Do you have a favorite Arpeggio, triad or pentatonic scale for a Maj7 chord? Share some good tips :) Content: 0:00 Intro 0:55 Cmaj7 - You can Always Get More Out Of This! 1:33 Chromatic Tension (It's Bebop!) 2:44 Be creative! Don't just run up and down arpeggios 4:03 Em7 - Don't Box yourself in, you are missing out 5:58 Gsus4 - Not Obvious and Very Cool 7:43 Esus4 - Complete Chord And some Color! 9:04 Em pentatonic - Quartal Cmaj7 licks 10:23 Triad Pairs (and the most challenging picking exercise I know) 11:37 Like the video? Check out my Patreon page!
Glad that you keep emphasizing melody. The arpeggio gives you a lot of information, and the scale fills in some of the gaps, but the missing element that so many overlook is the MELODY! My advice is to train your ear to pick up great melodies from any genre. I still say that melodies have their inherent logic, and you learn that logic with the more melodies that you learn. Then you learn licks and see how those licks follow the principles of melody. It ain't random, but a gotta listen. Break it down, yes. But in the end, listen.
How can you dislike this video ? I’ve been playing guitar professionally for a long time and have taught guitar for over 20 years and this guy is the best guitar instructor on RUclips . Every lesson is beautifully presented and thought out . Once again Jens thanks for a great lesson . At this time your videos are keeping a lot of guitar players going . Stay safe and well .
Thank you for these excellent jazz lessons. I've played a ton of prog-rock and neo-classical guitar for decades, but always found jazz to be much more elusive, even though I regularly get what's going on in some jazz fusion tunes. So your lessons are really helping me get more of a foothold on jazz, and as a result music in general. That's helping me be more creative in the end too because the more styles we absorb, the more our vocabulary increases.
Jens I think this is possibly the best lesson you’ve ever done, both pedagogically, pace and ideas developmentally and purely applicable straight away. I feel like there are several ‘chunks’ in the lesson I can easily spend half an hour on. Superb! Thank you Jens.
Love all these things , and whenever I find out your thinking the same way about these things where I independently been working on them, it gives me a little boost of confidence since I beat my ego to death everyday listening to the Giants and greats in our music history
One thing that I do is make the realization that in basic form that cmaj7, gmaj6, and e minor all have the same triad but the difference is what the Bass note is. Anything that you do that sounds great for one chord over these chords will sound great for all of them.
Yes with his free improvisation - some old tapes with Oscar Peterson. Also his book and tape 'Joe Pass on Guitar' where he taped some lines - v good book!
9:08 wooo! One of my favorite things to do on a C maj7 chord is to start on low G and play G, A, D, E and repeat that for three octaves. It’s like a G sus2 triad plus the 6th!
Thanks Jens! Love he sus4 ideas and the quintal ideas. Already given me hours of ideas to work with. I also like the sound of the Dsus4 over Cmaj7, which gives us D (9th) G(5th) and A(13th). Just tried that over Autumn Leaves bars 3 and 4 and you can just keep the Fsus4 going over BbMaj7 and EbMaj7 :)
Jens, another great lesson. I also like thinking of a G major trad when playing over Cmaj7, especially in 7th pos. It helps to add some variety and reorder the scale tones in a cool way. Also, when you mentioned the Esus, it reminds me of playing a D-7 in 4ths up the B-G-D string set. That allows some very cool ways to play Cmaj7 licks up and down the neck
Thank you Jens - a great lesson. Recently I bought one of your books, it’s also very helpful. I own a few other Jazz books, but your concept is the most clear for me.
Muchas gracias Jens por el video es de mucha ayuda y me sirve muchisimo para mi improvisacion y excelente explicacion te mando un saludo desde Ciudad De Mexico
Hi Jens- thanks for this lesson and for the selfless sharing of all of your jazz knowledge (and humor) with the world of wannabes (like me). Have you ever done a video on strategies for developing sight-reading skills and how to survive the experience of sitting in a structured setting where charts are thrown in front of you and have to scan the chart and figure out how to sound like you know what you’re doing in the guitar player’s chair?
That is not as much a skill with reading as it is experience with the music. I did talk about it in a Q&A and also in a video on interpreting lead-sheets, but those videos are a few years old.
Thanks for all the lessons Jens. I would really like to see how we can approach a m - mMaj7 - m7 - m6 chord progression like the ones on my funny valentine and in a sentimental mood. I've searched but can't find anything on it.
Well Jens, there is a c.d from A.Holdswoth which name is "Secrets "...and this is what you do...you give us the "secrets" for finding our own way to improvise....greeaaat ... p.s; i think you should play more when you give an example; it is too short for us to "hear" it in its continuum.... Thanks Jens
Hi Jens, Yesterday I started to write you an email asking for a suggestion how to solo over a Cmaj7/Gmaj7/Cmaj7/Gmaj7 progression. I am working on a song containing this and got stuck in finding any good sounding lines for a solo. Recorded it over and over but deleted all of the numerous attempts because they sounded too cheesy. - The examples in this video are exactly what I have been looking for. Thank you very very much :-)
I've notice that using Chromatic Notes for Enclosures always has a "Jazzier" feel compared to using notes which are Diatonic to the Scale. This is why I tend to like playing Chromatic Enclosures more....
Thanks again Jens for an amazing lesson. If I can ask a personal question, when gigging, do you use lead sheets or do you have all the songs memorised. Soloing over quick chord changes seems like a monumental task at the moment if working from memory. But then I am only a newbie (18 months chord melody) thanks for your time
Glad you like it! Whether I am reading music depends on the gig and the repertoire. In general, I don't read when playing standards, but you need to know them really well to do that and it takes time. I don't know if you ever thought about it, but I don't think chord melody is a very useful way to get started with Jazz. Especially since it is often almost like classical guitar and you don't learn to improvise and interpret the melody and harmony but spend more time on practicing static things that then don't become the flexible tools you need to play Jazz in a band. I have thought about making a video about it because I think it is actually something that gets in the way for quite a few people.
@@JensLarsen Thank you Jens for your insightful observations and you are correct, however, in my case, my short term goal is to be able to create my own chord melody arrangements for solo guitar. Perhaps one day I will get into bebop and improv but it's not my focus atm. thanks again !!
What's the deal here??? I click expecting examples for an "A Maj7 chord" as is clearly stated in the title and this joker gives all his examples for a C Maj7!! TOTAL CLICKBAIT!!!!1! UN SUBCIBED D:
Do you have a favorite Arpeggio, triad or pentatonic scale for a Maj7 chord? Share some good tips :)
Content:
0:00 Intro
0:55 Cmaj7 - You can Always Get More Out Of This!
1:33 Chromatic Tension (It's Bebop!)
2:44 Be creative! Don't just run up and down arpeggios
4:03 Em7 - Don't Box yourself in, you are missing out
5:58 Gsus4 - Not Obvious and Very Cool
7:43 Esus4 - Complete Chord And some Color!
9:04 Em pentatonic - Quartal Cmaj7 licks
10:23 Triad Pairs (and the most challenging picking exercise I know)
11:37 Like the video? Check out my Patreon page!
Glad that you keep emphasizing melody. The arpeggio gives you a lot of information, and the scale fills in some of the gaps, but the missing element that so many overlook is the MELODY! My advice is to train your ear to pick up great melodies from any genre. I still say that melodies have their inherent logic, and you learn that logic with the more melodies that you learn. Then you learn licks and see how those licks follow the principles of melody. It ain't random, but a gotta listen. Break it down, yes. But in the end, listen.
Some can play, some can teach. Few can do both well. You are the exception!!!!
Thank you, Brian
How can you dislike this video ? I’ve been playing guitar professionally for a long time and have taught guitar for over 20 years and this guy is the best guitar instructor on RUclips . Every lesson is beautifully presented and thought out . Once again Jens thanks for a great lesson . At this time your videos are keeping a lot of guitar players going . Stay safe and well .
Thanks Jens. I appreciate your lessons.
Thank you for these excellent jazz lessons. I've played a ton of prog-rock and neo-classical guitar for decades, but always found jazz to be much more elusive, even though I regularly get what's going on in some jazz fusion tunes. So your lessons are really helping me get more of a foothold on jazz, and as a result music in general. That's helping me be more creative in the end too because the more styles we absorb, the more our vocabulary increases.
Jens I think this is possibly the best lesson you’ve ever done, both pedagogically, pace and ideas developmentally and purely applicable straight away. I feel like there are several ‘chunks’ in the lesson I can easily spend half an hour on. Superb! Thank you Jens.
Thank you that is really great to hear!
Excellent lesson. Thank you again Jens for all you do !
Thank you, Salim 🙂
Learning how to solo with the chords as their characteristics and details is definitely how to serve the song! Cheers man!
Thanks RC!
@@JensLarsen You are always welcome!
Love all these things , and whenever I find out your thinking the same way about these things where I independently been working on them, it gives me a little boost of confidence since I beat my ego to death everyday listening to the Giants and greats in our music history
Quartal arpeggios are really cool and I realised sus2 sus4 and a quartal triad so 1 4 b7 etc are inversions of each other.
One thing that I do is make the realization that in basic form that cmaj7, gmaj6, and e minor all have the same triad but the difference is what the Bass note is. Anything that you do that sounds great for one chord over these chords will sound great for all of them.
I like to add in an implied G7alt line over a CMaj7 chord (e.g. include the notes Ab (b9) or D# (#5)) - Joe Pass used to do this a lot.
Interesting, I never really noticed Joe doing that. Do have an example in a song?
Yes with his free improvisation - some old tapes with Oscar Peterson. Also his book and tape 'Joe Pass on Guitar' where he taped some lines - v good book!
Joe Pass 'Jazz Lines' dvd - v interesting review of lines (phrases) for major, minor and dominant chords.
Would you play the Ab or D# on a strong beat, or on an offbeat leading up to one of the chord notes or extensions (A or E)?
@@69ToneSunburst Hi, on beat to give it some tension.
9:08 wooo! One of my favorite things to do on a C maj7 chord is to start on low G and play G, A, D, E and repeat that for three octaves. It’s like a G sus2 triad plus the 6th!
I love how you put up the charts. Thanks
You’re welcome 😊
Thank you so much for all this good work - so many roads to rich phrases !
Thanks Jens! Love he sus4 ideas and the quintal ideas. Already given me hours of ideas to work with. I also like the sound of the Dsus4 over Cmaj7, which gives us D (9th) G(5th) and A(13th). Just tried that over Autumn Leaves bars 3 and 4 and you can just keep the Fsus4 going over BbMaj7 and EbMaj7 :)
Thanks! Your content is reinforcing all the knowledge I have and helping me to apply it in a musical way. Greetings from Uruguay!
Just great ! Many thanks...
Glad you liked it!
WowJen's,. You explained that very well. Thanks! And I'm not a very advanced guitar player yet I understood what you were saying.
Alright, I started watching this two hours ago, and I'm almost half way through! Wish me luck!
IsawUupThere Good luck!
That is dedication! :)
Yeah, I know! Isn't it great!
Very nice! I would be interesting in seeing that challenging picking exercise up close :)
Hi Jens, These are very useful patterns. When you demonstrate them can you repeat them a bit more. Thanks.
Jens, another great lesson. I also like thinking of a G major trad when playing over Cmaj7, especially in 7th pos. It helps to add some variety and reorder the scale tones in a cool way. Also, when you mentioned the Esus, it reminds me of playing a D-7 in 4ths up the B-G-D string set. That allows some very cool ways to play Cmaj7 licks up and down the neck
Thank you Jens - a great lesson. Recently I bought one of your books, it’s also very helpful. I own a few other Jazz books, but your concept is the most clear for me.
Thank you very much! That is really great to hear.
If you have a few minutes then consider leaving a short review on Amazon that really helps me 🙂
Done! You‘re welcome!
B minor pentatonic against a Cmaj7 gives a nice lydian feel...
Great content and video editing.
once again a great new view on a common chord, at least for me!
Muchas gracias Jens por el video es de mucha ayuda y me sirve muchisimo para mi improvisacion y excelente explicacion te mando un saludo desde Ciudad De Mexico
Another exceptional one, Jens (you're still the grand-master of music teachers online). Thanks.
Thank you very much Brad!
Excellent lesson!
Thank you!
Hi Jens- thanks for this lesson and for the selfless sharing of all of your jazz knowledge (and humor) with the world of wannabes (like me). Have you ever done a video on strategies for developing sight-reading skills and how to survive the experience of sitting in a structured setting where charts are thrown in front of you and have to scan the chart and figure out how to sound like you know what you’re doing in the guitar player’s chair?
That is not as much a skill with reading as it is experience with the music. I did talk about it in a Q&A and also in a video on interpreting lead-sheets, but those videos are a few years old.
We learned a Lot...
Your content..is Very good.
Thanks....Jens Larsen...
I like the bebop rithym...
Hugs from Brazil.
Glad you like it, Pedro!
love the video cant wait to get off work and play this!
Always interesting tips Jens
Thank you!
Thanks for all the lessons Jens. I would really like to see how we can approach a m - mMaj7 - m7 - m6 chord progression like the ones on my funny valentine and in a sentimental mood. I've searched but can't find anything on it.
I made one a few years ago ruclips.net/video/yQfQjjjepGo/видео.html 🙂
@@JensLarsen I must have missed it. Thanks for replying so quick. Keep up the good work!
Good audio, good camera work. Bravo.
Thank you!
Thanks teach!
Really useful, thanks!
Glad you like it!
Well Jens, there is a c.d from A.Holdswoth which name is "Secrets "...and this is what you do...you give us the "secrets" for finding our own way to improvise....greeaaat ...
p.s; i think you should play more when you give an example; it is too short for us to "hear" it in its continuum....
Thanks Jens
Thanks Christian! I find that the shorter examples work better for the video :)
Die syncopatie in Tob Dog - traeben is echt heel cool
Merci !
Hi Jens, Yesterday I started to write you an email asking for a suggestion how to solo over a Cmaj7/Gmaj7/Cmaj7/Gmaj7 progression. I am working on a song containing this and got stuck in finding any good sounding lines for a solo. Recorded it over and over but deleted all of the numerous attempts because they sounded too cheesy. - The examples in this video are exactly what I have been looking for. Thank you very very much :-)
Great when it works out like that :)
I've notice that using Chromatic Notes for Enclosures always has a "Jazzier" feel compared to using notes which are Diatonic to the Scale. This is why I tend to like playing Chromatic Enclosures more....
That makes sense, the effect is a lot stronger to the ear :)
Jense can make a video on dominant seventh and minor seventh too ?
I will keep that in mind :)
Thanks again Jens for an amazing lesson. If I can ask a personal question, when gigging, do you use lead sheets or do you have all the songs memorised. Soloing over quick chord changes seems like a monumental task at the moment if working from memory. But then I am only a newbie (18 months chord melody) thanks for your time
Glad you like it!
Whether I am reading music depends on the gig and the repertoire. In general, I don't read when playing standards, but you need to know them really well to do that and it takes time.
I don't know if you ever thought about it, but I don't think chord melody is a very useful way to get started with Jazz. Especially since it is often almost like classical guitar and you don't learn to improvise and interpret the melody and harmony but spend more time on practicing static things that then don't become the flexible tools you need to play Jazz in a band. I have thought about making a video about it because I think it is actually something that gets in the way for quite a few people.
@@JensLarsen Thank you Jens for your insightful observations and you are correct, however, in my case, my short term goal is to be able to create my own chord melody arrangements for solo guitar. Perhaps one day I will get into bebop and improv but it's not my focus atm. thanks again !!
Hey Jens, where can i find the video of the most annoying picking exercise you've ever made @10:44
Didn't make one yet 🙂
Can I make a request? How about exactly the same topic and structured lesson, but one on minor 7 and another on Dom 7? Thanks again - 😀👍🏻🎸
I will keep that in mind :)
9:50 this is important
Ok, the title is putted wrong, no problem, excellent lesson!
You need to post your videos so that when the pause button is pressed, the control icons don't obscure the tab diagram.
Just watch them in full screen 🙂
Try and count the amount of times Jens says Jazz😂
Well, how many times is it?
looks like you have lost the knob off your pickup selector. Can we buy you a new one
What's the deal here???
I click expecting examples for an "A Maj7 chord" as is clearly stated in the title
and this joker gives all his examples for a C Maj7!! TOTAL CLICKBAIT!!!!1!
UN SUBCIBED D: