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Latin Comping 5: How Insensitive [CCL5]

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12 Bar Jazz Blues in Bb

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The Ibanez George Benson GB10

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Combover Blues

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Nick’s Tricks

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Masterclass Lesson 14:Pentatonics over Altered Chords 1-6-2-5 in C [ML14]

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Andy Irvine Tour 2014 – Reacting

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Swing Comping 4: ‘Fly Me To The Moon’ Chord Melody [CCL4]

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Dixon Nacey Improvisation – How Insensitive: Bossa style using Right Hand thumb technique and Backphrasing

Please see attached for the PDF transcription of notation and TAB for my version of the melody and an improvised solo to Antonio Carlos Jobim's great Bossa tune 'How Insensitive'. In this video I was exploring the use of two simple techniques- one a right hand technique that involved using only the thumb to pluck the strings, in order to get a warmer, softer sound, but also using a fair amount of pressure so the notes still really 'pushed' through. This is simple to achieve (basically put the pick down and start playing with your thumb - ha!) - but also revealed an unintended and welcome … [Read more...]


Swing Comping 3: Major 6th to Diminished 7th Chord Sequence [CCL3]

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Swing Comping 2: Minor 6th to Diminished 7th Chord Sequence [CCL2]

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Andy Irvine Bass Clinic April 2014

Please enjoy this excerpt of a song by Andy Irvine that we did in the 'Andy Irvine Bass Tour' clinic at The Auckland Rockshop recently (2014). This is a jam in E minor that modulates up to a G then back down to E, then has a bridge section based around an A minor. We take turns soloing; I really dug how Andy gets right into the pocket of the groove with Patrick Kuhtze on drums - a real solid wall of sound from the rhythm section that helps keep everything feeling grounded and sitting in the sweet spot time wise. I loved playing with these guys! Please leave comments if you're interested in … [Read more...]


Swing Comping 1: 4 Part Voicings For Turnaround [CCL1]

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Core Lesson 55: Harmonic Minor Scale Mode 7: Diminished Altered [CL55]

In this lesson we examine the seventh mode of the Harmonic Minor Scale which is a Locrian scale with a flattened fourth degree and double flattened seventh degree. Usually harmonic ‘rules’ state that when a scale contains both a major 3rd and a minor 3rd degree, the scale is referred to as a major-type; however this is usually applied as a substitute for a diminished chord type. The scale degrees … [Read more...]


Core Lesson 54: Harmonic Minor Scale Mode 6: Lydian #9 [CL54]

In this lesson we examine the sixth mode of the Harmonic Minor Scale which is a Lydian scale with a raised (or ‘augmented’) 2nd and therefore, in its extended form as a raised ninth (#9) degree. The scale degrees are: 1 #2 3 #4 5 6 7 Tonic Augmented Second Major Third Augmented Fourth Perfect Fifth Major Sixth Major Seventh   The chord that this scale fits from its root is a Major Seventh chord (ma7) but as with the 2nd , 4th and 7th modes, a diminished triad and diminished 7th … [Read more...]


Core Lesson 53: Harmonic Minor Scale Mode 5: Spanish Phrygian (Phrygian Dominant) [CL53]

In this lesson we examine the fifth mode of the Harmonic Minor Scale which is a Phrygian scale with a raised (or ‘augmented’) 3rd degree. It is called Phrygian Dominant, Spanish Phrygian, HM5 and even ‘Boris’ by one famous guitar teacher in my home country. The scale degrees are: 1 b2 3 4 5 b6 b7 Tonic Flattened Second Major Third Perfect Fourth Perfect Fifth Flattened Sixth Flattened Seventh   The chord that this scale fits from its root is a Dominant Seventh chord, written … [Read more...]


Core Lesson 52: Harmonic Minor Scale Mode 4: Dorian #11 [CL52]

In this lesson we examine the fourth mode of the Harmonic Minor Scale which is a Dorian scale with a raised (or ‘augmented’) 4th degree. So the scale degrees are: 1 2 b3 #4 5 6 b7 Tonic Major Second Flattened Third Augmented Fourth Perfect Fifth Major Sixth Flattened Seventh   The chord that this scale fits from its root is a Minor Seventh chord, written mi7 – but as with the 2nd , 6th and 7th modes, a diminished 7th chord may also be used in conjunction with the primary … [Read more...]


Core Lesson 51: Harmonic Minor Scale Mode 3: Major Scale #5 [CL51]

In this lesson we examine the third mode of the Harmonic Minor Scale which is an Ionian scale with a raised (or ‘natural’) 5th degree. So the scale degrees are: 1 2 3 4 #5 6 7 Tonic Major Second Major Third Perfect Fourth Augmented Fifth Major Sixth Major Seventh   The chord that this scale fits from its root is a Major Seventh Augmented Fifth, most commonly written +ma7 or aug(ma7) or ma7(#5). This is one of my favourite sounds of the Harmonic Minor modes – I really enjoyed … [Read more...]


Core Lesson 50: Harmonic Minor Scale Mode 2: Locrian #6 [CL50]

In this lesson we examine the second mode of the Harmonic Minor Scale which is a Locrian scale with a raised (or ‘natural’) 6th degree. So the scale degrees are: 1 b2 b3 4 b5 6 b7 Tonic Flattened Second Flattened Third Perfect Fourth Flattened Fifth Major Sixth Flattened Seventh   The chord that this scale fits from its root is a Minor Seventh Flattened Fifth, most commonly written m7(b5). STUDY Playing the scale on one string is a good place to start – listen to all the … [Read more...]


Core Lesson 49: Harmonic Minor Scale Mode 1: Aeolian #7 [CL49]

In this lesson we examine the Harmonic Minor Scale which is an Aeolian minor scale with a raised (or ‘natural’) 7th degree. So the scale degrees are: 1 2 b3 4 5 b6 7 Tonic Major Second  Flattened Third  Perfect Fourth  Perfect Fifth  Flattened Sixth  Major Seventh   It is called an Aeolian (or ‘Natural) minor with a raised seventh because in the Aeolian form, the seventh degree is flattened. In the harmonic minor scale, the 7th is raised which creates aninteresting minor 3rd (or … [Read more...]