- Hi, everybody.
My name is Jens Larsen.
There is a set of three-note voicings
that most people forget to check out,
and that's really a pity,
because three-note voicings are extremely flexible
and very practical to use in your comping.
In this video, I'm going to take one of these voicing types,
I'm gonna show you how you find it,
and I'm also gonna show you
how you can use it on a blues in F,
and I'm actually gonna take that voicing,
and then expand a little bit on it,
and then show how that becomes
a completely other set of three-note voicings
that you can also add to your vocabulary.
Now, this is stuff that I use really a lot.
I find these three-note voicings are really useful
for just covering the whole neck
with chords that I need when I'm comping,
and they're very flexible, so you can also do a lot,
and you can easily turn them
into four-note voicings as well.
If you wanna learn more about jazz guitar,
about improvising over chord changes,
checking out some interesting voicings or arpeggios,
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Most of the time, when you learn to use three-note voicings,
they're coming out of the four-note voicings
with a root that you already know.
So we would take a voicing like this F7 with a 9,
and then throw away the root,
and then use the top part of it as a three-note voicing.
The same could be done with this type of voicing,
so a drop 3 voicing, and then we're left with this.
The problem is that
we don't really have anything in between these two.
So we have that one, and we have the one here,
but we don't really have something in between.
We can, of course, do a little bit by changing the top note,
but we kinda need something in between,
and one way of thinking about this is that
an F7 is, of course,
F, A, C, and E-flat,
and if we just throw away the F,
then we can actually play the rest,
because that's an A diminished triad,
and you play that like this.
So this voicing is a great voicing for an F7,
and we can use that as well.
Now if I take this voicing,
and then voice-lead that through an F blues,
then I get these voicings.
("Blues in F")
The first chord is just this A diminished triad
that I'm using for F7, so A, C, and E-flat.
Now, I wanna move that to a B-flat 7,
and the way I do that
is that I'm actually just gonna keep the C there,
and then I'm gonna change the A into an A-flat,
and the E-flat into a D,
and then I have this B-flat 7 voicing,
which is essentially a B-flat 7 with a 9.
Then I can move back to my voicing for the F7 here,
the A diminished triad.
For the F7 in bar four,
maybe we wanna add an alteration before we go to the B-flat,
so we can add, instead of the C, which is the fifth,
we can use a flat 13, and that's a D-flat,
so that's this voicing,
and then we can resolve that to B-flat.
Now the B diminished, that's really simple,
because here we have A-flat, C, and D,
and we need to just change the C into a B,
and then we have our B diminished.
Then, going back to F7.
For the D7 flat 9,
while we can use sort of the outer interval here
is A and E-flat, so that's the
in this case the 3rd and the 7th,
and we can move that around
so we have the 7th and the 3rd here on the D7,
and then have a flat 9 in between,
and then resolve that to the G minor 7.
Now, here we can just take that down,
and then use the upper part of a G minor 7,
that's a B-flat major triad,
and turning the B-flat major triad
into the upper part of a C7 is really simple,
because we're just gonna change the F into an E,
and then we have this, which is a C7 with a 9,
down to our F7,
and then at the end, to have a C7,
I'm using a C7 with a flat 9, so that's B-flat and E,
and then the flat 9, that's a D-flat,
and then we have a whole chorus.
With this voicing set,
we actually already discovered one more voicing
that we can easily add to our vocabulary.
We already have this F7,
and the next voicing is a B-flat 7 with a 9, like this,
and if we move that up, and play that so that it's an F7,
then we get this voicing.
Now, if we start with this voicing,
then we can also get a complete other chorus
just coming out of the voice leading of this one.
That would could like this:
("Blues in F")
The first voicing that I'm using here for the F7,
you could essentially look at as being
an E-flat major triad with a flat 5,
and the way that I voice-lead that to the B-flat 7,
then we just have this D diminished triad for the B-flat 7,
then back to our F7 here.
Now, to go to B-flat 7 in bar four, I'm altering the F7,
and I'm doing that by changing the 9 from G to a G-flat,
so a flat 9,
and then I can just shift that down
to my D diminished triad on the B-flat 7,
and actually, on the B diminished,
I can just keep the same voicing,
because this is a B diminished without a B,
and then back to the F7.
Now, the F7 moves up to a D7, and I'm doing that
in the same way that I did that in the first chorus,
so I'm just shifting this thing up from A to C here,
and I'm playing the same voicing,
and here I then have a D7 with a flat 13,
because I have the F-sharp, and the C,
and then the B-flat here.
When I'm resolving this,
I'm resolving it down to a G minor 7 here,
which is just a B-flat major triad.
There's another way of doing that,
but I'll get to that in a bit,
and then to go to C7, I'm using this type of voicing,
which is a C7 with a flat 13,
and then that moves down really neatly to an F7 with a 9,
and then I can use just the same C7 flat 13
at the end of the chorus.
In the second example, I'm resolving down to a G minor,
where I'm using this B-flat major triad,
and actually another way of doing that
that's a little bit more smooth is to do this stepwise,
and then you would have this G minor 7 voicing,
which is a little bit of a stretch.
Well then we have the F and the B-flat here,
and then the root in the middle,
and the reason why I wanna talk about this one
is because when I take this to the C7 flat 13,
then that really nicely moves like this,
so we kinda have this counter-movement
in the lower part of the voicing,
and that's really worthwhile checking out,
but it is a little bit of a stretch,
so you have to get used to it.
If you wanna start working on these voicings,
then probably first just check out the examples
that I went over here,
so the two choruses of blues,
so that you get an idea
about how the chords move from one to the next,
and that means that you just have a good grasp
of how you go from this F7, or this F7, down to a B-flat 7,
and so on and so forth,
and then the next thing you wanna work with
is probably trying to harmonize the scale with F7,
so that you can really just play freely with F7 voicings
up along the neck,
and have all the different top notes available
that you wanna use.
So that could be something like this:
(plays harmonized F7 scale)
So this way I'm only using four different voicings
as sort of the base for creating a complete harmonized scale
only using F7 voicings.
I'm curious, how do you arrive at your three-note voicings?
Are you thinking from triads and upper structures,
or are you really thinking
more from complete four-note voicings with a root,
and then you're just throwing away the lowest note?
Let me know in the comments,
because I think this is something
that could be the beginning of an interesting discussion
about how we remember, and how we categorize voicings,
and that might actually help, also,
with remembering and using all these different voicings
that we checked out,
and finding a better way of learning them.
If you wanna learn more about jazz guitar,
and this is the first time you've seen one of my videos,
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That's about it for this week.
Thank you for watching, and until next week.
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