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.
Are You Just Memorizing Shapes? How to Truly Understand the Fretboard with Chord Degrees
Jazz guitar doesn’t have to be an endless memorization game.
By learning to see chords as degrees and functions—rather than shapes—you can finally understand how harmony works across the fretboard and start playing with clarity and intention.
The 12-Key Trap: Why Trying to Conquer Every Key in Order Is Doomed to Fail
Many intermediate players try to master all 12 keys only to get stuck in a cycle of conquering one key and forgetting another. This article explains why isolated “12-key drills” fail—and how a song-based, top-down approach allows you to absorb harmony naturally and permanently through real tunes.
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.
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.
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