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Chords

The Lydian Mode

August 17, 2010
Talking modes and how to use them right.
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Partido Alto: Latin Jazz Rhythm for Guitar

August 17, 2010
Partido alto is a type of funky samba that is played in more urban areas with smaller ensembles.
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That Can Be Arranged: 3 + 7 = Music

August 12, 2010
Bill Piburn details how to use the third and sevenths of chords to open the fingerboard and allow the other fingers and strings freedom to play chord extensions
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Deep Blues: Creative Comping - Developing Dominant 7th Chords

August 6, 2010
Cool ideas to offer unique sounds to your rhythm playing
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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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Twang 101: Imitating Lap Steel

July 12, 2010
Imitating lap steel on guitar by understanding the strengths and limitations of the instrument.
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Deep Blues: Blue Triads

July 8, 2010
Dennis McCumber explains why you should pull those old blues triads off the shelf
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Melody Matters

July 1, 2010
Using chords and common tones to craft engaging melodies
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Suspended Chords

June 16, 2010
Understanding and using sus2 and sus4 voicings
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Lydian Tuning: Advanced Concepts for the Acoustic Fingerstyle Guitarist

May 18, 2010
Shifting the Tonic: Advanced Concepts for the Acoustic Fingerstyle Guitarist
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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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Advanced Fingerstyle Techniques: Slapped Harmonics, Tremoloed Bass Notes, and More

April 15, 2010
Add to your techniques with Michael-Hedges, Tuck Andress and even Bootsy Collins-inspired techniques
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12-Bar Blues: Reduce, Reuse, and Recycle

April 15, 2010
Familiarize yourself with the 12-bar blues and it''ll show up in all different styles
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Open G Tuning: New Ideas for the Blues and Beyond

March 11, 2010
Accessing and using Open G tuning
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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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The Match Game: Fun With Upper Structure Triads

January 14, 2010
Triads that are contained in 7th chords, with or without extensions or tension added.
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Blues Endings: Common Tags to Bring the Song to an Effective Conclusion

December 17, 2009
A blues ending, often referred to as a blues tag, is a phrase usually executed by the person playing the final solo in a blues number, signifying the end of the song.
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