In this lesson, we explore extended and altered harmony, upper structure triads, and some interesting applications of diminished chords & harmony.
Upper Structure Triads instantly turn your jazz playing from simple-sounding to elegant and sophisticated. We cover drills and exercises for all levels of players.
In this lesson, Jovino answers some questions on triads and explores some ideas on how to create complex sonorities from a simple base.
In this lesson we’ll analyse the harmony of “There Will Never Be Another You” to help memorise & internalise the chord changes and song sturcture.
To play a rootless voicing we leave out the root of the chord and play one of the upper extensions to get a richer, more colourful sound.
In a minor 251, the 5 chord will be an altered dominant chord. In this lesson we apply altered dominant chords to the major 251 progression.
In this lesson we will be exploring the major 251s with b9 and #5/b13 alterations. This will help you visualise alterations in all 12 keys.
We explore various ways to add harmonic interest over dominant chords using tritones. We use the tunes ‘Body and Soul’ and ‘Misty’.
We’re going to stack the chord tones sequentially in thirds, playing the 7th chord in our left hand, and the 9, #11, and 13 in our right hand.
Cluster voicings are tightly spaced groups of 3 or more notes that act as a chord. They don’t usually contain both ‘essential chord tones which are 3 & 7.
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