I learned so much from you from this video! I dont play jaZz at all yet and just subved to your channel. This is so helpful and explained very well! Ive never even seen a lot of these chords ever! This is so cool ty so much you are a great teacher!
I’m so thankful I found your channel. I couldn’t find a jazz teacher in my area. You really are a great teacher! Having a great time playing my new Hagstrom Super Viking. Autumn Leaves in Yule.
You're very welcome Stephan! I am really glad you find the videos useful! 🙂 If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
Great lesson! I sing and play this song. It’s an easy song for me to experiment with. I hope I don’t throw off my bass player too much with some of these extensions!!
hey dear Jens Larsen,this is not a ordinary tutorial, is a Master class!! Thanks!! Exelent video and you are Exelent musician and teacher!! Hugs and blessings!!
Thanks, Jens. Very interesting all the various voicings and note substitutions. Knowing I can replace the 5th with 13 or 11 and the root with the 9 or 13 to get some new sounds is helpful.
Jens, I really like the G min maj7/6 at 9:41. I'd usually put the 7 on the 3rd string there, so I like the 7 on the 2nd string. I didn't see it before - now I do, lol. For major type chords, I'll add the 9/13 before the #11. I love the #11, but I don't always want it in there, it's pretty spicy so I'll add it sparingly. What do you think about that? For minor 7's, I'll go with 9's and 11's before 13's for the same reasons as I mentioned above. If it's a one chord, I'll use the 13 and sometimes the major 7. Dominant 7's are a little more involved. When resolving to a major chord, I'll tend to use natural 9's and 13's. I may use altered extensions after that. If I'm resolving to a minor chord, I'll definitely use altered extensions. I think that sums it up for me!
At 2:46 you mention that using the bflat major seven with the b flat on top and a below it is not the most "constant interval" (unless I heard the term incorrectly). What do you mean by this? Thanks so much for your videos, they are amazing!
Rookie question here - in example no3 you're playing an F7b9 with a natural 13th, then in example 4 it's with b13. What scales do those chords come out of? Especially the first one - doesn't seem like a mode of C melodic minor (as in other example with A half dim. with natural 9th). I mean, I excluded F lydian dominant (because it doesn't contain b9) as well as F altered scale (doesn't include a natural 13th). Not an F phrygian dominant as well, because of the natural 13th. I would be really glad if you pointed which scale that F713b9, as well as F7b13b9, come out of. With the second one I guess it's F altered but also it doesn't hurt to ask :)
Endlessly interesting. One chord I did find a bit grating was the GmMaj which to my ears sounds too far 'out' in the context. Perhaps that will change after a couple more listening and playing sessions.
This is also a chord relation lesson by default, minor 7ths used as rootless major, half dimished chords serving as dominants with extensions/altered etc great lesson, i discovered a lot from this👏🏿
I'm grateful for any good method to reharmonise tunes as I'm lacking in that department, Thanks to another great lesson, like that shirt you are wearing, good taste in shirts too lol, the last 4th example is modern and maybe opens the tune up for soloing choices? do you agree with my assumption?
Thank you Anthony! Yes, coloring the chords like this opens up the choices for the soloist. I can't take credit for the shirt, it was a gift from my girlfriend 🙂
THanks! I used a scheduling thing for my website that didn't work the way I though it would.. Should be fixed now: jenslarsen.nl/autumn-leaves-chords-5-ways-to-add-colors-and-extensions/
Thanks for the lesson Mr. Jansen... I just didn't really understand why that Gm6 on the Im of the II V Im. It sounded great but wouldn't it be for a dorian instead of a tonic chord in this progression?
You're very welcome! Why should it be Dorian? Dorian doesn't have a leading note, and if you look at the melody of Autumn Leaves that suggests melodic minor as well. Of course that's only for Autumn Leaves, I think you will find that in general tonic minor is played mostly as a melodic minor sound if you start looking a bit further 🙂
Always love these! I know it's hard to remember when you were learning all of this information but... when you are adding extensions to the drop-two voicings, do you "see" the alteration from the original? For me, some are very easy to see like adding the 9 to a minor 7 in third inversion. Even though I "see" it's a Major 7 position from the third of the original chord, it's easier to "see" the added 9 from the original. But I find it harder "seeing" when adding the 9 to a second inversion Major 7 chord etc. I just see a minor 7 chord in root position from the third of the original. I also don't "see" any of the alterations when there are two of them. Yes, I understand how to get there but almost all of them are tritone subs to me which seems easier . You did mention both of my examples as simplified explanations but I'm just wondering how you "see" it.
Thank you Ken! I am not entirely sure, but I think I just see the original and then the rest are option from that one. I prefer not to have to remember too many different voicings. That said, I think that I can see them as several things I don't have to choose between a minor 9th or a maj7 voicing. They are both. Don't know if this is really helpful? 🙂
from my understanding jazz draws more from contrapuntal theory and multiple voices than the ''textured'' approach of stacked sounds and consonant overtones found in rock. drop2 voicings are amazing if in minimalism you know how to make them flow logically. something i still can't manage to do. you can do a lot with four voices. a lot.
Understood, but issue remains. Namely, how can one remember all this to utilize?! Not gonna happen on the fly anytime soon. Talk about study on a never ending journey (oh teacher are my lessons done?) Take me home already, will ya? :) Cheers Jens
How do you work with extensions? Do you use these rules as well? 🙂
I learned so much from you from this video! I dont play jaZz at all yet and just subved to your channel. This is so helpful and explained very well! Ive never even seen a lot of these chords ever! This is so cool ty so much you are a great teacher!
I LOVE IT!!!! thanks Jens. If I didn't have to work and eat and sleep I think I could spend 20 hours a day working through your lessons.
Thank you Jume! I hope you have other things to do as wll though! 🙂
Jens Larsen that's what the other 4 hours are for!
I’m so thankful I found your channel. I couldn’t find a jazz teacher in my area. You really are a great teacher!
Having a great time playing my new Hagstrom Super Viking.
Autumn Leaves in Yule.
You're very welcome Stephan! I am really glad you find the videos useful! 🙂
If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
Great lesson! I sing and play this song. It’s an easy song for me to experiment with. I hope I don’t throw off my bass player too much with some of these extensions!!
hey dear Jens Larsen,this is not a ordinary tutorial, is a Master class!! Thanks!! Exelent video and you are Exelent musician and teacher!! Hugs and blessings!!
You are very welcome! I am glad you found it useful! 🙂
Best jazz guitar instruction around, bar none! Thanks, Jens!
Thank you very much Brad!
Takk!
Glad you like it 🙂
Thanks, Jens. Very interesting all the various voicings and note substitutions. Knowing I can replace the 5th with 13 or 11 and the root with the 9 or 13 to get some new sounds is helpful.
Thanks! Knowing you get the ideas is really nice for me!
Wow ! Nice lesson. Thanks a lot
You are welcome!
Your videos are excellent!
Thank you 🙂
I always get extension envy when I watch pianists play. These voicings make me feel a lot better! Thanks!
Thank you! Well, we all play the same 7-8 notes. If you want to make the piano players envious then add vibrato 😎
These Drop2 voicing work great on the ukulele!
They work great on most instruments actually :)
True :) I suppose I should have been complimenting your arrangements which transpose easily to the ukulele.
No worries! It's great that you can use them! 🙂
Thanks for this!!!
Спасибо за интуитивную понятность материала!
Glad it is useful :)
Jens, I really like the G min maj7/6 at 9:41. I'd usually put the 7 on the 3rd string there, so I like the 7 on the 2nd string. I didn't see it before - now I do, lol.
For major type chords, I'll add the 9/13 before the #11. I love the #11, but I don't always want it in there, it's pretty spicy so I'll add it sparingly. What do you think about that?
For minor 7's, I'll go with 9's and 11's before 13's for the same reasons as I mentioned above. If it's a one chord, I'll use the 13 and sometimes the major 7.
Dominant 7's are a little more involved. When resolving to a major chord, I'll tend to use natural 9's and 13's. I may use altered extensions after that. If I'm resolving to a minor chord, I'll definitely use altered extensions.
I think that sums it up for me!
First. Ill show myself out
Is it that bad? 🙂
no haha but noone cares
I mean noone cares i'm first. Why would i be here if I don't care bro?
I think I misunderstood you comment, don't worry about it :)
Nice...I like your ear.........good choices...thanks for this.....ron
You're very welcome Ron!
At 2:46 you mention that using the bflat major seven with the b flat on top and a below it is not the most "constant interval" (unless I heard the term incorrectly). What do you mean by this? Thanks so much for your videos, they are amazing!
I say consonant interval, it is a b9
Rookie question here - in example no3 you're playing an F7b9 with a natural 13th, then in example 4 it's with b13. What scales do those chords come out of? Especially the first one - doesn't seem like a mode of C melodic minor (as in other example with A half dim. with natural 9th). I mean, I excluded F lydian dominant (because it doesn't contain b9) as well as F altered scale (doesn't include a natural 13th). Not an F phrygian dominant as well, because of the natural 13th. I would be really glad if you pointed which scale that F713b9, as well as F7b13b9, come out of. With the second one I guess it's F altered but also it doesn't hurt to ask :)
F7 diminished scale: F Gb Ab A B C D Eb F :)
Endlessly interesting. One chord I did find a bit grating was the GmMaj which to my ears sounds too far 'out' in the context. Perhaps that will change after a couple more listening and playing sessions.
Thank you Hubert! The mMaj7 is harsh, especially in this voicing, but that is a bit what I am going for. I actually think it sounds beautiful 😄
Super lesson.. is in your patreon This lesson ?
Yes 🙂 www.patreon.com/posts/18119868
Ey fantastic today I'm going to study . Thanks Jens!
This is also a chord relation lesson by default, minor 7ths used as rootless major, half dimished chords serving as dominants with extensions/altered etc great lesson, i discovered a lot from this👏🏿
I'm grateful for any good method to reharmonise tunes as I'm lacking in that department, Thanks to another great lesson, like that shirt you are wearing, good taste in shirts too lol, the last 4th example is modern and maybe opens the tune up for soloing choices? do you agree with my assumption?
Thank you Anthony! Yes, coloring the chords like this opens up the choices for the soloist.
I can't take credit for the shirt, it was a gift from my girlfriend 🙂
Love the video thanks for sharing. The link to the PDF is broken.
THanks! I used a scheduling thing for my website that didn't work the way I though it would..
Should be fixed now: jenslarsen.nl/autumn-leaves-chords-5-ways-to-add-colors-and-extensions/
Thanks for the lesson Mr. Jansen...
I just didn't really understand why that Gm6 on the Im of the II V Im. It sounded great but wouldn't it be for a dorian instead of a tonic chord in this progression?
You're very welcome! Why should it be Dorian? Dorian doesn't have a leading note, and if you look at the melody of Autumn Leaves that suggests melodic minor as well.
Of course that's only for Autumn Leaves, I think you will find that in general tonic minor is played mostly as a melodic minor sound if you start looking a bit further 🙂
Always love these! I know it's hard to remember when you were learning all of this information but... when you are adding extensions to the drop-two voicings, do you "see" the alteration from the original? For me, some are very easy to see like adding the 9 to a minor 7 in third inversion. Even though I "see" it's a Major 7 position from the third of the original chord, it's easier to "see" the added 9 from the original. But I find it harder "seeing" when adding the 9 to a second inversion Major 7 chord etc. I just see a minor 7 chord in root position from the third of the original. I also don't "see" any of the alterations when there are two of them. Yes, I understand how to get there but almost all of them are tritone subs to me which seems easier . You did mention both of my examples as simplified explanations but I'm just wondering how you "see" it.
Thank you Ken! I am not entirely sure, but I think I just see the original and then the rest are option from that one. I prefer not to have to remember too many different voicings.
That said, I think that I can see them as several things I don't have to choose between a minor 9th or a maj7 voicing. They are both.
Don't know if this is really helpful? 🙂
That is helpful. Thanks
Really good but I am still confused as to why not use all 6 strings? Particularly if it's just me playing alone
Because you end up with double notes in the voicings and that doesn't sound that good
from my understanding jazz draws more from contrapuntal theory and multiple voices than the ''textured'' approach of stacked sounds and consonant overtones found in rock. drop2 voicings are amazing if in minimalism you know how to make them flow logically. something i still can't manage to do. you can do a lot with four voices. a lot.
Understood, but issue remains.
Namely, how can one remember all this to utilize?!
Not gonna happen on the fly anytime soon.
Talk about study on a never ending journey
(oh teacher are my lessons done?)
Take me home already, will ya? :)
Cheers Jens
when playing over the chord progression in the 4th example does it give the soloist more note choices??
That really depends on the chord. Sometimes it will and sometimes it will force the soloist to pick a certain sound
You explain rather quickly why you are using the G6. I don't really understand that part or why an alternative would be a minor major 7
I take it you mean Gm6. Can you give me a time-stamp in the video?
It's good info but he talks so much that it's frustrating to follow.