Jazz Guitar Upper Structures: How a Dominant Chord Borrows the Next Chord’s Sound
The altered, dominant-function sound on a jazz blues comes from one move: voice the target chord's upper structure a half-step above and slide it down. Here's the logic — and how George Benson used it.
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.