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Look Mom No Root! Jazz Chord Survival Kit Part 2

Look Mom No Root! Jazz Chord Survival Kit Part 2

(jazz guitar music) – Hi everybody, my name is Jens Larsen. Once you are familiar
with sort of the basic chord shapes that I talk about in my video called How to Play Jazz Chords, then you’ll probably
want to move on to create some voicings that have a little bit more variation in the melody, and you can be a little bit more
free with rhythmically. So that’s what I wanna
go over in this video. If you wanna learn more
about playing jazz guitar, about improvising,
interesting chord voicings, and voice leading, then
subscribe to my channel. If you wanna make sure
not to miss anything, then click the little
bell notification icon next to the subscribe button. In this video, I’m going to
go over the chord progression of Lady Bird, and then I’m gonna show you how you can find the chord voicings using the material that
I went over in the video called How to Play Jazz Chords. So if you don’t already know, that’s the link in the
description, you’ll probably want to check it out. And then I’m gonna convert those voicings to rootless voicings, and show you how that opens up for some more interesting top note melodies, and
really a lot more variation in the way you comp. Let’s just first look
at the basic voicings for this progression. (plays “Lady Bird”) Now that we have the chords
for this progression, we can easily turn them
into rootless voicings by just leaving out the lowest note, so if we take the Cmaj7 like this, and then leave out the root,
which is of course the C here, then we get this. And for the Fm7, we leave out the F. And then we have this top part of it. So now we have voicings for
all the chords in the song, and they’re all on the middle string set, and they don’t contain any root. And that sounds like this. (plays “Lady Bird”) In the sheet music, I’ve only
written out the voicings, so I didn’t write out
the rhythm that I played, but I think you can already
hear that when I comp different rhythms just
using the upper part of the voicing here, then
I have a lot more freedom, because it doesn’t get so heavy. If I play (strums jazz chord), it takes up a little bit too
much in the frequency spectrum and it gets a little
bit messy quite quickly. Now that with have the chord
voicings without a root, we can also actually start
to open up how we play a top note melody on it. For our first Cmaj7, if we play it like this, we can also use an alternative melody note in place of G, so we can play the A. (strums chord) So we can make small melodies just using that simple variation. And for the F minor, we
have this G top note, where we can also use F and Ab. And the same goes for the Bb7. And then the next C major,
I’m playing down here. So here we have the E and the D. For Bbm. So, the F and the Eb. And we have those two
for the Eb seven as well. And then also a G. For the Abmaj7, the Eb and the F. For the Am7, we have the E and the D. And of course, for the D seven, we have E and D as well. And also an F#. So the A minor, I don’t like this one, for this exercise, I
think this minor 13 sound is not so useful. So I’m not really including that one. And just staying with these two. And then on the D seven,
we can have the F sharp. And then we get D minor. So first that’s E, D, and F, and of course, the same for the G7. E, D, and F. And then, for the remaining chords, we already covered, except for the Db7. But that’s the same as for the Eb7, so we have the Eb, the Db, and the F. So now we have two or three versions of each of the chords
that we started with, and we can put those to use
on the chord progression. And that sounds something like this. (plays jazz comp on “Lady Bird”) There are, of course,
several ways you can start working with this material. You can start working
on Lady Bird, and use the material that I went
over in this lesson. And you can also just
take another song that you already know, and
that you can already play with your other voicing
sets, and then try and use the same process to convert
them to rootless voicings, and start working out
some different options, and see how that works, because
you already know that song. Another thing you can do
is also to take some of the exercises from the original video. So one of them was to play
these, drop two voicings through a scale, so if
you do it in C, so C, Dm7, Em7, Fmaj7, G7, Am7, B half diminished, and Cmaj7. And then make a rootless
version of that, so you get (plays jazz chords) and then start working on those also. So there are many ways you
can just start to experiment with this. You definitely wanna also
start working on just making your own sort of small riffs and comping rhythms. So if you know how to play this, then, and convert it into the rootless version, then it’s okay to just sit
around and vamp a little bit on (plays riffs) Or maybe also combine it
with the lower version, so (plays riffs) And in that way, try
to make music with it, already when you’ve just figured out what the different variations are. If you wanna learn more about jazz guitar, and this is the first time
you’ve seen one of my videos, then subscribe to my channel. I publish a new video
every Monday and Thursday, and I’ve been doing this
for quite some time, so there’s already really a
lot of material on my channel. If you wanna help me keep
making all these videos, then check out my Patreon page. It’s because of the support
that I get from my patrons that I can keep on going and
making videos every week, and if you support me on Patreon, I can also give you something
in return for your support. That’s about it for this week. Thank you for watching,
and until next week.

15 thoughts on “Look Mom No Root! Jazz Chord Survival Kit Part 2”

  1. The Patreon Extras video this week is taking this to the next level with more options for melody notes and applying this to a turnaround with altered dominants.!

  2. Great lesson Jens very use full as always. But great to link it to "Lazy bird" kind of brings the lessons to life so we can see how to use this now. Thank you

  3. I am very glad that I meet or find you on your youtube channel and also in person. You inspire me to keep going. It will not be easy. But it feel like I have a mentor also youtube. You video are from HQ and is so must to say. THANKS YOU TO SHARE IT WITH US.

  4. Thanks Jens! This is easy to understand yet adds so much color to the progression! Really useful, even beginner like me can apply it immediately.

  5. Thanks for the effort of putting together this lesson.
    What scales and arpeggios would you recommend over this progression?
    I found that a C Dorian vamp works with well with this…along with some melodic minor modes of choice.

  6. a big thank you for your courses. I'm a jazz bassist and I switched to jazz guitar. I am a reader with a good level of harmony. can you give me the progression in your classes to start the instrument.
    thanks again
    Koco (from France)
    and thanks for the pdf

  7. I was actually able to somewhat understand this one alittle better I guess I have to watch up and learn more jazz theory or songs or something

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