ii-Vs are some of the most commonly used and important chords in the jazz repertoire. It’s a progression you’ll see often as a jazz guitarist, so being able to confidently solo over these chords is an essential skill. When first learning to blow over these chords, we often start with the Dorian and Mixolydian modes over each chord, respectively.
Improvising with arpeggios is a great way to dig into chord changes, bringing out the exact sound of each chord in your lines. While scales and modes are great for outlining keys and creating modal colors, when you want to sound each chord in a progression, arpeggios are the way to go. While they are great for outlining chord changes, arpeggios can often become boring or predictable when you overuse them in a solo.
One of the most common alterations you will come across as a beginning and intermediate jazz guitarist is the 7#11 chord. Built by taking a normal dominant 7 chord, R 3 5 b7, and lowering the 5th by a 1/2 step, R 3 #11(b5) b7, these chord symbols come up time and again in big band charts and standard tunes.
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.
One of the most common questions I get from students and readers alike is, “I've learned tons of jazz chords, but how do I make them sound like music?” Alongside your study of chord voicings on their own, one of the best ways to learn how to apply those chords to your comping and chord soloing is to learn sample chord studies based on the changes to popular jazz tunes.
One of the most common questions I get from my students and readers is, “I know what jazz chords to study, but how to I practice them in a practical, musical way?” To help answer this question, I’ve put together an exercise that uses all the inversions of any chords you are learning, while playing them in a common chord progression at the same time.
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.
When learning how to play jazz guitar, many of us know we need to learn scales, arpeggios and chords, but we are sometimes stuck when looking for jazz tunes to learn that are appropriate for our level of development. In this lesson, you will check out five introductory jazz tunes, each focusing on specific concepts that will help you develop strong jazz-guitar fundamentals while expanding your repertoire.
While learning the Lydian scale itself is definitely one way to go when adding a maj7#11 sound to your solos, there’s another common and cool-sounding concept you can explore to bring this sound out in your lines. In today’s lesson, we’ll be looking at how you can apply a major pentatonic scale a tone above any maj7 chord to bring out a Lydian vibe in your jazz guitar solos.
With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our jazz guitar soloing concepts. Keeping a focus on rhythms and rhythmic motives in your solos can help take your playing to the next level, without having to learn any new concepts, just new approaches to the concepts you already have under your fingers.