Matt Warnock http://www.guitarworld.com/taxonomy/term/2260/all en Jazz Guitar Corner: Rhythmic Soloing Exercise for the Improvising Guitarist http://www.guitarworld.com/jazz-guitar-corner-rhythmic-soloing-exercise-improvising-guitarist <!--paging_filter--><p>With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our <strong>jazz guitar soloing</strong> concepts. </p> <p>Keeping a focus on rhythms and <strong>rhythmic motives</strong> 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. </p> <p>In this lesson, you’ll learn a fun and <strong>essential jazz guitar rhythm</strong> exercise you can apply to your practice routine and take your playing to the next level of interest and creativity today. </p> <p><strong>Rhythmic Soloing Exercise</strong></p> <p>Here is the exercise in a nutshell so you can get the idea into your head before taking it to the fretboard.</p> <p>01. Pick a short, <strong>one-bar rhythm</strong> to focus on in your solo<br /> 02. Pick a chord progression or tune to solo over with a <strong>backing track</strong><br /> 03. Solo over the tune, using <strong>any notes you want</strong>, but every bar has the same rhythm<br /> 04. Practice these exercises at <strong>various tempos</strong> and with tunes of various lengths such as 8, 12, 16, 24 and 32 bars each</p> <p>Now that you know how to build the exercise, here's a sample motive that you can begin using, as well as a sample solo using that motive to give you an idea of how the exercise could sound in the woodshed. </p> <p><strong>Sample Rhythmic Motive<strong></strong></strong></p> <p>Here's a sample rhythm I might use in my practicing that you can start with when first exploring these concepts in the practice room. The rhythm relies on <strong>three up beats</strong>, 1&amp;, 2&amp;, 3&amp;, as well as a downbeat, 4, to build the one-bar long phrase. </p> <p>As an example, here is this rhythmic motive applied to a <strong>ii V I VI chord progression</strong> in the key of C major. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%201.jpg" width="620" height="156" alt="Open String Fingerpicking Pattern 1.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163727455&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>Once you have learned the sample lick above, try soloing over the same chord progression but make up your own notes to use with that static rhythm in order to take this motive further in the practice room.</p> <p><strong>Rhythmic Motive Blues Solo</strong></p> <p>To finish off our rhythmic motive study, here is a sample solo over an <strong>F blues progression</strong> that uses the same rhythm from the previous section. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%202.jpg" width="620" height="481" alt="Open String Fingerpicking Pattern 2.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163727547&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>When you have this short solo under your fingers, try improvising over an F blues using the same rhythm, but changing the notes as you work this idea into your own improvisational studies. </p> <p>As you can see, focusing on rhythms when soloing can bring a new dimension to your soloing ideas. While you won’t play a single rhythm for an entire chorus in a real-life situation, focusing on one rhythm in the woodshed will allow you to keep rhythms in the forefront of your lines and improvised solos. </p> <p>Do you have a questions or comments about this lesson? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-rhythmic-soloing-exercise-improvising-guitarist#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 18 Aug 2014 21:40:16 +0000 Matt Warnock http://www.guitarworld.com/article/22144 Jazz Guitar Corner: Three Steps to Avoiding Practice Fatigue http://www.guitarworld.com/jazz-guitar-corner-three-steps-avoiding-practice-fatigue <!--paging_filter--><p>When I asked my Facebook followers what they wanted me to write about this week, I was excited to see a question about maintaining physical and mental health in the practice room. </p> <p>As guitarists, it’s easy for us to put our heads down for hours at a time, only coming up when we’ve gotten hungry or tired enough to eat or sleep, before jumping back on the instrument we love so much. </p> <p>Because it’s easy to get swept away when practicing guitar, it is important to maintain your physical health and mental focus in order to get the most out of any time spent in the practice room. </p> <p>In this column, I’ll lay out some of the concepts I apply to my own routine in order to avoid back, shoulder, leg and arm pain, as well as help me keep focused mentally when working for short or long periods in the woodshed. </p> <p>Check out these items, and then please share (in the comments below the lesson or on Facebook) your tips for maintaining physical and mental strength in the guitar practice room. </p> <p><strong>Step 1: Scheduling Practice Breaks</strong></p> <p>The first issue to address when it comes to maintaining physical health in the practice room is scheduling regular breaks into your routine. </p> <p>Taking a five-minute break every 30 minutes, or a 10-minute break every 60 minutes, will not only give you a chance to stand up and stretch out your muscles, but it allows you to rest your focus for a bit before moving on to the next exercise in your routine.</p> <p>Sometimes we feel we have to press on and do hours at a time in the practice room. But after a while, our minds and bodies will burn out, and at that point you are just wasting energy on exercises that aren’t producing much of a return for your time. </p> <p>It is always better to work in short, highly focused bursts in the practice room than to slog on and become distracted mentally or sore physically. Therefore, scheduling breaks into your routine can help remind you when to take a few minute mental and physical stretch before going back refreshed to the next stage in your practice routine for that day. </p> <p><strong>Step 2: Correct Posture and Using a Strap</strong></p> <p>One of the biggest questions I get asked by guitarists is, “How should I sit when practicing, especially for long periods of time, in the practice room?”</p> <p>The answer to this question differs for each person, but there are some common principals we can all use to ensure that our posture is helping us and not hindering us in the practice room. Depending on your physicality, you might prefer to have both feet flat on the floor and your back straight against the chair you’re sitting in. </p> <p>If this is the case, you might want to use a footstool or guitar cushion support such as the one made by Dynarette to help support your guitar when sitting in this position. Though, if you’re like me, you might be more comfortable with one leg crossed over the other and your back slightly curved over the guitar, but not hunched, as that can cause shoulder and back problems pretty quickly. </p> <p>If you prefer the second type of posture, then resting the guitar on your picking-hand thigh, right for right-handers and left for left-handers, will allow you the closest access to the instrument compared to resting it on the opposite thigh when practicing. </p> <p>Either way can work for you as far as posture is concerned, so try them both out. </p> <p>I used footstools for many years, but having my hips displaced like that caused me back issues, and after switching to the cross-legged position, that went away. But I have had friends with the opposite experience, so test and see for yourself. </p> <p>Sitting in a chair is always preferential to sitting on the corner of a bed or on a couch, especially for long practice sessions, as chairs will provide more support regardless of which posture you choose. </p> <p>Lastly, using a strap in the practice room can help take some of the weight of the guitar off of your arms and move it onto your shoulders and body as a whole. This will prevent you from feeling like you have to hold the guitar in place with your arms as you play, which can cause undo tension and prevent you from being able to play at the best of your ability as you have to expend energy to hold the instrument on your thigh. </p> <p><strong>Step 3: Exercise and Stretching</strong></p> <p>Over the years, I’ve found that exercising and stretching throughout the day is very helpful for preventing strain issues, such as back, leg and arm pain, as well as injury in the practice room. I stretch out my fingers every 10 to 15 minutes and my arms every 30 or so in when practicing. </p> <p>Throughout the day I do exercises to help strengthen my arms, legs and core such as crunches, push-ups, walking and yoga. </p> <p>If you find you have a hard time sitting for a long time practicing, or that you are experiencing sore muscles, especially your arms and back, then exercising and stretching as part of your daily routine might be the thing you need to get over these physical humps in the woodshed. </p> <p>To maintain mental stamina and focus in the practice room, mediation or floating can be excellent ways to boost your mental strength, as well as provide creative influence away from the instrument. </p> <p>Though not music related, thinking about the physical side of practicing, and preparing yourself physically for time in the practice room, can go a long way in ensuring that you avoid injury and are able to get the most out of your time on the instrument. </p> <p>How do you approach maintaining your arm, hand and body health as a guitarist? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-three-steps-avoiding-practice-fatigue#comments Jazz Guitar Corner Matt Warnock Blogs Fri, 25 Jul 2014 17:28:40 +0000 Matt Warnock http://www.guitarworld.com/article/21944 Jazz Guitar Corner: 10 Steps to Learning Jazz Guitar Standards http://www.guitarworld.com/jazz-guitar-corner-10-steps-learning-jazz-guitar-standards <!--paging_filter--><p>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 with other musicians. </p> <p>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. </p> <p>Most players, if not all, pick up the guitar to play songs and jam with other people, so having a strategy in the practice room for learning standards will be beneficial to help you achieve this goal. </p> <p>In this lesson, I’ve listed my 10-step checklist that I run in the woodshed when I learn a new jazz standard so that you can have a group of exercises that will build your chord, scale and arpeggio vocabulary while allowing you to increase your repertoire at the same time. </p> <p>Check out these 10 exercises, and if you have an essential item you'd add to this list, share it in the comments section below. </p> <p><strong>Learning Jazz Standards Checklist</strong></p> <p>Here is the list of 10 exercises to help you learn any jazz standard on guitar. Depending on where your strengths and weaknesses lie, you might want to focus more time on the melody, chord, scale or arpeggios sections.</p> <p><strong>01. Memorize the melody in two positions on the fretboard.</strong><br /> <strong>02. Sing the melody from memory. </strong><br /> <strong>03. Play the root note of each chord in time to a backing track. </strong><br /> <strong>04. Comp Drop 3 chords from the sixth and fifth-string root notes. </strong><br /> <strong>05. Comp Drop 2 chords from the fifth and fourth-string root notes. </strong><br /> <strong>06. Play one-octave arpeggios for each chord. </strong><br /> <strong>07. Play two-octave arpeggios for each chord. </strong><br /> <strong>08. Play one-octave scales for each chord. </strong><br /> <strong>09. Play two-octave scales for each chord.</strong><br /> <strong>10. Work on a half time and/or walking bass line for the chord changes. </strong></p> <p>Try working out these 10 items the next time you learn a jazz standard on guitar and see how they can help you solidify a tune into your memory and under your fingers from a melody, comping and soloing situation. </p> <p>Do you have an essential learning tool that you would add to this list? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-10-steps-learning-jazz-guitar-standards#comments Jazz Guitar Corner Matt Warnock Blogs Mon, 23 Jun 2014 20:08:46 +0000 Matt Warnock http://www.guitarworld.com/article/21648 Jazz Guitar Corner: How to Expand Your Jazz Chops with Rhythmic Displacement http://www.guitarworld.com/jazz-guitar-corner-how-expand-your-jazz-chops-rhythmic-displacement <!--paging_filter--><p>When learning how to play jazz guitar, one of the big concepts many players tackle is learning licks from famous players and classic solos. </p> <p>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. </p> <p>In this lesson, you’ll learn a fun and cool technique you can use to take one lick and make it sound like eight licks by displacing it around the bar. </p> <p>Though this approach is associated with sax player Lee Konitz, who taught this to his students, it also fits well on the guitar and is worth spending time in the woodshed to bring into your playing today. </p> <p><strong>Lick 1: On the Beat</strong></p> <p>To begin, let’s take a classic-sounding jazz lick you can learn starting on beat 1 of the bar, then we’ll start to vary this lick in the next two examples. </p> <p>In order to make sure you can quickly grasp those variations, make sure you memorize this lick and get it comfortable under your fingers and in your ears before moving to the next two sections of this lesson. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/153149974&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><img src="/files/imce-images/Phrasing%20Licks%201-png.jpg" width="620" height="169" alt="Phrasing Licks 1-png.jpg" /></p> <p><strong>Lick 2: Anticipated</strong></p> <p>The first variation we’ll look at is taking the exact same lick, but starting it on the "and" of 4 on the bar before the progression starts. </p> <p>This creates a sense of anticipation in your line, and gives you a quick and relatively easy variation for the original lick that you can use in your solos without sounding repetitive or monotonous with the same lick. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/153150141&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><img src="/files/imce-images/Phrasing%20Licks%202-png.jpg" width="620" height="169" alt="Phrasing Licks 2-png.jpg" /></p> <p><strong>Lick 3: Delayed</strong></p> <p>As well as starting the lick an 8th-note early when playing it over a ii V I progression, you also can start it an 8th note later to add a sense of delayed resolution to your lines. </p> <p>Once you have worked this lick out on the "and" of 4, 1 and the "and" of 1, you can move it around to start on any beat in the bar in order to take it further in the practice room and out on the bandstand. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/153150281&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><img src="/files/imce-images/Phrasing%20Licks%203-png.jpg" width="620" height="169" alt="Phrasing Licks 3-png.jpg" /></p> <p>Now that you have practiced playing the lick starting on three different beats within the bar, you can try moving it around to other beats to see how it sounds when you start on beat 2, the "and" of 2, 3, etc. </p> <p>By working a lick around the bar like this, you are learning eight different variations for the same lick, by starting on the eight 8th-notes in the bar, providing you a ton of improvisational material from just one classic jazz line. </p> <p>Do you have a question or comment about this lick transposition technique? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-how-expand-your-jazz-chops-rhythmic-displacement#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 06 Jun 2014 18:35:40 +0000 Matt Warnock http://www.guitarworld.com/article/21483 Jazz Guitar Corner: Dominant Double Stops for Guitar http://www.guitarworld.com/jazz-guitar-corner-dominant-double-stops-guitar <!--paging_filter--><p>When learning how to play jazz guitar, we often spend time working out scales, arpeggios and single-note riffs, as well as chord shapes and common progressions. </p> <p>But what about those sounds in the middle of these two sonic poles — double stops? </p> <p>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. </p> <p>In today’s lesson, we’ll be exploring two of my favorite shapes for playing double stops over dominant 7th chords on guitar, as well as checking out a sample lick you can use as a stepping stone to improvising with these ideas on your own in a jam or gig situation. </p> <p><strong>Dominant Double Stop Shapes 1</strong></p> <p>To begin, let’s take a look at double stops built around an A13 chord, with the root on the fifth fret of the sixth string, or the fifth fret of the first string, depending on how you want to look at it. </p> <p>Since this chord is used a lot in jazz guitar, 13th chords with no root, we’ll use that as our point of reference for these double-stop ideas, killing two birds with one stone as you work on double stops and rootless chords in the woodshed. </p> <p>Try practicing and memorizing these double-stop fingerings in various keys around the fretboard, starting with the key of A and moving on from there. </p> <p>Having a handle on these shapes in various keys will allow you to quickly and comfortably apply them to your improvised solos in ii V I progressions as well as over jazz blues progressions and standards such as “Watermelon Man” and “Killer Joe,” both built around 7th-chord harmonies. </p> <p><img src="/files/imce-images/Dominant%20Double%20Stops%201.jpg" width="620" height="168" alt="Dominant Double Stops 1.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/139400450&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p>When you can play these double stops comfortably, try putting on an A13 vamp and soloing over that chord using these double stops to build your lines and phrases. From there, repeat this exercise in the other 11 keys in order to work these shapes in all locations around the fretboard. </p> <p><strong>Dominant Double Stop Shapes 2</strong></p> <p>As well as learning dominant double stops based around the sixth/first string root chord, as you did in the first example, you can also learn them based around a fifth-string root chord. </p> <p>Just like you saw in the first example, here there is no root note in the chord shape that I’m basing my double stops from, but you can think of the note D as being on the fifth string, fifth fret and use that as a reference. </p> <p>Playing rootless chords is something many jazz players do in their comping and chord-soloing ideas, so if this is new to you, check out my lesson <a href="http://www.guitarworld.com/jazz-guitar-corner-9th-chords-made-easy">"9th Chords Made Easy”</a> for more information on the subject. </p> <p><img src="/files/imce-images/Dominant%20Double%20Stops%202.jpg" width="620" height="168" alt="Dominant Double Stops 2.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/139400449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p>Once you have these shapes under your fingers, try jamming over a D7 vamp and soloing using only these double stops to build your lines. From there, you can take these fingerings to all 12 keys and then practice soloing over a jazz blues chord progression using these, and the first set of double-stop shapes to build your improvised lines and phrases.</p> <p><strong>Dominant Double Stop Lick</strong></p> <p>To help you get started with these double-stop fingerings over 7th chords, here's a sample lick you can learn over the first four bars of an A blues. </p> <p>I’ve used an A pedal note, the single-note A that keeps coming back, as this is a common technique used by jazz guitarists when playing double stops, and one you can explore further in your own practicing. </p> <p><img src="/files/imce-images/Dominant%20Double%20Stops%203.jpg" width="620" height="154" alt="Dominant Double Stops 3.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/139400446&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p>As you can see, working out these two positions of 7th double stops will give you a cool, organ sound in your jazz blues guitar lines and comping. Check out these shapes this week in the practice room and see where they lead you in the woodshed and out on the bandstand. </p> <p>Do you have a question about dominant double stops? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-dominant-double-stops-guitar#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Thu, 15 May 2014 14:34:40 +0000 Matt Warnock http://www.guitarworld.com/article/20718 Jazz Guitar Corner: Beyond the Octave — Upper Structure Triads for Jazz Guitar http://www.guitarworld.com/jazz-guitar-corner-beyond-octave-upper-structure-triads-jazz-guitar <!--paging_filter--><p>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. </p> <p><strong>What Are Upper Structure Triads?</strong></p> <p>To begin, let’s take a look at what exactly upper structure triads are and how you can apply them to your jazz guitar soloing ideas. Upper structure triads are three-note chords — triads — that use the notes beyond the root-3-5-7 arpeggio structure of any chord. </p> <p>This means they use the 9th, 11th and 13th notes of any chord, which are the 2nd, 4th and 6th notes, but up one octave to be placed above the underlying arpeggio shape. </p> <p>Here is an example of a C major scale written out in scale form, first two bars, followed by the arpeggio and upper structure triad for that chord. When you build upper structure triads, you can label them as you would any triad. </p> <p>This means that in the case of Cmaj7, you can play a Dm triad (D F A or 9 11 13) over a Cmaj7 chord to outline all of those sounds in your playing. </p> <p><img src="/files/imce-images/Upper%20Triads%201.jpg" width="620" height="157" alt="Upper Triads 1.jpg" /><br /> You can apply Upper Structure Triads to any chord that you are soloing over in a jazz context, not just the maj7 chord in the first example. </p> <p>In this lesson we’ll be looking at applying upper structure triads to the I VI ii V chord progression. To help you understand the triads that work over each of these chords, here they are in the key of C to study and practice from a technical standpoint before moving on to the licks in the lesson below. </p> <p><strong>Cmaj7</strong> – Dm<br /> <strong>A7b9</strong> – Bbdim<br /> <strong>Dm7</strong> – Em<br /> <strong>G7</strong> – Am</p> <p>Or, to think of it as Roman numerals, in order to make things easily transposable to other keys, here are the numerals for each chord and upper triad. </p> <p><strong>Imaj7</strong> – ii<br /> <strong>VI7b9</strong> – biidim<br /> <strong>iim7</strong> – ii<br /> <strong>V7</strong> – ii</p> <p>A good exercise to get these sounds under your fingers is to play the original arpeggio followed by the upper structure triad for each of these chords in different parts of the fretboard, and in different keys as you solidify this concept in your ears and under your fingers in your practice routine. </p> <p><strong>Upper Structure Lick 1</strong></p> <p>Here's a sample lick that will help you hear and apply the sound of upper structure triads to a I VI ii V chord progression, which is commonly found in countless jazz tunes from the classic repertoire. </p> <p>When you’ve worked this lick out on the neck, try writing out three to five licks of your own that use upper structure triads as the basis for your lines, moving on to applying these ideas to other progressions beyond I VI ii V as well in your woodshedding. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/148709109&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Upper%20Triads%202.jpg" width="620" height="170" alt="Upper Triads 2.jpg" /></p> <p>As is the case with any lick you learn, work this phase in the key of C before moving it around to the other 11 keys on the fretboard. Also, try soloing over a tune you know or are working out in the practice room and use this idea over various sections of that tune where the chords apply. </p> <p><strong>Lydian and Lydian Dominant Triads</strong></p> <p>When soloing in a jazz context, many players prefer the sound of a #11 to a natural 11 when playing over maj7 and 7th chords. This is due to the 3rd and 11th of those chords being a half-step apart, causing a bit of tension when playing the 11th over the 3rd in a soloing context. </p> <p>To avoid this dissonance, you can use upper structure triads to build #11 sounds over both maj7 and 7th chords in your soloing phrases. Here is how you would do that over both a Cmaj7 and G7 chord. </p> <p><strong>Cmaj7</strong> – D<br /> <strong>G7</strong> – A</p> <p>Or, written as Roman numerals, these chords and upper triads would be:</p> <p><strong>Imaj7</strong> – II<br /> <strong>V7</strong> – II</p> <p>Meaning that if you have a Imaj7 chord, you can play a major triad from the second note of that chord to produce the maj7#11 sound. Same goes for the V7 chord, where you play a major triad from the second note of that chord to produce a 7#11 sound. </p> <p>Once you have worked out the theory behind these #11 sounds, try working them out on the fretboard, and then bringing them to your soloing phrases when improvising in order to expand upon them in your jazz guitar practice routine. </p> <p><strong>Upper Structure Lick 2</strong></p> <p>To help you get the maj7#11 and 7#11 sounds into your playing using upper structure triads, here is the same lick that you just learned in the previous section, with the 11ths being raised to #11s over the Cmaj7 and G7 chords. </p> <p>Work this lick out in the woodshed, and then try and write out 3 to 5 licks of your own that use maj7#11 and 7#11 upper structure triads to build your lines. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/148709222&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Upper%20Triads%203.jpg" width="620" height="170" alt="Upper Triads 3.jpg" /></p> <p>Once you have this lick under your fingers in the key of C major, try taking it to other keys and applying it to tunes you know or are working on in the woodshed. </p> <p>Upper structure triads are fairly simple to get under your fingers, as they’re based on three-note shapes, but as you can see, they can expand your soloing chops and provide new colors to your jazz guitar soloing lines and phrases. </p> <p>Do you have a question about upper structure triads? Share your thoughts in the COMMENTS section below! </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-beyond-octave-upper-structure-triads-jazz-guitar#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 09 May 2014 16:47:24 +0000 Matt Warnock http://www.guitarworld.com/article/21216 Jazz Guitar Corner: One Quick Trick to Solo Over 7b9 Chords http://www.guitarworld.com/jazz-guitar-corner-one-quick-trick-solo-over-7b9-chords <!--paging_filter--><p>One of the questions I get asked the most is, “How can I spice up my diminished-scale soloing ideas beyond just playing the scale or the arpeggio?”</p> <p>To help answer this question, in this lesson we’ll be looking into one of my favorite ways to expand your 7b9 diminished soloing ideas using various arpeggios built from the underlying harmony of the scale. </p> <p>By looking into the four dim7 and four 7th chords that are built from this scale, you can quickly expand your 7b9 diminished soloing ideas without having to study anything beyond these two common arpeggio shapes. </p> <p>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. </p> <p><strong>What is the 7b9 Diminished Scale?</strong></p> <p>To begin, let’s take a quick look at the 7b9 diminished scale, otherwise known as the half whole diminished scale, before moving on to looking at the harmony built from the notes in this scale. </p> <p>This eight-note scale has the following interval pattern:</p> <p>Root-m2-m3-M3-D5-P5-6-b7</p> <p>You can think of some of these notes as several intervals depending on how you see the fretboard, such as seeing the M3 as a D4, or the D5 as an A4, but I find that the above intervals are the easiest way for me to visualize them quickly on the fretboard. </p> <p>This scale, as the name suggests, is used to solo over a 7b9 chords, and you can see a sample two-octave fingering for this scale over an A7b9 chord below. </p> <p><img src="/files/imce-images/Diminished%20Harmony%201.jpg" width="620" height="157" alt="Diminished Harmony 1.jpg" /></p> <p>If this scale is new to you, try working it in 12 keys across the fretboard, as well as finding at least two or three fingerings you can use to play this scale in different parts of the fretboard, such as sixth-, fifth- and fourth-string root fingerings. </p> <p><strong>7b9 Diminished Scale Harmony</strong></p> <p>One of the coolest musical concepts that comes from the 7b9 diminished scale, again otherwise known as the half-whole diminished scale, is the arpeggio patterns that are derived from this scale. </p> <p>Along with the four dim7 chords that come from this scale, from the b9, 3, 5 and b7 of the underlying chord, you can also derive four 7th chords from the same scale, built from the root, b3, b5 and dim7 of the scale. </p> <p>When applied to an A7b9 chord, you can build four dim7 and four 7th chords from the underlying diminished scale that you can then use to solo over this chord type in your jazz guitar improvisations. </p> <p>7ths – A7, C7, Eb7, Gb7<br /> dim7 – Bbdim7, Dbdim7, Edim7, Gdim7</p> <p>You can see these arpeggios with a sample fingering below that you can use as a starting point when taking these arpeggios to your jazz guitar practice routine. </p> <p><img src="/files/imce-images/Diminished%20Harmony%202-png.jpg" width="620" height="313" alt="Diminished Harmony 2-png.jpg" /></p> <p>When you have worked out this arpeggio pattern over A7b9, make sure to practice it in other positions on the fretboard for this chord, as well as apply this concept to all 12 keys of 7b9 chords around the fretboard as you expand upon these arps in the woodshed. </p> <p>As well, try putting on a 7b9 backing track and play these arpeggios, one at a time or several combined at once, over this track in order to hear how they sound when applied to a harmonic situation. </p> <p><strong>7b9 Diminished Scale Lick</strong></p> <p>To help you take this idea to a musical situation in your practicing, here is a sample lick that uses the arpeggios from the previous section to outline the V7b9 chord in a ii V I progression in the key of D minor. </p> <p>Once you have memorized this lick in the key of D minor, practice running it through all 12 keys at different tempos around the fretboard, as well as apply it to tunes that you are shedding in your practice routine. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/143545608&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Diminished%20Harmony%203.jpg" width="620" height="163" alt="Diminished Harmony 3.jpg" /></p> <p>When this lick is comfortable in your playing, try writing out three to five similar licks of your own that use the concepts from this lesson to create those jazz guitar 7b9 phrases. </p> <p><strong>Practicing 7b9 Diminished Scale Harmony</strong></p> <p>Once you have checked out the arpeggios and lick in the above lesson, you can move forward with this material in your own jazz guitar practice routine. Here are five exercises you can do to expand upon these ideas. </p> <p><strong>01.</strong> Put on an A7b9 backing track and solo over that chord using the A7 half-whole diminished scale as the basis for your lines.<br /> <strong>02.</strong> Solo over the same A7b9 backing track using only the four 7th chords from the HW dim scale to build your lines, A7-C7-Eb7-Gb7.<br /> <strong>03.</strong> Solo over the same A7b9 backing track using only the four dim7 chords from the HW dim scale to build your lines, Bbdim7-Dbdim7-Edim7-Gdim7.<br /> <strong>04.</strong> Repeat exercises 1 to 3 over all 12 keys for 7b9 chords.<br /> <strong>05.</strong> Put on a tune such as "Tune Up" by Miles Davis and treat every 7th chord as a 7b9 chord in order to use the scale and arps from this lesson to build your lines over those changes. </p> <p>From there, try taking this diminished scale harmony material to other tunes that you know or are working on in the woodshed as you take these concepts further in the practice room. </p> <p>Do you have a question about 7b9 diminished scale harmony? Share your thoughts in the comments section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-one-quick-trick-solo-over-7b9-chords#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 07 Apr 2014 17:29:28 +0000 Matt Warnock http://www.guitarworld.com/article/20951 Jazz Guitar Corner: Basic Bossa Rhythm for Guitar http://www.guitarworld.com/jazz-guitar-corner-basic-bossa-rhythm-guitar <!--paging_filter--><p>Besides the swing rhythm, one of the most common rhythms I get asked about from readers and students studying jazz guitar is the Bossa Nova rhythm. </p> <p>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. </p> <p>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, later taking it to other keys, other progressions and to full tunes as you study this rhythm further in the practice room. </p> <p><strong>Basic Bossa Rhythm Step 1</strong></p> <p>The first step in building a basic bossa rhythm on the guitar is to play a full chord on beat one of the bar, which includes the root note and all of the rest of the chord at the same time, as well as just the top notes of the chord, minus the root, on beat 2.</p> <p>When playing these first two beats of the pattern, try and play them quietly and as even as possible, not having any accents of any kind at this point in the bar. The accent will come later on, and if you have the first half of the bar quiet and even, the accented &amp; of 3 attack will stand out even more when you bring that to the pattern. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/134824194&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Basic%20Bossa%20Rhythm%20For%20Guitar%201.jpg" width="620" height="169" alt="Basic Bossa Rhythm For Guitar 1.jpg" /></p> <p>Now that you’ve worked out the first half of the bar, let’s take a look at the second half, which is simpler in its construction and more complex in its syncopation — at the same time. </p> <p><strong>Basic Bossa Rhythm Step 2</strong></p> <p>The first step in adding notes to the second half of the bar in a basic bossa rhythm is to place a root note on the third beat of the bar. For now, you can let that note right for a beat or the whole second half of the bar, but later on you will add a chord on top of that bass note and it will either ring over the chord, or be cut off. </p> <p>For now, keep focusing on playing each of these three attacks, on beats 1, 2 and 3, quietly and evenly with no accents, which will come in with the final step of this process. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/134824464&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Basic%20Bossa%20Rhythm%20For%20Guitar%202.jpg" width="620" height="169" alt="Basic Bossa Rhythm For Guitar 2.jpg" /></p> <p>With the first three beats under your fingers, let’s add the last chord and finish this rhythmic pattern off with a syncopated attack on the &amp; of beat 3. </p> <p><strong>Basic Bossa Rhythm Step 3</strong></p> <p>The final step features the first syncopated rhythm of the pattern, with a chord added on the &amp; of 3 in the second half of the bar. As well, this is the first accented note of the pattern, which means that you play this chord a bit louder than the first 3 beats of the bar. </p> <p>After you have learned this pattern in the key of C major, try practicing it in all 12 keys, as well as applying it to other common chord progressions as you expand upon it further in the woodshed. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/134824633&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe> </p> <p><img src="/files/imce-images/Basic%20Bossa%20Rhythm%20For%20Guitar%203.jpg" width="620" height="169" alt="Basic Bossa Rhythm For Guitar 3.jpg" /></p> <p>As you can see, when you hear this rhythm as a whole, it can sound tricky to get under your fingers. But, by breaking it down into three steps, you can quickly work out the basic Bossa rhythm for guitar in the woodshed before taking it out to Bossa and other Brazilian tunes on the bandstand. </p> <p>Do you have any questions about this lesson? Share your thoughts in the COMMENTS section below.</p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-basic-bossa-rhythm-guitar#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 14 Feb 2014 18:31:53 +0000 Matt Warnock http://www.guitarworld.com/article/20493 Jazz Guitar Corner: Stealing Soloing Ideas from Miles Davis' "So What" http://www.guitarworld.com/jazz-guitar-corner-stealing-soloing-ideas-miles-davis-so-what <!--paging_filter--><p>Miles Davis' album <em>Kind of Blue</em> and his song "So What" often represent a gateway into jazz for many musicians with rock, pop or blues backgrounds. </p> <p>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. </p> <p>In today’s lesson, you’ll learn how to take the classic "So What" chord shapes and turn them into single-note soloing ideas in your improvised lines and phrases, bringing a bit of Davis and Bill Evans onto the fretboard at the same time. </p> <p><strong>The "So What" Chords</strong></p> <p>As a review, here are the opening chords played by pianist Evans on the classic recording of "So What" from <em>Kind of Blue</em>. The chords are built by stacking 4th intervals until you hit the top two strings, where there is a 3rd between those last two notes. </p> <p>Also, there are two different chords going on here under the written Dm7 — an Em7 and Dm7 shape that, when combined, outline the intervals written in the last two bars of the example. </p> <p>Before going on to the next part of this lesson, one thing to take away from the "So What" chords is that when you see Dm7 on a lead sheet, you can move between Dm7 and Em7 in your comping ideas in order to play on the given chord, as well as add color by outlining the R-9-11-5-13 when playing the Em7 chord. </p> <p><img src="/files/imce-images/So%20What%20Soloing%201.jpg" width="620" height="172" alt="So What Soloing 1.jpg" /></p> <p>After you’ve reviewed (or learned, if they are new) these shapes in your practicing, it’s time to move on and take the first step into breaking these ideas up and making single-note melodies out of the "So What" chords. </p> <p><strong>Breaking Up "So What" Chords</strong></p> <p>While playing these full chord shapes will get the "So What" chords under your fingers, they can be a bit bulky and hard to move around the fretboard, especially at quicker tempos. </p> <p>So the first thing we’ll do is break up these larger chords into smaller shapes that you can then use in your comping ideas and to create single-line melody lines in your jazz guitar solos. </p> <p>Here's how those shapes would look for both the Em7 and Dm7 "So What" chords, where both have been broken up into three-note groups to make them easier to move around and build single-lines out of. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/131873324&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/So%20What%20Soloing%202.jpg" width="620" height="174" alt="So What Soloing 2.jpg" /> </p> <p>Now that we’ve broken up the "So What" chords into three smaller shapes for both the Dm7 and Em7 shapes, you can arpeggiate these forms in order to create single-line versions of these chords. </p> <p>You can see an example of this in the following example, where I’ve picked each three-note from the lowest to highest notes in order to create single-line versions of each shape. Try working these in all 12 keys around the neck to get them under your fingers and into your ears on the fretboard. </p> <p>From a picking perspective, you can use economy picking such as down-down-up for each shape, sweep picking such as down-down-down, or hybrid picking where you would use your pick and fingers to pick each shape. </p> <p>To keep things simple on the page, I’ve written ascending versions of each shape only, but you can also play down each shape as you work up and down the fretboard using these three-note shapes to break up the "So What" chords on the neck. </p> <p>Once you’ve got these shapes in Dm7 under your fingers, try putting on a Dm7 backing track and soloing over that chord using these shapes as the basis for your lines. From there, you can take these ideas to other keys and tunes when applying them to a soloing situation. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/131873817&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/So%20What%20Soloing%203.jpg" width="620" height="172" alt="So What Soloing 3.jpg" /> </p> <p>After you have worked these shapes all ascending in the woodshed, move on to the next section of this lesson where you’ll be learning how to add a few variations to these three-note shapes in your practicing. </p> <p><strong>"So What" Chord Variations</strong></p> <p>Once you have worked on breaking up the So What chords into single-line shapes on the fretboard, you can work these shapes with a few common variations in your practice routine. </p> <p>Here are a few of the variations that I like to use, but feel free to come up with your own after you’ve worked on these in 12 keys in the woodshed. </p> <p>The first variation focuses on playing each three-note shape descending from the highest to lowest note, then moving to the next shape on that chord until you’ve reached the top note. </p> <p>In the second variation, you play the first three-note shape ascending and then the second shape descending until you’ve reached the top of the chord you’re on. </p> <p>For simplicity, I’ve written these variations out over the Dm7 chord shape we learned earlier, but you can also practice these variations over the Em7 shape as well when moving forward with these ideas in the practice room. </p> <p>You can also put on a Dm7 vamp, or other chord progression, and practice soloing over those harmonies using one or both of these variations to create your improvised lines and phrases when taking these variations to a musical situation. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/131874043&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/So%20What%20Soloing%204.jpg" width="620" height="177" alt="So What Soloing 4.jpg" /> </p> <p>Now that we’ve looked at a few variations when breaking the "So What" chords into single lines, let’s move on to a sample lick and see how this idea can be applied to a ii V I chord progression. </p> <p><strong>"So What" Chords Lick</strong></p> <p>To help get you started with these ideas in a soloing context, here is a sample lick that you can check out and work in the given key of C major, and then in all 12 keys as your work it around the fretboard. </p> <p>As well you can practice applying this lick to tunes you are working on, and when it’s comfortable, begin altering the lick by changing the rhythms, adding in notes, taking notes away, playing bits of the lick, and so forth as you personalize this phrase in your playing. </p> <p>I’ve used the "So What" chords in the first measure, and then finished the idea with some bebop techniques from there. When you’ve got this lick worked out with the above variations, then try writing out a few of your own as sometimes composition can be a great way to work on improvisation in the practice room. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/131874353&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/So%20What%20Soloing%205.jpg" width="620" height="171" alt="So What Soloing 5.jpg" /></p> <p>Do you have any questions on this lesson? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-stealing-soloing-ideas-miles-davis-so-what#comments Jazz Guitar Corner Matt Warnock Miles Davis Blogs Lessons Tue, 28 Jan 2014 20:55:34 +0000 Matt Warnock http://www.guitarworld.com/article/20346 Jazz Guitar Corner: Tritone Sub Soloing, Part 2 — 7#11 Scales http://www.guitarworld.com/jazz-guitar-corner-tritone-sub-soloing-part-2-711-scales <!--paging_filter--><p>As you read in <a href="http://www.guitarworld.com/jazz-guitar-corner-tritone-sub-patterns-part-1-arpeggios">my previous Jazz Guitar Corner column</a>, one of the ways to outline tritone subs in your playing is to use the related arpeggio patterns. </p> <p>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. </p> <p><strong>What is a Tritone Sub?</strong></p> <p>As a quick review, let’s take a look at what a tritone sub is and where you place it in a ii V I progression. </p> <p>Simply put, a tritone sub is when you have a V7 chord, and you play a 7th chord a tritone apart from that give chord. So if you see D7, you can play Ab7, since Ab7 is a tritone away from D7. </p> <p>Both of these chords, the V7 and bII7 (as the tritone is called), share the same 3rds and 7ths, which is why they are so closely related and interchangeable in your playing. This means the 3rd of D7, F#, is the b7th of Ab7, Gb(F#), and the b7th of D7, C, is the 3rd of Ab7.</p> <p>Here is how those chords look on paper. </p> <p><img src="/files/imce-images/Tritone%20Sub%202%20Example%201.jpg" width="620" height="154" alt="Tritone Sub 2 Example 1.jpg" /></p> <p>When applying a tritone sub, we normally replace the V7 chord in a ii V7 I progression with the bII7 chord to produce a iim7 bII7 Imaj7 chord progression, as you can see in the lick examples below. </p> <p><strong>The Lydian Dominant Scale</strong></p> <p>Besides using the arpeggios to solo over the tritone sub, as you did in the previous lesson, you also can use scales to outline this chord in your playing. There are a number of scales you can choose from in this situation, but the most commonly used is the Lydian Dominant Scale. </p> <p>Built from the 4th mode of the Melodic Minor Scale, the Lydian Dominant Scale has both the #11 and b7 note in it, which makes it perfect for outlining 7#11 chords in your jazz guitar solos. </p> <p>Here are two examples of D7#11 scale fingerings that you can learn and begin to apply to your tritone sub soloing ideas. Since the chord is D7#11, it is the same as playing an A Melodic Minor Scale starting from D, to produce the 4th mode of that scale. </p> <p><img src="/files/imce-images/Tritone%20Sub%202%20Example%202.jpg" width="620" height="152" alt="Tritone Sub 2 Example 2.jpg" /></p> <p><strong>Tritone Sub Licks</strong></p> <p>To help you get started in applying the 7#11 scale to your tritone subs, here's a short ii V I lick that uses Ab7 in place of the D7 in the second half of bar one of the phrase. </p> <p>Try this lick out in G, then take it to other keys as you learn it around the fretboard. From there, try soloing over a ii V I vamp and use this lick as the basis for your soloing ideas, starting to add notes, take notes away and change the rhythm as you begin to make the lick your own and less of a memorized line. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/127118827&amp;color=ff6600&amp;auto_play=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Tritone%20Sub%202%20Example%203.jpg" width="620" height="157" alt="Tritone Sub 2 Example 3.jpg" /></p> <p>Here is a longer ii V I line in the key of G major that uses the Ab7#11 scale in the second bar, as a tritone sub for the D7 chord. You will notice the use of the note F over G7 as well. This is a bluesy little sound that I like to throw in over maj7 chords from time to time. Check it out and see what you think about this sound in your own playing. </p> <p>After you’ve learned this lick in the given key, and at a number of tempos, try taking it to other keys around the neck, and then practice applying it to your soloing ideas as you play it over ii V I changes in any tune you know or are working on in the woodshed. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/127118700&amp;color=ff6600&amp;auto_play=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Tritone%20Sub%202%20Example%204.jpg" width="620" height="157" alt="Tritone Sub 2 Example 4.jpg" /></p> <p><strong>Further Practice</strong></p> <p>Now that you know how to add the Lydian Dominant Scale to your tritone subs, try taking this concept into your soloing practice and jam sessions. You can put on a ii V I backing track and solo over those changes using the bII Lydian Dominant Scale over the V chord, as well as practice soloing over tunes and apply the same concept to each ii V I progression you find in any given tune you are blowing over. </p> <p>Learning how to comfortably and confidently use tritone subs is an important skill for any jazz guitarist to have, so learning how to use the 7#11 scale in this situation will help expand your soloing chops, and get these sounds into your playing today. </p> <p>Do you have a question or comment about this lesson? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-tritone-sub-soloing-part-2-711-scales#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 30 Dec 2013 15:14:58 +0000 Matt Warnock http://www.guitarworld.com/article/20087 Jazz Guitar Corner: Tritone Sub-Patterns, Part 1 — Arpeggios http://www.guitarworld.com/jazz-guitar-corner-tritone-sub-patterns-part-1-arpeggios <!--paging_filter--><p>One of the most commonly used chord subs in jazz guitar, the tritone sub, is a concept that comes up time and again when studying soloing and comping, but sometimes its meaning and usage isn’t clear. </p> <p>To help clear the air with this important and cool-sounding chord sub, we’ll be using the next few lessons to dissect, apply and practice various chords, scales and arpeggios you can use in order to bring this chord sub concept into your jazz guitar playing. </p> <p>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. </p> <p>So, let’s dig into tritone sub arpeggios for jazz guitar!</p> <p><strong>What Is a Tritone Sub?</strong></p> <p>To begin, let’s take a look at what a tritone sub is on paper, and then we will be ready to transfer this knowledge to the fretboard. Simply put, a tritone sub is when you have a V7 chord, such as the D7 in the example below, and you sub that chord out with a bII7 chord, such as the Ab7 in the same example. </p> <p>This chord sub works out because both chords share a 3rd and 7th. This means the 3rd and 7th of D7, F# and C, are the same notes as the 7th and 3rd of Ab7, Gb(F#) and C. This connection is what allows these chords to be so easily swapped out for each other in comping and soloing situations. </p> <p>Play through the following example and hear how both chord progressions, ii V I and ii bII I, sound similar but have a different feel to them as well that is created from the bass note movement in each progression. </p> <p><img src="/files/imce-images/Tritone%20ii%20V%20I%201.jpg" width="620" height="166" alt="Tritone ii V I 1.jpg" /></p> <p><strong>Tritone Sub Arpeggio 1 – 7th Arp</strong></p> <p>Now that you have an idea of what a tritone sub is, let’s take this concept to the fretboard as you begin to apply the theory to your jazz guitar solos and improvised phrases. The first place to start is by learning an arpeggio for the bII7 chord that you can then use to solo over the V7 chord in a ii V I chord progression, as you can see in this first example. </p> <p>Start by learning these arpeggio shapes in this position, taking them to all 12 keys across the neck if possible, and then put on a ii V I backing track and start to solo over those chords using the ii bII I arpeggios from the example below. </p> <p>When you have a handle on these arpeggio shapes, try applying any 7th arpeggio you know to this chord progression, so that you will be able to apply this concept to any area of the fretboard as you take this idea further in your practice routine and jam/gigging situations. </p> <p><img src="/files/imce-images/Tritone%20ii%20V%20I%202.jpg" width="620" height="154" alt="Tritone ii V I 2.jpg" /></p> <p>To help you get started with this sound, here is a sample lick written over a ii V I in G major, where the bII7 arpeggio is used over the V7 chord in bar 2 of the phrase. Start by learning this lick in G, then taking it to as many other keys as you can in order to get an idea of how it fits and sounds across the fretboard. </p> <p>When you have worked this lick across the neck, you can try writing out 4 to 5 licks of your own that use the same concept, the bII7 arpeggio over V7, and then begin to solo over a ii V I backing track as you make up similar licks on the spot with these same arpeggios. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/122915399&amp;color=ff6600&amp;auto_play=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Tritone%20ii%20V%20I%203.jpg" width="620" height="160" alt="Tritone ii V I 3.jpg" /></p> <p><strong>Tritone Sub Arpeggio 2 – 7#11 Arp</strong></p> <p>You can take this approach one step further by applying a 7#11 sound to your tritone sub chord in bar 2 of a ii V I chord progression, as you can see in the example below. </p> <p>This chord, bII7#11, sits nicely over the V7 harmony as the #11 of a bII shape is the same note as the root of a V7 shape, as you can see with the note D in the example below, which is the #11 of Ab7 and the root of D7. Start by learning the arpeggio fingering below and solo over a ii V I backing track using these shapes in order to begin to hear how the 7#11 chord sounds when superimposed over the V7 chord in this progression. </p> <p>In order to take this idea further in your practicing, you can take any 7th arpeggio you know, on any string set as well, and simply lower the 3rd note, the 5th, to turn that 7th arpeggio into a 7#11 arpeggio. </p> <p>This will allow you to learn new sounds, based on the 7#11 arpeggio, without having to learn a bunch of new shapes on the neck. Instead, you will be creating new sounds from previous knowledge as you transform 7th arpeggios into 7#11 arpeggios with a one-note adjustment. </p> <p><img src="/files/imce-images/Tritone%20ii%20V%20I%204.jpg" width="620" height="154" alt="Tritone ii V I 4.jpg" /></p> <p>Here's a sample lick that uses the bII7#11 arpeggio over the V7 chord in bar 2 of a ii V I progression in the key of G major. Once you have this lick under your fingers in G, take it to other keys across the fretboard, and then begin to write out and improvise lines of your own that use the tritone bII7#11 arpeggio in this context. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/122915404&amp;color=ff6600&amp;auto_play=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Tritone%20ii%20V%20I%205.jpg" width="620" height="160" alt="Tritone ii V I 5.jpg" /></p> <p>As you can see, learning how to play 7th and 7#11 arpeggios will allow you to comfortably outline a Tritone Sub ii V I chord progression the next time your want to bring this sound to your jazz guitar improvisational ideas and phrases. </p> <p>Check out these shapes in the woodshed this week and see what you can come up with on your own as you explore tritone arpeggios for jazz guitar in the practice room.</p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-tritone-sub-patterns-part-1-arpeggios#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 02 Dec 2013 19:49:44 +0000 Matt Warnock http://www.guitarworld.com/article/19887 Jazz Guitar Corner: Soloing with the Mixed Blues Scale http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale <!--paging_filter--><p>Learning to play the blues in a jazzy style means stepping outside the minor blues scale and exploring other melodic options in your solos. </p> <p>But you don’t need to go very far to find a cool-sounding scale that can jazz up your blues solos in no time. </p> <p>In today’s lesson, 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. </p> <p><strong>Major and Minor Blues Scales</strong></p> <p>To begin, here's a quick review of the minor and major blues scales, written over an A7 chord in the example below. </p> <p>The minor blues scale contains the notes R-b3-4-#4-5-b7, and the major blues scale contains the notes R-2-b3-3-5-6, so they share a few notes and have a few different notes between them. </p> <p>The notes they share are the root, b3 and 5th, while the other notes are different between the two scales; minor blues has the 4, #4 and b7; while the major blues scale has 2, 3 and 6.</p> <p>Try playing both of these scales back to back over an A7 chord, with a backing track if possible, in order to hear how they both sound when applied to a chord such as A7. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%201.jpg" width="620" height="154" alt="Jazz Blues Scale 1.jpg" /></p> <p><strong>Mixed Blues Scale</strong></p> <p>Now that you've looked at both of these scales separately, we’re going to combine the major and minor blues scales in order to build what I like to call the mixed blues scale. </p> <p>This scale contains all of the notes from both scales, R-2-b3-3-4-#4-5-6-b7, and has a sound that outlines the chord, since it has the R-3-5-b7 arpeggio built into it, and remains bluesy with the b3 and #4 at the same time. </p> <p>While you could play all of these notes in order, as I wrote out in the previous paragraph, you’ll see in the example below that I leave out certain notes along the way, notes that get added in later in the scale. </p> <p>This is mostly due to the fact that many famous players who use this scale tend to use certain notes in specific octaves, so I’ve written it out in that way to get you into that style quickly and accurately when adding this scale to your soloing repertoire. </p> <p>Try putting on an A7 backing track and play up and down this scale to hear how it sounds over that chord, and then begin to improvise over an A7 harmony using only the A mixed blues scale as the basis for your lines to hear how it sounds in a soloing situation. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%202.jpg" width="620" height="154" alt="Jazz Blues Scale 2.jpg" /> </p> <p><strong>Mixed Blues Scale Lick</strong></p> <p>Lastly, here’s an example of a lick over A7 built with the notes from the A mixed blues scale. </p> <p>Since this scale contains the notes of the A7 arpeggio, you need to treat it more like an arpeggio than a blues scale, meaning that if you have an A7 chord, you play the A mixed blues scale. If you have a D7 chord, you play a D7 mixed blues scale and so on. </p> <p>Try this lick out and see how it sounds over an A7 chord, before transposing it to other keys, adding it to your solo vocabulary and writing/learning a number of mixed blues scale licks of your own as you explore this concept further in the woodshed. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/118098721"></iframe></p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%203.jpg" width="620" height="162" alt="Jazz Blues Scale 3.jpg" /></p> <p>Do you have a question about this mixed blues scale lesson? Share your comments and questions in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 01 Nov 2013 14:46:27 +0000 Matt Warnock http://www.guitarworld.com/article/19640 Jazz Guitar Corner: How to Swing Guitar Scales Like a Horn Player http://www.guitarworld.com/jazz-guitar-corner-how-swing-guitar-scales-horn-player <!--paging_filter--><p>When learning how to play jazz guitar, one of the hardest things to do is take all of the scales you’ve been practicing and make them swing and sound more like music and less like exercises. </p> <p>In this lesson, we’ll look at a picking exercise that mimics the way horn players tongue their notes in the jazz style. </p> <p>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. </p> <p>While the premise is fairly straight forward — you pick on up beats and slur onto down beats — you will need to alter any traditional scale fingerings you know in order to accomplish this, as having three notes on one string doesn’t allow you to pull off this technique. </p> <p>I have written a few examples for you to check out, and then you can take this approach to other scales and modes you know or are working out in the practice room, adjusting the fingerings in the same way so that you have two or four notes on each string as is the case below. </p> <p><strong>Swing Scales Ascending</strong></p> <p>To begin, here is how you would apply the swing slurs to an ascending C major scale. Notice how you are picking on the up beats, after the first note, and then slurring onto the down beats as you run up the scale. </p> <p>You can use hammer-ons and slides with this approach, so you should try both; this will allow you to choose between them in the moment. </p> <p>Go slow at first and use a metronome. Although slurs in this style help you build your swing feel, they will also cause you to rush a bit if you are new to this sort of syncopated picking attack. </p> <p>Once you have this scale down, ascending at a slow tempo, move on to the next example, which explores the descending version of the swing scale approach. </p> <p><img src="/files/imce-images/Swing%20Scales%201.jpg" width="620" height="146" alt="Swing Scales 1.jpg" /></p> <p><strong>Swing Scales Descending</strong></p> <p>The descending version of this exercise mimics the ascending version, only now you are picking on the up beats and adding pull-offs or slides on the down beats as you play down the scale. </p> <p>Here's an example of a D Dorian scale with this approach. Start with this example, then when you’re comfortable, try taking this idea to other keys and scales, as well as combining the ascending and descending versions of one scale together. </p> <p><img src="/files/imce-images/Swing%20Scales%202.jpg" width="620" height="164" alt="Swing Scales 2.jpg" /></p> <p><strong>Swing Scales Exercises</strong></p> <p>Now that you have a few examples of the swing scales under your fingers, here are five exercises you can do in order to take this approach further in the woodshed. </p> <p>01. Pick a scale and key, run up and down this scale/key using the slurred, swing approach to the ascending and descending versions of the scale. Adjust fingerings as needed. </p> <p>02. Put on a slow ii V I backing track and improvise lines over that key using the slurred, swing scale approach to your phrases. If you get stuck, stop and work out the fingering and start again. </p> <p>03. Work the above two exercises using hammer-ons and pull-offs only, then repeat the exercise using only slides for each slur and note the difference each variation makes to your scales. </p> <p>04. Solo over a jazz blues progression and apply the swing scale approach to each of your lines. Again, if you get stuck on a fingering, stop and work it out before trying again over the same backing track. </p> <p>05. Write 5 ii V I lines, major and/or minor, using the swing scale approach in each line. Work these lines in 12 keys and then take them into your improvisation practice as well. </p> <p>As you can see, it’s a small idea, slurring from the off beats to the on beats, but it can take your playing to new levels, and get your scale lines swinging like your favorite horn players in no time. </p> <p>Do you have a question or comment about swinging scale in this manner? Share your thoughts in the comments section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-how-swing-guitar-scales-horn-player#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Thu, 10 Oct 2013 16:36:26 +0000 Matt Warnock http://www.guitarworld.com/article/19434 Jazz Guitar Corner: Using Two-Note Chords to Play the Blues, Part 4 http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-4 <!--paging_filter--><p>Continuing our study of two-note chords, built with the 3rd and 7th of each chord in the underlying progression, in this lesson we’ll be looking at adding the 5th of each chord on top of these fun and cool-sounding blues chords.</p> <p>Though you are adding only 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. </p> <p>To check out the first three lessons in this series, please visit the links below. </p> <p>• <a href="http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-1">Using 2 Note Chords to Play the Blues Part 1</a></p> <p>• <a href="http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-2">Using 2 Note Chords to Play the Blues Part 2</a></p> <p>• <a href="http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-3">Using 2 Note Chords to Play the Blues Part 3</a></p> <p><Strong>Fifth on Top Example 1</strong></p> <p>To get started, let’s take a look at the 3rd and 7th chords to a Bb blues progression on the fourth and fifth strings. To spice things up a bit, beyond those two notes, we’ll be adding in the 5th of each chord on top of the two-note 3rds and 7ths. </p> <p>Because there are string skips involved with these shapes, strumming these chords is not really an option, so you will have to fingerpick these shapes or use hybrid picking where you mix your fingers and pick together to play each shape. </p> <p>In the example below, I’ve written each chord as a basic rhythm, whole or half note, but once you get these shapes under your fingers, be sure to experiment with other rhythmic possibilities as you explore these fun and cool sounding chords in the woodshed. </p> <p><img src="/files/imce-images/Example%201_2.jpg" width="620" height="511" alt="Example 1_2.jpg" /> </p> <p>The last thing to check out with these shapes is the triads they form when you play the 3rd, 5th and 7th of any chord. For 7th and 7b9 chords, which are most of the shapes in this progression, you form a diminished triad from the 3rd of each of those chords. </p> <p>For example, the 3rd, 5th and 7th of Bb7 are D F Ab, which forms a D diminished triad. Knowing this can help you bring other 3,5,7 shapes to your playing, using two-note 3rds and 7ths down low or any other diminished triad shape you know or are working on in the practice room. </p> <p>For the Cm7 chord, you are playing an Eb triad, Eb G Bb, and again you can use this knowledge to expand upon these three-note chords further in the practice room.</p> <p><strong>Fifth on Top Example 2</strong></p> <p>To help you move these shapes around the fretboard a bit, here's an example of the same approach, 5th on top, as applied to 3rds and 7ths for chord in a Bb blues progression, though this time with the lowest notes on the fourth and third strings. </p> <p><img src="/files/imce-images/Example%202_1.jpg" width="620" height="505" alt="Example 2_1.jpg" /></p> <p>Once you have these shapes under your fingers, try playing the chords to a Bb blues and mix both shapes together, 3rds and 7ths on the 4-5 strings as well as on the 3-4 strings. With just these two options under your fingers, you’d be surprised how many variations you can bring to your chord work when focusing on 3rd and 7th shapes in your comping. </p> <p><strong>Fifth on Top Rhythmic Exercise</strong></p> <p>To finish up our study of adding the 5th to 3rd and 7th shapes, here is a rhythmic exercise that you can work out in order to get your right hand in shape at the same time as learning these chords. </p> <p>Using a Charleston rhythm, where the notes are placed on the 1 and "and" of 2 in each bar, I’ve written out a sample comping etude with the 5th being placed on top in just those specific places of each bar. </p> <p>From there, the 3rds and 7ths are played as steady quarter notes, adding a Freddie Green-style rhythm to the two-note shapes, with the 5th added on top as a Charleston rhythm. </p> <p><img src="/files/imce-images/Example%203_2.jpg" width="620" height="517" alt="Example 3_2.jpg" /></p> <p>Once you have this example under your fingers, move the 3rds and 7ths around to other string sets as you expand on this rhythmic exercise further in the woodshed. </p> <p>Do you have any questions about adding the fifth on top of two-note, 3rd and 7th chords? Share your thoughts in the comments section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-4#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Tue, 24 Sep 2013 18:16:24 +0000 Matt Warnock http://www.guitarworld.com/article/19323 Jazz Guitar Corner: Using Two-Note Chords to Play the Blues, Part 3 http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-3 <!--paging_filter--><p>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. </p> <p>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. </p> <p>If you are using your fingers to play these chords, or a hybrid picking approach, you might also want to try making the root note a bit louder than the underlying 3rds and 7ths, as this will keep a sense of separation between those two sounds, instead of bunching them too much together with their volume levels. </p> <p>To check out the first two lessons in this series, please visit the links below: </p> <p>• <a href="http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-1">Jazz Guitar Corner: Using Two-Note Chords to Play the Blues, Part 1</a></p> <p>• <a href="http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-2">Jazz Guitar Corner: Using Two-Note Chords to Play the Blues, Part 2</a></p> <p><strong>Root on Top: Example 1</strong></p> <p>To get started, let’s take a look at adding the root note of each 3rd and 7th of a Bb blues chord progression. In this example, you’ll be putting the 3rd and 7th of each chord on the 5th and 4th strings, and the root note will fall on the first or second string of the guitar. </p> <p>This can be a bit of a stretch, and there are a lot of muted strings between the low notes and the root, so fingerpicking or hybrid picking is always a good idea with these types of chords, so that you don’t risk hitting any unwanted strings if you strum these shapes instead. </p> <p><img src="/files/imce-images/Example%201_1.jpg" width="620" height="512" alt="Example 1_1.jpg" /> </p> <p>Try playing through each chord without any time or tempo at first — just to get a feel for these shapes on the neck. Then, when that is comfortable, you can begin to add in tempo with a metronome or backing track, as well as begin to alter the rhythm of each chord in order to make these shapes less technical and more musical in your practice routine. </p> <p><strong>Root on Top: Example 2</strong></p> <p>As well as adding the root above the 3rd and 7th as we did in the first example, you can add the root above any position that you know for two-note chords on the blues. Here’s an example of how you would add the root note above each chord when you have the 3rd and 7th on the third and fourth strings on the neck. </p> <p><img src="/files/imce-images/Example%202_0.jpg" width="620" height="512" alt="Example 2_0.jpg" /></p> <p>Once you have these two shapes under your fingers, the first two examples of 3rds and 7ths with the root notes on top, try mixing them together in the practice room. So, play one time through a blues in Bb using the fifth- and fourth-string 3rds and 7ths, with the root on top. The second time through, switch to the third- and fouth-string 3rds and 7ths with the root on top. </p> <p>This will help you get a feel for how these shapes sit in different areas of the neck as you begin taking them to tunes and jamming situations on the guitar. </p> <p><strong>Root on Top Rhythmic Exercise</strong></p> <p>Once you have the root under your fingers, when added on top of a two-note chord, you can start to play around with the placement of that root throughout the bar. Here is an example of a rhythmic pattern I like to use with the root on top of two-note chords, where the root is played on the 1 and the "and" of 2 each bar. </p> <p>It may seem like a simple exercise, but it can be tricky to get perfectly in time, so go slow and work with a metronome as you explore this idea further in the woodshed. </p> <p><img src="/files/imce-images/Example%203_1.jpg" width="620" height="517" alt="Example 3_1.jpg" /></p> <p>After exploring this rhythmic example in the practice room, come up with your own variations on this exercise, where you place the root over the 3rd and 7ths in different parts of the bar. </p> <p>Though it is a simple idea, just playing the root of each chord above the 3rd and 7th, it can really bring a fun and exciting new texture to your blues chord ideas. </p> <p>Do you have any questions about adding the root on top of two-note, 3rd and 7th chords? Share your thoughts in the comments section below! </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-3#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 26 Aug 2013 20:51:11 +0000 Matt Warnock http://www.guitarworld.com/article/19093