(guitar music)
- Hi, everybody.
My name is Jens Larsen.
If you are checking out players like Gilad Hekselman,
Lage Lund, or Nelson Veras,
then you're probably gonna come across voicings
like the ones I'm gonna talk about in this video.
I'm gonna go over some voicings
that I have taken from their playing,
and you not only get these voicings,
but you're also gonna get an insight
in how I work with harmony if I'm exploring new voicings,
because what I'm going to do is just what I normally do
when I'm finding some voicing that
I'm not that familiar with.
If you want to learn more about jazz guitar,
about playing over chord progressions,
or check out some interest chord voicings, arpeggios,
then subscribe to my channel.
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To give you an idea about how these voicings work
and how they sound, I'm first gonna go
over two cadences and talk a little bit
about the note choices and the interval structures,
and then I'm gonna start trying to expand on them
and put them in some other context
and see if I can get some more voicings out of them.
(guitar music)
This first cadence has a D minor voicing.
(guitar music)
That's actually consisting out of three notes,
E, F, and G, so three notes next to each other,
and of course, we're not voicing it
so that they're next to each other
because that's very difficult to play,
then you get ...
(guitar music)
this voicing, which looks impressive,
but it's not very practical.
The way that's solved here is we have
the F and the G next to each other,
and then the E put up an octave.
It's not a complete Dm7 voicing
because we're of course using it
as a Dm7 in a 2 5 1,
but we don't have a C.
With these higher range voicings,
the need to have them complete is a little less,
so that's becoming a little bit less important,
and it's more if you're playing in the middle
or lower register that you want to have complete voicings.
So we have this D minor, (guitar music)
then we move to
(guitar music) this G7, and that's
a G7 with a flat five,
and this is a complete voicing in the sense
that we, of course, don't have a root,
but we do have third, seven, and then the flat five.
Then we get the Cmaj7.
(guitar music)
So here, we have, actually, this is a C6/9,
so, of course, when I say Cmaj7,
the way I think about this is usually that Cmaj7,
then anything from C6 or Cmaj7 will work.
In this case, we have the third, the six, and the nine,
and that's this Esus4, in fact.
(guitar music)
In this example ...
(guitar music)
we have this voicing, which is,
now we have a complete Dm7
because we have the third, and the seventh,
and then we have a nine next to the third ...
(guitar music)
which is, this is the type of voicing
that I already did some videos on.
I shot two or three videos,
about a year ago, I think.
I'll try and link to those in the description.
These are kind of derived from these drop 2 type voicings,
and you can use them here.
I think, in the video, I'm probably using it
on the middle strings a little bit more.
This voice leads into this G7,
which is, again, a complete G7,
so we have the third, and the seventh,
and then we have the b13 here.
Then we go into this ...
(guitar music)
which is a C6, again,
even though written Cmaj7.
We have six, third, and the fifth in there.
(guitar music)
It has, sort of nicely ...
(guitar music)
the resolution from the G7 to the C
is nice because it has some contrary movement,
so this is going down.
(guitar music)
And then this goes up, and this goes up as well,
so you have the voice splitting.
To explore this type of voicing,
let's just focus on the first voicing,
so this Dm7.
(guitar music)
One way that you can do that,
one way that I very often work with the voicings
just to see what I can do with it
and what I can get out of it
is to take the context that you find it in,
and then just move it through the scale
because then you're gonna get all the diatonic voicings.
With something like this, some of those
are gonna be a little bit difficult to play
because there are some stretches involved.
As soon as you have a voicing that has seconds in them,
then you're gonna get some stretches.
Just to look for playable and
less playable versions of this,
I'm doing this on two string sets.
I'm doing it on the top string set here,
and also the middle string set.
That's just purely to have a little bit more
of an overview about which places
it may or may not be playable because
I think that gives a little bit better picture of that.
For the top string set, if I take
(guitar music) this type of voicing
through the scale, you get this.
(guitar music)
For the middle string set.
(guitar music)
If we look at the voicings from these exercises
and we want to find another D minor voicing,
then probably, the voicing we want to have
is a voicing with an F in it.
The voicings with F in from these exercises
will be this one.
(guitar music)
And then, of course, the one we started with.
(guitar music)
And this one.
(guitar music)
If we take the first one of those,
of course, we already have a cadence with this one,
just to try and make a cadence with this one ...
(guitar music)
We can do something like this.
(guitar music)
So we have this for the D minor.
(guitar music)
And then the (plays chord) G7,
so this is G7 altered.
As soon as you have an altered chord, an altered dominant,
then you can be a little bit more loose
with having a complete voicing because
all the alterations are gonna give away
that this is an altered dominant anyway,
and that's what's happening here.
In this voicing, I have the seven,
so I still have the F in there.
I don't have a third, but I do have
a flat five and a flat 13.
(guitar music)
Then I'm resolving that to this.
(guitar music)
A Cmaj7 shell voicing,
which is C, G, and B.
Another way to work with this is to add
a little bit more movement in the cadence,
and because we are playing three-note voicings,
we do have that room to maneuver.
So we could make a cadence like this.
(guitar music)
I'm starting with the D minor voicing
from the last example, and then I'm going from D
down to C just to point towards the G7.
This G7 I'm using now is a G7 with a flat nine,
which is this one that's actually just the triad.
Then I'm adding the sharp nine instead of the flat nine,
and then resolving that to this Cmaj7 voicing,
which is really just an E sus triad over C.
Another example where you can add
more movement to the voicings, but then using
the original D minor voicing that we started with
could be this one.
(guitar music)
Here, first, I have movement in the melody on the D minor,
so (plays guitar)
we have this D minor nine taking the melody
down to a D, to the root,
and then the same F diminished triad for the G7,
which gives us a G7 flat nine,
then going up to a flat 13 here.
That's really giving us an F minor shell voicing
that I then resolve to an E minor,
E minor 7 shell voicing on the C,
so that's a Cmaj7,
or a C major with an added nine,
which is not really Cmaj7.
Then, on the Cmaj7 ...
(guitar music)
I just move down to the sharp 11,
and then back up again.
So now we've created a few other D minor voicings
and taken them through some cadences
just by taking the voicing and moving it through the scale,
but of course, we can also look at,
with this type of voicing, what other kind of chord
can we use it for?
If we try and find a way to use it
for the G7 altered in the cadence,
then there are two places where that might work.
The first one would be this one.
(guitar music)
The other one would probably be if we have this one.
(guitar music)
If we try and use them like that,
then that could be something like this.
(guitar music)
So here I'm starting with this D minor 11,
which is basically a C sus triad,
and then I go into my G7 altered voicing,
and in this case, that's, of course,
the third, the flat five, and the sharp nine.
Then I'm resolving that to this ...
(guitar music)
Cmaj7 with a 13, and that's really
just an E sus 4 triad.
If we use the other one,
then that could be something like this.
(guitar music)
So here, I'm starting with this.
(guitar music)
It's like an F.
It's actually an Fmaj7 shell voicing,
which is like F, C, and E.
On the Dm7, that's gonna be
a complete Dm7, in fact,
because we have the third, the seventh, and the nine.
Then I'm going into this G7,
which is a G7 altered,
and it has the root on top,
and then it has a flat nine and a sharp nine,
so for the rest, it doesn't actually contain,
only the extensions and the alterations,
and then I'm resolving that to this Cmaj7,
which is, in fact, just an E minor triad.
Now we can do the same as what we did
with the D minor voicing, so we can take it
through the scale, and it's gonna give us
a little bit of different result
than we got with the D minor because
the scale is different, that we're taking now.
The G7 altered scale is, of course,
the same as Ab melodic minor,
which is a little bit different from a major scale.
So that would be these voicings.
(guitar music)
As I already mentioned, when you're playing
altered dominants in the context of a cadence,
then we don't have to play a complete chord.
There are actually quite a few of these voicings
that you can get away with using.
I'm not gonna go over all of them.
I'm just gonna give you three examples
of how you can put these voicings to use
in a 2 5 1, and then you have an idea about it.
You should just try and experiment
with some of the other ones and see
if you can make a cadence, or maybe use it
in some other context where you think
this works as a voicing.
(guitar music)
In this example, I'm using the second voicing
from the exercise, so we have the G7 altered,
we started with this, and then I move it up here,
and that's the voicing I'm using.
(guitar music)
This is a G7 altered voicing that has
the third on top, and then it has a flat five
and a b13, and in the cadence,
I have this D minor 9 without a seventh,
and then the G7 altered,
and then I'm resolving that to this C major voicing,
which here, is actually a C major with an added nine.
At some point, maybe let me know in the comments
if you want me to make a lesson on this.
Especially some of the C major voicings that I'm using
in this video are coming out of
moving around voicings in the pentatonic scale
because pentatonic scales tend to work really well
as upper-structures for chords, and that's really
what's happening here, so this voicing
is kind of coming out of moving notes around
and a voicing around in an E minor pentatonic, so that's ...
(guitar music)
this type of thing, and you can do a lot with that,
so if you want me to make a video on it,
then let me know in the comments.
(guitar music)
This example is using the third voicing,
so now we have (plays guitar)
this one, and this voicing has a seventh,
a flat 13, and a flat five.
The first one, first, we get this ...
(guitar music)
D minor 9 voicing, and now we do have a complete D minor 9.
I think I used that once before in this video already.
Then that, of course, fits perfectly
when moving into this voicing because
the top note voice is moving up a half step
and the lower voice is moving down a half step.
Then I'm resolving this.
These all kind of want to resolve.
Well, they don't want to resolve up,
but you can resolve them up,
especially the outer voices want to do that, to go up,
and then I can move them up to this ...
(guitar music)
Em7 shell voicing on the C.
(guitar music)
In this example, I'm using ...
(guitar music)
this G7 also, so that's one of the later ones
in the exercise because we have the ...
(guitar music)
Here we have, on the G7 also, we have
the root, the flat nine, and the seventh.
A lot of the time, what works as a G7 altered
with these voicings is probably also
that they contain that second interval,
and they have also a major seven or a minor seven
as the outer interval because they're both
kind of dissonant, and that makes it
a little bit more interesting to listen to.
In this case ...
(guitar music)
the construction is also giving it
the needed tension that wants to resolve,
and we can kind of use it as a dominant for that
because we almost never have
a complete dominant with these voicings.
(guitar music)
In the context, I'm using it together
with the original D minor voicing, so
(guitar music) this one.
And then you can really just move the whole thing up
and voice lead it up one step to get a G7 altered,
so the F moves up to a G,
the G to Ab, and the E to F,
and then we have this voicing for the G7b9.
Then I can do the same thing again
to get to my Cmaj7,
and the way I do that is I move the G up to A,
I move the Ab up to B, and the F up to G.
So ...
(guitar music)
So we have a Cmaj7 that has a seven and a 13,
or a six, and a fifth, but we don't have a third.
When I'm exploring new voicings,
like I'm trying to demonstrate here,
the process is really to just look at the voicing,
and then take it through a scale,
and in this case, of course, I took sort of
the obvious choice, so I took it through the scale
that fits the chord that I'm using it in in the context,
so it's gonna be a major scale, or a melodic minor scale.
You can still do other things.
There are other things that I didn't go over in this video,
because we can also start looking at
trying to make inversions of it,
and as I also just briefly mentioned,
the idea of taking this voicing through a pentatonic scale
is also something that's gonna give you
a lot of interesting voicings if you start working with it,
but that's something I can get into in another video.
Feel free to let me know in the comments
if you think that's something you want to see a video on.
If you want to learn more about jazz guitar,
about analyzing harmony, and adding extensions to chords,
and this is the first time you see one of my videos,
then subscribe to my channel.
I publish a new lesson every week,
and I've been doing it for quite some time,
so there's already really a lot of material on my channel.
This video was made possible by the support of my patrons.
I'm very grateful for the small community of people
that are supporting me over on Patreon,
and if you want to help me keep making videos,
then check out my Patreon page.
There's a link in the description.
If you support me on Patreon, I can 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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