December 2016

Jazz

Digging Deeper: Bridging The Comping Gap

November 15, 2011
How to develop your own personal concept of accompaniment—or “comping,” as it’s known in jazz—from the perspective of rhythm first, and then harmony.
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Album Review: Andy Reiss, Ranger Doug, and Bobby Durham - "The Art of the Archtop"

November 15, 2011
If you’re a fan of classic archtop guitar, you’ll be delighted with this beautifully recorded and relentlessly swinging set of tunes celebrating the f-hole sound.
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Book Review: "Guitar Etudes: Warmup Excercises for Guitar" By Pat Metheny

October 18, 2011
. Jazz guitarist Pat Metheny recently released a book of guitar etudes that outlines what his typical pre-gig routine entails.
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Jazz Bootcamp: Pianist Envy

September 7, 2011
Trying to replicate what you hear on an Oscar Peterson or Bill Evans album can be a daunting task for any guitarist.
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CD Review: Various Artists - "The New Universe Music Festival 2010"

July 19, 2011
Last November, in a theater in North Carolina, some of the greatest jazz/rock musicians alive came together for the inaugural New Universe Music Festival.
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CD Review: Ben Allison - "Action-Refraction"

May 17, 2011
Ben Allison Action-Refraction Palmetto Records Combining seemingly unrelated genres or interpreting songs in an unusual way is nothing new or groundbreaking, but bassist Ben Allison’s new release, Action- Refraction, is
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Extend Yourself: Upper Extensions of 7th Chords

March 28, 2011
While upper extensions apply to all keys and several different chord types, today we’ll be looking at those of Gm7.
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Jazz Chops: Delicious Comping 101

March 24, 2011
“Comp” means not only to accompany, but also to complement. It’s the “complement” part that I’m going to focus on here.
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Chord-Melody Improvisation: Solo Jazz Guitar Arrangement Over the Chord Changes of "Indiana"

December 21, 2010
Solo Jazz Guitar Arrangement Over the Chord Changes of "Indiana"
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Jazz Turnarounds: Improvisation Studies Based on the Last Two Measures of a Jazz-Blues Progression

November 16, 2010
Improvisation Studies Based on the Last Two Measures of a Jazz-Blues Progression
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Jazzy Chromatics: Embellish Your Single-Note Lines by Using Chromatic Motion Between Chord Tones

October 20, 2010
Common lines highlighting chromatic motion between the fifth and sixth degree of the major chord
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CD Review: Kurt Rosenwinkel and OJM - "Our Secret World"

September 21, 2010
Rosenwinkel pushes the envelope with Orquestra Jazz de Matosinhos in his latest album
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The Diminished Scale: Jazzy Applications for this Symmetrical Scale

July 20, 2010
The diminished scale can be constructed simply by preceding each note of the diminished seventh chord with a note a semitone below.
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The Lydian Flat-7 Scale

June 16, 2010
Improvising jazz lines over non-functioning dominant 7th chords
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Solo Jazz Guitar: Combining Melody and Harmony for a Fuller Sound

May 18, 2010
Combining Melody and Harmony for a Fuller Sound
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Voice Leading: Jazz Chord Movement

February 11, 2010
from Chord-Melody Guitar The voice leading principles that are most common are: 1. common tone and/or closest tone, 2. contrary motion, 3. chromatic movement. The examples that follow will
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Jazz Endings: Common Ways to Come to a Conclusion

January 14, 2010
Five jazz endings: Count Basie, Ellington, #IV, bVI-bVII-I and i-bII-i
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Jazz Melodic Minor Scale: The Real Jazz Sound for Melodic Soloing

December 17, 2009
The jazz or “real” melodic minor scale is simply a major scale with a lowered 3rd degree.
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