Tag: jazz music theory

Understanding Triads and Slash Chords in Music Theory

Posted on by Modern Music Theory and Application
The 12 Major Triads/Slash chords music lesson in theory and practice:

Please watch video above for detailed info:

Hi Guys,

Today, a look at altering harmony and cadences with triads, slash and altered chords.

PART 1:

To begin with let’s take a pedestrian V to I cadence,

Now, let’s add some colour to it.

A musical notation diagram showing a V to I cadence with altered substitutions to the Major key, including the slash chords Db/C and C/F for music theory lesson
Illustration of a V to I cadence with altered substitutions, showcasing the Db/C and C/F slash chords.

Here, we can see the slash chord of Db/C resolving to C/F:

The Db/C harmony creates a powerful dominant chord of Csus/b9/b13

Musical notation for Csus/b9/b13 chord with tablature for guitar. Example of slash chord Db/C
Musical notation illustrating the Csus/b9/b13 chord, showcasing its structure and components.

With this in mind let’s now apply this and cadence to the minor key [FmMaj7]

Musical sheet displaying a V to I cadence with altered substitutions for the minor key, featuring Db/C and FmMaj7 slash chords.
V to I cadence illustrating altered slash chord substitutions in a minor key.

Straight away, we can see and hear how easy it is to manipulate and alter the harmony with slash chords.

They also possess a unique flavour and colour that really shines out on the guitar due to the Major triads being very bright. This way they naturally cut through and resonate.

PART 2: Extending 1 simple Triad:

In this example, we will take a simple triad of F Major 1st inversion [F/A]

From this, we will add melodic notes/movement in the top and bottom to extend the harmony, and, finish with a 7sus4 cadence of F/G to Cmaj7#11

Music sheet showing chord substitution notations for F Major 1st inversion (F/A), F6/A, F#m7b5, and F/G with finger placement.
Visual representation of F Major triad variations, including F/A, F6/A, F#m7b5, and F/G, showcasing chord extensions.

Let’s now add this to a complete chord sequence:

A music sheet displaying harmonization techniques with chord notations including Em9, Am, C/G#, F/A, F6/A, F#m7b5, F/G, and Maj7#11.
Chord sequence demonstrating triads and harmonization techniques.

PART 3: Harmonising a melody:

We will now take the simple melody below,

To exploit this, we will employ altered and slash chords starting with G7#9 moving to Eb/E

Sheet music illustrating melody notes with annotations for G7#9 and Eb/E chords.
Melody harmonization using the G7#9 and Eb/E slash chords.

We will now repeat this, but, add a chord of E/F in between to harmonise the Ab note:

Sheet music showing G7#9 and E/F slash chord for jazz fusion reharmonisation

Finally, resolving back to the Eb/E slash chord

Chord diagram showing E/Eb slash chord and diminished harmony with fingering positions on the guitar.
Chord diagram for E/Eb, illustrating finger placements for guitarists.

FULL HARMONISATION EXAMPLE:

Musical notation displaying John McLaughlin guitar melody notes and chords G7#9, Eb/E, and E/F, highlighting the harmonic structure, slash chord and how to re harmonise a melody in jazz fusion music.
John McLaughlin Guitar Harmonization with slash chords and altered chords

PART 4: 12 TRIADS over I bass note

In this exercise we will play all 12 Major Triads over a single C [as root] Bass note.

Musical notation showing a progression of slash chord triads: Db/C, D/C, Eb/C, E/C, and F/C over a single bass note.
Chord progression visual for 12 Major Triads over a C bass note, illustrating various slash chords.
A musical sheet displaying the 12 Major Triads over a C bass note, highlighting various slash chord combinations.
An illustration displaying the progression of 12 Major Triads over a C bass note, highlighting various chord combinations.

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Julian Lage’s Approach to Jazz Guitar Improvisation: 2Note Chord Voicing’s

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at how jazz guitar master Julian Lage harmonises, creates and improvises on jazz standards with simple 2 note chord voicing’s:

Many guitarists, and many instructional manuals display what are commonly called jazz chords as big block barre chords with overbearing resonance and no resolution to the movement.

But, the reality is that someone really good at comping in jazz will distill big block chords into simple 2 note voicing’s that don’t intrude and that pierce through the band or ensemble.

2 NOTE VOICING’S PART 1

To begin with, let’s take a ii V I [Example below]. Notice that the C moves down a semitone to the note B and and then back up the semitone to C. The F note is played in both chords and then resolves down a semitone to the note E.

julian_lage_guitar_jazz_chords_lesson_example

Now, let’s apply this to the minor key. Here we have iim7b5 V7 i [note the 1 tone movement from the F to the Eb]

julian_lage_guitar_jazz_chords_lesson_example

ADDING A SIMPLE MELODY:

Below, is an example of how to add a little melody to our 2 note voicing’s of our ii V I – [notice that it creates a clear and uncluttered sound].

julian-lage-jazz-guitar-chords-melody-example-lesson

We, will now apply this same concept to the minor key.

julian-lage-jazz-chords-chord-melody-example-guitar

Julian Lage: Chord Melody-“All Things” Concept.

Applying, what we have learnt so far let’s look at the first few bars of the standard “All the things you are”

First of all let’s take the basic harmony and see how the chords connect.

julian-lage-jazz-chords-melody-guitar-example

From here, we will now add the melody to this skeletal structure.

julian_lage_guitar_jazz_chords_lesson_example

SOME MORE 2 NOTE VOICING’S:

Here, is a nice easy way to string some V I’s together on the guitar fingerboard.

julian-lage-jazz-chords-voicings-guitar-example

Below, is a great way to modulate. Here, we have V7 I with I becoming the new V7 [third inversion] that modulates/resolvess to the new I chord [1st inversion] This works so well on the guitar with simple 2 note voicing’s.

julian_lage_jazz_guitar_chords_lesson-tab-

This last example, is super easy and is a great case in point as the same shape just moves down in semitones through the cycle 4ths/5ths.

julian-lage-jazz-chords-voicings-example-cycle-of-5ths
julian-lage-jazz-chords-voicings-example

ADDING COLOUR NOTES:

Although, 2 note voicing’s cut through, it can still be okay to add colour notes. For instance, below we have the use of a Major 3rd and minor 3rd to create a bluesy sound on the dominant chord.

julian-lage-jazz-chords-voicings-example

In the next example let’s add the 13th [F#] and the #9th [C]. This again, works well and creates colour when used sparingly.

julian-lage-jazz-chords-voicings-example-lesson

Playing simple 2 note voicing’s in a structure:

Here, is a simple Blues structure example exploiting these voicing’s:

julian-lage-jazz-chords-voicings-blues-example

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Simplify Guitar Chromatics with Easy Fingering:

Posted on by Modern Music Theory and Application

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Please watch above video for detailed info:

Hi Guys,

Today, we will employ chromatics [Target Tones]to a simple guitar fingering/scale that everybody knows.

Yes, this is our old mate the A minor Pentatonic scale.

TARGET TONES/CHROMATICS- GUITAR FINGERING:

Before we start: Both fingerings are essential and very useful, but, in different instances.

Okay, let’s compare fingering.

Below, is the more “Traditional” fingering:

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Now, let’s simplify this with a more intuitive John McLaughlin style guitar fingering. [2 fingers to 2 fingers with a slide].

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

We will now now apply this to the simple A minor Pentatonic scale guitar shape.

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Here, we will employ a “Side Step” with chromatic target tones for more interest and chromatic colour.

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

This time we will extend the line with an upbeat of 4 chromatic descending notes starting on the note D as the tonic:

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Lastly, let’s try this over a ii V7 I [Dm7 G7 CMaj7]

mclaughlin-jazz-guitar-chromatics-lesson-explained-example
mclaughlin-jazz-guitar-chromatics-lesson-explained-example

IN CONCLUSION:

This simple minor pentatonic guitar scale/shape allows us an easy way to employ chromatics and chromaticism by exploiting it with what we are already very familiar with.

This familiarity means that it is not only easier to learn, but, also, easy to remember. Hence, we can apply it to any strings of the guitar and create some colourful and interesting sounding lines.

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