In How to Play Guitar Weirdness DVD, Guitar World editor and instructor Andy Aledort shows how to play outside the box using chromaticism, pentatonic superimpositions, symmetrical diminished scales and more!
Thirty years ago this November, Stevie Ray Vaughan and Double Trouble laid down the tracks that would become Texas Flood, and among the many jaw-dropping skills Vaughan displayed on his debut album was the massive shuffle groove on "Pride and Joy."
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.
When learning how to play jazz guitar, one of the most important chord progressions you can spend time practicing room is the “turnaround.” Turnarounds often occur at the end of a tune, or a section of a tune, and they essentially are used to “turn the tune back around” to the top of the form or start of the next section. Hence the name.
In last month’s column, I discussed some techniques one can apply when soloing, specifically using both a single-note and a chordal approach in combination to create a kind of “harmonic” improvisation that helps us discover new chords and sounds.
Anyone learning how to play jazz guitar will know that the blues makes up a large part of the jazz soloing, comping and writing traditions. From the licks famous jazzers play, to the chord progressions they write their tunes over, the blues is deeply integrated into jazz soloing and composition.
When learning how to play jazz guitar, we can often get bogged down with learning scales and arpeggios and find ourselves not spending time learning the vocabulary that makes up the traditional and modern jazz language. One of the best ways to build your jazz vocabulary, and your scale knowledge, is to work on both at the same time.