominants if you want to know more about them? In the end, the why something ahs a certain melody or chord progression is of course up to the composer. Composers don't just write stuff according to formulas there are some creative choices as well 🙂
It is one I made myself. Since you just signed up for Patreon you should have access to some of the Take The A-Train Webstore lessons that have backing tracks :)
For a lesson like this it is not that important to have it fit the melody (most choruses are probably not the melody) and you would have to make it x x 10 11 9 x with a lot of explaining. For the material in the lesson I think this is a better solution. If it really bothers you you can always think of it as "So Danco Samba" in swing, then it doesn't clash 😁
@@JensLarsen Granted. I just wonder whether a soloist would expect to play over the D7 or the D7#11 chord. Sorry if I'm being thick, but how would you resolve that? Or would you not worry about it, i.e. because the tension resolves by the next chord anyway?
@@JensLarsen How did I not see that? :-/ My copy of Modern Jazz Guitar Concepts is arriving on Thursday! Am looking forward to getting stuck in to it :-D
This is probably the most powerful type of voicing for me. What do you use?
Content:
0:00 Intro
0:54 Take The A-Train - Basic set of chords
1:38 Triad-based voicings
2:20 Converting the Jazz voicings and doing great things
2:56 Recognizing the triads
4:10 Top-Note Melodies and Some Jazz Rhythm
4:32 Using Inversions of the triads
6:10 Chromatic melodies & Inner-voice movement
8:03 Altering the voicings for more modern jazz sounds
10:07 Like the video? Check out my Patreon Page!
I play some parts by rewinding, so I wish you would enter every new part you enter by counting 4. Thank you very much for your valuable sharing.
@@onursarim Yes, I actually tried that out a few years ago, but people leave the video whenever that is there so I stopped doing that very fast. Sorry.
even if it's true for the video's health, my wish was in this direction as I have a guitar in my hand :) I'm very happy for your teachings, thank you again! :)
All this in 10 minutes wow. This guy has got me in to jazz. Always rock before
Go for it :)
I'm a rock guitar player and this is the first time in my life that I found a video where I can approach jazz easily. So clear! I look forward to watch and study all your videos. Channel subscribed.
This is transformative stuff. Gigantic lightbulb moment for me.
Thank you, Hunter 🙂
This is gold. Almost an entire course in one video. Thank you!
Glad you like it, James!
Wow. Just spent two hours with this lesson. I understand harmony well and theory too but the principles of how to apply in a 'Jazz setting' was something I couldn't really get. This lesson is invaluable! Thank You Jens. As a professional teacher myself, I really appreciate these lessons.
Great! Means a lot coming from a colleague. Thank you!
Jens, I think this is a very important lesson. In an attempt to get a "fuller sound," whether it's a desire to emulate what we hear on a recording or because the player doesn't have the opportunity to play with others, guitarists often succumb to the false ideal that they must "do it all." This results in imposing upon oneself all sorts of requirements of what one must learn and get good at to perform even at a basic level, when playing alone. Breaking things apart like this helps anyone learn the relationship of harmony, rhythm, and melody in the context of a song by *listening*, which opens the door to being able to play it. Thank you for getting this out there and your continued work on jazz/music education. You're a musical saint and inspiration! 👍😁
Wow, between this and a couple other of your videos, I have already surpassed my playing ability on ALL jazz songs, thanks to you. Excellent instruction, clear and concise. I have always played a mash-up of folky, jazzy, Latin stylizations, but now I finally feel confident enough to tackle more complex jazz standards. :)
Great to hear that you put it to use!!
Take the A Train is definitely an amazing Jazz Standard! Appreciative of the lesson and information as always!
Thanks RC :)
@@JensLarsen Cheers!
Jen's this is a great lesson. Thank you for teaching that jazz chords don't always have to be these knuckle busting shapes. The examples you use are easy to understand and make so much sense even to a beginner jazz player like myself. Also now I learned the beginning of take the A train so this is like a double whammy lesson. Thank you so much.
I'm finally confident enough to make basic harmonization from a simple sheet. Looking for a way to color my arrangements so I'm going back through your videos.
Go for it!
This lesson is awsome.. You are a big jazz guitar master, Thank u a lot Jens
You're very welcome! I am glad you like it! 🙂
Really great lesson! I try to watch all your vids as I get something out each and everyone of them. This one is really "magic" as it's helping me keep things simple w/ triads and I even sound jazzy :) ...Jim
Great! Thank you Jim!
You're the most amazing jazz teacher Jens, keep the lessons coming you've helped me grow so much !
You are very welcome! Glad you like the videos 🙂
Can you please explain how the composer must have come up with this progression of chords?
Not really, but it is pretty common and in a few other famous jazz and bossanova pieces
Yes! This is what I was looking for. Hope you are healthy and in good spirits. Thank you for this lesson.
Glad you like it, Taro 🙂
Jens you just read my mind. I was practicing this method. Thank you anyway.
Great! Go for it Mike!
I love these videos on triadic comping that you put out. Your single line videos are also great, but comping with triads is really fun on any comping instrument (including the piano). Going through the short George Van Eps Guitar Method exposed me to a lot of this material. Amazing how much you can convey with 3 notes and attention to melodic movement. Hope you are getting some sort of payment from all this. Not easy to put out this level of content, there's A LOT to explore in each video. Thanks!
Great lesson Jens. I was trying to get some perspective on the song as I'm going through your top 5 jazz songs to learn.
You are quite a chord expressionist. Thanx.
Thanks for listening
This is a great way to teach chord substitution. Improvised melody starts with chords this is very illuminating lesson.
Love this song! great lesson as always Jens!
Thank you William!
Great lesson. Well explained and many possibilities.
Thank you!
Absolutely gold this lesson!!!Thank you Lars 🙏🙏🙏🙏🙏
hi from maui! just started getting into jazz and learning more about triads to start off. this helped my understanding a lot. thanks!
Hi Riley! maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
Outstanding like usual. Great lesson!
Glad you liked it!
i wish these videos were around when i first started jazz
Thank you 🙂
Como siempre una gran lección y buen material para practicar. Muchas gracias maestro!!
You're welcome Salvador!
Hi Jens, Great stuff again. Only last week, insprired by the 10 Jazz standards you once proposed, I was practicing this song, but got stuck. Your timing couldn't have been better.
Excellent !
Excellent! Any Strayhorn/Ellington is awesome for study! Thanks, Jens!
Great! More is coming :D
@@JensLarsen Excellent!
Great posting Jens, really helpful to an intermediate like me! Best regards, Jimp
Thanks! Go for it :)
wow! chromaticism sounds so great on these examples. thank you for sharing this knowledge Jens
You're very welcome! :)
Fantastic lesson
Glad you liked it!
Thank you very much for this lesson 3 note chord
You're very welcome John
Brilliant. Beautifully explained. I really appreciate the sheet music. The m7, b7, 6 inner voicing looks really useful and I will try that in my playing as you suggested in your "the wrong way to practice" video. In my comping, I often rely on rootless chords and inversions. That is the bassists job. :0) Arpeggiating rootless voicings and adding voice leading, chromatics and enclosures is a very good way to come up with ideas.
Speaking of the wrong way to practice, I have always struggled with practicing the coltrane pentatonics. Popping them in between chord arps and scales has been getting the sound in my ear.
Another great lesson! Thanks Jens!!
Thanks :)
Great lesson by the way.
Thank you!
Great video!!!
Glad you liked it!
Súper lesson as always. I really like the variations, the base idea is simple but it’s easy to miss all the available options. Thanks Jens!
A question: when you do a triad, eg playing an FMaj triad over a D root, do you really think of it as an FMaj triad, or do you just think of it as part of the D minor chord? I’m asking because sometimes you (and other teachers) refer to those other chords, but I feel that is more complicated for me. I would rather focus on the F as minor third, A as the fifth, and C as minor seventh. Can you describe how you a picturing or hearing the harmony in your mind as you play?
Cheers and thanks again! Jz
Thanks! I don't think about it as an F major triad, it has just become Dm7 for me when I use it because that is what I hear in the context.
Thanks jens ive ben waiting for this ;)
You're very welcome :)
great stuff
Glad you like it 🙂
Had to really twist my ear around this lesson to hear " take the a train ". But there were a lot of go info in the post. Thanks.
Jens, how should we approach playing solo jazz guitar? How can I improvise playing solo without it sounding empty? A video on different techniques would be great! Thanks!
That is indeed tricky :) Here are a few: ua-cam.com/video/YStKvDWkqSc/v-deo.html
@@JensLarsen Thank you
Great!! I usually use a half disminished in a b7 second inversion , or the bass in b7 with a rise or flat 9. Or a Eb7/9 as a Ab9b13 in 3rd inversion XD Its curious because mathematically (not always works) the same voicing (in 5-4-3-2 strings) are a lot of diferent things but in resume are only a few positions. Its difficult to have a good aproach. Great lesson. I will see it again with calm. I really appreciate your lessons, you clarify some things, are helpfull. Thank you!
whatever works for you amigo...
Thanks for response Jens I guess I kinda here “Satin Doll” in those voicings also
That could certainly be :)
Good one. Will watch it after work. Lest i forget to ask, Lars: Please can I ask how much of another artist's song you can use in a video before youtube flags it as a copy right issue? I wanna do country music and rock covers, and when I build an audience I would like to monetise the channel.
I think 8-12 seconds? Not really a lot if you want to do a cover, but I think you only have to share the revenue if you do a cover?
@@JensLarsen Thanks. Maybe I will do the covers and build up for two years or so. When I wanna monetise, I will delete the covers.
Some artists/acts are more finicky about this than others. In some cases, it's actually driven by the music conglomerates, in their desire to preserve their revenue streams.
I'd recommend looking at some of the videos from Rick Beato. He's had to deal with many of his UA-cam videos getting blocked and/or demonetized, despite his use of something being within the guidelines associated with the "fair use" doctrine.
Given this, some things you do may "fly under the radar," some will not. If you aren't overly concerned about the potential for losses, I say go for it! The worst that can happen is to have your content blocked 😉
Thanks for the great lesson! Perfect timing as im following your prior advise to learn solos by ear using A Train. A question - I've chosen a Paul Desmond solo to learn by ear, as he stays around the melody and is easier for me to grasp than some other versions. Is this a sound approach for a relative beginner?
Glad you like it! I am sure that solo is fine, just go for it!
Great 👍
Glad you like it 🙂
Jens - can I ask you how you get that great jazz tone with your Gibson 335? I can never achieve this even with the tone rolled off using mine. Are you using flat wound strings? What kind of amp do you use? Sorry for the string of questions. Thank you.
I don't actually roll the tone off (at least not most of the time). I use a twin model in my fractal audio AX8. Very little bass and treble and quite a bit of mids. That is what you want to go for to not have very dark sound but not too much treble.
You can see the settings I use in the video on getting a jazz tone on a strat (it is the same settings)
Jens Larsen - excellent. Thank you! That’s exactly what I’m doing wrong. I’ve been emphasizing the bass instead of the mids, so way too boomy with my Supro Supreme which I take around with me - especially if I use a hollow body, and not especially good either with the semi hollow 335.
Hello, thank a lot for this very nice tuto. Which equipment do you use to have a such jazz sound? Only the guitar or additional with something else?
Thank you! This is my guitar into my Fractal Audio AX8, which is essentially and amp with a digital reverb :)
Thanks Jens, but wahou your Fractal is a war machine :)-. Would you know something more simple?
@@jeanlouissorin7598 not really. I use that for pretty much everything 🙂
If y’all like this video, don’t sleep on Sandra Sherman’s video.
Indeed, Sandra is great! 👍🙂
Great !!!!!
Thank you Tony! 🙂
I have the greatest admiration for your work. I really mean it... but besides that, may I ask you if what you are playing is an ES 339?
Thank you, no, it is an Es335 🙂
Jens, one more question How that A7(b9) on the turnaround works? I see that it's 2-5-1 to G but why it has 2 dominant chords? is it dominant 2-5-1 always dominant, minor, dominant instead of minor, dominant, major or diminished, dominant minor ?
I have a video on secondary dominants if you want to know more about them?
In the end, the why something ahs a certain melody or chord progression is of course up to the composer. Composers don't just write stuff according to formulas there are some creative choices as well 🙂
@@JensLarsen its secondary dominant!! of course it is! thank you good sir
Tak!
Det var så lidt 🙂
Great video, as usual. Silly question, but what backing track are you using?
It is one I made myself. Since you just signed up for Patreon you should have access to some of the Take The A-Train Webstore lessons that have backing tracks :)
@@JensLarsen thanks, signed up :)
How about using passing chords ala Ed Bickert? Great video btw
There are several ways to insert passing chords, I have a video on that coming up and there are a few on the channel already.
Is there a book that has exercises using these forms ?
Not yet :) Give me a few months.....
I'm struggling with the D7 in bar 3 & 4. Shouldn't that be X X 10 9 9 X, to fit with the A-train melody?
For a lesson like this it is not that important to have it fit the melody (most choruses are probably not the melody) and you would have to make it x x 10 11 9 x with a lot of explaining. For the material in the lesson I think this is a better solution.
If it really bothers you you can always think of it as "So Danco Samba" in swing, then it doesn't clash 😁
Sorry, Jens. I have found the same question and your answer below. Thanks for those great lessons of yours.
@@koenfillet8700 No worries 🙂🙂
Why u don't use #11 in 2nd chord even though it's in the melody? Just wondering
You don't have to, and this is not only a out comping the theme, , so it is better to keep it simple and not full of theory.
@@JensLarsen I agree, thank you for response, you're a lovely lad Jens!
How to explain the chord arrangement?
If you want to learn how to write chord progressions then learn songs and practice composing progressions 🙂
@@JensLarsen thankyou, it's awesome that you are active at replying to your viewers on both instagram and youtube. Keep up the good work🙏
I need new fingers, mine don't move like that..
I will keep working on it.
Har netop forsøgt at downloade pdf'en, der hører til her, men det vil ikke lykkes. Gad ellers godt ha den :-(
Hvad virkede ikke? Du skulle kunne skrive din e-mail og så går browser automatisk til download siden?
Tak, det lykkedes efter jeg genstartede computeren 😊
You're using D7 rather than D7#11 as the second chord? The melody note is G# (or Ab).
Yes, but I am not setting out to only comp the melody am I :)
@@JensLarsen Granted. I just wonder whether a soloist would expect to play over the D7 or the D7#11 chord. Sorry if I'm being thick, but how would you resolve that? Or would you not worry about it, i.e. because the tension resolves by the next chord anyway?
@@davidskinner8351 The soloist is equally likely to play the 5th and not the #11 so you just have to listen :)
Am I crazy or are the B section chords not shown in this video?
No, I am only using the A-part to demonstrate what you can do with triads.
@@JensLarsen no problem, thanks so much for what you do, big fan!
can someone tell me why my real book uses a D7b5 in bar 3?
Because of the G# in the melody
@@JensLarsen How did I not see that? :-/ My copy of Modern Jazz Guitar Concepts is arriving on Thursday! Am looking forward to getting stuck in to it :-D
@@richarddunn324 Hope you find something you can use 🙂
@@JensLarsen Amazon delivered the book today, so work on new guitar skills has now commenced!
halo
helo
You may be brilliant, but obviously too advanced for me to follow you, and you go too fast.
Why obviously?