As many readers begin to dig deeper into learning jazz guitar harmony and voicings, you will undoubtedly come across various 9th chords, Maj9, m9, 9 etc., in your jazz-guitar explorations. Since these chords pop up time and again, it is important to have a variety of 9th chords under your fingers so that you can bring them into your comping, chord melody and chord soloing ideas when needed.
While mixolydian, diminished, Lydian dominant and the altered scale are all fairly common choices when playing over 7th chords in various situations, there is one scale that is often overlooked, but that can add a freshness to your lines and take your playing in new directions at the same time.
While learning chord shapes is important, studying classic jazz guitar chord lines is the next step in turning these chord shapes into music. In this lesson you’ll study three essential jazz guitar chord soloing lines that will bridge the gap between your study of chord shapes and applying those shapes to a real, musical situation.
We often spend a lot of time working on pentatonic, blues, major and melodic minor scales and patterns on the guitar and then practice bringing these sounds into our solos. While learning the aforementioned scales is essential for any improvising guitarist, there is also another group of scales that are worth spending time on in the woodshed and bringing into our solos on the bandstand: symmetrical scales.
As guitarists, many of us are fans of the late, great Jimi Hendrix, who has influenced players in all genres of music, including jazz. While Hendrix left a legacy as one of the greatest rock improvisers of all time, he also left his stamp on the harmonic side of the instrument, including a chord that bears his name.
One of the biggest hurdles many jazz guitarists face early in their development is being able to connect chords, scales and arpeggios in their playing without having to jump all over the fretboard between shapes. When I was first learning how to play jazz, one of the best lessons I ever learned came from a comment I read from Joe Pass.
Most of us begin with the Ionian mode then move on to Dorian and progress up the fretboard in this way until we’ve learned all seven positions of the major scale. While this can be an effective way of learning modes, in this lesson you will learn a shortcut that will allow you to quickly and easily learn all seven modes by starting with Lydian and simply lowering one note at a time until you can play all seven modes on the fretboard.
In this lesson, I’ve laid out three classic B.B. King lines that Jazz guitarists can study, break down and apply to their playing in order to translate the vocabulary of this legendary guitarist into their jazz soloing lines and phrases.
You don’t need to go very far to find a cool-sounding scale that can jazz up your blues solos in no time. We’ll be looking into the mixed blues scale, which combines the notes from the minor and major blues scales to outline the underlying blues chord changes, while retaining a healthy dose of the blues at the same time.
In this lesson, you will learn how to play and apply 4th chords to the I7, IV7 and V7 chords of a blues progression in order to bring a modern vibe to your comping ideas, as well as learn a study that you can use to hear these shapes in a musical situation.