Shell voicings are the ideal place to begin the process of building jazz voicings on guitar. They are relatively easy to play, are ideal for swing music, and contain only the necessary notes for each of the four basic chord types found in typical jazz tunes.
In the previous lesson we looked at three shell voicings that can be used for a major II-V-I progression. In that chord pattern, the roots of the II and the I chords were on the A string. In this lesson we will learn a second pattern that places roots of the II and I chords on the E string.
In the previous two lessons, we learned and practiced two versions of the major II-V-I progression using shell voicings. In this lesson, we will combine the two chord patterns and apply them to the 1953 Duke Ellington hit “Satin Doll.”
In this lesson, we’ll cover one of the most common rhythms that jazz guitarists use to comp for swing grooves.
An example of basic shell voicings used on the jazz standard Autumn Leaves.
Once you have the basic shell voicing shapes under your fingers and are comfortable using them across the neck, a great next step is to start adding the B string to your voicings to expand the sound.
In the last lesson we looked at adding natural 9ths and 5ths to our two II-V-I patterns. For II-V-I patterns in minor keys, the 9ths and 5ths of the chords are often lowered to accommodate the key signature.
For the final II-V-I pattern of this series we will need to introduce a new chord type with the V7(#5) chord, as well as a chord shape which is not directly derived from our previous II-V-I patterns.
The bossa nova groove is a fundamental jazz groove which can be developed into many sub genres and recognizable grooves. It uses a straight 8th note, so it is the perfect counterpoint to swing playing, which uses a swung 8th note.
An example of basic shell voicings with added B string, used on the jazz standard Autumn Leaves.