One of the biggest problems I encounter with jazz guitar students is that they have learned a ton of chords, scales and arpeggios, but they can’t play a tune or jam on a standard. When learning how to play jazz guitar, it’s vital to keep a focus on learning tunes, as well as developing technique, in order to avoid an awkward situation when someone invites you to jam and you don’t know any tunes.
When learning how to play jazz guitar, one of the big concepts many players tackle is learning licks from famous players and classic solos. When doing so, you can learn the lick as played on the recording, but you also can work the lick around the bar rhythmically in order to give you variations that you can apply to your soloing ideas as well as the original lick.
Double stops are a great way to add a new texture to your jazz guitar chord soloing ideas, over Dominant 7th chords as in this lesson, or any harmony you are exploring. Also, they are less demanding technically, so they can juice up your chord-soloing lines at faster tempos when full chord shapes are too tough to grab on the neck.
When learning how to play jazz guitar, one of the most commonly asked questions is, “How do I add chord extensions to my soloing ideas?” To help answer this question, in this lesson we’ll be looking at an easy, fun and effective way to bring extension notes into your jazz guitar solos — upper structure triads.
By looking into the four dim7 and four 7th chords that are built from this scale, you can expand your 7b9 diminished soloing ideas without having to study anything beyond these two common arpeggio shapes. Let’s dig in and check out how you can use harmonic arpeggios to build interesting lines when using a 7b9 diminished scale in your soloing ideas.
While it might sound alien to someone who wasn’t born in Brazil, or who hasn’t spent time in the country studying its music, learning the bossa rhythm on guitar can be broken down into three steps in order to quickly learn this fun rhythm on the fretboard. In today’s lesson, we’ll be studying this three-step process as you begin to apply a bossa rhythm to a I VI ii V progression in C major.
Miles Davis' album Kind of Blue and his song "So What" are often a gateway into jazz for many musicians with a rock, pop and blues background. But while some of us are drawn to the opening chords of "So What" and learn them on the guitar where they fit nicely on the fretboard, we may stop there rather than digging into making single-note shapes out of these same chords.
In this lesson, we’ll be adding to your tritone sub soloing vocabulary as we explore how to add scale ideas to your soloing phrases. We'll also check out a few common licks that use scales to outline tritone subs in a ii V I chord progression.
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.
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.