The following videos are intended to demonstrate my recent approaches harmonization in jazz contexts. I wanted to post them so that other guitarists who might be interested can learn from these videos and I also hope this post can become a forum where guitarists can share compelling and unusual voicings on our instrument. I tried my best to codify the harmonic concepts I am demonstrating in this video. Overall these videos are clear and concise in their demonstration of my voicing methods, although pausing it every now and then will likely be beneficial.

Hope you enjoy

Quartel Harmony

https://www.youtube.com/watch?v=3UTe_VhMhmY&feature=youtu.be

Quartel Harmony Appendix

https://www.youtube.com/watch?v=ZdHCn4si8Ak&feature=youtu.be

Slash Chord Harmony

https://www.youtube.com/watch?v=prRgC0l_AyI&feature=youtu.be



Here are some examples of Music in which I actually use the harmonies in applicable settings.

3:40 I go up to the dominant and than resolve from Db7 with a G major (bV) triad over it. I also use F with a Db major triad over it often (Db is the b6 from F) to resolve from F7 to Bb minor, the third of the key, as I am in Gb major in this recording.

https://www.youtube.com/watch?v=uCppjqZ2G1o

This recording is just a good example of the half diminished (or minor seven flat 5) chord used as an extension to create a dominant 9 chord. You can hear me using more traditional voicing later in the recording, but initially and in my solo I use:

C7= E D G Bb, F7= Eb D G A. The C7 voices is somewhat unsual in the distance placed between the tritone notes E and Bb. The F7 voices is somewhat unusual in that it has a major 2nd (G and A) as the top two notes in the voicing.

https://www.youtube.com/watch?v=2vSRL4Ai9RQ

This recording is a good example of all sorts of harmonies but particularly the major seven chords that create minor 9 chords.

https://www.youtube.com/watch?v=dcR3ZOI84Qg