An Ultra Modern Jazz Lick that Works Over ANY Chord

Hi everyone, how’s it going? Today I’m going to teach you a cool lick that actually sounds good on any chord. Check it out:

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Modern Outish Effect

So this is actually in this case over D7, but the reason this works on any chord is because this is more of a modern kind of outish effect. You can think about it more as an abstract sound that you can put into all kinds of chords to create tension. In this video, I’m going to explain it over D7, but I encourage you to check it out and jam along on any chord you like to get different kinds of tensions.

D7 Sharp Five Approach

So what’s going on over here is that I’m approaching this as this D7 sharp five. It’s a dominant chord, and what I’m thinking about is basically moving from this root and starting to go up in fourths to go back into the five of D. So:

• Root
• Four
• Flat seven
• Four
• Five

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Then third into the fourth, so this pattern you can check it out in other areas in the guitar like this or here.

Chromatic Approach

Then, I’m using a chromatic approach from the flat seven all the way to the flat five. So I’m getting this:

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You can check it out also on different areas in the guitar, right? You can really get the sound into your playing.

C Over D Voicing

Now whenever I see a D7 chord, I can think about C over D. You know, you can always check out that kind of voicing, which is a beautiful voicing because then you get the seven over here, you get the nine, and the eleven extensions. Then you can approach that triad chromatically, so that’s exactly what I’m gonna do:

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Into the triad. So we get this kind of thing and then the chromatic into the flat five approaching into the triad.

Flat Nine and Bluesy Sound

I’m kind of checking this out. Even though this is a flat nine of D7, I’m seeing this as C with a sharp nine, kind of like a bluesy sound, right? So:

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And then a chromatic from the nine to the seven, and then I’m playing these voicings which are closed voicings. Basically, you know, if you know these major seven voicings, it’s gonna be an augmented five. I’m taking a five and pushing it forward. I’m getting this major 7 sharp 5 sound, which is a modern sound:

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Returning to Altered Tonality

Right into a minor third below, which brings me back to my altered tonality:

• Sharp five
• Root
• Third
• Fifth

So all together we get:

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Application and Courses

You can start thinking about this chord as different stuff. I mean, you can think about this as something you can play over B flat major, or you can play this over A minor, you can play this even as an F altered chord. You can play this on so many chords since it’s more of an out-sounding thing.

Also, if you want to get into these kinds of modern phrasing, check out my course 51 Galactic Jazz Licks. If you really want to go deep into the fundamentals of the fretboard where you understand all the arpeggios, the diatonic elements, how to create basic to more modern sounds, you can access my Galactic Modern Guitar course in the description below.

That’s it. Thanks for checking out this video. I’ll see you in the next video.

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