In this lesson we’ll be looking at adding the 5th of each chord on top of these fun and cool-sounding blues chords. Though you are only adding one note to each chord in the progression, the 5th, you might be surprised how well this works in expanding the texture and color of the two-note chords you learned in the first two lessons of this series.
In today’s lesson, the third part in our series about two-note chords, we’re going to look at adding one note on top of the 3rd and 7th shapes you learned in the previous two lessons. When doing so, you begin to create a “two hands of the piano”-type feel, especially when rhythmic variation is involved — as is the case in Example 3 in this lesson.
As we discovered in the first part of this series on 3rd and 7th chord voicings, sometimes all you need to properly and musically outline any chord progression is two chords. Today, we’ll be continuing our exploration of these fun and easy-to-play jazz guitar shapes by looking at how to apply 3rd and 7th two-note chords to the fourth and fifth strings of the guitar.
When learning how to play jazz guitar, one of the main items we need to tackle is playing effective, jazzy-sounding chords that properly outline the chord changes all at the same time. While this may seem like a tall order, there are some easy-to-play and effective shapes we can learn in order to quickly and effectively outline any tune or progression we are jamming on in the woodshed or on the bandstand.
In this, the third part of our series exploring spread triad voicings for guitar, we will be looking at raising two notes in each inversion of major, minor, diminished and augmented triads on the fretboard. By doing so, you will be able to expand your triad vocabulary beyond the commonly used shapes, which will allow you to play your favorite tunes but with new and fresh voicings for the standard triads you normally play.
When learning to play guitar, many of us explore open-position triads, and maybe barre chords on the fifth- and sixth-string roots after that. But, while these shapes are essential to get under your fingers, triads can offer myriad different sounds if you take them out of their usual context and begin to expand them beyond the confines of a single octave.
When learning how to play guitar, many of us begin by exploring major and minor triads, often in the open position. As we advance, we might take these three-note chords up the neck and look at different inversions in our practice routine. But we tend to stop at closed-position triads when checking these shapes out in the woodshed.
One of the most common questions I get from jazz guitarists is, “How do I bring a more modern sound into my solos?” While there is no single answer, there are a few things we can do in order to inject a bit of modern jazz flavor into our lines. The first modern-jazz concept I like to explore with students is to think and play two chords at once over a single harmony.
Used by modern players such as Allan Holdsworth, whose playing first inspired me to check out these fingerings, four-note-per-string scales can help bring a more modern flavor to your lines, expand your knowledge of the neck and allow you to cover a large amount of fretboard real estate with just one scale shape, which are all beneficial to players looking to explore non-traditional scale fingerings in their playing.
When studying jazz guitar, we often begin by exploring the Dorian mode when soloing over m7 chords. But, while that is a great first-choice scale, we often stop there with our explorations of m7 chord vocabulary. One of the mostly widely used scales besides Dorian to solo over m7 chords is the melodic minor scale, which is built like a Dorian but with a natural rather than a b7 note.