The Pianistic Guitar: Expanding Shell Voicings into Upper Structures
Guitarists often feel limited compared to pianists who can comp and solo simultaneously. The solution? Stop playing the root. By using Shell Voicings and Upper Structures, you can stack arpeggios to create 3D harmonic lines. Discover the "pianistic" approach used by Charlie Parker and Wes Montgomery.
The 4 Faces of Diminished Chords: Resolution Logic & Upper Structure Triad Pairs
In advanced jazz theory, the Diminished 7th chord is often misunderstood as merely a "spooky" passing chord. In reality, it is a functional powerhouse. Because of its symmetrical nature, a single diminished grip allows you to resolve into four different tonalities. In this post, we destruct the "Four Faces" of the diminished chord and explore how to use Major Triad Pairs to modernize your improvisation.
Decoding Wes: Upper Structures and Reverse Picking Mechanics
Advanced jazz guitar is not just about speed; it's about harmonic depth and physical mechanics. To truly sound like a pro, one must investigate the logic behind the legends. In this post, we deconstruct the "Db Major over Bb7" superimposition used by Wes Montgomery and analyze the unorthodox "negative angle" picking technique that defines the George Benson sound.
Escaping the Position Trap: Upper Structures in Cycle Progressions
Stop thinking chord-to-chord and start seeing upper structure movements. Learn how to juggle 'Wes Lines' and 'Django Lines' through the cycle of fifths.
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