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in C major:
Dm7: DFAC
G7: GBDF
Cmaj7: CEGB
Try playing some of the chords without the root but including the 9:
Dm7: FACE
G7: BDFA
Cmaj7: EGBD
You will see that those 3 rootless chords are known by other names.
FACE is Fmaj7
BDFA is Bm7b5
EGBD is Em7
So over any
ii chord play a maj7 chord off the 3rd of the chord
V chord play a min7flat5 off the minor 3rd of the chord
I chord play a min7 off the 3rd of the chord
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Another thing to try is using diminished chords.
This can be quite deep but try these:
Over the ii chord try a diminished 7th chord a semitone below (so for Dmin7 try Db diminished 7)
Over the V chord try a diminished chord a semitone below, a semitone above or with the same root note.
So for a G7 try Gb diminished 7, G diminished 7 or Ab diminished 7 (just one, I don't suggest trying all 3)
Over the I chord try a diminished chord a semitone below, a semitone above or with the same root note.
For Cmaj7 try B diminished 7, Db diminished 7 or C diminished 7
I particularly like Cdim7 -> C as an approach chord.
A suggested progression:
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| Am7 | D7 | Gmaj7 |
You get
| Am7 | Ab7 | Gmaj7 |
Because Ab is three whole tones (6semitones) above or below D.
Lovely stuff!
Like anything with jazz you don't want too stick to one technique for too long- so deploying rootless chords for an entire progression might sound weird.
But interjecting a couple of those ideas over a regular II V I can work.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
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(the 2nd chord is actually a tritone sub - Ab7 - though you can make it a proper V chord (D7b9) by leaving out the bottom note)
Or this one in C, which is Dm, G, C.
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The 2nd chord is again a tritone sub for the V chord. You can make it a V by adding a G (3rd fret on the low E string) with your thumb.
You can do nice solos by playing Am penta over the Dm, Bbm penta over the G, and Bm penta over the C. So your pentatonics just slip upwards a semitone each chord change.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Cheers dude!
But also @GuyBoden it would be lovely to see / hear some of your examples!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Comping using 3rds and 7ths on Jazz standards has been done many times by players that are much better than me.
For example, over a G7 you could slide between a Dm and Em triad to create variation. On So What you can hear a G and F triad in the head over a Dm chord.
Also - learn as many possible voicing options! Appreciate the difference between open and close voicing. Open voiced are quite common on guitar, close voiced less so as they are awkward. One of Adrian's ii V I choices includes rootless close voiced chords for all three to create a descending chord line:
x x 10 9 8 7 Am9
x x 10 9 7 5. D9
x x 9 7 7 5. Gmaj9
Also handy in tunes with descending iiVIs like Miles' Tune Up you can create smooth motion between the voicing, retaining some notes while others move. Easy on piano but a pain in the backside on guitar.
x x 17 16 15 14 Em9
x x 17 16 14 12 A9
x x 16 14 14 12 Dmaj9
x x 15 14 13 12 Dm9
x x 15 14 12 10 G9
x x 14 12 12 10 Cmaj9
etc
Check out Barry Galbraith - he taught Hank Garland how to comp jazz, also Chuck Wayne chord method and the Joe Pass chord book. The Mickey Baker books are good. And don't forgot - Johnny Smith - the chords above where some of his ideas, Holdsworth took quite a bit of inspiration from Mr Smith.
Good luck!