The Missing Triad in your Jazz Blues Chords - Simple and Easy

Flexible voicings like triads are very practical to add to your jazz blues chords. We can do a lot with Triads and they are fairly easy to play and move around. This video is taking a look at how we construct 3 note voicings for a jazz blues and then adding a triad voicing that fills a gap on the fretboard.

From there I show how you can take that thorugh a chorus and develop it into another similar type of chord which also gives us a complete set of voicings on the blues.

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[JensLarsen]

Did you already use this triad in your playing? 🙂

[dkwvt]

I've been bumping up against these shapes in my playing just experimenting with intervallic motion. I didn't realize it was actually voice leading and I just discovered an app that lets me plug in finger positions on the fretboard and tells me the chord name(s) I am describing. This lesson is a perfect roadmap, Thank You again!

[anthonydemitre]

Hi Jens, ya I look at all the 7th chord tones of a chord on the neck and try connecting them but I love the concise examples you give for practice, god! I'm glad I have the spelling corrector too lol

[sergiopipyamodio]

Gracias desde Argentina por hacer público todo ese valioso Conocimiento.

[joehernandez]

Great material. Thanks. Really appreciate you consistently coming up with practical and useful material.

[vbrajprasad]

Short, but very Useful as chords on the run

[Shuzies]

Always thinking....your upping my game....thank

[tomcripps]

I've been using that first F7th voicing in my fingerstyle stuff by way of Merle Travis. His son Thom Bresh uses it and I've wondered why when there are are easier ways to get a similar sound. I've been doing it in E7 on Nine Pound Hammer but now see other things to use it for. Thanks Jens. The one I'm referring to is what I call the flamenco blues walkdown I learned from Stephen Bruton who learned it from Ted Greene although I've not seen it in his books but came upon the term after watching a video of Lenny Breau explaining flamenco technique. I later found it in one of my worksheets my old teacher wrote for me which didn't make sense at the time. You basically put pinky on the D note of the B string with 1st and 2nd fingers on the G and A string(A and C notes) Keep pinky on the D(root) and walk the 1st and second finger down. But try it on the E or G or A etc. After walking it down you have a cool way of using the pentatonic scale while keeping pinky on the root. Gives it a cool George Benson, Barney Kessel sort of sound.

[nlmal]

Good stuff, I will check it out.... First thing First 👍🏾🎸

[gcole]

Hi Jens, I do pretty much the same as you. I use the tones above the root as a triad and then see how they voice lead. Also I will see what tones I can replace with color tones and voice lead that. But that is what you are doing already. Thx Good Stuff! :)

[plumhunter]

Your comment near the end of the video, "How to remember and categorize voicings and learn them" is worth a discussion. So if I have 4 or 5 note chords, what strategy should I employ to find the 3-note voicings which give me more flexibility in my playing across the fretboard.

[SaltAndLight]

Hey Jens, just wondering, do you have any bloopers or funny mistakes made while filming? A feel like a compilation of bloopers would be so entertaining to watch! Haha take care, thanks for another great video

[ss-whsx]

why am i seeing it as 5 voicing...wouldnt the F7 with the 5th be a different voicing than the F7 with the root...or are they one in the same..??

[vbrajprasad]

Getting away from diatonic chord pattern is a bit tough job to me. I am not a professional. Guitar playing is just my hobby. Here in India I don't have opportunities to sit and practice with co-musicians. I really like chord melodies, I can't reach fro 3rd to 7th fret in playing a chord form, as my fingers are not that lengthy to reach. But I do that only with alternate picking.

[manuell.]

in the triad in D7 b13, you play b7, b9 3, but don't play b13, .. Why? A mistake?