Decoding the "Wes Line": Upper Structures in Fly Me to the Moon
Beginners are often told to play root-based arpeggios, but this approach creates a mechanical, disconnected sound. The secret to that floating, professional jazz quality isn't playing the root—it's playing the Upper Structure. Discover how to transform a simple Fm7 into a lush Abmaj7 sound (the "Wes Line") and navigate the fretboard with the efficiency of a pro.
The Only Cheat Sheet You Need for Rhythm Changes: Deep Listening & Playlists
"Rhythm Changes" is a rite of passage for intermediate jazz players. But if you are asking "what scales do I play over the bridge?", you might be missing the point. Discover why masters like Wes Montgomery didn't rely on scale charts, and how building a specific playlist can train your ears to navigate the fretboard instinctively.
Beyond Chord Tones: The Secret to Fluid II-V-I Lines on Jazz Guitar
Most players memorize chord-tone shapes but still sound disconnected. This article explains why guide-tone voice leading—not arpeggio recall—is the key to flowing II–V–I improvisation, and how tracking 3rds and 7ths creates smooth, lyrical lines.
Liberating the Fretboard: Wes Montgomery's Diagonal Logic and Functional Harmony
Many players feel trapped in vertical scale positions. This article explains how Wes Montgomery’s diagonal fretboard approach, harmonic function, and upper-structure triads reveal the guitar as a flowing map of color and tension—not a set of boxes.
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.
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 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.