Blue In Green - Chromatic Comping || Jazz Guitar Lessons Daily 14 скачать в хорошем качестве

Blue In Green - Chromatic Comping || Jazz Guitar Lessons Daily 14

Ready to Transform Your Guitar Playing? 👉 Let’s take your skills to the next level! Schedule a FREE Breakthrough Call today and discover how my Jazz Guitar Coaching Program can help you play with confidence, creativity, and control. 🎯 Click here to get started: bit.ly/6Pnytg3 From our free, Jazz Guitar Lessons Daily Series: Lesson 14 Thursday - How Chords Move 1/28/21 Most books, courses, and lessons regarding jazz guitar comping are about drop chords, inversions, hip voicings, or harmonizing scales into chord scales. These are all fine things to work on to master the fretboard, diatonic keys, and cool voicings. But they don’t necessarily help us tell compelling, creative harmonic stories when comping on a standard. Which is why in our course Chords For Life I prefer to focus on keeping our voicings very simply, using only root position shell voicings, and to delve into understanding how chords want to move. In other words, how can we use different types of chords at different moments to create the feeling of harmonic tension and resolution to move us through the form of a tune in more captivating, intriguing, and spontaneous ways. One of our Melodic Triads Study Group members asked me in a recently open office hours if we could talk about how to create this type of movement in a tune like Blue In Green. I thought this would be a perfect example for one of our Jazz Guitar Lessons Daily series on a Thursday: How Chords Move video. So let’s check this out. Here’s the basic chord progression for Blue In Green that we would expect to see if we opened the real book or iRealB. [CLICK LINK BELOW FOR FULL POST INCLUDING NOTATED EXAMPLES] So that’s cool, but it can be difficult to break away from this and find some more interesting harmonic pathways through it. So I came up with an idea for myself, a challenge. I wanted to see if I could play harmony through this form where the bass note is always descending chromatically. What do you think? Is this possible? I came up with a few versions of this idea. One using very straight ahead, traditional, old school shell voicing options and chord movements… and then a second version that’s following the same concept but using some slightly more hip and modern voicings. Here’s the more traditional one. [CLICK LINK BELOW FOR FULL POST INCLUDING NOTATED EXAMPLES] See how the bass note is always descending? It takes us from the G root note of the G-7 chord all the way down two octaves to the G root note again on the downbeat of the next chorus. Now here’s the same thing but with a few more unconventional shell voicings and movements. [insert example] Can you see the difference? I’m adding the 9th into all of the diminished chord shell voicings, making them sound much more ambiguous. I’m also using a few maj7 shell voicings in place of some of the tritone sub dominant 7 shell voicings... ► To Read The Rest, See Notated Examples, and Download The PDF https://www.nycjazzguitarmasterclasse... ► Come Hang In Our Facebook Group   / melodictriads   ► Learn About My Online Jazz Guitar Programs https://www.nycjazzguitarmasterclasse... #jazzguitarlessons #jazzguitarlessonsdaily #melodictriads