In this first lesson, you’ll learn how to use 7th and 7#11 arpeggios to outline the tritone sub in a ii V I chord progression, allowing you to take your soloing chops up a notch and begin to create lines in the same vibe as your favorite jazz guitarists at the same time.
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, we’ll look at a picking exercise that mimics the way horn players tongue their notes in the jazz style. By picking the up beats of each bar and slurring onto the down beats, you will be able to transform your scales from exercises into cool-sounding jazz lines in no time.
In this lesson we’ll be looking at adding the 5th of each chord on top of these fun and cool-sounding blues chords. Though you are only adding one note to each chord in the progression, the 5th, you might be surprised how well this works in expanding the texture and color of the two-note chords you learned in the first two lessons of this series.
In today’s lesson, the third part in our series about two-note chords, we’re going to look at adding one note on top of the 3rd and 7th shapes you learned in the previous two lessons. When doing so, you begin to create a “two hands of the piano”-type feel, especially when rhythmic variation is involved — as is the case in Example 3 in this lesson.
As we discovered in the first part of this series on 3rd and 7th chord voicings, sometimes all you need to properly and musically outline any chord progression is two chords. Today, we’ll be continuing our exploration of these fun and easy-to-play jazz guitar shapes by looking at how to apply 3rd and 7th two-note chords to the fourth and fifth strings of the guitar.
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.
In this, the third part of our series exploring spread triad voicings for guitar, we will be looking at raising two notes in each inversion of major, minor, diminished and augmented triads on the fretboard. By doing so, you will be able to expand your triad vocabulary beyond the commonly used shapes, which will allow you to play your favorite tunes but with new and fresh voicings for the standard triads you normally play.
When learning to play guitar, many of us explore open-position triads, and maybe barre chords on the fifth- and sixth-string roots after that. But, while these shapes are essential to get under your fingers, triads can offer myriad different sounds if you take them out of their usual context and begin to expand them beyond the confines of a single octave.
When learning how to play guitar, many of us begin by exploring major and minor triads, often in the open position. As we advance, we might take these three-note chords up the neck and look at different inversions in our practice routine. But we tend to stop at closed-position triads when checking these shapes out in the woodshed.