Blues/Jazz Chords/Help

[Los7]

i'm not quite sure how to word this, but i'll give it a shot.
basically, i'm bored of the usual stuff i play, pentatonic scale, and the usual chords... So i want to get into some more "fancy" stuff e.g "sexy jazzy bluesy chords/scales"
this video explains exactly what i mean
Clicky

the piano in this song is totaly awesome, i basically want to know what the hell he is up to, what sort of chords are going on and what scale/s he is going up and down. I'm not even sure this sort of thing can be done on the guitar or how it works. But if someone could tell me the chords that are being played, that would be awesome.
Also, i would like to know of any other songs/composer's i can listen to that are like this.
Thanks in advance, Steve

Link fixed, thanks Neo, there is something wrong with my browser. When i click the "insert link" i dont get the second option to add the text, i have to put the code in manualy

[NeoFauve]

They're either playing really softly, or the link is no good.

[NeoFauve]

Fixed link.

You had an extra "http://" at the beginning.

I lack the theoretical knowledge and lingo to break it down, but I'd say the piano parts can be approximated on guitar.

Rather than bending, like you'd most likely do bluesing on guitar, you'll want to use hammer-ons, and sliding up or down to a fret.
The piano player has to do that without bends. Appliy that thinking to the fretboad, and you can do it.

Check out some Grant Green or Kenny Burrell for similar phrasing.

[clayville]

The jazzy, torchsong, lounge-y pros will weigh in shortly, but this link might keep you busy in the meantime:

http://www.visual-jazz.com/download.htm#1

[NTBluesGuitar]

A lot of Jazz has to do with chord voicings and adding extended tones to the basic chord structure. The 9, 11, and 13, etc.

Also:

• 3 and 7 are the important notes of a chord because they decide the kind of chord.

• The 1 is the least important note, because it is most of the time played by the bass player.

• The 5 is not so important either and can be disturbing sometimes.

• Tensions add color and interest to a chord, so it's preferable to use tensions instead of 1 and 5

The basic jazz structure:

IIm7 V7 | Imaj7

In the key of C, for example:
Dm7 G7 | Cmaj7

[Los7]

i've been jamming it on my acoustic in Em which is quite fun with a little bit of "noodaling" inbetween the chords.
I go from Em (with the pinky on the e string on the 3rd fret), to D7 to C7 to B7. There is an Am7 in there somewhere with a few more pinky's. You can also play the C7 as a C9 aswell which works.
I've got adobe audition out now as we speak, so i'm gonna slow these little riffs and runs down (same pitch) to find out whats sorta going on

[clayville]

I'm not a wiz at this by any means, but those triad forms (with maximum economy in left hand movement) are a good impulse. When you're getting started in these "voice leading" chords -- where some notes are common from one chord to the next -- triads are an 'easy'(or easier, perhaps) way to get a handle on it.

What little I know came from a teacher who worked with me on some Bossa Nova classics and few old jazz standards that use simple forms up and down the neck, often only changing one fretted note from chord to chord. I was trying to learn the triad forms all over the neck and failed miserably! (Dang Berklee-trained teachers! )

[Los7]

i have no theory knowledge what so ever. I also play the piano and have done since i was about 10 (25 now). But there is a difference (i think) between being "able" to play the piano or guitar for that matter and "knowing how" to play the piano. I know how to play songs and stuff on a piano but if you asked me how to play a C7 chord, i wouldn't know. I dont know how any of this is relavent, i'm just venting i guess. I think the only way i'm gonna find and learn all this stuff out is to take a few lessons, cause for a start i have no idea what a triad is, lol.
i have come to the conclusion that some of the little riffs in this song dont really work on the guitar... He will play a little riff, then do the same riff but an octave down, which on the piano sounds cool, but on the guitar, not so cool, unless i'm doing something wrong. If you listen at 44 seconds he does 3 pull offs (guitar) then does the same with a hammer on and pull off an octave down which sounds right for a piano but not guitar. But i'm still determined to get the chords and chord structures down. hmm, i also just thought to myself, even when i work out what notes he's playing when he goes up the scale (49 seconds)i'm never gonna be able to play it that fast...*sigh*

[Offshore Angler]

A lot of Jazz has to do with chord voicings and adding extended tones to the basic chord structure. The 9, 11, and 13, etc.

Also:

• 3 and 7 are the important notes of a chord because they decide the kind of chord.

• The 1 is the least important note, because it is most of the time played by the bass player.

• The 5 is not so important either and can be disturbing sometimes.

• Tensions add color and interest to a chord, so it's preferable to use tensions instead of 1 and 5

The basic jazz structure:

IIm7 V7 | Imaj7

In the key of C, for example:
Dm7 G7 | Cmaj7

I think the 5ths are important. I love when a rythym player stacks them and you get one of those ambiguous chords whihc is neither major nor minor, allow the soloist to pick whatever third fits the phrase. It's liberating.

[pc]

Actually Chuck, in Jazz you leave out the 5th as often as possible and NEVER be ambiguous about the 3rd. Jazz players will want far more flexibility playing b5, #5, 6th (13th), etc., and the rhythm player should always leave the room. Listen to any pianist who played with Miles, Trane, etc. You won't hear a natural 5th sometimes for an entire album. Obviously for certain chords you deliberately play the alteration, but if it's just a natural 5th, leave it the heck out.

The 3rd and 7th are the key to telling everyone what's what. If the soloist wants to play a natural 7th passing tone over a dom-7 chord for tension/release, it can sound really hip. If the comping player isn't playing the b7, the hipness is lost.

If you choose to play a minor third over a major chord--it can be bluesy. If you "choose" to play a major third over a minor chord, you are making a mistake. It just shows you can't make the changes.

[Los7]

whats the 3rd and 7th mean? (please excuse my ignorance)
do you mean the 3rd and 7th note of a chord or something...? which confuses me cause there is only 6 strings on a guitar...i feel i am heading for a dumb ass award of some description

[JAM]

whats the 3rd and 7th mean? (please excuse my ignorance

You need to get some basic theory under your belt and this will make sense. Kind of a lot to absorb, but this might help:

http://www.petethomas.co.uk/jazz-cho...gressions.html

[yankeerob]

I couldn't resist this little anecdote - my ex's dad played with just about everybody in the Archer Street days of the 50's - he had a 'kick and side drum' that he used tie together with a bit of rope and sling to his back so he could trot between gigs 'cause nobody had a car in those days'...

About 15 yrs ago I asked him if he might introduce me to some of his old cronies in the hope of 'learning some jazz chords' - he just looked at me incredulously and said 'you mean you want to learn some chords'... I never did get any introductions and the old bugger's had a triple bypass and's still gigging...

BTW Joe - that's a really good link! Nice one!

[djinn1973]

In addition to learning some basic theory, if you aren't already I would suggest listening to allot of Jazz. Once you get your "minds ear" attuned to what sounds Jazzy, it will be a lot easier to work it in to the kinds of things that you are already doing. Also here are some books that I have been using to help with my study of Jazz and Western Swing:
Mel Bay's Complete Book of Guitar Chords, Scales and Arpeggios
The Real Book: Sixth Edition
Scale Patterns (The Progressive Guitarist Series)
Hope that helps, and good luck!

[melody]

Find a spot that you can do minimal voicing less is more with jazz the mids are taken up by bass and keys so stay away from that sonic part of the song. Think of it like high mid and low find some cord voicing you like in a minor key using the same cord it can be moved all over the neck using the pentatonic scale I do this all the time just improving rhythms works good.





HTH