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In this lesson, Matt will teach you set II voicings with both 6th string & 5th string root notes. You'll learn major, minors, suspensions, sharps, flats, 11ths, and 13ths.
Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 27:08Difficulty: 3.0 of 5
Scene 1 presents the remaining options for a Major chord. Any chord that is written as a major chord in the lead sheet (i.e., CMA, C6, CMA7, etc.) can be substituted for any other major chord. The substituted chord must not clash with the melody however. Remember, in the jazz genre, the melody is sacred. Chords can be changed and substituted, but the melody cannot be changed. Be careful using chord voicings that include alterations such as CMA7(#11). The altered extensions in these chords provide color, but they frequently clash with the melody line.B. Set II Dominant Chords
The following chords are now viable options to add to your major chord vocabulary:
CMA13 (6th string root)
C6(#11) (6th string root)
These chords can be substituted for any chord written as a DOM7. Once again, analyze the melody first to see if any of these options will clash with it. Frequently, if the tune calls for a dominant chord with altered extensions, the composer will write CALT. The “ALT” stands for altered. This indicates that a dominant chord with altered extensions must be played (#9,b9,#11,#5).C. Dominant 7 Suspended chords
The following chords are now viable options to add to your dominant chord vocabulary:
C7(#5) or C+7 or C7(+) (6th string root)
C7(#11) (6th string root)
These chords can only be used when C7SUS is written!Chapter 2: (5:11) Set II Voicings A. MIN7 Chords
The most common suspension is the suspended fourth (SUS4). This means that the 3rd of the chord is omitted and replaced with the fourth. The sound of this chord is meant to leave you hanging. Hence the name “suspended”.
Here are some options for C7SUS:
C13SUS (6th string root)
C7SUS (6th string root)
When MIN7 is written, any minor chord can be used except for chords that function as minor tonics. Minor tonic chords are MI6, MIN6/9, MI13 and the MIMAJ7. These chords can only be played as tonic in a minor key. (Tunes in minor keys will be discussed in a later lesson.)B. Minor Tonics:
Note: CMIMA7 is a C minor triad with a major 7 interval added on top.
The following chords are now viable options to add to your MIN7 chord vocabulary:
CMIN11 (6th string root)
CMI13 (6th string root)Chapter 3: (8:07) String Root Voicings The previous two scenes dealt entirely with chords that have roots on the 6th string. This scene continues with all the Set II voicings that have 5th string roots.
CMIMA7 (6th string root)
CMA6/9B. Tonic Minor Chords
This chord is spelled 1,3,5,6,9. The fifth scale degree is almost always omitted from this chord.
CMI6/9C. Dominant Chords
C7(#9)D. Dominant 7 SUS Chords
At this point, you should have all of the Set I, rootless Set I, and Set II voicings memorized. Keep in mind that it is impossible to memorize all of these chords if you don’t use them in a practical musical setting. In the lessons to come, these chords will be used to comp over a jazz 12 bar blues and some other basic tunes.
In this lesson set, Matt will teach you everything you need to know to fluently play jazz guitar.
Check out this lesson to learn some basic jazz theory & chord voicings.Length: 31:36 Difficulty: 3.0 Members Only
Learn some more advanced chord voicings as well as the Charleston rhythm.Length: 19:13 Difficulty: 3.0 FREE
Learn a handful of Set II voicings & round out your knowledge of the basic jazz chords.Length: 27:08 Difficulty: 3.0 Members Only
Apply the chords you've learned & experiment with some solo ideas.Length: 32:47 Difficulty: 3.0 Members Only
Learn which scales work with which jazz chord voicings.Length: 43:00 Difficulty: 3.0 Members Only
Matt sheds some light on the circle of fifths.Length: 28:00 Difficulty: 3.0 Members Only
Learn how to get the most out of your time when practicing.Length: 31:00 Difficulty: 2.5 Members Only
Here's the second installment of Matt's proper practicing lesson.Length: 32:00 Difficulty: 3.0 Members Only
Learn how to avoid carpal tunnel and other hand injuries by using proper technique.Length: 46:19 Difficulty: 1.0 Members Only
Matt Brown teaches the jazz standard "All of Me."Length: 31:12 Difficulty: 2.0 Members Only
Matt Brown explains how to improvise over the changes to "All of Me."Length: 7:54 Difficulty: 2.0 Members Only
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
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
In lesson 14, Matt discusses the turnback progression in the jazz style.Length: 22:20 Difficulty: 1.5 Members Only
Matt brown discusses and demonstrates the set three voicings used in jazz guitar.Length: 25:42 Difficulty: 2.0 Members Only
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
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
In this lesson, Matt adds to your voicing repertoire while playing the Charleston rhythm.Length: 14:22 Difficulty: 2.0 Members Only
Matt Brown talks about lead options when playing a blues in B flat major.Length: 23:35 Difficulty: 2.0 Members Only
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
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
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
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
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
Matt Brown takes a look at the available chord voicings for Blue Bossa.Length: 10:39 Difficulty: 0.0 Members Only
About Matt Brown
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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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