Used by modern players such as Allan Holdsworth, whose playing first inspired me to check out these fingerings, four-note-per-string scales can help bring a more modern flavor to your lines, expand your knowledge of the neck and allow you to cover a large amount of fretboard real estate with just one scale shape, which are all beneficial to players looking to explore non-traditional scale fingerings in their playing.
When learning how to play jazz guitar, one of the main items we need to tackle is playing effective, jazzy-sounding chords that properly outline the chord changes all at the same time. While this may seem like a tall order, there are some easy-to-play and effective shapes we can learn in order to quickly and effectively outline any tune or progression we are jamming on in the woodshed or on the bandstand.
When learning how to play jazz, and other improvisational genres of music, learning how to play the seven modes of melodic minor is an essential skill any guitarist should have in their soloing tool belt. While we know that learning the seven modes of melodic minor is important, sometimes it can seem like a tough task, and we feel we have to start from scratch when learning these seven modes.
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.