In this fourth volume of Jazz Turnaround Studies, you'll continue your development of approaches to the I-vi-ii-V turnaround. Throughout this pack, you'll discover powerful applications for flat-five substitutions in the bass, further your understanding of various common-tone principles, and expand your vocabulary of harmonic voicings on the top four strings. Additionally, you'll employ close-voicing approaches to achieve harmonic efficiency generally limited to keyboard players.
About the Chord Studies Series
If Forest Gump’s shrimp-loving Bubba played guitar, his take on chords might go something like this, ”You can strum ‘em, fingerpick ‘em, arpeggiate ‘em, mute ‘em, alternate tune ‘em, voice lead ‘em. Dey’s uh, barre chords, altered chords, extended chords, moveable chords, cluster chords, slash chords, inversions, triads, diads. There’s jazz chords, power chords, blues chords, cowboy chords, block chords, open chords…”
Bubba would be right — there’s a wide and wonderful world of chords for we guitarists to explore. But what’s the best way to do that? Chord dictionaries might be handy references but there’s no context (and really, when’s the last time you looked at one of those?).
Theory and harmony instructionals are filled with chord construction strategies and applications and we highly recommend digging as deep into the science of chords as your left brain will allow you.
However, learning new chords, progressions, applications and right-hand techniques in a musical context (songs, etudes, jamming with other players, etc.) is the most popular approach and that is the educational premise behind Brad’s Carlton’s Chord Studies course seres.
Each edition of Chord Studies features 15 play-along and jammable chord studies, which are focused on a particular chord type, chord progression or chord application. While Brad does touch on rhythmic qualities, this is not a rhythm guitar course — these studies are specifically designed to significantly expand your chord know-how and vocabulary.
Brad covers a range of styles, levels , chord types and progressions across 10 editions: CAGED Chords, Jazz Blues Progressions, Open String Chords, Rock and Pop Progressions, Slow Blues Progressions, Evolving Blues, Evolving Triads, Slash Chords, Power Chords and Beginner Chords.
Each of the 15 Studies within an edition includes an overview from Brad followed by a performance and play-along of the chord study over a rhythm track. Chord grid charts and a chord lead sheet accompanies each study. Plus, you’ll get all of the practice rhythm tracks to work with on your own.
Reference the chord charts to become familiar with the voicings and their fingerings, and then use the lead sheet to play-along with Brad’s video performance. Try different rhythmic patterns over the supplied rhythm tracks and then take it all to your own playlist of songs and jam tracks.
What you'll learn
Play chord voicings on the top four strings
Use common tones to connect different chord voicings
Execute close voicings similar to keyboard players
Apply flat 5 substitutions in bass lines
Craft compelling rhythm guitar parts for jazz contexts
Hi this is Brad Carlton, and welcome to Chord Studies: Jazz Turnarounds Vol. 4. In this fourth volume of Jazz Turnaround Studies, you'll continue your development of approaches to the I-vi-ii-V turnaround. Throughout this pack, you'll discover powerful applications for flat-five substitutions in the bass, further your understanding of various common-tone principles, and expand your vocabulary of harmonic voicings on the top four strings. Additionally, you'll employ close-voicing approaches to achieve harmonic efficiency generally limited to keyboard players.
2Jazz Turnarounds Vol. 4
In this fourth volume of Jazz Turnaround Studies, you'll continue your development of approaches to the I-vi-ii-V turnaround. Throughout this pack, you'll discover powerful applications for flat-five substitutions in the bass, further your understanding of various common-tone principles, and expand your vocabulary of harmonic voicings on the top four strings. Additionally, you'll employ close-voicing approaches to achieve harmonic efficiency generally limited to keyboard players.
3Leading Voice
This example demonstrates great voice leading, plus it's easy to play. From the Fmaj9, your first and third voices move down one and you can grab the D7b9. Then you simply repeat that move for your Gm7 to your C7b9.
4Leading Voice
This example demonstrates great voice leading, plus it's easy to play. From the Fmaj9, your first and third voices move down one and you can grab the D7b9. Then you simply repeat that move for your Gm7 to your C7b9.
5Pivot Time
Taking a look at this first chord here, the Fmaj7, you'll notice I hyperextend my middle finger and use the pinky instead of the typical barre. I do this so that I can keep the C and the A notes ringing throughout. Your first and third fingers will be guide fingers as you move to the ii chord, Gm7.
6Pivot Time
Taking a look at this first chord here, the Fmaj7, you'll notice I hyperextend my middle finger and use the pinky instead of the typical barre. I do this so that I can keep the C and the A notes ringing throughout. Your first and third fingers will be guide fingers as you move to the ii chord, Gm7.
7Close Voicings
This is a great example of tight, closed voicings the way a keyboard player might play. It's important here to not pick up all of your fingers between chords, utilizing the guide fingers and minimizing motion to gain efficiency with the changes and get a better sound. On the bigger stretched out chords, relax your hand to avoid intonation issues.
Brad explains chord constructions and covers a range of styles, chord types, and progressions. For me, the ones of interest are CAGED Chords and Jazz Blues Progressions, explained in a structured way as always with Brad as a teacher.
L
LeonRodriguez
10/02/18
Jazz Turnarounds - Volume 4
Every player needs as many turnarounds as he/she has capacity to retain. Brad Carlton has 4 volumes of them. Each one leaves you saying to yourself, "of course! I should have thought of that" I always save Brad's courses to the end of my practice session because I know that he is going to challenge my finger stretching and wear me out I have 3 of the 4 volumes and each one is a real gem.
