MODERN JAZZ CONCEPTS Jens Larsen PDF

Three ways to Use Arpeggios in Scale Runs
Jens Larsen
www.jenslarsen.nl
 = 190
Example 1
Fm7 B7 E  maj7
  
      
1 2
 
    

3
    

    
 3
E-Gt
 10
8 12 10 8
10 9 12
11 9
11 12 11 9 8 8
10
8 10 11 10

Example 2
    
4
  5
    6
     
3
11 9 7
 10
8 7
9
6 7 6
9 6 8
11

Example 3
      
7
  8
   9
     
 
8
11 9 8
 10
10
8 7
8 9
7
8 6
11 9 5 8

Example 4
      
10
  11     12
       
8
12 11 10 9 8
 10
8 11 9 7
9 8 9 11 8
11

Example 5
     
        
13 14     15
    
14 10 15 13 18
11 9 8 11 12
 10
10
8
10 9 11 12
11
11

1/1
Triad pairs in the altered scale
Jens Larsen
http://www.jenslarsen.nl
Standard tuning
= 120
Example 1 - C altered (or Db melodic minor)
1 2
E-Gt
9 11 12
9 11 13
8 9 11
8 10 11
7 9 11
8 9 11
Example 2 - Diatonic triads of the scale (written as melodic minor)

D m E m Eaug G A B dim Cdim D m
3 3
3
3 4
3 3
3 3
3
9
8 9 8 11 9
8 10 8 11 10 8 11 10 11
7 11 9 7 9 9 11
9 11
Example 3 - Exercise Dbm and Ebm in inversions

3
3 3
5 6 7
3 3
3 3
3
9 11
8 9 8 11 9 8 11
8 11 8 11 8 11
7 11 9 7 11 9 11
9 11
Example 4 - improvising with Dbm and Ebm in inversions Etc..

3
3 3
8 9 10
3 3
3 3 3 3 3
3 3
9
9 11
8 11 9 8 11 9 11 8 9 8 9 8 11
8 11 8 11 8 8 11 8
7 11 11 11 9 7 11 9 11
9 11 9
1/2
Example 5 - Line no 1 Dbm and Ebm
Gm7 C7alt Fmaj7
11 12 13 14
10 8
8 11 11 8 9
7 10 9 11 8 9
11 8 11 10
Example 6 - Line no 2 Eaug and Gb

Gm7 C7alt Fmaj7
15 16 17 18
11 9 10
7 10 7 9 11
7 10 8 10 8 11
8 11
10
Example 7 - Line no 3 Ab and Bbdim

Gm7 C7alt Fmaj7
19 20 21 22
9 12 9 8
10 8 9 11
7 10 10 9 7 8 8
8 10
2/2
Triad Pairs - Part 1
Jens Larsen
Standard tuning
= 120
Example 1 - F and G major triads as chords and as a scale
1
E-Gt
1 3 3 6
2 4 2 4 5
3 5 3 5
Example 2 - F triad in inversions 2 string sets

3
1 5 8 13
1 6 10 13 1 6 10 13
2 5 10 14 2 5 10 14
3 7 10 15
Example 3 - F major triad in inversions using two strings

5
2 5 5 10 10 14 14 17 5 10 14 17
3 7 10 15 3 7 7 10 10 15 15 19
Example 4 - C major in diatonic 2nd inversion triads

3 3
3 3
3
7
3 3
3 3
3 3
3
7 8 7 10
8 10 8 10
7 9 7 10 9 10 7 9 10
7 9 7 10 9 10 7 9 10
7 10 8 10 7 8 10
7 8 10
1/2
Example 5 - Line no 1
Dm7 G7alt Cmaj7
10
13 15 10 11 12 11 12 11
12 13 13 12 10 9
12 15 14
12
Dm7 G7( 9) Cmaj7
14
8 9 8
9 7 8 10 10 9
7 7 10 10 7 9 12
8
Dm7 G7( 9) Cmaj7
18
10 7
8 8 9 8 8 10
7 10 7 9 9 8 8 10 10 9 7 (7)
7 10 9 12 10
2/2
Triad Pairs - Part 2
Jens Larsen
Standard tuning
= 120
Example 1 - Triad pattern C and Bb triads
1
E-Gt
8
3 5 3 7 5 9 7 10 9
2 3 2 5 3 5 3 5 8 10
3 1 5 3 5 1 3 5 7
3 0 1 3
Example 2 - Triad pattern F and Gm triads

6
3 6 8 10
2 3 2 5 3 5 7 10
3 5 3 5 3 5 7 8 10
3 5 1 3 5 1 3 5
1 5 3 5
Example 3 - Chain pattern

11
10 13
10 13 11
7 10 9
7 10 8
5 8 7
6
Example 3 - Improvised exercise with Bb and Am triads

3 3 3 3 3
3
13 3 3
3
3 3
3 3 3 3
3 3
8 1210
56 10 1110 1110
5 7 5 79 7 10 10 9 10 9
37 87 8 78 10 7 8 10 12 10 8 1210 7
5 7 85 7 8 8 7 75
6 8 6
1/2
Gm7 C7( 9 13) Fmaj7
18
9 8
5 6 8 8 9 9
5 7 9 10
5 7 8 10
5
Gm7 C7alt Fmaj7
22
9 8
9 11 11 10
7 10 7 8 11
8 10 7 8 10
10
Gm7 C7alt Fmaj7(#11)
26
12 16 14
10 13 11 11 14 13 16 17 13 12 15 13
10 12 11 14 12 14 (14)
12
10 13
2/2
28/10/2018 Triads and Triad pairs in improvisation Part 1 - Jens Larsen
Triads and Triad pairs in improvisation Part 1
I decided to write a few articles on how I view and use triads when I am improvising. I’ll try to cover what I think
you need to use triads in improvisation, give some examples on how to make lines with triads and I will also post
a complete list of triad pairs without common notes which might be useful.
In my experience we sometimes forget how powerful a melodic device the triad, and in using triads the melodies
developed are, in my opinion, to systematic and therefore often predictable and boring. On this new blog,
everything I write is of course very colored by my taste in melodies and harmonies so not everybody will agree
with everything.
As with any harmonic device it is important to know how to play it in many different ways to be able to create
melodies with it when improvising. Here are a few exercises as examples. In the end it is more important to be
able to make similar exercises yourself for arpeggios and different triads, roots, positions etc. I probably would
not suggest practicing these exercises with the goal being to have them in your fingers and play them at face
melting speed. It is probably better to practice open-ended and change fingerings etc so you get familiar and
develop an overview.
To keep it simple I have made all exercises on a Bb triad.
Basic Triad exercises.
Playing the triad up and down in several different fingerings, lowest note to highest on the instrument.
Playing the triad in some patterns (again here are a few examples, playing up one and down the next might be a
good way to expand, four note patterns etc are also good to know)
https://jenslarsen.nl/triads-triad-pairs-improvisation-part-1/ 1/5
This second exercise is the equivalent of playing the triad “in thirds” ie. you skip one and then go back one.
Applying patterns like that to any kind of system can be very useful and is on guitar often quite demanding and
forces you to come up with new fingerings.
Diatonic triad exercises
Practicing triads in a scale is also useful since you in the end need to improvise with it in that scale, in this case I
took Bb major, but F major or Eb major would have been just as good.
When playing a scale in triad we often forget to try it with the inversions too, so here’s one of the 1st inversion
diationic triads in Bb major.
As my colleague Jeen Rabs pointed out recently there are extremely good books with triad exercises, ie George
Van Eps Harmonic Mechanisms for guitar. Which is a very extensive and thorough book with tons exercises in all
keys and written out fingerings etc. I own vol 1 and use it for inspiration for exercises but I don’t have the
discipline to learn the fingerings.
Open Triad voicings.
Another way to play triads is to use open voicing, also sometimes referred to as drop 2 triads. They can be a bit
hard to make sense with melodically, but the do sound different and the big range and large intervals are a nice
effect. It is also a very good right hand exercise if you’re playing with a pick.
Deep Purple guitarist Steve Morse has written some good etudes with them too, and Pat Metheny uses it in his
warm up videos. It also appears in John McLaughlins Guardian Angel.
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This entry was posted in Lesson and tagged advanced, arpeggios, improvising, jazz, jazzguitar, triad
pairs on August 30, 2013.
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This second blog on triads I’ll try to suggest a few ways to use triads in your lines. This very much a description
of my personal opinion and approach. I try to mix devices like triads into my playing so that it becomes a natural
part of the melodies I play and therefore it should just sit in there with all the other devices. I really want to try to
avoid the feeling of [triad lick]—-[/triad lick] within the a solo. There are times when you want to do that, but then
it has to be a choice and in my experience I need to work a bit to get past that level.
In these examples I expect the reader to be able to analyze the note choices relative to the key and the chord, I
did not explain what triad I put where.
A few (simple) observations
Triads are, in jazz, often effective as upper structures in the chord so there are several options available when
looking to use triads in improvising on a chord
We tend to use the root position triad the most.
Playing the three notes of a triad inversion is not the only way to base a melody around a triad.
Upper structures.
As you probably know chords are build of stacks of 3rds. F.ex Bb major7#-11-13 would spell out to be the notes
Bb D F A C E G. For each not in the chord there is a triad, so Bb major, D minor, F major, A minor, C major E
diminished and G minor would all work on that chord. In that way we can chose a triad other than that of the
chord and play it while still playing something related to the chord. But as you might hear we need to stay close
enough (ie have enough basic chord tones) to make it clear. There are numerous charts and articles on the net
about this so it should be easy to dig something up if you want to check out more.
We tend to use the root position triad the most.
This makes sense because we almost always think or build chords from the root. It is also not wrong in any way,
but if you listen to Charlie Parker, he often used the other inversions in his themes too. Check the first phrase of
Dexterity or Anthropology which both use the 2nd inversion. First 3 notes of Blues for Alice is a 1st inversion
triad. I sometimes have the impression that after Parker people forgot to make melodies with the other
inversions, which is probably not true, but stil..
An obvious advantage of the inversions is that you get a nice 6th interval instead of the 5th.
Playing the three notes of a triad inversion is not the only way to base a
melody around a triad.
Mixing up the melody by adding a passing note (chromatic or diatonic) can be a good way to
build melodies. If you play melodies which are not bop lines but just songs you’ll find that there
are not that many arpeggios in 8th notes after each other, they are there in the melody but not as copy/paste
blocks like we often do in bop improvisation.
This entry was posted in Lesson and tagged arpeggios, guitar, improvising, jazz, jazzguitar, triad on September 20,
2013.
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In the 3rd part I’ll have a look at some of the possibilities you have when making your lines from a pair of triads without
common notes. Again the idea is to use the strong melody that a triad is by itself and choose triads that fit the chord in this
song.
First it might be useful to have an overview of all possible triad combinations:
I have given the combinations and also a suggestion to the kind of scale or chord sound that it might be used for.
Triads without common notes
halfstep apart:
C Db F harmonic Min
C Db+ F harmonic Maj
Cm Db F aeolian
Cm Dbm Ab harmonic Maj
Cm Db+ G gypsy Min
Cdim Db Db major
Cdim Dbm Db harm/mel min
Cdim Dbdim C7 dim
Cdim Db+ G gypsy min
C+ Db+ Db augmented
Whole step apart:
C D G major
C Dm C major
C Ddim C harm min/F mel minor
C D+ G mel minor
Cm D G harm min/maj
Cm Dm G aeolian
Cm Ddim Eb major
Cm D+ G harm min
Cdim Dm D7 dim
Cdim Ddim D7 dim
C+ D A mel min
C+ Dm A harm min
C+ D+ C whole tone
Minor third apart:
C Ebm C7 dim
C Ebdim C7 dim
C+ Eb C augmented
C+ Ebm Ab harm maj
C+ Ebdim Db harm min
C+ Eb+ (= C+ Db+)
Major third apart:
Cm E C augmented
Cdim E E harm maj

Cdim Em E harm min
Cdim Edim C7 dim
Fourth apart:
C Fdim C harm maj/F gypsy
Cm Fdim C harm min
Cdim Fdim F7 dim
Tritone apart:
C F# C7 dim
C F#m C7 dim
C F#+(= C D+)
Cm F# (= C F#m)
Cm F#m C7 dim
Cm F#+ (= Cm D+)
C+ F# (= C F#+)
C+ F#m (= Cm F#m)
C+ F#+ (= C+ D+)
38 combinations
When I write C augmented, I am referring to this symetric scale: C Eb E G G# B
Jazz Chord Essentials: Triads
Jens Larsen
www.jenslarsen.nl
Standard tuning
= 120
Example 1 - Chords consisting of a triad + a root note
Cmaj7 Em
1 2
E-Gt
0 5 8 12 0 5 8 12
0 4 9 12 0 4 9 12
2 5 9 14 2 5 9 14
3 3 15
8
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5) Cmaj7
3 4
5 6 8 10 12 13 15 17
4 5 7 9 10 12 14 16
5 7 9 10 12 14 15 17
3 5 7 8 10 12 14 15
1/4
Example 2 - Triads as chords in inversions
C
8 9 10 11
0 3 8 12
1 5 8 13 1 5 8 13
0 5 9 12 0 5 9 12 0 5 9 12
2 5 10 14 2 5 10 14 2 5 10 14
3 7 10 15 3 7 10 15
3 8 12 15
Dm
12 13 14 15
1 5 10 13
3 6 10 15 3 6 10 15
2 7 10 14 2 7 10 14 2 7 10 14
3 7 12 15 3 7 12 15 3 7 12 15
5 6 12 17 5 8 12 17
5 10 13 17
Bdim
16 17 18 19
1 7 10 13
3 6 12 15 3 6 12 15
4 7 10 16 4 7 10 16 4 7 10 16
3 9 12 15 3 9 12 15 3 9 12 15
5 8 14 17 5 8 14 17
7 10 13 19
Example 3 - Basic Cadences

Dm7 G7 Cmaj7 Dm7 G7 Cmaj7 Dm7 G7 Cmaj7
20 21 22 23 24 25
1 3 5 6 6 8 10 12 12
2 4 4 5 7 9 10 10 12
3 3 5 7 9 9 10 12 14
Example 4 - Altered dominant: use diminished triad from the 7th

D 7 G7( 9)
26 27
9 9 0 6 9 12
10 10 1 4 10 13
9 9 3 6 9 15
10
9
2/4
Example 5 - Alterations, extensions and suspensions
G7
28 29
3 5 6 6 12 12
4 4 7 9 10 10
3 3 9 9 12 14
G7
30 31
3 2 6 6 12 12
4 4 7 6 10 10
3 3 9 9 12 11
32 33
3 3 6 6 12 13
4 5 7 7 10 10
3 3 9 10 12 12
Example 6 - 11th instead of 5 on m7 chords and major 7th chords

Dm7
34 35
1 1 6 6 10 8
2 0 5 5 10 10
3 3 7 5 10 10
Cmaj7
36 37
5 5 8 7 12 12
4 4 9 9 12 11
5 4 9 9 14 14
Cmaj7
38 39
5 5 8 8 12 10
4 2 9 9 12 12
5 5 9 7 14 14
3/4
Example 7 - Turnaround
Dm7 G7 Cmaj7 A7alt
40 41 42 43
1 1 0 3 5 2 8
2 0 1 4 4 3 2 3 6
3 3 3 3 5 5 5 8
Dm7 G7 Cmaj7 A7alt

44 45 46 47
6 6 8 10 13 11
5 7 8 9 9 12 12
5 7 9 9 9 11 11
Dm7 G7 Cmaj7 A7alt

48 49 50 51
8 10 11 9 10 12 13 11
10 10 10 10 12 12 12 12
10 10 9 9 14 14 11 11
Dm7 G7 Cmaj7
52 53 54 55
7 (7)
10 12 10 8 (8)
10 12 10 10 10 9
10 14 13
8
4/4
Triads of the Diminished scale - part 1
Jens Larsen
Standard tuning
= 120
Example 1 - G7 diminished scale
3
3
3
3 3
3
E-Gt
6 7 9 10
6 8 9
6 7 9
6 8 9
7 8 10
7 9 10
Example 2 - The 4 major triads contained in the scale

G B D E
7
6 9 9
7 7 10 9
9 8 11
10
Example 3 - Inversions of the triads
7 6
8 8 6 6
7 7 7 7 7 7
9 9 9 8 8 8
10 10 8 8
10 10
Dm7 G7(13 5 9) Cmaj7
7 12 10
8 6 9 11
5 7 7 10 12 10 9
5 7
5
1/2
Dm7 G7(13 5 9)
10
8 13 10 8 9 11 11 11 12
10 7 10 10
7 12 11
Dm7 G7(13 5 9)
12 10
9 12
10 7 9 10 9
10 7 11
8 7 8 11
10
2/2
Triplet rhythms - Part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Basic Triplet scale exercises to strengthen the feel of 8th note subdivision
3 3 3 3 3
3 3 3 3 3
1 3 3 3 3
3
3
E-Gt
5 78
5 68 5 6 5 6 5 6 5 8
56 8 5 6 5 8 6 8 6 5 8 6 5 8 6 5 8 6
46 8 4 8 6 8 4 8 6 8 4 8 6 8
Example 2 - II V I lick with triplets

Fm7 B 7alt E maj7
3 3
5 3
3 3
3 3 3
7 6
8 4 7
5 5 3 3 4 6 3 4 6 7
6 6 5 3 1 4
3 1 2 5
Example 3 - Rhythm no 1
Fm7 B 7 E maj7
3
9
3
3
6 10
6 9 8
5 8 7 8 8
6 8 8
8 8
Example 4 - II V I with rhythm no 1

Fm7 B 7 E maj7
3
13
3 3
3 3
7 10 6
8 11 10 9 8 7 9
8 10 8 7 7 9
10 10 8 6 9
1/2
Example 5 - rhythm no 2
Fm7 B 7 E maj7
3
17
3
3 3
3 3
6 10
6 9 8
5 8 7 8 8
6 8 8
8 8
Example 6 - II V I with rhythm no 2

Fm7 B 7 E maj7
3
3
21
3 3
3 3 3
3
7 6
7 9 7 9
5 8 7 5 6 9 9
5 6 5 5 6 8
7 8
2/2
Triplet rhythms - Part 2
Jens Larsen
Standard tuning
= 120
Example 1 - Rhythm no 1 - Quarter note triplets
Am7 D7 Gmaj7 E7( 9)
1
3 3 3 3 3 3
3 3
E-Gt
8 8 7 7 10 10 9 9
9 9 8 8 11 11 10 10
10 10 10 10 9 9 12 12
Example 2 - Line with quarter note triplets (in groups of 2)

Am7 D7alt Gmaj7
5
3 3 3
3
3
8 10 11 9
7 9 9 11 10 11 8 7
7 9 10
Am7 D7alt Gmaj7 E7( 9)
9
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
8 10 8 10 7 11 7 11 7 10 7 10 7 9 7 9
9 9 8 8 7 7 7 7
10 10 10 10 9 9 9 9
Example 4 - Line with rhythm no 2

Am7 D7alt Gmaj7
3
3
13
3 3 3
3 3 3
8 10 8 7
9 9 9 8 8 7
7 9 10 10 8
9 6 5
1/2
Am7 D7alt Gmaj7 E7( 9)
3 3 3 3 3 3 3 3
17
3 3 3 3 3 3 3 3
8 8 7 7 7 7 6 6
9 9 8 8 7 7 7 7
10 10 10 10 9 9 9 9
Example 6 - Line with rhythm no 3

Am7 D7alt Gmaj7
21
3 3 3
3 3
8 10 12 10 8 7 (7) 7
9 9 8 8 7 (7)
10 10
2/2
Triplets in groups of 4 - part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Basic Triplet exercise 1
1
3 3 3 3
E-Gt
8 10 8 10 8 10 8 10
9 9 9 9
3 3
3 3
2
3 3
3 3
8
7 9 7 10 9
7 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
3 3
4 3
3 3
7 9
7 9 7 10 9 10
7 8 7 10 8 10
8 10
Example 4 - Triplets in groups of 4 exercise 1

6
3 3 3 3
5 8 5 8 5 8
5 7 5 7 5 7
1/2
7
3 3
3 3
8 12 8 12 8 12
9 9 9
10 10 10
3 3 3
8
8 10 8 10 8 10
9 9 9
Example 7 - Triplets example phrase 1

9
3
3 3 3
13 10 13 10 13 10
13 10 13 10 13 10

3
10
3 3
3
4 8 4 6 8 4 8
5 8 5
6 6
8

3
3 3
12 3
3 3
3
3
8 8 8
8 5 8 5 8 5
6 6 6 6 6 6
8 8 8
2/2
Tritone Scale
Jens Larsen
Standard tuning
= 120
Example 1 - Tritone Scale - symmetrical fingering
1
E-Gt
9 11 12
8 10 11
6 8 9
5 7 8
4 6 7
3 5 6
Example 2 - Tritone scale in diatonice triads

4
6 8 6 9
5 7 5 8 7 5 8 7
6 4 7 6 4 7 6 7
3 6 5 6
9 11 9 12
8 10 8 11 10 10 11 10
8 6 9 8 9
8
Example 3 - A7 and Eb7 arpeggios

10
6 9
5 8 8
6 6 8
5 5 8 7
4 7 6
5
Example 4 - Triad pattern

12
9 12
8 11 10
6 7 8
5 8 7
4 7 6
5
1/2
Example 5 - Line no 1 using the tritone scale
A7 9 Dmaj7
14
9 12 9 14
8 8 11 10
6 9 6 8
5 8 5 7
6

A7 9 Dmaj7
16
10
6 9 6 8 9 8 8 9 9 8
7 11 11 8 8
10 9

A7 9 Dmaj7
18
9 11
10 11 8 10 8 7
6 8 6 9
5 7 5 8
7
2/2
Tritone Substitution
Jens Larsen
Standard tuning
= 120
Example 1 - Tritone Substitution
Am7 D7 Gmaj7 D7 A 7 Am7 A 7 Gmaj7
1
E-Gt
12 12 12 12 11 12
12 11 11 11 11 12 11 11
10 10 12 10 10 10 10 12
12 10 11 12 11 10
10 10
Example 2 - Scales: G major, Eb Mel Min and Db major

3
6 3
3
3
3
3
10 12 14
10 12 13
9 11 12
9 10 12
9 10 12
8 10 12
3
7 3
3
3
3
3
11 13 14
11 13 15
10 11 13
10 12 13
9 11 13
10 11 13
3
8 3
3
3
3
3
11 13 14
11 13 14
10 11 13
10 11 13
9 11 13
9 11 13
1/2
Example 3 - Arpeggios
A 7 Cm7 5 E mMaj7 G Maj7(#5)
9
14
11 11 15 11 15
11 11 11 11
10 13 10 13 13
11
Example 4
Am7 A 7 Gmaj7
13
11 10
9 12 10 9 13 10 13 10 11 12
10 12 10 11
12
Example 5
Am7 A 7 Gmaj7
17
10 12 11 14 11
9 12 9 11
9 10 10 13 11 10
13 14
Example 6
Am7 A 7 Gmaj7
21
13 10
10 11 11
9 9 11 11
12 9 10 13 10 12
10
12
2/2
Turnarounds - comping
Jens Larsen
Standard tuning
= 120
Example 1 - Basic Turnaround in Bb
B maj7 G7( 9) Cm7 F7( 9)
1
E-Gt
6 9 8 7
7 10 8 8
7 9 8 7
10 8
6 8
Example 2: Chord voicings

B maj7 G7 9
3
5 8 10 11
6 8 6 6 8 9 11 9 9
7 7 7 7 10 10 10 10 10
7 7 7 7 9 9 9 9 9
Cm7 F7alt
7
8 10 7 9
6 8 11 8 8 6 7 9 7 7
8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 7 7 7 7 7
Example 3 - Turnaround 1
B maj7 G7( 9) Cm7 F7alt B maj7
11
6 8 11 9 8 11 9 7 6 (6)
7 7 10 10 8 8 8 8 7 (7)
7 7 9 9 8 8 7 7 7 (7)
1/2
14
8 8 10 11 10 (10) 5
6 6 9 9 8 (8) 11 8 9 9 7 6
7 7 10 10 8 (8) 8 8 8 8 8 7
7 7 9 9 8 (8) 8 8 7 7 7 7
17
5 5
6 6 9 11 8 (8) 6 7 9 6
7 7 10 10 8 (8) 8 8 8 7
7 7 9 9 8 (8) 8 7 7 7
2/2
Turnarounds part 1 - I VI II V
Jess Larsen
Standard tuning
= 120
Example 1 - Turnaround in Chords
B Maj7 G7( 9) Cm7 F7( 9)
1
E-Gt
6 9 8 7
7 10 8 8
7 9 8 7
10 8
6 8
Example 2 - Bb major scale - used fro Bbmaj7 and Cm7 chord

3
6
6 8 10
5 7 8
5 7 8
5 6 8
6 8
Example 3 - C harmonic minor used over G7(b9)

5
7
6 8 9
5 7 8
5 6 9
5 6 8
7 8
Example 4 - Bb harmonic minor used over F7(b9)

7
6 7 10
5 6 8
4 7 8
4 6 8
5 6 8
1/2
Example 6 - Arpeggio suggestions
B maj7 G7 Cm7 F7
9
6 6 9 7
5 7 7 7 5 8 5 8
7 7 5 9 9 58 58 7 7
58 58 6 6 8
6 8
Example 7 - Turnaround etude

B maj7 G7 Cm7 F7 B maj7 G7 Cm7 F7
13
6 9 6 7 6 6 6 9 8 6
7 7 7 5 8 7 5 7 8 5 6
8 9 8 5 6 7 8 9 7
8 6
B maj7 G7 Cm7 F7 B maj7 G7 Cm7 F7 B Maj7

17
8 5 7
7 6 9 8 6
5 7 5 8 8 7 8 7
7 6 9 5 8 8 5 7
5 8 5 8 6 9 6 5
8
2/2
Turnarounds part 2 - I bIIIdim II V
Jens Larsen
Standard tuning
= 120
B Maj7 D dim Cm7 F7alt
1
E-Gt
6 10 8 9
7 9 8 8
7 8 8 7
8
6 9 8

3
6
6 8 10
5 7 8
5 7 8
5 6 8
6 8
Example 3 - D harmonic minor used over Dbdim

5
6 8 10
6 7 9
5 7 8
5 7 8
5 6 9
Example 4 - F#m melodic - used over F7alt

7
7 9 10
6 8 10
6 7 9
6 8 9
5 7 9
1/2
B maj7 D dim Cm7 F7
9
6
8 8 7 10
5 6 9 6 9 7 6 8
7 7 7 5 8 58 7 9
58 58 6 6 6 9
6 8

B maj7 D dim Cm7 F7 B maj7 D dim Cm7 F7
13
10 8
5 7 6 9 9 8 7 5 6 7 6 10
7 10 9 7 7 8 5 8 8 5 7
8 9 6 5 8 6 9
Dbdim
B maj7 D dim Cm7 F7 B maj7 Cm7 F7 B Maj7
17
8 10 8 10 8 7 10 6 9 7 6
7 10 6 9 10 8 8 7 6
10 9 8 7 5 5 8 7
7 6
9 6 8
2/2
Turnarounds part 3 - I bIII7 II Valt
Jens Larsen
Standard tuning
= 120
B Maj7 D 7 Cm7 F7alt
1
E-Gt
6 11 8 9
7 10 8 8
7 9 8 7
8
6 9 8
B Maj7 G7alt Cm7 F7alt
6 11 8 9
7 10 8 8
7 9 8 7
10 8
6 8

5
6
6 8 10
5 7 8
5 7 8
5 6 8
6 8
Example 3 - Ab minor melodic (Db7 lydian dominant)

7
8 9 11
6 8 10
6 8 9
6 8 10
6 7 9
1/2
Example 4 - F#m melodic - used over F7alt
9
7 9 10
6 8 10
6 7 9
6 8 9
5 7 9

B maj7 D 7 Cm7 F7
11
7
6 9 7 10
5 6 8 7 6 8
7 7 6 9 58 58 7 9
58 58 8 6 6 6 9
6 8

B maj7 D 7 Cm7 F7 B maj7 D 7 Cm7 F7
15
7 11 7 10
6 8 9 11 8
7 8 10 6 5 5 8 6
8 7 5 7 9 6 7 9 5 8 7 6
9 8 9
B maj7 D 7 Cm7 F7 B maj7 D 7 Cm7 F7 B Maj7

19
7 11 10 11 9
11 9 8 7 6 6 10 9 9 8 11 10 7
5 7 8 10 8 8 6 7 8 7
7 9 10 9
8
2/2
Using Passing chords in Comping
Jens Larsen
www.jenslarsen.nl
 = 190
Am7   D7 Gmaj7
 
    1     2

  



 
  3    
      
 
E-Gt
8 10 12 10 8 7 5 7 5 3 5
8 10 12 10 7 4 4 4 3 3 3
 9
7
11
9
12
10
11
9
8
7
5
4
5
4
5
4
4
4
4
2
4
4

Am7 Am9 Am7 Am7 Bm7 Am7 Am7 G6 Am7
          
4
   5
   6
  

8 7 5 8 7 5 8 7 5
8 5 5 8 7 5 8 5 5
 9
7
5
5
5
5
9
7
7
7
5
5
9
7
7
5
5
5

Am7 D7 Gmaj7

  
 
   
7     8


   
 



 9  


  
     

12 10 8 7 5 7 7 6 6 5 7 8 10
10 9 8 6 5 5 5 6 6 3 7 8 10
 12
10
10
9
9
7
7
6
5
5
5
4
5
4
5
4
5
4
4
4
7
5
9
7
11
9

Am7 G  dim Am7 G  dim7 Am7 G  dim Am7 G  dim Am7
    
  10    
   11
        12 
      
3 4 5 7 8 10 12 13 15
1 3 5 6 8 9 10 12 13
 2
2
4
3
5
5
7
6
9
7
10
9
12
10
13
12
14
14

Am7 D7    Gmaj7
         
     
13      
  14         15


     
 
7 6 5 7 10 8 10 11 12 13 11 10
5 6 5 8 12 11 12 11 11 10
 5
5
6
6
5
5
9
7
11
10
10
9
11
10
11
10
11
10
11
7

1/1
Using the pentatonic scale for chords
Jens Larsen
Standard tuning
= 120
Example 1 - Am pentatonic as 3 note chords
1 2
E-Gt
3 5 8 10 13
2 5 7 9 12
2 5 7 10 12
Example 2 - Fm pentatonic as 3 note chords

3 4
1 4 6 9 11
1 3 5 8 10
1 3 6 8 10
Example 3 - Bm pentatonic as 3 note chords

5 6
3 5 7 10 12
2 4 7 9 11
2 4 7 9 12
Example 4 - II V I example no 1
Am7 D7alt Gmaj7
7 8 9 10
3 5 3 4 6 4 1 3 (3) 7 5
2 5 2 3 5 3 1 2 (2) 7 4
2 5 2 3 6 3 1 2 (2) 7 4
1/2
Am7 D7alt Gmaj7
11 12 13 14
5 8 10 8 9 11 9 10 (10) 12 7
5 7 9 7 8 10 8 9 (9) 11 7
5 7 9 7 8 10 8 9 (9) 12 7
Am7 D7alt Gmaj7
15 16 17 18
15 13 15 13 11 9 11 9 10 7
14 12 14 12 10 8 10 10 9 7
14 12 14 12 10 8 10 10 9 7
2/2
Voice Leading
www.jenslarsen.nl
Jens Larsen
Dm7 G7 Cmaj7 Dm7(11) G7(  9  5)
10  9
 8   

 

      
C6 / Dm7(11) G7(  9  13) Cmaj7(  11) Dm7(9,11)
 9
   8
 
  
   
    
G7(  9  13) Cmaj9(  5) Cmaj7(9) Dm7 G7(  5  13)
9
  9
  8
 10
 10
 
   
    
Cmaj7 Dm7 G7(  9  5) C6 /
9
 6
 6
 7
  9
  
   
Standard tuning
 = 120
Example 1
Dm7 G7 Cmaj7
  1  2

   
jz.guit.
 10
10
10
9
9
9
10
10 8
Example 2
Dm7(11) G7(  9  5) C6 /9
3  4 
     
3 3 3
1 2 3
 2
3
1
3
2
2
Example 3
Dm7(11) G7(  9  13) Cmaj7(  11)

5
   6 
    
3 4 5
5 4 5
 5
3
4
3
4
4
1/2
Example 4 - Independent Voices and suspensions
Dm7(9,11) G7(  9  13) Cmaj9(  5) Cmaj7(9)

   

7   8    
   
12 11 10 10
8 9 9 8
 10
10
10
9
9
9
9
9
Example 5 - Not stuck in Drop2

Dm7 G7( 5  13) Cmaj7
   
9
  10 
  
12 11 12
10 12 12
 10
10
10
11
12
10
Example 6
Dm7 G7( 9  5) C6 /9
   
11  12

  
8 9 10
6 8 8
 7
7
10
6
9
7
2/2
Walking Bass - All The Things You Are
Jens Larsen
www.jenslarsen.nl
 = 175
Fm7 B  m7 E7 A  maj7
  1  2  3  4

   
 

         
   

E-Gt
8 6 6 4
 8
6
6
6
6
5
5
5
8 6 3 4 5 6 4 3 6 3
 8 7 6 6 3 4
D  maj7 G7 Cmaj7
   
       
5 6 7 8
   
                

6 5 8
 5
6
4
3
4
5
9
9
4 3 2 5 4 2 3 5 7 7
 6 1 3 7 8 10 9
Cm7 Fm7 B7 E  maj7
  9 10  11
  12
 

                
   
8 9 8
 8
8
8
6
7
6
7
8
5 6 7 8 6 5 8 7 5 6 5
 8 8 4 6 6 3
A  maj7 Aø D7 Gmaj7
  13
 14
  15 16
             
      
 5
5
5
5
5
4
4
4
3 6 6 5 2 5 9 10 9
 4 4 5 5 3 10 7
Am7 D7 Gmaj7
  17
  18
  19
 20

     
        
       
   
5 5 3 3
 5
5
5
4
4
4
4
4
2 3 4 5 3 2 5 2
 5 5 2 3 2 3 3 0
1/2
F ø B7 Emaj7 C7
  21 22
   23
    24
 
   
         
        
9
 2
2
8
7
8
9
9
8
6 9 8 6 7 6 7 10 9 7
 2 5 8 6 7 7 9 7 8
Fm7 B  m7 E7 A  maj7
  25 26 27  28

 
           
   
    
9 6 4
 8 6
6
6
5
5
5
8 6 3 4 5 6 4 3 6 5 3
 8 4 6 6 3 4
D  maj7 D  m6 Cm7 Bdim
 
 
29 30
  31 

32
 
            
     
6 9 8
 5
6
9
8
8
8
7
6
4 6 8 7 6 5 6 5
 8 9 9 8 6 7 7 4
B  m7 E7 A  maj7 Gø C7
  33  34  35
 36
 
      


   
       
6 6 4
 6
6
6
5
5
5
3
3
3
2
3 4 5 6 4 3 4 3
 6 6 3 4 6 4 3 3
  37

  
 

1
 1
1
 1
2/2
Walking Bass and Chords - Bb Blues
Jens Larsen
B  7(13) E  7(9) E  7(9) A7 B7 Fm7(9) E7(9)
6      
5 5 5 6 6 6 
Edim D G7(  13) Cm7(9) F7(  9) G7(  9) Cm7
6
            
5 7 9 8 
      
Standard tuning
 = 165
(  =   )
Example 1 - Walking Bass
B7 E 7 B7 Fm7 E7
    1 2
  3 4    
         
        
     
     

E-Gt
8 6 8 7
 7
6
6
5
6
5
7
6
8
6
7
6
5 8 7 5 6 4 5 8 7 8 7
 6 6 5 6 8 7
E 7 Edim B7 Dø G7
  5
  6
  7 
  
8 
 
           


   
6 8 8 6 4
 6
5
6
8
7
6
5
6
4
3
6 4 6 7 6 5 8 6 5 4
 6 9 5 6 4 3
Cm7 F7 B7 G7 Cm7 F7
        
9
 10
 11
 
12
               
    


3 9 11 8 9
 3
1
8
7
8
7
7
6
10
9
8
8
8
7
3 5 6 7 8 6 8 10 9 8
 8 7 6 9 8 8
Example 2 - Chords
B  7(13) E 7(9) A7 B7 Fm7(9) E7(9) E 7(9) Edim B  7(13) D G7( 13)
               
13 14 15
   
              
    
8 6 8 7 6 8 8 6 4
 7
6
6
5
6
5
7
6
8
6
7
6
6
5
6
8
7
6
5
6
4
3
6 8 7 6 7 5
 6 5 6 6 3
1/2
Cm7(9) F7( 9) B7 G7( 9) Cm7 F7( 9)
  16    17   
  
     

 

3 9 11 8 9
 3
1
8
7
7
6
10
9
8
8
8
7
3 8 10 8
 6 8
2/2
Walking Bass and Chords exercise - Solar
Jens Larsen
Standard tuning
= 120
Cm6 Gm7 C7
1 2 3 4
E-Gt
8 8
8 8 3 3
7 7 3 2
5 6 5 6 0 1 2 3
8 7 8 5 3 0 3 2
Fmaj7 Fm7 B 7
5 6 7 8
1 10 8
2 9 8 8 7
2 10 6 7 6
3 5 7 8 7 7 8 6 5 8 7 5
1 8 8 7 6
E maj7 E m7 A 7 D maj7 Dm7( 5) G7

9 10 11 12
8 11 11 9
7 11 11 10 10 10
8 11 10 10 10 9
6 9 11 8 11 11 10
6 8 10 11 11 9 9 10 10
Cm6 Cm6 Gm7 C7
13 14 15 16
8 8 10
8 8 10 9
7 7 8 8
5 6 5 6 8 10 8 7 10 9 7
8 7 8 10 6 8
1/2
Fmaj7 Fm7 B 7
17 18 19 20
10 10
9 9 1 6 7
10 10 1 5 6
8 7 7 8 7 5 8 7 5
8 8 5 1 3 4 5 6
E maj7 E m7 A 7 D maj7 Dm7( 5) G7

21 22 23 24
8 6 6 6 6 4
7 6 5 5 5 4
8 4 4 6 6 3
6 5 5 6 3 4 3 3 5 4
6 6 4 6 4 5
Cm6/9
25
3
2
1
3
2/2
What Hendrix can teach Jazz Guitarists
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Example 1
Cmaj7 D  maj7
                     
             
1 2 3 4
           
 
   
s.guit.
10 7 3 (3) 5 3 5 6 4 8 9 11 10 9 11
8 5 3 (3) 3 3 3 4 4 6 9 9 9 9 9
 9
9
7
5
4
2
(4)
(2)
4
2
4
2
4
2
5
3
5
3
6
6
10
8
10
10
10
9
10
8
10
8
Example 2
Cmaj7 D  maj7
sl. H P H
5
  6
         7
   8
           
    
3
sl. H P H
3 3
5 3 5 5 3 5 3 4 4 4 4 4
 4
5
2 4 5 4 5
3
5
3
3 5 3
6
3 5 3
6
3 4
Example 3
Cmaj7 D  maj7
9
H
    P
10

sl.
    11         12       
       
3
H P sl.
3 6 4
3 5 3 3 5 3 5 6 9 (9) 9 6 4 6 4
 4
2
5 2 4 2 4 5
6
10
10
8
8
10
10
8 (8) 10
10
4 3
3 4

13
Example 4
  14    15
     
        
  
7 10 7 10
8 10 8 10 8 10
 7 9
7 9
7 9
7
7
9
9
7 9
7 10 7 10
7 10
Example 5
16      17 18 
      
 
 
3 5 3 5
3 3 3 3 5 3 3 3 3 3
 4 4 4 2 4 2
5
4
5
3 3
1/2
Example 6       
  

19
  20

 
8 8 8 8 10 8 10
8 10 8 8 8 8 8 8 8 8
 10
7 9 7 10 9
10
8
Cmaj7 sl.

21
   22   

  

sl.
3 5 3
5 3 5 3 5 3 5
 4
5
2 4 4
3
2/2
Whole tone scale for outside playing
Jens Larsen
Standard tuning
= 120
Example 1 - G melodic minor
Gm(Maj7)
1 2
E-Gt
7 8 7
7 9 7
7 8 10 8
10 10
Example 2 - Bb whole tone

B augmented
3 4
6
7 9 7
7 9 7
8 10 8
9
5 6 7
7 7 9 11 13 10
7 7 9 11
8 8 10 12
10 10
8 9 10
8 6 10
10 10 8 7 7 9 7 10
9 9 7 7 9 9
8 8 8
11 12 13
10 7 8 10 11 7 9 5 7 (7)
7 11 7 9 5 7 (7)
8
9 10
1/1
Jazz Licks - How You Write Jazz Licks
Jens Larsen
Standard tuning
= 120
Example 1
Cm7 F7 B maj7
1 2 3
E-Gt
8 8 6
8 8 7
8 7 7
8
8 6
Example 2
Cm7
4
8 11
8
10
Example 3
Cm7 F7
5 6
8 11 10
8
10
Example 4
Cm7 F7
7 8
8
8 11 11 8 9 10
8
10
Example 5
Cm7 F7
9 10
10 8
8 11 11 8 10
8
10
1/3
Example 6
Cm7 F7
11 12
8 10 8
8 11 11 10
8
10
Example 7
Cm7 F7
13 14
8
8 11 12 11 9 10
8
10
Example 8
Cm7 F7 B maj7
15 16 17
8
8 11 11 8 9 10 8
8 8 8 10 8 7
10 10 10
Example 9
Cm7 F7 B maj7
18 19 20
8
8 11 11 8 9 10 8
8 8 10 8 7
10 10 8
10
Example 10
Cm7 F7 B maj7
21 22 23
8
8 11 11 8 9 10 7 9 6 7
8 8 8 7
10 9
2/3
Example 11
Cm7 F7 B maj7
24 25 26
8 9 7
8 11 11 8 9 10 10 9 7
8 8 6 7
10
Example 12
Cm7 F7 B maj7
27 28 29
8 9 5
8 11 11 8 9 10 7 7
8 8 8 7
10 9
Example 13
Cm7 F7 B maj7
30 31 32
8
8 11 11 8 9 10 9 7 6
8 8 8 6 7
10 7
3/3
You don't need that many chord voicings
it's how you use them.
Jens Larsen
www.jenslarsen.nl
Cmaj7 A7(  9) Dm7 G7(  9) Cmaj7 A7(  9) Dm7 G7(  9)
8        
11 10 9 8 11 10 9
Standard tuning
 = 100
Example 1
Cmaj7 A7(  9) Dm7 G7(  9)

   
  1
  2
 
  
s.guit.
8 13 10 11
 9
9
12
11
10
10
10
9
12 10
8 10
Example 2
Cmaj7 A7(  9) Dm7 G7(  9)

 3
 4   
    
8 13 10 11
 9
9
12
11
10
10
10
9
Example 3
Cmaj7 A7(  9) Dm7 G7(  9)

  
5   6
       7       8       
                 

8 10 8 10 8 13 13 11 13 11 10 8 10 11 (11) 9 11 9
 9
9
9
9
9
9
9
9
9
9
12
11
12
11
12
11
12
11
12
11
10
10
10
10
10
10
10
9
(10)
9
10
9
10
9
10
9
Example 4
Cmaj7 A7(  9) Dm7 G7(  9)


        



        
   
     
        
9 10 11 12
      

10 13 13 12 12 10 11 9
8 8 10 8 13 13 11 11 11 10 10 10 13 10 11 9 9 9
 9
9
9
9
9
9
9
9
12
11
12
11
12
11
12
11
12
11
10
10
10
10
10
10
10
10
10
10
10
9
10
9
10
9
10
9
1/2
Example 5
Cmaj7 A7 Dm7 G7
          
              
  
13 14 15 16
    
13 12 10
8 10 8 13 11 13 13 10 11 9 11 9
 9
9
9
9
12
11
10
10
10
9
10
9
Example 6
Cmaj7 A7 Dm7 G7
              
         
17
  18
 19
  20
 

13 11 12 12 10
8 8 10 8 10 13 13 11 10 13 10 11 11 9 8
 9
9 9
11
12 12
10
10
9
10 10 10
Example 7
Cmaj7 A7
      Dm7     G7
          
 
  
    
21 22 23 24
         

13 12 10
8 10 10 8 13 13 11 13 10 10 10 10 13 11 9
 9
9
9
9
9
9
12
11 11
12 12 12
11
10
10
10
10
10
10
10
10
10
10
10
9 9
10
9
10
9
Cmaj7
  A7alt
   
    
 
25 26 27
 28

7 8 10 11 13
8 10 10 11 13 14
 9
9
12
11
Dm7
    G7alt
   

29  30 31   32
  
10 12 9 11
8 10 12 13 8 9 11 12
 10
10
10
9
2/2
3 Arpeggios from the Diminished scale and no Triads!
Guitar Licks and Scale Positions
Jens Larsen
www.jenslarsen.nl
 = 102
C7(13  9)
  
Fmaj7
      
     
1 2 3 4 5
           
 

E-Gt
5 5 6 8
5 5 5 7 8
 6
8
5
7 5 7 8
5 6 8
8 6 7 9
 8 5 6 8 9
Example 1
C7 Fmaj7
     
6
    7
    8
     
5 8 6 5
7 5 5
 7 4 5 8
6 6 5
7 8
6

Example 2
   
9
         10
  
          
5 8
6 5 5 8
 5
5
5 8
8
5 8
7
8
6 6
4 7 7

Example 3
C7  Fmaj7
         
  11
    12 13
 
9 12 9 11 9 8 8
11 11 11
 11
9
11
12 9 11
10

Example 4
 14
   15
       
  
           
 
6
5 8 5 8
 8 5 8 5 8
6
8
6 9
7
6 5
4 7 7 6 9
 5 8
1/2
Example 5
C7 Fmaj7
     

  16
    17    
18

 
10 13 11 11 10
 11
11
8
9
11
12 12 9
11 8 7
10

Example 6
     
  

  
19
    20  21

  
11 13
10 13 11 13
 8
8
11
11
8
9
11
12 9 11
7 10

2/2
3 Arpeggios in the Altered Scale
that you forgot to learn!
Jens Larsen
Standard tuning
= 120
Example 1 - G7 altered with Bmaj7(b5) arpeggio
G7alt Cmaj7
1 2
3
3
E-Gt
11 13 11 12 7
11 12 12 8 10 8 7
8 10 8 9 9
8 9 9 9
6 8 6
7
Example 2 - Ab melodic minor / G altered scale

3 4
9 11 13
9 11 12
8 10 12
8 9 11
8 10 11
7 9 11
Example 3 - Diatonic chords of Ab melodic minor / G altered

A mMaj7 B m7 Bmaj7(#5) D 7 E 7 Fm7( 5) Gm7( 5) A mMaj7
5 6
4 6 8 9 11 12 14 16
4 6 8 10 12 13 15 16
5 6 8 9 11 13 15 17
4 6 7 9 11 13 15 16
1/3
Example 4 - Bmaj7(b5) and arpeggios
Bmaj7(#5) Bmaj7(b5)
7 8 9
11 13 7 11
8 6 11 12 11
8 8 8 10 8 10
8 8 8 9 8 9
6 8 8
7 7 6 7 7 11
Example 5 - G7 altered with Db7(b5) arpeggio

G7alt Cmaj7
10 11
8 12 8 9 11 9 8 9 8 10 8 12
10 10 10 10 8 9 9 7
9 11 11 9
10
8
Example 6 - Db7(b5) and arpeggios

D 7 D 7( 5)
12 13 14
13 15 9 13
9 8 12 14 8 12
10 10 8 10 10
9 9 9 11 9 11
8 10 10
9 9 7 9 9 13
Example 7 - G7 altered with Eb7(#5) arpeggio

G7alt Cmaj7
15 16
12 14 11 12 11 11 14 12 12
12 13 13 10 12 9
9 11 13 10
10
11
2/3
Example 8 - Eb7(#5) and arpeggios
E 7 E 7( 5)
17 18 19
15 9 11
11 12 12 14 16 8 12
12 12 12 8
11 11 9 11 13 9 11
10 10
11 11 9 11 11
3/3
3 Bebop Concepts and how to turn them into Jazz Licks
Jens Larsen
Standard tuning
= 120
Example 1 - Diatonic arps with leading note
Gmaj7 Am7 Bm7 Cmaj7
1 2 3
3 3
3 3
E-Gt
7
10 8
11 9 12 11 9 6
9 12 10 8 9 12 9 10
9 10 11 12
D7 Em7 F m7( 5)
4 5
3 3
3
8 7 10 8 12
7 10 8 10
7 8 9 10 11
Example 2 - Diatonic arps along the neck

6 7 8 9 10
3 3
3 3
3 3
3 3
3 7 5 10 7 10 8 12 1013 12 15 1317 15 19
4 5 7 9 11 12 14 16
4 5 6 7 8 9 9 10 11 12 13 14 15 16 16 17
Example 3 - G major scale

11
7 8
7 9
7 9 10
10
Example 4 - G major scale with added passing note

12 13 14 15
7 8 7 8
7 9 7 9
6 7 9 10 7 8 9 10
10 10
1/3
16 17 18 19
7 8 7 8
7 7 9 7 8 9
7 9 10 7 9 10
10 10
Example 5 - G major with two added passing notes

20 21 22
7 8
7 7 9
7 8 9 10
10
Example 6 - Using octave displacement on a II V I lick

Am7 D7 Gmaj7
23 24
8 7
9 9 7
7 10 10 9
Am7 D7 Gmaj7
25 26
9
7 10
10 9 7
10 8 7
Am7 D7 Gmaj7
27 28
12 10 8 7
8 7
9
7 10
Am7 D7 Gmaj7
29 30
9 9 7
7 10 10 9
10 9
2/3
Example 7 - Bebop line no 1
Am7 D7 Gmaj7
31 32 33
8 11 8
8 10 11 12 12 10 8 7 10 12
9
6 7 10

Am7 D7 Gmaj7
34 35 36
7 10 8 10 11 8
8 7 10 10 7
7 9 8 7
9 10 10

Am7 3 D7 Gmaj7
37 38 39
7 11 10
8 7 7
9 7 10 8
7 10 10 7 9
7 8
3/3
3 Great Alternate picking exercises
Jens Larsen
Standard tuning
= 120
Exercise 1 - Shell voicings
3 3
3
1 2
3 3
3 3
3
E-Gt
4 5 7 9 10 12 14 16
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15
Example 2 - Drop 2 voicings in 3rds 3 variations

3 4
7 10
8 7 10
9 7 7 11
9 9 5 9
10 7
8
5 6
3 7
5 3 7
5 4 4 7
5 5 2 5
7 3
5
7 8
8 12
10 8 12
11 9 9 12
10 10 7 10
12 9
10
1/2
Example 3 - String skips in Diatonic drop2 voicings
10 11
5 5 6 6
4 4 4 4 5 5 5 5
5 5 7 7
3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5
12 13
8 8 10 10
7 7 7 7 9 9 9 9
9 9 10 10
7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8
2/2
3 Pentatonic Exercises You Never Played
Jens Larsen
Standard tuning
= 120
Example 1 - II V I lick no 1
Am7 D7alt Gmaj7
1 2 3
E-Gt
11 8
10 8 9 11 9 10
7 9 7 8 10
7 10 7 8
Example 2 - II Valt I in G major

Am7 D7alt Gmaj7
4 5 6
12 11 10
12 11 11
10 10 9
12 10
10
Example 3 - Exercise 1 - along the neck and in position

Am7
3 3 3
3
7 8 9
3 3 3
3 3
3
8 5
5 8 5
5 2 7 5 9 7 12 9 14 12 17 14 5 7 5
2 5 7 10 12 14 5 7 5
7
1/3
Example 4 - Am lick no 1
Am7
10 11
10 8 12
8 13 10 8 10 8
9 7
7 12
Example 5 - Exercise 2
Am7
12 13 14
3 8 5 10 8 13 10 15 13 17 15 20
2 7 5 10 7 12 10 14 12 17 14 19
Am7 D7alt Gmaj7
15 16 17
8 13 10 8 11 9
9 8 11 10 8 8 7
7 12 10 10
Example 7 - The Pentatonic scales as 3 note chords along the neck

18 19
3 5 8 10 13 15
2 5 7 9 12 14
2 5 7 10 12 14
Example 8 - Am Lick no 2
Am7
20 21 22 23
12 10 15 10 12 10
13 10 13 13 13 10 8
12 12 9 7
12 10 7 5 7
2/3
Example 9 - Exercise 3
Am7
24 25 26
5 3 8 5 10 8 13 10 15 13 17 15
5 7 9 12 14 17
5 7 10 12 14 17
Am7 D7alt Gmaj7
27 28 29
10 8 11 8
10 8 10 9 11 7
9 9 7 8
10 10 9
3/3
3 scale execises you should know
Jens Larsen
Standard tuning
= 120
Example 1 - C major scale
3
1 3 2
3
3
3
3
E-Gt
7 8 10
6 8 10
5 7 9
5 7 9
5 7 8
5 7 8
Example 2 - C major in diatonic 6ths

3 4 5 6
7 8 10
6 8 10
5 7 9 5 7 9 10
5 7 9 5 7 9
8 5 7 8
5 7 8
Example 3 - C major in 1st inversion triads

3 3
3 3
3 3
7 8 9 10
3 3
3 3
3 3
3
7 8 10
6 8 10 6 8 6 10
5 7 9 5 7 5 9 7 9
5 7 9 5 7 5 9 7 9
8 5 7 5 8 7 8
5 8 7 8
Example 4 - C major in stacks of 4ths

3 3
3 3
3
11 12 13
3 3
3 3
3 3
3
7 8 10
6 8 10 6 8 10
5 7 9 5 7 9 5 7 9
5 7 9 5 7 9 5 7 9
5 7 8 5 7 8
5 7 8
1/2
Example 5 - II V I progression no 1
Dm7 G7alt Cmaj7
14 15 16 17
8 7
6 8 10 8 9 8 6
7 8 6 7
7 9 5 9
Dm7 G7alt Cmaj7
18 19 20 21
6 9 8 6
5 9 5 6 8 9
7 7 6 9
8 7 8
Dm7 G7alt Cmaj7
22 23 24 25
7 5 6 8
7 5 6 8 6
8 8 7 5 6 8 8 7
2/2
3 types of Rhythm Changes licks you NEED to kno...
Bebop Guitar Lesson
Jens Larsen
Standard tuning
 = 112
(  =   )
Example 1 - Bb Turnaround
B  maj7 G7 Cm7 F7
   1   2  
     



el.guit.
6 9 8 8
 7
7
10
9
8
8
8
7
10 8
6 8
Example 2 - Simplified Progression
B  maj7 F7
  3 4 
  

6 8
 7
7
8
7
8
6
Example 3 - Bb major scale    

 
 
5 6 7
   
     

6 8 10
6 8 10
 5 7 8
5 7 8
5 6 8
6 8
Example 4 - Solo using Simplified Progression
B  maj7 F7 B  maj7 F7
  P
    
P P
   8
  9
       10
 11
  
          
P P P
6 5
6 6 6 8 6
 7 8 7 5
8
5
7
8 7 7
5 8 5
7 6 5
8 6 (6)
Example 5 - Barry Harris Scale Exercise on Rhythm Changes
 12 13
  14 15
 

    
           
      
 5 7 5 7 8
5 7 8
5 7 5 7 8
5 7 8
5 6 8 8 5 6 8 8
6 8 6 8
1/2
Example 6 - Arpeggios on the simplified progression
 16 17
  18 19
 
              
 
 7 7
5 8
7 7
5 8
5 8 8 5 8 8
6 6
Example 7 - Lick hitting all the Chords using Target Notes
B  maj7 G7 Cm7 F7 B  maj7 G7 Cm7 B  maj7

     F7 
     
20 21     22  23
    24
  
        

6 10 8 5
6 9 6 7 8 6 8 6
 7 5
8 9
8 7 5 6
7 7 5 6 9
7 8 8 7
8 6 5 8
 
Example 8 - C harmonic minor / G mixo b9b13
   
 
25 26 27
 
      
 
7 8 10
6 8 9
 5 6 9
5 7 8
5 6 8
7 8
Example 9 -Bb harmonic minor / G mixo b9b13

   

28 29
     30
    
   
6 8 9
6 7 10
 4 7 8
5 6 8
4 6 8
6 8
Example 10 - Some Possible Target Notes on the progression
B  maj7 G7 Cm7 F7 B  maj7 G7 Cm7 F7

  31  32   33 34

 
 
6 9 8 7
 7
9
8 6
Example 11 - Using Blues on the Rhythm Changes
B7 P Cm7 F7 B7 Cm7 F7

  35     36       37
         38
P
       
P P
6 9 6 8 7 6 6
 7 8 7 6 7
8 5 6 6 8 5
8 6 5
8
2/2
3 ways to turn music theory into guitar licks
Jens Larsen
Standard tuning
= 120
Example 1
Dm7 Fmaj7
1 2
E-Gt
12
10 13 10 13
10 10
12
Example 2
Dm7
3 4 5
12 10 12 (12)
10 13 13 10 10 13
10 12 10 10 12 10
12
Example 3
Cmaj7 Em7
6 7
7 7 10
8 8
9 9
10
Example 4
Cmaj7
8 9 10
7 7 10 (10)
8 10 8 8 8
9 9 7 9 9
10 7 10
11
1/3
Example 5
Dm7
12 13
10 13
10 13 10 13
10 10 12
12 10 12
10 12
10 13
Example 6
Dm7
14 15 16
12 10
10 13 13 10 13 10
10 12 10 12
12 10 12 (12)
Example 7
Cmaj7 Em7
17 18 19
7 7 10 7 10
8 8 8 10
9 9 7 9
10 7 9
7 10
Example 8
Cmaj7
20 21 22
7 10 7
8 8 8 10 10 8
9 9 9 9 7 (7)
9 9
Example 9
Dm7
23 24
10 13 9 10 12 13
10 9 10
12 11 12
Example 10
Dm7
25 26 27
12 10
10 12 13 10 13 10 (10)
10 10 12 10 10
11 12 12
2/3
Example 11
Cmaj7
28 29
7 6 7
8 7 8
9 8 9
10 9 10
Example 12
Cmaj7
30 31 32
7 10 10 (10) 6 7
8 10 8
8 9 9 9 7 (7)
10
3/3
Dom7th dim scale
Jens Larsen
www.jenslarsen.nl
= 60
Example 1 - Octotonic scale
E-Gt
6 7 9
6 8 9
6 7 9
6 8 9
7 8 10
6 7 9 10
Example 2 - Turning B dim into Bb7, Db7, E7 and G7

3 3
3
6
7 7
6 6 9 6 9 6 9
8 8 8
7 10 10
B 7 D 7 E7 G7
3 3
3
6
7 7
6 6 9 6 9 5 9
8 8 7
6 10 9
Example 3 - Connecting arpeggios: E7, G7, Db7 and Bb7
7 7 9 7
6 9 8 6 6 9 9 6 8 6
7 6 7 7 6 7
6 9 9 8 6 6 9 9
7 10 8 7
6 7 4
9 6 6 9 8 6 6
8 7 8 5 4 8
1/2
Example 4 - II V I line no 1
Dm7 G7(13 9) Cmaj7
7 10
6 9 9 8
9 7 9
7 10 7 10 9 8
7 8
Dm7 G7(13 9) Cmaj7
13 10
10 10 12 10 13 10
14 11 9 12 9
12 10 8 7
Dm7 G7(13 9) Cmaj7
9 12 11 9
9 12 10 9 10 10 9
10 12 11 12
8 12
2/2
4th mode Harmonic Minor
Jens Larsen
http://www.jenslarsen.nk
Standard tuning
= 120
Example 1 - G harmonic minor / C dorian #4

1
E-Gt
10 11 14
10 11 13
8 11 12
8 10 12
9 10 12
8 10 11
Example 2 - Diatonic Triads for G harmonic minor

4
3 4 7 8 10 11 13 15
3 5 7 8 11 12 14 15
5 7 8 10 12 13 16 17
Example 3 - A few chord ideas Eb and D triads over a C pedal point

Cm13( 11)
6
5
7 3 4 7 8 10 11
7 2 3 7 8 11 12
5 4 5 7 8 12 13
6 3 3
(8) 8 8 (8) (8)
8
11 15 14 (14)
10 13 11
11
8 12 8 10 13 12
10
8 11
11
10 14 11 10
10 11 10 13 11 10
11 12 12
13 12
10 13
1/2
14
10 14 11 10
10 13 10 11 11
11 11 11
12 12
10 13
11
2/2
5 Bb Jazz Blues licks
Jens Larsen
Standard tuning
= 120
Example 1 - Eb major scale from Bb (Bb mixolydian)
1 2 3
E-Gt
6 8 10
6 8 9
5 7 8
5 6 8
5 6 8
6 8
Example 2 - Bb7 arpeggio

4 5
6
6 9
7
6 8
5 8
6
Example 3 - Bb minor pentatonic (the good old..)

6 7
6 9
6 9
6 8
6 8
6 8
6 9
Example 4 - Bb Blues lick no 1

8 9 10
8 7 6
6 8 6 6 9 8 6 (6)
7 8 7
6 8 8 8
8

11 12 13
6
6 7 6 7 8 9 8 6 7
8 6 5 8 6 (6)
8
1/2
14 15 16
6 (6)
6 8 6 9 8 6 6
7 8 7 8 6 7
8 6

17 18 19
5 6 9 5 6 9 5 6 9 6
8 6 5 6 7
8

20 21
6 8
6 9 6 9 6 6 7 8 9
7 7 8 9 10
2/2
5 chromatic enclosures
Jens Larsen
www.jenslarsen.nl
Example 1 - 5 Chromatic Enclosures
E-Gt
7 10 9 7 8 6 7 10 9 8 10 6 7 9 8 6 10 9 7 8 10 9 6 7 8
Dm7 G7 Cmaj7
5 8 7 5 6 5
7 5 4 4
7 7 8 6 5 5 7
8 5 7
Dm7 G7 Cmaj7
7 10 12 (12) 10 9 8 7
6 8 6 9
5 6 9 8 7
7
5 7 8
Dm7 G7 Cmaj7
8 4 5 7 6 5
7 5 6 9 8 6 7 7
9 6 5
8 7
Dm7 3 G7 Cmaj7
7 10 9 8
5 9 8 6 7 7 10 7 9
7 9 10
4 5 8
1/2
Dm7 G7 Cmaj7
5 4 7 4 5
8 7 4 5 6 6 6 7 6 5 8 8
7 7 8
2/2
5 Chromatic Licks The Way You Use Them
www.jenslarsen.nl
Jens Larsen
Standard tuning
 = 120
Example 1 - Adding color to a Modal line
Am7
 1 2    3

       
     

jz.guit.
12 (12)
 9 8 7 9 12 11 9 10
11 9
7 10 10
7 8
Example 2 - Pulling towards the Next Chord
Am7 D7 Gmaj7
 4
      5    6
       

8 12 8 10 12 7
 7 10
9 9 8 7
10 7 8 9 (9)
Example 3 - Delaying a resolution
Am7 D7 Gmaj7
   
7 8
      9 10
                 
8 5 4
 5 5
7
5 7 5
6
5 3
4 3
7 6 4 7 6 4 5 4 3 2
6
Example 4 - Modal Outside with Enclosures and Shifting 3rds
Am7
      
11
  12
       
13
  

8 9 12 11 10 8
 9
10
8 10 9
10
8
9
7
8
7 6 5
Example 5 - Modal Outise Shifting Chromatic structures
Am7
       
 14
  15 16
    
      
8 12 8 11 7 10 6 6 9 8 7
 5 9 8 6 7 10
9 9 8 7
1/1
5 easy ways to sound like bebop on a C7
Jens Larsen
www.jenslarsen.nl
 = 114
  Example 1   
1 2
  3
 
    

E-Gt
8
10 8 11
 9
8 8 10
9
7 10
 8 8
   
 Example 2
4
 5
   
       
8 10
8 10 11
 7 8 10
7 9 10
7 8 10
 8 10
Example 3
      
 6  7
 
 
10 9 8
11 10 8 8
 10 9
10

 Example 4       
8 9
 
  
8 10 8 11 10 9 8
 9 9
10

Example 5
  10
  11

        
 9
8
7
10 9 8 7 8 10
10 10

Example 6      
 12
   13
  
10 8
8 8 11 8
 10 7 8 9

1/2
 Example 6
14   15     
 
     
8 10 11
 7 8
7 10 9
10
9
9 10

2/2
5 F Jazz Blues licks
Jens Larsen
Standard tuning
= 120
Example 1 - Bb major scale (F mixolydian)
1 2 3
E-Gt
6 8 10
6 8 10
5 7 8
5 7 8
5 6 8
6 8
Example 2 - F7 arpeggio
4 5
5 8
6
5 8
7
6 8
8
Example 3 - F minor pentatonic

6 7
6 8
6 9
5 8
6 8
6 8
6 8
Example 4 - F Blues lick no 1

8 9
8 7 6
6 9 6 6
8 7
8 7
8

10 11
8 7 6 8 5
6 5 6 6
8 7 5
8 6 7
1/2
3
12 13
5 7 5 8 5 5
6 7 7 7
8 7 6 8

14 15 16
5 8 5 10 10 10 10
6 6 6 8 9 8 9 8
7 10 7 10 (10)

17 18 19
¼
8
6 6 8 9
5 8 10 8 10 (10)
7 10 8 7
2/2
5 Great Licks with dom7thb5 arpeggios
Jens Larsen
Standard tuning
= 110
Example 1
3
1 3 2
3
3
3
3
E-Gt
6 8 10
6 8 9
5 7 8
5 6 8
5 6 8
4 6 8
Example 2
3 3
3
3
6 10
5 9
7
6 8
5 7
6
Example 3
Fmaj7 B 7 Cmaj7
4 5 6
6
5 6 7 8 5 5 9 9 6 8 (8)
5 7
7 5 7 8
Example 4
7 8
9 10 12
9 11 12
9 10 12
8 9 11 12
7 8 10 11
7 9 10
1/3
Example 5
3
9
3
3
9 13
8 12
10
9 11
8 10
9
Example 6
Dm7 G7 Cmaj7
3 3
10 11 12
12 10 (10)
8 12 9
9 10
7 10 12 11
7 8 7 7 8
10
Example 7
3
13 3
3
3
8 10 12
8 9 11
8 10 11
7 9 11
Example 8
Dm7 G7alt Cmaj7
14 15 16
11 15 12
8 12 11
9 8 7 10
7 10 7 8 9 11
8
Example 9
17
7 11
10
8 10
7 9
8
2/3
Example 10
Cm6
18 19 20
11 7 (7)
10
8 8 7 7 8 10 8 10
9 9 10 9
10
Example 11
3
21 3 22
3
3
3
3
10 12 14
10 12 13
9 11 13
9 10 12
9 11 12
8 10 12
Example 12
3
23
3
3
10 14
9 13
11
10 12
9 11
10
Example 13
Dm7 G7 Cmaj7(#5) Cmaj7
24 25 26 27
10
10 13 12 12 10 9 13 9
10 9 12 10 12 10 10 11 11 11 12
10 12 12
12
Fmaj7 B 7 Cmaj7
28 29 30
8 8 8
9 7 9
7 6 9
8
6 8
3/3
5 Great ways to use a minMaj7 arpeggio
Jens Larsen
Standard tuning
= 110
CmMaj7 Gm7
1 2 3
E-Gt
10 (10) 11 7
8 12 10 8 8 10 11
8
10
4 5
Em7( 5) A7( 9) Cm7

6 7 8
6 9 10
7 10 7 5 8
7 7 6 5 6
8 8
10
9 10
Cmaj7 D7 Dm7
11 12 13 14 15
8 12 10 10
8 10 8 9 10 12 13 12 9 10 (10)
9 9 7 9 11
10 9 9 8 7 10
1/2
Dm7 G7alt Cmaj7
16 17 18
7 11 10
10 8 8 9
7 10 9 7 8 10
10 7 9
11
19 20
Cm7 C7 Fm7
21 22 23 24 25
10
7 10 (10) 8 11 9 8
7 8 (8) 7 7 7 9
8 10 10 8 8 7 8 11 8 10
6 10 10 9 10
2/2
5 Quartal Harmony licks
Jens Larsen
Standard tuning
= 120
Example 1 - Quartal Arpeggios in F major
3
1 2
3 3
3 3
3 3
3
E-Gt
3 5 6 8 10 11 13 15
2 3 5 7 9 10 12 14
2 3 5 7 8 10 12 14
Example 2 - Quartal Arpeggios in Db minor

3
3 4
3 3 3
3 3
3 3
4 5 7 9 11 13 14 16
3 5 6 8 9 11 13 15
2 4 6 8 10 11 13 14
Gm7 C7alt Fmaj7
5 6 7
13 11 14 13 11
10 12 12 13
12 12 14 13 11 10
10 13
Gm7 C7alt Fmaj7
8 9 10
9 11 8 8
11 10 8 9
10 10 9 7 8 9 8 8 9
10 11
1/2
Gm7 C7alt Fmaj7
11 12 13
4 2
2 5 3 2 3 3 5 3 2
3 5 3 2 4
5
Gm7 C7alt Fmaj7
14 15 16
8 6 5 7 5
7 7 5 6 6 8 6 5
8 5 6 8
Gm7 C7alt Fmaj7
17 18 19
6 8 7 9 11 9 10
5 7 6 8
8 7 5 7 6 8
2/2
5 Sus4 Triads on a Cmaj7
Jens Larsen
www.jenslarsen.nl
Cmaj7(13) Csus2 C6 /9 C6 /9 (no 3rd) Cmaj7(  11)
8  7
 5
  7
 7

 
Standard tuning
 = 80
Example 1
Esus4
   Cmaj7(13)

 1
   2

  
s.guit.
7 12
10 10
 7 9
9 9
9
7
8
Example 2
CMaj7
       
3
  4     5
   
7 12 7 10 12 7
10 8 8 10 12 (12)
 7 9
9 9
7
Example 3
Gsus4  Csus2
6   7 
 
   

8 10
8 8
 10
7 7
10
10
8 10 8
Example 4
P P
CMaj7   P
        
8
  9
   10


P P
P
10 8 10 8
8 8 8 8 10 8 8
 10
7 9 9 7 (7)
1/2
Example 5
Asus4   C6 /9
 
11
  12

   
10 12
10 5
 7
7 9 7
7
7
10 8
Example 6
CMaj7   
13 14
  15
 
         

10 12 (12)
10
 7
7 9
7 10 7 7 5 7
10 10 8 5
Example 7
Dsus4  C6 /9 (no 3rd)

16   17 
  
  

10
8 10 8
 7
7 7
7
10
10 8
Example 8
CMaj7
18     19     20
      
  
10 8 10 8 10 8
 7
7
7
7 9
9
9 7
9
10 (10)
Example 9
Bsus4  Cmaj7(  11)

   
21
  22
   

7 12
7 7
 9
9 9
9
7 9
7 8
Example 10
CMaj7
  P

P P
23
    
24
     
25
   

P P P
12
 11 9
9
11 9
9
9 7
9
7
9
9 10 7 (7)
2/2
5 ways to use motifs in your II V I lines
Jens Larsen
Standard tuning
= 120
Example 1 - Imitate Melodic movement
Cm7 F7alt B maj7
E-Gt
6 9 7 6 6
7 5 6 8
5 8 8 5 6 7
5 6
Example 2 - Voiceleading the motif

Cm7 F7alt B maj7
12 15 12 11 14 11
12 13 13 12 11 13 13 11
15 14 15
Example 3 - Repeat with different ending

Cm7 F7alt B maj7
10 8 9 7
8 11 8 10 11 8 7 10 9 7
8 6 7
Example 4 - Rhythmic displacement and groupings

Cm7 F7alt B maj7
10 12 10 12 11 13 14 (14)
13 10 13 13 10 13 13 11 13
1/2
Example 5 - Melodic counterpoint
Cm7 F7alt B maj7
8 5 10 8 12 10 13 11 16 13 13
8 10 12 13 16 15
2/2
6 Triad Voicings for Cmaj7
Jens Larsen
Standard tuning
 = 110
C Em Am Esus4 Asus4 Bsus4
      
 
1 2 3 4
  

E-Gt
 555 5
4
5
5
5
7
5
4
7
5
7
7
7
9
9

Dm7 G7 Cmaj7
  5
    6

   
1 3 2 4 5
 2
3
4
3
5
5

Dm7 G7 Cmaj7
  7      8 

 
6 8 9 6 8
 5
7
8
9
9
9

Dm7 G7 Cmaj7
  9
   10

  
6 6 5
 9
10
7 6
9 6
5
7

Dm7 G7 Cmaj7
    

11 12

  
5 3 4 6 5
 5
3
4
3
4
7

1/3
Dm7 G7 Cmaj7
  13
   14

     
1 3 4 3
 2
3
4
3
1
3
2
2

Dm7 G7 Cmaj7
  15
   16  
  
6 6 7
 10
9
9
8 9
9

 17 18


Dm7 G7 Cmaj7
  19   20  21
      22
  
             
  
6 8 6 5 5 5 (5) 5
 5
5
7
7
4
8 6
7
7
5
7
4
7
(4)
(7)
5
7

Dm7 G7
          
23 24 25
      
26
  
    
  
5 4 3 5 7 10 (10) 8
 5
3
4
3
2
2
7
7
9
9
9
9
(9)
(9)
7
10

Gsus4 G D E
  27  28    
   
8 8 7 9
 7
10
7
9
7
7
9
9

2/3
Dm7 G7 Cmaj7
  29     30 
  
8 10 11 9 8
 10
10
10
9
7
10

Dm7 G7 Cmaj7
  31    32 
  
 
6 8 9 6 8
 5
7
6
9
7
9

Dm7 G7 Cmaj7
  33     34  
   
6 8 11 8 9
 5
7
10
9
9
9

Dm7 G7 Cmaj7
  35
   36

    
6 5 3 5 3
 5
7
4
3
2
4
3

3/3
8 Chords - 1 Pentatonic Scale
Jens Larsen
Standard tuning
= 120
Example 1 - E minor pentatonic

1 2
E-Gt
12 15
12 15
12 14
12 14
12 14
12 15
Example 2 - Over Em7 1 b3 4 5 b7

Em7
3 4
8 12 15
7 12 14
9 14
7
Example 3 - E7 1 b3 4 5 b7
E7( 9)
5 6
8 12 15
7 12 14
6 14
7
Example 4 - Over Gmaj7 6 1 9 3 5

Gmaj7
7 8
3 12 15
4 12 14
4 14
3
Example 5 - Over G7 6 1 9 3 5
G7(13)
9 10
5 12 15
4 12 14
3 14
3
1/2
Example 6 - Over Cmaj7 3 5 6 7 9
Cmaj7
11 12
8 12 15
9 12 14
9 14
8
Example 7 - Over Fmaj7#11 7 9 3 #11 6

Fmaj7(#11)
13 14
0
1 12 15
2 12 14
2 14
3
1
Example 8 - Over Db7alt #9 b5 b13 b7 b9

D 7alt
15 16
5 12 15
4 12 14
3 14
4
Example 9- Db7alt Gbmaj7 progression

D 7alt G maj7
17 18
5 2
4 3
3 3
4
2
Example 10 - Over A7 5 b7 1 9 4
A7
19 20
5 12 15
6 12 14
5 14
5
2/2
10 Altered dominant lines
Jens Larsen
Standard tuning
= 120
Example 1
Gm7 C7 Fmaj7
1
E-Gt
9 8
7 11 11 10
7 7 10 7 9 9
8 7 8 10
10
Example 2
Gm7 C7 Fmaj7
5
9
7 10 7 9 11 9 8
8 10 8 7 8 11 11 10
10
Example 3
Gm7 C7 Fmaj7
9
9 11 8 8
7 10 8 7 8 11 11 10
8 10 9
6 10
Example 4
Gm7 C7 Fmaj7
13
9 11 8
9 11 11
7 10 7 8 11
8 7 8 10 11
10
1/3
Example 5
Gm7 C7 Fmaj7
17
9 8
9 11 9 10
7 8 9
8 7 7 8 10 11
9 10
Example 6
Gm7 C7 Fmaj7
21
10 13 11 10 10 11 9
10 12 9 11 9 8
12 10 11 10
Example 7
Gm7 C7 Fmaj7
25
10 6 9 7
7 8 9 8 6 5
8 7 7 8 8
9 10
Example 8
Gm7 C7 Fmaj7
29
6 8 10 6 9 7 7 8
7 6 8 9 9
8 7 5 6
Example 9
Gm7 C7 Fmaj7
33
9 11 9 10
8 9
10 8 7 8
8 10 8 10 7 9
10
2/3
Example 10
Gm7 C7 Fmaj7
37
8 11 9 12
9
8
7 8 11
8 10 8 7 8 9
6 10
3/3
10 arpeggios over a Dom7th chord
Jens Larsen
Standard tuning
= 120
Example 1 - C7 Arpeggio
C7 Fmaj7
E-Gt
3 3 5 3
2 5 2 5 2 5 7
3 3
Example 2 - Em7b5 Arpeggio

C7 Fmaj7
3 3
3 3 5 4 3 5 2
2 5 2 5
Example 3 - C triad
C7 Fmaj7
3
5 5 3
5 5 3 2
2 5 5
3
Example 4 - Edim triad

C7 Fmaj7
3 6 5 3
5 5 3
3 5 (5)
2 5
Example 5 - Bbmaj7(b5)
C7 Fmaj7
5 5 6 3 5 (5)
3 5 3 5 3
3 3
1/2
Example 6 - Em7b5 shell voicing
C7 Fmaj7
7 7 7 5
8 5 5 8 7 7
7 7
Example 7 - Bb stack of 4ths

C7 Fmaj7
10 9 8 (8)
10 10 10 8
9 9
8 8
Example 8 - Em7b5 drop2 voicing

C7 Fmaj7
8 8
7 7 9 7
8 8 10 8 7
7 7
Example 9 - Asus quartal arpeggio

C7 Fmaj7
10 10 8 (8)
10 10
9 7 7 10 9
8
Example 10 -G quintal arpeggio

C7 Fmaj7
11 15 11 13 (13)
14 14 12
12 12
10 10
2/2
10 arpeggios over a Maj7 chord
Jens Larsen
Standard tuning
= 120
Example 1 - Cmaj7 Arpeggio
Cmaj7 3
E-Gt
9 9 8 7 5
7 10 7 10 7
8 10 7 8
Example 2 - Em7 Arpeggio

Cmaj7
8 12 (12)
7 7 9
9 9 10
7 10 7 10
Example 3 - C triad
Cmaj7
10 7
8 10 9 8
9 9
10
7 10
8
Example 4 - Em
Cmaj7
9 7
9 9 7 10 10 9
7 10 7 10
Example 5 - Am7
Cmaj7
8 8
9 9 7
7 10 7 10 10 7 8 9
1/2
Example 6 - Cmaj7 shell voicing
Cmaj7
12 10 8
12 12 10 10 12
9 9
10 10
Example 7 - A stack of 4ths
10 7 (7)
8 8 10
7 7 9 7
7 7
Example 8 - B stack of 4ths

Cmaj7
10 10 8 (8)
9 9 7
9 9 10 7 9
Example 9 - Cmaj7 Drop2

Cmaj7
9 9 7 9
9 9 10 9 7
10 10
8 8
Example 10 - G quintal arpeggio

Cmaj7
10 (10)
10 10 8
7 7 9
9 7
10 10
2/2
10 II V I chord embellishments
Jens Larsen
Standard tuning
 = 120
Example 1 - Stairway To Heaven
Dm DmMaj7 Dm7 G7 Cmaj7

        
  1
  2  
3


jz.guit.
10 12 12 10 12 12 10 7
10 10 10 9 8
 10
12
10
11
10
10
10
9
7
10
Example 2 - James Bond
Dm Dm(  5) G7 Cmaj7
4 5    6

    
 
3
5 6 5
 2
3
3 4
3
4
5
5 3
3 3
Example 3 - Diatonic Passing Chords
Dm7 Em7 Fmaj7 G7 Cmaj7

      
7   8
  9
     

8 5 7 10 8 12 10 7
6 8 10 10 8
 5 7 9 10
9
9
9
5 7 8 10
8
Example 4 - Tritone Substitution
Dm7 D 7 Cmaj7
       

10 11  12
  
 

5 8
6 8 11 9 9 8
 5
7
10
9
10 9
9
5
9 8
Example 5 - Tritone II V
Dm7 A  m7 D 7 Cmaj7
  
        
 
13 14 15
       
15 12
13 10 13 10 11 7 6 4 5
 14
12
10
10
14
15
10
10
11
9
8
9
4
6
4
6
4
5
3 2
1/2
Example 6 - Secondary Dom7th
Dm7 A 7 G7 Cmaj7

16    17     18

     
  
6 6 6 6 6 5 4 3
 5
3
5
4
4
3
4
2
5 3
4 3 3
Example 7 - Minor Cadence
Dm7 Dø G7 Cmaj7

19    20     21

   

 


6 8 6 6 6 6 3 5
 5
7
7 5
6
4
3
4
5
5 5 3
3
Example 8 - Chromatic Passing Chord
Dm7 F 7 G7 Cmaj7

22
  23
     24

        
 
4 3
6 5 6 4 5 6 5 (5)
 5
3
5
3
3
2
4
3
4
5
(4)
(5)
5 5 3 (3)
2 3
Example 9 - Neapolitan Subdominant
Dm7 G7 D  maj7 Cmaj7

  
25  26
    27

      

8 5
6 8 6 5 3 6 6 5
 5 4
3
5
6
4
5
5 4 3
3
Example 10 - Chromatic Resolution
Dm7 G7 Bmaj7 Cmaj7

     

28



29      
 


30 


13 15 12 10 12 12
13 10 10 10 11 7 8 (8)
 14
12
10
10
10
9
10
9
8
9
8
8
9
9
(9)
(9)
2/2
Across the Fretboard
Jens Larsen
Standard tuning
= 120
Example 1: B harm min 1st string

1
E-Gt
0 2 3 6 7 9 10 12 14 15 18 19 21 22
Example 2: Gm Melodic arpeggions in 4th in a position

5
6
7 5 8
5 7 5
5 7 5 8
7 5 9
5 8
Example 3: Diatonic triads Ab Major - middle string set

3
7
3 3
3 3
3 3
3
1 2 4 6 8 9 11 13
1 3 5 6 8 10 12 13
3 5 6 8 10 11 13 15
Example 4: Bbmajor Across the neck

9
15 17 18 20 22
13 15 16 18
7 8 10 12 14 15
7 8 10
6 8 10
1 3 5 6 8 10
1/2
11
22 20 18 17
20 18 16 15 13 11
14 12 10 8 7
10 8 7 5
8 6 5 3
6 5 3 1
Example 5: Bb Major in 3rds

13
10 11
7 8 7 10 8 12 10 12
3 5 3 7 5 8 7 10 8 10
1 3 1 5 3 6 5 6
1 5 3 5
15
11 13 11 15 13 17 15 18 17 20 18 22
10 13 11 15 13 15
2/2
Adding Chords to Single Note Lines - Part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Am7 Voicings on the scale
1
E-Gt
5 7 8
3 5 7 8 5 5 5
2 4 5 5 5 5 5 5 5 5
2 4 5 2 2 5 5 5 5 7 5 5 5
3 3 7 3 3
Example 2 - Exercise to pick a chord right after a melody note

5
5 5 7 7 8 8
3 3 5 5 7 7 8 8 5 5 5
2 2 4 4 5 5 5 5 5 5 5 5 5
2 2 4 4 5 5 2 2 5 5 5 5 7 5 5 5
3 3 7 3 3
Example 3 - Am7 line no 1

9
7 5
8 5 8 7 (7)
5 5 (5)
7 5 (5)

11
3 5 3
5 5 4 2 4 (4)
5 2 2 (2)
3 3 (3)

13
5 3 (3)
2 4 2 4 2 5 (5)
2 5 2 2 2 2 5 (5)
3 3 3 3
1/1
Adding Chords to Single Note Lines - Part 2
Jens Larsen
Standard tuning
= 120
Example 1 - Gm7 voicings
1
E-Gt
6 8 10 12 13
1 3 5 6 8 10 6 6 10 11 11
3 3 3 3 7 7 7 7 7 10 10 10
3 3 3 3 8 8 8 5 8 8 10 10
Example 2 - C7alt voicings

4
8 9 11 12
1 2 4 5 7 9 11 9 9 9 9
3 3 3 3 6 9 9 9 9 9 9 9
2 2 2 2 8 8 8 11 8 8 8 8
Example 3 - Fmaj7 voicings

7
5 6 8 10 12
1 3 5 6 8 5 6 8 10 10
2 3 2 2 5 7 7 5 7 9 10 10
2 3 2 2 7 7 7 7 5 7 10 10
3
Example 4 - D7alt voicings

10
10 11 13
1 3 4 6 7 9 11 13 11 11 11
3 3 5 5 5 8 11 11 11 11 11 11
4 4 4 4 4 10 10 10 13 10 10 10
3
1/3
Example 5 - Target note exercise on F turnaround
Gm7 C7alt Fmaj7 D7alt
13
10 10 8 6 8 5 7 5 8 5 4 4 6 4
7 6 6 5 5 7 5 5
8 8 8 7 4
7

17
11 9 9 8 8 10 12
3 6 8 6 9 11 8 10 11 7 11 7 9
3 7 9 9 11
3 8 7 10
Example 6 - Solo transcription

21
10 6 8 6 9 10 8 11 7
7 7 7 9 9 8 8 9 9 9 7 8 8
8 8 11 11 10 10 10 10
9
0:18
25
3
3
6 8 6 5 5 6 4 6
7 7 7 5 6 6 5 5 3 5 5
8 8 8 10 8 8 7 5 3 5 2 4 4
7

29
5 3 8 8
3 3 6 3 5 9 9 8 8 10 8 11 7
3 6 9 9 9 9 8 8 8
3 8 8 7 10 10 10
9
2/3
33
8 8 10 13 8 11 9 11 9
10 11 8 9 9 11 10 (10) 6 4
10 9 9 9 7 5 5 5 5 (5)
8 8 8 10 10 7 4 4 4
8

37
3 9 5 X 8 8 6 4 3
3 7 5 6 6 6 6 5 5 5 5 3
3 5 7 8 8 8 8 7 4 4 3
7 7 6

41
8
3 2 3 6 5 9 9 11 10 (10) 7 7 11 7 11 11
3 2 3 6 9 9 7 8 8 11
3 2 3 8 8 10 10 10 10 10 10 10
5
Gm7 C7alt Fmaj7

45
9 11 9 12 12
10 10 9 10
10 9 10
8 8 10
3/3
Allan Holdsworth Voicings on a II V I
Jens Larsen
www.jenslarsen.nl
Dm7 Dm7 G7alt G7alt Cmaj7 Cmaj7 Cmaj7 Cmaj7
8
            
5 6 8 7 10
         
Dm7 Dm7 Dm7 Dm7 G7alt G7alt G7alt
          
10 9 15 5 3 8 13
        
Standard tuning
 = 80
Example 1 - II V I chords
Dm7 Dm7 G7alt G7alt Cmaj7 Cmaj7 Cmaj7 Cmaj7

      
  1

2  

3
 
4 
    
s.guit.
12 8 9 11 12 10 5 3
8 6 6 8 10 8 5 3
 10 7 9 9 12 7 5 2
8 5 6 8 10 7 5 0
Example 2 - Inversions of the Cmaj7 voicing
Cmaj7

 5 6
 
   
12
10
 12 12
9
10 10 12
 
 7 8 9  10 
    
12 10 5 3
10 8 5 3
 12 7 5 2
10 7 5 0
11


1/2
Example 3 - Inversions of the Dm7 voicing
Dm7

12 13
     
12
8
 10 10
8 7 8 10
Dm7 Dm7 Dm7 Dm7 Dm7

   
  
14 15
  16 17
    
12 13 13 15 8
8 13 13 17 6
 10 14
9
15 5
8 10 10 15 7
Example 4 - Inversions of the G7alt voicing
G7alt


18 19

     
9
6
 9 9
6
6 6 8
G7alt G7alt G7alt G7alt

    

20 21
  22
 23
 
     
9 7 11 13
6 4 12 14
 9 3 11 13
6 4 8 14
Example 5 - Example II V I
Dm7 G7alt Cmaj7

   
24 25
  26

 
15 13 12
17 14 10
 15 13 12
15 14 10
Example 6 - Example II V I
Dm7 G7alt Cmaj7

  
27 28  29
   
8 9 10
6 6 8
 5 9 7
7 6 7
2/2
Altered Scale - 3 pentatonic scales
Jens Larsen
Standard tuning
 = 120
Example 1
G7alt Cmaj7
P
             
 1
    2   3
     
jz.guit.
P
11 16 13 11 15 10 12
9 11 14 12 10
 8 11
10 8
11
10
8 11
9
4
Example 2
   5     6
   7    
             
  
9 11 11
9 11 9 11 14
 8 11
8 10
8 11 13
10
8 11 11
9 11 9 11 13
Example 3
P
G7   Cmaj7 P
            
P
P
8
    9 10
    
P P
P P
11 9 13 9 10 12 7 8 7
9 12 9 8 10
 9 11 9
10
11
10
8 11
9
  
11
Example 4
  12 
   
   
9 11
9 12
 9 11
8 10
8 11
9 11
Example 5
P
P P
      P P
13   14       

P
P P P P
11 9 9
12 12 9 12 9 9
 10 10 8 10 8
11
1/2
Example 6
G7 Cmaj7
  
         
        
15 16 17 18
 
  
        
11 7
8 11 8 10 (10)
 8 10 8
9
8
9 8 8 9
7 12 7 9
10 10 8 7 12
19
Example 7
  20     21
  22    
        
      

8 10 7 10
8 11 8 11
 8 10
8 10
8 7
8 10
8 10 8 10
8 11 7 11
23
2/2
Altered Scale in three approaches
Jens Larsen
Standard tuning
= 120
Example 1 - II Valt I
Dm7 G7alt Cmaj7
1
E-Gt
5
5 4 5
5 4 4
3 3 5
5 3
3
Example 2 - G altered (Ab melodic minor)

5
4 6 7
4 6 8
3 4 6
3 5 6
2 4 6
3 4 6
Example 3 - Approach no 1: Db7 lydian dominant/ Db7(13#11)

Dm7 D 7 Cmaj7
8
5 4 3
5 4 5
5 4 4
3 3 5
5 4 3
Dm7 D 7 Cmaj7
12
2 5 2 4 3
3 3 2 3 6 6 5 3 2
5 5 4
16
1/2
Example 4 - Approach no 2: Ab mel minor
Dm7 A mMaj7 Cmaj7
20
5 6 3
5 4 5
5 4 4
3 5 5
5 3
4
Dm7 A mMaj7 Cmaj7

24
4 8 6 4 4 5
2 5 2 4 6
3 5 3 5 6
5
Example 5 - Approach no 3: G7 altered / G7(b5,b9)

Dm7 G7alt Cmaj7
28
5 4 3
5 4 5
5 4 4
3 3 5
5 3
3
Dm7 G7alt Cmaj7

32
6 4 3
2 6 4 6
2 5 2 4
3 3 2 3 5
5
36
40
2/2
Sonny Stitt - Au Privave
Jens Larsen
www.jenslarsen.nl
 = 114
Example 1 - Sonny Stitt Phrase 1
Gm7 C7 F7
  
  1
 
2
     3
         4  

  
 3 3
E-Gt
10 (10)
11 10 10 8
 12
12
12
10 9 10 11 12 9
10 8
10

Example 2 - Sonny Stitt Phrase 2
Gm7 C7 F7 Gm7 C7
                 
 5
 6
 7
  8          9
    
3 3 3
10
13 11 10 10 11 12 13 1110 10
 12
12
12
10 9
10 11 12 8 12
10 12
12
10 9 12 10
12 11 10 12
10
12 13

Example 3 - Adding intervals to a scale
Gm7
       
 10    11
     12
     13
     
 
10 8 10 8
11 10 8 11 10 8
 10 9 7
10 8 7
7 7 10 9
8
7
10 8 7
10 10

Example 4 - Variation Lick 1
Gm7 C7 Fmaj7
        
 14
     15
   16 

3
10 8 10 9 10
11 10 8 8 11 11 9 10 (10)
 7 7 10 9

Example 5 - Variation Lick 2
Gm7 C7 Fmaj7
  
 17
     18
  19
          
13 12 11 10
 12
12
12
10 9 7
10 9 8 6 7 10
10 10

1/1
Analyzing a Charlie Parker Line
Jens Larsen
www.jenslarsen.nl
= 60
Example 1 - Parker Lick from Perhaps
Gm7 C7
3
3
E-Gt
8 6 5 11 9 8
6 8 9 11
7 10
8 11
Example 2 - Using it on a II chord

Gm7 C7 Fmaj7
8 6 5
6 8 6 8 9 5
7 6 5 6 8 5
8 8 8
Example 3 - Using it on a I chord

Cm7 F7 B maj7
9 5 8 6 5
6 7 6 8
8 7 5 6 8 7
5 8 8 7 5 6 7 8
Example 4 - Making a minor version of it

Dm7 G7alt Cmaj7
12 10
10 13 12 10
10 12 13 12 10
12 9 13 9 8
11 10
1/2
Example 5 - Using the minor version for an altered dom7th line
Dm7 3 G7alt Cmaj7
5 6 4
5 6 8 4 8 6 4
5 4 4 7
7 6
5 7 8
Example 6 - Making a variation on the arpeggio

Gm7 C7 Fmaj7
3 3
6 5
6 8 6 9 8
7 7 5 6 5 6 5 6 9
8 8 8 6
Example 7 - Making a more radical variation on the arpeggio

Gm7 C7 Fmaj7
13 11 13 14 16
10 14 12 13 15 13 14
12 15 12 11 14
10
2/2
Are you using your Maj7 arpeggios on these chords?
Jens Larsen
www.jenslarsen.nl
= 60
E-Gt
8
8 12 8 12
9 9
10 9 10
7 10
8
Example 2 - b3 on a m7 - Cmaj7 over an Am7 chord

Am7 D7 Gmaj7
12 11 10
8 12 10 8 10 13 10 13 12
9 9 10 11
10
Example 3 - 5 on a maj7(#11) - Cmaj7 over Fmaj7 chord

Gm7 C7 Fmaj7(#11)
7 (7)
8 11 8 9 10 8 8
7 10 9 7 9
7 8 10
Example 4 - b5 on a m7b5 - Cmaj7 over an F#m7(b5) chord

F m7( 5) B7( 9) Em6
8 12 10 8 10 7
9 9 8 7 8 7 7
9 10 10 10 9 (9)
Example 5 - b7 on a dom7 - Cmaj7 over a D7 chord

E m7 D7 D maj7
8 12 10 8 12 9
10 8 9
8 11 11 9 10
8 9 9
1/2
Example 6 - b2 on a dom7 - Cmaj7 over a B7(b9) chord
F m7 B7( 9) Emaj7
11 8
9 7 8 12 10 10 9
9 6 9
7 6 7 9 10
2/2
Arpeggio Inversions - Pivot melodies
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 80
Em7 A7 Dmaj7
   1
      
2
    3

   
 
s.guit.
8 7
 9
7 9 7 6
9 8 7 8
6 10 9
8 10
9
Em7 A7 Dmaj7
  4
   5  6
             
8
 7
9 7
7 9 10
11 8 11 8 7
9 10 10 10 9
Em7 A7 Dmaj7
      

7
     
8
   9
 
6 8 5
6 10 8
 7 9 7
6 8
7 9 10 9 10
10
Em7 A7 Dmaj7
      P
  10
   11   12
     
P
10 7
10 11
 11
9
7 9 10 8
8
10 8
8
10 8 9
Em7 A7 Dmaj7
  13 14   15 
    

7 6 7
 7
5
6
5
6
7
7 5
5
1/1
Augmented Scale
Jens Larsen
Standard tuning
= 120
Example 1: Augmented scale construction
1
E-Gt
3 4 4 7
9 8 4 5 5 8
9 8 4 5 5 8
10 9 5 6 6 9
6 7 7 10
7 8 8 11
Example 2: Contained structues

4
7 7 7
8 8 8 8 9 8
9 8 9 8 9 8
10 10 10 10 10 9
Example 3: Basic Symmetrical exercise 1

6
7
9 9 8
9 9 9 8
10 10 10 9
11

8
11 8
9 12 9
9 9 12 9
10 10 9
11

10
12 15 16
9 12 13
8 9
10
7 10 11
8
1/2
Example 6: Melodies with triads 1
12
12 8 12 11 8 11 7
8 9 9
9

14
9 12 8
9 12 9 9 8
10
16
11 8 8
9 12 9 9
9 12 9 8
10
2/2
Autumn Leaves Chords - Colors and Extensions
Jens Larsen
www.jenslarsen.nl
 = 175
Example 1
Cm7 F7 B  maj7 E  maj7
   
  1
 2
 3  4

  

E-Gt
8 8 10 10
8 6 10 8
 8
8
8
7
10
8
8
8

Aø D7 Gm6 G7
 
   5 6   7
  8  
  
8 8 10 10
8 7 8 8
 8
7
7
7
9
8
10
9

Example 2
Cm7(9) F7(9) B  maj7(9) E  maj7(9)
   
   9 10
 11
 12

 
10 8 8 6
8 8 6 6
 8
8
8
7
7
7
7
5

Aø(11) D7(  9  13) Gm6 /9 G7(  9  13)
    
   13 14   15
  16
  
10 11 10 11
8 11 10 9
 8
7
11
10
9
8
10
9

  17



1/2
Example 3
Cm7(9,11) F7(13  9) B  maj7(9) E  maj7(9)
    
   18 19 20
 21 
   
10 10 8 10
6 7 8 8
 8
8
8
7
7
7
10
8

Aø(9) D7(  9  5) GmMaj7(6) G7(  9  5)
     
  22
 23    24    25
 

7 11 10 9
8 9 7 11
 8
7
11
10
9
8
10
9

Example 4
Cm7(9,11) F7(  13  9) B  maj7(9  11) E  maj7(9,13)
   
   26 27
 28
  29

   
10 9 8 8
11 6 5 6
 10
13
8
7
7
7
7
5

Aø(9,11) D7(  9  5) GmMaj7(6) G7(  9  5)
  
   30 31 
 32   33   
    
10 13 10 9
8 9 8 9
 8
9
11
10
11
8
10
9

Example 5
Cm7(11,13) F7(  5  9) B  maj7(9  11) E  maj7(9,13)
    
  34
 35 36
  37 
  
5 7 8 10
6 9 10 8
 8
8
8
7
9
8
10
8

B  m7(11) E  7(9) Am7(9) D7(  9  13) Gm6(9,  11) G7(  9)
  
    
38  39
    
 40
 
  41

   
11 11 12 13 9 6
9 8 12 11 8 6
 10
11
10
11
12
10
11
10
9
8
7
9

2/2
Autumn Leaves Chords - Colors and Extensions
Jens Larsen
Cm7 F7 B  maj7 E  maj7 Cm7(9)
8
 6
  8
 8
 8

  
    
Aø D7 Gm6 G7 F7(9)
7
 7
  8
  8
  6

 
    
B  maj7(9) E  maj7(9) Aø(11) D7(  9  13) Gm6 /9
5
  5
 7
 10
 8

   
     
G7(  9  13) Cm7(9,11) F7(13  9) B  maj7(9,13) E  maj7(9)
9
  6
  6
 6
 6

    
     
Aø(9) D7(  9  5) GmMaj7(6) G7(  9  5) Cm7(9,11)
7
  9
  7
  9
  10
 
      
   
F7(  9  13) B  maj7(9,  11) E  maj7(9,13) Aø(9,11) D7(  9  5)
6
 5
  5
  7
 9
 
     
    
GmMaj7 G7(  9  5) Cm7(11,13) F7(  5  9) B  maj7(9,  11)
8
 9
  5
  6
 8
 

 
    



E  maj7(9) B  m7(11) E  7(9) Am7(9) D7(  9  13)
8
 9
  8
  10
 10

      
   
Gm6(9,  11) G7(  9)
8
 6
 
    

Standard tuning
 = 120
Example 1
Cm7 F7 B  maj7 E  maj7
   
   
1
 
2

3  4


el.guit.
8 8 10 10
8 6 10 8
 8
8
8
7
10
8
8
8
1/3
Aø D7 Gm6 G7
   
  5 6   7
  8 

  
8 8 10 10
8 7 8 8
 8
7
7
7
9
8
10
9
Example 2
Cm7(9) F7(9) B  maj7(9) E  maj7(9)
   
 9 10
 11  12

   
10 8 8 6
8 8 6 6
 8
8
8
7
7
7
7
5
Aø(11) D7(  9  13) Gm6 /9 G7(  9  13)



  13 14   15

  16  
  
10 11 10 11
8 11 10 9
 8
7
11
10
9
8
10
9
 17

Example 3
Cm7(9,11) F7(13  9) B  maj7(9,13) E  maj7(9)

   
 
18 19 20
 21 
 
10 10 8 10
6 7 8 8
 8
8
8
7
7
7
10
8
Aø(9) D7(  9  5) GmMaj7(6) G7(  9  5)

   
  
22 23    24
   25
 
 
7 11 10 9
8 9 7 11
 8
7
11
10
9
8
10
9
2/3
Example 4
Cm7(9,11) F7(  9  13) B  maj7(9,  11) E  maj7(9,13)
   
 26 27
 28
  29 
   
10 9 8 8
11 6 5 6
 10
13
8
7
7
7
7
5
Aø(9,11) D7(  9  5) GmMaj7 G7(  9  5)

  
 
30 31 
 32   33   
     
10 13 10 9
8 9 8 9
 8
9
11
10
11
8
10
9
Example 5
Cm7(11,13) F7(  5  9) B  maj7(9,  11) E  maj7(9)
    
  
34 35 36
  37 
 
5 7 8 10
6 9 10 8
 8
8
8
7
9
8
10
8
B  m7(11) E  7(9) Am7(9) D7(  9  13) Gm6(9,  11) G7(  9)

  
          
  
38 39
  
40 41
 

11 11 12 13 9 6
9 8 12 11 8 6
 10
11
10
11
12
10
11
10
9
8
7
9
3/3
Autumn Leaves - Soloing with Arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - The Chords of Autumn Leaves
Cm7 F7 B maj7 E maj7
1 2 3 4
E-Gt
8 8 6 8
8 8 7 7
8 7 7 8
8 6
8 6
Am7( 5) D7 Gm7 Gm7

5 6 7 8
4 4 3 3
5 5 3 3
5 4 3 3
5
5 3 3

9 10 11 12
8 8 6 8
8 8 7 7
8 7 7 8
8 6
8 6
Am7( 5) D7 Gm7 Gm7

13 14 15 16
4 4 3 3
5 5 3 3
5 4 3 3
5
5 3 3
Am7( 5) D7 Gm7 Gm7

17 18 19 20
4 4 3 3
5 5 3 3
5 4 3 3
5
5 3 3
1/7
21 22 23 24
8 8 6 8
8 8 7 7
8 7 7 8
8 6
8 6
Am7( 5) D7 Gm7 C7 Fm7 B 7
25 26 27 28
4 4 3 3 8 8
5 5 3 3 8 7
5 4 3 2 6 6
5 3 8
5 3 6
E maj7 Am7( 5) D7 Gm7 Gm7

29 30 31 32
8 4 4 3 3
7 5 5 3 3
8 5 4 3 3
6 5
5 3 3
33
34
35 36
2/7
Example 2 - Arpeggios of the chords
Cm7 F7
37 38 39 40
6 8 5 8
8 6
5 8 5 8
5 8 7
6 6 8
8 8
B maj7 E maj7
41 42 43 44
5 6 6
6 8
7 7 8
7 8 5 8
5 8 5 6
6 6
Am7( 5) D7
45 46 47 48
5 5
8 7
5 8 5 7
5 7 7
6 5 9
5 8 5 8
Gm7 C7
49 50 51 52
6 6 8
6 8 5 8
7 5
5 8 5 8
5 8 7
6 8
Fm7 B 7
53 54 55 56
8 6
6 9 6 9
5 8 7
6 6 8
6 8 5 8
8 6
57
3/7
Example 3 - Autumn Leaves with arpeggios
58 59 60 61
6 6 5 5
8 8 6 6
5 8 5 8 5 8 5 8 7 7 7 7
7 7 8 8 5 8 5 8
8 8 6 6
Am7( 5) D7 Gm7 Gm7

62 63 64 65
5 8 5 8
8 8 7 7 6 6 6 6
5 8 5 8 7 7 7 7 7 7
7 7 5 8 5 8 5 8 5 8

66 67 68 69
6 6 5 5
8 8 6 6
5 8 5 8 5 8 5 8 7 7 7 7
7 7 8 8 5 8 5 8
8 8 6 6
Am7( 5) D7 Gm7 Gm7

70 71 72 73
5 8 5 8
8 8 7 7 6 6 6 6
5 8 5 8 7 7 7 7 7 7
7 7 5 8 5 8 5 8 5 8
Am7( 5) D7 Gm7 Gm7

74 75 76 77
5 8 5 8
8 8 7 7 6 6 6 6
5 8 5 8 7 7 7 7 7 7
7 7 5 8 5 8 5 8 5 8

78 79 80 81
6 6 5 5
8 8 6 6
5 8 5 8 5 8 5 8 7 7 7 7
7 7 8 8 5 8 5 8
8 8 6 6
4/7
Am7( 5) D7 Gm7 C7 Fm7 B 7
82 83 84 85
5 8 5 8 6
8 8 7 7 6 5 8 6 9
5 8 5 8 7 7 7 5 5 8 7
7 7 5 8 6 8
8
E maj7 Am7( 5) D7 Gm7 Gm7

86 87 88 89
5 8
8 7 6 6 6 6
7 7 5 8 7 7 7 7 7
5 8 5 8 7 5 8 5 8 5 8 5 8
6 6
Example 4 - Autumn Leaves connecting rubato

90 91 92 93
6 8 5 6
8 6 8 8
5 8 8 5 7 8 8 7
5 8 7 7 8 8
6 8 6 5 5 8
8 6 5 6
Am7( 5) D7 Gm7 Gm7

94 95 96 97
5 8
7
5 7
7 5 5 7
6 6
8 5 8
Example 5 - Autumn Leaves connecting arpeggios

98 99 100 101
6 8 6 5 6 5
8 8 6 8
5 8 8 5 7 8 7
7 7 8 8 5
8 6 6 8 6 5
8 5 8 6
Am7( 5) D7 Gm7 Gm7 Cm7

102 103 104 105 106
5 8 5
8 7 6
5 8 7 5 7 7
5 7 7 5 8 8 5
6 9 8 5 5 8 8 5 5 6
5 8 6 6
5/7
Example 6 - 3rd and root of each chord in the song
Cm7 F7 B maj7 E maj7 Am7( 5) D7 Gm7 Gm7
107 108 109 110 111 112 113 114
5 6 6
8 7
8 7 5
5 5
8 6 5
8 6 5

115 116 117 118 119 120 121 122
5 6 6
8 7
8 7 5
5 5
8 6 5
8 6 5
Am7( 5) D7 Gm7 Gm7 Cm7 F7 B maj7 E maj7

123 124 125 126 127 128 129 130
6 6 5
7 8
5 8 7
5 5
5 8 6
5 8 6
Am7( 5) D7 Gm7 C7 Fm7 B 7 E maj7 Am7( 5) D7 Gm7 Gm7
131 132 133 134 135 136 137 138
6 6 6
7 5 8 8 7
5 7 5
5 5 5
5 8 6 5
5 8 6 5
Example 7 - Cm7 to F7 line rubato

139 140
5 8 5
8 5 5 8 7
6
141
6/7
Example 6 - 3rd and root of each chord in the song
142 143 144 145
6 6 8
5 5 8 6 7 7 7 8 7
8 8 5 7 7 8 8
8
Am7( 5) D7 Gm7 Gm7 Cm7

146 147 148 149 150
8 5 6
8 7 7 7 8 6 6 6
5 5 8 7 7 7 7 8
8 5 8 8
7/7
Bb Jazz Blues - The Basics
Jens Larsen
Standard tuning
= 120
Example 1 - Blues in Bb The Chords
B 7 E 7 B 7 B 7
1 2 3 4
E-Gt
8 6 8 8
7 6 7 7
6 5 6 6
6
6 6 6
E 7 Edim B 7 G7( 9)
5 6 7 8
6 8 8 9
6 6 7 10
5 8 6 9
6 7 10
6
Cm7 F7 B 7 F7
9 10 11 12
8 8 8 8
8 8 7 8
8 7 6 7
8 8
8 6
13
14
1/4
Example 2 - Scales
B 7 E 7 B 7 B 7
15 16 17 18
5 6
5 6 5 6 8 5 6 5 6
5 6 8 6 8 5 6 8 5 6 8
6 8 6 8 6 8
E 7 Edim B 7 G7( 9)
19 20 21 22
6
5 6 5 6 5 7 8
5 6 8 5 6 8 5 6 5 6 9
6 8 7 8 5 6 8
6 8
Cm7 F7 B 7 F7
23 24 25 26
5 7 8 5 7 8
5 7 8 5 7 8 5 6 5 7 8
5 6 8 8 5 6 8 8
8 6 8
27
28
29
2/4
B 7 E 7 B 7 B 7
30 31 32 33
6 10 6 9 6 10 6 10
6 9 8 6 9 6 9
7 6 8 7 7
6 8 5 8 6 8 6 8
8 6 8 8
E 7 Edim B 7 G7
34 35 36 37
6 9 6 9 6 10 7
8 5 8 6 9 6 8
6 8 6 7 7
5 8 5 8 6 8 5 9
6 7 8 5 8
Cm7 F7 B 7 F7
38 39 40 41
6 8 5 8 5 6 10 5 8 5
8 6 6 9 6
5 8 5 8 7 5 8
5 8 7 6 8 7
6 8 8 8
42
43
44
3/4
Example 4 - The Solo
B 7 E 7 B 7 B 7
45 46 47 48
8 6 8 9 6 6 9
7 6 8 6 8 7 5 7
8 6 8 8 8 8 8 6 5 6 8
E 7 Edim B 7 G7
49 50 51 52
8 8 6 8 6 8 (8) 5 6 9
8 6 6 7 5 7 8
8 8 6 8 5 6 9
Cm7 F7 B 7 F7
53 54 55 56
8 6
5 8 7 5 8 5 5 7 8 8 5 8
7 7 7 5 8 8 6 8 8 7
8 8
B 7
57
6 7 7
6
6
4/4
Bebop Jazz Guitar Licks - Dominant Ideas and Analy...
Jens Larsen
Standard tuning
 = 110
D7 Gmaj7
          
  1   2     3
  

E-Gt
12 10
10 12 13 12 10 13 10 11
 13 12 10 11 11
12
13 12

               
  4  5
 6        
 
14 10 12 14 12 10
13 12 10 13 10 12 13 12 10
 12 11 9 12 9 11 12 11 9
12 10 9

D7 Gmaj7
  
   7
     8
       9
     
3

3
8 10 7
8 10 8 7
 9 9 7 8 7
10 7
8 7
10 9
8 9


   10
        11
     
3

3
  

3 3
8 10 7
8 8 10 7
 9 7
9
9 11 7
9 9 10 7
10 9
 10
     12          3
13
 3
           
3 3
3

7 8 7
10 7 8 7
 9 7 9 7
9 7 9 7
10 7 9 7
 10
1/2
 
D7
         Gmaj7
 
14 15
   16
        
3 3
8 12 11 10 12 8 7
10 8
 10 11 9 7 8
7 10 9
9 10

    3 3
   
17
  18  19
          
3 3
  
8 12
10 8 12
 10 11
9 10
9
9
7 11
7 10
9 10 9
 9 10
       
D7 Gmaj7
        
20
  21 22
   
3
11 10
10 13 10 12 13 12 10 13 12
 11 12
11 12 11 9 11

D7 Gmaj7
              
23
   24
 25
   
8 12 10
10 10
 14 11 12 14 12 11
14 12 10 10
9 12 11
12

2/2
Best exercise for jazz guitar chord solos!
Jens Larsen
www.jenslarsen.nl
= 120
Example - F major scale on top 2 strings

E-Gt
5 6 8 10 12 13
1 3 5 6 8
Example 1 - F major scale harmonized with Fmaj7 chords

Fmaj7
5 6 8 10 12 13
1 3 5 6 8 5 6 8 10 10 13
2 2 5 7 7 5 7 9 10 10 14
2 2 7 7 7 7 5 7 10 10 12
Example 2 - F major scale harmonized with Gm7 chords

Gm7
3 5 6 8 10 12 13
1 3 5 6 3 3 6 6 10 11 11
3 3 3 7 3 3 7 7 10 10 12
3 3 3 8 3 3 5 5 8 10 12
Example 3 - F major scale harmonized with a II V I VI

Gm7 C7 Fmaj7 D7 Gm7 C7 Fmaj7 D7 Gm7 C7 Fmaj7
5 7 8 10 12 13
1 3 5 6 8 5 5 7 10 10 13
3 3 5 5 10 7 5 8 10 9 14
3 2 7 4 8 8 7 7 8 8 12
1/2
Example 4 - F major scale harmonized with a I VI II V
Fmaj7 D7 Gm7 C7 Fmaj7 D7 Gm7 C7 Fmaj7 Dm7 Gm7
5 6 8 10 12 13
1 3 5 6 8 4 6 5 10 10 11
2 5 3 7 9 5 7 7 10 10 14
2 4 3 8 7 4 5 8 10 10 12
Example 5 - Chord solo lick no 1

Fmaj7 D7 Gm7 C7alt Fmaj7
11 8 (8)
10 8 6 5 4 6 3 5 6 10 9 9 8 (8)
9 9 5 5 5 5 3 5 7 10 9 9 9 (9)
10 10 7 7 4 4 3 5 8 8 8 8 7 (7)

Fmaj7 D7 Gm7 C7 Fmaj7
8 10 8 10 8 5 6 8 6 8
8 8 8 8 7 4 6 6 6 6 10 9 8 5
9 9 9 9 8 5 7 7 7 7 9 10 9 5
7 7 7 7 7 4 5 5 5 5 8 9 8 7

Fmaj7 D7 Gm7 C7alt Fmaj7
6 5 3 5 4 4 3 (3)
1 3 5 6 4 3 3 3 4 4 1 (1)
2 2 2 5 5 3 3 3 3 3 2 (2)
2 2 3 4 4 3 3 3 2 2 2 (2)
2/2
Better Rhythms in Your Guitar Solos
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Example 1 - Blues in G with 3 note melodies
G7 C7 G7 G7alt
 1
  2
  3
  4
 
         
s.guit.
 9
7 9
8
7 9
9
7 9
9
8 10
C7 C  dim G7 E7
 5
  6
  7
  8
 
        
 8
7 9
8
6 9
9
7 9
9
7 10
Am7 D7alt G7 D7alt

 
9
  
10
  

11
   
12
  


 10
7 9
10
8 10
9
7 9
10
8 10
Example 2 - Rhythm 1
G7 C7
 
13
   
14
    

 7
9
9 7
8
9
Example 3 - Rhythm 2
G7 C7
 
15
    
16
     

 7 7
9
7 9 7 7
8
7 9
1/1
Bird Blues - How to play and Understand the Chords
Jens Larsen

Fmaj7 E A7 Dm7 G7 Cm7 F7 B7 B  m7 E7
8
                
7 5 8 7 6 6 5
     
              
Am7 D7 A  m7 D 7 Gm7 C7 Fmaj7 D7 B7
                  4 6
                                   

Standard tuning
 = 120
Example 1
Fmaj7 E A7 Dm7 G7 Cm7 F7
    
 1 2
  3
  
4
      

 
jz.guit.
10 8 6 5 5 8 8
 9
10
7
8
6
5
5
3
4
3
8
8
8
7
8 7 5 8
5 3 8
B7 B  m7 E 7 Am7 D7 A  m7 D7

        
5 6 7 8

           
   
8 6 6 5 5 4 4
 7
6
6
6
6
5
5
5
5
4
4
4
4
3
6 5 4
6 6 5 4
Gm7 C7 Fmaj7 D7 Gm7 C7
 9 10
 11
  12
 
        
  
 333 3
3
2
1
2
2
6
5
4
3
3
3
3
3
2
3 5 3
3 1 3
13


14


1/2
Example 2
Fmaj7 E A7 Dm7 G7 Cm7 F7
        

15 16    17   18
  
     
8 10 9 12 10 10 8 10
8 8 8 11 10 10 8 8
 9
7
9
8
9
8
12
11
10
10
10
9
8
8
8
7
B7 B  m7 E 7 Am7 D7 A  m7 D7

       
19
 20  21 22
 
    
 
 

  
6 8 6 5 5 6 4
8 6 6 5 5 4 4
 7
6
6
6
6
5
5
5
5
4
4
4
4
3
Gm7 C7 Fmaj7 D7 Gm7 C7

 

23
  24     25

    26

   
 

    
5 6 8 9 11 8 8 10 9
3 6 6 9 9 8 7 10 9
 3
3
7
5
7
5
9
8
9
8
9
7
8
7
10
8
9
8
2/2
Blue Bossa - Soloing with Arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - Blue Bossa chord progression
Cm7 Fm7
1
E-Gt
8 8 8 8
8 8 8 8
8 8 6 6
8 8
8 8
Dm7( 5) G7( 13) Cm7

5
6 4 8 8
5 4 8 8
6 3 8 8
5
3 8 8
E m7 A 7(13) D maj7
9
6 6 6 6
6 5 5 5
4 4 6 6
6 4 4
4
Dm7( 5) G7( 13) Cm7 G7( 13)

13
6 4 8 4
5 4 8 4
6 3 8 3
5
3 8 3
17
1/5
Cm7 Fm7
19
8 11
8 11 9
8 8 10
8 10 10
10 8 11
8 11
Dm7( 5) G7
23
8 7 10
9 8
7 10 7 10
6 10 9
8 10
10
E m7 A 7
27
9 8 11
11 9
8 11 8 11
8 11 10
9 11
11
D Maj7
31
8
9
10
10 11
8 11
9
35
37
2/5
Example 3 - Arpeggios on the song
Cm7 Fm7
39
8 8 8 8
8 8 8 8 10 10 10 10
10 10 10 10 8 11 8 11 8 11 8 11
8 11 8 11 8 11 8 11
Dm7( 5) G7( 13) Cm7

43
7 10 7 10
6 10 6 10 9 9 8 8 8 8
8 8 10 10 10 10 10 10
10 10 8 11 8 11 8 11 8 11
E m7 A 7(13) D maj7
47
8 11 8 11
8 11 8 11 10 10 10 10 10 10
9 9 11 11 8 11 8 11 8 11 8 11
11 11 9 9 9 9
Dm7( 5) G7( 13) Cm7 G7( 13)

51
7 10 7 10 7 10 7 10
6 10 6 10 9 9 8 8 9 9
8 8 10 10 10 10 10 10
10 10 8 11 8 11
55
57
3/5
Example 4 - Connecting arpeggios on the song
Cm7 Fm7
59
8 11 8 8 11 8
8 11 11 8 9 9
8 8 8 10 10
8 10 10 8 10
10 11 8 8 11
8 11 11 8 11
Dm7( 5) G7( 13) Cm7

63
7 10 7 8
8 11 8 8 11
7 7 10 8 8
10 6 9 10 8 8 10
8 8 10 10 10
10 8 10 11 8 11
E m7 A 7(13) D maj7
67
9 11 9 8 9 8
11 9 9
11 8 10 10
11 8 10 11 11 10
11 9 9 11 11 8 8
11 8 11 9 8 9
Dm7( 5) G7( 13) Cm7 G7( 13)

71
8 10 8 7 7 10 7
9 8 8 11 8
7 10 10 7 8 10 7
6 10 9 8 10 9
10 8 10 10
10 8 11
75
4/5
Example 5 - Target Notes
Cm7 Fm7
77
9 9
8 8
Dm7( 5) G7( 13) Cm7

81
10 8 8
9
E m7 A 7(13) D maj7
85
11 10 10
10
Dm7( 5) G7( 13) Cm7 G7( 13)

89
10 8
9 9
5/5
Bossa Nova Guitar 2 - Samba (Partido Alto)
Jens Larsen
Standard tuning
= 120
C6/9 D7 Dm7 G7alt D 7

1 2 3
E-Gt
(3) (5) (5) (4) (4)

3 5 5 4 4
2 5 5 4 4
2 4 3 3 3
3 5 5 4
3
4 5 6 7
Example 2 - Samba Pattern (Partido Alto)
8 9 10
3 (3) 3 3 3 3 3 3 3
2 (2) 2 2 2 2 2 2 2
2 (2) 2 2 2 2 2 2 2
3 3
3 3
Example 3 - Samba Pattern with accent
11 12 13
3 3
3 (3) 3 3 3 3 3 3 3
2 (2) 2 2 2 2 2 2 2
2 (2) 2 2 2 2 2
3 3
3 3
1/2
Example 4 - A part of Girl From Ipanema, Desafinado, So Danco Samba
C6/9 D7
14 15 16 17 18
3 (3) 3 3 3 3 3 3 5 (5) 5 5 5 5 5 5 5
2 (2) 2 2 2 2 2 2 5 (5) 5 5 5 5 5 5 5
2 (2) 2 2 2 2 2 2 4 (4) 4 4 4 4 4 4 3
3 3 5 5
3 3 5 5
Dm7 G7( 13) C6/9 G7( 13)
19 20 21 22
(5) 5 5 5 4 4 4 3 (3) 3 3 3 4 4 4 3
(5) 5 5 5 4 4 4 2 (2) 2 2 2 4 4 4 2
(3) 3 3 3 3 3 3 2 (2) 2 2 2 3 3 3 2
5 3
5 3 3 3 3 3
Example 5 - With accent

C6/9 D7
23 24 25 26 27
3 3 5 5
3 (3) 3 3 3 3 3 3 5 (5) 5 5 5 5 5 5 5
2 (2) 2 2 2 2 2 2 5 (5) 5 5 5 5 5 5 5
2 (2) 2 2 2 2 4 (4) 4 4 4 4 3
3 3 5 5
3 3 5 5
Dm7 G7( 13) C6/9 G7( 13)
28 29 30 31
5 4 3 4
(5) 5 5 5 4 4 4 3 (3) 3 3 3 4 4 4 3
(5) 5 5 5 4 4 4 2 (2) 2 2 2 4 4 4 2
(3) 3 3 3 3 2 (2) 2 2 3 3 2
5 3
5 3 3 3 3 3
2/2
Bossa Nova Guitar 1 - Blue Bossa
Jens Larsen
Standard tuning
= 120
Example 1 - Chord voicings
Cm7 Fm7 Dm7( 5) G7
1 2 3 4
E-Gt
3 8 6 4
3 8 5 4
1 6 6 3
3 8 5
3
E m7 A 7 D 6/9
5 6 7 8
6 6 4
6 5 3
4 4 3
6 4
4
Example 2 - Basic One bar Pattern

10 11
3 3
3 3
12 13
3 3 3 3 3 3
3 3 3 3 3 3
1 1 1 1 1 1
3 3
3 3
1/2
Example 3 - Blue Bossa chord progression
Cm7 Fm7
14 15 16 17
3 3 3 3 3 3 8 8 8 8 8 8
3 3 3 3 3 3 8 8 8 8 8 8
1 1 1 1 1 1 6 6 6 6 6 6
3 3 8 8
3 3 8 8
Dm7( 5) G7( 13) Cm7

18 19 20 21
6 6 6 4 4 4 3 3 3 3 3 3
5 5 5 4 4 4 3 3 3 3 3 3
6 6 6 3 3 3 1 1 1 1 1 1
5 3 3
4 3 3 3 3
E m7 A 7 D 6 D 6
22 23 24 25
6 6 6 6 6 6 4 4 4 4 4 4
6 6 6 5 5 5 3 3 3 3 3 3
4 4 4 4 4 4 3 3 3 3 3 3
6 4 4
6 4 4 4 4
Dm7( 5) G7( 13) Cm7 Dm7( 5) G7( 13)
26 27 28 29
6 6 6 4 4 4 3 3 3 6 6 4
5 5 5 4 4 4 3 3 3 5 5 4
6 6 6 3 3 3 1 1 1 6 6 3
5 3 5
4 3 3 3 3
2/2
Build a solid Jazz Blues comp vocabulary
Jens Larsen
Standard tuning
= 120
Example 1 - F blues
F7 B 7 F7 F7alt
1 2 3 4
E-Gt
8 8 8 9
8 7 8 8
7 6 7 7
8 8 8
6
B 7 Bdim F7 D7( 13)

5 6 7 8
8 8 8 11
7 7 8 11
6 6 7 10
8
6 7 10
Gm7 C7alt F7 D7 Gm7 C7alt
9 10 11 12
10 9 8 11 10 9
10 9 8 11 10 9
8 8 7 10 8 8
10 8 10
8 10 8
13 14 15 16
17 18 19 20
1/4
F7 F7alt
21 22 23 24
8 10 11 7 9
6 8 10 8 8 8 6 7 9 10 9 9
8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 7 7 7 7 7 7 7 7
B 7 Bdim
25 26 27 28
6 8 10 6 7 10
6 8 9 8 6 8 6 8 9 8 6 8
7 7 7 7 7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6 6 6 6 6
D7 Gm7
29 30 31 32
10 11 13 8 10
10 11 13 11 11 11 8 10 11 10 10
11 11 11 11 11 11 10 10 10 10 10
10 10 10 10 10 10 8 8 8 8 8
C7
33 34
8 9 11 12
9 11 9 9 9 9
9 9 9 9 9 9
8 8 8 8 8 8
35
36
2/4
Example 3 - F blues half note melody
F7 B 7 F7 F7alt
37 38 39 40
7 9
6 8 9 6 8 10 9 9
8 8 7 7 8 8 8 8
7 7 6 6 7 7 7 7
B 7 Bdim F7 D7( 13)

41 42 43 44
8 6
6 8 9 8 6 8 10 11
7 7 7 7 8 8 11 11
6 6 6 6 7 7 10 10

45 46 47 48
8 10 9 8
10 10 9 11 8 11 10 9
10 10 9 9 8 11 10 9
8 8 8 8 7 10 8 8
49
50
51
3/4
Example 4 - F blues comping example
F7 B 7 F7 F7alt
52 53 54 55
6 8 6 8 6 6 8 6 8 6 6 8 6 9 7 9 7
8 8 8 8 8 7 7 7 7 7 8 8 8 8 8 8 8
7 7 7 7 7 6 6 6 6 6 7 7 7 7 7 7 7
B 7 F7 D7( 13)
56 57 58 59
6 7 6 7
8 6 8 8 6 6 6 8 6 6 8 11 10
7 7 7 7 7 7 7 7 8 8 8 11 11
6 6 6 6 6 6 6 6 7 7 7 10 10

60 61 62 63
11 9 8
8 10 8 10 8 9 9 9 8 11 10 9
10 10 10 10 10 9 9 9 8 11 10 9
8 8 8 8 8 8 8 8 7 10 8 8
4/4
Building chords from 3rd and 7th
Jens Larsen
Standard tuning
= 120
Example 1 - 3rds and 7ths only
Fmaj7 D7 Gm7 C7 Am7 A dim Gm7 C7
1
E-Gt
9 11 10 9 12 10 10 9
7 10 8 8 10 9 8 8
Example 2 - Adding the roots under the 3rds and 7ths

5
9 11 10 9 12 10 10 9
7 10 8 8 10 9 8 8
8 10 12 11 10
10 8 8
Example 3 - Adding melody on the B string

9
8 10 10 8 10 9 10 8
9 11 10 9 12 10 10 9
7 10 8 8 10 9 8 8
Example 4 - Adding melody on the E string

13
8 10 10 8 12 10 10 9
9 11 10 9 12 10 10 9
7 10 8 8 10 9 8 8
1/2
Example 5 - Possible melodies for a turnaround
Fmaj7 D7
17
8 10 10 11 13
6 8 10 10 11 13
9 9 9 9 9 11 11 11 11 11 11
7 7 7 7 7 10 10 10 10 10 10
Gm7 C7
21
8 10 8 10 12
8 10 11 8 10 11
10 10 10 10 10 9 9 9 9 11 11
8 8 8 8 8 8 8 8 8 8 8
Am7 C7( 9)
25
10 12 8 9 11 12
10 13 8 9 11
12 12 12 12 9 9 9 9 9 9 9
10 10 10 10 8 8 8 8 8 8 8
A dim
29
10 12 13
9 12 11
10 10 10 10 10
9 9 9 9 9
Example 6 - More active melody

33
8 12 10 8 8
8 10 11 13 11 10 9 10 13 12 9
9 11 10 9 12 10 10 9
7 10 8 8 10 9 8 8
2/2
Cascading Sweep Arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - Cascading Arpeggios Lick no 1
Gm7 C7 Fmaj7
1 2 3
E-Gt
8 5
6 10 6
7 7 10 7 8 9 8
8 8 7 8 10 11 11 10
10
Example 2 - The Progression

Gm7 C7 Fmaj7
4 5 6
10 10 10
10 9 9
8 8 10
10 8
8
Example 3 - Gm11 arpeggio

Gm11
7
5 8
6
7
5 8

Gm7 C7alt Fmaj7
8 9 10
5
6 6
7 7 7 9 11 8
8 8 10 11 8 7
10 11
1/3
Gm7 C7alt Fmaj7
11 12 13
8 5 9 11 8 12
6 10 6 9
7 10 7 9
8 10 11
Example 6 - Arpeggio groups for Fmaj and C7

Fmaj7 C7 C7
14 15 16
1512 1310 10 6
13 17 13 11 15 11 8 11 8
14 14 17 14 12 12 1512 9 9 12 9
15 15 14 14 10 10
17 15 12

Gm7 C7alt Fmaj7
17 18 19
8 4
9 5 5 8
7 10 7 9 6 6
7 8 10 8
10
Example 8 - Sweeping Exercise No 1 - Diatonic 7th chords middle string set
20 21
5 1 6 3 8 5 10 6 11 8 13 10 15 11 17 13
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15
2/3
Example 9 - Sweeping Exercise No 2 - Diatonic triads middle string set
3 3
22 23
3 3
3 3
3 3
1 3 5 6 8 10 11 13
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15
Example 10 - Sweeping Exercise No 3 - Diatonic triads top string set

24 25
3 3
3 3
3 3
3 3
5 1 6 3 8 5 10 6 12 8 13 10 15 12 17 13
3 5 6 8 10 11 13 15
Example 11 - Sweeping Exercise No 3 - Diatonic triads with legato

26 27
3 3
3 3
3 3
3 3
5 1 6 3 8 5 10 6 12 8 13 10 15 12 17 13
3 5 6 8 10 11 13 15
3/3
Chord Melody for Guitar - part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Melody of A part
Dm7 G7 Dm7 G7 Em7 A7 Em7 A7
1
E-Gt
10 8 10 8 10 10 8 10 12 10 12 10 12 12 10 12
D7 D 7 Cmaj7 B7 B 7 A7
5
10 8 10
11 9 11 8 (8)
Example 2 - Melody of A part with 3 and 7 under it

9
10 8 10 8 10 10 8 10 12 10 12 10 12 12 10 12
10 10 10 10 12 12 12 12
10 9 10 9 12 11 12 11
13
10 10
13 11 9 11 8 (8) 8 8 8
11 11 10 9 (9) 8 7 6
10 10 9 9 (9) 7 6 8
1/3
Example 3 - Melody of A part with drop2 voicings
17
5 3 5 3 5 5 3 5 7 5 7 5 7 7 5 7
5 5 5 5 7 7 7 7
5 4 5 4 7 6 7 6
3 3 3 3 5 5 5 5
21
10 8 10 6 4 6 3 (3) 3
7 4 3 (3) 1 8 8
9 4 4 (4) 2 5 6
7 3 2 (2) 1 6 8
5 7
Example 4 -First two bars in 4 variations

Dm7 G7 Dm7 G7 Dm7 G7 Dm7 G7
25
10 8 10 8 10 10 8 10 10 8 10 8 10 10 8 10
10 10 10 10
10 9 10 9 10 9 10 9
8 8 8 8
Dm7 G7 Dm7 G7 Dm7 G7 Dm7 G7

29
5 5 3 5 5 3 5 5 3 5 3 5 5 3 5
6 8 5 6 5 5 4 3 4
5 4 5 4 5 4 5 4
5 3 5 3 3 3 3 3
33
2/3
Example 5 - Melody of B part for analysis
Gm7 C7 Gm7 C7
34
8 6 6 8 (8) 6 6 8 (8)
6 10 8 10 6 (6) 10 8 10 6 (6)
7 9 7 (7) 9 9 (9)
8 8 8 (8) 8 7 (7)
Am7 D7 Am7 D7 Dm7 G7
38
10 8 8 10 (10) 8 8 10 (10)
8 12 10 12 8 (8) 12 10 12 10 (10)
9 11 9 (9) 11 10 (10)
10 10 10 (10) 10 10 (10)
3/3
Chords and Walking Bass lines - part 1
Jens Larsen
Standard tuning
= 120
Example 1
Dm7 G7 Cmaj7 Cmaj7
1
S-Gt
10 10 9 9
10 9 9 9
8 12 11 10 8 7 10 7
10 10 9 8 7 8 8 9
Example 2
Dm7 G7 Cmaj7 Cmaj7
5
10 10 9 9
10 9 9 9
8 12 11 10 8 7 10 7
10 10 9 8 7 8 8 9
Example 3
Dm7 G7 Cmaj7 Cmaj7
9
10 10 9 9 10
10 9 9 9 10
8 12 11 10 8 7 10 7
10 10 9 8 7 8 8 9
14
1/2
Example 4 - Blues in F using Shell Voicings
F7 B 7 F7 Cm7 F7
16
8 7 8 8 8
7 6 7 8 7
8 6 5 8 7 8 6 6 8
8 7 6 8 7 8 7
B 7 Bdim F7 Am7 5 D7
20
7 7 8 5 5
6 6 7 5 4
5 8 5 8 7 8 6 3 5
6 6 7 8 6 5 5
Gm7 C7 F7 D7 Gm7 C7
24
3 9 8 5 3 3
3 8 7 4 3 2
7 10 9 8 6 5 4 3 7
3 5 6 7 8 5 3
2/2
Chords and Walking Bass lines - part 2
Jens Larsen
Standard tuning
= 120
Example 1 - Rhythm Changes 1st A part
B maj7 G7 Cm7 F7 Dm7 G7 Cm7 F7
1
E-Gt
6
7 10 8 8 10 10 8 8
7 9 8 7 10 9 8 7
8 10 10 8 11 10 10 8
6 10 8 8 10 10 8 8
Fm7 B 7 E Maj7 Edim7 B Maj7/F G7 Cm7 F7

5
8 8
8 7 7 6 7 10 8 8
6 6 8 8 7 9 8 7
8 5 6 6 7 7 8 9 10 9 8
8 6 10 8 5
Example 2 - Rhythm Changes 2nd A part

B maj7 G7 Cm7 F7 B Maj7 G7 Cm7 F7
6 3 6
7 4 3 2 7 4 8 8
7 3 1 1 7 3 8 7
2 3 5 6 8
6 4 3 3 1 5 6 3 7 8 8
Fm7 B 7 E Maj7 Edim7 B Maj7/F F7 B maj7
13
8 8 6
8 7 7 7 6 7 8 7
6 6 6 8 8 7 7 7
8 5 6 6 7 7 8 8 5 8 6
8 6 8 8 6
1/1
Chromatic Chords - Part 1
Jens Larsen
Standard tuning
= 120
Example 1 - G7 chord with passing chords
G7 A 7 G7 G7 A 7 G7 A 7 G7 G7 F 7 G7 G7 F 7 G7
1
E-Gt
5 4 3 3 3 4 5
5 6 5 5 6 5 4 3 3 4 5 5 4 5
4 5 4 4 5 4 5 4 4 3 4 4 3 4
3 4 3 3 4 3 4 3 3 2 3 3 2 3
Example 2 - G7 chord with passing chords

G7 A 7 G7 G7 A 7 G7 A 7 G7 A 7 G7 G7 F 7 G7 F 7 G7 F 7 G7 G7 F 7 G7
6
12 11 10 10 11 12
10 11 10 12 11 10 9 8 7 6 6 7 8 9 10 11 12 10 9 10
10 11 10 10 11 10 11 10 8 7 7 9 10 9 10 9 10 10 9 10
9 10 9 12 10 9 10 9 10 9 9 8 9 8 9 11 12 9 8 9
Example 3 - II V I in C no 1
Dm7 G7 Cmaj7
12
5 4 3
5 8 6 5 4 3 4 3
5 5 5 4 5 4 4 5
3 7 7 3 4 3 3 2
Dm7 G7 Cmaj7
16
12 10 12 12 11 10
10 10 10 10 10 11 10 12 11 10 8 (8)
10 10 10 10 10 11 10 10 11 10 9 (9)
10 10 10 10 9 10 9 12 10 9 9 (9)
1/2
Dm7 G7alt Cmaj7
20
6 8 10 10 11 (11) 10 9 11 8 (8)
5 5 10 10 10 (10) 11 10 10 9 (9)
7 7 10 10 9 (9) 10 9 9 9 (9)
2/2
Chromaticism - Instant Bebop
Jens Larsen
Standard tuning
= 120
Example 1 - C7 line no 1
1 2 3
E-Gt
10 9 8
8 11 8 11 10 9 8 8
8 9 10 7 9 (9)
Example 2 - C7 arpeggio
C7
4 5
8
8 11
9
8 10
7 10
8
Example 3 - F major / C7 scale

6 7 8
8 10 12
8 10 11
7 9 10
7 8 10
7 8 10
8 10
Example 4 - Approach notes ascending descending on C triad

9 10 11 12
6 7 8 10 9 8
7 8 10 9 8 8
10 7 8 9 10 9 7
8 9 10 11 10
1/2
C7
13 14 15
7 10 7 8 9
7 7 10 7 8 10 10 9 8 (8)
9 10
Example 6 - C7 diatonic/chromatic enclosure

C7
16 17 18 19
8 10 7 8
10 7 8 10 11
7 10 8 9
7 10 7 8 9 10
9 10
Example 7 -Two Short enclosure phrases

20 21 22 23
10 9 8
8 11 10 7 8
7 9 10 8 9
9 10 10 9 8
C7
24 25 26
8 11 10 9 8
7 10 7 8 9 10 9
7 10 9 7 8
Example 9 - Pat Martino Enclosure

C7
27 28 29 30 31
7 10 9 7 8 9 12 11 9 10
6 9 8 6 7 9 12 11 9 10
7 10 9 7 8
2/2
Create your own Arpeggio shapes
Jens Larsen
Standard tuning
= 120
Example 1 - F major scale
3
1 3 2
3
3
3
3
E-Gt
8 10 12
8 10 11
7 9 10
7 8 10
7 8 10
6 8 10
Example 2 - Gm7 arpeggio

Gm7
3 4
10 8 10
10 7 10
8 7 8
10 8 10
Example 3 - Fmaj arpeggio

Fmaj7
5 6
10 10 13
9 9 12
10 10 12
8 8 12
Example 4 -Gb7 arpeggio (standing in for C7alt)

G 7
7 8
9 9 11
9 9 11
8 8 11
9 9 11
1/2
Example 5 - II V I in F major
Gm7 G 7 Fmaj7
9 10 11 12
10 9 10
10 9 9
8 8 8
10 9 10
Gm7 G 7 Fmaj7
13 14 15 16
8 10 11 9 10 13 (13)
7 10 11 9 9 12
7 8 11 8 10 12
8 10 9 11 12 8
Example 6 - II V I in Bb major
Cm7 F7alt B maj7
17 18 19 20
8 9 10
8 7 10
8 8 10
8 7 8
Cm7 F7alt B maj7

21 22 23 24
8 10 9 5 8 10 (10)
8 6 7 9 8 10
7 8 8 6 7 10
8 10 7 9 8 7
Example 7 - II V I in C major
Dm7 G7alt Cmaj7
25 26 27 28
10 11 8
10 10 9
10 9 9
10
10 8
Dm7 G7alt Cmaj7

29 30 31 32
8 10 11 9 10 8 (8)
9 10 10 8 7 9
7 10 9 11 9 10
10 8
8 10 12 8
2/2
Developing Basic Comping Rhythms
Jens Larsen
Standard tuning
= 120
Example 1 - Charlston rhythm
C7 F7 C7 C7
1
E-Gt
8 10 8 6 8 10 8 9
9 9 8 8 9 9 9 9
8 8 7 7 8 8 8 8
F7 F dim C7 Em7( 5) A7alt

5
8 8 11
8 8 7 10 8 10 8 6
8 8 8 11 9 9 7 6
7 7 7 10 8 8 8 5
Dm7 G7alt C7 A7 Dm7 G7alt

9
6 8 9 11 8 13 10 11
5 5 10 10 9 12 10 10
7 7 9 9 8 11 10 9
13
1/4
Example 2 - Variation 1
C7 F7 C7 C7
14
8 10 8 8 6 8 8 10 11 8 10 9
9 9 9 8 8 8 9 9 9 9 9 9
8 8 8 7 7 7 8 8 8 8 8 8

18
8
6 8 6 7 10 7 8 10 11 8 5 6
8 8 8 8 11 8 9 9 9 7 7 6
7 7 7 7 10 7 8 8 8 8 8 5

22
6 8 6 11 9 11 8 10 13 8 10 11
5 5 5 10 10 10 9 9 12 10 10 10
7 7 7 9 9 9 8 8 11 10 10 9
26
27
28
2/4
Example 3 - Variation 2
C7 F7 C7 C7
29
11 10 8 8 6 8 8 10 11 10 10 9
9 9 9 8 8 8 9 9 9 9 9 9
8 8 8 7 7 7 8 8 8 8 8 8

33
6 6 8 7 7 10 11 10 11 10 8 6
8 8 8 8 8 11 9 9 9 7 7 6
7 7 7 7 7 10 8 8 8 8 8 5

37
6 6 8 11 9 11 8 10 13 10 10 9
5 5 5 10 10 10 9 9 12 10 10 10
7 7 7 9 9 9 8 8 11 10 10 9
41
42
43
3/4
Example 4 - Mixing up the rhythms
C7 F7 C7 C7
44
8 10 8 6 8 10 8 11 10 9
9 9 8 8 9 9 9 9 9 9
8 8 7 7 8 8 8 8 8 8

48
8 6 7 10 10 10 8 8 8 6
8 8 8 11 9 9 9 7 7 6
7 7 7 10 8 8 8 8 8 5

52
6 8 11 9 11 10 8 13 10 10 9
5 5 10 10 10 9 9 12 10 10 10
7 7 9 9 9 8 8 11 10 10 9
4/4
Diatonic Arpeggios – how to use and practice them
Jens Larsen
Standard tuning
= 120
C major Scale
1
E-Gt
7 8
8 10
7 9 10
7 9 10
7 8 10
8 10
C major in 3rds asc/desc

3
7 8 7 10 8
8 10 8 10
7 9 7 10 9 10
7 9 7 10 9 10
7 8 7 10 8 10
8 10
8 7
10 8 10 8
10 9 10 7 9 7
10 9 10 7 9 7
10 8 10 7 8
10
C major in triads
C Dm Em F G Am Bdim C Dm Em F
10
7 8
8 10 8 10
7 9 7 10 9 7 10 9 10
7 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
15
1/3
Scale in Diatonic 7th Chords
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5) Cmaj7 Dm7 Em7
17
7 8 7 10
8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
Em7 Dm7 Cmaj7 Bm7( 5) Am7 G7 Fmaj7 Em7 Dm7 Cmaj7

22
10 7 8 7
8 10 8 10 8
9 10 7 9 10 7 9 10 7 9 7
10 9 10 7 9 10 7 9 10 7 9
10 8 10 7 8 10 7
10 8
Ascending/Descending etc etc..

27
7 8 10 7
8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 10 7 9 10 7 9 10 7 9 10
7 10 8 7 10 8 10
8 10
Root - 5th - 3rd - 7th etc etc..

32
7 8 7 10
8 10 8 10 8
7 9 7 10 9 10 7 9 7 10 9
9 7 10 9 10 7 9 10 10 9 10
10 7 8 7 10 8 10
8 10
37
2/3
Example 1
Cmaj7
39
7
10 8 8
9 7 (7)
7 9 10
Example 2
Dm7
41
10
9 10 9 7
7 10 7
8
Example 3
G7
43
8 10 8
7 10 7 7 (7)
9
3/3
Diatonic Arpeggios - Superimposing and altered chords
Jens Larsen
Standard tuning
= 120
Example 1
Gm7 C7 Fmaj7 Fmaj7
1
E-Gt
8 11
7 10 9 9 9
8 8 7 10 7 10
10 8 8
Gm7 C7 Fmaj7 Fmaj7

5
10
10 8 11 8 8
7 10 9 9 9
8 7 10 7 10
Example 2
Gm7 C7 Fmaj7
9
10 8
10 8 8 11 11 8 10 8
7 10 7 10 9 (9) 9 9
8 10 7 10
Example 3
Gm7 C7 Fmaj7
13
10 8
10 8 11 8 8 10 (10) 8
7 7 10 9 9 7
10 8 7 8 10 7
Example 4
17
9 11 12
9 11 13
8 9 11
8 10 11
7 9 11
8 9 11
1/2
Example5
C7alt F 7
20
4 4
4 4 9 7 4 4 9 7
3 3 9 9 3 3 9 9
2 2 8 8 2 2 8 8
3 3 9 9
8 8 2 2
Example 6
Gm7 C7alt Fmaj7 Fmaj7
22
10 9 8 8
7 10 9 9 9
8 8 11 7 10 7 10
Example 7
Gm7 C7alt Fmaj7
26
10 8 9
7 10 7 7 7 9 9
7 8 11 8 10 11 8 7 (7) 10 7 10
Example 8
Gm7 C7alt Fmaj7 3
31
11 9
10 9 11 9
7 10 9 9 9 7
7 10 8 11 10 7 10 10 7 (7)
8 7 8
10
2/2
Diatonic Chords Exercises
www.jenslarsen.nl
Jens Larsen
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bø Cmaj7
    3
  5
         
6 8 10 12
                          
 
    5 7
  8
            
10 12 14 15
      
       
Fmaj7 G7 Am7 B Cmaj7 Dm7 Em7 Fmaj7
     6
     
8 10 12 13
   
              
A  maj7 B  m7 Cm7 D  maj7 E7 Fm7 Gø A  maj7
   6 8  9  11    
13 14 16
                   

B  m7 Cm7 D  maj7 E7 Fm7 G A  maj7 B  m7
    4
   6
    8 10
   
11 13
 
      
          
Standard tuning
 = 120
1 2
   
     
jz.guit.

3 5 7 8 10 12 14 15
Example 2 - Diatonic Chords as stacks of 3rds

   
3
   4

       
0 1 3 5 6 8 10 12
 0
2
2
3
4
5
5
7
7
9
9
10
10
12
12
14
3 5 7 8 10 12 14 15
Example 3 - Diatonic Chords as Drop2 voicings

    
5   6
   
        
5 6 8 10 12 13 15 17
 4
5
5
7
7
9
9
10
10
12
12
14
14
15
16
17
3 5 7 8 10 12 14 15
1/3
Example 4 - Diatonic Chords with the root on the 6th string
Fmaj7 G7 Am7 B Cmaj7 Dm7 Em7 Fmaj7

   
7
   8
 
     


  
   
 122 3
4
3
5
5
5
6
7
7
8
9
9
10
10
10
12
12
12
13
14
14
1 3 5 7 8 10 12 13
Example 5 - Diatonic Chords in Ab major 6th string
A  maj7 B  m7 Cm7 D  maj7 E7 Fm7 Gø A  maj7

   
  9    10
  

     


    
 
4 6 8 9 11 13 14 16
 5
5
6
6
8
8
10
10
12
11
13
13
15
15
17
17
4 6 8 9 11 13 15 16
Example 6 - Diatonic Chords in Ab major 5th string
B  m7 Cm7 D  maj7 E7 Fm7 G A  maj7 B  m7

   
  11
   12
  
       

2 4 6 8 9 11 13 14
 1
3
3
5
5
6
6
8
8
10
10
11
12
13
13
15
1 3 4 6 8 10 11 13
 13
 
Example 7 - Diatonic Chords in 3rds
Cmaj7 Em7 Dm7 Fmaj7 Em7 G7 Fmaj7 Am7 G7 B Am7 Cmaj7 B Dm7 Cmaj7
      
           

14
 15
   16
  17
    
5 8 6 10 8 12 10 13 12 15 13 17 15 18 17
 4
5
7
9
5
7
9
10
7
9
10
12
9
10
12
14
10
12
14
15
12
14
16
17
14
15
17
19
16
17
3 7 5 8 7 10 8 12 10 14 12 15 14 17 15
Example 8 - Diatonic Chords in 4ths/5ths
Cmaj7 Fmaj7 B Em7 Am7 Dm7 G7 Cmaj7


18    19
  
 
       
  
8 10 6 8 5 6 3 5
 9
9
9
10
7
7
7
9
5
5
5
7
4
3
4
5
8 7 5 3
8 7 5 3
2/3
Example 9 - Fly Me To The Moon Exercise
Am7 Dm7 G7 Cmaj7 Fmaj7 B E7(  9) Am7

      
20
  21
 
          
  
13 10 12 8 10 6 6 5
 12
14
10
10
10
12
9
9
9
10
7
7
7
6
5
5
12 10 8 7
10 8 7 5
Example 10 - Cadences To All Diatonic Chords
Dm7 G7 Cmaj7 E A7 Dm7 F  B7 Em7 Gm7 C7 Fmaj7

    

22
  23
      24
      25
 
  
   
     
 
  
6 3 5 8 5 6 10 7 8 11 8 10
 5
7
4
3
4
5
7
8
6
5
5
7
9
10
8
7
7
9
10
12
9
8
9
10
5 3 7 5 9 7 10 8
3 5 7 8
Am7 D7 G7 B E7 Am7 C  F 7 B Cmaj7

  

26     27      28       29 
      
  
13 10 12 15 12 13 17 14 15 17
 12
14
11
10
10
12
14
15
13
12
12
14
16
17
15
14
14
15
16
17
12 10 14 12 16 14 15
10 12 14
3/3
Diatonic chords in the Pentatonic scale
Jens Larsen
Standard tuning
= 120
Example 1 - Am pentatonic scales
1
E-Gt
5 8
5 8
5 7
5 7
5 7
5 8
Example 2 - Am pentatonic in diatonic thirds

3
5 8
5 8 5 8
5 7 5 7
5 7 5 7
5 7 5 7
5 8
Example 3 - 3 and 4 part diatonic chords

6
5 8 5 8
5 8 5 8 5 8 5 8
5 7 5 7 5 7 5 7 5 7 5 7
5 7 5 7 5 7 5 7 5 7 5 7
5 7 5 7 5 7 5 7
5 8 5 8
Example 4 - 4 Part chords along the neck
3 5 8 10 12 15
3 5 8 10 13 15 3 5 8 10 13 15
2 5 7 9 12 14 2 5 7 9 12 14
2 5 7 10 12 14 2 5 7 10 12 14
3 5 7 10 12 15
1/2
Example 5 - 3 part chords
12
3 5 8 10 12 15
3 5 8 10 13 15 3 5 8 10 13 15
2 5 7 9 12 14 2 5 7 9 12 14
2 5 7 10 12 14
2/2
Diminished chords guitar voicings and extensions
Jens Larsen
www.jenslarsen.nl
Am7 A  dim Gm7 C7 Fmaj7 A  dim7 A  dim
12
                 
10 10 8 8 13
       
        
A  dim A  dim Am7 A  dim Gm7 C7 Fmaj7
9
             
     
           
Standard tuning
 = 120
Example 1
Am7 A  dim Gm7 C7 Fmaj7
  1
 
2
  3
     


  
od.guit.

5 3 3 3 1
 5
5
4
3
3
3
3
2
2
2
3
5 4 3 1
Example 2
    
4 5
   6

       
  
5 7 8
5 6 9
 3 6 7
4 5 7
3 5 7
4 5 7
Example 3
     
 7
 
8
 9

  

13 12 11 10 10
 12
14
10
12
10
12
9
8
9
10
12 11 10 8
8
Example 4
10 11 12 13
 
    

  
 3
5 3 7
4 7 5
1/3
Exampl 5
14
     15       16
       
 
 

     
3
5 3
5 3 5 3 3 6 3 2 1
 5
5
5
5
4
3
4
3
3
3
3
3
3
2
3 2
2
3 3
5 5 4 4 3 1
Example 6
A  dim7 A  dim A  dim A  dim
       
17
  18
   19  20 
       
 
10 12
3 5 12 12 15 17 9 9
 4
3
4
3
10
12
10
14
13
15
13
15
10
9
10
9
11 9 14 14
4 4
    
21 22
   23

       
  
4 7 8
5 6 8
 3 5 6
4 5 7
3 5 7
3 4 7
Example 7
A  dim
24 25 26 27
 
      
 
 5
5 8 7
4 7 8
Example 8
A  dim
28 29
   30
   31
         
   
 
7 7
3 3 12 12 6 8
 4
3
4
5
10
12
12
12
7
6
7
6
11 9
4 4
Example 10


32
       33
    
34  35
     

 
  3     
3 <12>
3 5 3 6 3 2 1
 5
5
4
3
3
3
3
2
2
2
<12>
<12>
3 3 <12>
5 4 3 3 1 1
2/3
Example 9



36
     37


 

  38



     
3
8 10 7 12 10 9 8 8
8 8 9 10 8 11 8
 9
7
7
6
10
9
10
8
9
8
9
7
3/3
Diminished Scale on Dom7th Chords
Jens Larsen
Standard tuning
= 120
Example 1 - Diminished scale for G7(13b9)
1
E-Gt
6 7 9 10
6 8 9
6 7 9
6 8 9
7 8 10
7 9 10
Example 2 - G major triads inversions
3 7 10 15
3 8 12 15 3 8 12 15
4 7 12 16 4 7 12 16 4 7 12 16
5 9 12 17 5 9 12 17
5 10 14 17
Example 3 - Major triads close to each other middle strings

7
3 5 6 6 8 9 9 11 12 12 14 15
4 4 6 7 7 9 10 10 12 13 13 15
5 6 6 8 9 9 11 12 12 14 15 15
Dm7 G7(13 9) Cmaj7
10
4 3 4 3
3 6 5 3 5 6 6 5
2 5 4 6
3 6
5
1/2
Dm7 G7(13 9) Cmaj7
14
9 9 11 11 12
9 12 9 10 12 10 10
10 11 12
8 12
Dm7 G7(13 9) Cmaj7
18
7 12 10
8 10 9 11 9 12 8
9 7 9 10 10
7
8
2/2
Dominant 7th Scales
www.jenslarsen.nl
Jens Larsen
Standard tuning
= 120
Example 1 - F7 Mixolydian (or F7 from Bbmajor)
Cm7 F7 B maj7
1
E-Gt
10 8 8 (8)
8 8 6 (6)
8 8 7 (7)
8 7 7 (7)
8
8 6 (6)
6 8 10
6 8 10
5 7 8
5 7 8
5 6 8
5 6 8
Cm7 F7 B maj7
8
8 5
8 6 8
7 5 5
5 8 8 5 7 7
6 5 6
Cm7 F9( 9) B maj7
12
10 8 8 (8)
8 7 6 (6)
8 8 7 (7)
8 7 7 (7)
8
8 6 (6)
1/4
16
6 8 10
6 7 10
5 6 8
4 7 8
4 6 8
5 6 8
Cm7 F7 B maj7
19
7 6
7 8 7 5 5 6 8 7
8 7 5 7
8 5 6 9
Cm7 F7alt B maj7
23
10 7 8 (8)
8 9 6 (6)
8 8 7 (7)
8 7 7 (7)
8
8 6 (6)
27
7 9 11
7 9 10
6 8 10
6 7 9
6 8 9
5 7 9
Cm7 F7
30
6 10 8 6
8 10 7
7 8 8 6
9 7
9 8 (8)
2/4
Cm7 F7(13 9) B maj7
34
10 10 8 (8)
8 7 6 (6)
8 8 7 (7)
8 7 7 (7)
8
8 6 (6)
38
7 8 10
7 9 10
7 8 10
6 7 9 10
5 6 8 9
5 7 8
Cm7 F7 B maj7
41
10 7
7 10 10 7
7 10 8 8 10 8 7
8 10 10
10
Cm7 F9( 5) B maj7
45
10 9 8 (8)
8 8 6 (6)
8 8 7 (7)
8 7 7 (7)
8
8 6 (6)
49
7 9 11
8 10
6 8 10
7 9
6 8 9
5 7 9
3/4
Cm7 F7 B maj7
51
8 6 8 6
7 5 8 7 6 6 8 8
5 7 9
6 8
4/4
Don't sound the same all the time! - Tonic minor scales
Jens Larsen
www.jenslarsen.nl
= 120
Example 1 - Dm Melodic line
3
E-Gt
5 9 5 7 12 (12)
8 6 8
6 9 7 7
7 9
5 8
Example 2 - Dm Melodic chord sounds

Dm6/9
5 2 (2) 3 2 3
4 2 (2) 2 2 2
3 3 (3) 3 3 3
5
Example 3 - Dm Melodic scale
7 9 10
6 8 10
6 7 9
5 7 9
5 7 8
5 7 9
Example 4 - Dm Dorian line

3
8 5 10 7 (7)
5 6
5 7 9 7
5 7 9 (9)
5 7 8
Example 5 - Dm Dorian chord sounds

Dm7
5 5 5 5 5 5
5 4 4 5 5 4
3 3 3 3 3 3
5 5 5
3 3 3
1/2
Example 6 - Dm Dorian
7 8 10
6 8 10
5 7 9
5 7 9
5 7 8
5 7 8
Example 7 - Dm Blues line
8 10
6 8 6 9 10 9 8 6 (6)
5 7 5 7
7
Example 8 - Dm Blues chord sound

Dm7
8 5
6 6
5 5 4 4 5
3 3 3
5 5 5
Example 9 - Dm blues scale
5 8
6 8 9
5 7
5 6 7
5 8
5 8
2/2
Don't spend too much time on this exercise!
Jens Larsen
www.jenslarsen.nl
= 120
Dm7 G7alt Cmaj7
E-Gt
12 9 8
9 7 8 10
7 10 7 9 11
8 8 10 11 8
Example 2 - 6 of the 24 combinantions
9 9 9 9 9 9
7 10 7 10 10 7 10 7 10 7 7 10
8 8 8 8 8 8
Example 3 - II V I in C major using 1 7 3 5

Dm7 G7alt Cmaj7
8 9 8
9 7 10 10 9
7 10 9 9
7 8 10 8
10
Example 4 - II V I using 5 1 3 7
Dm7 G7alt Cmaj7
11 7
8 10 8 9 11 8
9 7 10 8 7
10 7 9
8
Example 5 - II V I using 1 3 7 5
Dm7 G7alt Cmaj7
8 9 12
9 7 8 10 9
7 10 10 9 7 6 9 11
8
1/1
Do you really know the pentatonic scale
Jens Larsen
Standard tuning
= 120
Example 1 - Dm pentatonic scale
E-Gt
5 8
6 8
5 7
5 7
5 8
Example 2 - Building Arpeggios in the scale
5 8
6 8 6 8
5 7 5 7 5 7
5 7 5 7 5 7
5 8 5 8
5 8
Example 3 - Naming the chords

Dsus4 F Gsus4 Dm Csus4 Dsus4 F Gsus4
5 8
6 8 6 8
5 7 5 7 5 7
5 7 5 7 5 7
5 8 5 8
5 8
Example 4 - The diatonic chords on the middle string set
6 8 10 13 15 18
5 7 10 12 14 17
5 7 10 12 15 17
Example 5 - Moving a drop2 voicing through the scale
6 8 10 13 15 18
7 10 12 15 17 19
5 8 10 12 15 17
1/3
Example 6 - Open voiced Dm triad in inversions
10 13
10 14 10 14
12 12
12 12
10 13
Example 7 - Open voiced F triad in inversions
13 17
14 17 14 17
15 15
15 15
13 17
Example 8 - Open voiced Csus4 triad in inversions
13
13
10 12 10 12
10 10
10 8 10
8
Example 9 - Dm7 Shell voicing through the scale
5 7 10 12 14 17
3 5 7 10 12 15
5 8 10 12 15 17
Dm7 G7alt Cmaj7
6 8 9 11 8
10 7 8 8
7 10 9 8
5 8 11 10
2/3
Dm7 G7alt Cmaj7
5 8 5
6 8 9 9 6
5 7 8 8 6
7 8 8 9
Dm7 G7alt Cmaj7
13 10
12 12 12 8 10 12 8
10 12 9
8 11 8 9 10
3/3
Drop2 - Inner-voice movement and Melody
Minor II V I
Jens Larsen
Standard tuning
 = 120
Example 1
B E7(  9) Am6 B E7(  9) Am6 B E7(  9) Am6 B E7(  9) Am6
    
  1      2


  3      4     
         

E-Gt
5 4 2 7 7 5 10 10 8 13 13 12
3 3 1 6 6 5 10 9 7 12 12 10
 4
3
4
3
2
2
7
7
7
6
5
4
10
9
10
9
9
7
14
12
13
12
11
10

Example 2

B E7(  9) Am6
  5
 6

     
7 8 7
6 6 5
 9
7
7
6
5
4

Example 3
B E7(  9) Am6
       
7
   8
    
 
   
5 8 7
3 3 5 6 8 6 5
 4
3
7
6
7 5
4 5 6

Example 4

B E7(  9) Am6
           
 9    
   10     


13 12 15 13 15 12
12 15 12 11 12 13 9 10 11 12
 14
12
13
12
13
12
11
10
11
10

1/2
Example 5
B E7(  9) Am6
  
  11
 


  

     12     
     
10 12 10 8 8 7 10 8
10 12 8 7 6 9 7 7 10 9
 10
9
7
6
8
7
7
6
10
9
9
7

2/2
Drop2 voicings as Arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - Drop2 voicings lowest string set
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F m7( 5) Gmaj7
1
E-Gt
4 5 7 7 11 12 14 16
4 5 7 7 10 12 14 16
5 7 9 10 12 14 15 17
3 5 7 8 10 12 14 15
Example 2 - Drop2 voicings middle string set

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5) Cmaj7
5
5 6 8 10 12 13 15 17
4 5 7 9 10 12 14 16
5 7 9 10 12 14 15 17
3 5 7 8 10 12 14 15
Example 3 - Drop2 voicings top string set

Fmaj7 Gm7 Am7 B maj7 C7 Dm7 Em7( 5) Fmaj7
9
5 6 8 10 12 13 15 17
5 6 8 10 11 13 15 17
5 7 9 10 12 14 15 17
3 5 7 8 10 12 14 15
Example 4 - D7(#9b13) voicings (In fact Cm7(b5)) in inversion

13
6 7 8 13
3 5 10 11
4 9 10 15
3 8 9 13
1/2
Am7 D7alt Gmaj7
15
8 6
7 9 7
5 7 5 4 8 8 7
5 7 6
7
5
Am7 D7alt Gmaj7
19
8 10 11 11 9
9 7 9 10 8 10 11
9 10
10 9
8
Am7 D7alt Gmaj7
23
7 6
7 8 7 5 4
5 9 7 5 8
7 7 5 6
8
2/2
Drop 2 Voicings on a Jazz Blues
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 120
F7 B7 F7 Cm7 F7alt
 1     2     3   4
      



             
   
    
 
od.guit.

6 6 8 6 6 8 6 8 11 11 14 14
 7
7
7
7
7
7
5
6
5
6
5
6
7
7
7
7
8
10
8
10
13
13
13
13
6 6 6 5 5 5 6 6 10 10 12 12
B7 Bdim F7 Aø D7alt

              
5
   6 7  8
          
         

 
13 11 12 12 9 8 6 8 8 11
 12
12
12
12
10
12
10
12
7
9
7
7
7
7
5
7
5
7
8
10
11 11 11 11 8 6 6 6 6 9
Gm7 C7alt F7 D7(  9) Gm7 C7alt

9   10
      11    12    
              
 
8 10 9 9 9 8 7 8 9
 7
8
7
8
8
8
8
8
8
8
7
7
5
7
7
8
8
8
8 8 7 7 7 6 6 8 7
Example 2 - Creating a Drop2 F7 voicing

13 14
  
    
4 4 4
 5
7 7
2
3
8 8 3
8
Example 3 - two tricks -> 4 sets of F7 voicings

     
15    16
     17
     18
    
     
          
4 6 10 13 4 8 10 13 4 6 10 15 4 8 10 15
 2
3
5
7
8
10
10
13
2
5
5
7
8
10
12
13
2
3
7
7
8
12
10
13
2
5
7
7
8
12
12
13
3 6 8 12 3 6 10 12 5 6 8 12 5 6 10 12
1/1
Drop2&4 voicings - Part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Constructing Drop 2&4 voicings
1 2
E-Gt
8 8 8 8
10 10 7 7 7
11 7 7
12 12 7 7 7 7
5 5 5 5
Example 2 - Am7 Drop2 voicings turned into drop2&4
3 4
5 8 12 15 5 8 12 15
5 8 10 13 5 8 10 13
5 9 12 14
5 7 10 14 5 7 10 14
3 7 10 12
Example 3 - D7 Drop2 voicings turned into drop2&4
5 6
5 8 10 14 5 8 10 14
3 7 10 13 3 7 10 13
5 7 11 14
4 7 10 12 4 7 10 12
3 5 9 12
Example 4 - Gmaj7 voicings turned intro drop2&4
7 8
3 7 10 14 3 7 10 14
3 7 8 12 3 7 8 12
4 7 11 12
4 5 9 12 4 5 9 12
3 5 9 10
1/2
Example 5 - F#m7b5 voicings turned intro drop2&4
9 10
5 8 12 14 5 8 12 14
5 7 10 13 5 7 10 13
5 9 11 14
4 7 10 14 4 7 10 14
3 7 9 12
Am7 D7 Gmaj7
11 12
12 10 14
10 10 12
10 10 12
10 9 10
Am7 D7 Gmaj7
13 14
7 5 7
5 5 7
5 4 5
3 3 5
Am7 D7 Gmaj7
15 16
8 8 7
8 7 7
7 8 5
7 6 5
2/2
Easy Autumn Leaves Chord Melody
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 120
Cm7  F7 B  maj7 E  maj7
 
             
1 2 3 4 5
 
      
    
 

od.guit.
 8 8 8 7 7 7
10
7 8  8 7
8 8 10
7 7 5
6 6 8
5
8 6
1. 2.
Aø D7 Gm6 D7 Gm6
 6
 7 8
  9 10 11
  12
                           
       

   
   
 5 5 5 3 3 3  3 5 2 3 3
5 4
5 5
2 4 2 2
10
7 8  5 2 2 5 4 5
5 3 3 3 3
Aø D7 Gm6
 13 14  15
 16
       
             


  
 7 7
5
5
5
4 7 5 7
3 3
2
3
2
3 2 3
5 5
5 3 3
Cm7  F7 B  maj7 E  maj7

 
 17
   18
 19
    20
  
        


 5 8
8
8
7
10 8 7 7
7
7
5
7 6 7
8 8 6
8 6
Aø D7 Gm7 C7 Fm7 B7

     
21 22 23 24
 
           
   
4 4 4 3
 5
5
5
5
5 2 5
4
3
3
3
2
8
6
7
6 5
5 3 8
5 5 3 6
E6 D7 Gm6
 25 26 27
 28
      
  
   
 
 5
5
3 2 3
5
3
2
3
2
6 5
3 3
1/1
Easy Autumn Leaves Chord Melody
Jens Larsen
www.jenslarsen.nl
F7 Gm7 Aø B  maj7 Cm7 Dm7 E  maj7 F7
  
 
  6  8  10   11 13 
                
Cm7 Dm7 E  maj7 F7 Gm7 Aø B  maj7 Cm7
     5
  7
 8
   10
     12 13
  
        
      
Standard tuning
 = 120
Example 1 - Shell Voicings - Root on 6th String
F7 Gm7 Aø B  maj7 Cm7 Dm7 E  maj7 F7

 1
 2
   
     
    
 
od.guit.

 2
1
3
3
5
5
7
7
8
8
10
10
12
12
14
13
1 3 5 6 8 10 11 13
Example 2 - Shell Voicings - Root on 5th String
Cm7 Dm7 E  maj7 F7 Gm7 Aø B  maj7 Cm7

 3
 4    
  
        
 3
1
5
3
7
5
8
7
10
8
12
10
14
12
15
13
3 5 6 8 10 12 13 15
1/1
Endless ways to play
the same II V I voicings
Jens Larsen
Standard tuning
= 120
Example 1
Fm7 B 7alt E maj7
1
E-Gt
8 9 6
8 7 6
8 7 7
6 6 5
Example 2: Vatiation no 1
Fm7 B 7alt E maj7
8 9 6
8 7 6
8 7 7
6 6 5
Fm7 B 7alt E maj7
8 9 6
8 7 6
8 7 7
6 6 5
Fm7 B 7alt E maj7
13
8 9 9 6
8 7 6
8 8 7 7
6 6 5
1/2
Fm7 B 7alt E maj7
17
8 9 6
8 8 8 7 7 6
8 8 7 7
6 6 5
Fm7 B 7alt E maj7
21
8 8 9 9 6 (6)
8 8 8 7 7 6
8 8 7 7 7
6 6 6 6 5
2/2
Essential rhythms for jazz guitar
Jens Larsen
Standard tuning
 = 120
  Example1 - The Rhythm

1      2        
 
 3 3 3 3
E-Gt
8 6 10 6 8 6 10 6
 7
8
7
8
7
8
7
8

 Example 2 - Exercise 1
3    4      
  
3 3 3 3
8 6 8 6 8 6 8 6
 7 7 7 5 7 5

 Example3 - Exercise
5 
2
       6          
 
3 3 3 3
8 6 6 8 6 6 8 6 8 6
 7
8
7
8
7
8
7
8

Gm7 C7 Fmaj7
          

7 8
        9
  
3 3
       
6 5
6 8 6
 7 7
8
5 6 8 5
6 4
6 4 3

Example 5 - Exercise for line no 1
 3
                 

         
10 11

12

3 3 3
3 3
3 1 5 3 6 5 8 6 10 8 11 10
 2
3
3
5
5
7
7
8
9
10
10
12

1/3
Gm7 C7 Fmaj7
  
3 
 13 14
   15
            
3
5 9 8
 7 8 7 5 6
5
8
6
8 7 5 3 4 7

 3        
    
   
16 17 18
    
        
3 3 3 3
3
6 10 10 13 13 15
 7
5
8
7
10
9
12
10
14
12
15
14
5 8 8 12 12 15

Gm7 C7 Fmaj7
 19   20    21       22

            
   
3
3
10 8
10 9 7 8 10 10
 5 10 7 8 10
7 10 8 7 6 5
8 6 7
7 7 9

    
 23 3 24    25
        

   
3
3
3
10 8
8 10 10
 2 5
5
5 7
7 7 9
3 3 5
 3
Example 10 - A line with 8th notes

Gm7 C7 Fmaj7
  

26

27
     28
        
5 9 5 8
 7 5 6
5 8 6
5 8 8 7 5 7
 6
2/3
Example 11 - The Line using the triplet rhythm
Gm7 C7 Fmaj7
  
3 
 29 3 30
    31
             
 3
3
5 9 5 8
 7 5 6
5 8 6
5 8 8 7 5 7
 6
3/3
Find New Jazz Chords with inversions
Jens Larsen
Standard tuning
= 120
Example 1 - Cmaj7(9) voicing, breaking down and ordering the notes
Cmaj7(9)
E-Gt
3 3
4 4 4
2 2 2
3 3 3 5
Example 2 - Inverting the Cmaj7(9)

Cmaj7(9)
3 5 12 13
4 5 7 9
2 9 10 12
3 5 7 14
Example 3 - inverting a D/G (Could be used as an Gmaj7, Em7, Asus4 etc)

D/G
A.H.
2 3 5 7 7
3 7 8 8 10 10
2 7 11 11 12 12
5 7 12 12 16
12 9
Example 4 - Inverting a stack of 4ths (Could be a Gmaj7, Esus4, D6/9 or Cmaj7)
3 5 10 12
2 4 7 9
2 7 9 12
2 5 7 12
1/2
Example 5 - II V I in C with an inversion from example 2
Dm7 G7alt Cmaj7
12
8 11 12
8 7
10 9 10
8 8 7
Example 6 - II V I in G with an inversion from example 3

Am7 D7alt Gmaj7
8 7 8
5 7 11
9 8 12
7 11 12
Example 7 - II V I in C with an inversion from example 4

Dm7 G7alt Cmaj7
5 9 10
7 6 7
10 9 9
8 6 7
2/2
First II V I voicings
Jens Larsen
Standard tuning
= 120
Example 1 - The II V I voicings
Dm7 G7(9) Cmaj7 Dm7(9) G7(13) Cmaj7
1
E-Gt
10 10 8 5 5 5
10 10 9 5 4 4
10 9 9 3 3 5
10 5 3
10 8 3
Example 2 - Technical exercise 1

Dm7 G7 Cmaj7 Cm7 F7 B maj7 B m7 E 7A maj7 A m7 D 7G maj7 F m7 B7 Emaj7
17 17 17 15 15 15 13 13 13 11 11 11 9 9 9
17 16 16 15 14 14 13 12 12 11 10 10 9 8 8
15 15 17 13 13 15 11 11 13 9 9 11 7 7 9
17 15 15 13 13 11 11 9 9 7
15 13 11 9 7
Example 3 - Technical exercise 2

Fm7 B 7 E maj7 E m7 A 7 D maj7 C m7 F 7 Bmaj7 Bm7 E7 Amaj7
10
13 13 11 11 11 9 9 9 7 7 7 5
13 13 12 11 11 10 9 9 8 7 7 6
13 12 12 11 10 10 9 8 8 7 6 6
13 11 9 7
13 11 11 9 9 7 7 5
Example 4 - Voicings for Take The A train

Cmaj7 D7 Dm7 G7(9) Gm7 C7 Fmaj7 D7 Dm7 G7(9)
14
8 12 10 10 10 10 10 12 10 10
9 11 10 10 10 9 9 11 10 10
9 10 10 9 8 8 10 10 10 9
10 10 8 10
8 10 10 8 10 10
1/2
Example 5 - Voicings for Pent Up House
Am7 D7 Gmaj7 Dm7(9) G7(13) Cm7 F7
19
5 5 3 5 5 3 3
5 5 4 5 4 3 2
5 4 4 3 3 1 1
5 5 3
5 3 3 1
2/2
F Jazz Blues Soloing
Jens Larsen
Standard tuning
= 120
Example 1 - F blues
F7 B 7 F7
1
E-Gt
8 8 8 8
8 7 8 8
7 6 7 7
8 8 8
6
B 7 Bdim F7 D7( 13)

5
8 8 8 11
7 7 8 11
6 6 7 10
8
6 7 10
Gm7 C7 F7 C7
9
10 10 8 10
10 9 8 9
8 8 7 8
10 8
8 8
13
17
1/3
F7 B 7
21
5
6 6 9
5 8 7
7 6 8
6 8 5 8
8 6
Bdim D7
25
6 9 7
7 5 7
6 9 7
5 8 5 9
7 5 8
Gm7 C7
29
6
6 8 5 8
7 5
5 8 5 8
5 8 7
6 8
Example 3 - Arpeggios on the Blues progression

F7 B 7 F7 F7
33
5 5 5
6 6 9 6 6
5 8 7 5 8 5 8
7 6 8 7 7
6 8 5 8 6 8 6 8
8 6 8 8
B 7 Bdim F7 D7
37
5
6 9 6 9 6 7
7 7 5 8 5 7
6 8 6 9 7 7
5 8 5 8 6 8 5 9
6 7 8 5 8
Gm7 C7 F7 C7
41
6 5 6
6 8 5 8 6 5 8
7 5 5 8 5
5 8 5 8 7 5 8
5 8 7 6 8 7
6 8 8 8
2/3
Example 4 - Connecting Arpeggios
F7 B 7 F7
45
5 5
6 9 6 6 6
5 8 7 5 8 8 5
7 8 6 7 7
6 8 8 5 6 8 8 6 6
8 8 8 8
B 7 Bdim F7 D7( 13)

49
5
6 9 6 6 6
7 7 5 8 8 5
6 8 9 6 6 7 7
8 8 5 5 8 9 5 5 9
7 8 5 8
Gm7 C7 F7 C7
53
5
6 8 6 6 6
7 7 5 8 8 5
5 8 8 5 5 8 7 5 5 8
7 7 7 7
8 6 8 8 6 8
Example 5 - Target Notes

F7 B 7 F7
57
8 7 8 8
7 6 7 7
B 7 Bdim F7 D7( 13)

61
9 7
7 7 8 5
6 9 7
Gm7 C7 F7 C7
65
6 5 5
8
8 8 7 8
3/3
F Jazz Blues Survival Kit
Jens Larsen
www.jenslarsen.nl
F7 B7 Bdim D7(  13) Gm7 C7
6
             
5 6 9 8 7
      
         
Standard tuning
 = 120
Example 1 - The Chords
F7 B7 F7 F7
   1 2 
 
3
  4
 
     

od.guit.
8 8 8 8
 8
7
7
6
8
7
8
7
8 8 8
6
B7 Bdim F7 D7(  13)


5 6  7
  8  

     
  
8 8 8 11
 7
6
7
6
8
7
11
10
8
6 7 10
Gm7 C7 F7 C7
 9 10  11
  12 

  
  

10 10 8 10
 10
8
9
8
8
7
9
8
10 8
8 8
Example 2 - The Arpeggios

F7 B7 F7 F7

13
     14
      15
   
 16
   

   
        
5 5 5
6 6 9 6 6
 7
5 8
6 8
7
7
5 8
7
5 8
6 8 5 8 6 8 6 8
8 6 8 8
B7 Bdim F7 D7(  13)

    
17
  18
  19
 20
 
         
  
   
      
5
6 9 6 9 6 7
 6 8
7
6 9
7
7
5 8
7 8
7
5 8 5 8 6 8 5 9
6 7 8 5 8
1/2
Gm7 C7 F7 C7
 
21
  
 22
   23
    24
  
  
 
 
  

 
 
 
6 5 6
6 8 5 8 6 5 8
 5 8
7
5 8
5
7
5 8
5 8
5
5 8 7 6 8 7
6 8 8 8
Example 3 - The Scales

F7 B7 F7 F7
 
          
25 26 27 28
               
6 8 9
 5 7 8
5 7 8
8
5 7 8
5 7 8
5 7 8
5 7 8
5 7 8
8 8 8
B7 B7 F7 D7(  13)

29
     30
    
  31
  32
            
 
6 8 9 6 8 9
 8
5 7 8
9
5 7 8
5 7 8
5 7 8
5 7 8
5
8 5 6 9
Gm7 C7 F7 C7
33
   34 35
  36
         
           
 
5 6
 5 7 8
5 7
5 7 8 5 7 8
5 7 8
5 7 8
5 7 8 8 5 7 8
8 8
F7 B7 F7 F7
37
   38
 39
   
40
        P
         
P
6 8 6
 7
5 7 8 7
8 6 8 6 7 7
5 8 8 7 5
8
8 8
B7 Bdim F7 D7(  13)



41
      
42
      
43
       44
       
 7
8 6 6 8 6 9 9 6 6 9 6
5 7 8 7 5
7
5 7 8 5
7
8 8 9
Gm7 C7 P sl. F7 C7 F7
                   
45 46 47 48 49
              
3
P sl.
6 5 6 8 6 4 5
5 6 8 5 6
 5 7 8
5 7 8 7 5 5
8
5
8 5 8 5 7
8 8
2/2
From Scale exercises to Jazz Licks - Practice Music
That You Forgot to Check out
Jens Larsen
Standard tuning
 = 112
Example 1 - Diatonic Triads in C major


1
  
2
       
3
       
    
el.guit.
8
 7 9 7 10 9
7
7 10
9
9
7 10
10
9
7 10 8 7 10 8 10
8 10
H P
4      5
 6
          
 
H P
10 8
 10 7 9
10
10 7
9
8
9 8 9 8 9
11 11 10
Example 2 - C major - Diatonic Triads in 3 1 5 pattern

   
   
7 8 9
                
8
 7 9 7 10 9
7
10 7
9 7
9
10 9
10
7 10 8 10 7 8 10
8 10
Example 3 - II V I with the triad pattern

Dm7 G7 Cmaj7
10
 11
       12 
        
8 9 11 8
 7 10 9
7
10 7
9 8
9
8 10
8 10
Example 4 - C major diatonic triads - G,B string set

       
13 14        15     
  
5 1 6 3 8 5 10 6 12 8 13 10 15 12
 2 4 5 7 9 10 12
Example 5 - II V I with string set triads

Dm7 G7 Cmaj7
         
16    17
   18


13 10 12 8 10 6 11 8 12 9
 10 9 7 8 10 9 (9)
1/2
Example 6 - II V I with string set triads - variation
Dm7 G7 Cmaj7
          
19    20
   21

13 10 12 8 10 6 9 6 11 8 11 12
 10 9 7 6 8
Example 7 - C major in Diatonic triads played in 3rds   

22 23
      24
        
 
7 7 10
8 8 8
 7 7 10 7 10
9
10
9 9
8 8
10
Example 8 - II V I with the triads in 3rds concept

Dm7 G7 Cmaj7
     
25
  26
  
27
      
7 11 10
8 9
 7 10 7
9
7 10
8
9
10
8 8
10
Example 9- C major - Shell Voicings in 3rds

 
28
 29    
        
7 10
8 5 5 8
 10 7
9
7
5 5
8 8
10
Example 10 - Line using the Shell Voicings

Dm7 G7 Cmaj7
      
30
   31
  
32
    
7
8 6 6 9 8
 7
9
7
5 7 6 8
9
8 11 10
2/2
Get more out of the licks you already know
Jens Larsen
Standard tuning
= 120
Example 1
Am7
1
E-Gt
12 10 12
5 8 8 12 10 12 13 8 12 10 13
4 7 5 7 9 9
5 10 10
7
D7 D7 Gmaj7 - Em7 Gmaj7 - Em7

4
5 7 8
5 8 7 7 10 12 10 12
5 9 7 9 7 11 9 11 12 7 11 9 12
7 7 10 9 9
9 10 10
Example 2
Am7
8
10 8 12 10 8 12 10 8 12 10 8 12
8 7 10 8 7 10 8 7 10 8 7 10
7 5 5 5
7 7 9
7
12
12 10 14 7 10 8 12
8 7 12 8 7
7 7
7 7
1/1
Getting started with 5-4 - Blues in F
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Example 1 - Feeling the groove
 1 2 3
    4
    
              


s.guit.
8 8 8 8 8
 8
7
8
7
8
7
8
7
8
7
8 8 8 8 8 8 8 8 8 8 8 X
8
5 6 7 8 9
           

X X X X X X X X X X
Example 2
F7 B7 F7 F7alt
    
10  11    12
     13
     
          
        
8 8 8 8 8 8 8 8 8 9 9 9
 8
7
8
7
8
7
7
6
7
6
7
6
8
7
8
7
8
7
8
7
8
7
8
7
8 X X 8 X 8 X
8 6 6 8 8
B7 Bdim F7  Aø D7
        

14
    
15
    
16
  
      
17
    
        
8 8 8 8 8 8 8 8 8 6
 7
6
7
6
7
6
7
6
7
6
7
6
8
7
8
7
8
7
5
5
5
5
5
4
X X 8 5 X
6 6 7 7 8 5
Gm7 C7 F7 D7 Gm7  C7
18
    19
     20
      21
    
            
     
   
3 3 3 4 4 4 8 8 6 3 3 4
 3
3
3
3
3
3
3
2
3
2
3
2
8
7
8
7
5
4
3
3
3
3
3
2
X 3 X 8 5 3
3 3 3 3
Example 3 - Some useful rhythms

22 23 24   25 26
                                

X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
1/2
27
 28
    
 7
5 8
8
2/2
Guitar Solo With Only Triads - Jazz Blues
Jens Larsen
Standard tuning
 = 132
(  =   )
Example 1 - Triads for F7
F7


     
1
   2
     
3
    
el.guit.
8 10
 7 8 10
7 8 10
7 10 7 10
8
10
8 7 10
8 10 8
Example 2 - Triads for Bb7
B7
    

        
  
4 5 6
   
8 10
8 9 11 9 9 8 11
 8 10
7 8 10
8
7 10 7 10 10
Example 3 - Triads for F7b9
F7  9  13
7
   8
  
9
     
         
7 7 10
 7 8 10
6 8 10
7 10 7 10
8
10
8 8
8 9 8
Example 4 - Triads for Bdim
Bdim 
           
    
10 11 12

   
7 7 10
8 9 12 9 9 9
 9 10
7 8 10
9
7 10 7 10 10
Example 5 - Triads for D7b9
D7  9  13
  
  
13 14 15

              
7 10
 7 8 10
7
7 7 10 7 10
8 8
6 9 10 9 9
10 10
1/3
Example 6 - Triads for Gm7
Gm7
16
   17  18  
    
       
8 10
 7 8 10
7 9 10
8
7
8
7 10 7 10
10 10
Example 7 - Triads for C7alt
C7alt
       
   
 19
      20
    21

9 9 12
9 11 13 9 9 13 11 11
 10 11
8 9 11
11
9 9 11
Example 8 - Blues Solo Transcription
F7  B7 F7 F7(  9)
  
22 23    24     25      
    
8 13 10
10 9 10 10 10 7 10
 10 7 10 8 8
B7 Bdim F7 D7

26     27
    28
   29     
       
8 7 8 8
6 6 9 (6) 9 6 10 7 10 7
 10
Gm7 C7alt F7 D7 Gm7 C7 F7
 30
     31
    
  32        33        34 
          
  
6 10 9 6 9 4
6 6 8 7 5 6 7 8 9 8 (8)
 8
7 5 8
10
10
8
9
8
9
8
8
7
(8)
(7)
Example 9 - F7 scale - Diatonic triads - root position

35
   36
        37        
     
8
8 10 8 11 10
 7 10 8
7
7 10
8
8
7 10
10
8 7 10 8 10
8 10
2/3
Example 10 - F7 scale - Diatonic triads - 1st inversion
 
38
  39  
 
 40      
         
8 10
8 10 11 8 10
 7
7
8
8
7 10
10
8
7
10
8 7 10 8 10
8 10
Example 11 - F7 scale - Diatonic triads - 2nd inversion 

         
41
  

 

 
42
     43
8 10
8 10 8 11 10 11
 8
7
10
8
7
7 10
8
8
10
10 7 8 10
8 10
Example 12 - F major triad in this position  

44
 
   
8
10
 7 10
10
8
8
Example 13 - The triad position in inversions

  
45
  46    
      
8
10 10
 7 7 10 7 10
10
10
10 10
8 8
8
Example 14 - The Diatonic triads in 3 1 5 pattern


          
3
47
       48
     
3 3 3 3
3 3 3
8
8 10 8 11 10
 7 10 8
7
10 7
8 7
8
10 8
10
10 7 8 10
8 10
3/3
Half Diminished Chord - Quartal Arpeggios
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 120
Example 1
Eø A7 Dm6
          
 1
  2
  3
  
od.guit.
8 10 8 10 11 11 13 13 10
 7
7
8
9
10
10
11
12
Example 2
3
      
4
     5
    
       
3 3 3 3
3 3 3
3 5 6 8 10 11 13 15
 2
2
3
3
5
5
7
7
8
9
10
10
12
12
14
14
Example 3
Eø  A7 Dm6
      
6
  7
   8
    
10 8
10 10 11 10 8
 8
9 9 10
11 10 9 8 10 7
    
Example 4
           
9
    10

  
3 3 3 3 3 3
3 3
3 5 6 8 10 12 13 15
3 5 6 8 10 11 13 15
 2 3 5 7 9 10 12 14
Example 5
Eø A7 Dm6
        
11
    12   13

 
10 8 9 8
10 10 11 10 8
 8
7 10 7 9 10
11
9
1/1
Harmonic minor dominant lines
Jens Larsen
Standard tuning
= 120
Example 1 - Gmajor scale in the 10th position

1
E-Gt
10 12 14
10 12 13
9 11 12
9 10 12
9 10 12
8 10 12
Example 2 - G harmonic minor scale in the 10th position

4
10 11 14
10 11 13
8 11 12
8 10 12
9 10 12
8 10 11
Am7 D7 GMaj7
7
11 10
11 13 12
9 11
9 10 9 9 10 12 9 10 12 13
12
Am7 D7 GMaj7
11
8 7 10 7
7 9 8 8
9 7 10 7 8 9
7 10
8
1/2
Am7 D7 GMaj7
15
7 10 6
8 7
9 7
9 6 7 9 10 8
9 6 5
8
Am7 3 D7 GMaj7
19
8 5 7
5 7 4 7 8 7
7 5 5 9 7 10
7 6
Am7 D7 GMaj7
23
12 17 14
10 15 15 16 13
9 12 9 14
10 16
17 13 14
2/2
Harmonized Bass Line on a Blues
Jens Larsen
B7 A  /C A/C  B  /D E7 D7 B7 Dm7 Fm7
6        
   6 7 8 5
   7
     6
                    
F  m7 E7 E  dim Edim E  m7 A 7 G7 D 7 Cm7
7
          
6 4 5 4
        
               
    
E  maj7 F7 A 7 G7 D 7 Cm7 G 7
    
5 7 10 9 9  8

8

        
Standard tuning
 = 120
B  7 A  /C A/C  B  /D E7 D7 E7 B7 B7 Dm7 Fm7 F  m7 Fm7 B7 B7 E7
                 
1 2 3 4
       
                
    
jz.guit.
 7
6
8
6
9
7
10
8
6
5
5
4
6
5
8
7
7
6
5
3
8
6
9
7
8
6
8
7
7
6
7
6
6 5 6 5 8 9 8 7
6 8 9 10 7 6 7 6
E7 D7 E  7 E  dim Edim E  dim Edim B7 B7 Dm7 Fm7 E  m7 Dm7 A 7 G7 D 7

  5 6
 7
   8
              

     
    
     
 
   
 6
5
5
4
6
5
5
4
6
5
5
4
6
5
8
7
7
6
5
3
8
6
6
4
5
3
5
4
4
3
4
3
6 5 6 6 7 6 7 5 8 6 5 4
7 6 4 3
Cm7 Dm7 E  maj7 E7 F7 E7 F7 B7 B7 A 7 G7 D 7 Cm7 G 7 F7 B7

 
 
 9
   10
    11  12
     
   
      
   
     

 3
1
5
3
7
5
7
6
8
7
7
6
8
7
8
7
7
6
11
10
10
9
10
9
8
8
9
8
8
7
8
7
3 5 6 7 8 7 8 11 10 9 8
7 6 9 8 7
Example 2 - Diatonic Shell Voicings - Bass on 6th string

   
 
13 14
    
    
   
 1
1
3
3
5
5
7
6
8
8
10
10
12
12
13
13
1 3 4 6 8 10 11 13
1/2
Example 3 - Diatonic Shell Voicings - Bass on 5th string
    
15
   16
 
         
 3
1
5
3
7
5
8
6
10
8
12
10
13
12
15
13
3 5 6 8 10 11 13 15
Example 4 - Bb Spread Triad inversions
 
17   18
 
  
  

 7
3
10
8
15
12
6 10 13
Example 5 - Bb7 inversions
 
19   20  21  
     
     
   
 
 7
6
10
8
7
6
10
12
7
6
5
3
7
6
10
12
13
12
8 11 5 8 11 13
6 10 6
2/2
Herbie Hancock Voicing As Arpeggio on Guitar
www.jenslarsen.nl
Jens Larsen
Am7(9,11) Cmaj7(9,  11) D7(9,  11)
7
  10
 12
 

          
Standard tuning
 = 120
Example 1 Am7(9,11)

 
 
  
1 2

 
jz.guit.
7 7
8 8
 7
10
7
10
7 7
5
 
 Example 2 - Lower part of the chord
3 4
   
    

5 8
 10
5 9
7
5 9
7
7 7 7
5 5 8
Example 3- Higher part of the chord 

 
5 6
 




7 7 10
8 8 8 12
 7 7
9
7
9
7 12
10
Example 4 - The Arpeggio

  

  7 8
 
  

 
7 7 10
8 8
 7
10 10
7
7 7
5 5
Example 5 - II V I lick with this arpeggio
Am7   D7 Gmaj7
 9   10    11
      
  

7 10 6
8 7 6
 10
7 8 7
8 8 6 7
7 9
5
1/2
Example 6 - Open voiced triads on 3 strings
3 3 3
 12
3
  13  
     
   
   
 
3 3
 10 12 14 16 17 19
7 9 10 12 14 15
5 7 8 10 12 14
Example 7 - Derived Cmaj7#11
Cmaj7(9,  11) 
  
  14
 15
  
  


10 10 10 14
12 12 12
 11
14
11
14 14
11
10 10 10
8 8
Example 8 - Derived D7(#11)
D7(9,  11) 
  


   16 17  
  


12 12 12 16
13 13 13
 13
16
13
16 16
13
12 12 12
10 10
Example 9 - Derived Cmaj7#11 V2 

 18 19
   
 


7 7 12
10 10
 9
12 12
9
10 10
8 8
Example 10 - Derived D7(#11) V2

  

   
20 21

  

8 8 14
12 12
 11
14 14
11
12 12
10 10
2/2
28/10/2018 How To Make Mixolydian Mode Licks - 5 New Useful Ideas - Jens Larsen
How To Make Mixolydian Mode Licks – 5 New Useful Ideas
The dominant chord is a very common chord both in jazz chord progressions and in more modal settings as the Mixolydian
Mode. It is important to have a vocabulary of ideas for improvising over it.
In this lesson I am going to focus on a G7 chord and give you 5 examples of licks over that chord. Each introducing a scale
or arpeggio idea that you can use in your own licks.
The Mixolydian Mode
In most cases that you improvise over a dominant chord it is found in a chord progression and not really in a setting where it
is modal. But outside jazz having static dominant chords is a lot more common. Thinking more about Funk, Rock and
Fusion genres.
#1 Dominant Arpeggio Sequences
The first phrase is starting with a leading note to the 3rd(B) of G7. From there it starts a skipping pattern using the G7
arpeggio ending up on the 9th(A). The second bar is first a scale run with an added chromatic passing note and then finishing
the line with a skip between the 3rd and the 5th.
Using Arpeggio sequences is a great way to come up with new material. The skipping pattern that I am using in this example
you can practice on a G7 like this. Of course you can experiment with this sequence on all your arpeggios.
#2 Dm Pentatonic Scale
Using Pentatonic scales is a very common device in modern jazz and fusion. In this lick I am using the Dm pentatonic scale
over the G7 chord. The scale we use on G7 is G mixolydian or C major:
https://jenslarsen.nl/how-to-make-mixolydian-mode-licks-5-new-useful-ideas/ 1/4
GABCDEF
and Dm pentatonic is a part of that G A B C DE F
Which is Dm pentatonic: D F G A C
The lick is playing descending 4 note melodies first from the E string then B and then G. The final part of the lick is a
chromatic phrase connecting the 3rd and the 5th. The lick ends by skipping up to the root and then down to the b7.
The Dm pentatonic scale position I am using in this example is shown here below.
#3 Em Blues Scale
A closely related option is the Em Blues Scale. The Em pentatonic scale or G major pentatonic scale is of course a good fit
for a G major chord, even though you don’t have the b7 in there.
The Blues scale adds an extra chromatic note as well, namely the A# (or Bb)
The line starts with a chromatic enclosure of the 3rd G. From there the melody is really just simple melodies within the blues
scale. Again using the A# as a chromatic passing note.
You can use this position to practice the Em blues scale which is also the position I used in the lick above.
#4 Quartal Arpeggios
One of my favourite things to use when improvising is the quartal arpeggios. Having a structure that is not based on stacks
of 3rds is a refreshing melodic idea to throw in there.
The beginning of the lick is an Fmaj7 arpeggio. The maj7 arpeggio from the b7 of the chord is another great choice when
improvising. From there the line continues with an Am pentatonic scale run before going into a few quartal arpeggios
The quartal arpeggios I use here are actually coming out of an Em pentatonic scale. If you play a pentatonic scale in
“diatonic chords” then you end up with a lot of quartal arpeggios.
The lick ends with an Em pentatonic melody.
The easiest way to start practicing quartal arpeggios is probably to start playing them on a string set through a scale. It does
pay off to do this for all string sets of course, but below I have written out the C major or G mixolydian scale on the middle
string set which is the most common range for the quartal arpeggios.
#5 Spread Triads – Large Intervals
One of the greatest way to add some large intervals to your playing is to use Spread Triads or Open-voiced triads. These are
becoming more and more common in modern jazz, but you can also hear people like Eric Johnson and Steve Morse use
them in their playing.
In the example below I am combing spread triads with quartal arpeggios and also a normal G major triad.
The first part of the line is using a “mirror” effect on the guitar neck. The beginning is a quartal arpeggio from F and this
arpeggio mirrors into a G major triad (you can see clearly it in the video).
From there the lick continues into a G root position spread triad that takes us from G all the way up to B an octave higher.
This ascending movement is resolved melodically by a descending scale run and the line ends on the 13th of the chord via a
Dm triad.
If you want to practice the Spread Triads then a good place to start is to learn the inversions. I have a few videos on this that
you can check out. A basic version
Check out more on Dom7th Chords
If you want to Check out more options for Dominant Chords and getting some ideas on how this works in the setting of a 12
bar blues then have a look at this WebStore Lesson with some exercises and a solo transcription on an F blues:
Get a free E-book
If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:
Download the PDF
You can also download the PDF of my examples here:
Mixolydian-Mode-Licks-G7 Download
If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or
send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to
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28/10/2018 How to Play Killer Hard Bop like Pat Martino - Jens Larsen
The 3 Pat Martino Licks
This Lesson is exploring three different licks from the recording and talking about how they are typical for hard
bop and also highlights some of Pat Martinos influences like Wes Montgomery.
Melodic Minor and Hard bop
The first example shows how Pat Martino is using Melodic minor, in this case on a Db7(#11). In this example the
maj7(#5) arpeggio is central. He uses this structure through out the song in both fills and the solo. The lick also
contains an AbmMaj7 arpeggio.
The Blues and Arpeggio Patterns
In the 2nd lick Pat Martino is starting with an F blues phrase and then continues into a Aø D7 line. Notic how he
is using a pattern to play a D major triad adding a chromatic enclosure in the last bar.
Chromaticism and Wes Montgomery
The final example is a simple line with a long chromatic passage, which is typical to Pat Martino, and also a
Bbmaj7(9) arpeggio somthing that is found time and time again in Wes Montgomerys playing. Wes was a huge
influence on Pat and that is on this entire album very clear.
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28/10/2018 How to Play Killer Hard Bop like Pat Martino - Jens Larsen
Get a free E-book
This entry was posted in Blog, Lesson and tagged guitar, jazz guitar, jazz guitar lesson, Jens Larsen, pat
martino, pat martino guitar lesson, pat martino just friends, pat martino just friends solo, pat martino just friends
transcription, pat martino lesson, pat martino licks, pat martino solo on June 2, 2018.
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Jazz Guitar Soloing – To Get It Right (And

One Skill You Want To) →
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28/10/2018 How To Solo On bIII Diminished Chords - 3 Jazz Standards & 3 Licks - Jens Larsen
How To Solo On bIII Diminished Chords – 3 Jazz Standards & 3 Licks
In this video I am going to show you 3 examples of how to solo over a bIII diminished chords. I am going to use 3 jazz
standard, explain what scale to use and give you an example of a line. The lesson will talk about not only what to play but
also how to craft a line on diminished chords because you need to know more than just what to play.
The bIII diminsihed chord is often causing panic in jazz solos. I have made some other videos on how to figure out the
scales and arpeggios for this chord, and I thought that maybe it would be useful to just take some real examples from real
songs. A big part of my philosophy is to learn things from songs and this is a great example.
This video will show you 3 songs where you encounter the bIII diminished chord, what scale you need to improvise over it
and an example of a line that works over this song.
Learning Jazz Standards – Learning from real music
A huge part of how I learned to play jazz was by studying songs and really figuring out how to play and understand the
chords. The fact that you really use the things you learn and can take your knowledge and experiences from one song to the
next really helps with building your abilities as an improvisor.
Example 1 – Songs is you
The first example is from the Jerome Kern standard The Song is You.
https://jenslarsen.nl/how-to-solo-on-biii-diminished-chords-3-jazz-standards-3-licks/ 1/4
Song is you is in the key of C major. The bIII dim chord is Eb dim, and the scale I am using to improvise over it is the
harmonic minor scale from the 3rd of the key: E harmonic minor.
Key: C major
bIII dim: Ebdim
Scale: E harmonic minor
In this case the melody is really just using the dim arpeggio, and the construction of the line is a motif that develops over the
Cmaj7, Ebdim and Dm7 chord.
The lick is using a Cdim triad and using the Eb to target the 9th(E) of Dm7. Targeting the extensions on the Dm7 is really
useful because we can pretend to resolve the Ebdim licks as if they are a B7(b9) resolving to Em.
EXAMPLE 2 – Someday my Prince will come

A very common (and great song) is Someday my Prince Will come. Here the bIII dim chord comes along twice in the
second 8 bars.
The song is in Bb major, so the bIII dim is Dbdim and the scale is D harmonic minor.
Key: Bb major
bIII dim: Dbdim
Scale: D harmonic minor
Again the idea for making the melody on the dim chord is to use the line on the Bb major as a motif and develop that to fit
on the dim chord.
A great Diminished chord melodic trick
One way that works really well to create melodies when moving from a tonic chord like a I or a III chord to a a bIII dim
chord is to use voice-leading. This is how I am developing a motief in the above example. The tonic line is a Bb6 arpeggio
and then I can voice-lead that to a Db dim by changing the D and the F to Db and E:
Bb6: Bb D F G
Db dim: Bb Db E G
notice that I am using the inversion to make the voice-leading clear.
EXAMPLE 3 – It Could Happen to You
One of my favorite songs! Technically you could argue that this is a #II (or secondary dominant) diminished, but the scale
choice is the same and it is nice to have a bit of variation in the examples.
28/10/2018 How To Use The Augmented Triad In A Jazz Blues Solo - Jens Larsen
How To Use The Augmented Triad In A Jazz Blues Solo
The augmented triad is a great and very distinct sound to add to your playing. In this video I am going show you a solo on a
12 bar blues where I am using this triad on most of the chords. I am going to analyze it and talk about where I am using it
and what kind of sound the augmented triad adds to the chords.
Having many sounds and ideas is really important to create solos that don’t always sound the same and using the augmented
triad is a great way to do that. You will find that a lot of players like Kurt Rosenwinkel and Sonny Rollins often use this triad
in their playing.
The Augmented Triad
The augmented triad is a major triad with a raised 5th, so if you look at a Bb augemented triad:
Bb major: Bb D F,
Bb augmented: Bb D F#
Augmented triad symmetry
The triad is a stack of major thirds: Bb-D and D-F#. F#-Bb would be another major third. This is really useful because
symmetrical arpeggios can easily be transposed and will be have the same fingering along the neck.
If you want to practice the Bb augmented triads then these two positions will already get you pretty far.
Augmented Triads in the Diatonic Triads
Since the main example in this lesson is a blues chorus in the key of Bb, then it probably makes the most sense to use Bb
lydian b7 or F melodic minor as an example of a scale that contains an augmented triad.
https://jenslarsen.nl/how-to-use-the-augmented-triad-in-a-jazz-blues-solo/ 1/3
Here is an overview of the diatonic triads in F melodic minor:
Fm,Gm,Abaug,Bb,C,Ddim,Edim
7 ways to use an Augmented Triad – The Bb Blues Example
The example below is a one chorus blues solo where I use the augmented triad in different ways through out the chorus.
The first two bars are just there to state the changes and the blues. playing clear lines.
The line in bars 3-4 starts with a triad pair with an augmented triad. The sound is a Bb7(#11) or Bb lydian b7. The triad pair
I am using is Abaug and Bb triads. The triad pairs with the augmented triads are really colorful and a great sound on a
dom7th chord.
In bar 4 I am changing the chord to an altered dominant. This means using B melodic minor, which contains the D
augmented triad. Here it is used in the 1st inversion.
The next example of an augmented triad is in bar 6 on the Ab7 chord. Here the scale sound is Eb minor melodic and the triad
used is a Gb augmented triad.
The G7alt pointing towards the Cm7 in bar 9 also makes use of an augmented triad. Here it is a B augmented triad out of the
G altered or Ab melodic minor.
A little Dorian Hack
Even though the Cm7 in the II V I in Bb does not really have a scale with an augmented triad you can still use one in the
way that I am doing here. The idea is to use the G augmented triad as a sort of leading note structure, almost like a G7.
The F7alt has an A augmented triad, diatonic to F altered or Gb melodic minor. Here I am playing it from the F.
Whole-tone scale
The final turnaround is here a bar of Bb7 followed by a bar of F7. The F7 is in this case an F7 from the whole tone scale.
The entire lick in bar 12 is based on moving triads up in whole steps. The triads are displaced a bit to make them sound a
little more interesting.
If you want more ideas for soloing on a Bb jazz blues then check out this lesson:
Get a free E-book
Get the PDF!
How to Use augmented triads in a jazz blues solo
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How Can That Be An Altered Dominant
Jens Larsen
Dm7 G7alt C6 /9 Dm7 G7alt Cmaj7 Dm7 Cmaj7
      10
 8

 
 
 
     



   

Dm7 G7alt C6 / Dm7 Cmaj7 Dm7 G7alt Cmaj7
5
  4
     3
9
    5
  6 6 7
                               
Dm7 G7alt Dm7 G7alt Cmaj7 Dm7 G7alt
5
             
4 8 9
                           
Standard tuning
 = 120
Example 1
Dm7 G7alt C6 /9
 1     2 
  
  

jz.guit.
5 4 3
5 4 3
 5
3
4
3
2
2
5 3
3
Example 2
Dm7 G7alt Cmaj7
3
   4 

  

5 4 3
3 4 3
 5
3
4
3
4
2
Example 3
Dm7 G7alt Cmaj7


 5    6


  
10 11 10
10 9 8
 10
10
10
9
9
9
1/2
Example 4
Dm7 G7alt C6 /9

7
 
8

  
5 4 3
 5
5
4
6
5
7
8 8 7
Example 5
Dm7 G7alt Cmaj7
  
9
  10

   
3 6 7
5 4 5
 5
3
4
3
7
5
Example 6
Dm7 G7alt Cmaj7


 



11 12

8 6 7
6 6 8
 9
7
8
9
7
10
Example 7
Dm7 G7alt Cmaj7


13
  
14

 
5 4 5
 5
7
4
8
5
9
8 8 10
Example 8
Dm7 G7alt Cmaj7


15
   16 

  
3 4 3
1 2 1
 2
3
4
3
4
2
Example 9
Dm7 G7alt Cmaj7

    

17 18

 
12 9 10
8 11 8
 10
10
10
9
9
9
2/2
How to Improve your Jazz Guitar Soloing - One Skill
Jens Larsen
www.jenslarsen.nl
 = 114
Example 1 - Basic 3rd and 7th voicings
B7 E7 B7 B7
      1 2
 3 4
                   

E-Gt
6 6
 8 7
8
6
8
5
8 5 6 6 8 6 8 6 6 9
8 8

E7 Edim B7 G7
      
5 6
       7        8
         
     
8 5 6 7 8 9 6
 6
8
6 8 6 6
8
6 9 7 6 7 8 9 10 7
9 6

Cm7 F7 B7 G7 Cm7 F7
  9 10
     11    12
            
            
7 6
 5 6 7 8 5 7
6 8 8 7
8 6 8 6 5
6 5 6 9 6 5 6 9 8
 8 8
1/1
How to improvise over a minor II V I with arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - Minor II V I chord progession
Dm7 5 G7alt Cm7
E-Gt
6 4 3
5 4 3
6 3 1
5 3
3
Example 2 - Scales for the chords

Dm7 5 G7alt Cm7
8 10 8
8 9 11 8 8 10 11
7 8 10 8 10 7 8 10
8 9 11 10
10 11
Example 3 - Arpeggios for the progression

Dm7 5 G7alt (Fm7b5) Cm7
8 10 7 11 8 11
9 9 8 11
7 10 8 10 8
6 10 9 8 10
8 8 11 10
Example 4 - Basic arpeggio exercise on the progression

Dm7 5 G7alt Cm7
8 8 7 11 7 11
9 9 9 9 8 11 8 11 8 11 8 11
7 10 7 10 10 10 8 8 8 8
10 10 10 10
1/2
Example 5 - Connecting the arpeggios
Dm7 5 G7alt Cm7
8 10 11 7 8 11 8
9 9 8 11 11 8
7 10 10 8 8 8
6 10 9 8 10 10
8 11 8 10
11 8 11
Dm7 5 G7alt Cm7
7 11 7 8 11 8
9 9 8 11
8 10 10 8 8
6 6 10 10 8 8 10
8 8 10 10
10 8 10 11 8 11
Dm7 5 G7alt Cm7
8 10 8 11 7
9 9 9 8 (8)
10 7 10 10 8 8
9 8 10 10
11 8 10
Dm7 5 G7alt Cm7
10 8 (8) 8
6 10 10 6 10 9 9 9 10 10 8
8 8 11 11 10 (10)
Dm7 5 G7alt Cm7
9 9 8 (8) 11 8 (8)
10 7 10 7 8 10 10 8
10 6 9 (9) 9 10
11
2/2
How to improvise with an arpeggio
Jens Larsen
Standard tuning
= 120
Example 1 - C major / G mixolydian
G7
1
E-Gt
3
3 5 6 3 6
2 4 5 4
5 5
Example 2 - Some ways to play a G7 Arpeggio

3
3 6 6 3 3 6 6 3
4 4 4 4
5 5 5 5
3 6 3 6 3 3 3 6 6 3 3
4 4 4 4 4 4 4
5 5 5 5
Example 3 - Ideas for starting on the other notes

11
3 6 3 3 6 6 3 6
4 4 4 4
5 5 5
Example 4 - Adding scale notes between arpeggios

15
3 6 3 6 3 5 6
2 4 4 5 4
5 5 5
1/2
Example 5 - Rhythm and melody ideas just with G7
18
3 3 6 6 6 3 3 6 3
4 4 4 4 4 4 4 4
5 5 5 5
Example 6 - Ideas with an added 13(E) to the arpeggio

22
3 3 5 6 6 5 3 3 3 5 6 3 5 6 3
4 4 4 4
5 5 5
Example 7 - G7 Ideas in one octave

26
3 3 3 6 3 6 5 3 3 3
4 5 4 2 4 4 4 4 (4) 5 4 2
5 5 5
2/2
How to make 10 II V I licks with a Gm7 arpeggio
Jens Larsen
Standard tuning
= 120
The arpeggio
1
E-Gt
10 13
8 11
7 10
8
8 10
10
Example 1
Gm7 C7 Fmaj7
3
10 9 8
8 8 11 8 11 10
7 10 10 7 8 9
8
10
Example 2
Gm7 C7 Fmaj7
7
9
7 10 7 8 9 9
8 8 10 7 8 10 11 11 10
10
Example 3
Gm7 C7 Fmaj7
11
11 8
10 7 7 10 11 8
8 10 11 8 8 11 10
9 11
Example 4
Gm7 C7 Fmaj7
15
11 10 9 11 8
9 13
7 10 7 9
8 7 8 10 11
10
Example 5
Gm7 C7 Fmaj7
19
10 8
10 7 10 9
8 8 10 11 8
10 11 7
9 11 8
1/2
Example 6
Gm7 C7 Fmaj7
23
7 10 9 7 9 11 8
7 8 10 8 11 8 11 10
9 10 9
Example 7
Gm7 C7 Fmaj7
27
8 10 12 8
8 10 11 10 8
10 7 7 10 9
8 7
10
Example 8
Gm7 C7 Fmaj7
31
9 8
10
10 7 9
8 8 8 10 11
10 8 6 7 10
10
Example 9
Gm7 C7 Fmaj7
35
8 9 11 8
9 11 9
7 10 9 7 8 11
7 8 10
10
Example 10
Gm7 C7 Fmaj7
39
10
11 8 11 8
10 7 9
8 11 8 11 8
9 7
9 8
2/2
How to make lines on a III bIIIdim II V progression
Jens Larsen
Standard tuning
= 120
Example 1 - The Progression
Cm7 Bdim B m7 E 7alt A maj7
1
E-Gt
8 8 6 7 4
8 7 6 6 5
8 6 6 5 5
6
8 7 6 4
Example 2 - Scales
Cm7 Bdim B m7 E 7alt
6
8 10 6 9 6 8 5 7
8 10 11 6 8 10 6 8 10 6 7 9
8 9 11 7 8 10 6 8 9 5 7 9
10
8 8 8 8 6 6 5 8 7 8 7 7
8 10 10 8 7 10 10 7 6 8 8 6 6 9 8 (8)
10 10 9 9 8 8 7
15
11 13 11 12 9 9 11 9 10
12 12 10 10 10 9 8
10 13 13 12 9 12 9 8 11 11 11 9
10 7 9 6
1/2
20
10 15 13 9 7
8 8 9 12 15 12 13 9 10 8 11
8 8 10 8 10 10 8 9
10 11 8 9
11 8 9 10
2/2
How to practice your scales and why – String sets
Jens Larsen
Standard tuning
= 120
Example 1 - Line with postiion shift and in position
Dm7 G7alt Cmaj7
1 2 3
E-Gt
1 3 5 6 4 8 5
2 4 5 6 4
3 5 7 8 6
Dm7 G7alt Cmaj7

4 5 6
3
3 5 6 4 5
5 2 4 5 2 6 3 4
3 5 6
Example 2 - C major scale on B string

7 8
1 3 5 6 8 10 12 13 15 17 18 20 22
Example 3 - Groups of six notes middle string set
3 3
3
9 10
3 3
3 3 3
3 3 3 3
3 3 3 3
2 4 5 4 5 7 5 7 9 7 9 10 9 10 12 10 12 14 12 14 16 14 16 17
2 3 5 3 5 7 5 7 9 7 9 10 9 10 12 10 12 14 12 14 15 14 15 17
1/2
Example 4 - C major in Diatonic triads
3 3
11 12
3 3
3 3
3 3
1 3 5 6 8 10 12 13
2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15
Example 5 - C major diatonic arps 1-1-2

13 14
1 5 3 6 5 8 6 10 8 12 10 13 12 15 13 17
2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15

15 16
2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15
2 5 3 7 5 8 7 10 8 12 10 14 12 15 14 17

17 18
3 5 7 8 10 12 13 15
1 5 3 6 5 8 6 10 8 12 10 13 12 15 13 17
2 4 5 7 9 10 12 14
2/2
How to practice your scales and why
Jens Larsen
Standard tuning
= 120
1 2 3
E-Gt
8 10 12
8 10 12
7 9 10
7 9 10
7 8 10
7 8 10
Example 2 - C major in Diatonic 3rds

4 5 6 7
8 10 8 10
8 10 8 12 10 12
7 9 7 10 9 10
7 9 7 10 9 10
7 8 7 10 8 10
8 10
Example 3 - C major in Diatonic 3rds (descending 3rd)

8 9 10 11
8 10 10 8
8 10 12 8 10 12
7 9 10 7 9 10
7 9 10 7 9 10
7 8 10 7 8 10
8 10
Example 4 - C major in Diatonic 3rds (mixed direction)

12 13 14 15
8 10 10 8
8 10 8 12 10 12
7 9 10 7 9 10
7 9 10 7 9 10
7 8 7 10 8 10
8 10
Example 5 - C major in Diatonic Triads

16 17 18 19 20
8 10 8 12
8 10 8 12 10 8 12 10
7 9 7 10 9 7 10 9 10
7 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
1/2
Example 6 - C major in Diatonic Triads in a 3 1 5 Pattern
21 22 23 24 25
8 10 8 12
8 10 8 12 10 12 8 10
7 9 7 10 9 10 7 9 10
7 9 7 10 9 10 7 9 10
7 10 8 10 7 8 10
8 10
Example 7 - C major in Diatonic Triads in a 3 5 1 Pattern

26 27 28 29 30
8 10 8 12
8 10 8 12 10 12 8 10
7 9 7 10 9 10 7 9 10
7 9 7 10 9 10 7 9 10
7 10 8 10 7 8 10
8 10
Example 8 - C major in Diatonic 7th chords

31 32 33 34 35 36
8 7 10 8 12
8 10 8 12 10 8 10
7 9 7 10 9 7 10 9 7 10 9 10
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
Example 9 - Diatonic 7th chords in 1 5 3 7 pattern

37 38 39 40 41 42
8 7 10 8 12
8 10 8 12 10 8 10
7 9 7 10 9 10 7 9 7 10 9 10
9 7 10 9 10 7 9 7 10 9 10
10 7 8 7 10 8 10
8 10
2/2
How to start soloing over a II V I with arpeggios
Jens Larsen
Standard tuning
= 120
Example 1 - Chords of a II V I in C major
Dm7 G7 Cmaj7
1
E-Gt
10 10 8
10 10 9
10 9 9
10
10 8
Example 2 - C major scale in th 8th position

5
7 8
8 10
7 9 10
7 9 10
7 8 10
8 10
Example 3 - Arpeggios for the II V I

Dm7 G7 Cmaj7 Cmaj7
6
8 7 7 7
10 8 8 8
7 10 7 10 9 9
7 10 9 9 10 9 10
8 8 10 7 10 7 10
10 10 8 8
Example 4 - Target notes for the lines

Dm7 G7 Cmaj7
10
10 9
9
1/2
Dm7 G7 Cmaj7
14
8
7 7 10 7
7 10 10 7 9 9 10 9
8 8 10 8 7 10
10
Example 6 - Line No 2
Dm7 G7 Cmaj7
18
8
10 8
10 7 10 10 7 7 10 10 7 9
10 9 9 10 9
10 10
Dm7 G7 Cmaj7
22
10 8 7
10 10 8 8
10 7 10 7 10
7 9 10 9
10 8 7
10
2/2
How to use triads in solos
Jens Larsen
Standard tuning
= 120
Example 1: Diatonic triads in F major
1
E-Gt
6 8 6 10
6 8 6 10 8 6 10 8
5 7 5 9 7 5 9 7 9
5 7 5 8 7 5 8 7 8
7 57 7 5 8 7 8
58 6 8
Example 2: Diatonic 1st inversion triads in F major

7
6 8 10
6 8 10 6 8 6 10
5 7 9 5 7 5 9 7 9
5 7 8 5 7 5 8 7 8
8 5 7 5 8 7 8
5 8 6 8
Example 3: Diatonic 2nd inversion triads in F major

12
6 8 6 10
6 8 6 10 8 10 6
5 7 5 9 7 9 5 7 9
5 7 5 8 7 8 5 7 8
5 8 7 8 5 7 8
5 6 8
Example 4: II V I no 1
Gm7 C7 Fmaj7
17
6 9 8
6 7 9 5 6
7 7 5 6 8 6 5 5 7 5 (5)
5 8 7 7 7
5
1/2
Gm7 C7 Fmaj7
21
6 10 6 9 5 9 6 5 8 (8)
8 6 5 7 6
7 8 6 9 5
5 8 7
Gm7 C7 Fmaj7
25
5 10 8 5 6
6 7 6
7 8 6 5 7 7 9
8 5 8 6 5 5 7
9 7 7
2/2
III VI II V I with Triads
Jens Larsen
Standard tuning
= 120
Example 1 - Upper structure triads for each of the chords
Cmaj7 Dm7 G7 A7( 9)
E-Gt
5 8 12 1 6 10 3 6 12 2 8 11
4 9 12 2 5 10 4 7 10 3 6 12
5 9 14 3 7 10 3 9 12 5 8 11
Example 2 - Connecting the different triads of a Dm7
1 3 5 6 8 10 12 13
2 2 2 5 5 10 10 14
3 3 3 7 7 10 10 15
Example 3 - Connecting the triads over A7
2 3 5 6 8 10 11 14
3 3 6 6 6 12 12 15
5 5 5 5 8 11 11 17
Em7 A7 9 Dm7 G7alt C6
3 5 2 2 1 3 5 3 6 5 (5)
4 4 3 3 2 2 2 4 7 5 (5)
5 5 5 5 3 3 3 3 9 7 (7)
1/2
Em7 A7 9 Dm7 G7 Cmaj7
12 10 8 5 6 6 8 6 3 5 0 (0)
12 7 7 6 6 5 5 5 4 4 0 (0)
12 9 9 5 5 7 7 7 3 3 2 (2)
Em7 A7 9 Dm7 G7alt Cmaj7
8 10 8 8 11 10 8 9 11 8 (8)
7 7 7 9 12 10 10 10 10 9 (9)
9 9 9 11 11 10 10 9 9 9 (9)
2/2
Improvising in 3/4
Jens Larsen
Standard tuning
= 120
Example 1 - Chords for the beginning of "Someday my prince will come"
B maj7 D7( 9) E maj7 G7( 9) Cm7 G7( 9) Cm7 F7
1
E-Gt
6 4 3 4 3 4 3 3
7 5 3 4 3 4 3 2
7 4 5 3 1 3 1 1
5 6 3 3
6 3 3 1
Example 2 - Rhythms to take through the changes

9
6 6 6 6 6 6 6 6 6 6 6 6 6
B maj7 D7( 9) E maj7 G7( 9)
14
6 8
5 7 7 8 7
7 8 7 5 8 5 9
5 8 5 9 6
6
Cm7 G7( 9) Cm7 F7

18
6 8 6
5 7 5 5 8
5 8 5 9 5 8 7
6 6 8
8 8
1/2
Example 4 - First Rhythm - Only Arpeggio notes
B maj7 D7( 9) E maj7 G7( 9)
22
6 7 6 8
7 7 7 5 7 7
8 7 8 5 8 9
Cm7 G7( 9) Cm7 F7

26
6 8 5
8 6 8 6
8 5 7 8 8 5
8 5 9
Example 5 - 2nd Rhythm - More free note choice

B maj7 D7( 9) E maj7 G7( 9)
30
6 5
6 6 7 8 6 9 8 6
7 7 8 7
8 9
Cm7 G7( 9) Cm7 F7

34
6 5
6 8 7 6
8 8 7 7 8 8
5 8 5 9
2/2
Improvising on Maj7#5
Jens Larsen
Standard tuning
= 120
Example 1 - Progression with a Maj7#5 chord
Cm7 F7alt B maj7(#5) B maj7
1
E-Gt
6 9 7 6
8 8 7 7
8 7 7 7
8
8 6 6
Example 2 - G melodic minor or Bb lydian #5

5
5 6
5 7 8
5 7
5 7 8
5 7 9
6 8
Example 3 - G melodic minor / Bb lydian #5

7
7 10 8 7 6
7 6 5 6 6 8 7 7 9
5 8 5 6 7 7 6 7 8
6 9
Example 4 - Triad Pairs

11
8 12 10
10 9 7 10 8 10 13
10 8 7 10 11 10 8 7
8 10 8 11
6 10 9
1/2
Example 5 - Augmented Scale
Cm7 F7alt B maj(#5) B maj7
15
11 10 13
12 11 11 14
12 10 10 10 11 11 11 11 14
13 13 12 10 11 13 12
13 12
2/2
It Could Happen To You
Jens Larsen
Standard tuning
= 120
E Maj7 Gm7( 5) C7( 9) Fm7 Am7( 5) D7( 9)
1
E-Gt
3 5
1 2 1 2 3 4 (4) 3 4
3 3 3 5 5
5 3 2 6 4
5
E Maj7 A Maj7 G7 C7
5
6 6 6 4 3 (3) 3 3
3 4 4 6 4 4 5 9
3 5 4 4 6 9
5 3 3 3 8 8
Fm7 D 7 E Maj7 Dm7( 5) G7

9
3
8 8 8 9 8 6 4
8 8 10 8 10 7 5 5 4
6 6 9 8 6 3
Cm7 F7 Fm7 B 7
13
3 4 4 4 6 3 4 6
3 5 5 5 4
1 6 6 6
6 5
1/2
E Maj7 Gm7( 5) C7( 9) Fm7 Am7( 5) D7( 9)
17
3 5
1 2 1 2 3 4 3 4
3 3 5 5 5
5 2 6 4
5
E Maj7 A Maj7 G7 C7
21
6 6 6 4 3 (3) 3 3 3
3 4 4 6 4 4 4 5 9
3 5 4 4 4 6 9
5 3 3 3 3 8 8
Fm7 D 7 E Maj7 Gm7( 5) C7

25
8 8 8 9 8 11 (11)
8 8 10 8 10 7 7 10 8 10 9
6 6 9 8 8 8
Fm7 B 7 E 6 C7alt Fm7 B 7

29
8 9 6 8 4 4 4 3
8 5 5 7 5 3 5 4
6 8 5 2 6 6
2/2
#IVdim suspension of the I chord
Jens Larsen
Standard tuning
= 120
Example 1 - The sound of #IVdim in a major key
Fmaj7 Bdim7 Fmaj7
1
E-Gt
1 3 1
2 1 2
2 3 2
2
1 1
Example 2 - The Cadence with the Suspension

Gm7 C7alt Bdim/F Fmaj7
4
10 9 9 10
10 9 9 9
8 8 9 10
10 8 8
8
Gm7 C7alt Bdim Fmaj7
8
8 6 7 10 12 7
9 9 8 9 10
7 5 6 9 8 6 9 10
7 4 5 7 8 8
12
10 7 6 7 9 7 5
8 8 7 10 8 6 8 8 6 9 6 9
7 7 9 8
10 9
1/2
16
9 11 12 10
11 11 10 8 9 12 8 9
10 10 7 8 8 9 10
10 10 11 12 9 10
2/2
IV minor chords
Jens Larsen
Standard tuning
= 120
Example 1 - Cliche IV IVm progression
C F Fm C
1
E-Gt
1 1 1 1
0 2 1 0
2 3 3 2
Example 2 - List of Subdominant minor chords

Dm7 5 Fm6 Fm7 FmMaj7 A Maj7(b5) A Maj7 A Maj#75
6 8 8 8 3 4 5
5 7 8 9 5 5 5
6 6 6 6 5 5 5
5 8 8 8
4 4 4
B 7( 5) B 7 D Maj7(b5) D Maj7
5 6 8 9
7 7 10 10
6 6 10 10
6 6 9 9
1/3
Example 3 - Progression no 1
Dm7 5 G7 Cmaj7
11
6 4 5
5 4 4
6 3 5
5 3
3
Dm7 5 G7 Cmaj7
15
8 6 4
5 8 7 5 4 4
5 6 5 6 6 5 3 2
A Maj7 G7 Cmaj7
19
3
4 4 5
5 4 4
5 3 5
3
4 3
A Maj7 G7 CMaj7
23
3
4 4 3 6 5
5 5 4 4
6 5 6 3 5 6 6
27
2/3
Dm7 D Maj7 Cmaj7
29
6 6 5
5 5 4
7 6 5
5 4 3
Dm7 3 D Maj7 Cmaj7

33
9 13 11 9 13 8
9 7 10
7 10 10 7 8 10 11
7 8
Fmaj7 B 7 Cmaj7
37
10 8 8
9 7 9
10 6 9
8
6 8
Fmaj7 B 7 Cmaj7
41
5 8 5
8 6 5 6 8 6 5
5 5 7
7 6 6
8
3/3
Jazz Blues Chord Solo
Jens Larsen
Standard tuning
= 120
Example 1 - Blues in F chord solo
F7 B 7 F7 F7alt
1
E-Gt
10 8 8 6 10 9 8 13 9 9 8
6 8 10 8 8 6 8 9 6 6 8 9 8 10 9 9 8 7 9 6
8 8 8 8 8 7 7 7 7 7 8 9 8 12 8 8 9 8 8 7
7 7 10 7 7 6 6 6 6 6 7 6 7 13 7 7 8 7 7 6
B 7 Bdim F7 Am7( 5) D7alt
(8) 6 7 (7) 6 6 5
(6) 6 9 8 6 6 (6) 6 9 8 6 1 3 4 8 3 4 6 6 4 6 3
(7) 7 7 7 7 7 (7) 7 7 7 7 2 2 5 8 5 5 5 5 5 5 3
(6) 6 6 6 6 6 (6) 6 6 6 6 1 1 7 7 5 5 5 4 4 4 3
Gm7 C7 F7 D7( 9) Gm7 C7
(5) 11 9 8 (8) 10 8 5 6 5 3
(3) 3 5 6 10 9 9 9 9 11 8 (8) 8 7 4 3 3 3 6 5 9
(3) 3 5 7 10 9 9 9 9 8 (8) 8 8 5 3 3 3 4 9
(3) 3 5 8 8 8 8 8 8 7 (7) 7 7 4 3 3 3 8 8
Example 2 - Harmonizing Bb major with an F7 chord

13
8 10 11 13
1 3 4 6 8 10 11 8 8 10 10
2 2 5 8 8 8 8 8 8 12 12
1 1 7 7 7 10 10 7 7 10 13
1/2
Example 3 - Harmonizing Eb major with a Bb7 chord
16
6 8 10 11 13
1 3 4 6 8 9 8 8 8 9 13
1 5 5 7 7 7 7 7 7 10 13
0 6 6 6 6 6 6 6 6 10 12
Example 4 - F major harmonized with Gm7

19
3 5 6 8 10 12 13
1 3 5 6 3 3 6 6 10 11 11
3 3 3 7 3 3 7 7 10 10 12
3 3 3 8 3 3 5 5 8 10 12
Example 5 - C altered scale harmonized with C7alt

22
8 9 11 12 14
1 2 4 5 7 9 11 9 9 9 11 11
3 3 3 6 9 9 9 9 9 9 13 13
2 2 2 8 8 8 8 8 8 8 11 14
2/2
Spicing up a jazz blues comp
Standard tuning
= 120
Example 1 - Basic Bb jazz blues
B 7 E 7 B 7
1
E-Gt
8 6 8 8
7 6 7 7
6 5 6 6
6
6 6 6
E 7 Edim B 7 Dm7 5 G7alt

5
6 8 8 9 11
6 6 7 10 10
5 8 6 10 9
6 7 8
6 10
Cm7 F7alt B 7 G7alt Cm7 F7alt
8 9 8 11 8 9
8 8 7 10 8 8
8 7 6 9 8 7
8 10 8
8 6 8
13
17
1/3
Example 2 - Variations of the chords
B 7 E 7
21
6 8 6 8 9
6 8 9 6 6 6 8 6 6 6
7 7 7 7 7 6 6 6 6 6
6 6 6 6 6 5 5 5 5 5
Edim Dm7 5
25
5 6 8 9 8
8 5 5 5 8 6 8 9 11 9
6 6 6 6 9 5 5 10 10 10
8 5 5 5 8 6 6 10 10 10
7
G7alt Cm7
29
9 11 8 10
8 9 11 9 9 6 8 11 8 8
10 10 10 10 10 8 8 8 8 8
9 9 9 9 9 8 8 8 8 8
F7alt
33
7 9
6 7 9 7 7
8 8 8 8 8
7 7 7 7 7
37
38
2/3
Example 3 - A half-note melody on the blues
B 7 E 7 B 7
39
6 8
6 9 6 6 9 8 6 9
7 7 6 6 7 7 7 7
6 6 5 5 6 6 6 6
E 7 Edim B 7 Dm7 5 G7alt

43
8 6 9 6 8 6
6 6 8 5 6 6 9 11
6 6 9 6 7 7 10 10
5 5 8 5 6 6 10 9
Cm7 F7alt B 7 G7( 9) Cm7 F7alt

47
10 9 6 9 10 9
8 8 9 9 8 11 8 9
8 8 8 8 7 10 8 8
8 8 7 7 6 9 8 7
3/3
Jazz Blues Soloing
Jens Larsen
Standard tuning
= 120
Example 1 - Bb blues
B 7 E 7 B 7
1
E-Gt
8 6 8 8
7 6 7 7
6 5 6 6
6
6 6 6
E 7 Edim B 7 G7
5
6 8 8 11
6 6 7 10
5 8 6 9
6 7 8
6
Cm7 F7 B 7 F7
9
8 8 8 8
8 8 7 8
8 7 6 7
8 8
8 6
13
17
1/3
B 7 E 7
21
6 10 6 9
6 9 8
7 6 8
6 8 5 8
8 6
Edim G7
25
6 9 7
5 8 6 8
6 7
5 8 5 9
7 5 8
Cm7 F7
29
6 8 5 8
8 6
5 8 5 8
5 8 7
6 8

B 7 E 7 B 7 B 7
33
6 10 6 9 6 10 6 10
6 9 8 6 9 6 9
7 6 8 7 7
6 8 5 8 6 8 6 8
8 6 8 8
E 7 Edim B 7 G7
37
6 9 6 9 6 10 7
8 5 8 6 9 6 8
6 8 6 7 7
5 8 5 8 6 8 5 9
6 7 8 5 8
Cm7 F7 B 7 F7
41
6 8 5 8 5 6 10 5 8 5
8 6 6 9 6
5 8 5 8 7 5 8
5 8 7 6 8 7
6 8 8 8
2/3
B 7 E 7 B 7 B 7
45
6 10 9 6 6 10 6
6 9 8 6 9 9 6
7 8 6 7 7
6 8 8 5 6 8 8 6 6
8 6 8 8
E 7 Edim B 7 G7
49
6 9 6 6 10 6
8 8 5 6 9 9 6
6 8 6 6 7 7
8 8 5 5 8 9 5 5 9
7 8 5 8
Cm7 F7 B 7 F7
53
6 8 X 6 10 6
8 8 6 9 9 6
5 8 8 5 5 8 7 5 5 8
7 7 7 7
8 6 8 8 6 8
Example 5 - Target notes for making lines

B 7 E 7 B 7
57
7 6 7 7
6 5 6 6
E 7 Edim B 7 G7
61
5
6 6 7 10
5 5 6 9
Cm7 F7alt B 7 F7alt

65
8 8 7 8
8 7 6 7
3/3
Jazz Blues - The Forgotten Triad Chords
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 120
F7
 1
   2
  3 4
     
od.guit.

8 8 1 1
 8
7
8
7
2
1
2
1
8
1
F7 B7 F7 F7
5 6
 
7
  8
  
  
4 3 4 4
 5
7
5
6
5
7
6
7
B7 Bdim F7 D7(  13)

9
 10
  
11
  12   
   
3 3 4 7
 5
6
4
6
5
7
8
10
Gm7 C7 F7 C7
 13 14
 15
  16
 
 
6 5 4 5
 7
8
7
8
5
7
6
8
F7 B7 F7 F7
  
17 18   19
  20
  

10 9 10 10
 12
13
10
12
12
13
11
13
B7 Bdim F7 D7(  13)

 
21
 22  
 23
  24  

9 9 10 13
 10
12
10
12
12
13
14
16
1/2
Gm7 C7 F7 C7

25 26   27
  28  
 

11 11 10 11
 10
12
13
14
12
13
13
14
Example 4 - Gm7 alternative voicing
Gm7 C7

29 30  

11 11
 12
15
13
14
Example 5 - Harmonized F7 scale using 4 types of F7 voicings

  
31
    32
   
    
1 3 4 6 8 10 11 13
 2
1
2
1
5
7
8
7
8
7
12
13
12
13
14
13
33

2/2
Jazz Chord Essentials - 3 note 7th chords part 1
Jens Larsen
Standard tuning
= 120
Example 1 - diatonic 3rd then 2nd
1
E-Gt
1 3 5 6 8 10 12 13
4 5 7 9 10 12 14 16
5 7 9 10 12 14 15 17
Example 2 - diatonic 2nd then 3rd

3
1 3 5 6 8 10 12 13
2 4 5 7 9 10 12 16
5 7 9 10 12 14 15 17
Example 3 - II V I no 1
Dm7 G7alt Cmaj7
5
6 4 5
9 4 5
10 6 9
Dm7 G7alt Cmaj7
9
9 10
6 6 8
9 8 9
10 9 9
1/2
Dm7 G7alt Cmaj7
13
6 9 8
7 9 12 10 9
10 13 12
Dm7 G7alt Cmaj7
17
10 9 8
10 10 12 9
14 12 13 12
Dm7 G7alt Cmaj7
21
10 11 7
6 11 9 8
9 10 7
10 9 10
2/2
Jazz Chord Essentials - 3 note 7th chords part 2
Jens Larsen
Standard tuning
= 120
Example 1 - 5th then 2nd
1
E-Gt
1 3 5 6 8 10 12 13
4 5 7 9 10 12 14 16
2 3 5 7 9 10 12 14
Example 2 - 2nd then 5th
3 5 6 8 10 12 13 15
0 2 4 5 7 9 10 12
3 5 7 9 10 12 14 15
Dm7 G7alt Cmaj7
5
6 4 5
9 4 4
7 8 7
Dm7 G7alt Cmaj7
9
6 8 9 6 8
9 6 5
10 9 9
1/2
Dm7 G7alt Cmaj7
13
10 12 9 8
7 8 9
10 11 12
Example 6 - Stella harmonized

Em7 5 A7 Cm7 F7
17
3
3
11 10 (10) 10 11 6 6 6
9 11 12 12 5 5 7 8
12 11 8 8 7
Fm7 B 7 E Maj7 A 7
22
8 8 6 8
3 4 3 5 (5)
6 8 1 4 (4)
5
4 (4)
2/2
Jazz Chord Essentials - 3 part Quartal Harmony
Jens Larsen
Standard tuning
= 120
Example 1: C major scale in triads and in stacked fourths
1
E-Gt
7
7 9 7 10 9
7 10 8 7 10 8 10
8 10
7 9 10
9 10 7 9 10
8 10 7 8 10
8 10
Example 2: Cmajor harmonized

5
3 5 7 8 10 12 13 15
3 5 6 8 10 12 13 15 3 5 6 8 10 12 13 15
2 4 5 7 9 10 12 14 2 4 5 7 9 10 12 14
2 3 5 7 9 10 12 14
Example 3: Ab mel min scale harmonized

9
3 4 6 7 9 11 13 15
2 4 6 8 9 11 12 14 2 4 6 8 9 11 12 14
1 3 4 6 8 10 12 13 1 3 4 6 8 10 12 13
1 3 5 6 8 9 11 13
13
1/2
Example 4
Dm7 G7alt Cmaj7
14
6 8 9 8 8 (8)
5 7 8 6 7 (7)
5 7 8 6 7 (7)
Example 5
Dm7 G7alt Cmaj7
18
6 10 8 9 (9) 11 8 (8)
5 9 7 8 (8) 10 7 (7)
5 9 7 8 (8) 9 7 (7)
Example 6
Dm7 G7alt Cmaj7
22
3 5 6 8 9 11 9 10 (10)
2 4 5 7 8 10 8 9 (9)
2 3 5 7 8 9 8 9 (9)
Example 7
Dm7 G7alt Cmaj7
26
3 6 5 3 4 (4) 2 3 (3)
2 5 4 2 3 (3) 1 2 (2)
2 5 3 2 3 (3) 1 2 (2)
29
2/2
Jens Larsen
Standard tuning
= 120
Example 1: C major scale in triads and in stacked fourths
1
E-Gt
7
7 9 7 10 9
7 10 8 7 10 8 10
8 10
7 9 10
9 10 7 9 10
8 10 7 8 10
8 10
Example 2: Cmajor harmonized

5
3 5 7 8 10 12 13 15
3 5 6 8 10 12 13 15 3 5 6 8 10 12 13 15
2 4 5 7 9 10 12 14 2 4 5 7 9 10 12 14
2 3 5 7 9 10 12 14
Example 3: Ab mel min scale harmonized

9
3 4 6 7 9 11 13 15
2 4 6 8 9 11 12 14 2 4 6 8 9 11 12 14
1 3 4 6 8 10 12 13 1 3 4 6 8 10 12 13
1 3 5 6 8 9 11 13
13
1/2
Example 4
Dm7 G7alt Cmaj7
14
6 8 9 8 8 (8)
5 7 8 6 7 (7)
5 7 8 6 7 (7)
Example 5
Dm7 G7alt Cmaj7
18
6 10 8 9 (9) 11 8 (8)
5 9 7 8 (8) 10 7 (7)
5 9 7 8 (8) 9 7 (7)
Example 6
Dm7 G7alt Cmaj7
22
3 5 6 8 9 11 9 10 (10)
2 4 5 7 8 10 8 9 (9)
2 3 5 7 8 9 8 9 (9)
Example 7
Dm7 G7alt Cmaj7
26
3 6 5 3 4 (4) 2 3 (3)
2 5 4 2 3 (3) 1 2 (2)
2 5 3 2 3 (3) 1 2 (2)
29
2/2
Jens Larsen
Standard tuning
= 120
Example 1 - F major Diatonic 4th part quartal harmony
1
E-Gt
3 5 6 8 10 12 13 15
3 5 6 8 10 11 13 15 3 5 6 8 10 11 13 15
2 3 5 7 9 10 12 14 2 3 5 7 9 10 12 14
2 3 5 7 8 10 12 14 2 3 5 7 8 10 12 14
1 3 5 7 8 10 12 13
Example 2 - Db minor melodic voicings
2 4 6 8 9 11 12 14
2 4 5 7 9 11 13 14 2 4 5 7 9 11 13 14
1 3 5 6 8 9 11 13 1 3 5 6 8 9 11 13
1 2 4 6 8 10 11 13 1 2 4 6 8 10 11 13
1 3 4 6 7 9 11 13
Example 3 - Gm7 voicings Example 4 - Fmaj7 voicings
3 5 6 10 11 6 8 13
2 3 5 9 10 5 7 12
2 3 5 8 10 5 7 12
1 3 5 8 10 5 7 12
13
15
1/2
Example 4
Gm7 C7alt Fmaj7
17
11 13 11 (11) 13 13 (13)
10 12 9 (9) 11 12 (12)
10 12 10 (10) 11 12 (12)
10 12 9 (9) 11 12 (12)
Example 5
Gm7(13) C7alt Fmaj7
21
5 6 8 9 (9) 11 8 (8)
5 6 8 9 (9) 11 8 (8)
3 5 7 8 (8) 9 7 (7)
3 5 7 8 (8) 10 7 (7)
Example 6
Gm7(13) C7alt Fmaj7
25
11 13 11 9 9 7 7 8
10 12 10 8 6 6 7
10 12 10 8 6 6 7
10 12 10 7 7 6 6 7
2/2
Jens Larsen
Standard tuning
= 120
Example 1 - F major Diatonic 4th part quartal harmony
1
E-Gt
3 5 6 8 10 12 13 15
3 5 6 8 10 11 13 15 3 5 6 8 10 11 13 15
2 3 5 7 9 10 12 14 2 3 5 7 9 10 12 14
2 3 5 7 8 10 12 14 2 3 5 7 8 10 12 14
1 3 5 7 8 10 12 13
Example 2 - Db minor melodic voicings
2 4 6 8 9 11 12 14
2 4 5 7 9 11 13 14 2 4 5 7 9 11 13 14
1 3 5 6 8 9 11 13 1 3 5 6 8 9 11 13
1 2 4 6 8 10 11 13 1 2 4 6 8 10 11 13
1 3 4 6 7 9 11 13
Example 3 - Gm7 voicings Example 4 - Fmaj7 voicings
3 5 6 10 11 6 8 13
2 3 5 9 10 5 7 12
2 3 5 8 10 5 7 12
1 3 5 8 10 5 7 12
13
15
1/2
Example 4
Gm7 C7alt Fmaj7
17
11 13 11 (11) 13 13 (13)
10 12 9 (9) 11 12 (12)
10 12 10 (10) 11 12 (12)
10 12 9 (9) 11 12 (12)
Example 5
Gm7(13) C7alt Fmaj7
21
5 6 8 9 (9) 11 8 (8)
5 6 8 9 (9) 11 8 (8)
3 5 7 8 (8) 9 7 (7)
3 5 7 8 (8) 10 7 (7)
Example 6
Gm7(13) C7alt Fmaj7
25
11 13 11 9 9 7 7 8
10 12 10 8 6 6 7
10 12 10 8 6 6 7
10 12 10 7 7 6 6 7
2/2
Jazz Chord Essentials - Drop 2 voicings part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Creating Drop 2 voicings
Am7
1
E-Gt
3 5 8 12 3 5 8 12
5 8 10 13 1 5 8 10
5 9 12 14 2 5 9 12
7 10 9 17 2 5 7 10
Example 2 - Drop2 chords in inversions

Am7 D7 Gmaj7 F m7( 5)
3 5 8 12 5 8 10 14 3 7 10 14 2 5 8 12
1 5 8 10 3 7 10 13 3 7 8 12 1 5 7 10
2 5 9 12 5 7 11 14 4 7 11 12 2 5 9 11
2 5 7 10 4 7 10 12 4 5 9 12 2 4 7 10
Example 3 - II V I Cadences all inversions

Am7 D7 Gmaj7 Am7 D7 Gmaj7 Am7 D7 Gmaj7 Am7 D7 Gmaj7
10
5 5 3 8 8 7 12 10 10 15 14 14
5 3 3 8 7 7 10 10 8 13 13 12
5 5 4 9 7 7 12 11 11 14 14 12
5 4 4 7 7 5 10 10 9 14 12 12
Example 4 - Drop2 voicings diatonic ascending
18
3 5 7 8 10 12 14 3 5 7 8 10 12 14
1 3 5 7 8 10 12 3 5 7 8 10 12 13
2 4 5 7 9 11 12 4 5 7 9 11 12 14
2 4 5 7 9 10 12 2 4 5 7 9 10 12
1/2
Example 5 - First 16 bars of Autumn Leaves with Drop2 voicings
22
8 8 6 6 5 5 6 10
8 6 6 4 4 3 6 8
8 8 7 7 5 5 7 10
8 7 7 5 5 4 5 8
30
11 11 10 10 8 8 10 13
11 10 10 8 8 7 8 11
12 10 10 8 8 7 10 12
10 10 8 8 7 7 8 12
2/2
Jens Larsen
Standard tuning
= 120
Example 1 - Creating Drop 2 voicings
Am7
1
E-Gt
3 5 8 12 3 5 8 12
5 8 10 13 1 5 8 10
5 9 12 14 2 5 9 12
7 10 9 17 2 5 7 10
Example 2 - Drop2 chords in inversions

Am7 D7 Gmaj7 F m7( 5)
3 5 8 12 5 8 10 14 3 7 10 14 2 5 8 12
1 5 8 10 3 7 10 13 3 7 8 12 1 5 7 10
2 5 9 12 5 7 11 14 4 7 11 12 2 5 9 11
2 5 7 10 4 7 10 12 4 5 9 12 2 4 7 10
Example 3 - II V I Cadences all inversions

Am7 D7 Gmaj7 Am7 D7 Gmaj7 Am7 D7 Gmaj7 Am7 D7 Gmaj7
10
5 5 3 8 8 7 12 10 10 15 14 14
5 3 3 8 7 7 10 10 8 13 13 12
5 5 4 9 7 7 12 11 11 14 14 12
5 4 4 7 7 5 10 10 9 14 12 12
Example 4 - Drop2 voicings diatonic ascending
18
3 5 7 8 10 12 14 3 5 7 8 10 12 14
1 3 5 7 8 10 12 3 5 7 8 10 12 13
2 4 5 7 9 11 12 4 5 7 9 11 12 14
2 4 5 7 9 10 12 2 4 5 7 9 10 12
1/2
22
8 8 6 6 5 5 6 10
8 6 6 4 4 3 6 8
8 8 7 7 5 5 7 10
8 7 7 5 5 4 5 8
30
11 11 10 10 8 8 10 13
11 10 10 8 8 7 8 11
12 10 10 8 8 7 10 12
10 10 8 8 7 7 8 12
2/2
Jens Larsen
Standard tuning
= 120
Example 1 - Am7 9 instead of 1, 11 instead of 5
Am7 Am7(9,11)
1
E-Gt
5 8 12 15 7 8 10 15
5 8 10 13 3 8 12 13
5 9 12 14 5 7 12 16
5 7 10 14 5 9 10 12
Example 2 - Why Cm7b5 chords work as D7alt

A 7(9) D7( 9 13) A 7(9) D7( 9 13)
3
6 6 11 11
4 4 11 11
5 5 11 11
4 4 10 10
5 11
4 10
Example 3 - D7alt voicings

D7( 9 13) D7( 9 13)
5
6 8 11 14 6 8 13 14
4 7 11 13 6 7 11 13
5 8 11 15 5 10 11 15
4 8 10 13 4 8 10 15
Example 4 - Gmaj7(9#11)
Gmaj7(9) Gmaj7(9,#11)
7
5 7 10 14 5 7 9 14
3 7 10 12 2 7 10 12
4 7 11 14 4 6 11 14
4 7 9 12 4 7 9 11
1/2
Example 5 - II V I with new voicings
Am7(9,11) D7( 9 13) Gmaj7(9,#11) Am7 D7alt Gmaj7(#11)
9
7 6 5 8 8 7
3 4 2 8 7 7
5 5 4 7 8 6
5 4 4 9 8 7
Am7 D7alt Gmaj7(#11) Am7 D7alt Gmaj7(#11)
13
10 11 9 15 14 14
12 11 10 13 13 12
12 11 11 16 15 14
10 10 9 12 13 11

Cm7(11) F7alt B maj7(9,#11) E maj7 Am7( 5) D7alt Gm6(9) Gm6
17
11 11 10 10 11 13 10 10
11 10 10 8 10 11 10 8
10 11 9 10 12 11 9 9
10 11 10 8 10 10 8 8
Cm7(9,11) F7alt B maj7(9,#11) E maj7(9,13) Am7( 5) D7alt Gm6 Gm6(9)

25
10 9 8 8 10 8 6 5
6 7 5 6 8 7 5 3
8 8 7 7 8 10 7 3
8 7 7 5 7 8 5 2
2/2
Jazz Chord Essentials: Open Triads
Jens Larsen
www.jenslarsen.nl
Standard tuning
= 120
Example 1 - Open Triads - how to construct
1
E-Gt
5 8 13 17 5 8 13 17
5 9 12 17 9
5 10 14 17 5 10 17
3 7 10 15

C
3
3 8 12 15 8
1 5 13 5 8 17
12 5 9 5 9 12 17
2 5 10 14 5 17 2 10 14
3 7 10 15 10
3 8 12 15
Dm
1 5 10 13
3 3 6 10 15
2 10 14 7 2 7 10 14
0 3 7 12 3 7 15 0 3
0 5 8 12 12 17
1 5 10 13
Bdim
9
1 7 10 13 7
0 12 3 6 15
7 10 4 7 4 7 10 16
0 3 9 12 3 15 0 9 12
2 5 8 14 8
1 7 10 13
1/3
12
1
1 3 5 6 8 10 12 12
2 4
3 3 5 9 10 12 14
0 2 2 3 5 7 8 8 10

Dm7 Bdim Cmaj7 Dm7 G7 Cmaj7 Dm7 G7 Cmaj7
18
1 1
5 10 9 8 13 12 12
2 1 10 10 9
5 10 9 9
3 2 2 8 8 7 12 11 10
Example 5 - G7b5 constructed from a Bdim

G7( 5)
24
7 9 13 19 7
12 2 6 14
6 10 18 4 6
3 9 11 15 3 15
2 4 8 14
Example 6 - G7(#5) constructed from Bdim

G7( 5)
26
7 11 13 19 7
4 12 16 4 6 16
10 4 8
3 9 13 15 3 15
2 6 8 14
Example 7 - G7#9 constructed from Fdim
28
6 7 13 18 1 13
6 11 11 12
4 16 3 10 15
3 8 9 15 9
2 8 11 14
2/3
Dm7
30
3 8 13 15 1
6 8 13 18
5 12 17 0 10 14
3 5 10 15 10
3 8 10 15
Example 9 - Cmaj7 #11 instead of 5 using Em triad

Cmaj7
32
2 7 12 15
5 5 7 12 17
4 11 16 9
2 4 9 14 4 9 16
2 7 9 14
Example 10 - C6 6 of 7 using Em triad
34
3 5 12 15
5 5 8 10 17
2 12 14 9
2 5 14 5 7 17
12 7 10
5 17
36
3/3
Jazz Chord Essentials: Triads
Jens Larsen
www.jenslarsen.nl
Standard tuning
= 120
Example 1 - Chords consisting of a triad + a root note
Cmaj7 Am7 Bm7 5
1
E-Gt
0 5 8 12 1 5 8 13 3 6 10 15
0 4 9 12 0 5 9 12 2 7 10 14
2 5 9 14 2 5 10 14 3 7 12 15
3 3 15 0 12 12 2 14 14
8 5 7

C
4
0 3 8 12
1 5 8 13 1 5 8 13
0 5 9 12 0 5 9 12 0 5 9 12
2 5 10 14 2 5 10 14 2 5 10 14
3 7 10 15 3 7 10 15
3 8 12 15
Dm
8
1 5 10 13
3 6 10 15 3 6 10 15
2 7 10 14 2 7 10 14 2 7 10 14
3 7 12 15 3 7 12 15 3 7 12 15
5 6 12 17 5 8 12 17
5 10 13 17
Bdim
12
1 7 10 13
3 6 12 15 3 6 12 15
4 7 10 16 4 7 10 16 4 7 10 16
3 9 12 15 3 9 12 15 3 9 12 15
5 8 14 17 5 8 14 17
7 10 13 19
1/4
16
1 3 5 6 6 8 10 12 12
2 4 4 5 7 9 10 10 12
3 3 5 7 9 9 10 12 14

D 7 G7( 9)
22
9 9 0 6 9 12
10 10 1 4 10 13
9 9 3 6 9 15
10
9
Example 5 - Alterations, extensions and suspensions

G7
24
3 5 6 6 12 12
4 4 7 9 10 10
3 3 9 9 12 14
G7
26
3 2 6 6 12 12
4 4 7 6 10 10
3 3 9 9 12 11
28
3 3 6 6 12 13
4 5 7 7 10 10
3 3 9 10 12 12
2/4
Dm7
30
1 1 6 6 10 8
2 0 5 5 10 10
3 3 7 5 10 10
Cmaj7
32
5 5 8 7 12 12
4 4 9 9 12 11
5 4 9 9 14 14
Cmaj7
34
5 5 8 8 12 10
4 2 9 9 12 12
5 5 9 7 14 14
Example 7 - Turnaround
Dm7 G7 Cmaj7 A7alt
37
1 1 0 3 5 2 8
2 0 1 4 4 3 2 3 6
3 3 3 3 5 5 5 8
Dm7 G7 Cmaj7 A7alt

41
6 6 8 10 13 11
5 7 8 9 9 12 12
5 7 9 9 9 11 11
3/4
Dm7 G7 Cmaj7 A7alt
45
8 10 11 9 10 12 13 11
10 10 10 10 12 12 12 12
10 10 9 9 14 14 11 11
Dm7 G7 Cmaj7
49
7 (7)
10 12 10 8 (8)
10 12 10 10 10 9
10 14 13
8
4/4
Jazz Chords 10 variations of a I VI II V turnaround
Jens Larsen
Standard tuning
Moderate = 120
Example 1 - The plain old I VI II V
Cmaj7 Am7 Dm7 G7
1 2
S-Gt
5 5 5 5
4 5 5 4
5 5 3 3
3 5
5 3
Example 2 - The Auxiliary dominant

Cmaj7 A7( 13) Dm7 G7
3 4
5 6 5 5
4 6 5 4
5 5 3 3
3 5
5 3
Example 3 - The Auxiliary dim chord

Cmaj7 C dim Dm7 G7
5 6
5 5 5 5
4 3 5 4
5 5 3 3
3 4 5
3
Example 4 - the III chord

Em7 A7( 13) Dm7 G7
7 8
8 6 5 5
7 6 5 4
5 5 3 3
7 5
5 3
1/3
Example 5 - the Altered Dominant
Em7 A7( 13) Dm7 G7alt
9 10
8 6 5 4
7 6 5 4
5 5 3 3
7 5
5 3
Example 6 - Dominant chain

E7 A7( 13) D7 G7
11 12
8 6 5 5
7 6 5 4
6 5 4 3
7 5
5 3
Example 7 - Tritone substitutions

B 7 A7( 13) D7 G7
13 14
8 6 5 5
7 6 5 4
6 5 4 3
5
6 5 3
Example 8 - More Tritone substitutions

B 7 A7( 13) D7 D 7
15 16
8 6 5 4
7 6 5 4
6 5 4 3
5 4
6 5
2/3
Example 9 - Other tritones
Em7 E 7 Dm7 G7
17 18
8 6 5 5
7 6 5 4
5 5 3 3
7 6 5
3
Example 9 - Tritone Dominant chain

E7 E 7 D7 D 7
19 20
8 6 5 4
7 6 5 4
6 5 4 3
7 6 5 4
Example 10 - Lady bird Turnaround - Gateway to Giant Steps

Cmaj7 E 7 A maj7 D 7
21 22
5 6 4 4
4 6 4 4
5 5 5 3
3 6 4
4
3/3
Jazz Chord Survival Kit
Jens Larsen
Standard tuning
Moderate = 120
Example 1 - Diatonic chords of Bb Major
B maj7 Cm7 Dm7 E maj7 F7 Gm7 Am7/ 5 B maj7
1
S-Gt
3 4 6 8 10 11 13 15
2 3 5 7 8 10 12 14
3 5 7 8 10 12 13 15
1 3 5 6 8 10 12 13
Example 2 - Diatonic chords of F Major

Fmaj7 Gm7 Am7 B maj7 C7 Dm7 Em7/ 5 Fmaj7
1 3 5 6 8 10 11 13
2 3 5 7 9 10 12 14
2 3 5 7 8 10 12 14
1 3 5 6 8 10 12 13
Example 3 - II V progression first root on 6th

Em7 A9 Dm7 G9 Cm7 F9 B m7 E 9 A m7 D 9
12 12 10 10 8 8 6 6 4 4
12 12 10 10 8 8 6 6 4 4
12 11 10 9 8 7 6 5 4 3
12 10 8 6 4
12 10 8 6 4
1/3
Example 4 - II V progression first root on 5th
Am9 D7(13) Gm9 C7(13) Fm9 B 7(13) E m9 A 7(13)
14
12 12 10 10 8 8 6 6
12 11 10 9 8 7 6 5
10 10 8 8 6 6 4 4
12 10 8 6
10 8 6 4
Example 5 -minor II V progression first root on 6th

Em7( 5) A7( 9) Dm(7 5) G7( 9) Cm7( 5) F7( 9) B m7( 5) E 7( 9) A m7( 5) D 7( 9)
18
11 11 9 9 7 7 5 5 3 3
12 12 10 10 8 8 6 6 4 4
12 11 10 9 8 7 6 5 4 3
12 10 8 6 4
12 10 8 6 4
Example 6 -minor II V progression first root on 5th

Am7( 5) D7( 13) Gm7( 5) C7( 13) Fm7( 5) B 7( 13) E m7( 5) A 7( 13)
23
13 11 11 9 9 7 7 5
12 11 10 9 8 7 6 5
13 10 11 8 9 6 7 4
12 10 8 6
10 8 6 4
Example 7 - Dim Chords with root on 5th and 6th string

Cdim Cdim
27
4 7
2 8
4 7
3
8
2/3
29
3/3
Jazz Comping Rhythms - You Can Make Your Own!
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Example 1 - Blues in F with 2 note chords
F7 B7 F7 F7
  1 2
 
3
  4
 
 
s.guit.
 8
7
7
6
8
7
8
7
B7 Bdim F7 D7
5 6 7
  8   
    
 7
6
7
6
8
7
11
10
11
10
Gm7 C7 F7 D7 Gm7 C7
 9  10
  11
    12  
 
 10
8
10
8
9
8
9
8
8
7
11
10
10
8
9
8
Example 2 - Rhythm 1: On the beat
F7
 13 14
  
 
 8
7
8
7
8
7
Example 3 -Rhythm 2: Two 8th notes
F7
15 16
     
     
 7
8
7
8
7
8
7
8
7
8
7
8
17 18
 

1/3
Example 4 - Blues in F Working with Rhythm 2
F7 B7 F7 F7
 
19 20 21
 22
     
                
 8
7
8
7
7
6
7
6
7
6
7
6
8
7
8
7
8
7
8
7
8
7
B7 Bdim F7 D7
23
    24 25
   26    
           
 7
6
7
6
7
6
7
6
7
6
7
6
8
7
8
7
11
10
11
10
11
10
Gm7 C7 F7 D7 Gm7 C7
   
27    28
    29
      30    

 10
8
10
8
10
8
10
8
9
8
9
8
9
8
8
7
11
10
11
10
10
8
10
8
9
8
Example 5 -Rhythm 3: 2&
F7
31 32 33
     
       
  
 7
8
7
8
7
8
7
8
7
8
7
8
34


35


36


2/3
Example 6 - Blues in F - Mixing All Three Rhythms
F7 B7 F7 F7

37
  
38 39
    40
   
           
  
 8
7
8
7
7
6
7
6
7
6
8
7
8
7
8
7
8
7
8
7
B7 Bdim F7 D7
41
   42 43
    44   
                
 
 7
6
7
6
7
6
7
6
7
6
7
6
8
7
8
7
8
7
11
10
11
10
Gm7 C7 F7 D7 Gm7 C7
     
45 46
    47
      48     

 
 10
8
10
8
10
8
9
8
9
8
9
8
8
7
11
10
11
10
10
8
10
8
9
8
3/3
Jazz Counterpoint - Discover New Harmonic Ideas
Jens Larsen
Standard tuning
= 110
Dm7 G7alt Cmaj7

1 2 3
E-Gt
13 12 12
14 12 13 15 13 12
15 15 14 15 15 14 12 14
Dm7 G7alt Cmaj7

4 5 6
13 12 12
14 12 13 15 13 12 14 12
15 15 14 12 15 17 15 13 14 15 14 12
15 14 12 16 14 15 14
Dm7 G7alt Cmaj7

7 8 9
10 11 9 11 12
10 9 7 10 8 9
10 10 7 9 9 8
11 8 10
Dm7 G7alt Cmaj7

10 11 12
10 11 8
10 9 7 10 8 9 7
10 10 9 7 9 11 9 8 9 10 9 7
10 8 11 10 8 10 8 7
Dm7 G7alt Cmaj7

13 14 15
6 8 6 4 5
5 5 7 5 4 4 3 1 4 2
7 5 7 6 5 3 3 5
1/2
Dm7 G7alt Cmaj7
16 17 18
6 6 5
5 7 5 4 4 6 4 3 4 2
7 7 5 6 6 5 3 5 5 3 2
8 7 6 5 3 2
19 20
Em7( 5) A7 Cm7 F7
21 22 23 24 25
5 6
11 10 6 8 6 6
7 7 9 7 6 3 5 3 7
8 8 8 5 5 5 6 7
6
Fm7 B 7 E maj7 A 7
26 27 28 29
8 (8) 6 6 8
8 5 8 5 7 3 3
6 6 6 5 5 4
8 5 6 5 3 3
30 31
Dm7 G7alt Cmaj7

32 33 34 35
11
10 11 9 11 9 9 8
10 9 7 10 7 5 4
10 9 7 8 9 7 5
7 3
2/2
Jazz Turnaround How To Get Started
Jens Larsen
B  maj7 G7(  9) F7(  9)
       
Cm7
6 9 8 7
     

Standard tuning
 = 120
Example 1 - Basic Chords
B  maj7 G7(  9) Cm7 F7(  9)
   1   2   
     



jz.guit.
6 9 8 7
 7
7
10
9
8
8
8
7
10 8
6 8
Example 2 - Bb major scale

   
 
3 4
   
     
 
5 6
6 8
 5 7 8
5 7 8
5 6 8
5 6 8
  
Example 3 - G altered / Ab mel min scale
  
 
5 6 7
       
   
6 7 9
6 8 9
 6 8 9
6 8
6 8 10
6 7 9


8
Example 4 - F altered / Gb mel min scale
9
        10

     
  
5 7 9
6 7 9
 6 7 9
6 8
6 8 9
5 7 9
Example 5 - Arpeggio for altered dominants
G7(  9  13) Fø
   
11 

12
   
    
 
4 4
4 4 6 9
 4
3
4
3 6 9
8
6 8
3 7
1/2
Example 6 - Arpeggios through the turnaround
B  maj7 G7alt Cm7 F7alt
  
  13
  14
     15
    16
    
   
           
5 6 5
6 6 9 8 7
 7 8
7
6 9
8
5 8
5 8
7
6 8
5 8 6 8 6 6 9
6 7 8 9
Example 7 - Target notes

B  maj7 G7alt Cm7 F7alt
  17  18  
  
6 9 8 7
 7
9
8
7
B  maj7 G7alt Cm7 F7alt B  maj7

                     
     
19 20 21 22 23
        

6 6 9 6 7 8 6 7 6
 7 5
8
5
8 7 5 6 8 9
8 8 5 7 8 5
8 7 7
6 8 8 7
9
 24

2/2
28/10/2018 Jim Hall on Autumn Leaves - Can it get any better? - Jens Larsen
Autumn Leaves Reharmonization
There are a few things that Jim Hall and Ron Carter do with the Harmony of the song that really deserves a mention. After
that I will break down a few phrases and go over the rhythm and harmony used for them.
The chord progression for Autumn Leaves is this:
https://jenslarsen.nl/jim-hall-on-autumn-leaves-can-it-get-any-better/ 1/3
The chords are interpreted quite freely through out, but a great reharmonization is used in the 1st solo chorus where the Gm6
is exchanged for a Db7(#11) both at the end of the 1st and the 2nd half of the song.
When you have the root in the melody on a chord you can always do this substitution, and here it works really well at the
end of the form since the first chord of the song is a Cm7 so it works as a tritone dom7th.
Learning Voicings From Holdsworth
Jens Larsen
www.jenslarsen.nl
8
          
7 5 3 3 7
      
Standard tuning
 = 120
Example 1 - The Complete Exercise
           
   1 



2 3     4
           
   
od.guit.
12 10 8 7 12 10 7 (7)
8 8 6 5 8 8 5 (5)
 10 7 5 3 10 7 3 (3)
8 7 5 3 8 7 3 (3)
   
 
5
  6
   7
    8
  
  

1 3 7 3 7 10
3 5 8 5 8 6
 5
5
7
7 10
10 7
7
10
10 10
9
         
           

9
   
10 11
  
12
 
15 13 12 10 (10) 7 10 13 (13)
12 10 8 6 (6) 3 6 10 (10)
 14 12 10 9 (9) 5 9 12 (12)
Example 2 - Voicing Type 1 through the scale

   
13    14 
  
     

3 5 7 8 10 12 13 15
1 3 5 6 8 8 12 13
 0 2 3 5 7 10 10 12
0 2 3 5 7 8 10 12

   

15
   16
 
1 3 5 7 8 10 12 13
3 5 6 8 10 12 13 15
 5
5
7
7
9
9
10
10
12
12
14
14
16
15
17
17
1/2
    
     
17
   18 
 
5 7 8 10 12 13 15 17
1 3 5 6 8 10 12 13
 4 5 7 9 10 12 14 16
2/2
Look Mom: No Root!
How to Play Jazz Chords Part 2
Jens Larsen
Cmaj7 Cmaj7 Fm7 B  7(13) Cmaj7 B  m7 E7
8        
8 6 6 6 5

A  maj7 Am7 D7 Dm7 G7(13) D 7
           
        
Standard tuning
 = 112
Example 1 - Lady Bird - using How To Play Jazz Chords
Cmaj7 Cmaj7 Fm7 B  7(13)

  1 2 

3 
  
4 
 
   
el.guit.
8 8 8 8
 9
9
9
9
8
6
7
6
8
8 8 6
Cmaj7 Cmaj7 B  m7 E7

5 6
 7  8
 
      

5 5 6 6
 4
5
4
5
6
6
6
5
3 3 6
6
A  maj7 A  maj7 Am7 D7

9 10
  11
 12

     
  
 455 4
5
5
5
5
5
5
5
4
5
4 4 5
Dm7 G7(13) Cmaj7 E7 A  maj7 D 7

13 14
 15
   16
  
       
 
5 5 5 6 4 4
 5
3
4
3
4
5
6
5
5
5
4
3
5 3 6 4
3 4
1/3
Example 2 - Look Mom! No Root!

17 18  19
  20 
     
8 8 8 8
 9
9
9
9
8
6
7
6

21 22
 23  24
 
      
5 5 6 6
 4
5
4
5
6
6
6
5

25 26
  27
 28

     
4 4 5 5
 5
5
5
5
5
5
5
4
Dm7 G7(13) Cmaj7 E7 A  maj7 D 7

29 30
 31
   32
  
     
5 5 5 6 4 4
 5
3
4
3
4
5
6
5
5
5
4
3
Example 3 - Listen to the melody

          
  
33 34 35 36
        
8 10 8 8 6 9 8 6 9
 9
9
9
9
9
9
8
6
8
6
8
6
7
6
7
6
7
6

37
 38
 39    40
    
       
5 3 5 6 4 6 4 8
 4
5
4
5
4
5
6
6
6
6
6
5
6
5
6
5
2/3
41  42
  43
  44
   
       
4 6 4 5 3 5 3 7
 5
5
5
5
5
5
5
5
5
5
5
4
5
4
5
4
Dm7 G7(13) Cmaj7 E7 A  maj7 D 7

45
  46
   47
   48
  
          
5 3 6 5 3 6 5 6 4 4
 5
3
5
3
5
3
4
3
4
3
4
3
4
5
6
5
5
5
4
3
Example 4 - Diatonic Drop2 voicings in C major

   

49    50
  
 
   
5 6 8 10 12 13 15 17
 4
5
5
7
7
9
9
10
10
12
12
14
14
15
16
17
3 5 7 8 10 12 14 15
Example 5 - Diatonic Rootless voicings in C major

   
51    52
  
 
   
5 6 8 10 12 13 15 17
 4
5
5
7
7
9
9
10
10
12
12
14
14
15
16
17
3/3
Lydian Dominant licks
Jens Larsen
A7(  11)
4

Standard tuning
 = 220
Example 1
A7(  11)
     1 2
    3
 
       
       
   

E-Gt
5 7 9
4 5 7 8
 6
5 4 5 7
4 6 8
4 6 7
 5 3 5 7
Example 2
A7(  11) 
       
4
     5
  6
   
5 9 7 11 9 (9)
4 4 8 5 7
 4 5
4 6
7
6

Example 3
A7(  11)
 
  
  7
    8     9
  
 
9 7 11 (11)
5 7 7 8 7 8 8
 5
6 4 6
6
 5
Example 4
A7(  11)
   10
   
3
 11
       12

   
7
7 4 5 7 7 5 4 (4)
 4
5
6
7 4 5
6 6
1/1
Lydian Mode
Jens Larsen
Standard tuning
= 120
Example 1 - Cmaj7(b5) vocings
1
E-Gt
7 7 12
5 5 7 7 7 12 7 7
4 5 9 9 7 11 5 5
4 4 10 9 7 10 9 5
3
8 8
Example 2 - G major 8th position

3
5 3
3
3
3
3
8 10 12
8 10 12
7 9 11
7 9 10
7 9 10
7 8 10
Example 3 - Bsus4 triad and line no 1

Dm7 G7 Cmaj7
7
12 14
12 12 10
9 11 9 7 9 11 12 11 (11)
9 7 10 9 9
7 9 8 10 8 9
7
Example 4 - Cmaj7(b5) arp and line no 2

Dm7 G7alt Cmaj7
12
12 12 10
9 11 9 9 12 11 9 (9)
9 10 10 10 9 10 12
7 9 12 11 10 8 9
7 8
1/2
Example 5 - Bmin Pentatonic and line no 2
Dm7 G7 Cmaj7
17
10 12
10 12 9 11 12 10
9 11 10 9 10 11 9 11
9 12 12 10 11 12 9 (9)
9 12 12
10 12
2/2
Maj7b5 Arpeggio and chord
Jens Larsen
www.jenslarsen.nl
Standard tuning
= 120
Example 1 - Voicings
1
E-Gt
7 12 7
7 12 5
9 11 5
10 10 4
Example 2 - Arpeggio
4
12 14
12 13
9 11
9 10
7 9
7 8
Example 3 - As an m7b5 chord

F m7 5(11) B7alt Em7 Em7
6
7 10 7 7
7 8 7 7
9 8 7 7
10 7 5 5
F m7 5(11) B7alt Em7

10
10 8 7
12 10 8 10
9 11 11 9 8 8
9 10 10 9 10
1/3
Example 4 - As an m6/9 chord
Bm7 5(11) E7alt Am6/9
14
12 8 7 7
10 9 7 7
10 10 9 9
9 12 10 10
Bm7 5 E7alt Am6/9

18
8
10 9 12 12 (12)
10 9 9 10 12 10 9 9 10 12 9 11
11 12 11 12 10 9 10
Example 5 - As an Dom7(9,13) chord

Am7 D7(13) Gmaj7
22
10 7 7 7
8 7 7 7
9 9 7 7
10 10 9 9
Am7 D7(13) Gmaj7

26
7 8 10 7 (7)
7 10
7 9 7 9
9 10 9 10
7 10
30
2/3
Example 6 - As an Dom7alt chord
E m7 A 7alt D maj7
32
9 7 8 8
7 7 9 9
10 9 8 8
8 10 11 11
E m7 A 7alt D maj7
36
7 8 (8)
7
10 11 8 9
11 8 9 10
9 8 7 9
11
3/3
Making II V I lines with Odd Note Groupings
Jens Larsen
Standard tuning
= 120
Example 1 - Pentatonic scale in groups of 3
1
E-Gt
8 5 8
8 5 8 5 8 8
5 5 7 5 7 7
5 5 7 5 7 5
5 5 7 5 7 7
5 8 8
Example 2 - C major scale in diatonic triads

5
8
7 9 7 10 9
7 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
Example 3 - Pentatonic scale in Eric Johnson five groupings
13 10
13 10 13 10
12 12 10 12 10
12 12 10 12 10
12 12 10
13
Example 4 - Making a 5 note grouping out of a four note pattern

12
5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
1/2
Example 5 - Line no 1 - 3 note groups
Dm7 G7alt Cmaj7
17
6 8 9 11 9 8
5 7 8 10 8
5 7 8 9 8

Dm7 G7alt Cmaj7
21
8 9 12 8 (8)
9 9 10
10 7 7 10 11
8

Dm7 G7alt Cmaj7
25
8 9 11 8 (8)
9 5 6 8
10 7 7 8 9
8 8
10
2/2
Making Jazz Chords sound Bluesy
Jens Larsen
Standard tuning
= 120
Example 1 - Voicings
B maj7 E 7
1 2 3 4
E-Gt
5 6 8 5 6 8
6 8 3 6 6 6 8 6 6 6
7 7 3 7 7 6 6 6 6 6
7 7 3 5 7 5 5 5 5 5
A 7 G7alt
5 6 7 8
4 6 3 4 6
3 4 6 6 4 4 6 4 4 4
5 5 5 5 5 4 4 4 4 4
4 4 4 4 4 3 3 3 3 3
Example 2 - Riff like melodies

B maj7 E 7 A 7 G7
9 10 11 12
8 6 8 8 6 8 6 4 6 6 4
6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4
7 7 7 7 6 6 6 6 5 5 5 5 4 4 4 4
7 5 5 5 5 5 5 5 4 4 4 4 3 3 3 3
Example 3 - Repeating notes, 8th note shuffle groove

B maj7 E 7 A 7 G7
13 14 15 16
6 6 6 8 6 6 6 6 6 4 6 6 6 6 6 4 6 6 4 4 4 3 4
7 7 7 7 7 7 6 6 6 6 6 6 5 5 5 5 5 5 4 4 4 4 4
7 7 7 7 7 7 5 5 5 5 5 5 4 4 4 4 4 4 3 3 3 3 3
1/2
Example 4 - Sliding up from chromatic passing chords
B maj7 E 7 A 7 G7
17 18 19 20
8 7 8 8 8 6 5 6 6 6 4 3 4 4 4 3 2 3
6 5 6 6 6 6 5 6 6 6 6 5 6 6 6 4 3 4 4 4 3
7 6 7 7 7 6 5 6 6 6 5 4 5 5 5 4 3 4 4 4 3
7 6 7 7 7 5 4 5 5 5 4 3 4 4 4 3 2 3 3 3 2
Example 5 - A part of There's No greater love combining the examples

B maj7 E 7 A 7 G7
21 22 23 24
8 6 8 8 6 8 6 4
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 4
7 7 7 7 6 6 6 6 5 5 5 5 5 5 5 5 4 4 4 4
7 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4 3 3 3 3
C7 Cm7 F7
25 26 27 28
10 8 10 10
3 10 8 10 10 8 10 8 10 8 10 10 8 8 8 8 8 8 8 7 7
3 9 9 9 9 9 9 9 9 8 8 8 8 8 8 8 8 8
2 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 7 7
2/2
Making Jazz lines sound bluesy
Jens Larsen
Standard tuning
= 120
Dm7 G7 Cmaj7
1
E-Gt
5 5 5
5 4 4
3 3 5
5 3
3
Dm7 G7 Cmaj7
5
5 3 7 3 7
3 6 3 6 5
2 5 4 4 5
3 3 5 2 5
5 5 3
Example 3 - Blues phrasing ideas

8
5
3 6 3 6 3 3 6 3 3 6 6 3 6
Dm7 G7 Cmaj7
11
5
3 6 3 6
5 4
5 3 5 3 2 5 2
5 5
1/2
Dm7 G7 Cmaj7
15
3 6 3 5 (5)
2 5 5 2 5 5 2 4 4 4 5 4
3 5 5
Dm7 G7 Cmaj7
3
19
6 3 6 3 3
5 2 4 5 4
5 3 5 5 3 5 2 (2) 2 5
2/2
Melodic Comping - Stronger than voice-leading
Jens Larsen
www.jenslarsen.nl
Example 1 - Am7 Drop2 voicings
E-Gt
3 5 7 8 10 12 14 15
1 5 5 8 8 10 10 13
2 5 5 9 9 12 12 14
2 5 5 7 7 10 10 14
Example 2 - D7 Drop2 voicings
2 3 5 7 8 10 12 14
1 1 5 5 7 12 12 13
2 2 5 5 9 11 11 14
2 2 4 4 7 10 10 14
Example 3 - Gmaj7 Drop2 voicings
3 5 7 8 10 12 14 15
3 3 7 8 8 12 12 15
4 4 7 9 9 12 12 16
2 2 5 7 7 12 12 14
Example 4 - E7 Drop2 voicings using A harmonic minor
4 5 7 8 10 12 13 15
3 3 6 6 9 13 13 13
4 4 7 7 10 13 13 13
3 3 6 6 9 12 12 12
Example 5 - Turnaround in G no 1
Am7 D7 Gmaj7 E7 Am7
10 8 5 7 5 7 7 10 8
8 8 5 5 3 7 6 9 8
9 9 5 5 4 7 7 10 9
7 7 4 4 4 5 6 9 7
1/2
Am7 D7 Gmaj7 E7 Am7
5 7 5 7 10 12 10 8 7
5 5 5 5 10 10 9 6 5
5 5 5 5 11 11 10 7 5
5 5 4 4 9 9 9 6 5
Am7 D7 Gmaj7 E7 Am7
12 8 10 11 12 14 15 13 12
10 8 12 11 12 12 13 13 12
12 9 11 11 12 12 13 13 12
10 7 10 10 12 12 12 12 10
2/2
Melodic Minor - Altered Scale
Jens Larsen
Standard tuning
= 120
Example 1 - II Valt I
Dm7 G7alt Cmaj7
1
E-Gt
5 4 5
5 4 4
3 3 5
5 3
3
Example 2 - G altered (Ab melodic minor)

5
4 6 7
4 6 8
3 4 6
3 5 6
2 4 6
3 4 6
Example 3 - Resolving the notes of the altered scale

8
1
3 4 4 4 6 7
6 5 5
12
4 5 6 5 8 8
7
Example 4 - The simplest altered II V I lick in the world

Dm7 G7alt Cmaj7 Dm7 G7alt Cmaj7
15
5 4 3
6 4 5
1/2
Example 5 - Two useful arpeggios
Fm7( 5) Bmaj7(b5)
19
4 7 6 7
4 6 4 6
4 3 4
3 6 3
2 6 2 6
4 6
Example 6 - II Valt I lines

Dm7 G7alt Cmaj7
23
4 7 4 3
4 6
2 5 4 4
2 2 3 5 6
4 5
Dm7 G7alt Cmaj7

27
6 6 5 3
5 5 2 3 4 3 3 4 3
5 6 6 5 3 2
Dm7 G7alt Cmaj7

31
6 3
4
2 2 5 4 6 4
3 2 2 3 6 3 5
5
2/2
Melodic Minor - Lydian Dominants
Jens Larsen
jenslarsen.nl
Standard tuning
= 120
Example 1 - A few chord voicings and the F melodic minor scale
1
E-Gt
3 8 12
5 8 5 5 9
7 7 7 7 10
6 6 6 6 12
6 6
6 8 10
6 8 9
5 7 9
5 6 8
5 7 8
4 6 8
Example 2: As a IV minor chord

Fmaj7 B 7( 11) Cmaj7
6
5 5 5
5 7 4
7 6 5
8 3
6
Fmaj7 B 7 Cmaj7
10
6 5 5 9 8 6 5 (5)
5 5 7
7 7 6 8
7 8
1/3
Example 3 - As a tritone substitution
Bm7 B 7( 11) Amaj7
14
7 5 5
7 7 6
7 6 6
7 6 5
Bm7 B 7 3 Amaj7
18
7 5 8 5 (5)
6 7 4 7
7 7 6 5 6 5 6
5 8
Example 4 - As a IV dom chord

Fmaj7 B 7( 11) Fmaj7
22
5 5 5
5 7 5
7 6 7
8 8
6
Fmaj7 B 7 Fmaj7
26
6 5 6 (6) 5 5 9 10 (10)
5 7 5 5 5
7 6
30
31
2/3
Example 5 - As a bVI dom7th (or double diminished in first inversion)
Dmaj7 B 7( 11) Dmaj7
32
5
6 7 6
4 6 4
5 5
6
Dmaj7 B 7 Dmaj7
36
5 8 5 9 6 10
9 7 6 5
7 7 6
9 9 7 8
Example 6 - As a Dominant of the Dominant in Major

B 7( 11) B m7 E 7 A maj7
40
5 6 6 4
7 6 6 5
6 6 5 5
6
6 6 6
B 7 B m7 E 7 A maj7
44
8
8 5 6 9 8
5 5 8 6
6 8 6 5 6
7 8
3/3
Minor 6th Pentatonic Scales
Jens Larsen
Standard tuning
= 120
Example 1 - A Minor 6th Pentatonic Scale
1
E-Gt
5 8
5 7
5 7
4 7
5 7
5 8
Example 2 - Contained chords

Am6 D7 F m7 5
3
5
5 5
4 4 7 4 7
5 5
5 8
Example 3 - Am6 pentatonic over Am6

Bm7( 5) E7( 9) Am6
6
8 10 12 8
9 7 10
9 7 10 10 9 9
7 10 10
8
Example 4 - Am6 pentatonic over D7

Am7 D7 Gmaj7
9
7 8 7
8 5 8 8 5 7 5
7 5 7 5 4
7 7
1/2
Example 4 - Am6 pentatonic over F#m7b5
F m7 5 B7alt Em
13
7 5 8 4
5 7 5 4 4 5 7 4
4 7 7 5 7
Example 5 - Am6 pentatonic over Ab7alt

E m7 A 7alt D Maj7
17
5 8 5 4
5 7 7
6 8 7 6 8 5 7
8
6 9
2/2
Minor 6th Pentatonics on an F blues
Jens Larsen
Standard tuning
= 120
Example 1 - Cm6 pentatonic and F7 and Am7b5 arps
Cm6
1 2 3 4
E-Gt
8 11
8 10 8
8 10 8 8
7 10 7 10 7 10
8 10 8
8 11
Example 2 - Dbm6 pentatonic and C7alt

B m6
5 6 7 8
9 12
9 11 9
9 11 9 9
8 11 8 11 8 11
9 11 9
9 12
Example 3 - Pentatonic scales for the chords

F7 B 7
9 10 11 12
8 11 8 10
8 10 9 11
8 10 7 10
7 10 8 10
8 10 8 11
8 11
E 7 D7alt
13 14 15 16
9 11 8 11
8 11 9 11
8 10 8 11
8 11 8 10
8 10 9 11
11 11
Gm7 C7alt
17 18 19 20
8 10 9 12
8 11 9 11
7 10 9 11
8 10 8 11
8 10 9 11
10 9 12
1/3
Example 4 - F blues with m6 pentatonic scales
F7 B 7 F7
21 22 23 24
8
8 9 11 8 8
8 10 7 10 8 10 8 10
7 10 8 10 7 10 7 10
8 10 8 10 8 10
B 7 E 7 F7 D7alt
25 26 27 28
8
9 11 8 9 11
7 10 8 10 8 10 8 11
8 10 8 11 7 10 8 10
8 10 8 10 11
11
Gm7 C7alt F7 C7alt

29 30 31 32
8 11 9 8 9
7 10 9 11 8 10 9 11
8 10 8 11 7 10 8 11
10 9 11 8 10 9 11
33
34
35 36
2/3
Example 5 - Solo using the pentatonic scales
F7 B 7 F7
37 38 39 40
8 11 8 10 8
10 10 9 11 9 10 10 8
10 10 8 8 10 8
10 7 10 7 10 10 7
B 7 E 7 F7 D7( 13)
41 42 43 44
9 11 9 8
9 8 11 8 11 10 10 8
7 10 10 10 8 11 9
8 10 10 8
9 9
11
Gm7 C7 F7 C7
45 46 47 48
9
7 10 7 10 9 11 9 8 10 8 10 8 11 9
8 10 11 8 8 10 10 11 8 11
10 9 11
F7
49
10
3/3
Minor Blues Comping
Jens Larsen
Standard tuning
= 120
Example 1 - Minor blues progression
Cm7 Cm7 Cm7 C7alt
1
E-Gt
3 3 3
4 4 4 4
3 3 3 3
3 3 3 2
3 3 3 3
Fm7 Fm7 Cm7 Cm7

5
8 8 3 3
9 9 4 4
8 8 3 3
8 8 3 3
8 8 3 3
A 7 G7alt Cm7 G7alt

9
6 4 3 4
6 4 4 4
5 4 3 4
4 3 3 3
3
4 3 3
13
14
1/3
Example 2 - Voicings for the different chords
Cm7 C7alt
15
5 6 4 6
4 6 8 4 4 2 4 5 4 5
3 5 7 3 3 3 3 6 3 6
3 5 7 3 3 2 2 8 2 4
Fm7 A 7
19
4 6 4
4 6 8 4 4 3 4 6 7 6
5 8 8 5 5 5 5 5 5 5
6 6 6 3 6 4 4 4 4 4
G7alt
23
3 4
2 4 6 4 4
4 4 4 4 4
3 3 3 3 3
26
27
28
2/3
Example 3 - Minor Blues comp
Cm7 C7alt
29
3 6 3
4 4 4 4 6 4 4 4 4 5 8
3 3 3 3 5 3 3 3 3 6 8
3 3 3 3 5 3 3 3 4 8 6
3
Fm7 Cm7
33
6
(8) 4 8 4 8 6 4
(8) 5 8 3 7 5 3
(6) 6 6 3 7 5 3
A 7 G7 Cm7 G7
37
3 3
3 6 4 (4) 4 4 4 (4)
5 5 4 (4) 4 3 4 (4)
4 4 3 (3) 3 3 3 (3)
3
3 (3)
3/3
Minor Blues Comping Drop2
Jens Larsen
Cm6 C7 Fm6 A 7 G7alt
7
 8
 6
 10
 9
 

    
Cm7 C7alt Fm7 A 7 G7alt
6
      
8 6 10 9
     
    
Standard tuning
 = 120
Example 1
Cm6 Cm6 Cm6 C7

    
   
     
1 2 3 4
  
jz.guit.
8 8 8 9
8 8 8 9
 8
7
8
7
8
7
9
8
Fm6 Fm6 Cm6 Cm6

   
  
   
5 6 7 8
 

8 8 8 8
8 8 8 8
 7
6
7
6
8
7
8
7
A 7 G7alt Cm6 G7alt

   
 

   
 
9 10 11 12
 
11 11 8 11
11 9 8 9
 11
10
10
9
8
7
10
9
Example 2 - Cm6 Harmonizing the Melodic Minor Scale 

      

   
 
13 14

      
3 5 7 8 10 11 13
1 4 8 8 8 10 10
 2
1
5
5
8
7
8
7
8
7
12
10
12
10
1/4
Example 3 - Fm6 Harmonizing F melodic Minor
    
 
15   16   
        
   
1 3 4 6 8 10 12
1 1 3 3 6 9 13
 1
0
1
0
5
3
5
3
7
6
10
10
13
12
Example 4 - C7alt Harmonizing Db melodic Minor

     
     

17
    18
    
  
4 6 8 9 11 12 14
2 5 9 9 9 11 11
 3
2
6
6
9
8
9
8
9
8
13
11
13
11
Example 5 - Ab7 Harmonizing Eb melodic Minor  

 
19   
 20    
     

2 4 6 8 10 11 13
1 1 4 7 11 11 11
 3
1
3
1
5
4
8
8
11
10
11
10
11
10

  
Example 6 - G7 Harmonizing Ab melodic Minor

  21   22
   
         
1 3 4 6 7 9 11
0 4 4 4 6 7 9
 1
1
4
3
4
3
4
3
8
6
8
6
10
9
 23


 24


 25


2/4
Example 7
Cm7 Cm7 Cm7 C7alt

   
  
26 27
 28
 29
 

10 10 10 11
6 6 6 9
 8
8
8
8
8
8
9
8
Fm7 Fm7 Cm7 Cm7

 
  
30 31

 32
 33

  
6 6 10 10
8 8 6 6
 8
6
8
6
8
8
8
8
A 7 G7alt Cm7 G7alt

     
  34 35
 
36
 37
 
 
13 9 10 9
11 11 6 11
 11
10
10
9
8
8
10
9
Example 8 - Cm7 Harmonizing C Dorian

   
      

38
   39
 
 
3 5 6 8 10 11 13
1 4 4 8 8 11 11
 3
1
5
5
5
5
8
8
8
8
12
10
12
10
Example 9 - Options for adding Extensions to a Cm7 voicing

      
  
40
   41
   

8 10 8 10 8 10 5
8 8 6 6 10 10 6
 8
8
8
8
8
8
8
8
8
8
8
8
8
8
 42


3/4
Cm6 Cm6 Cm6 C7
          
  
43 44 
   45
   46
     
     
  
10 10 7 8 10 11 9 8
8 8 8 8 8 9 9 8
 8
7
8
7
8
7
8
7
8
7
9
8
9
8
7
6
Fm6 Cm6  
      
 47
   48
 49
  
50
   
      
 
8 8 8 8 10 8 10
8 8 8 8 8 8 8
 7
6
7
6
7
6
8
7
8
7
8
7
8
7
A7 G7 Cm6 G7
         
  
   


 
     
51 52 53 54
  
 
11 13 11 9 10 10 8 11
11 11 9 11 8 8 8 9
 11
10
11
10
10
9
10
9
8
7
8
7
8
7
10
9
4/4
Minor II V I Cadences
Jens Larsen
Standard tuning
= 120
Example 1 - II V I cadence in D minor
Em7 5 A7( 13) Dm6/9
1
E-Gt
8 6 5
7 6 4
8 5 3
7 5
5
Example 2 - D harmonic minor scale

5
6 9 10
6 8 10
6 7 9
5 7 8
5 7 8
5 6 9
Em7 5 A7( 9) Dm6
9
6 5 (5)
5 8
7 5 6 (6) 6
5 8 5 8 7 8
7
Em7 5 A7( 9) Dm6
13
5
6 8 6 5
7 7 6
7 8 8 5 5
7 9 8 (8)
1/2
Em7( 5) A7( 9) Dm6
17
6 8 5 (5)
7 7 6
5 8 8 8 5 7 8 7
7 8
Em7 5 A7( 9) Dm6
21
5
5 8 5 6 8 6
7 6 6
7 8 7 8 5 6 7
2/2
Modern 3 note voicings
Jens Larsen
Dm7 G7 Cmaj7 Dm7 G7 Cmaj7 G7(  9  5)
8
  9
  9
 6
   
6 5
  2
 
     
G7 G7(  9  9) G7 Dm7 Cmaj7 Dm7 Cmaj7
2
  11
  11
  3
   10
 12

     
Dm7 G7 G7 Cmaj7 G7 Cmaj7
5
  3
 6
  8
 9
  12
 
     
Standard tuning
 = 120
Dm7 G7 Cmaj7
   
   1 2  3



E-Gt
12 9 10
8 12 10
 10 10 9

Dm7 G7 Cmaj7

 4
 5
  6 

8 7 5
6 6 8
 9 8 9

Example 3 - Voicing through the scale - top string set    
    
  7
   8  
 
5 7 8 10 12 13 15 17
1 3 5 6 8 10 12 13
 4 5 7 9 10 12 14 16

Example 4 - Voicing through the scale - middle string set
    
  9   10
   
    
6 8 10 12 13 15 17 18
 2
5
4
7
5
9
7
10
9
12
10
14
12
15
14
17

1/3
Example 5
Dm7 G7 Cmaj7
  
  11
 
12 13


10 9 7
6 6 8
 9 8 5

Example 6
Dm7 G7 Cmaj7
     
 14
 15 16

10 8 7 7
6 9 11 10
 9 10 9

Example 7
Dm7 G7 Cmaj7
     
 17  18 19
  20 

12 10 7 11 10
8 9 8 7 8
 10 10 9

Example 8
G7( 9  5) G7( 9  9)

   21  
22

 
6 15
2 11
 4 13

Example 9
Dm7 G7 Cmaj7
  23

24 25 
  

3 6 5
6 2 5
 5 4 4
2/3
Example 10
Dm7 G7 Cmaj7
  
 26  27    28 

12 15 12
13 11 12
 10 13 12

Example 11
   
   
   29

    30      
 
6 7 9 11 13 15 16 18
2 4 6 8 9 11 12 14
 4 6 8 10 12 13 15 16

Example 12
Dm7 G7 Cmaj7
  31 32
  33

 

5 7 7
6 4 3
 9 3 2

Example 13
Dm7 G7 Cmaj7
 
  34 35
  36 

8 9 10
6 6 8
 9 8 9

Example 14
Dm7 G7 Cmaj7
  
 37  38   39 

12 13 15
8 9 12
 10 12 14
3/3
Melodic Guitar Solo Techniques
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 80
Example 1
Am7 D7 Gmaj7
  1
       2       3 
   
s.guit.
8 10 12 10 8 7 9 7 10
 9 9 9 8
9
8
7
8
Example 2
Am7
  
4       5         6


12 8 10 8
 9 9 9 9 12
10
9
10
11
10
9
10 9
Example 3
Am7 D7 Gmaj7
        
7 8
    
   9     
  

12 8 12 8 8 11 7 11 7 7 10 7 10 7 7
 9
10
9 8
10
8 7
9
7
Example 4
Am7 D7 Gmaj7
         
        
10 11
   12
  

12 8 12 8 8 13 9 13 9 9 15 10 15 10 10
 9
10
9 11
12
11 12
14
12
Example 5
Am7 Gmaj7
    
        
13 14
   15
    
  

12 8 12 8 8 13 9 13 9 9 12 10 12 10 10
 9
10
9 11
12
11 11
12
11
1/2
Example 6
Am7 D7 Gmaj7
       
 
16     17    18
 
7 10 8 11 10 (10)
8 12 8 8 9 9
 9
10
9 9 10
Example 7
Am7 D7 Gmaj7
  
19
      20
        21


12 8
 9 12 9
10
11 8
10
10 7
8
8 10 8 7 (7)
2/2
Motif Exercises - F Jazz Blues
Jens Larsen
Standard tuning
= 120
Example 1 - Motif "voice lead" through an F blues
F7 B 7 F7 F7alt
1
E-Gt
8 8 8 9
10 10 8 9 9 8 10 10 8 10 10 9
10 10 10 11
B 7 Bdim F7 D7
5
8 7 8 8
9 9 8 9 9 8 10 10 8 10 10 8
10 10 10 11
Gm7 C7alt F7 C7(13 9)

9
10 9 8 9
11 11 10 11 11 9 10 10 8 10 10 8
12 11 10 9
Example 2 - Altering motif by changing 1 note

F7
13
8 10 11
10 10 8 10 10 8 10 10 8 10 11 10 8
10 10 10 10
Example 3 - Variation by changing the order of the notes

F7
17
8 8 8 8
10 10 8 10 8 10 10 10 8 10 10 8
10 10 10 10
1/2
Example 4 - Rhythmic displacement
F7
21
8 8 8 8
10 10 8 10 10 8 10 10 8 10 10 8
10 10 10 10
Example 5 - Motif with variations

F7 B 7 F7 F7alt
25
8 8 8 9 9
10 10 8 9 9 8 10 8 10 10 10 9
10 10 10 11 10
B 7 Bdim F7 D7
29
8 7 7 8 8
9 9 8 9 9 9 8 10 10 8 10 10 8
10 10 10 11
Gm7 C7alt F7 C7(13 9)

33
10 10 9 8 9
11 11 10 11 11 10 11 11 9 10 10 8 10 10 8
12 12 11 10 9
2/2
My 3 favourite m7 ideas
Jens Larsen
www.jenslarsen.nl
Example 1
Cm7
E-Gt
15
13 11
10 15 12 12 15
13 12 12 13 15
10 15 14 15
Example 2
Cm7
10 9 8
8 11 11 8 11 8
7 10 7 8 10
8 10
10
Example 3
Cm7
8 6
7 6 5 7 5
5 8 5 8 7 6 5 8
5 8 7 5 6
1/1
My Secret Arpeggio and 3 places I use it!
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 80
 
 1   
  
s.guit.
9 13
10
 11
10 12
12
  
2
 3
     4  
          
9 10 12
8 10 12
 7 9 11
7 9 10
7 11
10 12
7 8 10
10
       
          
5 6 7    

   
11 13 15 13 15
11 13 14 14
 10 11 13
10 12 14
11
10 12 14
13 12
A  m7 D7   G maj7
 8
    9      10

          
3
9
11 7 10 12 11
 8
9 8 8 9 11
10 12
10 11 12
Dm6  
11        12      13
  

9 13 12
10 10
 10 9
11 12
9 10 12 10
11
10 12
12
Gm7 E7 Fmaj7

14
   15      16     
         
10 11 13 10
 12
10
12 11 11
10 12 12
12
9
12 9 10 12 13 12
1/1
Open Triads in Solos
Jens Larsen
Standard tuning
= 120
Example 1 - II V I in F major
Gm7 C7alt Fmaj7
1
E-Gt
10 9 10
10 9 9
8 8 10
10 8
8
Example 2 - Bb Major in open voiced triad inversions

4
6 10 13 18
6 11 15
7 7 10
8 8 12 15
8 5 8
6
Example 3 -G minor in open voiced triad inversions

7
3 6 10 15
8 11
3 7 3 7
5 5 8 12
5 5
3 6
10
11
1/3
Example 4 - F major in diatonic open voiced triads
12
5 6 8 10 11 13
2 3 5 7
5 7 8 10 12 14 15
3 5 7 7 3 5 7 8 10 12 13
1 3 5 6
16
12 13 15 17 18 20 22
15
12 14 15 17 19 21 22
10 12 14 15 17 19 20
Example 5 - Triad choices for the chords in the II V I

Gm7 Gm B Dm F
20
5 8
6 6 6 10
7 7 7 7 10
8 8 8
10 10
G 7 G B dim D m Eaug
22
4 8
5 5 5 9
6 6 6 6 9
8 8 8
9 9
Fmaj7 F Am C
24
3
5 5 5
5 5 5 5
7 7 7
8 8
2/3
Gm7 C7alt Fmaj7
26
13 10
11 11 10 11 13 9
12 9 10 7 9
12 10 11 8 10 7
9 7 10
Gm7 C7alt Fmaj7
30
6 4 8 12 10
5 4 7 8 8 5 10
2 5 3 2 6 6 5 7
3 5 3 4
5
Gm7 C7(13 9) Fmaj7
34
3 6 5
6 3 5 4 7 8
3 2 3 5 7
5 3 7
5 3 4
Gm7 C7(13 9) Fmaj7
38
8 6 9 8 12 10 15
6 8 5
5 7 6 9
5 8 7 8 7
3/3
Pentatonic Scales - What You NEED to Escape The...
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Example 1
Em7
       
 1
     2  3
    
s.guit.
7 12 7 10 12 (12)
10 10
 9
7 12 7 9 12 12
7 12
 Example 2
        
4
    5

6
   7


  
   
7 10 7 10 12
8 10 10
 7 9
7 9
9
7 9 12
7 10 7 10 12
7 10
Example 3
      
Em7 A7alt P
Dmaj7
      
 8 9
   10
  
 
P
12 17 15 12
10 15 12 15 14
 15 14
17 15 14 11
11 16
16 15 13 12
   
 Example 4
  
11 12
   13

    
   
12 15 17
10 12 15
 5 7 9
7 9 12
2 7 9
0 3 5
Example 5
Em7  
  14      15
   
16
     
7 10 12
8 8 10 5
 9 7 7
7
7 4
5 4 (4)
7
1/2
Example 6
   
 17 3
3
  18  
     
    
 3 3 3
3
7 10 12
8 10 12
 7 9 12
7 9 12
7 10 12
7 10 12
   
 19 3 3 3
  20
 
      
   
 3 3 3
5 7 10
5 8 10
 5 7 9
4 7 9
5 7 10
5 7 10
2/2
Pentatonic Scale for Altered Chords
Modern Melodic Minor Secrets
Jens Larsen
Standard tuning
 = 120
Example 1 - Cminor to B lydian Augmented Pentatonic
        
  1
   2
  
                  


E-Gt
8 11 7 11
8 11 8 11
 8 10
8 10
8 9
8 10
8 10 8 10
 8 11 7 11
Example 2 - The scale In the context of a Melodic Minor scale
 3
  4     5
     6
   
            
 
  
7 11 7 9 11
10 11 8 9 11
 8 9
8 10
8 9 11
8 10
8 10 11
 7 11
 7 3 3 3 3
           

 8 8 9
8 8 10 8 10 10
 7 11 11

 8

              

 8 8 9 8 9
8
8 10 8 10 8 10 10
 7 11 11
Example 5 - Diatonic chords in the Pentatonic scale
 
 9
3
  3
10
        
            
   
3 3
3 3 3
3
7 11
8 11 8 11
 8 9 8
8
9
10
8
8
9
10 8 10
8 10 8 10
 7 11
1/2
Dm7 G7alt Cmaj7
 
     
    
11 12 13
     
 
7 11 10
8 11
 10 7
9 7
10 9 7 8 9
8 10
8

Dm7 G7alt Cmaj7
  
 14        15        16

7 11 7 12
13 10 11 8
 10
12
9 10 12 9 10
9
10

Dm7 G7alt Cmaj7
      
  17    18      19


8 12 10 8
10 10 10 11 12 11
 10 12
13
12 10
13
9
2/2
Pentatonics part 1 - Maj7 Chords
Jens Larsen
Standard tuning
= 120
Example 1 - Aminor / Cmajor Pentatonic
1
E-Gt
8 10
8 10
7 9
7 10
7 10
8 10
Example 2 - Line using A minor Pentatonic

3
8 10
7 9 9 7 9 (9)
10
Example 3 - Line using A minor Pentatonic
8 10 12 10 (10)
8 8 8
9
Example 4 - Eminor / Gmajor Pentatonic

7
7 10
8 10
7 9
7 9
7 10
7 10
Example 5 - Line using E minor Pentatonic

9
10 7 (7)
10 8
9 9
9
1/2
Example 6 - Line using E minor Pentatonic
11
7 (7)
10
7 9 7 9
7 9
Example 7 - Bminor / Dmajor Pentatonic

13
7 10
7 10
7 9
7 9
7 9
7 10
Example 8 - Line using B minor Pentatonic

15
7 10 7
7 9 9 7 9
9
Example 9 - Line using B minor Pentatonic

17
7 10 7 (7)
9 9
7 9
7
2/2
Pentatonics part 2 - II V progressions
Jens Larsen
Standard tuning
= 120
Example 1 - II V I in Bb major
Cm7 F7 B maj7
1
E-Gt
8 8 6
8 8 7
8 7 7
8
8 6
Example 2 - Scale options for Cm7: Cm and Gm pentatonic

Cm7
5
8 11 8 10
8 11 8 11
8 10 7 10
8 10 8 10
8 10 8 10
8 11 8 10
Example 3 - Scale options for F7: Cm, Dm and Abm pentatonic

Cm7
9
8 11 8 10
8 11 8 10
8 10 7 10
8 10 7 10
8 10 8 10
8 11 8 10
13
7 9
7 9
6 8
6 9
6 9
7 9
1/2
Example 4 - II V I - Cm Dm pentatonic
Cm7 F7 B maj7
15
13 10 10
11 8 10 13 13 10
8 10 10 12 10
8 10 12
10 12 13
Example 5 - II V I - Cm Abm pentatonic

Cm7 F7 B maj7
19
8 11 8
11 11 8 9 7
10 8 8 6
9 9 6
9 8
Example 6 - II V I - Gm Abm Am pentatonic

Cm7 F7 B maj7
23
10 15 13 10 11
14 14 12 14 15 13
10 15 13 11 11 14 12 14 12
14 12
10 15 15
2/2
Pentatonics part 3 - Arpeggios and Melodic ideas
Jens Larsen
Standard tuning
= 120
Example 1 - C minor pentatonic
1
E-Gt
8 11
8 11
8 10
8 10
8 10
8 11
Example 2 - C minor and Eb major triads
8 11 11
8 8 11
8 8
10 8
10 10
8 11 11
Example 3 - Sus4 triads

5
8 8 11
8 11 11
10 10 8 10
10 8 10 8
8 10 8 8
8 8 11
Example 4 - AbMaj7 G7alt Cmaj7

A Maj7 G7alt Cmaj7
8
13 11
13 11 8 9 9 11 9 8
10 12 8 10
10 8 11
1/2
Example 5 - II V I in G major
Am7 D7alt Gmaj7
12
11 10
10 9 11
9 9 12 8 8 10
10 10 12 10 8
12
Example 6 - II V I in D major
Em7 A7alt Dmaj7(9)
16
7 10 8 13 8 12
8 10 8 11 8
7 7 10
7 8 10
2/2
Phrygian Chords
Jens Larsen
Standard tuning
= 120
Example 1: Chord Voicings
A7sus4( 9)
1
E-Gt
5
5 3 3 10 10 5 5
7 3 3 9 7 3 3
8 5 7 8 8 7 3
0 0 0 0 0 0 0
Example 2: Scale Choices

5
6 8 10 6 8 10
6 8 10 7 8 10
5 7 9 5 7 9
5 7 8 5 7 8
5 78 5 7 9
56 8 5 6 8
Example 3: BbMaj7(b5)
A7sus4( 9)
9
3 3
10 12
10 11 10 8 5 (5)
7 9 7 9 7
7 8 7 8 8
5 7
5 6
Example 4: Em7(b5)
A7sus4( 9)
3
13
6 10 10
8 10 8 10 10 (10)
7 9 7 9
8 8
7 10 7 10
1/2
Eample 5: Gm triad
A7sus4( 9)
17
6 10 15 6 5 10 (10)
8 8 8
7 7
5 8 5 8
2/2
Picking Techniques for speed
that are better Alternate picking
Jens Larsen
Standard tuning
 = 112
Example 1 P
  1
sl.
  2 
P
    3
   
         
el.guit.
  sl.
      P
   P  
6 3
4 8 6 4 4 3
 5 2 3 5 6
5 5
6
5
Example 2 P
      
4
   5
     6
   
     P           
11
 10
8 13 8 10 12 8
10
12 8
10
10 8
8 13 11
Example 3
 7
      8
      9

    
               
8 8 6 4 6 4 3
 6
5
6
7 7 5
6
7
8
5
P P
Example 4
P P P
      
P P
      
P
      
        
10 11
 12
 13 
 
 P    P    P    P    P    P    P    P  
6 4 8 6 9 8 11 9 13 11 15 13 16 15 18 16
 5
6
7
8
8
10
10
12
12
13
13
15
15
17
17
18
Example 5
  
3
              
       
14 15

3 3 3 3
3 3 3
                       
 5 1
3
7 3
5
8 5
6
10 7
8
12 8
10
13 10
12
15 12
13
17 13
15
1/2
Example 6
3
       
  
16
    17
 
         
3 3 3 3
3 3 3
                       
1 3 5 6 8 9 11 13
 1
3
3
5
5
6
7
8
8
10
10
12
12
13
13
15
   
Example 7
      
 18

   
19
   
    
3 3 3 3
3 3 3
3
                       
4 6 8 9 11 13 15 16
 3
1
5
3
6
5
8
7
10
8
12
10
13
12
15
13
2/2
Play a standard with 2 types of Drop2 chords
Jens Larsen
Standard tuning
= 120
Example 1 - Two drop2 voicings with a lot of roots
Em7 Cmaj7(9) A7sus4 G6 Bm7( 5) G7(9) Dm6 C 7alt
E-Gt
10 10 10 10 10 10 10 10
8 8 8 8 10 10 10 10
9 9 9 9 10 10 10 10
9 9 9 9 9 9 9 9
0 10
0 8 3 10 9
Example 2 - m7 and m7b5 inversions on top string set
3 7 10 12 5 7 10 13
3 5 8 12 3 6 10 12
4 7 9 12 4 7 10 14
2 5 9 12 3 7 9 12
Example 3 - Turnaround in C major

Cmaj7 A7alt Dm7 G7alt Cmaj7
10 9 10 11 10
8 8 10 9 8
9 10 10 10 9
9 8 10 9 9
Examle 4 - II V I in D minor
Em7( 5) A7alt Dm6
6 6 5
5 6 3
7 6 4
5 5 3
1/2
Example 5 - Solar with m7 and m7b5 drop2 voicings
Cm6 Cm6 Gm7 C7alt
8 11 10 9
8 10 8 9
8 12 10 9
7 10 8 8
Fmaj7 F6 Fm7 B 7
8 10 11 13
8 10 9 13
9 10 10 13
7 10 10 12
E maj7 E m7 A 7 D Maj7 Dm7( 5) G7alt
13 11 11 11 13 11
11 11 11 9 13 9
12 11 11 10 13 10
12 11 10 10 12 9
2/2
Playing a Jazz Standard with Pentatonic Scales
Jens Larsen
Standard tuning
= 120
Example 1: 5 positions of the Pentatonic scale
1
E-Gt
3 5 5 7 7 10
3 5 5 8 8 10
2 4 4 7 7 9
2 5 5 7 7 9
2 5 5 7 7 10
3 5 5 7 7 10
10 12 12 15
10 12 12 15
9 12 12 14
9 12 12 14
10 12 12 14
10 12 12 15
1/3
Example 2: Chord Progression for Lady Bird
Cmaj7 Cmaj7 Fm7 B 7
9
8 8 8 8
9 9 8 7
9 9 6 6
8
8 8 6
Cmaj7 Cmaj7 B m7 E 7alt

13
8 8 6 7
9 9 6 6
9 9 6 5
6
8 8 6
A maj7 A maj7 Am7 D7

17
4 4 5 5
5 5 5 5
5 5 5 4
5
4 4 5
Dm7 G7( 13) Cmaj7 E 7 A maj7 D 7
21
5 4 5 6 4 4
5 4 4 6 5 4
3 3 5 5 5 3
5 3 6 4
3 4
25
26
2/3
Example 3: Pentatonic scales
Cmaj7 Fm7 B 7
27
7 10 8 11 8 10
8 10 9 11 8 11
79 8 10 7 10
79 8 10 8 10
7 10 8 11 8 10
7 10 8 11 8 10
Cmaj7 B m7 E 7alt
31
9 11 9 12
8 9 11 10 12
9 8 10 9 11
9 8 11 9 11
8 11 9 12
8 9 11 9 12
A maj7 A maj7 Am7 D7

35
8 11 8 10 7 10
8 11 8 10 7 10
8 10 79 7 9
8 10 7 10 7 9
8 10 8 10 7 9
8 11 8 10 7 10
Dm7 G7alt
39
8 10 9 11
8 10 9 11
7 10 8 10
7 10 8 11
8 10 8 11
8 10 9 11
Cmaj7 E 7 A maj7 D 7
41
9 11 9
9 11 11 9 8
7 9 10 10 8 8 10
7 9 10 8 8 11
7 10 10 8 8 11
7 10 11 9 11
43
3/3
Jazz Standard with Pentatonic scales - Satin Doll
Jens Larsen
www.jenslarsen.nl
= 109
Example 1 - Satin Doll A part
1 2 3 4
E-Gt
10 10 10 10 12 12 12 12
10 10 10 10 12 12 12 12
10 9 10 9 12 11 12 11
10 10 12 12
10 10 12 12
Am7 D7 A m7 D 7 Cmaj7 Em7 A7

5 6 7 8
12 12 11 11 8 12 12
12 11 11 10 9 12 12
10 10 9 9 9 12 11
12 11 12
10 9 8 12
Example 2 - Satin Doll B part

Gm7 C7 Gm7 C7 Fmaj7 Fmaj7
9 10 11 12
10 10 10 10 10 10
10 9 10 9 9 9
8 8 8 8 10 10
10 10 8 8
8 8

13 14 15 16
12 12 12 12 10 11
12 11 12 11 10 10
10 10 10 10 10 9
12 12 10
10 10 10
17
1/3
Example 3 - "Rules" for choosing scales Dm pentatonic
Dm7
18 19
10 8
10 7 10
10 7 10
8 10
10 10
Em pentatonic
Cmaj7
20 21
8 8
9 7 9
9 7 9
7 10
8
Bbm pentatonic
G7alt
22 23 24
11 9
10 8 10
9 8 11
10 8 11
9 11
25
26
27
2/3
Example 4 - Satin Doll A Part
28 29 30 31
8 8
7 10 7 10 7 9 7 9
7 10 7 10 7 9 7 9
8 10 8 10 7 10 7 10
10 10
Am7 D7 A m7 D 7 Cmaj7 Em7 A7

32 33 34 35
8 8
7 6 7 9 7 9
7 10 6 9 7 9 7 9
7 10 6 9 7 10 7 10
8 10 7 9
Example 5 - Satin Doll B part

36 37 38 39
7 10 7 10 7 7
8 10 8 10 7 10 7 10
8 10 8 10 7 10 7 10
10 10 8 10 8 10
Am7 D7 Am7 D7 Dm7 G7alt

40 41 42 43
7 7 7 10 8
7 10 7 10 7 10 8 11
7 10 7 10 8 10 8 11
8 10 8 10 10 9 11
3/3
Playing Outside - Side-slipping
Jens Larsen
Standard tuning
= 103
Example 1 - Gm7 vamp
Gm7
3
E-Gt
1
3 2 3 3 (3) 3 3
3 2 3 3 (3) 3 3
3 4 5 5 3
3 3
Example 2 - Gm Dorian scale (in fact an F major scale)
3 5 6
3 5 6
2 3 5
2 3 5
1 3 5
3 5
Example 3 - Abm Dorian scale (in fact an F major scale)
4 6 7
4 6 7
3 4 6
3 4 6
2 4 6
4 6
Example 4 - Superimposed progression

Gm7 A m7 Gm7
3 4 3
3 4 3
3 4 3
3 4 3
Example 5 - Basic Side slipping with repeated motif
3 6 5 3 4 7 6 4
3 5 5 3 4 6 6 4 7
1/2
Example 6 - Side slipping with more loose motif
11 9 10
6 10 6 7 11 9 7
7 7 8
5 8 8 9
Example 7 - Side slipping purely thinking different chords

3
6 4 5
4 7
2 3 2 2 3 4 6
5 3 3 5 6
5
2/2
Practice making lines - Am7 arpeggio
Jens Larsen
www.jenslarsen.nl
= 109
Example 1 - One Octave Am7 arpeggio melodies
Am7
1 2 3 4
E-Gt
5 8 8 5 5 5 8 8 5 5
5 5 5 5 5 5
7 7 7 7
5 6 7 8
5 8 5 8 5 5 8 5 5 8 5
5 5 5 5 5 5 5
7 7 7 7
Example 2 - G major scale

3
9 3 10
3
3
3
3
5 7 8
5 7 8
4 5 7
4 5 7
3 5 7
3 5 7
Am7 D7alt Gmaj7
11 12 13
5 8 7 5
5 7 5 8 7 5 7
7 8
9 8 6 5
Am7 D7alt Gmaj7
14 15 16
8 6 4 5
5 8 5 6 7
5 5 4 5 7 8
7 7
1/2
Am7 D7alt Gmaj7
17 18 19
5 8 5
5 5 5
7 7 6 4
8 6 5 6 8 5
8
Am7 D7alt Gmaj7
20 21 22
7 5 8 6 6 4
5 8 8 5 9 6 7 4 3
5
7
Am7 D7alt Gmaj7
23 24 25
8 5
5 7 4 5 8 5 7
7 5 6 8
7 6 8 9
2/2
Practicing Scales Through Changes
Jens Larsen
Standard tuning
= 120
Example 1
B maj7 G7alt Cm7 F7alt
1
E-Gt
6 11 8 9
7 10 8 8
7 9 8 7
10 8
6 8
Example 2
5
5 6
6 8
5 7 8
5 7 8
5 6 8
6 8
Example 3
7
6 7 9
6 8 9
6 8
6 8 9
6 8 10
6 7 9
Example 4
10
5 7 9
6 7 9
6 8
6 7 9
6 8 9
5 7 9
13
1/2
Example 5
B Maj7 G7alt Cm7 F7alt
14
6 7 8 10 8 6 5
7 8 9 8 6
6 8 8 6
5 7 8 9 9 7 6
5 6 8 9 8 6
6 8 9
B maj7 G7alt Cm7 F7alt

18
5 6 8 10 8 6 5
6 8 8 7 6
6 8 8 6
5 6 8 9 9 7 6
5 6 7 9
8 6 5 6 8
B maj7
22
8 6 5
8 6 5 6
Example 6
B maj7 G7alt 3
23
6 8 6
7 7 7 8
7 8 9 8 6 5 6 5
8
Cm7 F7alt B maj7

25 3 3
9 5 8
6 7
6 8
5 6 7
6 5 6 5 5 6 8 5 9
7 8
2/2
Quartal Harmony in Solos
Jens Larsen
Standard tuning
= 120
Example 1 - Bb Major in stacks of 4ths two sets of strings
-
1
E-Gt
3 5 6 8 10 11 13 15
3 4 6 8 10 11 13 15 3 4 6 8 10 11 13 15
2 3 5 7 8 10 12 14 2 3 5 7 8 10 12 14
1 3 5 7 8 10 12 13
Example 2 - Bb Major scale position in diatonic stacks of 4ths

5
8 10 11
8 10 11 8 10 11
7 8 10 7 8 10 7 8 10
7 8 10 7 8 10 7 8 10
6 8 10 6 8 10
6 8 10
Example 3 - F#m Melodic/ F altered in stacks of 4ths two sets of strings

-
10
2 4 5 7 9 11 13 14
2 4 6 7 9 10 12 14 2 4 6 7 9 10 12 14
1 2 4 6 8 10 11 13 1 2 4 6 8 10 11 13
1 3 4 6 7 9 11 13
Cm7 F7alt B maj7

14
6 4 4 7 9 9 10
7 5 5 4 6 8
5 5 7
6
1/2
Cm7 F7alt B maj7
18
8 10 8 9
8 10 9 7 6
8 7 6
8 7
8 9 8
Cm7 F7alt B maj7

22
6 9 7
6 8 9 9 7 7 6
7 5 8 6
5 8
6
Cm7 F7alt B maj7

26
9 7 5 8
7
3 7 5 6 8
5 5 6
3 6 5 6
2/2
Quartal Harmony on a Jazz Blues
Jens Larsen
Standard tuning
= 110
Example 1 - F7
1 2
E-Gt
1 3 4 6 8 10 11 13
0 2 3 5 7 8 10 12
0 1 3 5 7 8 10 12
Example 2 - Bb7
3 4
1 3 4 6 8 9 11 13
0 1 3 5 7 8 10 12
0 1 3 5 6 8 10 12
Example 3 - F7alt
5 6
2 4 6 7 9 10 12 14
1 2 4 6 8 10 11 13
1 3 4 6 7 9 11 13
Example 4 - Bdim
7 8
5 6 8 9 11 12 14 15
4 6 7 9 10 12 13 15
3 5 6 8 9 11 12 14
1/4
Example 5 - D7alt
9 10
3 4 6 7 9 11 13 15
1 3 5 7 8 10 11 13
1 3 4 6 8 10 12 13
Example 6 - Gm7
11 12
1 3 5 6 8 10 11 13
0 2 3 5 7 9 10 12
0 2 3 5 7 8 10 12
Example 7 - C7alt
13 14
2 4 5 7 9 11 13 14
1 3 5 6 8 9 11 13
1 2 4 6 8 10 11 13
15
16
17
2/4
F7 B 7 F7 F7alt
18 19 20 21
3 4 6 8 9 8 (8) 4 6 7 9
2 3 5 7 8 7 (7) 3 5 6 8
1 3 5 6 8 7 (7) 3 5 6 7
B 7 Bdim F7 Am7( 5) D7alt

22 23 24 25
8 6 5 (5) 5 6 4 8 (8) 6
7 5 4 (4) 4 5 3 7 (7) 5
6 5 3 (3) 3 5 3 7 (7) 4
Gm7 C7alt F7 D7alt Gm7 C7alt

26 27 28 29
5 6 8 7 (7) 7 9 8 (8) 6 6 (6) 7 9

3 5 7 6 (6) 6 8 7 (7) 5 5 (5) 6 8
3 5 7 6 (6) 6 8 7 (7) 4 5 (5) 6 8
F7
30
8
7
7
F7 D7alt Gm7 C7alt F7

31 32 33
8 6 3 5 (5) 4 2 1 3
7 5 1 3 (3) 3 1 0 2
7 4 1 3 (3) 2 1 0 1
3/4
34 35 36
8 7 9 11 13 14 13 (13) 15
7 7 8 10 11 13 12 (12) 14
7 6 8 10 11 13 12 (12) 13

37 38 39
8 7 6 5 4 2 3 (3)
7 7 5 3 3 1 2 (2)
7 6 4 3 2 1 1 (1)
4/4
Refreshing and Easy II V I reharmonization
Jens Larsen
www.jenslarsen.nl
= 60
Example 1 - II V I line with added chords
Cm7 F7 B ma7
E-Gt
10 9 13 10
9 8 11 8 7 10
7 10
8 9
10
8 11
Example 2 - Cm line cliche on a II V progression

Cm CmMaj7 Cm7 F7 B maj7
8 8 8 8 6
8 8 8 8 7
10 9 8 7 7
Example 3 - Standard bebop line using the line cliche

Cm7 CmMaj7 Cm7 F7 B maj7
8
8
10 10 9 5 8 5 6 7
6 8 6 8 5
8
Example 4 - Another line using this idea

Cm7 F7 Bmaj7
11 10 8 7
8 8
8 7
10 8 7
10 6 9 8 6 5
Example 5 - Turning it into an Auxiliary dominant

Cm7 G7( 9) Cm7 F7alt B maj7
8 9 8 7 6
8 10 8 8 7
10 9 8 7 7
1/2
Example 6 - Line with the Auxiliary dominant
Cm7 F7 B maj7
10 11 7
8 11 9 8
8 10 8 7
10 9 7 6
9 8
2/2
Reharmonizing II V I - breaking all the rules!
Jens Larsen
www.jenslarsen.nl
= 60
Example 1 - The good old II V I
Am7 D7( 9) Gmaj7
E-Gt
5
5 4 3
5 5 0
5 4 4
5
5 3
Example 2 - Rethinking a D7alt voicing - GbMaj7(b5)

D7alt G maj7(b5)
1 1
1 1
3 3
4 4
5
Example 3 - Gbmaj7(b5)
Am7 G maj7(b5) Gmaj7
1 5
5 1 3
5 3 0
5 4 4
5 2 3
Example 4 - Line using Gmaj7(b5) chord

Am7 G maj7(b5) Gmaj7
9 11 9 10
10 11
9 7 8 8 10
7 10 7 9 10 9 7 8 9
8
1/3
Example 5 - Rethinking a D7alt voicing - Fm7
D7alt Fm7
4
6 1
5 1
4 1
5
1
Example 6 - Fm7
Am7 Fm7 Gmaj7
5
5 1 3
5 1 0
5 1 4
5 1 3
Example 7 - Line using Fm7 chord

Am7 Fm7 Gmaj7
8 6
8 9 6 7
5 5 4 8
7 5 5 8 6
7 5 3 6
5 7 8
Example 8 - Rethinking a D7alt voicing - Bbm7 (via Bb7)

D7alt B 7 B m7
10
11 6 6
10 7 6
8 6 6
9
6 6
Example 9 - Bbm7
Am7 B m7 Gmaj7
5 6 7
5 6 7
5 6 7
5 6 3
2/3
Example 10 - Line using Fm7 chord
Am7 B m7 Gmaj7
7 5
5 8 8 5 9 6
4 5 7 5 8 8 6
7 8 8 6
8 6 5
3/3
Rhythm Changes Chords
Jens Larsen
B  maj7 G7(  9) Cm7 F7 Fm7 B7 E  maj7 Edim A 7
6             
9 8 7 6 6 6 6 4
      

Standard tuning
 = 120
Example 1 - Standard Rhythm Changes
B  maj7 G7(  9) Cm7 F7 B  maj7 G7(  9) Cm7 F7
   1   2   3    4  
     

    


 
jz.guit.
6 9 8 8 6 9 8 8
 7
7
10
9
8
8
8
7
7
7
10
9
8
8
8
7
10 8 10 8
6 8 6 8
Fm7 B7 E  maj7 Edim B  maj7 G7(  9) Cm7 F7
     

5 6
   7 
 
8 


     


 
8 8 8 8 6 9 8 8
 8
6
7
6
7
8
6
8
7
7
10
9
8
8
8
7
8 6 7 10 8
6 6 8
Example 2 - Standard Rhythm Alternative for Bars 5-6
Fm7 B7 E  maj7 A 7 B  maj7 G7(  9) Cm7 F7
  9  10   11    12  

          


  
8 8 8 6 6 9 8 8
 8
6
7
6
7
8
5
4
7
7
10
9
8
8
8
7
8 6 10 8
6 4 6 8
Example 3 - Make them rootless

  13   14   15    16  
        
6 9 8 8 6 9 8 8
 7
7
10
9
8
8
8
7
7
7
10
9
8
8
8
7

     

17 18
   19 

20 


    
8 8 8 8 6 9 8 8
 8
6
7
6
7
8
6
8
7
7
10
9
8
8
8
7
1/2
Example 4 - Add variations Example 4 - Add variations

                 

21

22

23

24

    
6 8 11 9 8 11 9 7 6 8 11 9 6 8 9 7
 7
7
10
9
8
8
8
7
7
7
10
9
8
8
8
7

       
 
25 26    27    28
   
       
6 8 8 7 8 6 8 10 6 8 9 8 6 8 7 9
 8
6
7
6
7
8
6
8
7
7
10
9
8
8
8
7
Example 5 - Add higher melody notes


 
29   30



 31
   32

   
  
  
8 10 10 10 8 11 10 9
6 9 8 8 6 9 8 7
 7
7
10
9
8
8
8
7
7
7
10
9
8
8
8
7



 
33
 34

   35
   36 


    
  
8 6 6 6 8 10 11 10
8 8 6 5 6 9 8 8
 8
6
7
6
7
5
6
5
7
7
10
9
8
8
8
7
2/2
Rhythm Changes - part 1
Jens Larsen
Standard tuning
= 120
Example 1 - Rhythm Changes A-part
B maj7 G7alt Cm7 F7 B maj7 G7alt Cm7 F7
1
E-Gt
6 11 8 8 6 11 8 8
7 10 8 8 7 10 8 8
7 9 8 7 7 9 8 7
10 8 10 8
6 8 6 8
Fm7 B 7 E maj7 Edim B maj7 G7alt Cm7 F7
8 8 8 8 6 11 8 8
8 7 7 6 7 10 8 8
6 6 8 8 7 9 8 7
8 6 7 10 8
6 6 8
Example 2 - Simplified Chord Progression

B maj7 F7 B maj7 F7
9
5 5 5 5
6 6 6 6
7 5 8 7 5 8
7 8 7 7 8 7
5 8 6 8 5 8 6 8
6 8 6 8
B 7 E maj7 B maj7 F7
13
5 5
6 9 8 6 6
7 7 8 7 5 8
6 8 5 8 7 8 7
5 8 5 6 5 8 6 8
6 6 6 8
1/3
Example 3 - Connecting the arpeggios
B maj7 F7 B maj7 F7
17
5 5
6 6 6 6
7 8 5 7 7 5
7 8 7 7 8 7 7
5 8 8 6 6 8 8 6 6 8
6 8 8
21
6 5
6 9 9 6 6 6
7 7 7 7 5
8 8 5 5 7 8 8 7 7
6 5 5 6 8 6 6 8
6 8
Example 4 - "Barry Harris" Scale exercise

B maj7 F7 B maj7 F7
25
5 7 8 5 7 8
5 7 5 7 8 5 7 5 7 8
5 6 8 8 5 6 8 8
6 8 6 8
29
5 7 5 7 8
5 6 5 6 8 5 7 5 7 8
5 6 8 6 8 5 6 8 8
6 8 6 8
33
2/3
Example 5 - Example solo
B maj7 F7 B maj7 F7
34
7 5
8 7 7 7
8 6 8 5 8 5 8 8 5 8
38
6 8
7 8 7 7 8 7 5
6 8 8 5 7 8
8
B maj7 F7 B maj7 F7
42
6
7 7 5 7 8 7 5
8 7 8 7 7
8 5 (5)
B 7 E maj7 B maj7
46
6 9 8 6 6 6
7 7 8 7 5 7 (7)
8 7 8 7 8
3/3
Rhythm Changes - part 2
Jens Larsen
Standard tuning
= 120
Example 1 - Rhythm Changes A-part
1
E-Gt
6 9 8 7 6 9 8 7
7 10 8 8 7 10 8 8
7 9 8 7 7 9 8 7
10 8 10 8
6 8 6 8
8 8 8 8 6 9 8 7
8 7 7 6 7 10 8 8
6 6 8 8 7 9 8 7
8 6 7 10 8
6 6 8

9
6
6 8 10
5 7 8
5 7 8
5 6 8
6 8
Example 3 - C harmonic minor used over G7(b9)

11
7
6 8 9
5 7 8
5 6 9
5 6 8
7 8
1/3
Example 4 - Bb harmonic minor used over F7(b9)
13
6 7 10
5 6 8
4 7 8
4 6 8
5 6 8
Example 5 - Basic exercise - Arpeggios

15
6 6
7 5 8 7 5 8
7 5 9 5 8 7 7 5 9 5 8 7
5 8 6 8 5 8 6 8
6 8 6 8

19
6
5 8 7 6 7 5 8
6 6 5 8 5 8 7 5 9 5 8 7
8 5 8 6 7 5 8 6 8
6 6 8
Example 6 - Target notes

23
6 9 8 7 6 9 8 7
7 8 7 8
9 7 9 7
27
8 6 9 8 7
5 7 6 7 8
6 6 8 9 7
7
2/3
Example 7 - Example of practicing the changes
31
6 7 6
7 7 8 7 5 5 5 8
8 9 6 5 8 5 7 8 7 6 5 5 8 7 7
8 5 6 8 8 6

35
8 5
8 5 8 5 6 8 9 6 9 8
8 5 7 7 5 6 7 8
6 8 6 5 8 8 5 7
8 9 8 6
3/3
Rhythm Changes - Substitution for New Lines
Jens Larsen
www.jenslarsen.nl
 = 190
B  maj7 G7 Cm7 F7 B  maj7
   1      2
   3
         

E-Gt
6 8 6 8
 8
7
9
7 8 7 5
8 7
8 6 5 (5)

B  maj7 Bdim Cm7 B7 B  maj7
   4    5 6
             
10 6
 7
8 9
7
9 6 5
6 5 6 9 6 8
 8 7
Dm7 D 7 Cm7 F7 B  maj7

   
   7     8
       9 

8 5 9 7 10 6
6 9 6 8 9 10 9 7 6
 7 8

Dm7 D  m7 Cm7 F7 B  maj7
     
      
10
     11 12
   
11 15 11 14 11
9 12 13 12
 7 10 11
9 11 10
8
 10
D7 G7 Cm7 F7 B  maj7
   13
   14
    15
           
6 6 6
 4
5 4
6 3 5
8 7 5 6
7 6
9 8

1/1
Rhythm exercise on a Jazz Blues
Jens Larsen
Standard tuning
= 120
E-Gt
10 10 10
Example 2 - A blues in F with rhythm no 1

F7 B 7 F7 F7alt
6 7 9
5 7 8 7
8 6 7 10
8
B 7 Bdim F7 D7
8 9 6 10
7 8 7
9 6 7 10
8
Gm7 C7alt F7 Gm7 C7
8 6
7 6 8 6 5 7 8 7 6
8
10 10 10 10 10
1/3
Example 4 - A blues in F with rhythm no 2
F7 B 7 F7 F7alt
6
8 10 8 5 8 5 6
10 10 8 6 6 8 7 7 6
10 9 6
B 7 Bdim F7 D7
6 9 6 10 8 7
7 7 10 8 10 10 8 8
6 8 8 9 10
8
10 8
7 10 9 8 8 8 10 11 10 7 6
8 6 6 10 8 7 8 10
2/3
Example 5 - A blues in F mixing rhythms up
F7 B 7 F7 F7
8
6 9 10 8 7
8 10 8 10 7 10 7 (7) 8 7 7 8 9 10 8
10 10 10
B 7 Bdim F7 D7alt
6 6
7 7 8 7 7 8 7 8 7
8 6 9 6 7 10 10 10 9
8 8 9 8 6
8
6 7 6 7 8 9
6 8 5 7 8
5 7 8
5
3/3
Rootless Voicings - Part 1 - Triads
Jens Larsen
www.jenslarsen.nl
Standard tuning
= 120
Example 1 - II V I full chords and reduced to triads
Dm7 G7 Cmaj7 Dm7 G7 Cmaj7
1
E-Gt
6 3 5 6 3 5
5 4 4 5 4 4
7 3 5 7 3 5
5 3
3
Example 2 - C major diatonic 2nd inversion triads and what rootless chords the represent
Fmaj7 G7 Am7 Bm7( 5) Cmaj7 Dm7 Em7 Fmaj7
5
1 3 5 6 8 10 12 13
2 4 5 7 9 10 12 14
2 3 5 7 9 10 12 14
Example 3 - C major diatonic 1st inversion triads and what rootless chords the represent
Bm7( 5) Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5)
7
3 5 6 8 10 12 13 15
2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15
Example 4 - C major diatonic root position triads and what rootless chords the represent
Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5) Cmaj7 Dm7
9
1 3 5 6 8 10 12 13
2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15
1/2
Example 5 - Basic II V I Cadences
11
1 3 5 6 6 8 10 12 12
2 4 4 5 7 9 10 10 12
3 3 5 7 9 9 10 12 14
Example 6 - Melodic exercise suspending top note 2nd inversion triads

Fmaj7 G7 Am7 Bm7( 5) Cmaj7 Dm7 Em7 Fmaj7
14
3 1 5 3 6 5 8 6 10 8 12 10 13 12 15 13
2 4 5 7 9 10 12 14
2 3 5 7 9 10 12 14
Example 7 - II V I in C with a simple top note melody

Dm7 G7 Cmaj7
18
1 3 5 3 5
2 4 4
3 3 5
Example 8 - II V I in A minor (using A harmonic minor on the E7)

Bm7( 5) E7 Am7
20
6 6 5 6 5
7 7 5
7 6 5
Example 9 - III VI II V I in C (D harmonic minor on A7)

Em7 A7 Dm7 G7 Cmaj7
22
10 8 5 6 8 6 3 5 5
7 6 5 4 4
9 5 7 3 5
2/2
Satin Doll - Easy Jazz Chords
www.jenslarsen.nl
Jens Larsen
Dm7 G7 Em7 A7 Am7 D7 A  m7 D 7
10        
9 12 11 10 10 9 9
           

CMaj7 B7 B7 A7 Gm7 C7 Fmaj7 D7
8         
7 6 5 8 8 7 10
             
Dm7 Dm7 G7 Dm7 G7 A7 Em7 Am7
10                 5 5 3
                           
D7 A  m7 D 7 Cmaj7 B7(  5) B7 A7(  5)
             
3 7 6 5
     
          
Standard tuning
 = 120
Example 1 - A part Shell Voicings
  1  2   3    4   
      
jz.guit.
 10
10
10
9
10
10
10
9
12
12
12
11
12
12
12
11
10 10 12 12
10 10 12 12
Am7 D7 A  m7 D 7 CMaj7 B7 B7 A7

 5   6   7
   8
       
     
 12
10
11
10
11
9
10
9
9
9
8
7
7
6
6
5
12 11
10 9 8 7 6 5
9


1/3
Example 2 - B part Shell voicngs


10
 11   12
 13

   
 

 
 10
8
9
8
10
8
9
8
9
7
9
7
10 10 8 8
8 8

14   15    16  17 
  

 

 12
10
11
10
12
10
11
10
10
10
10
9
12 12 10
10 10 10
Example 3 - A part Shell voicings other position

18 19 20 21
 
   



 

 
   
 5
3
4
3
5
3
4
3
7
5
6
5
7
5
6
5
5 5 7 7
3 3 5 5
Am7 D7 A  m7 D7 Cmaj7 B7 B7 A7

22 23 24 25
   
      
 


 
    
 55 5
4
4
4
4
3
4
2
8
7
7
6
6
5
5 4 3
5 4 7 6 5
Example 4 - Extending Shell Voicings - 6th string root

Dm7  G7 
      
26  27   28   29  
  





  
       
10 12 10 12
8 10 12 13 10 10 8 10 12
 10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
9
10
9
10
9
10
9
10
9
10
9
10 10 10 10 10 10
10 10 10 10 10 10 10
Example 5 - Extending Shell Voicings - 5th string root

Dm7 G7
30
  31   32
   33 
         
       
    
3 5 3 5
3 5 6 5 3 5 6
 5
3
5
3
5
3
5
3
5
3
5
3
4
3
4
3
4
3
4
3
4
3
5 5 5 5 5 5
3 3 3 3 3
2/3
Example 6 - Comping with Extended Shells and melodic variation
Dm7 G7 Dm7 Em7 A7 Em7 A7

34   35
    36      37     

          
   
3 7 5
5 6 5 3 5 6 5 7 8 8 5 7 8
 5
3
4
3
5
3
4
3
7
5
6
5
7
5
6
5
5 5 7 7
3 3 5 5
Am7 D7 A  m7 D7 Cmaj7 B7(  5) B7 A7(  5)

38
   39
    40
     41 
 
  

        

    
3 5 3 2 4 4 5 3 8 8 8 6 6 8
 55 5
4
4
4
4
3
4
5
8
7
7
6
6
5
5 4 3
5 4 7 6 5
3/3
Secret to playing over Diminished Chords
Jens Larsen
Standard tuning
 = 110
Example 1 - Different versions of Dim chord progressions
G  dim Am7 Bdim Fmaj7 Bdim Gm7
   1
 2   
 3    
         
 
E-Gt

10 10
3 5 9 10 9 8
 4
3
5
5
7
9
9
10
10
9
10
8
8 8
 4 5
Example 2 - Turning Fmaj into A harmonic minor

 4
    5
 6
   
        
5 6 5 6
 5 7 8
5 7
6 7 9
5 7
8 8

Example 3 - Resolving the #IV dim to the target notes
Fmaj7 Gm7
 7
   8  9
   10 
     
9 10 9 10
 9 12
10 9
10 9 12
10 10
8
8 10

Fmaj7 Gm7
       
  11 12
 13  14
   
7 10 8 7 10 8
9 10 9 10
 10 9
10
10 10
8
8 10

Example 4
Bdim Fmaj7
       
 15  16

12 10 7 7 10 8
9 9
 10
1/2
Example 5
Bdim Fmaj7
 17
    18 

    
7
9 10
 9 9
7 9 10
11

Example 6
 19
       20        21

  
9 10 6
 7 10
9
10 9
7 10 7
8
6 9 6
8
5

Example 7
     
22
   23
      24
    
11 13 10 12 9
 10
12 10 8
10 7 9
11 10 8 7

Example 8
A  dim Gm7
   
 25     26 
 
7 12 10 7
9 9 9 10
 10 10
8
10

Example 9
A  dim Gm7
  27
    28
    

3 3 6 5 3 1
 6
4 4 3
3
 3
 29 30



2/2
Slash Chords - All major triads over bass notes
Jens Larsen
Standard tuning
= 120
Example 1 - Interpreting a slash chord as a "normal" chord
B /C C7sus4(9)
1
E-Gt
6 6
7 7
8 8
8 8
Example 2 - All slash chords consisting of a Major triad over a C bass note
C B/C Cdim(maj7) B /C C7sus4(9)
2
5 5 4 4 3 3
5 5 4 4 3 3
5 5 4 4 3 3
3 3 3 3 3 3
A/C C7(13 9) A /C G/C Cmaj7(9)

5
2 2 1 1 12 12
2 2 1 1 12 12
2 2 1 1 12 12
3 3 3 3
8 8
G /C C7( 5 9) F/C E/C Cmaj7(#5)

8
11 11 10 10 9 9
11 11 10 10 9 9
11 11 10 10 9 9
8 8 8 8 8 8
1/2
E /C Cm7 D/C Cmaj7(9,13,#11) D /C C7sus4( 9 13)
11
8 8 7 7 6 6
8 8 7 7 6 6
8 8 7 7 6 6
8 8 8 8 8 8
Example 3 - Using a triad over bass note in a progression

Gm7 C7(13 9) F6/9
14
11 10 8
10 9 7
10 11 7
10 8
8

Dm7 G7( 13) Cmaj7(#11)
16
6 6 7
5 8 7
7 9 7
5 10
8

Gm7 C7( 5 9) F6/9
18
11 11 10
10 11 9
10 11 10
10 8
8
2/2
Solar - Melodic Minor and Tritone subs
Jens Larsen
Standard tuning
= 120
Cm6 Gm7 C7
3 3
1 2 3 4
3 3
E-Gt
7 10 8 7 9 8
8 10 10 10 6 8 10
4 7 4 5 7 8 10 7 9
5 8 7 8 7 7 8 10
5 6 9 10
Fmaj7 Fm7 B 7
3 3
5 6 7 8
3 3
(8)
10 8 8 8 8 5
10 9 10 9 5 5 5 4 7
10 10 6 6 6 6
12 10 8 10
E maj7 E m7 A 7 D maj7 Dm7( 5) G7alt Cm6

3
9 10 11 12 13
4
4 3 3 3 6 3 6 3 5 3 5
5 5 3 4 56 5 5
6 5 3 6 8 6 5
7 6 4 3
1/1
Soloing over a II V I with Pentatonic scales
Jens Larsen
Standard tuning
= 120
Example 1 - II Valt I in C major
Dm7 G7alt Cmaj7
1
E-Gt
10 11 8
10 10 9
10 9 9
10
10 8
Example 2 - Dm pentatonic scale

5
10 13
10 13
10 12
10 12
10 12
10 13
Example 3 - Bbm pentatonic scale

7
11 13
11 14
10 13
11 13
11 13
11 13
Example 4 - Em pentatonic scale

9
12 15
12 15
12 14
12 14
12 14
12 15
Dm7 G7alt Cmaj7
11
13 10 10
12 12 10 10 13 10 12
12 10 13 11 11 13
13
1/2
Dm7 G7alt Cmaj7
15
13 11 15 12
13 10 14 11 14 11 12 15 15 (15)
12 12 10 10 13 14
12 12 13
Dm7 G7alt Cmaj7
19
13 10 11
10 12 12 13 10 13 10 12 12
12 13 13 14 12 12 14 (14)
12 13 14 12
10
2/2
Soloing with Chords Part 1
Jens Larsen
Standard tuning
= 120
Example 1: Fmaj7 harmonized scale
1
E-Gt
3 5 6 8 10 12 13 15
1 3 5 6 8 10 11 13 1 5 6 8 10 10 13 13
2 2 5 5 5 9 10 14 2 5 7 9 10 10 14 14
2 2 7 7 7 10 12 14 2 3 5 7 10 10 12 14
Example 2: Gm7 harmonized scale

3
3 5 6 8 10 12 13 15
3 5 6 8 10 11 13 15 3 3 6 6 10 11 11 15
3 5 7 7 7 10 10 15 3 3 7 7 10 10 12 15
3 5 8 8 8 12 12 15 3 3 5 5 8 10 12 15
Example 3: C7 harmonized scale

5
3 5 6 8 10 12 13 15
3 5 6 8 10 11 13 15 3 3 5 10 10 11 11 15
3 7 7 9 9 12 15 15 3 3 7 9 9 12 12 15
2 8 8 8 8 14 14 14 2 2 5 8 8 10 12 14
Example 4: D7b9 harmonized scale

7
2 3 5 6 8 10 11 13
1 3 4 6 7 8 10 11 1 1 4 4 7 11 11 11
3 5 5 5 8 8 11 11 2 2 5 5 8 11 11 11
4 4 4 4 10 10 10 10 1 1 4 4 7 10 10 10
1/2
Example 5: Turnaround 1
Gm7 C7 Fmaj7 D7 9
9
10 10 8 12 12 10 8 6 5 2
3 5 6 10 8 10 (10) 10 8 10 10 8 10 10 10 7 4 4 1
3 5 7 7 7 9 (9) 9 9 9 9 9 10 10 10 8 5 5 2
3 5 8 8 8 8 (8) 8 8 8 8 7 10 10 10 7 4 4 1
Fmaj7 D7 9 Gm7 C7 9
13
1 3 5 6 8 10 (10) 11 10 7 10 8 10 8 6 5 4 2 4 1
2 2 5 5 5 11 (11) 11 11 8 7 7 7 7 7 6 3 3 3 2
2 2 7 7 7 10 (10) 10 10 10 8 8 8 8 8 8 2 2 2 2
Gm7 C7 Fmaj7 D7 9
17
10 8 (8) 5 8 13 11 10
3 6 10 8 5 (5) 10 8 10 8 (8) 5 8 5 4 7 11 11 10
3 7 7 7 7 (7) 9 9 9 9 (9) 5 5 5 5 8 11 11 10
3 8 8 8 8 (8) 8 8 8 7 (7) 7 7 7 4 7 10 10 8
2/2
Soloing with Chords Part 2
Jens Larsen
Standard tuning
= 120
Example 1: G natural minor harmonized with Am7(b5) chords
1
E-Gt
3 5 6 8 10 11 13 15
1 3 4 6 8 10 11 13 1 4 4 8 8 10 10 13
2 2 5 5 8 8 8 12 2 5 5 8 8 12 12 12
1 1 5 5 10 10 10 13 1 5 5 7 7 10 10 13
Example 2: G harmonic minor harmonized with D7b9 chords

3
2 3 5 6 8 10 11 13
1 3 4 6 7 8 10 11 1 1 4 4 7 11 11 11
3 5 5 5 8 8 11 11 2 2 5 5 8 11 11 11
4 4 4 4 10 10 10 10 1 1 4 4 7 10 10 10
Example 3: G melodic minor harmonized with Gm6 and GmMaj7 chords

5
3 5 6 8 10 12 14 15
3 5 7 8 10 11 13 15 3 3 5 10 10 10 11 15
3 7 7 9 9 12 15 15 3 3 7 9 9 9 12 15
2 8 8 8 8 14 14 14 2 2 5 8 8 8 14 14
Example 4 - Minor II V I idea no 1

Am7( 5) D7( 9) Gm6
7
6 5 (5) 6 8 10 (10)
1 3 4 6 6 4 6 4 3 (3) 5 5 10 (10)
2 2 5 5 5 5 5 5 3 (3) 7 7 9 (9)
1 1 5 5 4 4 4 4 2 (2) 5 5 8 (8)
1/2
Am7( 5) D7( 9) Gm6
11
11 13 11 10 8 5 2 5 8 11 8 10 (10) 5 3
10 10 10 8 8 4 1 4 7 10 7 10 (10) 3 3
12 12 12 8 8 5 2 5 8 11 8 9 (9) 3 3
10 10 10 7 7 4 1 4 7 10 7 8 (8) 2 2

Am7( 5) D7( 9) Gm6
15
11 8 10 8 13 11
10 8 8 8 11 11 11 10 7
12 8 8 8 11 11 11 9 7
10 7 7 7 10 10 10 8 8
2/2
Sus4 Triads as Upper Structures
Standard tuning
= 120
Example 1 - Asus4 in inversions
1
E-Gt
0 5 10 12
3 5 10 15 3 5 10 15
2 7 9 14 2 7 9 14 2 7 9 14
2 7 12 14 2 7 12 14
5 7 12 17
Example 2 - Chords with an Asus4 as upper structure

G7(13) Fmaj7(13) Bm7(11) B Maj7(b5) C6/9 C 7alt
4
5 5
5 5 5 5 3 5
4 7 7 7 2 4
3 7 7 7 2 3
8 3 4
3 7 6
Example 3 - Asus4 Triad arpeggios

10
5 5 10 10 12 17
3 5 5 10 15
2 7 7 9 14
2 7 7 12 14
5 5 7 7 12
5 5 10 12
Dm7 G7 Cmaj7(#11)
14
10
8 8 9 9 11 9 8 10 8 7 7 (7)
10 9 6 8 8 9
10 10 7 6 9
8
Example 5 - II V I in A minor
Bm7( 5) E7alt Am7
18
10 9 6
7 9 9 7 5
7 8 5 5
8 8 7
7 10
1/2
Example 6- II V I in C major
Dm7 G7alt Cmaj7
22
8 10 8 9 11 9 8 12 10
7 7 8 8 9 9 12 (12)
5 7 9 10 12
5 11 10
2/2
Target Notes
Jens Larsen
http://jenslarsen.nl/target-notes/
Standard tuning
= 120
Example 1
Fmaj7 D7alt Gm9 C7alt
1
S-Gt
10 11 10 9
9 11 10 9
10 10 8 8
8 10
10 8
Example 2 - Fmaj7 and Gm7

5
8 10
8 10 11
7 9 10
7 8 10
8 10
Example 3 - D7alt
7
8 10 11
9 11
8 10 11
8 10 12
8 9 11
10 11
Example 4 - C7alt
9
8 9 11
9 11
8 9 11
8 10 11
7 9 11
8 9 11
Example 5 - Some target notes

12
10 9
11 7
1/2
Example 6 - connecting
16
10 8 8 9 9
10 11 10 8 7 10 9
Fmaj7 D7alt Gm7 C7alt Fmaj7

20
11 9
10 8 8 9 11 10
9 11 8 10 7 9 10
10 10
Example 7
25
10 8 8 10 8 7 8 9 9 11
9 8 7 8 10 8 6 7 7 9 9
10 10 8 8 11
10
Fmaj7 D7alt Gm7 Fmaj7

29
8
10 10 8 10 8 7 8 10 8 9 9 11 9
8 7 8 7 8 10 6 7 7 7 9 9
10 8 11
etc etc
Fmaj7 D7 alt Gm7
33
3
3
8
10 8 10 10 9 8 7
8 8 10 6 7
10 10
2/2
Target Notes on a II V I
Jens Larsen
Standard tuning
= 120
Example 1 - Chords of a II V I in C major
Dm7 G7 Cmaj7
1 2 3 4
E-Gt
10 10 8
10 10 9
10 9 9
10
10 8
Example 2 - C major scale in th 8th position

5 6
7 8
8 10
7 9 10
7 9 10
7 8 10
8 10
Example 3 - Arpeggios for the II V I

Dm7 G7 Cmaj7 Cmaj7
7 8 9 10
8 7 7 7
10 8 8 8
7 10 7 10 9 9
7 10 9 9 10 9 10
8 8 10 7 10 7 10
10 10 8 8
Example 4 - Target notes for the lines

Dm7 G7 Cmaj7
11 12 13 14
10 8
10 7 10 9
9
Dm7 G7 Cmaj7
15 16 17 18
8 10 8
10 9 7 7 10 7 10 9
7 10 7 10 9
8
1/2
Example 6 - Line No 2
Dm7 G7 Cmaj7
19 20 21 22
7 10 9 7
7 10 10 7 9
10 8 7 8 10 8 7
10
Dm7 G7 Cmaj7
23 24 25 26
8
10 10 8 10 8 8
10 9 7 7 7 10 10
10 9
10
2/2
28/10/2018 The 3rd Messiaen mode - Jens Larsen
Jens Larsen
Jazz Guitarist and Composer
The 3rd Messiaen mode
Like 3 1
The Messiaen modes are a set of 7 scales that all have the property that they are symmetric, so that if you transpose them a certain
interval you’ll end up with the same scale. The rst 2 are the whole-tone and the diminished scale, which should be fairly familiar to
most jazz improvisors.
The 3rd Messiaen mode is, for me, mostly something I place in the special e ects department rather than a go to choice for a certain
change. It is symmetric every major 3rd, and that is probably one of the reasons the sound of it is in many ways related to
augmented triads.
A few ways to view the scale and its construction.
I’ll try to break the scale down a bit. To me when I am improvising I tend to have more luck making good melodies if I have structures
like arpeggios besides the scale, so I’ll just try to list at least some of the material available in the scale.
The 3rd Messian mode has 9 notes. From C it would be C D Eb E F# G Ab Bb B. You could see it as a collection of these 3 melodies
each a major 3rd apart:
For
Guitar
that is a
useful
way to
make an
easy
symmetr
ical
ngering.
https://jenslarsen.nl/3rd-messiaen-mode/ 1/4
JensLarsen
Messiaen 4th mode Ex 1 Share
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Another way to look at it is as the sum of these chords:
These last two examples

has the scale broken up in
the major and minor
“Coltrane” patterns in major
thirds.
If we look a bit at what is

contained in the scale we
end up with:
Triads:
C, Cm, Cdim, Caug, Daug, Eb, Ebaug, Ebsus4 (and then of course these triads moved up a major third and another major third)
7th chords:
Cmaj7,Cmaj7(b5),Cmaj7(#5),C7,C7(b5),C7(#5),Cm7,Cm7(b5), CmMaj7
D7(b5), D7(#5)
Ebmaj7, Ebmaj7(#5), Ebm(maj7), Ebm6
Scales:
The C whole tone scale
The Augmented Scale (C Eb E G Ab B C)
So we have a lot of di erent arpeggios and structures to choose from. To keep it a bit simple I only listed the arps for one
transposition since the scale is symmetic.
Using the scale in improvisation.
If I use this in a solo, it is mostly in a situation where I can but it on top of a somewhat static sound, ie 4 bars or longer of one chord. If
the chords are moving really fast the e ect of it is lost because everyhing around it is moving, when there is a bit more time and the
ear is expecting one sound but then getting another it is a bit easier to use in a sensible way (to me in any case..).
Here are a few examples of using the scale over di erent harmonic colors. In each case I tried to work from chords that already have
a sound that is present in the scale. I start all of the examples by playing a bit of inside and then going into the notes/arpeggios that
sound further away from the harmonic background. In that way I am using the scale in a “functional” way and not as a scale and a
sound in itself. I am not very familiar with Messiaens music, but I don’t think that was what he was trying to do.
My approach to making lines is pretty much stringing together the contained structures that I have listed, and examples of how I do
that is found in my triad pair blogs (part 1-3).
The rst example is over a C7 ri .
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The second example is over an AmMaj7 chord. I very often use the scale like this where it is over a chord that has an augmented
sound in the upper structure (ie C E G#) in this case and then I ignore that the A is not in the scale.
JensLarsen
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The last example is still the same scale but now over a Abmaj7 chord. This is very e ective since the chord itself is a complete resting
point and the other sounds on top (f.ex B,G,C and E major triads) are very out.
JensLarsen
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If you want to read more about the modes you might have a look here:
http://en.wikipedia.org/wiki/Messiaen_modes
This entry was posted in Lesson on January 7, 2014 [https://jenslarsen.nl/3rd-messiaen-mode/] .
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The Best Blues Comping Concept Awesome and Easy
Jens Larsen
www.jenslarsen.nl
 = 114
Example 1 - Basic 3rd and 7th voicings
 E7 B7 B7
   B7 1 2
  3 4
       

E-Gt
 7
6
6
5
7
6
7
6

 E7 B7
  E7 G7
 
5 6 7 8
   
 
 6
5
6
5
7
6
10
9

Cm7 F7 B7 F7
   9 10
 11 12

   
 8
8
8
7
7
6
8
7

Example 2 - Adding Voicing Variations
B7 E7 B7 B7
   13   14
    15   16  
                 
6 8 4 6 6 8 6 8
 7
6
7
6
7
6
6
5
6
5
6
5
7
6
7
6
7
6
7
6
7
6
7
6

E7 E7 B7 G7
          
17
 18
   19
 
20
            
4 6 4 6 6 8 9 11
 6
5
6
5
6
5
6
5
6
5
6
5
7
6
7
6
7
6
10
9
10
9
10
9

Cm7 F7 B7 F7
   21
  22
     23   24
    
            
6 8 7 9 6 8 7 9
 8
8
8
8
8
8
8
7
8
7
8
7
7
6
7
6
7
6
8
7
8
7
8
7

1/2
Example 3 - Comping Example
B7 E7 B7 B7
   25    26
      27    28    
                     
8 8 6 6 4 6 4 6 8 6 8 8 8 6
 7
6
7
6
7
6
6
5
6
5
6
5
6
5
6
5
7
6
7
6
7
6
7
6
7
6
7
6
7
6
7
6

E7 E7 B7 G7
   29     30     31         
32  

                    
 
6 4 6 4 6 8 6 8 8 9 11 9
 6
5
6
5
6
5
6
5
6
5
6
5
6
5
6
5
7
6
7
6
7
6
7
6
7
6
10
9
10
9
10
9

Cm7 F7 B7 F7
   33
   34        35     36       
                  

8 6 9 7 9 8 8 6 9 9 7 9
 8
8
8
8
8
8
8
8
8
7
8
7
8
7
8
7
7
6
7
6
7
6
7
6
8
7
8
7
8
7
8
7

2/2
The Craziest Arpeggios I know
Jens Larsen
Standard tuning
= 120
Example 1
Am7
1 2 3
E-Gt
8 7 12 (12)
8 10 8 12 8 8
9 9 5 7
10
7
5
Am7 Am D Quartal
4 5 6
8 8
8 8
5 7 5 7
7 7
5 5
Example 2
Am7 D7alt Gmaj7
3
7 8 9
3
3
8 13 11 13 10
9
11
9 10 9 10 9 10
12 10 11
12 11 10
D7alt D7( 5) Fm
10 11 12
8 13 8 13
9 9
11 11
10 10
11 11
10 10
1/3
Example 3
Am7 D7alt Gmaj7
3 3
13 14 15
3 3
3
3
7 12 10 11 8
7 9 11
5 9 10 9 8 7
5
7 7
8 5
Am7 Am7 Bsus4

16 17 18
7 12 7 12
7 7
5 9 5 9
5 5
7 7
5 5
19 20
Example 4
Em7 5 A7 Cm7 F7
21 22 23 24 25
10 8 5 6 10 15 13
11 10 8 6 8 6 6 11 10
7 6 8 10 12
5 7 5 8 13 13
7 0 10
6 8 8
Em7( 5) Edim Dsus

26 27 28
10 10
8 8
7 7
5 7 5 7
7 7
6 6
2/3
Cm7(11)
29
10 15
11
10
13
10
8
30 31
Example 5 - Gmaj7(#5#9) Poly-tonal arpeggio
32
6 10 7 14
7
4 8
4
5
3
Gmaj7(#9)#5 Gmaj7 E mMaj7

33 34 35
6 10 6 10
7 7
4 8 4 8
4 4
5 5
3 3
3/3
The Minor Chord You Never Use
Jens Larsen
Standard tuning
= 120
Example 1 - Using m7 chords (as a II or as a III chord)
Am7 D7( 9) Gmaj7 Am7 D7( 9) Gm7 C7(9) Fmaj7
1 2 3 4
E-Gt
5 4 3 5 4 3 3 1
5 5 4 5 5 3 3 2
5 4 4 5 4 3 2 2
5 5 3
5 3 5 3 1
Example 2 - Using Am6 or AmMaj7 (as a Im or IVm chord)

Bm7( 5) E7( 9) Am6 Amaj7 Am6 Emaj7
5 6 7 8
6 6 5 5 5 4
7 7 5 6 5 4
7 6 4 6 4 5
7
7 5 5 5 0
Example 3 - Different types of Minor Chords

Am7 Am6 AmMaj7 Am7(13)
9 10 11 12
5 5 5 7
5 5 5 5
5 4 6 5
5 5 5 5
Example 4 - A few minor7(13) Voicings

13 14 15 16 17 18
0 2 7 8 12 14
1 3 7 8 8 13
0 5 5 11 11 12
4 5 5 12 10 12
1/2
Example 5 - m13 chord as a II chord
Am13 D7alt Gmaj7 Am13 D7alt Gmaj7
19 20 21 22
0 1 2 2 4 5
1 1 3 3 1 3
0 3 2 5 3 4
4 4 5 5 4 4
Am13 D7alt G6 Am13 D7alt Gmaj7

23 24 25 26
7 8 7 12 11 10
7 6 5 8 9 8
5 7 7 11 11 11
5 4 5 10 10 9
Example 6 - m3 chord as a Im chord

Bm7( 5) E7( 13) Am13 Bm7( 5) E7alt Am13
27 28 29 30
0 0 2 5 3 7
0 1 3 3 3 7
2 1 5 4 5 5
3 0 5 3 6 5
Bm7( 5) E7( 13) Am13 Bm7( 5) E7alt Am13
31 32 33 34
10 8 12 13 15 14
10 9 8 12 14 13
10 10 7 14 14 12
9 12 10 12 12 12
2/2
The Reason Your Jazz Licks Suck!
Bebop Phrasing Rule #1
Jens Larsen
www.jenslarsen.nl
Standard tuning
 = 100
Dm7 G7 Cmaj7 A7 Dm7 G7 C6
 1 2 3
    4
                      
s.guit.
5 6
 3
2 5 2 4
6 5 3 2 2 5 2 3
2 5 7 4
5
5
5 2 3 4
Dm7 G7 Cmaj7 A7 Dm7 G7 Cmaj7

5
   6         7  8
             
4 3 6 5 3
3 6 5 3 6 3
 2
3
2 5 4 5 6 2 5 4
3 6
3
5
Example 3 - Arpeggios resolving down (Dm7 to G7)

9 10
  11 12
                  
5 3
 7
5 4
3 7
5 2
3
2 5 4
5 7 6
5 8 5 8
Example 4 - Changing direction in the begining of a phrase (G7 to Cmaj7)

13 14 15

              
 4 7 4
6 5 8 9 8
4
6 5 3 2
11 10
Dm7 G7 Cmaj7
16
    17
  
18
          
 7 10
9 7
10 7 8 9
7
9 8 9 8
8 10 11 10
Dm7 G7 Cmaj7
      
19
     
20
 
21
  
7 11 10
8 9
 10
7 10
9 7
10 7 9
8 10
8 10
1/2
22
Example 10 - George Benson solo on Billie's Bounce 0:47

Am7 D7   Gm7 C7 F7 D7 Gm7 C7
          
     
23 24
  25
       26
  
 27 


3
10 8
8 7 11 7 10 8 8 8 9 10 9 10 8
 10
9 10 7 8 9
10 9 8
7
10
7 10 10 10
F7 sl. B7 F7
28  29
        30 31    
    

sl.
8 9 8 7 6
 (10) 7 8 7
10
10 7 8
10
2/2
The Triad we never talk about
but we play it all the time!
Jens Larsen
Standard tuning
 = 120
Example 1 - Two comping examples with the mystery triad
Dø G7 Cm6 Dm7 G7 Cmaj7
   1       2
    
 


E-Gt
 10108 9 11
10
9
9 8
8
7
6
9
10
7
6
8
9
5
7
9

Example 2 - The Major b5 triad
E E (  5) B B(  5)
   3  4
    
 
8 8 7 6
 8
8
8
7
8
9
8
9

Example 3 - C(b5) in inversions on two string sets
     
   5
  6
    
  
2 8 12 14
5 7 13 17 5 7 13 17
 5 9 11 17 5
4
9
10
11
14
17
16

Example 4 - Using the b5 triad as an Am6
Bø E7 Am6
 7      8  

10 12 9 12 7
 10
12
10
12
9
10

Example 5 - Using the chord as a D7
Am7 D7 Gmaj7
  9   10  
 
8 7 7
 9
10
9
10
7
9

1/3
Example 6 - Using the voicing as an Ab7alt
E  m7 A  7alt D  maj7
   11
  12
 
  
6 5 4
 6
4
5
4
5
3

Example 7 - C7(b5) arpeggio shifting and in position
    
 13
   14 15
  
      
12 14 8 12
13 7
 10
9 11
10
9
7 9 7 9
 8 8
Gm7 C7 Fmaj7
     
 16
      17
    18
 
8 13 9 11 13 10
 8
7 10 7 10 9 7
10
9 11 9

Example 9 - major b5 triads in Db melodic minor
C( 5) E( 5) G (  5)
       
19
  20


9 11 11 13
 10
9 11 9 11

Gm7 C7 Fmaj7
  21       22   23
        
8 11 10 8 7
 7
8
10 7 9
10
8
11 7 10 8 7

 
Example 11 - major b5 triads in the C7 dim scale
     
24
   25

 
4 2 7 5 10 8 13 11
 2 5 8 11
2/3
Bø E7( 9) Am6
       
26
   27
  
28

        
13 12
 7 10
9 7
10 7 9
7 9 10 10 9
7 10
9 11
7 8 11

Example 13 - major b5 triads in A melodic minor
C( 5) D(  5) G (  5) 
    
29
    30


5 7 7 9 13 15
 5 7 13
3/3
The Wrong Tritone Scale
Jens Larsen
Standard tuning
= 103
Example 1 - The two tritone scales from the diminished scale
A D B F
E-Gt
9 7 7 10
8 7 8 10
10 7 9 10
Example 2 - The other tritone scale

3
3
3
3
3
3
11 13 14
10 12 13
8 10 11
7 9 10
6 8 9
5 7 8
Example 3 - II V I in G major
Am7 D7( 9) Gmaj7
5 4 3
5 5 4
5 4 4
5
5 3
Example 4 - The notes related to a D root

5th 13 b7 b9 #9 3
8 10 11
7 9 10
1/2
Am7 D7 Gmaj7
10 13 12
8 11 10
10 7 9
7 10 7
7 10 9 7 8
Am7 D7 Gmaj7
8 11 10
7 10 10
9 7 8 10
9 10 9 7 9
10
8
Am7 D7 Gmaj7
12 8
9 7 8 10 8 8 7
10 10 9 7 7 9 10 10
9
2/2
Things You Need To Know In Melodic Minor
Jens Larsen
Standard tuning
 = 170
  Example 1 - A Melodic Minor

      
1 2
    3


      


E-Gt
7 8 10
7 9 10
 6 7 9
5 7 9
5 7 9
 5 7 8
etc..
Example 2 - Diatonic Triads
 4 5
          
     
 4 6 7 6 9
7 5 7 5 9 7 9
 5 8 7 8
Example 3 - Diatonic 7th Chords etc

 6 7

       
       
 6 7 6 9 7
5
7 5 9 7 5 9
 5 8 7 8
Example 4- Diatonic Quartal Arpeggios


  8
 9  
 
 10       
         
3 5 7 9 10 12 13 15
 2
2
4
4
6
5
7
7
9
9
10
11
12
13
14
14

Example 5 - Diatonic Quartal Arpeggios in position
  
   
11 12 13
      
          
 
7 9
 6 7 9 6
5
7
7
9
9
6
5
7
7
5 7 9 5 7 9
 5 7 8
     
 14
    15

  
7 8 10
10 7 9 10
 9
9 5 7 9

1/3
       
Example 6 - Diatonic Sus4 Triads
      
16 17         18
  
1 3 3 5 5 7 7 9 9 10 10 12 12 13 13 15
 1 2 4 5 7 9 11 13

Example 7 - Diatonic Sus4 Triads as Chords
       
19
   20
  
1 3 5 7 9 10 12 13
 4
4
5
6
7
7
9
9
11
10
13
12
14
14
16
16

Example 8 - Diatonic Spread Triads - Root Position
    
 
 
21 22 23
    
  
 
 
   

1 3 5 7 9 10 12 13
 2 4 6 7 9 10 12 14
0 2 3 5 7 9 11 12

Example 9 - Diatonic Spread Triads - 1st Inversion
 24  25   
 26 
    
      
     
5 7 9 10 12 13 15 17
 2 4 5 7 9 11 13 14
3 5 7 9 11 12 14 15

Example 10 - Diatonic Spread Triads - 2nd Inversion
   
 
27  28    29   
      
     
2 4 5 7 8 10 12 14
 2 4 5 7 9 11 13 14
3 5 7 9 11 12 14 15

Example 11 - Diatonic Spread Triads In Position
   
 30
 31
   32
 33 
 
             
  
7 8 10
7 9 10 7
 5 7
6
9
7 9
5
6
7
7
9
9
7 9 5 7 9
 5 7 8
2/3
Example 12 - Lick no 1
  
  34
    35
   
36
   
 
10 12 9 10 9 5
 9 7 5
7 9 6 6 (6)
7 9
 8
        
 37
    38 39
    
7 12 8 10 12 7 (7)
7 10 9
 7
9
6 9
9 7
 8
       
 40
   41
   42 
  
5 10 8 7
7 5 10 7 10 9 9 7
 6
5 9 5
7

3/3
Thing You Never Use in Your Solos - Mixolydian
Jens Larsen
Standard tuning
 = 220
     
  1
Example 1
2
    3
          

E-Gt
10 12 14
10 12 13
 9 10 12
9 11 12
9 10 12
 8 10 12
  4
Example 2
5
  6    
       
   
    
 
 2
4
4
5
5
7
7
9
9
11
10
12
12
14
14
16
0 2 3 5 7 9 10 12

Example 3
   
   7 8      9
      10
   
          
10 14 14
10 12 13 10 12
 12
9
9
11
10
12
12
9
9
11
10
12
12
9
10 12 9 10 12
 8 10 12
   
  Example 4 
11      12
     13
 
14 12 17
12 10 12 10 15 12
 9 12 11 9
12 10
11
12

 
Example 5
      
14
 15
    16
 
       
10 12 10 14
10 12 10 13 12 10 13 12
 9 10 9 12 10
9
9 12
11
10
9
12
11 9 11
12 9 12 9 12
 8 12 10 12
1/2
  Example 6
17 18
        19
    
         
 2
2
4
4
7
5
9
7
10
9
12
11
14
14
3 5 7 9 12 14 15

          
  20
Example 7
   21  22
  
10 8 12 10 14 12
12 10 12 10 12 13 (13)
 10
9 11
12

 
  Example 8
23  
   

14
12 13
 9 10
11
9
 8
  
  Example 9
24
 
   
10 12
10
 12
9
12
 10 12
    
  Example 10 
25
 26
  27
      
10 12
12 13 10
 12
11 9
10 9 9 10
11
12 10 9
 12
2/2
28/10/2018 This Is Not Bebop, But It Is A Great Coltrane Solo - Jens Larsen
This Is Not Bebop, But It Is A Great Coltrane Solo
It is not surprising that a Coltrane solo isn’t bebop, but it is interesting to figure out why that is the case. Understanding what
types of licks or melodies are typical for a style of music is a really good description of what is going on.
The solo that I am talking about in this video is John Coltrane’s solo on the F blues – Take the Coltrane off the
Coltrane/Ellington album from 1963.
In the video I am presenting an analysis of the solo with a focus on the melodies, there placement and function in the form
and not only the notes that are being used. I find that it takes a more detailed view to understand a solo than just what scales
are being used.
Let me know what you think?
A few thoughts on this Coltrane solo Analysis
As always music is not an exact science so this solo has a lot of traits that are really not bebop sounding but it still contains
examples of normal bop lines and chromatic passing notes etc. So clearly Coltrane is rooted in that tradition even if he is
moving away from it.
I am going to talk about this using three examples from the solo but it can be a good idea to check out the whole solo. There
are a lot of transcriptions online so you can easily find that and listen to the solo.
Some of the things that are different are about the choice of sounds, but in my opinion it is more about how the sounds are
used and the melodies than what scale. I am curious what you think?
Melodies without direction and not playing blues
https://jenslarsen.nl/this-is-not-bebop-but-it-is-a-great-coltrane-solo/ 1/3
What is interesting about this first part of the solo: He doesn’t play the 3rd of the chord at all for the first 8 bars, that is very
different from bebop where everything is tied much more closely to the chord. Here the melodic statement is very strong and
fairly long but it is intentionally vague. If you play the melody it could fit on a Cm blues just as easily as a F blues which is
not really going to be the case for a Parker or Stitt solo. There is a Wes solo that does this as well and Wes would often sit
heavily on the “II” sound on a V chord.
The 2nd 4 bars is a development of the first 4 but then moving with the chords, still not playing the 3rd of the chords.
So this is really about what note he isn’t playing and it becomes even more clear when we don’t have the piano comping.
Unresolving Tensions and Angular melodies
This example illustrates how the approach is much more modal. Coltrane is very often playing melodies that fit the chord but
are not really functional and moving forward towards the next chord.
This is clear in the first bars where there is first an angular statement just using an F7 arpeggio. In fact using the 2nd
inversion F major triad which Coltrane seems obsessed with in this solo.
A great example of how the emphasis is on sound rather than function is the Altered dominant in bars 3 and 4 of this
example. Here there is a clear altered or tritone sound and the b5 is really at the center of the line, but the line is not resolved.
It stops before changing and the statement on the Bb7 is unrelated to the altered line.
The last part of this example is demonstrating how the chords are interpreted. The statement on the Bb7 is turned into a
motief that is moved down in half steps to give us an Am7 Abm7 Gm7 progression.
Another thing that shows how this is less functional is that the final II V is replaced with C7 Bb7 in the song taking away the
main cadence of the Jazz Blues.
Super-imposed Pentatonic Scales
Coltrane doesn’t really use normal blues phrasing a lot in this solo and here he does use Fm pentatonic in a way that is really
typical for everybody who came after him. I think it is important to notice that using Fm pentatonic on a Blues in F is
something that is quite rare with the bop guys. Pentatonic scales are not really a part of bebop in the way they are used as a
sound here.
The blues phrases of Joe Pass and Charlie Parker are quite different and much more a mix of major and minor.
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Why Coltrane is not bebop
This Is How You Should Practice Every Scale Exercise
Jens Larsen
www.jenslarsen.nl
 = 114
 
  1
Example 1
        2
       
  

E-Gt
8 10 12
8 10 12
 7 9 10
7 9 10
7 8 10
 7 8 10
Example 2
     
 3
   4
        
  
           
8 10 12
8 10 12
 7 9 10
7 9 10
7 8 10
 7 8 10
 
 5
Example 3
        6
       
  
           
8 10 12
8 10 12
 7 9 10
7 9 10
7 8 10
 7 8 10
 Example 4
         

7
         
8
     

    
8 10 8 12
8 10 8 12 10 12
 7 9 7 10 9
7
10
9 7 10 9 10
7 8 7 10 8 10
 7 10 8 10
 Example 5
           

9
         
10
   

    
8 10 8 12
8 10 8 12 10 12
 7 9 7 10 9
7
10
9 7 10 9 10
7 8 7 10 8 10
 7 10 8 10
1/2
 Example 6
         
11
    
12 
    
       
   
8 10 8 12
8 10 8 12 10 12
 7 9 7 10 9
7
10
9 7 10 9 10
7 8 7 10 8 10
 7 10 8 10
 Example 7
   
  
13 14 15

     

  
8 10 8 12
8 10 8 12 10 8 12 10
 7 9 7 10 9
7
7 10
9
9
7 10
10
9 7 10 9 10
8 7 10 8 7 10 8 10
 7 10 8 10
 Example 8
  
 
16 17 18
       
 
           
8 10 12 8
8 10 8 12 10 8 12 10
 7 9 7 10
7
9 7 10
9 10 7
9 10
9 10 7 9 10
8 10 7 8 10 7 8 10
 7 10 8 10
2/2

MODERN JAZZ CONCEPTS Jens Larsen PDF

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Three ways to Use Arpeggios in Scale Runs

Example 2 - Diatonic triads of the scale (written as melodic minor)

Example 3 - Exercise Dbm and Ebm in inversions

Example 4 - improvising with Dbm and Ebm in inversions Etc..

Example 6 - Line no 2 Eaug and Gb

Example 7 - Line no 3 Ab and Bbdim

Example 2 - F triad in inversions 2 string sets

Example 3 - F major triad in inversions using two strings

Example 4 - C major in diatonic 2nd inversion triads

Example 2 - Triad pattern F and Gm triads

Example 3 - Chain pattern

Example 3 - Improvised exercise with Bb and Am triads

Triads and Triad pairs in improvisation Part 1

To keep it simple I have made all exercises on a Bb triad.

Basic Triad exercises.

Diatonic triad exercises

Open Triad voicings.

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Triads and Triad pairs in improvisation Part 2

A few (simple) observations

We tend to use the root position triad the most.

We tend to use the root position triad the most.

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Triads and Triad pairs in improvisation Part 3

First it might be useful to have an overview of all possible triad combinations:

Triads without common notes

Whole step apart:

Minor third apart:

Major third apart:

Cdim E E harm maj

C Fdim C harm maj/F gypsy

Cm Fdim C harm min

Cdim Fdim F7 dim

When I write C augmented, I am referring to this symetric scale: C Eb E G G# B

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Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5) Cmaj7