Samick Motherlode

December 2014

Chords

Rhythm & Grooves: Running in Circles

August 16, 2011
Do you ever feel trapped on the fretboard? Comfortable in certain keys, but utterly lost in others? If so, you’re not alone.
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Shred Your Enthusiasm: Thanksgiving at Ted Nugent's House

July 19, 2011
This month, I want to show you how to play minor seven flat five, and why it sounds so good.
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Fretboard Workshop: Connecting Chords

July 19, 2011
As chords move from one to the next in vocal music, the music flows most naturally when each singer sings a smooth melodic line, connecting the notes without awkward leaps.
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Rhythm & Grooves: Guitar George

July 19, 2011
Choose a note and then play as many chords as possible that each include this particular tone in the identical fretboard location.
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Deep Blues: Old Blues, New Chords

June 20, 2011
Instead of using dominant chords throughout the progression, we will add a diminished seventh chord as well as some minor seventh chords. Let’s get started.
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Rhythm & Grooves: Sparkle Voicings

June 14, 2011
In this lesson, we’ll adapt—and greatly simplify—Lenny Breau’s approach, and use it to generate chord voicings that would be difficult or impossible to play with standard guitar technique.
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Shred Your Enthusiasm: The Super-Hendrix Scale

June 14, 2011
The reason that this scale is so groundbreaking to me is that it gives me something unique to do over the V chord in a blues progression.
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Inside Jazz: Linear Transformations, Pt. 2

May 17, 2011
In last month’s column, we learned how scales and arpeggios can be combined for the construction of line forms (“Linear Transformations,” May 2011 PG). This month, we’ll continue exploring
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Rhythm & Grooves: Stealth Quartal Colors

May 17, 2011
For two months now, we’ve been investigating quartal harmony and learning how to use fourths as building blocks for our chord voicings, rather than the traditional thirds. We’ve looked
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Deep Blues: The Thrill Isn’t Gone—Comping Over a Minor Blues

May 3, 2011
In this month’s column we’re going to spice up the minor blues by adding some extensions to our chords.
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