jazz – Page 3 – Modern Music Theory Improvisation and Application

LINKS to ALL of my past Blogs/PDF Downloads/Lessons

Posted on March 31, 2025March 31, 2025 by Modern Music Theory and Application

Hi Guys,

Below, is the list of all of my past “Blogs/Lessons” that many of you have enquired about:

As you can see, in the list/links below I have delivered hundreds of free lessons/blogs and pdf downloads over the years!

This is a great thing!

But,

I cannot organise them all, as there are just too many.

So, putting them in a long list is the only way to catalogue and contain them all at this moment in time.

You can also find them all in the website menu:

BLOG SEARCH BOX

HERE ARE ALL BLOG/LESSONS/PDF

Many [not all] have free PDF Downloads

I hope that some of the lessons and downloads were of use to you!

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Modal Chords For Guitar: Slash Chords and Substitution Voicing’s

Posted on January 14, 2025January 14, 2025 by Modern Music Theory and Application

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Please watch video above for detailed info:

Hi Guys,

Today, a quick look at modal chords.

The chords are from the backing track [below in this page] and they are “Transposed” with C as the root note.

These are exploited in the 12 bar form of a fusion blues.

Here are the chords for the chart:

modal_chords_guitar_lesson_explained_easily

To begin with, we will take the first chord for the basic Ionian/Major sound. Here we have a chord/triad of G Major over the bass note C as a substitution for Cmaj7:

Next, we have a C Dorian tonality. For this I am employing a 7sus4 chord with a triad of Bb over a C bass once again

From here, we will create a C Lydian sound. We will do this by employing a triad of D Major over a C Bass.

Now, we will move back to Ionian with another 7sus4 chord. This time it’s a triad of C Major over a D Bass.

To create interest, we will now make this tonality minor by adding a triad of Eb Major over a C Bass [a la C minor 7th]. [Aeolian/Dorian]

For, the Phrygian/Aeolian sound, we will employ a 1st inversion triad of Ab Major over a C bass.

To create some dissonance, and a more ethereal sound it’s a good idea to add a Locrian chord. In this instance, I am employing a triad of Db Major over the C Bass.

For the mixolydian sound I am employing a simple C7 chord. [You could also add a 4-3 suspension]

Now, let’s add a couple of Dorian chords.

These will be another 7sus4 chord of an Eb triad over an F bass.

And, a Major 9 [or sus2] no 3rd chord. For this we will add a triad of F major over a Bb bass.

For the penultimate Mixolydian chord, we will create a 3rd inversion [Dominant]. This will be a C Major triad over a [the 7th] Bb bass.

And finally, an Aeolian sound with an Fm6 chord over a G bass.

HERE IS THE BACKING TRACK:

Modes Backing Track Transposed in C Major with Chart and Scale Suggestions.

Here, is the Chart:

Here are some Modal/Scale examples to improvise on over the chords.

CHORD LIST:

FREE PDF DOWNLOAD:

modal chords Download

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

Posted on December 27, 2024January 8, 2025 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]

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.

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.