Chord Compendium Video 8 Major 7th Sharp 5 Chord Shapes … [Read more...]
October 10, 2012 by Leave a Comment
Lesson 19: Chord Compendium, Major 7th Sharp 5 Chords [FL19]
October 10, 2012 by Leave a Comment
Lesson 18: Chord Compendium 9, Minor Major 7th Chords [FL18]
October 10, 2012 by Leave a Comment
Lesson 17: Chord Compendium 7, Diminished 7th Chords [FL17]
October 10, 2012 by Leave a Comment
Lesson 16: Chord Compendium 6, Minor 7th Flat 5 Chords [FL16]
October 10, 2012 by Leave a Comment
Lesson 15: Chord Compendium 5, Dominant 7th Chords Altered [FL15]
October 10, 2012 by Leave a Comment
Lesson 14: Chord Compendium 4, Dominant 7th Chords [FL14]
September 29, 2012 by Leave a Comment
Lesson 13: JGL Chord Compendium 3 – Suspended Chord Voicings [FL13]
In this lesson, the third in our series of ‘Chord Compendiums’ we examine the Suspended Chord with common sus4, sus7, sus9, 11, 11(b9) and sus13(b9) voicing. FINGERING: In terms of fingering, I will occasionally use my neck-hand thumb to play lower notes (most often the root) in order to free up the neck-hand fingers to play more extensive chord tones, or to create a ‘platform’ (with the thumb and first finger), along which the other 3 remaining fingers can then embellish musical ideas. While I do not recommend this - as it is probably bad technique - I certainly don’t … [Read more...]
September 25, 2012 by Leave a Comment
Lesson 12: JGL Chord Compendium 2 – Minor Chord Voicings [FL12]
In this lesson, the second in our series of ‘Chord Compendiums’ we examine the Minor Chord with common minor triad, mi7, mi6, mi9, mi11, mi13, mi7(b6) and mi7(#5) voicings. FINGERING: In terms of fingering, I will occasionally use my neck-hand thumb to play lower notes (most often the root) in order to free up the neck-hand fingers to play more extensive chord tones, or to create a ‘platform’ (with the thumb and first finger), along which the other 3 remaining fingers can then embellish musical ideas. While I do not recommend this - as it is probably bad technique - … [Read more...]
September 14, 2012 by Leave a Comment
Lesson 11: JGL Chord Compendium 1 – Major Chord Voicings [FL11]
In this lesson, the first in our series of ‘Chord Compendiums’ we examine the Major Chord with common voicings for the major triad, ma7, ma6, ma9, ma13, ma7(#11) as well as a brief section on add 2 and add 9 voicings. As these are only beginner chord types, we will be introducing increasingly advanced chord types such as slash chords, clusters and split string structures, in future releases. In terms of fingering, I will occasionally use my neck-hand thumb to play lower notes (most often the root) in order to free up the neck-hand fingers to play more extensive chord … [Read more...]
May 17, 2012 by Leave a Comment
Lesson 10: Jazz Blues Lines [FL10]
Played the second time on the video with a slight embellishment, these two question and answer phrases deal much more with jazz scales, introducing a tension tone at the end of the first phrase which outlines the Bmi7(b5) chord and then some more altered scale tones over the E7(#9) chord used throughout the answering phrase. Resolution comes on the 5th of A (the note E), after a zigzagging ‘bebop’ type line. Full Lesson Transcription … [Read more...]
May 17, 2012 by 3 Comments
Lesson 9: Jazz Blues Lines [FL9]
There are two contrasting phrases covered here; the first is based on a classic rock blues ‘licks’ bend lick with some trills, the second utilizes an altered scale tone (the G#) as taken from the 7th mode of the melodic minor with the root note on the E (E altered scale). It also uses chromatic tones from D, to Eb then resolving to E, the perfect 5th of the A minor scale, in order to create the release from the previous tension tones. Full Lesson Transcription … [Read more...]
May 17, 2012 by Leave a Comment
Lesson 8: Jazz Blues Lines [FL8]
Further use of consequent and antecedent phrases based along the blues scale; phrase one has a descending structure with some repetitive rhythmic elements; phrase two is short and sweet with a resolution to the flattened 3rd of the scale. Be careful when playing this slightly more complex figure to get an exact fingering before you increase the speed; muscle memory always plays a part in the early stages of learning something new, so conquer the technical element first and then look at how you might add to the line with your own ideas or textures. Full Lesson Transcription … [Read more...]
May 17, 2012 by 3 Comments
Lesson 7: Jazz Blues Lines [FL7]
Again we see a consequent and antecedent phrase here – sometimes referred to as ‘question and answer’ or if played between musicians, a ‘call and response’. That is: the first phrase leads (asks a question) and the second phrase concludes (answers the question). Phrase one descends from a high tonic note, with repetitive rhythmic structures and a classic ‘bluesism’ similar to a trill between the 4th and flattened 5th degrees of the blues scale at the end of the phrase. Phrase two again descends this time to the low A tonic by way of the pentatonic scale and some familiar … [Read more...]
May 17, 2012 by 3 Comments
Lesson 6: Jazz Blues Lines [FL6]
This lesson focuses on the Ami pentatonic scale, with a simple figure in two parts; the ‘glissando’ part which is tonic to flat 3rd, then restated on the5th and flat 7th in an ascending line; then an answering phrase using descending pentatonic notes from the flat 3rd (C), again with a small glissando from the flat 5 to the 4th on the G string (Eb to D). Experiment with hammer on and pull offs particularly on the second answering phrase to get a more legato or staccato / pronounced effect, as desired. Full Lesson Transcription … [Read more...]
May 11, 2012 by 2 Comments
Lesson 5: Jazz Lines and Chord Comps [FL5]
The Line Here we have interesting direction in our line contour and also the use of a chromatic tone in the line ‘pivot’ (or direction change) – see bar 2 where the notes B - A# - B are played. Note that the chromatic tone, the A#, is on an OFFBEAT – or a weak beat, which is common practice when introducing passing tones into a line. The line again uses anticipated resolve of the 7th tone (B) at the end of bar 2. The Chords Now an external chord is being introduced; a Dmi9 on beat 2 or the … [Read more...]
May 11, 2012 by Leave a Comment
Lesson 4: Jazz Lines and Chord Comps [FL4]
The Line New concepts for this video: repeated notes made melodic – using rhythmic syncopation to introduce repetitive pitches in a line which are not commonly written as it is difficult to play repeated notes legato on brass / horns. Also, use of anticipation again, catching the last note of the phrase on the quaver before the strong beat resolve. Again we use the ‘nice’ sounding arpeggios inside the C major scale tones (Emin, Gmaj). This is applied in a descending fashion – so when creating lines, look at the direction of your phrases – are you playing mostly … [Read more...]
May 11, 2012 by Leave a Comment
Lesson 3: Jazz Lines and Chord Comps [FL3]
The Line In this video we introduce a couple of ideas – the use of the triplet 8th on beat two where the notes G, B and D (a G major triad) are ‘arpeggiated’ (see Core lessons on triad and 7th chord arps). We’re using higher tones in the scale shape (a B above the leger line) and again we see strong tones and beats although we are again anticipating and using an extension (the note A or the 13th) as our concluding tone. Practice the flow of the triplet 8th by bouncing or resting the pick in your RH … [Read more...]
May 11, 2012 by 2 Comments
Lesson 2: Jazz Lines and Chord Comps [FL2]
The Line Again with the STRONG TONES – STRONG BEATS formula – lots of accenting, stressing and placing- on the-beat of our guide tones – the 3 and 7 – and also the tonic and perfect 5th tones. Also in this lesson we focus on line extension – lengthening our phrases with consecutive 8th notes so that we can get practice our linear flow and legato (slurred or fluid sounding) lines, which is difficult to do with shorter or syncopated line fragments. You’ll notice there is a short pause (which can be treated as a rest or held for desired … [Read more...]
May 11, 2012 by 3 Comments
Lesson 1: Jazz Lines and Chord Comps [FL1]
The Line: Playing melodic lines is easy if you keep one simple rule in mind – STRONG TONES; STRONG BEATS. That is the 1, 3, 5 and 7 of any applied scale fall on any of the strong beats or down beats of the groove. To examine this in detail please see our core lessons on playing the changes (Core lesson 17) harmonic rhythmic matching, (18) or bebop scales (19) all of which follow this basic rule. In general, if our lines keep this formula, they will sound hipper and more melodic. This first line is short and sweet – … [Read more...]
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