Great video Jens! As different (good) solos can be, they oft share some common principles when it comes to melodic shape and form. Meaning for example the classic Call & Response device, or consindering the melodic shape in general (e.g going up three bars, then going down one bar). Frank Sikora wrote about it in "Neue Jazz-Harmonielehre" (obviously in german) and I really found his perspective helpful. In addition to your mentioned tools, I think that can help playing lines that "makes sense" to our ear. Thanks again, keep the good work up! :)
Loved the lessons - I watched multiples today. I have something that will, not could, WILL, make your students lives infinitely easier - help them master your expert level lessons easier. As long as you can HUM out loud you can learn scales and soloing over chords. HUM, don't play your solos over the chords. Do that, then grab guitar and vary between your voice and the guitar. Then just the guitar. Maybe use a looping device to play note for note with "your own solos," or you can sing your solos as you play the notes. I have an excellent ear, but terrible memory and this has worked brilliantly for me. For example, I can play along with you note-for-note, but it's utterly gone and forgotten next day; this problem persists since childhood. Your students learning curve will decrease dramatically if they solo with their voice before touching the guitar.
You put a lot of work into giving us new ideas and fresh perspectives. I think that's really all that most us need. I appreciate the fact that you try your best to get us to understand your concepts instead of just taking the easy way out. Very effective way of teaching. I could watch a dozen videos by other teachers and not retain a single thing. But I always find something useful in all of your lessons. A hundred thousand dedicated subscribers is better than a million casual ones.
This is super helpful, Jens. I just started playing jazz on guitar and have been focusing on learning licks and applying them to standards. These ideas really expand my thinking and give me creative ways to get the right notes in melodic ways.
Man, I've been following since before you hit 1k subs, back when you were posting in r/playingguitar, and you've really grown as a teacher online. Thank you so much for posting, I've learned a lot from you, Jens.
as a blues rock pentatonic guy who knows theory and some jazz progressions, chords and scales i am liking this, quite fascinating and very clever, i might be developing that hearing any (particularly the disonant ones!) interval thing jazzers speak of.. thanks again man.
I've mainly been using instinct to try to hit chord tones through the progression. If it sounds right to me I think I've hit it. But who knows? I'm the only one listening to my playing. Lol! Thanks Jens!
Very nice camera work on this lesson, Jens. It's usually hard for me to learn solo shapes by watching your fingers -- the charts usually help more. But the close focus on your fingers this time (and in recent videos) really helps. When I follow where the 'target note' is, i can follow what your other fingers are doing. Very nice. (I guess "other fingers" doesn't really make sense -- you use your 'target note finger' for other notes also. But I hope you see what I mean.)
Great lesson. First like the sheet music. Like to see the 2 5 1s. Using intervals like fourths, min 3rd, thirds etc..and hearing them is key to me. Seeing patterns on the 🎸..taking advantage that in standard tuning that the guitar is tuned in fourths is imp. E to A to D to G to B to E..is strings 6to 1Many new players don't realize that the guitar fretboard is a FANTASTIC way to see fourths. and learn all their major scales a little at a time. A good mental exercise is to think E F# G# ..A B C# ..D E F#...G A.. B C# D#... E.. . You can move this pattern up to third fret.and see the guitar itself as a useful practice instrument for say a keyboard. . G C F Bb D G.. One of many ways this comes in handy is learning that the 2nd fret all strings from strings (5-2), with the G root bass string are this (3, 6 ,9 b5)..WOW. So those notes would be (G B E A Db).There are amazing info from just this First the chord would probably be called a (G) 6 9 b5).. It's not really a Dominant because it had no b7. The six is half step below the b7.. So let's move the six up. ( G B F A Db) (R 3 b7 9 b5) most likely that will be called a G9#11..it could be be a (G 9 b5) also. But look at the( G B F A Db) above. See the G F .. notice this F is a whole tone below the root. It is always like this. All dominant chords require the b7 or flat 7. But jazz players will often use the G string to get a less buddy 3rd (G A (B). That's on the 4th fret. (3 X 3 4 X X) (G X F B )..that show us that the fifth or perfect 5th is not needed in jazz. Many times other instruments are playing it. Also other instruments might be playing a note that clashes with it. So let's just remove our root G. We can just chord notes (3 b7)..( B F). Whaaat.. yes, Virginia, there really is a tritone here. Yep that's true..dominant chords have tritones. So let's say we are playing a song and we want the tritone sub for a G7. Say you were playing in C.. the five of C is G7... basically we don't want to just do a plain vanilla cadence.. Boring..Let's use our fret board and find what the tritone of G7 would be( Btw it will be dominant) Go to base E string and press G the go the base string and press C right below that. That's a 4th.C .. (G A B C) We want a b5..(G A B C D) well that's not quite a a flat five. Db would be a b5.. btw that is a tritone. Let's prove that. (G)A B Db. You don't count the first note. Want a very simple way.. if you've played very long..somebody says "go to the 5; If you were playing in G..you would go to the D7. What about if they said go go to the b5. Warning Will Robertson.. ( referencing LOST IN SPACE TV SERIES)Danger.. We are learning a shortcut for finding the tritone sub. The tritone for G7 ..your 5 of the C is simply Db7 You can see the root Db at the fourth fret of the A string. Let's prove that and practice our our half tones. (A) Bb B C Db) 3 whole steps is a tritone. There are many, many, many things to learn from looking at your fretboard.
I like your video very much u deserve many likes, subscribe..the reason why I like it is for making guitar tab which make learners to understand better...thank u so much..
Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍
Hello Jens! I've been playing guitar for about 10 years now and I want to get into jazz guitar. I have a pretty good understanding of chords, modes, arpeggios and what not, but I've never applied them in a jazz context. What should I start working on to be able to improvise over more complex jazz changes? Thanks!
Hi Jens! Really enjoy all of your videos, this one was also really informative for me! When it comes to chords and comping in general i have a question that I hope you could answer for me. So what I am wondering is how you could practice comping yourself when soloing. I see and know that that is really common to do for jazz guitarist, or at least it is an opportunity for evryone. What voicings do you think of when putting chords and comping yourself and how to you think about this? Grettings from sweden. :)
Arv H I’m not so talented to sing the head and harmonize the guitar part, I wish... I try to vocalize what I am imagining and play it in parallel. I came on this many years ago listening to George Benson, Jens is right, do it quietly it can be annoying! 😎😇
Awesome Lesson Lars ... is there some technique that allows the solo to remind the listener of the head during the solo? Personally do u pay attention to that? Thank you.
Thank you! I use the melody as a guide for myself when I play, so that is what I hear in my head that tells me where I am. You can of course always base your solo on the melody in different ways, but I do not have a method for doing so that is universal.
Hi Jens, at 8:45 you mention something about a "stagger ..." (falls?) which I could not quite decipher. I think I understand correctly the sound of the little fragment that you were playing (i.e., G, D, A) before the G-7 arpeggio. It visually looks staggered. I thought it would be helpful to understand the shorthand that you were using. I never know which device will stick in my mind and be helpful.
in studying bird i found that he did amazing voice leading in upper and lower ranges of his cascading lines many times based on tetrachords( perfect 4th)
I been transcribing by hand then going through it but ill try to find a video source clip where someone else talks about it so i can have something to show you
here is a guy that talks bout it but he referrincing the omni book i dont know hwo accurate that is from first glance it seems about right ruclips.net/video/Uhosnq5Uvx0/видео.html this thing with the tetrachords used by parker as a way of voice leading has blown my mind
the gentleman in this videos seems to be using the thomas owens charlie parker motives approach of 100 motives it seems to be very helpful as well, it is def a interesting way to see how the structure works has opened my mind upo to understanding much more the fundamentals of bebop regarding multi- tier voice leading.
Hi Jens, a lot of jazz musicians and educators talk about singing or hearing (in your head) what you play as you play it. I believe this is called audiation. Do you support this idea? How to develop this skill? Especially over non functional harmony like in the Rosenwinkle video you recently did. Cheers.
I think that is very important. That is also one of the reasons I am big on among other things composing and practicing scales open ended so that you use and develop your ability to hear melodies and play them. Until now I haven't done any ear-training stuff on the channel, mostly because there are a lot of other guys doing that on RUclips so that side of it I have chosen not to do. I think you will find that there is not so much difference between playing over non functional harmony or functional harmony if you give your ear time to hear the changes and the melodies over it.
Thanks for you reply Jens. I have checked out the other guys on youtube doing eartraining stuff, but I find your style of teaching and explaining things suits my understanding and development the best. I think most of your subscribers would agree :) It would be awesome if you'd consider doing ear-training tutorials.
Thanks! Maybe I will at some point, I don't really consider it my area of expertise compared to the people I work with at the Conservatory. Most of what I have learned was from playing music on the instrument and I did not have really good ear-training lessons most of the way (with a few important exceptions)
What is the strategy for rapid chord changes such as two to a measure. I'm looking at "I'm Beginning to See the Light." Do you really outline all those chords or do you look for common tones or scales? I can follow alternating chords such as the F7-B7 in "Billie's Bounce" but I feel constrained and can't flow easily between the two. Any advice there?
You can outline them or you can decide which one is more important and then play that one. I would argue that you should be able to play them and that common tones is not the way to go, that is trying to fnd a shortcut which often is not a solid solution. If you want to nail the changes then you should work with target notes (I would imagine I am talking about that in this video?).
I don't know if this will help anyone to be a better Jazz musician or not . Learning the major and minor scales as to stay way from the pentatonic blue/rock scales as much as possible . Learning Triads, arpeggios, drop and extension chord voicings are always helpful to your playing . I'm certainly not saying to discount pentatonics, by all means learn them . If you are a more progressed player learn alternate tunings that are really cool to experiment with .
Thank you brother Jens . It can all be learned right here on the Jens Larsen channel from a highly intelligent man and one of our for most leading guitar shredders of this time . the best teacher on RUclips . We are all proud of having a great instructor like you to help us along !!! 🙂
Can you talk about chromatic transposition of motifs? I've heard soloists play a motif, then repeat it maybe a minor third up, and then move it chromatically around. I'm still figuring this out (which explains my poor description), but I think it relies on tritone substitutions and using alternate 3-6-2-5-1 patterns. Are you familiar with this sort of approach?
You hear people do that, but to me it mostly leads to very predictable melodies that you maybe don't really want in your solo? Very often it is vaguely related to Dim stuff like Eb7, Gb7, A7 and C7.
Jens Larsen OK, thanks. I had been thinking of trying a repeated motif idea played through Coltrane changes over a 3-6-2-5-1, could that be a thing? :)
Jen's. Quick question. Often a book will say "altered chord"; is there a rule for what altered chord that may be. Of course ..one could buy the sheet music .ha ha oh yeah that follows the Golden rule. Whoever has the gold makes the rules.
Usually saying that a dominant is altered means that it comes from the altered scale, but I can't promise that there are not people out there using that to mean something else (it is jazz after all) hope that helps :)
@@JensLarsenI guess it just depends on the notes .. if everyone played the same notes could get boring. it probably has some mix of the b9 #9 #11 b13.. Thank you for your quick reply..
since I have zero knowledge of music theory to back me up, I perceive jazz as some visual puzzle game, that constantly changes. Melts what's left of my brain 😅
What is your approach to soloing over chord changes? Share if you have some great ideas or exercises! 🙂👍
Great video Jens!
As different (good) solos can be, they oft share some common principles when it comes to melodic shape and form.
Meaning for example the classic Call & Response device, or consindering the melodic shape in general (e.g going up three bars, then going down one bar).
Frank Sikora wrote about it in "Neue Jazz-Harmonielehre" (obviously in german) and I really found his perspective helpful.
In addition to your mentioned tools, I think that can help playing lines that "makes sense" to our ear.
Thanks again, keep the good work up! :)
Thank you! Yes that is a good way to tie lines together :)
Jens Larsen mess up the whole time lol
Loved the lessons - I watched multiples today.
I have something that will, not could, WILL, make your students lives infinitely easier - help them master your expert level lessons easier.
As long as you can HUM out loud you can learn scales and soloing over chords. HUM, don't play your solos over the chords. Do that, then grab guitar and vary between your voice and the guitar. Then just the guitar. Maybe use a looping device to play note for note with "your own solos," or you can sing your solos as you play the notes.
I have an excellent ear, but terrible memory and this has worked brilliantly for me. For example, I can play along with you note-for-note, but it's utterly gone and forgotten next day; this problem persists since childhood. Your students learning curve will decrease dramatically if they solo with their voice before touching the guitar.
You put a lot of work into giving us new ideas and fresh perspectives. I think that's really all that most us need.
I appreciate the fact that you try your best to get us to understand your concepts instead of just taking the easy way out.
Very effective way of teaching. I could watch a dozen videos by other teachers and not retain a single thing.
But I always find something useful in all of your lessons. A hundred thousand dedicated subscribers is better than a million casual ones.
Thank you very much, Billy! 🙂I am glad you like my way of teaching, That is a huge compliment!
This is super helpful, Jens. I just started playing jazz on guitar and have been focusing on learning licks and applying them to standards. These ideas really expand my thinking and give me creative ways to get the right notes in melodic ways.
Thanks Dave! That's great to hear! 👍🙂
Hey, I've probably said this a number of times, but I will say it again. You are the man! Best jazz lessons 👌🏽
Man, I've been following since before you hit 1k subs, back when you were posting in r/playingguitar, and you've really grown as a teacher online. Thank you so much for posting, I've learned a lot from you, Jens.
Thanks Calymos! That's really great to hear! 🙂
Keep up the good work! :)
as a blues rock pentatonic guy who knows theory and some jazz progressions, chords and scales i am liking this, quite fascinating and very clever, i might be developing that hearing any (particularly the disonant ones!) interval thing jazzers speak of.. thanks again man.
Glad you like it! :)
I've mainly been using instinct to try to hit chord tones through the progression. If it sounds right to me I think I've hit it. But who knows? I'm the only one listening to my playing. Lol! Thanks Jens!
Always follow your ears :)
Very nice camera work on this lesson, Jens. It's usually hard for me to learn solo shapes by watching your fingers -- the charts usually help more. But the close focus on your fingers this time (and in recent videos) really helps. When I follow where the 'target note' is, i can follow what your other fingers are doing. Very nice. (I guess "other fingers" doesn't really make sense -- you use your 'target note finger' for other notes also. But I hope you see what I mean.)
Thank you Ron! My editor is indeed really fantastic! 🙂
Subscribed
Great lesson. First like the sheet music. Like to see the 2 5 1s. Using intervals like fourths, min 3rd, thirds etc..and hearing them is key to me. Seeing patterns on the 🎸..taking advantage that in standard tuning that the guitar is tuned in fourths is imp. E to A to D to G to B to E..is strings 6to 1Many new players don't realize that the guitar fretboard is a FANTASTIC way to see fourths. and learn all their major scales a little at a time.
A good mental exercise is to think E F# G# ..A B C# ..D E F#...G A..
B C# D#... E.. . You can move this pattern up to third fret.and see the guitar itself as a useful practice instrument for say a keyboard. . G C F Bb D G.. One of many ways this comes in handy is learning
that the 2nd fret all strings from strings (5-2), with the G root bass string are this (3, 6 ,9 b5)..WOW.
So those notes would be (G B E A Db).There are amazing info from just this First the chord would probably be called a (G) 6 9 b5)..
It's not really a Dominant because it had no b7. The six is half step below the b7.. So let's move the six up. ( G B F A Db) (R 3 b7 9 b5) most likely that will be called a
G9#11..it could be be a (G 9 b5) also. But look at the( G B F A Db) above. See the G F .. notice this F is a whole tone below the root. It is always like this. All dominant chords require the b7 or flat 7. But jazz players will often use the G string to get a less buddy 3rd (G A (B). That's on the 4th fret. (3 X 3 4 X X) (G X F B )..that show us that the fifth or perfect 5th is not needed in jazz. Many times other instruments are playing it. Also other instruments might be playing a note that clashes with it. So let's just remove our root G. We can just chord notes (3 b7)..( B F). Whaaat.. yes, Virginia, there really is a tritone here. Yep that's true..dominant chords have tritones. So let's say we are playing a song and we want the tritone sub for a G7. Say you were playing in C.. the five of C is G7... basically we don't want to just do a plain vanilla cadence.. Boring..Let's use our fret board and find what the tritone of G7 would be( Btw it will be dominant) Go to base E string and press G the go the base string and press C right below that. That's a 4th.C .. (G A B C) We want a b5..(G A B C D) well that's not quite a a flat five. Db would be a b5.. btw that is a tritone. Let's prove that. (G)A B Db. You don't count the first note. Want a very simple way.. if you've played very long..somebody says "go to the 5; If you were playing in G..you would go to the D7. What about if they said go go to the b5. Warning Will Robertson.. ( referencing LOST IN SPACE TV SERIES)Danger.. We are learning a shortcut for finding the tritone sub. The tritone for G7 ..your 5 of the C is simply Db7
You can see the root Db at the fourth fret of the A string. Let's prove that and practice our our half tones. (A) Bb B C Db) 3 whole steps is a tritone. There are many, many, many things to learn from looking at your fretboard.
I like your video very much u deserve many likes, subscribe..the reason why I like it is for making guitar tab which make learners to understand better...thank u so much..
You're very welcome! I am glad you like it! 🙂
awesome !!!! thanks master
Thank you 🙂 Glad you like it!
Thank you so much for your beautiful lessons
You are very welcome! I am glad you find the videos useful 👍🙂
Fantastic treatment of an important topic, as usual!
Thank you Kenneth! 🙂
Great exercise and lesson. Thanks
Thank you! 🙂 Glad you like it!
Another great lesson from the master!!
Thank you Jume 🙂
This was great!
Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍
very good!
Thank you 👍🙂
Really helpfull!!!
You're very welcome! I am glad you like it! 🙂
nice lesson ***
Thank you Francesco!
Hello Jens!
I've been playing guitar for about 10 years now and I want to get into jazz guitar. I have a pretty good understanding of chords, modes, arpeggios and what not, but I've never applied them in a jazz context. What should I start working on to be able to improvise over more complex jazz changes?
Thanks!
Maybe learn some Jazz Standards? If you already have the basics covered then learning some actual music is a logical next step 🙂
Hi Jens! Really enjoy all of your videos, this one was also really informative for me! When it comes to chords and comping in general i have a question that I hope you could answer for me. So what I am wondering is how you could practice comping yourself when soloing. I see and know that that is really common to do for jazz guitarist, or at least it is an opportunity for evryone. What voicings do you think of when putting chords and comping yourself and how to you think about this? Grettings from sweden. :)
Nice
Thanks Ron! 🙂
I try to vocalize or sing what I am hearing in my head then work it out by playing along on guitar. I call an audible... 😎
Always good! If possible try to be consicous of what you sing :)
LOL, yes avoid the hot mic...! 🙊
Yes, that was exactly what I meant 😁😁
nice... singing the solo u intend to play or singing the head repeatedly and soloing around it?
Arv H I’m not so talented to sing the head and harmonize the guitar part, I wish... I try to vocalize what I am imagining and play it in parallel. I came on this many years ago listening to George Benson, Jens is right, do it quietly it can be annoying! 😎😇
Awesome Lesson Lars ... is there some technique that allows the solo to remind the listener of the head during the solo? Personally do u pay attention to that? Thank you.
Thank you! I use the melody as a guide for myself when I play, so that is what I hear in my head that tells me where I am.
You can of course always base your solo on the melody in different ways, but I do not have a method for doing so that is universal.
Hi Jens, at 8:45 you mention something about a "stagger ..." (falls?) which I could not quite decipher. I think I understand correctly the sound of the little fragment that you were playing (i.e., G, D, A) before the G-7 arpeggio. It visually looks staggered. I thought it would be helpful to understand the shorthand that you were using. I never know which device will stick in my mind and be helpful.
Stack of 4ths :)
in studying bird i found that he did amazing voice leading in upper and lower ranges of his cascading lines many times based on tetrachords( perfect 4th)
Interesting! Cna you point me to an example?
I been transcribing by hand then going through it but ill try to find a video source clip where someone else talks about it so i can have something to show you
here is a guy that talks bout it but he referrincing the omni book i dont know hwo accurate that is from first glance it seems about right ruclips.net/video/Uhosnq5Uvx0/видео.html
this thing with the tetrachords used by parker as a way of voice leading has blown my mind
Or take a phot and post it on my FB page? facebook.com/jenslarsenYTlessons/
the gentleman in this videos seems to be using the thomas owens charlie parker motives approach of 100 motives it seems to be very helpful as well, it is def a interesting way to see how the structure works has opened my mind upo to understanding much more the fundamentals of bebop regarding multi- tier voice leading.
thank you for this insight, but can someone spell out the difference between voice leading & target notes? aren’t they the same thing?
Voice leading is from on note to the next, a target note is something that you use several notes to reach
Hi Jens, a lot of jazz musicians and educators talk about singing or hearing (in your head) what you play as you play it. I believe this is called audiation. Do you support this idea? How to develop this skill? Especially over non functional harmony like in the Rosenwinkle video you recently did. Cheers.
I think that is very important. That is also one of the reasons I am big on among other things composing and practicing scales open ended so that you use and develop your ability to hear melodies and play them.
Until now I haven't done any ear-training stuff on the channel, mostly because there are a lot of other guys doing that on RUclips so that side of it I have chosen not to do.
I think you will find that there is not so much difference between playing over non functional harmony or functional harmony if you give your ear time to hear the changes and the melodies over it.
Thanks for you reply Jens. I have checked out the other guys on youtube doing eartraining stuff, but I find your style of teaching and explaining things suits my understanding and development the best. I think most of your subscribers would agree :) It would be awesome if you'd consider doing ear-training tutorials.
Thanks! Maybe I will at some point, I don't really consider it my area of expertise compared to the people I work with at the Conservatory. Most of what I have learned was from playing music on the instrument and I did not have really good ear-training lessons most of the way (with a few important exceptions)
What is the strategy for rapid chord changes such as two to a measure. I'm looking at "I'm Beginning to See the Light." Do you really outline all those chords or do you look for common tones or scales? I can follow alternating chords such as the F7-B7 in "Billie's Bounce" but I feel constrained and can't flow easily between the two. Any advice there?
You can outline them or you can decide which one is more important and then play that one.
I would argue that you should be able to play them and that common tones is not the way to go, that is trying to fnd a shortcut which often is not a solid solution.
If you want to nail the changes then you should work with target notes (I would imagine I am talking about that in this video?).
@@JensLarsen Thanks, I thought that might be the answer. I'll get to work. Your videos are great!
Go for it 🙂
I don't know if this will help anyone to be a better Jazz musician or not . Learning the major and minor scales as to stay way from the pentatonic blue/rock scales as much as possible . Learning Triads, arpeggios, drop and extension chord voicings are always helpful to your playing . I'm certainly not saying to discount pentatonics, by all means learn them . If you are a more progressed player learn alternate tunings that are really cool to experiment with .
I think that is really good advice 🙂
Thank you brother Jens . It can all be learned right here on the Jens Larsen channel from a highly intelligent man and one of our for most leading guitar shredders of this time . the best teacher on RUclips . We are all proud of having a great instructor like you to help us along !!! 🙂
Can you talk about chromatic transposition of motifs? I've heard soloists play a motif, then repeat it maybe a minor third up, and then move it chromatically around. I'm still figuring this out (which explains my poor description), but I think it relies on tritone substitutions and using alternate 3-6-2-5-1 patterns. Are you familiar with this sort of approach?
You hear people do that, but to me it mostly leads to very predictable melodies that you maybe don't really want in your solo?
Very often it is vaguely related to Dim stuff like Eb7, Gb7, A7 and C7.
Jens Larsen OK, thanks. I had been thinking of trying a repeated motif idea played through Coltrane changes over a 3-6-2-5-1, could that be a thing? :)
Difficult to say :) you transform Em7 A7 Dm7 G7 Cmaj7 to Em7 Eb7 Abmaj7 Db7 Cmaj7?
Jen's. Quick question. Often a book will say "altered chord"; is there a rule for what altered chord that may be. Of course ..one could buy the sheet music .ha ha oh yeah that follows the Golden rule. Whoever has the gold makes the rules.
Usually saying that a dominant is altered means that it comes from the altered scale, but I can't promise that there are not people out there using that to mean something else (it is jazz after all)
hope that helps :)
@@JensLarsenI guess it just depends on the notes .. if everyone played the same notes could get boring. it probably has some mix of the b9 #9 #11 b13..
Thank you for your quick reply..
What are the passing chords
Are you asking what passing chords are? Or asking something in the video? 🙂
@@JensLarsen yes im just asking what passing chords are
Try to check out this video: ruclips.net/video/6pGVE0ZRF8s/видео.html
That should clear it up 🙂
100% Djence's dad.
I had to pause the video 5 times just to see how to finger the chords in those voicings and still don’t have it.
What chords would that be? The examples are all melodies right? 🙂
The Gm7, C7 and F maj 7 - I didn’t get very far : /
Don't worry. Try to check out this video: ruclips.net/video/esWyb1_hQRE/видео.html
You are great - thank you, Jens. 👌
why jazz is so hard *crying*
Nice to see you again! 🙂 Jazz is not that bad, but it does take a little effort!
since I have zero knowledge of music theory to back me up, I perceive jazz as some visual puzzle game, that constantly changes. Melts what's left of my brain 😅
@@JensLarsen so true Jens! And therefore it can be soooooooo satisfying too!