JJay Berthume

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This is another video giving you some of my thoughts in writing for a strange ensemble, instrumentation-wise. The example is an arrangement I recently wrote of The Star Spangled Banner for my church’s orchestra to play.

Pittsburgh Chapter, American Guild of Organists

tjjazzpiano

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In this short jazz piano lesson we’ll look at how to construct basic voicings over the I-vi-ii-V and I-VI-ii-V progression. This progression, along with the ii-V-I and tri-tone substitution that we’ve already learned, is essential to the jazz pianists’ repertoire.

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Mike’s Master Classes
http://mikesclass.es/postbebopcomping

Excerpts from Juampy Juarez’s class Post BeBop Comping:Using Clusters and Fourths for a Contemporary Sound, available for download at http://www.mikesmasterclasses.com – Post bebop started around 1959, with new records like “Kind of blue” by Miles Davis, “Jazz of space ages” by George Russell, “Giant Steps” by John Coltrane, and one year after “This is our music” by Ornette Coleman.
These innovative landmark records contain plenty of modal jazz, quartal chords, clusters, and more.
After those great albums, monster musicians like Herbie Hancock and Wayne Shorter, plus Bill Evans and McCoy Tyner, contributed with new chord ideas and new scales, similar to the ones that contemporary classical composers used at the dawn of the 20th century.
In an easy way, I’m trying to teach you how to use these modern sounds: chords stacked by fourths with the addition of open strings, quintal chords over thirds chords, plus clusters(formed by seconds), and how to apply to simple blues forms, jazz standards and bossa novas. These are my investigations on these areas, based on my experience playing with many greats over the globe.
Today, this material is a must if you want a contemporary , modern sound. No doubt about it.
All the best!
Juampy
This class runs just under an hour and there are 6 written pages in standard notation and TAB

Christopher Janwong McKiggan

Off the cuff Piano improvisation 1 by Christopher Janwong McKiggan on 10/29/10. This is something that I’m experimenting with, as I have been asked numerous times to load my improvisations on youtube. If you enjoy it please share it with friends, let me know what you think and you can expect more to come soon!

jazzheavendotcom

Duane Shinn

Bill Hilton

creativeguitarstudio

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Hundred’s of FREE lesson Handout PDF’s and MP3 Jams.
This Video: December 19, 2014 | Search Videos by Title/Date.

THIS VIDEOS TAB’s + LESSON PLAN available on:
Sunday December 21, 2014 at: http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m working on my improvising right now and was hoping for a suggestion from you on setting up an soloing approach for playing better lead. I’m getting really bored of playing lead the same ways over and over. Is there some kind of an “Improvising Blueprint” that you could suggest? Almost like a step by step improvisation method for building solos over chord progressions? I hope you can help me with this.
Eric – Chatham, ENGLAND

Pablo Arellano

ThePianoGuys

 

Rock Licks Guitar Tuition

How To Play Queen – Sweet Lady from the 1975 album A Night At The Opera

Guitar Tab Link : http://1drv.ms/1wXCRep

A truly great rock track and the inspiration behind the fast version of We Will Rock You (Live Killers Album)

I’ve added guitar tab as a guide.
The guitar tab is correct on chorus as a I made an error in my explanation. The first two bars are played 3 times as opposed to twice.

As the guitar outro solo is quite a explosion of overlapping licks played at the same time I’ve tried to give a brief look at the different bits used. Listening to the original record should make things clearer.

“Sweet Lady” is a distortion-driven fast rocker written by May. The song is an unusual rock style in 3/4 meter (which gives way to 4/4 at the bridge). Taylor remembers it as the most difficult drumming part he ever recorded.[attribution needed]

The backing track was probably recorded live as you can hear the snare wires on the snare drum of Taylor’s kit vibrating along with Deacon’s bass guitar riff.

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Chord Melody Phrases

December 30, 2014

Nathaniel Moore

Continuing with the idea of developing ideas for chord melody soloing here is a quick lesson with a really cool lick which I have harmonized in a ii – V – I progression. I think you will eally like this one!

creativeguitarstudio

DONATIONS: http://www.andrewwasson.com/donations…

MORE LESSONS: http://www.creativeguitarstudio.com/

Hundred’s of FREE lesson Handout PDF’s and MP3 Jams.
This Video: December 19, 2014 | Search Videos by Title/Date.

THIS VIDEOS TAB’s + LESSON PLAN available on:
Sunday December 21, 2014 at: http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m working on my improvising right now and was hoping for a suggestion from you on setting up an soloing approach for playing better lead. I’m getting really bored of playing lead the same ways over and over. Is there some kind of an “Improvising Blueprint” that you could suggest? Almost like a step by step improvisation method for building solos over chord progressions? I hope you can help me with this.
Eric – Chatham, ENGLAND

A: If we want to be able to play good guitar solos, we need to be able to understand all of the different types of chord progressions that might present themselves to us on a regular basis. This means we’ll need to have the skills for analyzing chord harmonies and to determine which; scales, arpeggios, pentatonics, and modes work the best. With the Blueprint strategy outlined in this lesson you’ll be using an approach that starts with. #1). Being clear on the tonality of the chord movements. #2). Being able to anticipate the rhythmic and harmonic push that will be effective to highlight that harmony. And, #3). Developing melodic lines that target the “Shift” between each harmonic movement. Once you can learn to apply this strategy, your solos are going to have a better connection to the music!

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