~ jazz guitar method ~

~ theories ~ licks ~ time ~

~ shedding / warmup ~

~ the whole tamale ~

~ anything from anywhere ~

~ jazz improv ~

'... tracing the blues dna through the 12 tones ... '

#15 rub
whole tamale
microtonal
major 3rd minor 3rd is Lydian
minor 3rd major 3rd is Dorian
two major 7th chords
two minor 7th chords
now ancient Dorian and Lydian are starbound arpeggiate to the stars
Hollywood chords

master these 2 forms 12 bar blues

rhythm changes then substitutions

blues is minor / rhythm changes major / use a s a multiply lick

rote learn this one idea / organize the pitches
1 thearn learn the notes
3 learn how to understand Americana time
2 learn to swing

work with a metronome we become better listeners.

e

the half step lead in
moving one shape
five scale shapes
interval studies
arpeggio shapes
chord shapes
wide interval lines
time / even 1/8th's

jazz improv

V7b9 substitutions
V7 before every chord
every chord is V7
chromatic buzz
learn 100 tunes
... was lucky enough to do jazz guitar at a real college, here's the program that I learned ... :)

.

In a nutshell. This jazz guitar method is designed to get our entire musical resource under our fingers while having the theory to glue it all together. It is based on five scale diatonic shapes that we puzzle and link up together. All combined, we get the full range of the instrument, through all 12 key centers in any localized position (a span of four or five frets).

rote learn this one idea.

simply that we've 12 pitches we identify by letter name

we arrange them like the face of a clock so mving clockwise the number basically scorrespond to the # of accidentals in the key signature

that in moving through the pitches as we find them in songs americana, especially as the rootmotion of chords, the clock runs backwards or counterclockwise through the piotches.

and while this isall mostly true through all of the styles, in jazz music it reigns supreme, so well worth the effort. the pitches

they correspiond to

his jazz guitar method is designed to get our entire musical resource under our fingers while having the theory to glue it all together. It is based on five scale diatonic shapes that we puzzle and link up together. All combined, we get the full range of the instrument, through all 12 key centers in any localized position (a span of four or five frets).

 

Defining jazz guitar ... in theory :)

Here in Essentials, jazz guitar is the style that uses all 12 pitches all the time, at least in theory. For while a cay might be playing a vamp thing over C7 with a blue note or two, they've done the shedding to:

same lick in 5 spots on the neck

same lick in 12 keys

have a variation in minor

in 12 minor keys

know the foyr V7's that come from the V7b9 associated with C7

over the entire fingerboard

know the Mixo mode of V7

know all the modes Of C7

know all the modes through all 12 keys

can spell out the leter names of the scales, arpeggios in chords in all 12 key cneters

know 50 melodues and the chord changes and form of each song by rote

know they have 50 more to learn to get to a new new level.

.

In a nutshell. This jazz guitar method is designed to get our entire musical resource under our fingers while having the theory to glue it all together. It is based on five scale diatonic shapes that we puzzle and link up together. All combined, we get the full range of the instrument, through all 12 key centers in any localized position (a span of four or five frets).

Overview. Thanks to all of the dedicated players over succeeding generations, we blues and jazz guitarists today have a lot to be excited about. For the whole resource of the 12 tones is encouraged through a wide weave of musics, with as full a palette today for modern guitar as might have ever been and still founded on the blues.

Overview ~ theory Thanks to all of the dedicated players over succeeding generations, we blues and jazz guitarists today have a lot to be excited about. For the whole resource of the 12 tones is encouraged through a wide weave of musics, with as full a palette today for modern guitar as might have ever been and still founded on the blues.

Overview ~ licks. Thanks to all of the dedicated players over succeeding generations, we blues and jazz guitarists today have a lot to be excited about. For the whole resource of the 12 tones is encouraged through a wide weave of musics, with as full a palette today for modern guitar as might have ever been and still founded on the blues.

Overview ~ shedding. Thanks to all of the dedicated players over succeeding generations, we blues and jazz guitarists today have a lot to be excited about. For the whole resource of the 12 tones is encouraged through a wide weave of musics, with as full a palette today for modern guitar as might have ever been and still founded on the blues.

One grouping begins our method. Got this group under your fingers? Find them on your guitar. Classic start point of the C major pentatonic shape in 5th position. Example 1.

5th position

I Remember April . Got this group under your fingers? Find them on your guitar. Classic start point of the C major pentatonic shape in 5th position. Example 1.

5th position

Find A minor.. Got this group under your fingers? Find them on your guitar. Classic start point of the C major pentatonic shape in 5th position. Example 1.

5th position

Blues. Got this group under your fingers? Find them on your guitar. Classic start point of the C major pentatonic shape in 5th position. Example 1.

5th position

The whole tamale in 20 minutes? Thanks to all of the dedicated players over succeeding generations, we jazz guitarists today have a lot to be excited about. For the whole resource of the 12 tones is encouraged through a wide weave of musics, with as full a palette today for modern guitar as might have ever been.

Overview. The Essentials method for jazz guitar is based on learning seven basic scale shapes. Five of the seven combine to create a sequence or loop of shapes to cover our diatonic melodic resource and one each for the augmented and diminished colors. From these shapes we locate melody pitches, the arpeggios which we stack into chords.

scales
arpeggios
chords

songs

jump
scales
scales
scales

Overview. The Essentials method for jazz guitar is based on learning seven basic scale shapes. Five of the seven combine to create a sequence or loop of shapes to cover our diatonic melodic resource and one each for the augmented and diminished colors. From these shapes we locate melody pitches, the arpeggios which we stack into chords.

A jump guitar lick. Charlie Christian styled idea in C played with snap. Wxanple 1.

pitches
chord changes
blue notes
blue notes
blue notes
~ licks ~ voice over

Non-diatonic alteration of the Six chord. Throughout the music, the Six chord is mostly diatonic as a minor triad and often with an added seventh or ninth. With a bit of blues influence, Six often morphs towards becoming a dominant 7th or Five chord type. Once this transition is made, a few new options open up.

~ super theory game changer ~

Five scale shapes / diatonic pitches. Once we're past the diatonic scheme of things, expanding our compositional palette beyond the core seven diatonic pitches of a given key center, as we look to add additional pitches we theorists simply want to know where we are borrowing a pitch from, why we're doing it and of course what are the results of our non doiatonic additions

pitches
chord changes
blue notes
blue notes
blue notes
dint

Five scale shapes ~ diatonic intervals. Once we're past the diatonic scheme of things, expanding our compositional palette beyond the core seven diatonic pitches of a given key center, as we look to add additional pitches we theorists simply want to know where we are borrowing a pitch from, why we're doing it and of course what are the results of our non doiatonic additions

pitches
chord changes
blue notes
blue notes
blue notes

Five scale shapes ~ diatonic arpeggios. Once we're past the diatonic scheme of things, expanding our compositional palette beyond the core seven diatonic pitches of a given key center, as we look to add additional pitches we theorists simply want to know where we are borrowing a pitch from, why we're doing it and of course what are the results of our non doiatonic additions

pitches
chord changes
blue notes
blue notes
blue notes

Five scale shapes ~ diatonic chords. Once we're past the diatonic scheme of things, expanding our compositional palette beyond the core seven diatonic pitches of a given key center, as we look to add additional pitches we theorists simply want to know where we are borrowing a pitch from, why we're doing it and of course what are the results of our non doiatonic additions

pitches
chord changes
blue notes
blue notes
blue notes

 

Probably no real surprise that the 12 tone loop also centers this work's theory. For it surely becomes the perfect place to start this study method discussion for jazz guitar. The 12 tones by letter.

12 tones
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
C

In a historical sense ... That there's a historical pathway of the players through the last 100 years or so that hips us to their wide range of fingering and hand techniques for creating a good jazz tone. Central to this whole tamale of variables is simply having control of the strings, or more specifically; to be able to rhythmically start and stop the sound by muting the strings. Not that we don't all on occasion go wild, but the idea of left and right hand togetherness, accurately moving at the faster tempos, has historically been an integral component of creating the language of American jazz guitar.

sound and mute the strings

Two / Five / One ~ five shapes. Once we're past the diatonic scheme of things, expanding our compositional palette beyond the core seven diatonic pitches of a given key center, as we look to add additional pitches we theorists simply want to know where we are borrowing a pitch from, why we're doing it and of course what are the results of our non doiatonic additions

pitches
chord changes
blue notes
blue notes
blue notes

Ess jazz guitar 101. Needing just one of 12 to start, this next notated C note is surely a featured pitch all through the jazz library of music. 'C' as the root pitch anchors licks and riffs, scales, arpeggios and chords etc. in both key centers of C major and C minor.

The pitch 'C' is also available as a diatonic pitch of other key centers, becoming the 3rd, 5th, 9th of other loops. A blue note too? Of course. Located smack dab at the heart of most guitars, do get this pitch under your fingers. Example 1.

Now the question begs to be asked ... 'what do we need or want this pitch to be in the music we're creating ?'

 

Root pitch of old time ditties.

audio
songs

Root pitch of C major triad / scale / arpeggio / chord.

aud
triad
scales
arpeggio
chord

Root pitch of C minor triad / scale / arpeggio / chord.

aud
triad
scales
arpeggio
chord

'C' as one pitch of seven in the modes.

audio
the modes

'C' as one pitch of five blue notes.

audio
blue notes

 

 

Root pitch of C major chord.

localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Root pitch of an old time ditty. Since we can build a major scale from the root pitch C, can we do it from each of the 12 pitches too? You bet.

five shapes
localized positions

Using the same shape moving up chromatically; by half step, to find the pitches of the C major scale then the Db and D major scale pitches. In jazz guitar does everything follow this and also centers this work's theory really comes as no surprise. For it surely becomes the perfect place to start this discussion. Ess jazz guitar 101. Have this pitch under your fingers? Thinking from this root pitch C, what do you need this pitch to be in the music you create? Major scale perhaps? Example 1.

movable forms
C minor scale arpeggio chord
one of seven modes
anything from anywhere
the 12
12 tones
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
C

That the 12 tone loop also centers this work's theory really comes as no surprise. For it surely becomes the perfect place to start this discussion. Ess jazz guitar 101. Have this pitch under your fingers? Thinking from this root pitch C, what do you need this pitch to be in the music you create? Major scale perhaps? Example 1.

what it needs to be
major scale shapes

major scale shapes

Jazz guitar scale shapes. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

Jazz guitar arpeggios. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

Jazz guitar chords. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

Jazz guitar / half step lead in. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

In a perfect world, we'd play this same idea from each of the pitches included. Here we use the same fingering just moving up chromatically.

C major gets played a lot. Know this scale shape?

Here we use the same scale fingering just moving up chromatically to play four different major scales. How many eggs in a dozen?

Finding the tonic major 7th arpeggio in the shapeand moving that chromatically up. Did I just learn four different arpeggios? I did.

Same chromatic motion with the tonic chord shape. Did I just learn four chords with one shape? I did.

In jazz guitar does everything get moved becoming a 'new' something with each move? Pretty much. Movable forms for everything.

In jazz guitar does everything get moved becoming a 'new' something with each move? Pretty much. Movable forms for everything.

What is everything? Well, everything.

Jazz guitar cadential motions. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

Two becomes Four and it's off to the races. During the middle 1930's or so, two key evolutions take a solid rooting in jazz that redirected a new pathway forward. One evolution is that the Two chord dominates Four in basic cadential motions. The second evolution is the further development of the diminished colors; scales arpeggios and chords. The fully diminished chord within the common jazz V7b9 chord s jazz was said to be America's most popular music well through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the early 50's started us off on a new creative heading for pop music and surely for guitar, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions that happened during this same 50 year time period.

cadential motions

Five 7 becomes V7b9 and it's off to moon. During the middle 1930's or so, two key evolutions take a solid rooting in jazz that redirected a new pathway forward. One evolution is that the Two chord dominates Four in basic cadential motions. The second evolution is the further development of the diminished colors; scales arpeggios and chords. The fully diminished chord within the common jazz V7b9 chord s jazz was said to be America's most popular music well through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the early 50's started us off on a new creative heading for pop music and surely for guitar, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions that happened during this same 50 year time period.

cadential motions

The way into this. Easiest is with a melody that you already know totally by heart. That can kind of mean one we learned way way back as kids. Thus fortified we simply find this melody in each of five scale shapes over the range of the instrument. Once in place, basic theory comes in to outline the shedding, based on what you bring. Pick from the list or make one up :)

the list

Jazz guitar melodies. As

in octaves

jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

The shedding. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions

This rather concise study of jazz guitar theory centers on the harmony. For it is with the harmony that new possibilities open up for improvising in what is termed here 'through the changes.' We can find an initial start point for this in the history / theory dynamic of all things American music when the more gospel sounding subdominant Four chord is gradually supplanted by the true minor 7th chord type, supertonic Two chord. For once that transition is created in the music, it's truly off to the races. For with Two, the tempos, modulations, substitutions and chord progressions of jazz have dramatically expanded. Four into Two. Example 1.

harmony
improvisation
subdominant Four
supertonic Two
chord type

This one page study of jazz guitar centers on the harmony. For it is with the harmony that new possibilities open up for improvising 'through the changes.' and really starts when in the history / theory dynamic of all things American music, that the more gospelly sounding subdominant Four chord is gradually supplanted by the true minor 7th chord type, supertonic Two chord. For once that transition is created in the music, it's truly off to the races. For with Two, the tempos, modulations, substitutions and chord progressions of jazz have dramatically expanded. Four into Two. Example 1.

Two
Four
core shape
stacked

 

Into E standard tuning. Coming up by way of Mexico through Texas in the 1830's or so, and then on throughout America, the 'Spanish guitar' brings us the standard E, A, D, G , B and high E pitched tuning favored by the classical cats which originates in Europe. Here is the core pitch / scale shape applied to this tuning scheme. Example 2.

Spanish guitar

 

The core of both. So we can see by the banjo shape that it fits right into the standard E tuning scheme also. No reason to think that the banjo cats just moved on over to guitar and took their shapes with them. A neat thing about this shape is how easily it is to 'bluesify' the pitches.

Spanish guitar

open G standard E

open G slide standard E slide

blues in A standard E slide

Two tunings to start with. Blues roots just go to a couple of pitches. From the earlier banjo open G we find these pitches right down at the beginning of the neck. At the 2nd and 3rd frets when plucked against the open strings. We can then transfer this core shape to the standard E tuning. Down a minor third loosens the strings a to create a different grind. Same shape, a bit different in pitches. Regardless, both these tunings have their own distinctive 'roar' when stacked and getting the house to rockin'.

a handful of pitches
banjo video
melody
stacked

25 jazz tunes to learn. As jazz was among America's most popular music through the 1940's, it's historical transitions are quite similar to the evolutions of pop music created over the last 50 years or so. For as surely as the advent of rock and roll in the 50's started us off on a new creative heading for pop music, equally epic (at least here in EMG theoryville) is the evolution of our core jazz cadential motions.

cadential motions
"Misty"
"Here's That Rainy Day"
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
learn 100 tunes

Original owner selling this well played and well serviced ES 340. I've played hundred of dates with this ax over the decades. Having moved to a newer, longer scale instrument, it's time to find a new home for this guitar. Recently re-fretted with a medium + fret height, this is a solid blues and rock string bender instrument. All is original except the tailpiece and the front volume pot, both of which are pro installed and function perfectly. Stop tail for a deeper, richer tone and sustain and the front volume pot was a double stacked volume and tone combo that I don't think I ever really figured out. The new one works perfect. Intonates fine with original saddles, usually used 10's. Original nut recently inspected has no issues. Pickups are original with true period, solid 7.4 range output. Amplifies very well through all sorts of gear ands pedals. Case is original, rather road beat up with replaced handle but still very serviceable. While there's a lot of finish checking over the instrument, no cracks or structural issues whatsoever. Plays fine, lower action, solid sustain and comfortable fret height. The 340 is a 335 model but with a laminated maple neck and the special stacked volume pot (now replaced). The stronger, maple laminate construction has held very true in Alaska's challenging climate over three decades now. Original tailpiece and volume pot to be included in the sale. Outside purchasing interest prompts local posting here for sale of this great ol' ax from Kalamazoo! Offered at a players fair market price of $2995.00. Please email to first connect of your interest and any first questions, then we can talk on the phone and arrange to meet up. Thank you.