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.
One of the most beneficial ways to learn scales on the guitar is to break them down and work them out using the common “box patterns” for each scale. This system is a solid way to organize the neck and get any scale under your fingers when first exploring these melodic devices on the fretboard.
When learning how to play jazz guitar, one of the things that many players want to explore and get under their fingers is walking basslines. Though learning how to walk a bassline (and comp at the same time) can take a lot of experience and time in the woodshed, there are a few rules and pointers you can follow in order to get you off on the right foot as you begin to explore the world of basslines for jazz guitar.
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.