The Secret to Melodic II–V–I Lines: Unlocking Guide-Tone Motion
Many players practice their II–V–I arpeggios but still sound disconnected. This post explains how guide-tone lines (3rds and 7ths) create smooth, musical phrasing and why learning their flow is the key to fluid jazz improvisation.
Is Memorizing Chord Tones Enough for Jazz Guitar? (A Better Approach for Beginners)
Many guitarists memorize chord tones but still struggle to sound musical. This post explains why chord-tone soloing often feels mechanical and shows how shifting to a pianist’s mindset—melody + harmony together—instantly transforms your improvisation.
It's Okay to Be a Hobbyist: How to Hold On to Your Identity as a Guitarist
Can you still call yourself a guitarist while working a day job? Yes—when you treat music as a lifelong companion and practice with sincerity, even off the instrument. Here’s a mindset and method to keep your identity alive through listening, intention, and quiet dedication.
Beyond Chord-Tone Soloing: A Pianistic Approach to Jazz Guitar Improvisation
Most guitarists learn to “outline chord tones” — a method borrowed from monophonic instruments. But jazz guitar is polyphonic. By thinking like a pianist, we can merge voicing and improvisation into one language. This article explores how four-part harmony, voice leading, and upper-structure triads can transform your playing forever.
The 'Magic Number' of Jazz Harmony: Unlocking the Fretboard with the Diatonic Circle of Fifths
The II–V–I progression is everywhere in jazz—but why? This post uncovers the deeper logic behind it: the Diatonic Circle of Fifths (7–3–6–2–5–1–4). Discover how this “magic number” explains the flow of harmony in tunes like Fly Me to the Moon and Autumn Leaves, and how it transforms your view of the fretboard through the Functional Diagonal Approach.
How to Start Self-Taught Jazz Guitar: A 3-Step Method to Master Your First 'Real Book' Tune
Feeling lost when opening the Real Book? Many guitarists jump straight into chords or melodies without truly understanding the tune’s structure. This three-step approach—focusing on melody, bass, and shell voicings—shows how to internalize any jazz standard from the inside out.
The Real Reason a Club Owner Hated Guitar Trios
During my time playing in South Korea, there was a jazz club owner who was notoriously hesitant to book one specific type of ensemble: the guitar trio. He confessed that guitar trios were bad for business, not due to lack of skill, but because they were failing at their most fundamental responsibility as performers.
Deconstructing John Scofield's Outside Lines: Chromatic Displacement & Functional Resolution
The 'outside' playing of a master like John Scofield is often misunderstood. It's not a random spray of dissonant notes but rather an artful and calculated act of 'Chromatic Displacement' followed by a 'Functional Resolution.' This advanced concept goes beyond simply shifting a scale up a half-step; it involves temporarily moving an entire harmonic structure into a non-tonic space before flawlessly returning it to the gravitational pull of the tonic center.
Mastering the George Benson 'Rest Stroke' for Jazz Guitar
For many intermediate jazz guitar players, the quest for the perfect tone can feel like an endless journey of buying new pedals, amps, and guitars. We chase the warmth of Wes Montgomery or the fluid drive of Pat Metheny, but often overlook the most crucial element: the pick. If you're accustomed to alternate picking, the technique of the legendary George Benson offers... a profound opportunity to transform your tone and rhythmic feel.
Jazz Guitar for Beginners: Stop Sounding Random with 'Form Playing'
Have you ever felt like your jazz guitar solos, despite hitting all the right chord tones, sound disconnected or awkward? You might be practicing scales and arpeggios diligently, yet your playing feels like it’s floating aimlessly on top of the music rather than being part of it.