Thank you so much for this - as always - excellent lesson, your passion for teaching and your commitment to the online guitar community Jens! I'm learning a ton from your lessons.
Wow, great stuff here Jens! That quintal arpeggio is wild! I've been revisiting your videos after about a years time now and the second time around, like a good book, things just click much nicer. I've taken time to experiment with things and sometimes simply by playing, i'll have those mini revelations and aha moments like, 'that's what Jens was trying to say' kinda stuff. ;) i have never been the fastest learner and won't be confused with Einstein or Joe Pass anytime soon, but have come a LONG WAY in my understanding of the theory thanks to you my friend. Thanks again!
Can you make more videos like this?!?! I freaking love these! Like 10 levels of melodic minor or like a certain chord like before...it’s just really cool to see this...thanks again for all your work!!!!
of course the point is, i assume, that this generates different ideas to playing all the note of dorian all the time! thanks for all the great lessons man, they got me through lock down etc!
This was my introduction to your channel, and it was a fine introduction-great lesson! This reminds me of the triad soloing approach Larry Carlton popularized early in his solo career (he teaches this in his first instructional video). Here in just 12 min you are taking that idea and putting in a broader context, including pentatonics, quartals, shells (both of the last new to me), etc.. Eye (and ear) opening to see the connections! Thanks a lot for this. Plus, I really dig your warm-on-the-edge-of-breakup tone.
Jens, thanks for the response! This video got me to subscribe; I'll keep an eye on upcoming videos (and catch up on old ones!) and weigh in if there's something I think could benefit from some your approach.
Another great video Jens! I really love your R&B/Funk playing. Very tasty man! Thanks for the ideas. Can’t wait to shed some and teach them to my students. Cheers!
I use the first two pentatonic scales often. I think they sound nice and because pentatonic is a scale that I hear very well I will often simply play what I hear in my head when I start from them. My inner hear will often make me introduce half step spontaneously in the right spot (often introducing diatonic passing notes or combining scale 1 and 2). Finally, because pentatonic has nice fingering in all positions the lines will often be very fluid.
Awesome lesson. Always gems for the practice routine in your videos. I also like the Pentatonic with a 6th instead of b7 like Robben Ford would use or Amin7b5 arp. Eb Melodic minor and its Arpeggios is a favourite sound of mine for a little outside thing.
Thanks Matt! True the minor 6th pentatonics and the Aø arp would be pretty Robben Ford sounding! Did you ever experiment with B major or some of the Eb Augmented scale stuff on a Cm7 chord?
That's really helpful, thanks! Lately I've been thinking in terms of sounds communicating with chords. Like major sound, that your can use from the F and Bb in D, or the minor sound from G. Fun stuff!
Possibly the most informative Guitar lesson, I've ever seen. Many thanks Jens. I was wondering if you have any plans to make a 7 levels of (Some sus4 Chord) Phrygian - Triads to Voicing Arpeggios?
ha its funny, i started watching you as a political science major in university 2 years ago as a dude learning tabs and not knowing theory. I've since dropped out and am pursuing music school. ur videos has helped me grow as a musician a lot man thanks dude! now the cute blonde singer will notice me with my super locrian licks!
How about ways to use these sounds to create movement? You talk about a couple of cases: 1 where there are fast-moving functional changes, 2 when there aren't. In case 2, what are some ways to imply movement using these approaches? The lesson scratches the surface of an interesting topic.
Yeah, I guess I meant things like superimposing a quick V-i on Cm7, or maybe a longer progression than V-i, or (said this in another comment), side slipping or cycles if you have time. Great and very accessible lesson, Jens. I like to think that music will be more enjoyable if more people check out your videos!
+Juan Hernandez Given how little that is used and the nature of the material I am not sure that really qualifies as playing Dorian? I actually did on purpose choose to make it possible to use this material on a modal setting and in a II V ☺️
In my mind I was thinking of Joe Henderson tunes, where you frequently have 4 bars of a minor or sus chord. I understand the material is rare, but if you're putting out a lesson every week, there's only so much you can cover of the same topics, right? I'd be all for some very niche lessons if you have the time or interest.
Hey Jens, Ever since I watched a Guthrie Govan lesson about dorian soloing, Ive approached it by playing the major scale of the dorian based key one whole step down. So if im in C Dorian I would play Bb Major or maybe G minor. Thanks for the lesson!
You're welcome Nathan! With that approach you still have to emphasize the notes of the chord, so if you think (and hear) Bb major then it is like you playing Happy Birthday over a Cm7 chord and that doesn't really work 🙂👍
Guthrie Govan is a great guitarist but his approach to theory is almost like throwing darts at different text books and pulling out the resulting concepts. Maybe they make a lot of sense to him, but they're not great to learn from (and there are a lot of musicians/instructors that have said the same thing). It's a lot more rewarding to come to that result by way of understanding the notes of the chord and possible scales to use which contain the same notes or notes that compliment the chord tones than by what happens to sound right. Jens Larsen is one of the better instructors on RUclips to really drive this point home.
Guthrie is not exactly wrong though with the Bb major scale, I would actually suggest learning it like that as well, but would indeed point out what notes to hit as well 🙂
Thanks for the reply Jens. You definitely make sense about having to follow chord tones, not just a scale. With that said the trick guthrie was talking about definitely helped me find the chord clusters that work in dorian(or really any mode) since I was able to see certain inversions within that scale shape. Keep up the great lessons!
Great stuff as always, Jens. I've used the C min Maj 7 arp a lot since hearing Grant Green do it on his version of So What. I didn't quite catch what you meant when you said Pat Metheny does something all the time. What is it that he does? Thanks!
Thank you David! Using melodic minor is indeed something that is done often, I would consider it reharmonization rather than actually playing the Dorian sound. The Pat Metheny lick is this: ruclips.net/video/CD6pI-PE0Z8/видео.htmlm56s
Hey Jens unrelated to the video but I see you use the AX8. I do as well, any quick tips or settings that from your perspective are useful for jazz/fusion tones? I got your preset off of Axechange and actually got a great Tosin Abasi/Animals as Leaders tone (not the high gain lead stuff)!
Enjoying listening to your analysis and deconstructions. When you play quartal and quintal voices do you ever invert them? FCG to FGC or CGF for example. I know if you totally invert them they flip from quartal to quintal etc, but rearranging the order might offer up some interesting sounds.
Great lesson Jens. Of course depending on the context and what you want to convey, I was wondering if you try 4 note quartal voicings over Dorian. I feel they work very well, including the tritone versions, yielding Eb Lydian and F13. The 4 note, low to high, provides root, 4/#4, 7/b7, 3/b3, works on both sets of strings(excluding low E) without being too muddy. Anyway, thoughts on this? Thanks again
Hi Jens , here i share this what eef Albers told me to think of to change this function in a bVIth so play B7+5 and than Emmaj Cminor NR...real nice aint it and step in later Cdorian or melodic minor em and than cminor!!!!Eefa Albers approach...
why did it sound like a steel drum when you hit the c min 7 with the 13th / a note in it? was that caused by the tension in the a note? i can't see you playing a guitar that is set up wrong, lol! that's how it sounded though..
I just startet to play along and went for a B neapolitan major scale. Please feel free to point out any mistakes here, this is what i am practising at the time and i am in no way a scales person. To me anyway ,it sounded very cool. Because im a sucker for altered locrian and augmented sounds that come in a natural way, not so off and modal. So this what i did: I guess this BmM7 sounding scale gets kind of tonizised, because Cm7 can kinda exist on its second step it seems to sound fine. It can be seen as a Dorian Scale with a 2- and a 7+. So from down here the 2nd step is a whole tone 7+, i went for the fifth, witch is locmajor and played a minor blues mixed with locrian pentatonic spots over F#, . Because its not exactly correct, but i guess blues is hardly exactly wrong either, like ever :D Workes fine for me with those lydian sounds. So the 7 levels would be something like 1 Neapolitan major; (Dorian b2 maj7) 2 leading whole-tone; (whole-tone maj7) 3 Lydian dominant augmented; (whole-tone #6) 4 Lydian minor; (whole-tone add5, add12) 5 major Locrian; (whole-tone add4,add11) 6 altered dominant major 2nd; (whole-tone b3) 7 altered dominant diminished 3rd; (whole-tone scale plus alt9) What i like about that scale is that you can play a lot of colored wholetone scales over its steps, without soundiing "wholetony" , because they are related to the base. Also some altered stuff and dissonances that usually are out there uncomfortable dont strike as strong when the whole environment is so abstrakt, distant...i mean to me augmented and locrian don't sound dark, but rather alien..so this is why i am doing this, to develop a style to use them in the way i feel they should be, and hope could be.and i felt that Neapolitan gave a good base anyway, to fall back on it sounds very dorian with an augmented 5th, So I go ape shit and allover the board experimenting with maj 7 b5 arpeggios, because if something starts to get wierd its only a step to the side, to comfortable territory,the whole floore is wholetone, lolz. Also helpful in this case are augmented scales for traversing diagonally, because at this point its totally chromatic what i am doing. and it is not as bad as it could be...sweet. Imma try again, maybe I am on to something here. In case you try this and hate it: Find your own scales to mess with :D Cheers. #freechromaticism #wholetone2018 #allscalesmatter #locrianisthebettermajor
Yeah right...Pentatonics. I guess Blues, Locrian, Altered Maj7 arpeggios, Lydian, Augmented, diminished aug 6 should be fine, also Bebop Dominant(or Myxolydian) over secondary Dominants, i used the Maj7b5 a lot and that is either a sub for a dominant maj7, or a superimposed Mutant that builds some maj11 b5 minor monsters over the 5th note of halfdiminished dominants. it can be used instead of the tonic(my tonic), and step above tonic(your tonic) and imposed over or stand in for dominants and is inverted some minor 6add9 or so...goes with everything. In my book. Disclaimer: This all is only absolutely valid in my book^^. With the Superimposition I mostly omit my Root. But so far, I like it.
For the use of the Maj7b5: I find it appealing with the altered and locrian stuff. so I'd play a EbMaj7b5 to substitute for the Cm7 for example, it is now a Cm6/9, and i try Arpeggios and different positions to find a cool fitting within the Voices you play. This one is standing in for the Tonic (your Tonic), but it can also substitute for an altered dominant 7th...and if the Maj7b5 is basically a min6...phew. No idea what I did before i got into this Jazzmess, but i guess that's it from here on....
sweet! gimmegimme! i need all the informations! and thanks of course for the decent job you are constantly doing. stuff like this, where things happen and stuff makes sense, and all the theorie suddenly happens: incredibly valuable moments along the way. Great teaching, great ressources, solid thing you have here.
@@JensLarsen Certainly Message in a Bottle, but I too thought immediately of the Edie Brickell number. Beautiful playing, as it always is. Thanks for your videos - very much appreciated.
With quartal-voicings you meant the same as - what I would call pentatonic-chords? Could you do some walking bass stuff with harmonizing bass-notes beyond beginner-level? Cannot find much here on youtube. Your productivity is beyond awesome - thx.
+Dizzy Krissi I don't know what you call pentatonic chords ☺️ only you can answer that. I already have quite a few walking bass videos, did you check out those?
Very nice but I noticed one slight error -- at 7:59 you said that a shell chord has a diatonic third and then a diatonic fifth. You meant a third and a seventh of course. (I just studied your vid on shell chords --- I knew of the concept but never knew the name. Nice work.)
+Ron Amundson Thank you Ron! I am talking about the intervals when you play it as a melody so it is actually a diatonic third followers by a diatonic fifth, so it is not the distance to the root but the distance between the notes ☺️
Triad pairs / Hexatonics. You aaalmost covered it when you started listing triads, but then I was disappointed to see that you didn't. Also, side slipping.
Jens Larsen that's a very nice idea jens. For example on a song like stratus, a modal tune by billy cobham. Superimpose a progression to create movement. I use this concept a lot. I superimpose a progression in a freetime setting so i can stay on a tension chord or resolve it as fast as i can to the next chord. For example '' very basic''' the first 8 measures of all the things you are. The parallel major chord of cmin is Eflat major. So i start the progression so i can land on a Eflat maj6 chord in bar 7 and 8. The same arpeggio as cm7. '''You can do this of course with any progression which you fancy'''. For extra tension i use the second mode of melodic minor which simply means you flatten the 2nd or 9th of the dorian scale. Really like your lessons jens, keep up the good work. 👍👍
I want to start by saying that I really like this kind of video and I get always ideas from it. But, and yes there is a but, as a blues player , therefore less used to melodic stretches than you jazz guys, I can find very few melodic lines in this improv. No offense obviously this is pretty personal, but stand back a second and think if you really think a vocal line would sound like that. There is IMO a lot of theoretical knowledge applied without much care about how it sounds, in other term: since it is theoretically correct to consider a minor7 chord as a 3th degree of a major scale I can go up and down the Phrygian mode without much care about how it sounds, how to shine the right notes and how to use the not chordal tones for create tension than it resolves in a chord tone.
Could you should take a step back and realize how rude your comment is? If you really think that it is possible to only think in theory and play like this without hearing the melodies that you play then that says a lot more about you than about my playing.
somebody got offended , I did not mean that.Not for a second.I made a premise saying that I am not used to melodic stretches but man your lines do not help at all the listener. It's probably a wanted effect but your lines are pretty angular, not easy to follow at all for people do not have jazz in their DNA.
Of course I get offended: You don't understand my playing and then you just blame me and reduce it to theory and system! Come on, in your world everything that does not sound like John Mayer is not musical that is incredibly narrow minded. Do you also comment on metal videos that they use too much distortion or that Albert King is playing the same licks too often? I find it very self-centered that you can honestly think that everything has to be tailored to fit where you are in your musical development regardless of style. Open your mind if you want to learn something new, don't just show up and moan that it takes effort.
In the other hand if somebody don't like your lines he's a closed minded person? A melodic line is iMO something you can sing or better say it's a vocal line played in a instrument. I honestly apologize if I offended you, that was not my meaning , I say it in my first post and I repeat it now
Why can't you sing my lines? I can. It's pretty much mainstream jazz and that limit is in your head not mine, it is not my fault that you don't know anything about jazz is it? What you seem to not realize is that you are walking into a Chinese restaurant and trying to order a pizza.
Do you want more Dorian Ideas and licks? Check this: ruclips.net/video/1V8mFsPtEEk/видео.html
Great stuff as always! And this simple line from 4:50 to 4:52 - wonderful!
+Łukasz Cebula Thank you Lukas ☺️
Thank you so much for this - as always - excellent lesson, your passion for teaching and your commitment to the online guitar community Jens! I'm learning a ton from your lessons.
You're very welcome Pat! I am glad you find the videos useful!
Probably one of the most beneficial lessons ever! Thank you a lot Jens!
Thank you very much 🙂 Glad you like it!
Best jazz teacher on RUclips- though I apply you stuff to many styles!
Glad you find the videos useful 🙂
Wow, great stuff here Jens! That quintal arpeggio is wild! I've been revisiting your videos after about a years time now and the second time around, like a good book, things just click much nicer. I've taken time to experiment with things and sometimes simply by playing, i'll have those mini revelations and aha moments like, 'that's what Jens was trying to say' kinda stuff. ;) i have never been the fastest learner and won't be confused with Einstein or Joe Pass anytime soon, but have come a LONG WAY in my understanding of the theory thanks to you my friend. Thanks again!
Happy new year.. and a great starting point. Jazz, Jazz Videos
Yeah...
greetings from Austria
Can you make more videos like this?!?! I freaking love these! Like 10 levels of melodic minor or like a certain chord like before...it’s just really cool to see this...thanks again for all your work!!!!
Thanks Edward! I probably will!
of course the point is, i assume, that this generates different ideas to playing all the note of dorian all the time! thanks for all the great lessons man, they got me through lock down etc!
i play bass your explanations is really clear
this helps me a lot to develop cool bass lines
Great to hear! :)
This was my introduction to your channel, and it was a fine introduction-great lesson! This reminds me of the triad soloing approach Larry Carlton popularized early in his solo career (he teaches this in his first instructional video). Here in just 12 min you are taking that idea and putting in a broader context, including pentatonics, quartals, shells (both of the last new to me), etc.. Eye (and ear) opening to see the connections! Thanks a lot for this. Plus, I really dig your warm-on-the-edge-of-breakup tone.
Thank you! Really glad you like the video! So are there similar topics or formats that you would like to see videos on? 🙂
Jens, thanks for the response! This video got me to subscribe; I'll keep an eye on upcoming videos (and catch up on old ones!) and weigh in if there's something I think could benefit from some your approach.
Great Thanks! :)
I have been playing with these ideas lately....Thanks Jens
Another great video Jens! I really love your R&B/Funk playing. Very tasty man! Thanks for the ideas. Can’t wait to shed some and teach them to my students. Cheers!
Thank you W3lfar3! 🙂 Great that you put it to use!
That was a very impressive lesson Mr. Larsen thank you for sharing.
Amazing, man! Total eye opener of a lesson for me. Going to try this on my bass. :)
Thank you! Glad you found it useful 🙂
Good lesson and will be back. I love the dorian sound and it fit perfectly in the 2 5 1 progression. Jens Big Thumb up.
Thank you Mike Allen I am glad you dig it! 👍
Great lesson Jens you need to mention 10:11 The lick! Always a good way to go.
+Ravegg Thank you! Yes Indeed the lick works great on a Minor chord as well ☺️
I use the first two pentatonic scales often. I think they sound nice and because pentatonic is a scale that I hear very well I will often simply play what I hear in my head when I start from them. My inner hear will often make me introduce half step spontaneously in the right spot (often introducing diatonic passing notes or combining scale 1 and 2). Finally, because pentatonic has nice fingering in all positions the lines will often be very fluid.
This video is fantastic Jens! So much to think about here
Thank you very much Shawn! Really glad to hear that! 🙂👍
The Shell voicings are amazing
Really thanks a lot for this fantastic lesson! :)
Glad you like it 🙂
Thank you very much ! Great lesson !
You're very welcome! I am glad you like it!
Amazing! So much stuff to work on! Thanks
Thank you Luke! 🙂
You’re making a seies of super clarifying videos chapeau
Thank you! 🙂 I am glad you like it!
Awesome lesson. Always gems for the practice routine in your videos. I also like the Pentatonic with a 6th instead of b7 like Robben Ford would use or Amin7b5 arp. Eb Melodic minor and its Arpeggios is a favourite sound of mine for a little outside thing.
Thanks Matt! True the minor 6th pentatonics and the Aø arp would be pretty Robben Ford sounding!
Did you ever experiment with B major or some of the Eb Augmented scale stuff on a Cm7 chord?
Great lesson. and excellent graphics!
+Mikko Hilden Thanks Mikko 👍☺️
Great lesson Jens! Thanks
+Fritz Pageot Thank you Fritz! ☺️
Very informative and easy-to-use-videos. :)
+Stravinskij Thank you very much! Glad you find them useful 👍☺️
this is SUPER GREAT
Thank you 🙂
He used this in One of his greatest improvisings like Mornings Sun-Tune sound
That's really helpful, thanks! Lately I've been thinking in terms of sounds communicating with chords. Like major sound, that your can use from the F and Bb in D, or the minor sound from G. Fun stuff!
That's a nice way to approach Upper-structure sounds! 👍🙂
Possibly the most informative Guitar lesson, I've ever seen. Many thanks Jens. I was wondering if you have any plans to make a 7 levels of (Some sus4 Chord) Phrygian - Triads to Voicing Arpeggios?
Thank you! How about this one: ruclips.net/video/qbPLmG89lX8/видео.html
Now you have to make the same video for major chords and dominant chords :D
+Michael Rosen Haha! Yes maybe I do 😁
Great lesson!
You're very welcome! I am glad you like it! 🙂
Henk van benthum always said like try to see it sometimes iIn step like D/C over Cminor Triad..Flat 5...Nice triad...
Jens your speaking to me now...Quintal....Yes.....so fun on the sixstring Great Lesson.....rc
Great! :) Thanks!
+Shuzies oh btw. I have a video coming on Quintal arpeggios, it was supposed to go up Saturday but I was ill. It will be there next Saturday ☺️
What is btw?....on another note....How do you like your Sennheiser HD215 Headphones?
"by the way" I like the Sennheisers a lot! Pretty clear and easy to hear what is going on 🙂
Ok...Ha Ha I am showing my age....rc
Great information - thanx!
Thank you! Glad you found it useful ☺️
On Cm7 Berkeley Theory teaches + Scofield early played this: C-FG-BbC-F-G-C Eb-F sus fusion sound with starting on 5th string gliding to it...
Excellent!
Thank you Michael Jaramillo! 🙂
Well done!
+Marcos Dellavega Thank you Marcos! ☺️👍
great lesson
+Victor Linton Thank you very much Victor! ☺️
John Frusciante - Going inside, is a good example of quintal arpeggios being used.
Ok! Interesting I don't know that 🙂
bass player mainly going through your vids for brushing up on theory, you make me want to take my archtop out of the case lmao. MUST RESIST.
Haha! I am very sorry 😁 glad you like the videos
ha its funny, i started watching you as a political science major in university 2 years ago as a dude learning tabs and not knowing theory. I've since dropped out and am pursuing music school. ur videos has helped me grow as a musician a lot man thanks dude! now the cute blonde singer will notice me with my super locrian licks!
Super Locrian Bass-players always get the girl 😄
How about ways to use these sounds to create movement? You talk about a couple of cases: 1 where there are fast-moving functional changes, 2 when there aren't. In case 2, what are some ways to imply movement using these approaches? The lesson scratches the surface of an interesting topic.
Use these sounds to create movement? Do you mean imply other chords on the Cm7, using this on other chords? 🙂
Yeah, I guess I meant things like superimposing a quick V-i on Cm7, or maybe a longer progression than V-i, or (said this in another comment), side slipping or cycles if you have time. Great and very accessible lesson, Jens. I like to think that music will be more enjoyable if more people check out your videos!
+Juan Hernandez Given how little that is used and the nature of the material I am not sure that really qualifies as playing Dorian?
I actually did on purpose choose to make it possible to use this material on a modal setting and in a II V ☺️
In my mind I was thinking of Joe Henderson tunes, where you frequently have 4 bars of a minor or sus chord. I understand the material is rare, but if you're putting out a lesson every week, there's only so much you can cover of the same topics, right? I'd be all for some very niche lessons if you have the time or interest.
In Joe Henderson tunes they never really do that much super-imposition do they?
Besides that I get that it can seem an interesting topic 🙂
Can you show how to apply the diminished scale over a minor 7 chord?
You don't really need to do that. It will anyway sound like you are playing C7
@@JensLarsen Thanks ! Your videos are gold!
My Teacher was henk van benthum and he tought me the early Eef Albers approach ten tones in stead of 12 like vertical playing approach...
Hey Jens, Ever since I watched a Guthrie Govan lesson about dorian soloing, Ive approached it by playing the major scale of the dorian based key one whole step down. So if im in C Dorian I would play Bb Major or maybe G minor. Thanks for the lesson!
You're welcome Nathan! With that approach you still have to emphasize the notes of the chord, so if you think (and hear) Bb major then it is like you playing Happy Birthday over a Cm7 chord and that doesn't really work 🙂👍
Guthrie Govan is a great guitarist but his approach to theory is almost like throwing darts at different text books and pulling out the resulting concepts. Maybe they make a lot of sense to him, but they're not great to learn from (and there are a lot of musicians/instructors that have said the same thing). It's a lot more rewarding to come to that result by way of understanding the notes of the chord and possible scales to use which contain the same notes or notes that compliment the chord tones than by what happens to sound right. Jens Larsen is one of the better instructors on RUclips to really drive this point home.
Guthrie is not exactly wrong though with the Bb major scale, I would actually suggest learning it like that as well, but would indeed point out what notes to hit as well 🙂
Thanks for the reply Jens. You definitely make sense about having to follow chord tones, not just a scale. With that said the trick guthrie was talking about definitely helped me find the chord clusters that work in dorian(or really any mode) since I was able to see certain inversions within that scale shape. Keep up the great lessons!
That's all cool Nathan! As I said his info was not wrong, just needed a bit of context 🙂
I cant give you anything but... thumb up.
Thanks! I am happy with that too! 🙂
Great stuff as always, Jens. I've used the C min Maj 7 arp a lot since hearing Grant Green do it on his version of So What. I didn't quite catch what you meant when you said Pat Metheny does something all the time. What is it that he does? Thanks!
Thank you David! Using melodic minor is indeed something that is done often, I would consider it reharmonization rather than actually playing the Dorian sound.
The Pat Metheny lick is this: ruclips.net/video/CD6pI-PE0Z8/видео.htmlm56s
Hey Jens unrelated to the video but I see you use the AX8. I do as well, any quick tips or settings that from your perspective are useful for jazz/fusion tones? I got your preset off of Axechange and actually got a great Tosin Abasi/Animals as Leaders tone (not the high gain lead stuff)!
+Shon Romeo Bey™ Well to be honest I use that patch most of the time, so everything I know is already in there ☺️
Fair enough!
But if you have specific questions just ask!
Great lesson again Jens. Thanks a lot. What guitar tuner do you use in the video?
+Jürgen Müller Thank you Jürgen! ☺️That's a TC Electronic polytune. They are really great!
the 7 levels of smooth
+plop zoppers Haha! Gotta keep it smooth! 😁
Hi Jens, I can't seem to find the PDF for this video. Can you please help. Thank you !!
Hi Max! I don't think I made one. If I remember correctly I didn't use sheet music in this video?
This is all I have: jenslarsen.nl/7-levels-cm7-dorian-triads-complete-voicing-arpeggios/
Enjoying listening to your analysis and deconstructions. When you play quartal and quintal voices do you ever invert them?
FCG to FGC or CGF for example. I know if you totally invert them they flip from quartal to quintal etc, but rearranging the order might offer up some interesting sounds.
Thank you! Yes I do use inversions of the quartal arps, I really like sus4 triads but I also didn't want the video to get too long.
you´re the best
Thank you very much Edgar! 🙂
Great lesson Jens. Of course depending on the context and what you want to convey, I was wondering if you try 4 note quartal voicings over Dorian. I feel they work very well, including the tritone versions, yielding Eb Lydian and F13. The 4 note, low to high, provides root, 4/#4, 7/b7, 3/b3, works on both sets of strings(excluding low E) without being too muddy. Anyway, thoughts on this? Thanks again
You are talking comping and not soloing I take it?
Yes I use those sometimes, though I don't really use 4-part quartal harmony that much :)
Yes, comping. Sometimes alternating between the 3rd and7th on top 2 strings. Thanks
Hi Jens , here i share this what eef Albers told me to think of to change this function in a bVIth so play B7+5 and than Emmaj Cminor NR...real nice aint it and step in later Cdorian or melodic minor em and than cminor!!!!Eefa Albers approach...
why did it sound like a steel drum when you hit the c min 7 with the 13th / a note in it? was that caused by the tension in the a note? i can't see you playing a guitar that is set up wrong, lol! that's how it sounded though..
Great video. Do you make all of the backing tracks you're soloing over?
+SEN$EI $LIM Thank you! ☺️ Yes I mostly just throw something together with an Octaver and a DrumGenius loop.
I just startet to play along and went for a B neapolitan major scale. Please feel free to point out any mistakes here, this is what i am practising at the time and i am in no way a scales person. To me anyway ,it sounded very cool. Because im a sucker for altered locrian and augmented sounds that come in a natural way, not so off and modal. So this what i did: I guess this BmM7 sounding scale gets kind of tonizised, because Cm7 can kinda exist on its second step it seems to sound fine. It can be seen as a Dorian Scale with a 2- and a 7+. So from down here the 2nd step is a whole tone 7+, i went for the fifth, witch is locmajor and played a minor blues mixed with locrian pentatonic spots over F#, . Because its not exactly correct, but i guess blues is hardly exactly wrong either, like ever :D Workes fine for me with those lydian sounds.
So the 7 levels would be something like
1 Neapolitan major; (Dorian b2 maj7)
2 leading whole-tone; (whole-tone maj7)
3 Lydian dominant augmented; (whole-tone #6)
4 Lydian minor; (whole-tone add5, add12)
5 major Locrian; (whole-tone add4,add11)
6 altered dominant major 2nd; (whole-tone b3)
7 altered dominant diminished 3rd; (whole-tone scale plus alt9)
What i like about that scale is that you can play a lot of colored wholetone scales over its steps, without soundiing "wholetony" , because they are related to the base. Also some altered stuff and dissonances that usually are out there uncomfortable dont strike as strong when the whole environment is so abstrakt, distant...i mean to me augmented and locrian don't sound dark, but rather alien..so this is why i am doing this, to develop a style to use them in the way i feel they should be, and hope could be.and i felt that Neapolitan gave a good base anyway, to fall back on it sounds very dorian with an augmented 5th, So I go ape shit and allover the board experimenting with maj 7 b5 arpeggios, because if something starts to get wierd its only a step to the side, to comfortable territory,the whole floore is wholetone, lolz. Also helpful in this case are augmented scales for traversing diagonally, because at this point its totally chromatic what i am doing. and it is not as bad as it could be...sweet. Imma try again, maybe I am on to something here. In case you try this and hate it: Find your own scales to mess with :D Cheers.
#freechromaticism #wholetone2018 #allscalesmatter #locrianisthebettermajor
Yeah right...Pentatonics. I guess Blues, Locrian, Altered Maj7 arpeggios, Lydian, Augmented, diminished aug 6 should be fine, also Bebop Dominant(or Myxolydian) over secondary Dominants, i used the Maj7b5 a lot and that is either a sub for a dominant maj7, or a superimposed Mutant that builds some maj11 b5 minor monsters over the 5th note of halfdiminished dominants. it can be used instead of the tonic(my tonic), and step above tonic(your tonic) and imposed over or stand in for dominants and is inverted some minor 6add9 or so...goes with everything. In my book. Disclaimer: This all is only absolutely valid in my book^^. With the Superimposition I mostly omit my Root. But so far, I like it.
Disclaimer: In case you wanna read my book:There is no book.its the metaphorical book.
For the use of the Maj7b5: I find it appealing with the altered and locrian stuff. so I'd play a EbMaj7b5 to substitute for the Cm7 for example, it is now a Cm6/9, and i try Arpeggios and different positions to find a cool fitting within the Voices you play. This one is standing in for the Tonic (your Tonic), but it can also substitute for an altered dominant 7th...and if the Maj7b5 is basically a min6...phew. No idea what I did before i got into this Jazzmess, but i guess that's it from here on....
+Max Aggropop You will probably like tomorrows video ☺️
sweet! gimmegimme! i need all the informations! and thanks of course for the decent job you are constantly doing. stuff like this, where things happen and stuff makes sense, and all the theorie suddenly happens: incredibly valuable moments along the way. Great teaching, great ressources, solid thing you have here.
When I hear that quintal I think of the 90s Edie Beckell song,haha
Not the Police? That is surprising to me 🙂
@@JensLarsen Certainly Message in a Bottle, but I too thought immediately of the Edie Brickell number.
Beautiful playing, as it always is. Thanks for your videos - very much appreciated.
Good stuff! 6:58 The first arp should be spelled F Bb Eb, just a heads up :)
Thank you Miko! That is indeed a typo 🙂
Do you ever use triad pairs for Dorian, like b3 to 4?
I do! I just didn't want the video to get too long! In fact I left out 3 more things I use very often 🙂
Is a mistake the quartal arp from C at 7:04? ( F Bb C )
Yes, it is just a typo. Should have been an Eb :)
@@JensLarsen thank you for your great material!
also i guess the c note of each arp is making it work?
format: G-F Eb CBb and than lower octave as fast as possible up and down possibilities all 6 strings...
I like the cminor 6/9
so it really dorian if you combine all but this way you miss min 3rd or the maj 6th and min 3rd
With quartal-voicings you meant the same as - what I would call pentatonic-chords? Could you do some walking bass stuff with harmonizing bass-notes beyond beginner-level? Cannot find much here on youtube. Your productivity is beyond awesome - thx.
+Dizzy Krissi I don't know what you call pentatonic chords ☺️ only you can answer that. I already have quite a few walking bass videos, did you check out those?
Chords you build up by visualizing pentatonic patterns vertically - I will check out your videos as soon as possible.
+Dizzy Krissi Some of those are indeed quartal voicings 👍☺️
Very nice but I noticed one slight error -- at 7:59 you said that a shell chord has a diatonic third and then a diatonic fifth. You meant a third and a seventh of course. (I just studied your vid on shell chords --- I knew of the concept but never knew the name. Nice work.)
+Ron Amundson Thank you Ron! I am talking about the intervals when you play it as a melody so it is actually a diatonic third followers by a diatonic fifth, so it is not the distance to the root but the distance between the notes ☺️
Ok, I see. Sorry.
No problem Ron! 🙂
What would your 7 Levels of Cm7 be? 🙂
somewhere between 1 - Nick Jonas to 7 - Jens Larsen
Haha! Good one Ben!
Triad pairs / Hexatonics. You aaalmost covered it when you started listing triads, but then I was disappointed to see that you didn't. Also, side slipping.
Well I didn't want to make 50 levels of Cm7 :) I actually left out 4 more that I use often 🙂
Let's hear those !
maybe something like superimposing a Ab7-G7-cmin7
So more chords and a bit of tension? 🙂
Jens Larsen that's a very nice idea jens. For example on a song like stratus, a modal tune by billy cobham. Superimpose a progression to create movement. I use this concept a lot. I superimpose a progression in a freetime setting so i can stay on a tension chord or resolve it as fast as i can to the next chord. For example '' very basic''' the first 8 measures of all the things you are. The parallel major chord of cmin is Eflat major. So i start the progression so i can land on a Eflat maj6 chord in bar 7 and 8. The same arpeggio as cm7. '''You can do this of course with any progression which you fancy'''. For extra tension i use the second mode of melodic minor which simply means you flatten the 2nd or 9th of the dorian scale. Really like your lessons jens, keep up the good work. 👍👍
Thanks Rob, I think I would consider that reharmonization and maybe not really about playing dorian? 🙂
I want to start by saying that I really like this kind of video and I get always ideas from it. But, and yes there is a but, as a blues player , therefore less used to melodic stretches than you jazz guys, I can find very few melodic lines in this improv. No offense obviously this is pretty personal, but stand back a second and think if you really think a vocal line would sound like that. There is IMO a lot of theoretical knowledge applied without much care about how it sounds, in other term: since it is theoretically correct to consider a minor7 chord as a 3th degree of a major scale I can go up and down the Phrygian mode without much care about how it sounds, how to shine the right notes and how to use the not chordal tones for create tension than it resolves in a chord tone.
Could you should take a step back and realize how rude your comment is? If you really think that it is possible to only think in theory and play like this without hearing the melodies that you play then that says a lot more about you than about my playing.
somebody got offended , I did not mean that.Not for a second.I made a premise saying that I am not used to melodic stretches but man your lines do not help at all the listener. It's probably a wanted effect but your lines are pretty angular, not easy to follow at all for people do not have jazz in their DNA.
Of course I get offended: You don't understand my playing and then you just blame me and reduce it to theory and system!
Come on, in your world everything that does not sound like John Mayer is not musical that is incredibly narrow minded. Do you also comment on metal videos that they use too much distortion or that Albert King is playing the same licks too often?
I find it very self-centered that you can honestly think that everything has to be tailored to fit where you are in your musical development regardless of style. Open your mind if you want to learn something new, don't just show up and moan that it takes effort.
In the other hand if somebody don't like your lines he's a closed minded person? A melodic line is iMO something you can sing or better say it's a vocal line played in a instrument. I honestly apologize if I offended you, that was not my meaning , I say it in my first post and I repeat it now
Why can't you sing my lines? I can. It's pretty much mainstream jazz and that limit is in your head not mine, it is not my fault that you don't know anything about jazz is it?
What you seem to not realize is that you are walking into a Chinese restaurant and trying to order a pizza.
Boujour jens larsen votre méthode génial jevoie mieux le jazz liks merci merci merci continue Fourastie sylvio
That piano advertisement (in the beginning) is Horrible !
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Excellent lesson!
Thank you! 🙂