(soft jazz music)
- Most of the time when you are learning new voicings,
you're thinking in systems, so you're checking out
drop two voicings or drop three voicings or shell voicings,
and this of course is really practical because you get
a lot of different voicings, they all fit together
and you can learn the inversions quite quickly,
but at the same time if you're limiting yourself to only
thinking in systems, then there are some really beautiful
chord voicings that you'd never really
get around to checking out.
In this video I'm going to go over
some of the different voicings, especially dominant voicings
that sound really great I think they're beautiful
sounding voicings, and they don't really
fit into these boxes.
You wanna take those out and you wanna have those in
your playing, and surprisingly enough they're
not that difficult to play.
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Most of the time when I'm using chord voicings like this
then it's in a situation when I'm really focusing
on the sound of the chord and the sound of the voicing,
so I really wanna lay down sort of a sustained rich
sounding harmony, and I think in jazz that's probably
mostly going to be something like a ballad or
a medium bossa nova, or if you're more towards
more modern jazz and more fusion then those are
the places where you would do that.
If I'm composing in more of a half up medium swing
type situation then I'm probably going to be using
some different voicings and focusing more on
the rhythm and not really looking for these voicings
that will sort of just put down this rich sounding
harmony to solo or...
(soft music)
This first example, well actually there are two voicings
in here that are not sort of fitting into the boxes.
The first one is just a D minor 7, with a 9,
so that's really just an F major 7 drop 2 voicing,
that's probably something you already know,
if not it's not the most common one, but it's a really nice
sounding one because of the the second interval
here in the middle.
Then we get a G7 voicing, I'm playing a G7 altered chord.
And that's this voicing, you can look at this as being
I guess like, the top part of this G7, and then
with a sharp 9 on top instead.
And then I'm moving to this, C major 7 voicing,
which is also a really, really sort of nice
consonant sounding voicing, so,
here we have this as a G7 altered, just a G7
a basic G7 with a sharp 9 on top,
and then resolving nicely to this C major 7, where
this is an incomplete chord, the C major 7,
it's without a third, so it doesn't have the third in there,
but it's a G major triad,
over a C, and that's giving us the C major 7 sound.
Another way to use the dominant voicing is to not think
of it as an altered dominant, but think of it
as a Lydian dominant, and if we stay in C then that
could be using it as B flat 7 with a sharp 11 like this,
because then we have the basic part of the B flat 7,
the sharp 11, and the 13.
And if you use that for like a backdoor dominant
kind of sound then you would get this.
(soft guitar music)
So here I'm first playing, again just an
F major 7 voicing for the D minor,
then the B flat 7, with a 13 on sharp 11,
and then I'm resolving it to this voicing,
and that's a C major 7, so
we have the B and the E here
and then we have a 9 and a 13.
So here, I'm starting again with something that's actually
a drop 2 voicing because this one,
you could look at as being a D minor 7, so coming out
of this D minor 7, but then instead of the 5th I have
the 11, and instead of the root I have the 9.
So in this case you could kind of consider
this derived from a drop 2.
Its not the most the common one, it's a little bit stretchy
but its quite beautiful, if you find that too difficult
to play you can of course also just play this one.
Then the G7 voicing I'm using here, so that's
coming out of this so I have the
kind of have it spread out, it's a little bit
like I'm substituting the 9 for the 3rd
and the 3rd for the sharp 11.
But really the kind of voicing I have here is a G7 with
so with the 3rd and 7, and then with the root,
and the sharp 9.
And then I'm making a melodic movement so taking the 7
down to the flat 13, and resolving that to the 9
on the C major 7.
And you can of course use this one as well as a backdoor
dominant instead of a altered dominant
so we have a Lydian dominant sound,
and that can be something like this.
(light guitar music)
Which is also a really nice sound, I think the really
it gets a little bit richer when you have some of the
sound of the 13 and the sharp 11 on your Lydian dominant
here so for that I think it works really well as well.
(light guitar music)
These are a little bit difficult to play in this key,
I kept it all in C major, but here I'm using the voicing
I was using before for the C major 7 where we have
sort of this triad from the 5th of the chord,
so the G major triad with a C.
Here I'm using that from F, so F and then a C major triad.
And I'm actually using that a D minor voicing, so that
becomes a D minor 9 with an 11, then I'm going to a G7
with a flat 9 on a 13, which is essentially
I'm really using upper structure triads for this,
so I have the F and then a C, and then now
on the G7 I have an F, and then an E major triad
which is giving me, so it's a first inversion E major
so that means I have the flat 9, the 3rd on the chord,
and the 13 up here.
And then I'm resolving that to this C major 6/9 voicing
which is essentially just a Dsus triad with an E.
So we have the E, and the A is a 6, the 5th and then the 9.
So that works really well like this.
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(light guitar music)
So this last example I'm sure you probably already know
actually all the voicings in here
starting with this stroke 2 voicing for the D minor again.
Then for the G7, I'm really just using triad substitution
because I'm using this voicing which you probably know as
a D flat 7 with a 9.
And of course that's the first voicing in Wes Montgomery's
(light guitar music)
version of Caravan, I think he plays exactly that one,
with a 9 actually on the C.
But here, it's a D flat 7 but it's also a G7 if you
look at this, because if you use this as a G7 chord,
then you have a G7 with a flat 13 and a flat 5.
And the way this moves from this one,
and then up to this voicing for the C major 7,
so this of course also just a drop 2 voicing
that's an E minor 7 drop 2 voicing that I'm using
for a C major with a 9, C major 7 with a 9.
A guitar player that's famous
for using some really beautiful
voicings that are also sometimes a little
bit tricky to play is Allan Holdsworth.
If you wanna check out some of the material that he's using,
then check out one of these videos where I'm applying
some of his material to a more straight ahead jazz setting.
If this is the first time you're seeing one of my videos
and you wanna learn more about jazz guitar,
then subscribe to my channel, if you wanna help me
keep making videos, then check out my Patreon page.
That's about it for this time,
thank you for watching and until next time.
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