Jazz Blues- Solo Technique- Chord Voicing- Jens Larsen

Blues and Jazz are two genres that share the same roots and have a lot of things in common. You can make some really great lines by mixing things from Blues and Jazz.In this lesson I am going to look at 5 licks that do that and talk a bit about how they are constructed and how you can make lines like that.

The ey! the "hord and the Blues scale The core of this lesson is of course the 5 licks that contain some of the characteristic melodies! #hrasing and techni$ues found in Blues mixed with ar#eggios! extensions and chromatic #assing notes that you find in Jazz. The result are lines that will fit in both a Jazz and a Blues context! and you can #robably #ut them to use in a lot of %azz standards as well. &ll the exam#les are in the key of Bb! so they are thought from the Bb' chord. Bb is a very common key for a Jazz Blues! there are numerous famous %azz blues themes in Bb! think Tenor (adness or Blue (onk. The backdro# of the Bb' is the Bb mixolydian or )b ma%or scale*

+ince we are using the basic Bb' chord then the ar#eggio of that is also useful*

But since we are #laying blues the Bb minor #entatonic is also a useful #lace to look for melodies.

In this lesson I am assuming that you know what a BB' is and how to #lay over it and is somewhat familiar with ar#eggios! chord tones and a minor #entatonic scale.

The 5 Jazz Blues licks ,e are going to look at some licks that make use of Blues #hrasing and scale and some %azz lines. In general blues lines can be both in the chord -so mixolydian or strictly blues from the minor #entatonic scale. Blues with also contain leading notes! but the melodies tend to be based more on the basic chord notes -the triad maybe the 'th than extensions which gives them a more rooted sound. In the first exam#le I am walking u# the ar#eggio from the 5th to the root and from there we get a ty#ical blues cliche that is using an )b/Bb like sus#ension with double sto#s. 0rom there the line continues with a %azz line that starts on the 5th-0 and ski#s u# to the 1th-" from where it descends adding a chromatic #assing note and finally comes to ret on the 5th.

2eading notes are a #art of the Blues language aswell as %azz! even though it is used a bit differently. The 3nd exam#le starts out with leading notes to the 4rd- and uses that before it resolves to the root. 0rom there it continues with a melody taken from the Bb blues scale! which is the minor #entatonic scale with an added b5-). The minor #entatonic line is finally resolved to a 4rd and from there we get a small line ending the melody on the b'-&b

The third exam#le is a line derived from the good old "huck Berry Boogie ,oogie #attern! but not used as a melody an octave higher. It then continues down the ar#eggio in bar 3 and ends with an encircling of the 4rd and a 6th ski# u# to the root. The melodies that ski#s a 6th u# or down are very common to the blues. 7sually the melody will ski# between chord notes. If a melody ski#s like this in Jazz it is much more likely to be resolved in ste#wise motion in the other direction. This is somewhat a ty#e of melody that is much more common or even s#ecific to Blues.

8atterns of 4 notes are common in both styles! but the re#eating 4 note #attern idea is much more common in Blues -think "huck Berry again. In the 9th line I start out with a 4 note motief that is #layed twice befor the line continues down the minor #entatonic scale to the root. 0rom there it goes on with a leading note line connectinfg the 1th to the 4rd and the the first 4 note motief that now resolves to the 5th of Bb.

In the last exam#le I am starting of with a line that is basically a %azz line that is #layed with blues #hrasing. 0irst half of bar : is a  dim triad and from there the line continues with a #art of an 0 minor #entatonic scale. The 3nd haf of the line is again using double sto#s and using the cliche chromatic movement of a minor 4rd interval from the 4rd and 5th to the b' and 5th.

I ho#e you can use my exam#les to get started making your own Jazz Blues lines and ex#lore that way of #laying in your own im#rovisations; The best way to work on the material I went over here is to take the exam#les and trying to make them into my own lines.
5 Jazz Blues 2icks in 0 (ixing Blues #hrasing and melodies with Jazz chromaticism and harmony  can give you some really great dom'th lines. In this lesson I am going to go over 5 exam#les and some exercises to hel# you get started ex#loring this.

 +cales and &r#eggios for Jazz Blues &ll the exam#les in this lesson are on an 0' chord. I also ke#t the material in the #osition around the 6th fret. To be able to mix Jazz and Blues we of course need to have the material to #lay both Jazz and Blues in this #osition. 0or that we need an overview of the essential scales and ar#eggios. +ince we are mixing two genres we need to get the tools to #lay each of them. In the 2icks I can then easier ex#lain where we are #ulling the different #arts from.
&nd then it is also im#ortant to know the chord tones of the 0' chord! in other words* The &r#eggio*

0or the blues we can get away with one sim#le scale! namely the minor #entatonic scale*

This #osition for the #entatonic scale is not the most common! but still has some great blues o#tions;

The Jazz Blues 2icks 0rom Bar to bar In the first exam#le the o#ening #hrase! and in fact the entire first bar! is minor #entatonic scale with an added blue note -B. The second bar is coming more from the mixolydian sound but then using slides to kee# the bluesy feel. ,hat is often the case with these more bluesy sounding lines is that they tend to make less use of extensions and rely more on resting or resolving to the notes of the basic triad.

Is it blues or #assing notes> The second exam#le is direcly going in to the mix and we don?t get a #art that is clearly on thing or the other. The first #art of the lick also uses the Blue note! but now as a more %azzy row of chormatic #assing notes. It then continues with somthing that in this context sounds like 0' ar#eggio material. In the second bar we get a descending scale run from  to & with a lower #assing note added before the &. The #hrase concludes with a diatonic 6h ski# u# to the root. & melody that is very common to Blues and "ountry.

Bluesey tri#lets Tri#lets and tri#let #hrasing are #art of shuffle and blues #hrasing. (uch more so than most bo# language. In the 4rd 2ick I am starting with a tri#let #hrase that is using the leading note to the 4rd and then continuing with a melody outlining an & dim triad. 0rom there it descends down an 0' ar#eggio with an added #assing note between the root and the 'th. This is a bebo# clich@ that some #eo#le have even made scales out of. In the second bar we have a variation of the 6th interval! this time from the b' to the 5th and from there the scale moves down the triad to end on the root.

ouble sto#s The first #art of exam#le four could be inter#reted as 0 ma%or #entatonic but you could also think of it as a m' ar#eggio. The second bar is a #hrase constructed from a re#eated double sto# idea. ouble sto#s are an integral #art of blues re#ertoire-Think "huck Berry. This #hrase is somewhat reminiscent of a ,es (ontgomery #hrase from +mokin? at the Aalf note.

The #hrase above starts with an ar#eggio run that ends on and em#hasizes the 'th of the chord. In the second bar it continues with another double sto# and a descending #entatonic scale run. This is resolved to the ma%or 4rd and then ski#s u# to the root! a very ty#ical blues #hrase. ery often in Jazz Blues #hrasing you will find that the blues #hrases are resolved. +ince &b and Bb both are notes with some tension over an 0' it often works better in a %azz context to resolve them -mostly to the 4rd-&

Bb Jazz Blues C The Basics ,hen #laying over a #rogression like the Bb %azz blues you need to be aware of certain things and be able to #lay different things so that you have the material you need to really im#rovise following the harmony of the blues* The "hords! the +cales and the &r#eggios. I have also added a transcri#tion of a chorus of me soloing over the blues as an exam#le of using the material covered.

In this lesson I have made 9 choruses of exercises* The chords! the scales that go with the chords. The ar#eggios that are the melodic version of the chords and finally a solo chorus which demonstrates how you might use the other exercises when #laying over the Bb blues. To kee# it sim#le I have ke#t all exercises in one #osition so that if you go through the exercises you should begin to have a tool set to im#rovise over the Bb blues in that #osition.

The chord voicings To im#rovise over a song you #robably need to be able to #lay the chords so you can hear the harony and how it moves. In the following exam#le I have written out a set of voicings to #lay the Bb Blues.

You?ll notice that I in general don?t write out which extensions I use! so I write out the basic ty#e of chord and if whoever is #laying a chord he can fill in extensions to his own taste. This is common #ractice in Jazz in general.

The +cales In the 3nd exam#le I added a scale to each chord. The way I am #laying the scales is that I start on the root and run u# to the 'th! this gives you a bit of time to switch to the next chord. This way of a##lying scales to a #rogression is the same as you?ll find in Barry Aarris exercises. It is a nice way to add the scale in a musical way so that you hear how they s#ell out the harmony.

The Bb'!)b'!"m' and 0' are easily understood in terms of where they sit in the key! since it is all mixolydian or dorian. The ) dim scale is in fact an 0 harmonic minor from ) to ). You can see how I arrive by this by looking at it from the Bb' scale* Bb "  )b 0 D &b Bb If I need to fit an ) dim in there then an easy way to do that is to re#lace the  with a b and the )b with an )* Bb " b ) 0 D &b Bb which you can write out from 0 to recognize that it as an 0 harmonic minor scale. 0or the D'-b1 you need to look at it as a dominant resolving to "m! which tells us that we should use a "m scale for it. In this context the -actually in most contexts that means using the " harmonic minor scale. You can

use this a##roach to determine what scale you should use for any auxiliary dominant.

The &r#eggios ,hen #laying over changing harmony the best way to really follow the chords is of course to use the notes of the chords in your solo. Therefore it is very im#ortant to be able to #lay the chords of the #rogression as ar#eggios. In exam#le 4 I have written out the ar#eggios in this #osition. To make it easier to connect the different ar#eggios I have written them out in a similar range which means that I don?t always start on the root of each chord. You should #ractice the ar#eggios like I?ve written them out! but you would get a lot from also im#rovising over the #rogression %ust using the ar#eggios.

,hen you solo over the #rogression the target notes you choose to make lines that clearly reflects the harmony.

The solo &s an exam#le of how you can use the material I have written out a short im#rovised solo on a Bb blues.

I ho#e you can use the exercises and the materials to get started im#rovising over a Jazz Blues #rogression. You can check out some of my other lessons on Blues! ar#eggios and target notes for more ideas.

Jazz Blues Soloing In this lesson I will try to go through how you make lines on a Bb %azz blues using the ar#eggios of the chord. 0irst I?ll go through the ar#eggios and give some suggestions on how to #ractice them! and then discuss how you make lines with them. I got a re$uest for this lesson after having done this lesson on develo#ing your com#ing ideas* Jazz Blues "om#ing. The idea is to give a set of materials that is easy to learn and still give you the ability to #lay the blues so that you can really hear the changes! which is a necessary skill if you want to be able to #lay %azz as a style. 2et?s first have a look at the chord #rogression*

I guess I better #oint out that I?ve sim#lified the chords a bit! so that there are one bar II ?s! mainly because you don?t always have to #lay both chords when you are soloing and it makes it a bit easier in terms of how much time you have to s#ell out each chord.

The ar#eggios I?ve chosen to show the ar#eggios from the 5th to the first string because that makes them : bar long and therefore easier to #lay over the chord #rogression. If you wish to ex#and them to the full #osition then that should not be too difficult. I chose this #osition because it is close to a #lace where you can #lay the chords and associating the chords and the ar#eggios with each other is a very good idea.

&s I mention in the video it is very useful to #ractice the ar#eggios not onyl u# and down but also in se$uences of 4 or ski##ing one note or what ever you can think of. The more you can do the more freedom you?ll have when you start im#rovising.

2earning the ar#eggios on the #rogression ,hen you study a #rogression that you are not yet familiar with it can be a great exercise to #lay the ar#eggios of the chords in a few ways. The first

exercise is to %ust #lay all the ar#eggios ascending on the #rogression like this*

¬her exercise that is very useful in terms of getting an overview of the ar#eggios and #racticing to connect them already is to #lay one ar#eggio and when the chord changes then start the next ar#eggio on the closest note. I?ve also made a lesson on doing this with scales* 8racticing +cales through changes. &s I do in this exam#le.

This exercise is $uite demanding! but at the same time will really get you good at connecting lines across different chords! which is very useful for staying melodic.

Target notes &s I demonstrate in the video the thinking behing making harmony clear in a solo line is to target certain notes of the strong beats -in this case the :. The idea is that a strong and logical sounding line will be a line that has the direction towards a clear target note. In the video I demonstrate how I use this #rinci#le while #racticing rubato and on the whole blues. The target notes I chose for the chords are in most cases 4rds and 'ths since they are determining the sound of the chord. I am sure you have heard about this before. Aere is an overview of the target notes*

The only #lace where I deviate from the 4rds and 'ths targets is the ) diminished chord which is identical with the )b' chord exce#t for the root! so the root is a useful target note in that case -which is not often the case. & transcri#tion of the solo I #lay in the video around E*9= is available as a download for : euro here* Jazz Blues +oloing C +olo exam#le at E*93 I ho#e you can use the ar#eggios and these ideas to get a firmer gri# on  %azz blues im#rovising. The material is fundamental! but so worthwhile that is is something that I find myself returning to again and again without exhausting the #ossibilities. The a##roach is also really good for other #rogressions.

How to Learn to Play Jazz Chords – Study Guide 0 0

You want to learn how to #lay Jazz "hords. &n im#ortant #art of #laying Jazz is to be able to inter#ret and #lay the rich chord language of the genre. This list of lessons is an ordered way to work your way through this

from getting to know a basic vocabulary to having more freedom in com#ing with different ty#es of chord voicings.

Your 0eedback is very valuable Femember that the guides are here to hel# you so if you have suggestions for this or other guides then let me know; I might have missed something or you have another idea for something that is im#ortant to check out; 0eel free to send me an eGmail or message via social media. I have also collected the videos in a 8laylist on Youtube if you #refer that* 8laylist* Aow to 2earn to 8lay Jazz "hords C +tudy Duide

The Jazz "hord +urvival it and vocabulary The first three lessons deal with a basic chord vocabulary and how to use it when #laying im#ortant chord #rogressions and %azz standards   

0irst II  I chord voicing sets Aow to #lay Jazz "hords on Duitar 0 Jazz Blues "om#ing C Jazz "hords and "once#ts

2eaving out the root and getting used to u##erGstructures
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2ook (om Ho Foot; Jazz "hord +urvival it 8art 3  C Introduction to rootless voicings Triads C )asy 4 note Jazz "hords C Aow to get started using triads as chord voicings " Jazz Blues with triad voicings C &##lying Triad voicings to a Blues in "

The )ssential ro#3 oicings

ro#3 chords form a huge chunk of all the voicings that are used in %azz. These lessons will take you through a lot of material using dro#3 voicings. If you want to hear ro#3 chords in action then %ust #ut on a ,es (ontgomery album! he used them extensively in his chord solos and com#ing.     

ro# 3 voicings C 8art : C Basic "hords and how to use them ro#3 voicings C 8art 3 C &dding )xtensions to "adences ro# 3 voicings #art 4 C <erations! <ered ominants and more ownload ro# 3 oicing iagrams Aow to use ro# 3 "hords on a Jazz Blues

evelo#ing "om#ing skills beyond the chords 8laying "hords does re$uire more than %ust knowing what chord to #lay where. +ome of the other skills that are e$ually im#ortant are discussed in these lessons*    

evelo#ing Basic "om#ing Fhythms (elodic "om#ing C +tronger than voiceGleading You on?t Heed That (any "hord oicings! It?s Aow You 7se Them 2earning Jazz +tandards C ,hat you need to now and Be &ble to o ,ith It

(ore (odern sounds If we look beyond the triads and ro#3 voicings it is of course #ossible to start checking out more modern sounds that may not immediately be covered in the lessons I already included. These voicings are both more extreme with having large intervals or much more cluster like with second intervals* 

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(odern 4 note voicings and voice leading C com#act flexible voicings for modern %azz The (inor "hord You Hever 7se C & discussion of the m'-:4 chord and how it is used ro#39 voicings C 8art : Jazz "hord )ssentials C 4 note 'th chords #art : Jazz "hord )ssentials C 4 note 'th chords #art 3

&llan Aoldsworth "hord +eries


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"hords C In the +tyle of &llan Aoldsworth C oicings and Inversions (odal chords C 7sing Aoldsworth oicings C You can add new textures to your com#ing &llan Aoldsworth "hords on a Jazz +tandard C &dvanced (odern "hord oicings a##lied to ays of ,ine and Foses

"hord +olos
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Best exercise for %azz guitar chord solos; The way to develo# a chord solo vocabulary Bb Jazz Blues "hord +olo Jazz Blues "hord +olo

Jazz Chord Essentials – Shell voicings I thought I?d make this 4rd lesson on Jazz voicings about a sim#le reduced way of #laying chords that then also lends it self very well to situations where you need to #lay the bass. Being sim#le and com#act also makes it very easy to extend so a lot of things can be build from them. &s I demonstrate in the video* full chords with extensions! bass lines. They are also useful for #laying bossa novas and sambas as well as ty#ical 0reddie Dreen style 9 to the bar stuff. 2et?s first have a look at how shell voicings are constructed. & shell voicing is the bare necessities version of a %azz chord! so the chord is reduced to three notes. The most defining notes of a chord would be*   

The Foot -what chord is it The Third -is it ma%or or minor The +eventh -ma%or/minor/6th

0or voiceGleading #ur#oses I?ll make two different sorts of shell voicings. Both have the chord -4rd and 'th on the 4rd and 9th string and the root is in one variation on the 5th string! in the other one it is on the 6th string. There are rules for voiceGleading! but the essence is that if you don?t have to go to the closest note in the next chord when going from one chord to the next. +etting the chords u# like this makes it easy to stay in one #lace with the chord and move the root a 9th or a 5th -which are the most common changes. You will also notice that I am calling the 'th chord m'-b5 even if it does not contain the flatted 5th! so I am naming them according to the key. I do that in the video too.

&s usual the best way to learn it is to #ut it through a song as I do in the video! but here are a few exam#les on a turnaround in ".


You might notice that es#ecially the sets with the root on the 6th string tend to become dro#4 voicings when you add extensions. &nd if you watch the video you?ll see several a##lications of these kinds of chords in different styles.

Shell Voicings as r!eggios In this lesson I want to demonstrate how you can use the +hell oicings as ar#eggios to get some nice more o#en interval structures from some sha#es you might already have in your fingers. I already talked about +hell oicings used for com#ing in an earlier lesson* Jazz "hord )ssentials* +hell oicings The main thing is of course that it is a voicing containing the root! 4rd and 'th of the chord. ,hen using it for soloing the nice thing is of course the fact that it as a melody contains a 4rd interval and a 5th interval so it will o#en u# the melodies a bit. There?s a famous 8at (etheny line that uses this ty#e of voicing! but it?s so 8at (etheny that nobody else can really use it -yet anyway.. so I?ll be taking a different a##roach.

&ll the exam#les in this lesson are in the key of )b! so let?s first look at two exercises to get more used to using this sort of ar#eggios. )xam#le : is the )b (a%or scale #layed in shell voicings on two sets of strings*

&s I suggest in the video you should #robably try to ar#eggiate them in a few ways. +ince they are : note #er string that?s a very healthy exercise for your right hand. )xam#le 3 is the B minor melodic or Bb altered scale in shell voicings.

0or the B minor you #robably want to check some ar#eggiations too of course. on?t forget that #icking #atterns like this with ar#eggios that have one note #er string are really good exercises for alternate #icking and right hand #recision in general.

8utting it to use ,hen looking for shell ar#eggiosK to use over a chord the best bet is to take one that is in a distance of a 4rd or a 5th away from the root of the

chord you are im#rovising on. They work well because they share many notes with the chord that is being #layed under your solo. 0or the 0m'! you might try &b(a%' and "m' shell voicings. ,hen it comes to the Bb'alt it is a bit more free because there are $uite a lot of alterations and since we?ve already established the sound on the 0m' chord! you can be more free. That said it is still better to stay fairly close to the root to avoid making a line that sounds like another chord than what you intend.

In the first exam#le I start out with an &b(a%' shell voicing on the 0m'. The D is then resolved chromatically to f which in turn is #art of a chromatic enclosure leading to  the 4rd of Bb'alt.
The 3nd exam#le o#ens with an ar#eggiation of an 0m' shell voicing. 0or me this ar#eggiation #attern for 4 note/4 string ar#eggios is very useful. 8robably because it em#hasizes the highes note in the ar#eggio. The line continues with an 0m triad that continues ste#wise u# to the 'th

of Bb.
In the 4rd exam#le I start out with a "m' shell. In this line it works really well as a sort of sus#ension of the 4rd of 0 -&b. &fter that I #lay an 0m' ar#eggio that is then lead into an ar#eggiation of a ma%' shell and an ) triad before resolving to the 5th of )b. I ho#e you can use these exam#les as a way to get an idea about how I use voicings like these! and then make it #art of your own #laying.

Jazz Chord Essentials – "ro! # voicings – Part $ In this lesson series I want to demonstrate a set of voicings that are fairly easy to #lay on the guitar! but will cover most sort of chords. I also want to talk a bit about how you a##roach #laying chords in terms of inter#retation of chord extensions! substitutes! connecting or voiceGleading the chords. Ao#efully it can hel# you learn and construct some new chords! and I ho#e it also hel#s you find new ways to #lay songs you already know and ex#and your ability to #lay chords freely.

Inter#reting "hord +ymbols and Im#rovising In most %azz styles you are free to im#rovise with the chords when you are com#ing. This means that you can -tastefully! I ho#e choose the chords -and extensions you #lay and the way you #lay them.
(a%or'* "ma%'! "! "6! "ma%'-1! "ma%'-L::! "ma%'-:4 etc (inor'* "m'! "m1! "m:: etc

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om'* "'! "1! "'-L:: "'-:4 etc. Aalf iminished* "m'-b5 "m'b5-1! "m'b5-:: etc <ered ominant* "'-b1! "'-b5! "'-b1!b:4! "'-b:4L1 etc. (inor(a%* "m(a%'! "m6! "m6/1! "m(a%'-1 etc

I guess for now the list is more of a reference! but what this means is that when you see one of the chords above you can substitute it with one of the other ones if you want to. ,ith #ractice you?ll be able to do this without thinking because you get used to thinking of several voicings as #art of the same sound. )nough talk; 2et?s #lay an exam#le. Aere?s a recording of a sim#le tonal vam# in D* D(a%' )' &m' '! I?ll #lay it a few times with different voicings. The voicings are all ro#3 voicings! I also recorded a sim#le two beat bassline to make the chords a bit clearer.

It could be that some of these voicings does not come across to you as dro# 3 voicings! but they can be derived from them as I well demonstrate in this series. The secondary goal in this is also that you start to think of new ways to get voicings from the ones you already know! by using some of the #rinci#les I use here.

& few basic exercises In general I won?t really s#ent too much time on the music theory involved!  %ust mention it and you are free to ask or look it u# elsewhere if you want to know more. You #robably already noticed that I don?t #lay the root in the bass on all chords. This is because I?d suggest using these ty#e of chords in a context where there is a bass #layer so leave him to #lay the bass notes and you can focus on the chord and how that sounds. 2et?s first cover some basic chords on the to# 9 strings in dro# 3 voicings. In a ma%or scale you have 9 ty#es of diatonic chords* m'! dom'. (a%' and m'-b5. Aere are each of these from the key of D*

I only show this for the 9 to# strings since that is what you #robably need the most! but you can #lay these voicings on the middle and bottom sets of 9 strings too. Aere?s an overview of those fingerings*
em in a basic II  I cadence.

&nd here?s how to take it through the :st :6 bars of &utumn 2eaves! which is a handy tune because it has most of the chords in the key*

I?d recommend that you try this out with several %azz standards to become familiar with finding the right chords and get used to the fingerings and the sounds. That will make it much easier to go to the sub%ect of the next lesson where we?ll start adding more extensions! look at how one voicing can be used over another chord and add some alterations to the dominants.

Jazz Chord Essentials – "ro! # voicings – Part # +o now you have an overview of the basic dro#3 voicings from the #revious lesson* Jazz "hord )ssential 8art :. Aere?s a short video on how I might use chords in a solo on a blues in ". &s you can #robably hear I am not only using the chords in their basic form! but I am using different versions of the same ty#e of chord to make sim#le melodies that then make u# the solo. In order to ex#and the dro#3 voicings from the last lesson and build other skills to #lay something like this we need to work on a few things*

&dding extensions to chords

2et?s look at how we can add more colors to the voicings we already have and a few tricks that will hel# you use and ex#and what you already know. +o far we?ve been concerned with the basic chords so &m' was sim#ly root! third! fifth and seventh! but as I ex#lained in the first lesson you can use &m1 or &m:: instead of &m'. Instead of making 5 or more note voicings we can use these rules to exa#and the sounds*    

1th -or b1 or L1 can re#lace the root :4th! b:4th! b5! L5 can re#lace the 5th 6th can re#lace the 'th 9th or 3nd can re#lace the 4rd

This means that if we want to make an &m1 voicing you take the &m' voicing and change & to B. You might notice that this means that you?ll be #laying the notes B " ) D which is a "ma%'! so you can use (a%' voicings to #lay minor 1 voicings. If you use the same a##roach to '! you have  0L & " and that becomes ) 0L & " which is 0Lm'-b5.
<ered ominants
"adences*


(elodies in the voicings ,hen I #lay chords behind a soloist I am often #laying melodies with the to# voice of the chords to make the harmony more logical to the listener. I also sometimes #lay #arts of a solo in chords.
&s you can see there are a few notes in the D ma%or scale that are tricky to harmonize! and there are several o#tions on how to deal with them. The note " is never going to sound like a Dma%' chord so I chose to #lay an &m' there. I could have substituted it with a "L and used a Dma%'-L::. 2et?s make a similar exercise using a turnaround* &m' 'alt Dma%' )'alt. ,ith this exercise I am %ust forcing myself to move u# the neck in small ste#s! not really any system! even if it?s almost chromatic. I guess for all of these melodicK voicing exercises the goal is to be able to make your own more than actually #lay mine;