~ UYM / jazz guitar / start / EMG ~

pick, no pick or both ... ?

being serious can be fun / 1st lesson E Remler
melodies
Arrowsmith arpeggios / triads
a melody line on one string
reveals 5 shapes of pitches

each having a 2 5 1 cadential motion

the half step lead in
the other five pitches
the V7b9 portal

 

In a nutshell. Kinda turns out that blues guitar and jazz guitar are a lot like one another. Jazz just seems to fill in more of the spaces in a basic 1 4 5 blues with all sorts of passing chords. Jazzers then play through these new, jazzier chord changes, creating a more bebop approach to the lines. As the chord structures of triad + color tones and chord progressions both evolve together, we apply these basics into and we expand our songs to include 'standards' written .' , creating new weaves for a soloing 'through the changes' approach.

 

The basics of Americana jazz guitar presented come to us historically from their original teaching methods. There's two parts. One is for the blue notes and one is for the diatonic pitches.

and one is for diatonics and the blue notes, and all their 'blue hue' nuances through the literature. And one is for

bepop a fashion
theory confusions

In a nutshell. The basics of Americana jazz guitar are, in this work, based on just a few of the core basics that make all Americana music Americana. If there's a 'trick' to jazz guitar playing, and there's like a couple of hundred at least, 'the first trick' is to initially understand that in jazz playing, we're simply overlaying the various core patterns of scales, arpeggios and chords, atop of one another. Theory confusion often reigns when we try to stack up two or three of these patterns within say a four fret space. And the more patterns we stack up in one general area, the more complex it all gets.

theory confusions

Put this 'theory' into 'play', at say mm = 160 or so, and dig in, hold on, here we go :) This is a very exciting intellectual process. Think of the joy in our hearts and its smiles created by hearing music that swings. Now try to imagine the joy created in your own heart, when you get to be the cat that brings the swing ... to make this magic happen with a snap of the fingers, to bring it and share it, with your own community of listeners.

bring the swing
bring it
a community of listeners

Melodies. Kinda turns out that blues guitar and jazz guitar are a lot like one another. Jazz just seems to fill in more of the spaces in a basic 1 4 5 blues with all sorts of passing chords. Jazzers then play through these new, jazzier chord changes, creating a more bebop approach to the lines. As the chord structures of triad + color tones and chord progressions both evolve together, we apply these basics into and we expand our songs to include 'standards' written .' , creating new weaves for a soloing 'through the changes' approach.

 

The basics of Americana jazz guitar presented come to us historically from their original teaching methods. There's two parts. One is for the blue notes and one is for the diatonic pitches.

and one is for diatonics and the blue notes, and all their 'blue hue' nuances through the literature. And one is for

bepop a fashion
theory confusions

Chords. The basics of jazz chords revolves around two basic principles. First is that it's hen's teeth rare that any of a chords pitches are doubled up. Second, is that there is almost always a 7th above the three notes of a triad. So chords will generally have four 'different notes in them. And for guitar, a third basic we can add is that

jazz chords and voicings are moveable, that one chord shape moves up and down the neck. We simply position it depending on what key we're in, root pitches etc.

bepop a fashion
theory confusions

"Space has its own groove and swing."

wiki ~ Wayne Shorter

All artists that jazz up their musics share in this boundless excitement that jazz music creates. For with the jazz it up upgrade, we get to more liberally use everything, all the musical colors our instruments can create. In this primer, 'everything' is brought together under the long term shedding and understanding goal of 'anything from anywhere.'

First jazz guitar theory trick. And when learning anything new, play and learn the bass line first.

These three jazz chord shapes are among our most common of our Two / Five One progressions. The Two and One chords give us the alternating 'bossa bass' very easily. The Two chord is the shape that covers the basic bass line pattern for "Take Five", an ostinato pattern to motor things along in the A section of its 32 bar form. The D 13 is used in the blues too and without its root pitch (I know ... think from the root), is one V7 chord type shape to be examined for coolness for your work, and if worthy, thoroughly mastered. Here's the evolution of the one Five chord shape into three. Example 7d.

wiki ~"Take Five"

Review. So today we've the modes, built right into our major / minor 'all tuned up' pitches that gives us the melody notes and the chords; to support them and collage our ideas with blocks of various colors. Best of both? Yep, pretty much. We've had this system now for a solid 300 years and counting with nothing really too dominant on the horizon to take its place. As string players, we can bend or whammy bar our pitches to find the spots in between so, we'll probably keep these pitches, modes and tunings for the foreseeable future.

'... and sometimes we don't know that it was perfect timing till 10 years later ... :)

Other topics of interest.