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JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
COMPING RHYTHMS
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
COMPING RHYTHMS
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.THE AUGMENTED SCALE
The augmented is a 6 note symmetrical scale. It is constructed from two augmented triads a half step apart. In example 1 the C and B augmented triads are shown and I’ve added two ways to play the scale. In this example the scale would consist of C Eb E G Ab B C. Since both of the chords are symmetrical every major 3rd the scale isalso
THE MOST IMPORTANT SCALE EXERCISE IN JAZZ The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available. Here is a C major scale in the 8th position. Playing the diatonic one-octave arpeggios through thisMAJOR SCALE
Major Scale – 3 notes per string. Here is an overview of the Major scale in the key of C, using the 3 notes per string system. It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3notes.
MAKE IT EASY TO LEARN JAZZ STANDARDS Hearing The Chord Progression. The way I am going to do this is also important, because it will help you learn and remember songs a lot faster! I will play the different building blocks but I will also play some songs they are used in. Hearing how they sound in a song is probably more important than recognizing them on a piece of sheetmusic.
HOW TO IMPROVISE WITH AN ARPEGGIO How to Improvise with an Arpeggio. Making good lines with a set of notes like an arpeggio is an important skill to master when improvising. In this lesson I am going to take one arpeggio, a G7 and one scale, C major and give some approaches to make melodies over a G7 chord combining the two. This way you will get much more vocabularyfrom each
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
TARGET NOTES ON A II V I Target notes on a II V I. One of the best ways to approach soloing over changing harmony and to have melody lines that flow naturally from one chord to the next is to use target notes. In this lesson I am going to go over how you can use target notes when you are improvisingover a
TRIADS-HOW-TO-MAKE-THEM-JAZZ-DIATONIC-2 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
THE PENTATONIC SCALE FOR DORIAN AND LYDIAN YOU FORGOT TO The Hirajoshi is a Japanese Pentatonic scale. As you will see in this lesson it is a great modal pentatonic scale choice for getting sounds like Lydian and Dorian across. I will not only try to give you some licks and exercises that are a good way to explore the sound of this scale. This lesson is also a good demonstration of how I work with a TRIADS-HOW-TO-MAKE-THEM-JAZZ-CHORDS-EX-4 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
COMPING RHYTHMS
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
COMPING RHYTHMS
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.THE AUGMENTED SCALE
The augmented is a 6 note symmetrical scale. It is constructed from two augmented triads a half step apart. In example 1 the C and B augmented triads are shown and I’ve added two ways to play the scale. In this example the scale would consist of C Eb E G Ab B C. Since both of the chords are symmetrical every major 3rd the scale isalso
THE MOST IMPORTANT SCALE EXERCISE IN JAZZ The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available. Here is a C major scale in the 8th position. Playing the diatonic one-octave arpeggios through thisMAJOR SCALE
Major Scale – 3 notes per string. Here is an overview of the Major scale in the key of C, using the 3 notes per string system. It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3notes.
MAKE IT EASY TO LEARN JAZZ STANDARDS Hearing The Chord Progression. The way I am going to do this is also important, because it will help you learn and remember songs a lot faster! I will play the different building blocks but I will also play some songs they are used in. Hearing how they sound in a song is probably more important than recognizing them on a piece of sheetmusic.
HOW TO IMPROVISE WITH AN ARPEGGIO How to Improvise with an Arpeggio. Making good lines with a set of notes like an arpeggio is an important skill to master when improvising. In this lesson I am going to take one arpeggio, a G7 and one scale, C major and give some approaches to make melodies over a G7 chord combining the two. This way you will get much more vocabularyfrom each
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
TARGET NOTES ON A II V I Target notes on a II V I. One of the best ways to approach soloing over changing harmony and to have melody lines that flow naturally from one chord to the next is to use target notes. In this lesson I am going to go over how you can use target notes when you are improvisingover a
TRIADS-HOW-TO-MAKE-THEM-JAZZ-DIATONIC-2 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
THE PENTATONIC SCALE FOR DORIAN AND LYDIAN YOU FORGOT TO The Hirajoshi is a Japanese Pentatonic scale. As you will see in this lesson it is a great modal pentatonic scale choice for getting sounds like Lydian and Dorian across. I will not only try to give you some licks and exercises that are a good way to explore the sound of this scale. This lesson is also a good demonstration of how I work with a TRIADS-HOW-TO-MAKE-THEM-JAZZ-CHORDS-EX-4 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
COMPING RHYTHMS
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THE AUGMENTED SCALE
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chord DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
COMPING RHYTHMS
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants.THE AUGMENTED SCALE
The augmented is a 6 note symmetrical scale. It is constructed from two augmented triads a half step apart. In example 1 the C and B augmented triads are shown and I’ve added two ways to play the scale. In this example the scale would consist of C Eb E G Ab B C. Since both of the chords are symmetrical every major 3rd the scale isalso
THE MOST IMPORTANT SCALE EXERCISE IN JAZZ The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available. Here is a C major scale in the 8th position. Playing the diatonic one-octave arpeggios through thisMAJOR SCALE
Major Scale – 3 notes per string. Here is an overview of the Major scale in the key of C, using the 3 notes per string system. It can be useful to think about what fingers to use to limit the amount of positions switches per position. Mostly the trick is to start the lower strings with 1 2 4 if there is a whole step between the first 3notes.
MAKE IT EASY TO LEARN JAZZ STANDARDS Hearing The Chord Progression. The way I am going to do this is also important, because it will help you learn and remember songs a lot faster! I will play the different building blocks but I will also play some songs they are used in. Hearing how they sound in a song is probably more important than recognizing them on a piece of sheetmusic.
HOW TO IMPROVISE WITH AN ARPEGGIO How to Improvise with an Arpeggio. Making good lines with a set of notes like an arpeggio is an important skill to master when improvising. In this lesson I am going to take one arpeggio, a G7 and one scale, C major and give some approaches to make melodies over a G7 chord combining the two. This way you will get much more vocabularyfrom each
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
TARGET NOTES ON A II V I Target notes on a II V I. One of the best ways to approach soloing over changing harmony and to have melody lines that flow naturally from one chord to the next is to use target notes. In this lesson I am going to go over how you can use target notes when you are improvisingover a
TRIADS-HOW-TO-MAKE-THEM-JAZZ-DIATONIC-2 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
THE PENTATONIC SCALE FOR DORIAN AND LYDIAN YOU FORGOT TO The Hirajoshi is a Japanese Pentatonic scale. As you will see in this lesson it is a great modal pentatonic scale choice for getting sounds like Lydian and Dorian across. I will not only try to give you some licks and exercises that are a good way to explore the sound of this scale. This lesson is also a good demonstration of how I work with a TRIADS-HOW-TO-MAKE-THEM-JAZZ-CHORDS-EX-4 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chordMAJOR SCALE
Major Scale – 7 Positions/Berklee System. Leave a reply. Here is an overview of the Major scale in the key of C, using the 7 Positions/Berklee System. This is a variation of the William Leavitt/Berklee system from Modern Method for Guitar, as it was taughtto me.
HOW TO IMPROVISE WITH AN ARPEGGIOJAZZ FUSION CHORDS
The original voicing is (from low to high) G,D,A,E. If we order those in pitch we get: G A D E (as shown in the 2nd bar) This yields a way of moving to other inversions. The original voicing is G,D,A,E. If we move that down an inversion (using the same strings and the row of notes) we get E,A,G,D and in that way the rest of the inversions are COLTRANE PATTERNS GUITAR Coltrane Patterns are amazing melodic patterns to have in your vocabulary. They are probably mostly connected to the Giant Steps solos on that Coltrane Album, but are actually very common melodies. The fact that they are easy to play and map onto a major scale makes them ideal for adding to your vocabulary as useful and flexiblemelodic fragments.
BARRY HARRIS SCALE EXERCISES Barry Harris Scale Exercise on an F Blues. Here’s a Short video discussing the Barry Harris Scale Exercise. This way of playing the scales for the chords in a simple logical way through the form of a song is a great way to become familiar with the chord progression hear how the material sounds on the song. For this video I am using an Fblues
JENS LARSEN
Jens Larsen is a jazz guitarist, composer and arranger in the groups Træben, Yvonne Smeets Group, Jazz4kids and Wijnen, Winter & Larsen. Besides performing, he teaches guitar at the Royal Conservatory in The Hague. He also produces jazz guitar lessons on YouTube and writes articles for jazz publications. PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
THIS IS WHY MELODIC MINOR IS AWESOME Leave a reply. Melodic minor is an awesome sound! It is a really beautiful rich minor sound. But sometimes we immediately get lost in Altered scale, Lydian dominant, Locrian Natural 2, etc and that is a pity because the tonic minor sound is certainly worth exploring. In this video I am going to show you how to start using it, some of thethings
DROP 2 VOICINGS FOR GUITAR Drop 2 Voicings for guitar. Since I am talking about drop2 voicings and how to use them in another lesson I thought it might be handy to also supply this overview of the fingerings for the 4 basic chord types. If you read the lessons you’ll get a lot more information onhow to
ARPEGGIOS | JENS LARSEN Problems with Positions. Most of us start learning arpeggios like as complete positions, so something like this: This is a great way to see where all the Cmaj7 chord tones in one position of the neck, but it is not immediately going to help you use this when you solo, mainly because it is a separate thing that is pretty big with a lot of notes and if you are playing a song with a Cmaj7 chordMAJOR SCALE
Major Scale – 7 Positions/Berklee System. Leave a reply. Here is an overview of the Major scale in the key of C, using the 7 Positions/Berklee System. This is a variation of the William Leavitt/Berklee system from Modern Method for Guitar, as it was taughtto me.
HOW TO IMPROVISE WITH AN ARPEGGIOJAZZ FUSION CHORDS
The original voicing is (from low to high) G,D,A,E. If we order those in pitch we get: G A D E (as shown in the 2nd bar) This yields a way of moving to other inversions. The original voicing is G,D,A,E. If we move that down an inversion (using the same strings and the row of notes) we get E,A,G,D and in that way the rest of the inversions are COLTRANE PATTERNS GUITAR Coltrane Patterns are amazing melodic patterns to have in your vocabulary. They are probably mostly connected to the Giant Steps solos on that Coltrane Album, but are actually very common melodies. The fact that they are easy to play and map onto a major scale makes them ideal for adding to your vocabulary as useful and flexiblemelodic fragments.
BARRY HARRIS SCALE EXERCISES Barry Harris Scale Exercise on an F Blues. Here’s a Short video discussing the Barry Harris Scale Exercise. This way of playing the scales for the chords in a simple logical way through the form of a song is a great way to become familiar with the chord progression hear how the material sounds on the song. For this video I am using an Fblues
PDF DOWNLOADS AND CHARTS Pdf downloads and charts. Here is an overview of all the charts and other resources that are available on this site to view and also todownload.
MINOR II V I CADENCES The Cadence. A minor II V I consist of a IIm7b5, a dominant and a minor tonic. In the case of D minor a cadence might look like this: For this progression you’d typically play D natural minor or F major over the Em7b5 chord, D harmonic minor, Spanish Dominant (or one of the many other names for this scale) over the A7 and D melodic minorover the Dm6/9.
COMPING RHYTHMS
Rhythm #1 – Charleston. This first example is the “Charleston rhythm” and is very useful also as a repeating riff. It has the clarity of the changes with the chord on beat 1 TRIADS-HOW-TO-MAKE-THEM-JAZZ-DIATONIC-2 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
YOU NEED TO PRACTICE DEVELOPING PHRASES IN YOUR SOLOS Developing phrases #3 – Displace the Rhythm. Example 3 is based around one motif that is then developed through out the example. The basic idea is using the 5th and 7th of the m7 chord to encircle the 3rd of the dominant. I play the basic motif in the first bar and from there on is mover around and developed in the following bars.TURNAROUNDS PART 1
Turnarounds part 1 – I VI II V. In this lesson I want to talk about the I VI II V turnaround and what you can play over it and how you can practice it. The lesson will give you some exercises and suggestions to make strong melodiclines using diatonic arpeggios and target notes. TRIADS – 5 EASY EXERCISES FOR BETTER SOLOS Lick #3 – Leading Notes. Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads. The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note beforethe root.
TRIADS-HOW-TO-MAKE-THEM-JAZZ-CHORDS-EX-4 Jens Larsen Jazz Guitarist and Composer. Menu Skip to content. Home; Media; Jazz Guitar Lessons. Online Lessons; Study Guides – LearnJazz Guitar
MINOR 6TH PENTATONIC SCALE Minor 6th Pentatonic scale. The pentatonic scale is a very powerful tool on guitar. In this lesson I am going to demonstrate how you can make a variation on the trusted minor pentatonic scale that has a lot of advantages when dealing with tonic minor, half diminished chords and altered dominants. ADVANCED PENTATONIC IDEAS YOU NEED FOR FUSION AND JAZZ Reshaping the Pentatonic shapes. The first example is demonstrating how you can use an alternative fingering for a standard CAGED or two note per string scale fingering. The new way of playing the scale is using an alternating pattern of 3 and 1 notes per string. The Advantage is that this makes it easier to play for your right hand andalso
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