Set Three Voicings Guitar Lesson
Set Three Voicings
Matt brown discusses and demonstrates the set three voicings used in jazz guitar.
Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 25:42Difficulty: 2.0 of 5
Thus far Matt has covered set 1 and set 2 voicings. Make sure that you are keeping up with all of these voicings as you learn new chord voicings. The best way to memorize chord voicings is to use them very frequently in a practical musical context. Strive to learn a new jazz standard every two weeks. Practice various Set 1 and Set 2 voicings as you learn the chord progression to a new tune.
Lesson Overview / Objectives
In this lesson, Matt discusses the final set of jazz voicings that are frequently used in comping. Additional voicings that can be used in solo arrangements and voicings will be discussed in later lessons along with quartal voicings and voicings that involve open strings.
Set 3 Voicings
A. Practical Uses
Set 3 voicings are primarily used in ensemble settings when the bass line is covered by a bass player or a keyboard player. They are played almost exclusively with the Charleston comping rhythm or one of its many variations.
Set 3 voicings also find their way into many solo arrangements for guitar. In the next lesson, Matt applies several of the voicings discussed in this lesson to a solo arrangement of "Here's That Rainy Day."
B. Construction
Set 3 voicings are four note voicings played on the four highest strings. Typically, the lowest two notes are taken from rootless Set 1 voicings. However, this is not always the case. As you will see in this lesson, there are many Set 3 voicings that do not follow this guideline. Other less frequently used options are also available.
When adding the top two notes, always consider the following:
1. Does the voicing sound good?
2. What notes are available? The bottom two notes of rootless Set 1 voicings are the third and seventh. Consequently, the root, fifth, and extensions (ninth, eleventh, and thirteenth) can be added to the upper structure of the chord.
3. The "lines" that are created when playing the progression. When comping, you are essentially creating a melody line played on the highest string of each voicing.
The chart below provides a list of notes that can be added to rootless Set 1 voicings when forming Set 3 voicings. The extensions listed correspond with each chord quality.
MA7 - add9, #11, 13
MI7 - add 9 , 11, 13 (the thirteenth is rarely added to MI7 chords.)
MI7(b5) - add b13, 11*
Dom 7 - add 9, b9, #9, #11, 13, b13 same as #5*
MA6 - add 9, #11*
MI6 - add 9, 11*
Dim 7 - add b13, 9 (the ninth is rarely added to fully diminished chords.)
7 sus 4 - add 9, 13*
*Note: Matt explains the following set 3 chords in later lessons: altered dominant chords, minor tonic chords, half diminished chords, fully diminished chords, major chords with altered extensions, suspended chords. Chapter 2: (04:49) Minor 7 Voicings Note: Fretboard diagrams with proper left hand fingerings to all of the chords discussed in this lesson can be found under the "Supplemental Content" tab.
Minor Voicings
In this scene, all minor 7, minor 9, and minor 11 chords are demonstrated as Dm chords. However, all of the chord voicings taught in this lesson are transposable.
Chord Diagrams
Note: The numbers on the left side of the diagram represent the fret numbers. The note name and its function are listed to the right.
Dm7
_x_
_x_
_3_F(3rd)
_5_C(7th)
_3_D(root)
_5_A(fifth)
Dm7
_x_
_x_
_10_C(7th)
_10_F(3rd)
_10_A(5th)
_10_D(root)
Dm7
_x_
_x_
_3_F(3rd)
_5_C(7th)
_5_E(9th)
_5_A(5th)
Dm9
_x_
_x_
_10_C(7th)
_10_F(3rd)
_10_A(5th)
_12_E(9th)
Dm9
_x_
_x_
_7_A(5th)
_9_E(9th)
_6_F(3rd)
_8_C(7th)
Dm11
_x_
_x_
_3_F(3rd)
_5_C(7th)
_5_E(9th)
_3_G(11th)
Dm11
_x_
_x_
_10_C(7th)
_10_F(3rd)
_8_G(11th)
_12_E(9th)
Dm11
_x_
_x_
_3_F(3rd)
_5_C(7th)
_3_D(root)
_3_G(11th) Chapter 3: (03:46) Dominant Voicings All dominant 7, dominant 9, and dominant 13 chords are demonstrated as G dominant chords. Remember that all of the chord voicings taught in this lesson are transposable.
G7
_x_
_x_
_3_F(7th)
_4_B(3rd)
_3_D(5th)
_3_G(root)
G9
_x_
_x_
_3_F(7th)
_4_B(3rd)
_3_D(5th)
_5_A(9th)
G13
_x_
_x_
_3_F(7th)
_4_B(3rd)
_5_E(13th)
_5_A(9th)
G13
_x_
_x_
_3_F(7th)
_4_B(3rd)
_5_E(13th)
_3_G(root)
G13
_x_
_x_
_9_B(3rd)
_10_F(7th)
_10_A(9th)
_12_E(13th) Chapter 4: (03:50) Major Voicings All major 7, major 9, major 6, major 6/9, and major 13 chords are demonstrated as C major chords. Once again, all chord voicings are transposable.
Cmaj7
_x_
_x_
_5_G(5th)
_5_C(root)
_5_E(3rd)
_7_B(7th)
Cmaj7
_x_
_x_
_9_B(7th)
_9_E(3rd)
_8_G(5th)
_8_C(root)
Cmaj9
_x_
_x_
_9_B(7th)
_9_E(3rd)
_8_G(5th)
_10_D(9th)
Cmaj9
_x_
_x_
_9_B(7th)
_9_E(3rd)
_8_G(5th)
_10_D(9th)
C6/9
_x_
_x_
_9_B(7th)
_9_E(3rd)
_10_A(6th)
_10_D(9th)
Cmaj9
_x_
_x_
_2_E(3rd)
_4_B(7th)
_3_D(9th)
_3_G(5th)
C6
_x_
_x_
_5_G(5th)
_5_C(root)
_5_E(3rd)
_5_A(6th) Chapter 5: (09:18) B Flat Blues Practice Set 3 voicings by playing through a 12 bar blues progression in the key of Bb. Before playing this exercise, list out all of the voicing options that will work for each chord in the blues progression. A breakdown of the chord changes is provided below.
Bar 1: I7
Bar 2: IV7
Bars 3-4: I7
Bars 5-6: IV7
Bar 7: I7
Bar 8: VI7
Bar 9: ii7
Bar 10: V7
Bar 11: I7*
Bar 12: V7*
*Note: A turnback progression (I7 - VI7 - ii7 - V7 or ii7 - VI7 - ii7 - V7) can be substituted in bars 11-12.
Make sure that the voice leading remains smooth between each chord. Remember that you are essentially improvising a melody line while comping. The melody line consists of the highest chord tone of each chord.
During the first pass through the form, limit your voicings to rootless versions of Set 1 and Set 2 chords. Then, begin to incorporate some more colorful voicings. Make sure that you mix things up so that your comping does not sound boring and predictable. Your primary role as an accompanist is to hold down the groove and inspire the soloist to play his or her best.
Play Along
Practice with a metronome on your own. Begin at a slow tempo and work your way into blazing bebop tempos. When you can play comfortably at 160 bpm, return to the lesson video and play along with Matt at 05:20. Remember to practice with the metronome set to beats 2 and 4.
Keep in mind that this exercise is improvised. Consequently, you will not always play the same voicings as Matt.
Additional Practice
Practice the turnaround exercise from lesson 14 using rootless Set 1 and 2 as well as Set 3 voicings. Perform the exercise with the Charleston rhythm. Matt provides some tips in the lesson video to help you get this process started.
In addition, practice the 12 bar blues exercise demonstrated in this scene with the remaining 11 major keys.
Supplemental Learning Material
Jazz Guitar with Matt
Found in our Beginner Lesson SetsIn this lesson set, Matt will teach you everything you need to know to fluently play jazz guitar.
Lesson 1
Intro to Jazz
Check out this lesson to learn some basic jazz theory & chord voicings.
Length: 31:36 Difficulty: 3.0 Members Only
Voicings & Melodies
Learn some more advanced chord voicings as well as the Charleston rhythm.
Length: 19:13 Difficulty: 3.0 Members Only
Set II Voicings
Learn a handful of Set II voicings & round out your knowledge of the basic jazz chords.
Length: 27:08 Difficulty: 3.0 Members Only
Applying Chords / Solo Ideas
Apply the chords you've learned & experiment with some solo ideas.
Length: 32:47 Difficulty: 3.0 Members Only
Scales and Chords Together
Learn which scales work with which jazz chord voicings.
Length: 43:00 Difficulty: 3.0 Members Only
Circle of Fifths
Matt sheds some light on the circle of fifths.
Length: 28:00 Difficulty: 3.0 Members Only
Proper Practicing
Learn how to get the most out of your time when practicing.
Length: 31:00 Difficulty: 2.5 Members Only
Proper Practicing Part 2
Here's the second installment of Matt's proper practicing lesson.
Length: 32:00 Difficulty: 3.0 Members Only
Physicalities of Playing
Learn how to avoid carpal tunnel and other hand injuries by using proper technique.
Length: 46:19 Difficulty: 1.0 Members Only
All of Me
Matt Brown teaches the jazz standard "All of Me."
Length: 31:12 Difficulty: 2.0 Members Only
Lead and Scales
Matt Brown explains how to improvise over the changes to "All of Me."
Length: 7:54 Difficulty: 2.0 Members Only
Estudio No. 1.
Matt Brown begins talking about solo arrangements in this lesson. He teaches Carcassi's "Estudio No. 1" as an introduction to this concept.
Length: 18:10 Difficulty: 2.5 Members Only
Reviewing the ii V I Progression
Matt Brown returns to his Jazz series with a review lesson. He applies the standard ii V I progression to the circle of fifths.
Length: 18:10 Difficulty: 2.0 Members Only
Turnback Progression
In lesson 14, Matt discusses the turnback progression in the jazz style.
Length: 22:20 Difficulty: 1.5 Members Only
Set Three Voicings
Matt brown discusses and demonstrates the set three voicings used in jazz guitar.
Length: 25:42 Difficulty: 2.0 Members Only
Jazz Solo Arrangement
In this lesson, Matt demonstrates how to practice jazz solo arrangements by taking a look at "Here's That Rainy Day."
Length: 35:10 Difficulty: 2.0 Members Only
Expanding on the 12 Bar Blues
In lesson 17, Matt reviews and expands on the jazz version of the 12 bar blues form.
Length: 23:20 Difficulty: 2.0 Members Only
Adding Voices
In this lesson, Matt adds to your voicing repertoire while playing the Charleston rhythm.
Length: 14:22 Difficulty: 2.0 Members Only
Key of B Flat Major
Matt Brown talks about lead options when playing a blues in B flat major.
Length: 23:35 Difficulty: 2.0 Members Only
Key of F
Matt Brown provides instruction and examples of playing jazz heads in the key of F. Once again, all examples follow the 12 bar blues form.
Length: 18:22 Difficulty: 2.0 Members Only
Jazz Heads in B Flat
Matt Brown takes another look at blues heads in the key of B flat. In this lesson, he covers a head by Thelonious Monk.
Length: 10:03 Difficulty: 2.0 Members Only
Tools for Solo Arrangements
Matt Brown takes a look at a solo arrangement and provides thoughts and tools necessary to complete this type of guitar playing.
Length: 23:13 Difficulty: 2.0 Members Only
Introduction to Bossa Nova
Matt Brown starts breaking down the rhythmic tendencies and patterns to the Brazilian Bossa Nova style of playing.
Length: 17:56 Difficulty: 0.0 Members Only
Blue Bossa #1
In lesson 24 of his Jazz series, Matt takes a look at the melody to Blue Bossa.
Length: 9:12 Difficulty: 0.0 Members Only
Blue Bossa #2
Matt Brown takes a look at the available chord voicings for Blue Bossa.
Length: 10:39 Difficulty: 0.0 Members Only
About Matt Brown
View Full Biography
Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."
Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.what is the name of the chord book?
Jazz Harmony on the Guitar by Stan Smith. Here's a link: http://www.amazon.com/Jazz-Harmony-Guitar-Book/dp/079359913X/ref=sr_1_1?ie=UTF8&s=books&qid=1292812441&sr=8-1
The issue with scene five is fixed guys. I apologize for any inconvenience.
Thanks for the comment! I'll notify the administrators so we can get the problem fixed.
Hi Guys, scene 5 does not work. Cheers.