jazz

In the final installment of her look at “The Learning Curve of Various Styles of Guitar,” Jamie Andreas examines what is needed to become proficient as a jazz or a classical guitarist.

This an intermediate level lesson for those of you who use only a guitar pick and would rather not work on finger-style playing, but would still like to play a complete song arrangement on your instrument. So here is the classic jazz standard, “Autumn Leaves,” from Peter to you.

It’s always a pleasure to get a new lesson from Peter Simms! His latest piece involves putting a walking bass line underneath a standard jazz blues progression. When you put it all together, you’ll definitely think it was worth the extra practice!

In the third and final section of Hans’ tutorial on legato playing, he focuses on specific riffs and the horizontal playing of them. If you’ve been keeping up with this three-part series, and by that I mean practicing as well as reading, then you will undoubtedly be getting proficient at this technique.

Hans picks up right where he left off, giving all sorts of exercises designed to help any guitarist develop speed and accuracy. If you’re not careful, you may also pick up some theory!

Hans Fahling returns with the first in a series of three articles, each designed to help you get better at playing faster by means of starting slowly. This is a great read (and terrific exercises!) for all guitarists, whatever style you play and whatever speed you aspire to!

So far in this series, we have talked about the usage of both minor and major blues scales in exclusive blues settings. In this installment, we will answer the question of how to apply these hip blues sounds to tonal and modal situations.

Jazz and blues have always been intertwined. In part two of this three-part series, Hans explores the relationships between the major and minor blues scales. Definitely a lot of fun!

Jazz and blues have always been intertwined. Now you can see how simple blues lines can add to your jazz improvisational skills, as well as other styles. Hans is back with the first of a three-part series that will sharpen your playing considerably.

Bill Cozzo returns with the second installment of his lesson on quartal harmony. This piece includes a practical demonstration with All Along The Watchtower.

We conclude our series on jazz comping with a lesson in quartal harmony. We’ll also work in an arrangement of Autumn Leaves.

In this lesson we get into compound voicings – a term used for chord shapes featuring more than one extension. Part four of five.

We’re going to keep adding extensions to the basic guitar voicings we’ve covered in previous lessons. Part three of five.

In this series of lessons, we’ll explore a cool approach to accompanying (or comping) jazzy chord progressions.

In this lesson we’re aiming for a higher degree of flexibility by defining and practicing the same major scale harmonic layout. Part two of five.

This is the first of four parts in a look at comping. We begin with harmonizing the major scale with seventh chords.

This lesson takes a few examples, which developed over several days of practice, will give you incredible speed and control in your playing.

We’re going to take a deeper look at modes in this lesson. This is a more advanced lesson aimed at jazz players.