But, what often happens is that we run an idea through 12 keys in multiple positions, and then are physically and/or mentally burned out and either don’t have time or aren’t in a good creative space to improvise with this material.

Since the goal when learning any new idea on the guitar is to create music with it, such as learning scales and arpeggios to improvise over our favorite standards in the jam room or on the bandstand, I always make sure that anything I learn, or teach to my students, is immediately applied to a practical, improvisational situation.

This gets those creative juices flowing and allows us to see the practical application of technical material right from the get go.

Besides, making music and improvising is fun!

Here is what I have done in my own practicing and what I tell my students whenever we learn a new chord, scale, arpeggio, lick or pattern in our lessons.

Today’s Jazz Guitar Practice Tip

“When learning new material, get it under your fingers and then improvise with it. Improvising is a learned skill that needs to be practiced.”

So the next time you learn a new scale, arpeggio, lick pattern or chord sequence, get it down in one key and then make music with it in that key.

Here is a quick rundown of how I would do this with a new scale fingering in C major.

• Learn the scale fingering in 1 key, starting with C major.

• Once the scale is memorized, improvise with the scale without any time or form.

• Improvise with the scale along to a metronome to introduce the concept of time.

• Put on a Cmaj7 backing track and improvise with the scale along to the vamp.

• Put on an Am7 backing track and improvise with the scale along to the relative minor chord.

• Put on a Dm7-G7-Cmaj7-Am7 backing track and improvise along to a ii-V-I-vi progression with this scale.

• Learn the scale in a new key and repeat this process.

By applying these exercises to new concepts that you learn in the practice room, you are not only getting the technical side of the item under your fingers, but you are training your improvisational skills and getting your ears hearing this concept over harmony at the same time.

A true “triple-threat” practice experience.

How do you introduce improvisation into your practice routine with new concepts? Share your experiences in the comments section below.

Related posts:

1. 6 Must Know Jazz Guitar Comping Tips
2. Minor Pentatonic Scale Fingerings: Five Positions, Application and Technical Exercises
3. Major Pentatonic Scale Fingerings: Five Positions, Application and Technical Exercises

Jazz Guitar Practice Tips: Being Creative With Technical Concepts from Matt Warnock Guitar

I remember being completely intimidated when I first started learning to play jazz guitar. It was a whole new world with new notations, new chords, new rhythmic ideas, and even new slang words (it’s still the only genre I’ve found where people say something is “bad” when they really mean “good”).

Even in Finale, the program I used to transcribe my ideas, it suggested using a different font for when you’re writing jazz instead of classical.

It felt like I was being forced to throw everything I had learned out the window and start fresh.

But it doesn’t have to be that way.

At the most basic level, the same overall principles guide each world – you’re still playing the same 12 notes over the same types of chords in the same types of rhythms.

If you approach it by looking at the common elements between the genres, you can then take the foundation you’ve created in rock, make a few tweaks, and already be well on your way to mastering jazz.

So with that in mind, I want to show you a few examples of rock patterns you probably already know, then show you how by making only a few simple changes, you can begin to use them when practicing jazz guitar.

Spicing Up the Blues Scale

To start, let’s take a blues scale pattern with a triplet feel.

Now, let’s move only the G on the 3^rd string up to an A. If you look at the first 6 notes, you’re now outlining a Dmin7 chord, so you can use this line over a ii-V-I progression.

As you can see, as far as everything else going on with the picking and the attack, it’s the same exact line. But by changing only one note, this pattern can now be played over minor chord changes.

Transforming a Rock Embellishment

For a different example, try out the below line. This is a fast flurry of notes that can be used as an embellishment in any rock solo (to see this in action, listen to Paul Gilbert, who uses this often in his solos):

What’s great about this line is that while it only embellishes a small set of notes, it occupies a lot of time and space in the measure.

In this next example, this line is serving to outline the Dmin7 chord, before moving into G7 arpeggio.

One additional fact about this line is that because it’s so fast and has so many notes, it really builds tension for the whole passage.

Once this tension is built, you can slow down over the G7 and CMaj7 chords to give the listener a break.

The reason why I like this is because it lets you run out of the gate strong where you feel the most comfortable, and then lets you slow down as the changes fly by, so you can keep grounded without the listener suffering.

Playing strongly where you’re in command, and slow down where you’re not.

Using 3-Note-Per-String scales to Your Advantage

Finally, I wanted to show an example using a 3-note-per-string scale, like this one for D Dorian.

I like 3-note-per-string scales because they are easy on your hands, and they naturally outline chords (typically, your ear will latch onto the lowest and highest note played on any string, with the notes in the middle serving as passing tones).

By taking basic 3-note-per-string patterns, and using this fact that the highest and lowest notes will outline chords, you can create lines such as this one.

As you can see, you’re taking the same fingering patterns that you’ve already learned with 3-note-per-string scales, but now using them to your advantage to play over changes.

Here’s a bonus trick – to make it even cooler, you can add an additional chromatic passing tone into the line, like this.

What I want you to take away from this lesson is not just these three ideas (although feel free to steal them and throw them in your solos).

The larger idea is that you’ve already learned tons of different lines across many different styles in your playing.

There’s no need to compartmentalize the different lines into different genres or styles, or completely abandon lines because they may not fit into what you’re playing at the moment.

Instead, look for the basic elements that define the style you’re playing in (for instance with jazz, the greater emphasis on accenting chord tones), and then re-approach the music with these elements in mind.

This will allow you to attack any song with a much larger set of already existing ideas, ultimately making your lines and solos more interesting and diverse.

Do you have a way of blending your rock chops and your jazz guitar playing? If so, please share them in the comments section below.

About the Author

Joel Cornell runs a guitar lesson blog online, focusing on rock and metal playing for advanced guitarists. In his blog, he talks about new ways to approach rock soloing, non-traditional song forms, and advanced rock techniques such as tapping. You can find more information on him at Joel’s Guitar Lessons, or follow him on Twitter @jsguitarlessons.

No related posts.

How To Use Your Rock Chops to Play Jazz Guitar from Matt Warnock Guitar

In the following Reference Page, I have written out the most commonly used scales and modes that guitarists will run into as you further explore the realm of jazz improvisation and harmony.

Each section shows how to build these scales and modes, as well as which chords you can use them to solo over, and where applicable, what triads and 4-note chords are built from that scale or mode.

Click here to download a printable PDF of the Jazz Guitar Scale and Mode Reference Page.

Here is a guide to the terms used below under each scale and mode, as well as the shorthand symbols for the triads used when applicable.

Legend of Terms

Intervals: The intervals used to build each scale or mode

Triads: The triads built from each note in the scale or mode

4-Note Chords: The 4-note chords built from each note in the scale or mode

Used to Solo Over: How to apply each scale or mode to an improvisation

Triad Shorthand

M = Major (R 3 5)

m = Minor (R b3 5)

D = Diminished (R b3 b5)

A = Augmented (R 3 #5)

And without further ado, here is the Jazz Gutiar Scale and Mode Resource Page

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Modes of the Major Scale

The most commonly used and learned scale system; the Major Scale Modes offer a plethora of melodic and harmonic material that is found in countless jazz tunes, from the traditional to the modern era alike. It is therefore a must-know scale system for any jazz guitarist to have under their fingers, in their ears and applied to their solos.

To read more about this scale system check out my article “Modes of the Major Scale and Their Application”

Ionian

Learn how to play this mode on the guitar by visiting my Ionian Resource Page

Intervals: R 2 3 4 5 6 7 R

Triads: M m m M M m D

4-Note Chords: Maj7 m7 m7 Maj7 7 m7 m7b5

Used to Solo Over: Maj7 Chords

Dorian

Learn how to play this mode on the guitar by visiting my Dorian Resource Page

Intervals: R 2 b3 4 5 6 b7 R

Triads: m m M M m D M

4-Note Chords: m7 m7 Maj7 7 m7 m7b5 Maj7

Used to Solo Over: m7 Chords (m6 color)

Phrygian

Learn how to play this mode on the guitar by visiting my Phrygian Resource Page

Intervals: R b2 b3 4 5 b6 b7 R

Triads: m M  M m D M m

4-Note Chords: m7 Maj7 7 m7 m7b5 Maj7 m7

Used to Solo Over: m7 Chords (m7b9 color)

Lydian

Learn how to play this mode on the guitar by visiting my Lydian Resource Page

Intervals: R 2 3 #4 5 6 7 R

Triads: M M m D M m m

4-Note Chords: Maj7 7 m7 m7b5 Maj7 m7 m7

Used to Solo Over: Maj7 Chords (Maj7#11 color)

Mixolydian

Learn how to play this mode on the guitar by visiting my Mixolydian Resource Page

Intervals: R 2 3 4 5 6 b7 R

Triads: M m D M m m M

4-Note Chords: 7 m7 m7b5 Maj7 m7 m7 Maj7

Used to Solo Over: 7^th Chords

Aeolian

Learn how to play this mode on the guitar by visiting my Aeolian Resource Page

Intervals: R 2 b3 4 5 b6 b7 R

Triads: m D M m m M M

4-Note Chords: m7 m7b5 Maj7 m7 m7 Maj7 7

Used to Solo Over: m7 Chords (m7b6 color)

Locrian

Learn how to play this mode on the guitar by visiting my Locrian Resource Page

Intervals: R b2 b3 4 b5 b5 b7 R

Triads: D M m m M M m

4-Note Chords: m7b5 Maj7 m7 m7 Maj7 7 m7

Used to Solo Over: m7b5 Chords

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Modes of the Melodic Minor Scale

The modes of the melodic minor scale, though containing more tension notes than the major scale modes, is an essential group of melodic and harmonic material that has been used in countless classic solos by jazzes greatest improvisers. It is therefore a must-know scale system for any jazz guitarist to have a strong hold of in their hands, ears and minds.

To learn more about this scale system check out my article “Modes of the Melodic Minor Scale and Their Application”

Melodic Minor

Learn how to play this mode on the guitar by visiting my Melodic Minor Resource Page

Intervals: R 2 b3 4 5 6 7

Triads: m m A M M D D

4-Note Chords: mMaj7 m7 Maj7#5 7 7 m7b5 m7b5

Used to Solo Over: m7, m6 and mMaj7 Chords (mMaj7 Color)

Dorian b2

Learn how to play this mode on the guitar by visiting my Dorian b2 Resource Page

Intervals: R b2 b3 4 5 6 b7 R

Triads: m A M M D D m

4-Note Chords: m7 Maj7#5 7 7 m7b5 m7b5 mMaj7

Used to Solo Over: 7Susb9 Chords

Lydian Augmented

Learn how to play this mode on the guitar by visiting my Lydian Augmented Resource Page

Intervals: R 2 3 #4 #5 6 7 R

Triads: A M M D D m m

4-Note Chords: Maj7#5 7 7 m7b5 m7b5 mMaj7 m7

Used to Solo Over: Maj7 Chords (Maj7#5 color)

Lydian Dominant

Learn how to play this mode on the guitar by visiting my Lydian Dominant Resource Page

Intervals: R 2 3 #4 5 6 b7 R

Triads: M M D D m m A

4-Note Chords: 7 7 m7b5 m7b5 mMaj7 m7 Maj7#5

Used to Solo Over: 7^th Chords (7#11 color)

Mixolydian b6

Learn how to play this mode on the guitar by visiting my Mixolydian b6 Resource Page

Intervals: R 2 3 4 5 b6 b7 R

Triads: M D D m m A M

4-Note Chords: 7 m7b5 m7b5 mMaj7 m7 Maj7#5 7

Used to Solo Over: 7^th Chords (7b13 color)

Locrian Natural 9

Learn how to play this mode on the guitar by visiting my Locrian Natural 9 Resource Page

Intervals: R 2 b3 4 b5 b6 b7 R

Triads: D D m m A M M

4-Note Chords: m7b5 m7b5 mMaj7 m7 Maj7#5 7 7

Used to Solo Over: m7b5 Chords (m9b5 color)

Altered Scale

Learn how to play this mode on the guitar by visiting my Altered Scale Resource Page

Intervals: R b2 b3 3 #4 #5 b7 R

Triads: D m m A M M D

4-Note Chords: m7b5 mMaj7 m7 Maj7#5 7 7 m7b5

Used to Solo Over: 7^th Chords (7alt color)

******

Other Common Scales and Modes

The following scales and modes are members of other scale systems besides the major and melodic minor groups, but are nonetheless important to get under your fingers, as they can be used to navigate many of the common chords and chord progressions that you will encounter as a jazz guitarist.

Major Pentatonic Scale

Learn how to play this mode on the guitar by visiting my Major Pentatonic Resource Page

Intervals: R 2 3 5 6 R

Used to Solo Over: Maj7, 7 Chords (Maj6, 13 color)

Minor Pentatonic Scale

Learn how to play this mode on the guitar by visiting my Minor Pentatonic Resource Page

Intervals: R b3 4 5 b7 R

Used to Solo Over: Maj7, 7 m7 Chords

Major Blues Scale

Learn how to play this mode on the guitar by visiting my Major Blues Resource Page

Intervals: R 2 b3 3 5 6 R

Used to Solo Over: Maj7, 7 Chords

Minor Blues Scale

Learn how to play this mode on the guitar by visiting my Minor Blues Resource Page

Intervals: R b3 4 #4 5 b7 R

Used to Solo Over: Maj7, 7, m7 Chords

Major Bebop Scale

Learn how to play this mode on the guitar by visiting my Major Bebop Resource Page

Intervals: R 2 3 4 5 #5 6 7 R

Used to Solo Over: Maj7 Chords

Dominant Bebop Scale

Learn how to play this mode on the guitar by visiting my Dominant Bebop Resource Page

Intervals: R 2 3 4 5 6 b7 7 R

Used to Solo Over: 7^th Chords

Minor Bebop Scale

Learn how to play this mode on the guitar by visiting my Minor Bebop Resource Page

Intervals: R 2 b3 4 5 6 b7 7 R

Used to Solo Over: m7 Chords

5^th Mode Harmonic Minor

Learn how to play this mode on the guitar by visiting my 5^th Mode Harmonic Minor Resource Page

Intervals: R b2 3 4 5 b6 b7 R

Triads: M m D m D A m

4-Note Chords: 7 Maj7 Dim7 mMaj7 m7b5 Maj7#5 m7

Used to Solo Over: 7^th Chords (7b9b13 color)

5^th Mode Harmonic Major

Learn how to play this mode on the guitar by visiting my 5^th Mode Harmonic Major Resource Page

Intervals: R b2 3 4 5 6 b7 R

Triads: M A D M D m m

4-Note Chords: 7 Maj7#5 m7b5 M m7b5 m7 mMaj7

Used to Solo Over: 7^th Chords (7b9 color)

Half-Whole Diminished Scale

Learn how to play this mode on the guitar by visiting my Half-Whole Diminished Resource Page

Intervals: R b2 b3 3 #4 5 6 b7 R

Used to Solo Over: 7^th Chords (7b9#9#11 color)

Whole-Half Diminished Scale

Learn how to play this mode on the guitar by visiting my Whole-Half Diminished Resource Page

Intervals: R 2 b3 4 b5 b6 6 7 R

Used to Solo Over: Dim7 Chords

Whole-Tone Scale

Learn how to play this mode on the guitar by visiting my Whole Tone Resource Page

Intervals: R 2 3 #4 #5 b7 R

Used to Solo Over: 7^th Chords (7#11#5 color)

Related posts:

1. Modes of the Major Scale and Their Application
2. Beyond Basic Pentatonics: Introducing the Maj7#5 Pentatonic Scale

Jazz Guitar Scale and Mode Reference Page from Matt Warnock Guitar

Being able to walk a bassline, and add comping if you like, allows you to play duos with singers, pianists, horn players and other guitarists, holding down the low end in your comping as the other musician improvises and/or plays the melody.

While it may seem like a difficult task, learning how to walk basslines on guitar, if you break it down into a number of smaller, easier steps, this process becomes much more manageable.

In this article we will explore five easy and fun exercises that will take you from playing whole-note basslines all the way up to walking quarter notes over your favorite tunes.

For each of these steps, take your time. It is much more important to get a full grasp of one step before moving on than it is to skim through all 5 quickly. Walking basslines can be tricky, but if you have each step firmly under your fingers and in your ears, this process becomes much more manageable.

Step 1: Whole Notes

The first step is to play the root note as a whole note for each chord in the progression. You can see this in the example below with the ii-V-I-VI changes in the key of C.

There is a great Joe Pass saying that goes, “When the chord changes, you change,” and this is very applicable for walking basslines on guitar.

When there is a new chord in the progression, you will want to play the root of that chord, at least for now. So starting with whole notes, or half notes if you are working on a tune that has more than one chord in each bar, is a great way to get this idea under your fingers and in your ears.

Try playing this example, then take it to other keys, or apply it to another progression or tune that you’re working on.

The goal is to play one note per chord, in this case whole notes, and only use the root for each chord to create a strong base to build up as you move towards building a full, walking bassline.

If you need to review this approach, check out my article “Walking Basslines for Guitar: Construction, Whole Notes and Summertime.”

Step 2: Half Notes

The next step is to add a second note in each bar, on beat three, to give you a half-note bassline. When doing so, you are going to want to approach each new chord by a half-step.

Check out the example below. Notice how the first note in each bar is the tonic, and then the second note in each bar leads into the next tonic note by a half-step above or below that note.

This is an important aspect of walking basslines, approaching chord tones by half steps, so it is worth spending the time on to really get into your ears and under your fingers.

When you look at this example, you will notice that some half-step approaches are chromatic, outside the scale, and some are diatonic, from inside the scale.

Both ways are fine, it depends on the situation. If you look at bar 2, the G7 chord, I used B to approach the Cmaj7 chord in bar 3, which is a diatonic half-step below the bass note C.

I could have just as easily used Db to C in a chromatic approach from above in that bar.

It’s just a matter of taste when you have the option between playing diatonic and chromatic half-step approach notes, and experience and the tune/feel/gig will help determine which one you use when you have the option.

If you need to review this approach further, check out my article “How to Play Basslines on Guitar: Half Note Exercises.”

Step 3: Dotted Half Notes

The next step in the process is a rhythmic variation on the previous step. Here, you will play the first note in each bar as a dotted half-note, and the second note in the bar as a quarter note.

This will help you add in the other quarter notes in the next two steps that will build your full walking bassline.

When walking a quarter note bassline, the last quarter note in each bar will normally lead by half-step to the root of the next chord. So, in this case you can hear how that approach sounds, with beat 4 of each bar leading by half-step to the next root, and no it’s just a matter of filling in the other two beats.

Step 4: 2 Quarter Notes

You can now start to fill in the other two quarter notes by adding a note on beat 3 of each bar. When doing so it is a good idea to start with a chord tone on beat 3, but this isn’t always necessary as you will see in the Blues example below.

Try learning the example below, and then take a progression or tune you are working on and apply this idea to those forms as well.

Being able to see the tonic on beat 1, a chord tone on beat 3 and then a chromatic note on beat 4, and later beat 2 as in the next step, is essential to being able to walk basslines on the spot.

So take your time with this idea, and work it into as many different musical situations and keys as you can before moving on to the next step in the process.

Step 5: Walking Basslines

You are now ready to fill in beat 2 of the bar and complete a full, walking bassline.

To do so, you can add in either a chord tone or a chromatic note in this position, it’s up to you and your musical tastes which one you prefer and when.

In the example below I used both, chromatic and diatonic notes, to fill in the second beat of each bar. This is cool too, using both interchangeably throughout a phrase or tune.

Again, let your ears be your guide when choosing to work inside or outside of the given chord/scale in any given bar.

This is not going to be easy to do on the fly if you are just starting out.

So, what I did when I learned how to walk basslines, was I took a tune and wrote out 5-10 different basslines for that tune using the steps in this lesson.

I then memorized those written out basslines and then began to create some of my own on the spot once I had them down.

Then I would move onto a different tune and repeat the compose-memorize-play-improvise process all over again.

If you do this with 3-4 tunes, you’ll be surprised how well you get this five-step approach under your fingers and into your ears, allowing you to apply it on the fly with tunes you know, or even with tunes that you are playing for the first time.

F Blues Bassline Example

To finish things up I have written out a bassline over a jazz blues in F progression. Here, I used a few common “exceptions to the rule” to show you how jazz guitarists and bassists bend the above rules a bit here and there to fit the musical situation.

I did this in bars 1 and 4, where I put a non-chord tone on beat three, the Ab, and a chord tone on beat 4, the A. I did this because the A leads by half-step into the root of the next chord, Bb, and so it was a smoother transition than if I had placed the A on beat 3 and proceeded from there.

As you get more comfortable with walking basslines, you’ll learn to see these exceptions and apply them to your own playing as well.

And as always, the best way to learn how the pros do it is to transcribe basslines from records. Start with “Blue Seven” by Sonny Rollins. The opening two choruses are just walking bass, the second with drums, and so it is easy to hear. It’s a classic bassline and one that is worth checking out in the practice room.

Do you have a favorite way of practicing walking basslines on guitar? If so, share it in the comments section below.

Related posts:

1. How to Play Basslines on Guitar – Half Note Exercises
2. Walking Basslines for Guitar: Construction, Whole Notes and Summertime
3. Introduction to Walking Bass for Jazz Guitar Video Lesson

How to Walk Basslines on Guitar from Matt Warnock Guitar

In this week’s Facebook Reader Question, I was asked if I could talk about three solos that changed my playing and helped to shape me as a jazz guitarist.

Below are three solos that I transcribed during my time spent as a jazz guitar student in Montreal, at both Vanier College and McGill University.

These are three solos that helped shape me as a player, furthered my understanding of the instrument and opened up my mind and ears to new musical possibilities that I still hold in my playing to this day.

Check these solos out and there is one for each level of developing jazz guitarist.

They are fun to learn, full of great ideas to explore further in the practice room, and will help bring your jazz guitar playing to the next level no matter where you are in your development.

Introductory: Wes Montgomery “Movin’ Along”

This was the first jazz guitar transcription that I ever did when I first started studying with my teacher Nick Di Tomasso in Montreal back in the day. When I first listened to it, it sounded fairly straight forward. But, once I dug into writing it out and learning it on the guitar I realized that there was a lot more to this solo than I first thought.

The most important lessons I learned from this transcription were Wes’ advanced sense of phrasing, the contrast he created between the blues scale notes and the bebop material and how he lead the listener through his ideas by developing motives, rather than just playing licks and lines throughout his solo.

This is truly one of the great jazz guitar solos on record, and if you are just starting out in your journey to learning how to play jazz guitar, than this is a great solo to start with.

It is often the first solo I assign my jazz guitar students when they are ready to dig into their first transcription.

Check out my video lesson “Wes Montgomery: Movin’ Along Analysis of a Lick” for more info on this classic and must know jazz guitar solo.

Click here to view the embedded video.

Intermediate: Jim Hall “You’d Be So Nice to Come Home To”

This was the first solo that I transcribed during my first semester as a jazz performance major at McGill University. I had never really dug into Jim’s playing much before this solo, but after hearing it for the first time I became an instant life-long fan.

There is so much going on in this solo melodically and rhythmically that it is a solo that I still come back to time and again to study when I am working on developing jazz rhythmic vocabulary.

Jim seldom uses one rhythm such as 8^th notes or triplets for more than a few beats in a row during this improvisation. It is a study in how powerful phrasing and rhythmic variation can be when building a memorable solo.

The hardest part for me when learning this solo was writing it out. For many intermediate players reading this article, learning to play along with Jim on this solo is manageable, but to write it down with rhythmic accuracy is tough to say the least, but worth struggling through in the end.

This is a classic solo by a jazz guitar legend and it is often the first solo that I often assign to my college level players when they first enter my studio.

If you’ve transcribed a handful of jazz guitar solos already and are looking for a challenge in the woodshed, then this solo is a great place to start.

To learn more about Jazz Guitar Phrasing check out my article “Context and Contrast: How Miles Davis Can Make You a Better Jazz Guitarist.”

Click here to view the embedded video.

Advanced: Lenny Breau “On Green Dolphin Street”

This was a solo that I worked on for my sophomore performance exam at McGill, and it kicked my butt all through the school year to get it down on paper and under my fingers. Not only was this solo a technical challenge to work out on the guitar, it completely changed the way I thought about chord soloing and mixing harmonic textures on the instrument.

I had been aware of Lenny’s 2-note comping style for a few years before transcribing this solo, but it wasn’t until I worked on this improvisation that I really saw the potential for applying these chords to my own playing, and just how powerful a tool they could be in a modern jazz context.

As well, his sense of melody and approach to melodic content in this solo really opened up my ears and mind to new ways of using chords and single-lines to create melodic phrases in my solos. Though Lenny has tons of chops, and uses them from time to time in this solo, there are so many great, singable melody lines going on in his playing that, at least for me, it is one of the great melodic jazz guitar solos on record.

This isn’t an easy solo to learn on the guitar, but if you are an advanced or upper intermediate player looking to reach the next level as a jazz guitarist, then look no further.

One thing to notice is that Lenny is playing a 7 string on this recording, so there are some fingering challenges as well when playing this solo on a 6-string guitar, but with a little creativity it can be done.

To learn more about Lenny’s 2-note comping style check out my 30 minute audio seminar “Jazz Guitar Chords: 3^rds and 7ths on the Blues”

Click here to view the embedded video.

What are some of the jazz guitar solos, either that you transcribed or listened to, that changed your playing and understanding of the genre? Share them in the comments box below.

Related posts:

1. 4 Vocal Exercises That Will Improve Your Jazz Guitar Playing
2. What are 4th Voicings and How Can They Effect Your Jazz Guitar Playing?
3. What is the Charleston and How Can it Expand Your Jazz Guitar Playing

3 Jazz Guitar Transcriptions That Changed My Playing from Matt Warnock Guitar

First, let me thank Dr. Warnock for this wonderful opportunity for sharing with his visitors.

The focus of the lesson will be to play chords in a “walking” fashion on the fretboard. I’m not talking about walking bass-lines here. I really want to approach something jazz pianists commonly do.

It’s (basically) the art of moving a voicing from root position to first inversion using different devices such as passing chords. The result is a series of jazz-guitar chords played with quarter-notes in a “walking fashion,” using smooth voicing leading between each voicing.

We’ll see how this applies to dominant chords (you could apply this on the blues, wink wink!). Then in the next installment, we’ll look at how to apply this concept in a more general fashion, regarding diatonic chords in a major key.

The idea behind the “walking chord” concept is simple; you want to get from root position to first inversion by using only three-note voicings, and still using the same string set.

For instance, on a C7 chord, you want to go from the first chord to the second chord, such as in the example below.

Here’s how to connect these two C7 inversions using walking chords:

Now you don’t have to “sit” on the same voicing for four beats!

The chords being used to connect the two inversions come from both the diatonic scale and a passing diminished chord. The second chord in the bar, D-Bb-F, comes from the diatonic key, and the next chord, Eb-C-F#, is a passing diminished chord, which is labelled #IIdim7 going up, or as bIIIdim7 if you were using it to pass back down the inversions.

Now you can take these same voicings and play them with a 5^th string root.

As an exercise, you can use the cycle of fourths to connect these dominant 7th chords. Go very slow at first, and make sure you play steady, groovy quarter-notes when connecting these chords on the fretboard. At first, stick to the same fingerings and same string-set before expanding the exercise from there.

It’s good to start these voicings low on the fingerboard and then move up the neck until you run out of frets. Start with an F7 on the 6^th string such as the example below:

You can also start with Bb7 on the 5^th string as in this example:

Here are all 12 keys of the dominant cycle written out across the neck.

This one is trickier because you have to switch string sets every bar, so go slow. This may look tricky, but it is an extremely rewarding exercise for guitarists to work out in the woodshed.

Notice that you can decide to switch string sets whenever you wish to build variation into the exercise. Try it out and see how it sits under your fingers. This exercise will show how much you really know the voicings and the chord sequence on the guitar.

The fun fact about sticking to the same string-set in going from say C7 to F7, is the fact that C7′s first inversion leads directly “into” F7, since the E in is the bass of the first inversion of C7. The problem with sticking to the same set of strings is that soon enough, you run out of frets!

Finally, I encourage you to check out the arrangement of the tune “Blue Monk.”

You can also try to use this on your own blues comping, or on the bridge chords to “Rhythm Changes.”

About the Author

Marc-Andre Seguin is the owner, editor and “brains behind” JazzGuitarLessons.net. You can also hear his music on MarcAndreSeguin.com

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1. Modernize Your Dominant Chords with the Allan Holdsworth Bebop Scale

Walking Dominant 7th Chords With Diatonic and Chromatic Passing Chords from Matt Warnock Guitar

While all of these chords offer different benefits when you get them under your fingers and in your playing, sometimes the easiest chords are the best ones to start with. In this audio lesson we will check out 3rds and 7ths for jazz guitar. These two-note chords are note only easy to play, they sound great and can found in the playing of some of the greatest jazz guitarists of all time, such as Lenny Breau, Ed Bickert and Ted Greene.

So, grab your guitar. Turn up your amp and let’s dig into some of my favorite voicings, 3rds and 7ths.

Lesson Downloads

Click to download the PDF examples for this lesson.

You can hear the audio for this lesson by clicking here.

Related posts:

1. Jazz Guitar Chords: Voice Leading Major ii-V’s Video Lesson
2. Jazz Guitar Chords: Voice Leading Minor ii-V-I Video Lesson
3. Introduction to Walking Bass for Jazz Guitar Video Lesson

Jazz Guitar Chords: 3rds and 7ths on the Blues Audio Lesson from Matt Warnock Guitar

But, where do you go from there in the practice room when you want to explore soloing over Maj7 chords further?

The next logical place to look is to explore the Maj7#5 sound, after having already looked at the plain Maj7 and altered Maj7#11 sounds with Ionian and Lydian.

While you could look into the 3^rd Mode of Melodic Minor when checking out the Maj7#5 chord, there is another, somewhat easier to learn and apply scale that will give you the same modal coloring in your playing, the Maj7#5 Pentatonic Scale.

In this article, we will look at how to build the Maj7#5 Pentatonic Scale, how you can apply it to your soloing, how to practice it with rhythmic patterns and check out a few ii-V-I licks that use this uncommon, but very cool-sounding scale.

If you want to explore altered pentatonic scales further, please visit the “Altered Pentatonic Scales for Guitar Homepage” for more information on these great sounding but uncommon scales.

Maj7#5 Pentatonic Scale

The Maj7#5 Pentatonic Scale is closely related to both the Major Pentatonic Scale and the 3^rd mode of the Melodic Minor Scale.

It is related to the Major Pentatonic Scale in its construction, as there is only one note difference between the two, and it is related to the 3^rd mode of Melodic Minor in application as both can be applied to a Maj7 chord to produce a Maj7#5 modal color.

The Major Pentatonic is built as such:

R 2 3 5 6 R

And the Maj7#5 Pentatonic is built by raising the 5^th by one half-step:

R 2 3 #5 6 R

Here is how both of those scales look on the staff for easy comparison.

As was mentioned earlier, the Maj7#5 Pentatonic Scale can be used to solo over Maj7 chords, which will produce a Maj7#5 sound. You can use this scale over the Imaj7 chord in a ii-V-I to create dissonance over that tonic chord, or over any static Maj7 chord vamp.

You could even use it over the IV chord such as the opening to Autumn Leaves, Cm7-F7-Bbmaj7-Ebmaj7, where you could apply it to the Bb and Eb chords to give them some crunch in your lines.

Maj7#5 Pentatonic Scale Fingerings

Below are a few different fingerings that I like to use for the Maj7#5 Pentatonic Scale. If you already know how to play the Major Pentatonic Scale, then all you need to do is find the 5^th note of the scale and raise it by one fret and you have the Maj#5 scale under your fingers.

If you are new to both of these scales, then you can start explore the Maj#5 sound with the fingerings below. There are two different shapes for each string set, 6^th and 5^th string roots. One fingering that stays in position and one fingering that shifts up the neck.

Depending on how you approach scales and how you see the neck, one or the other might sit better under your hands and be easier for you to apply to your playing. Though if one is easier, it would be a good idea to learn the other one as well since that might open up your playing to new areas and help you see the neck from a new light.

Maj7#5 Pentatonic Scale Patterns

In order to practice these new scales from a technical perspective I have written out a rhythmic pattern that you can use both ascending and descending through the scale. The pattern starts with a half note, then a quarter note followed by two eighth-notes. This pattern is then reversed in the second bar, which starts with two eighth-notes, followed by a quarter note and half note.

This type of rhythmic motive is built using increasing rhythmic durations as well as the concepts of rhythmic retrograde and rhythmic pairing. All three of these concepts are explored further in my Ebook “Modern Time: Rhythmic Fundamentals for the Improvising Musician.”

Maj7#5 Pentatonic Scale Licks

To take this scale into an improvisational context, I have written out two different ii-V-I lines using the Maj7#5 Pentatonic Scale over the Imaj7 chord in each progression. Notice that the #5 provides a strong dissonance over this chord, so it is not something you want to use all the time. But, when you do want to reach for a more dissonant line over a Maj7 chord, this scale is a good way to go.

Do you have a favorite way to practice or solo with the Maj7#5 Pentatonic Scale? If so, share it in the comments box below.

Related posts:

1. Beyond Basic Pentatonics: Introducing the Lydian Pentatonic Scale
2. Beyond Basic Pentatonics: Introducing the 7b9 Pentatonic Scale
3. Beyond Basic Pentatonics: Introducing the Mixolydian b13 Pentatonic Scale

Beyond Basic Pentatonics: Introducing the Maj7#5 Pentatonic Scale from Matt Warnock Guitar

First, I want to thank Matt for having me on board. It’s a privilege to be connecting with a great jazz educator and to be in such great company.

Guide tones suck.

The lines are just boring, and the application can be confusing. Right?

Well what if you could find some more interesting ways to create the guide tone lines?

What if you can find the ‘hidden melodies’ that make up the deeper structures of the tune?

Here are a few different looks at the common guide tones that are so often taught to students that are learning how to play jazz guitar.

Like Someone in Love

We’re going to use the first four bars of the standard “Like Someone in Love” for this lesson. I believe the melody of any tune should be the basis for all improvisation. That’s what gives the tune its character, gets them away from being just a set of changes.

Here is the plain melody on paper:

Guide Tones

Guide tones are usually considered to be the 3rd and 7th of each chord. With standard tunes, you can usually create a nice, smooth line through the changes by way of the guide tones.

When doing this, you get some pretty plain results, and without the bass notes you don’t get a feel for the tune.

You might get something like this:

One thing that can give your guide tone lines a little more umph, is to play the melody along with the guide tone line, mixing and matching the two concepts.

In the above example, the second half of bar 3 gives you an Eb with a B note in the melody, indicating either a B major sound, or the upper structure of the F7#11. So here you get a nice interval that helps bring the tri-tone sub to life (the changes listed substitute the F7#11 for a B7-the V chord going to E minor in bar 4).

More Guide Tones

One way that I’ve started to approach guide tones in my playing is to incorporate all of the chord tones from each change in the tune. The fifth in particular can add a lot of harmony to your lines.

It solidifies the sound you’re already working with and actually creates a triad with the 3rd and 7th. The fifth is typically a tone you stay away from in voicing chords, but in this approach it gives you some interesting results.

Here are just the plain guide tones for this tune. This isn’t a set of chords to play, just the notes you can use to create an interesting melody.

Hidden Melodies

The hidden melodies are the guide lines that create an interesting counterpoint with the melody.

The melody and harmony are both represented with this type of line. Playing the hidden melody starts to get you more inside the tune, giving you a deeper view of how harmony and melody relate. These would be great as improvised lines, but the real value here is how much this process can teach you about the song you’re playing, and about harmony in general.

Here is a hidden melody for “Like Someone in Love.” As you can see, the regular guide tones are still very much a part of the line, but the interest is in the relationship with the original melody.  Plus this hidden melody actually has the sound of the tune “Like Someone in Love,” not just the changes “Cmaj E7 Am7,” which is much more interesting.

Another huge benefit of this kind of practice is that it works for all kinds of tunes. Try this with a folk song, or “Smells Like Teen Spirit.”  Just remember the chords used for the guide tones will be much simpler than typical jazz chords.

Do you have a favorite way to practice or improvise with Guide Tones? If so, please share your thoughts in the comment box below.

About the Author

Sam Smiley is a guitarist who has found a nexus of unlikely allies, country music and jazz. He writes about this meeting place at http://www.samsmileymusic.com.

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2. The Science of Building Strong Jazz Guitar Lines Part 1: Serial Melodic Arpeggios

How to Bring Out Hidden Melody Lines With Guide Tone Soloing from Matt Warnock Guitar

Learning to play Drop 2 chords on the guitar is an essential skill that all jazz guitarists need to work through at one point or another in their development. But, while knowing these shapes and their inversions on the neck is a great start, the rubber really meets the road when you take these voicings and learn then through common progressions, such as ii-V-I-VI .

In this article you will explore Drop 2 chord voicings on the top four strings being used to navigate a ii-V-I-VI chord progression.

Each of the four examples starts on a different inversion of the first chord, in this case written in the key of C major (using the chords Dm7-G7-Cmaj7-A7b9), and all examples use voice leading to move from one chord to the next while avoiding jumping around the neck as the chords change.

For the VI7b9 chord, I used the 3rd-5th-b7th-b9th of each chord to keep it at four notes per voicing. When you play the 3rd, 5th, b7th, and b9th of that chord, it spells out a dim7 chord. So that is why there is a C#dim7 being played over the A7b9 chord, because the 3, 5, 7 and 9th of A7b9 spell out a C#dim7 chord voicing.

For more information on Drop 2 chords and their fingerings, please visit my Drop 2 Chords for Guitar Resource Page.

Drop 2 Chord Practice Tips

• Practice each example in 12 keys
• Use different rhythmic patterns for each example such as the Charleston, Bossa Nova or Salsa patterns
• Practice each example together in each key, starting with the iim7 root grouping and moving up to the iim7 3^rd inversion grouping
• Practice each example at different tempos from 40 Bpm to 250 and beyond if possible
• Practice comping through tunes you know and applying any/all of these examples to the ii-V-I-VI chords that occur in these tunes

Drop 2 ii-V-I-VI Example 1

The first example contains the following inversions for each chord change.

• Dm7 – Root
• G7 – 2^nd Inversion
• Cmaj7 – Root
• A7b9(C#dim7) – Root

Drop 2 ii-V-I-VI Example 2

The second example contains the following inversions for each chord change.

• Dm7 – 1^st inversion
• G7 – 3rd Inversion
• Cmaj7 – 1^st Inversion
• A7b9(C#dim7) – 1st inversion

Drop 2 ii-V-I-VI Example 3

The third example contains the following inversions for each chord change.

• Dm7 – 2^nd Inversion
• G7 – Root
• Cmaj7 – 2^nd Inversion
• A7b9(C#dim7) – 2nd inversion

Drop 2 ii-V-I-VI Example 4

The fourth example contains the following inversions for each chord change.

• Dm7 – 3rd Inversion
• G7 – 1^st Inversion
• Cmaj7 – 3rd Inversion
• A7b9(C#dim7) – 3rd inversion

Do you have a favorite way to practice Drop 2 chord through the ii-V-I-VI progression? If so, please share it in the comments section below.

Related posts:

1. How to Play ii-V-I-VI Chords Using Drop 2 Voicings on the Middle 4 Strings
2. How to Practice Drop 3 Chords for Jazz Guitar
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How to Play ii-V-I-VI Drop 2 Chords on the Top 4 Strings from Matt Warnock Guitar