ii-Vs are some of the most commonly used and important chords in the jazz repertoire. It’s a progression you’ll see often as a jazz guitarist, so being able to confidently solo over these chords is an essential skill. When first learning to blow over these chords, we often start with the Dorian and Mixolydian modes over each chord, respectively.
He has the innate ability to move smoothly from one great, imminently melodic phrase into the next while also both riding the groove and pushing it along. When improvising, Clapton will subtly mix up the rhythms of his lines to create clearly defined syncopations that serve to strengthen the melodic quality of his solos.
Hello again, Guitar World readers. It’s nice to be back! I’d like to begin this new series of columns by talking about getting started with sweep picking, which is a very useful and exciting technique that I often use to perform fast arpeggio-based licks and runs.
We all know a solo should be driven by melody, but every solo needs some craziness, too. The pentatonic scale is very melodic by nature, so even when playing fast licks or runs with this scale, there's still an underlying beauty to it (while the speed takes care of the extremeness needed to lift your soloing to new heights).
Selected from Guitar World's Lick of the Day vault, this collection of tasty country-style guitar licks and lessons is presented by an elite group of seasoned guitar pickers and teachers, including Jerry Donahue, Peter Stroud, Lyle Brewer, Guthrie Govan, Keith Wyatt, Dale Turner, Jimmy Brown, Andy Aledort and others. Learn how to “chicken pick,” play Western-swing-style phrases, bend strings, make your guitar “weep” like a pedal steel and more!
In this lesson, I’ll be demonstrating a modern way of playing arpeggios by combining string skipping and tapping. I’ll be showing you three different arpeggio shapes. At the end of the lesson, I’ll give you an example of how you can string them together into a ripping fast progression.
This is a triplet-based run in A minor that starts out in the low register and moves up and across the fretboard, spanning three octaves before settling into a single position and moving back across the strings. I’m using hammer-ons and pull-offs in combination with picking to achieve a fast stream of notes that "pops" and flows.
How many pianos are there in the world? Millions, right? They all have the same keyboard layout of the C major or A minor scale on the white keys. It must be important or such an instrument wouldn't exist. The jazz guitarist should focus on that and make a thorough study of the C major diatonic scale in all of its positions and discover its significance.
We all know the true measure of an accomplished guitarist is not dependent upon how many scales he or she can blaze through. Instead, it's much more enjoyable to hear a player who has great command and control over just one or two scales. Many of the greats did not possess encyclopedic knowledge of music theory, and it didn't seem to hinder their progress or creativity.
Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.