Decoding the Wes Montgomery Sound: Upper Structure Triads meets Drop 2 Voicings
Ready to move beyond basic diatonic boxes? Discover the "Chord over Chord" logic used by legends like Wes Montgomery. We break down how to use Upper Structure Triads and Drop 2 voicings to turn simple shapes into rich, complex textures.
Transcription vs. Fretboard Logic: How to Learn the Jazz Language
Should you analyze every note or just immerse yourself in the transcription? We compare learning jazz lines to learning a foreign language through drama.
A Single Sentence from a Master: "It Still Sounds Like 6 to Me"
Sometimes a single sentence can change your entire relationship with music.
A brief comment from Peter Bernstein taught me that complexity is not progress—and that true growth begins with deeply understanding the essence of melody and rhythm.
Dissecting a George Benson Line: The Harmonic Secret of Playing Bbmaj7 Over C7
Some of the most exciting jazz guitar lines don’t come from scales at all.
George Benson’s “outside” sound often comes from superimposing upper structures—borrowing harmonic material from one chord to create modern, unexpected colors inside the changes.
The Secret to George Benson's Speed: A Complete Guide to Rest Stroke Picking
Playing fast doesn’t mean your lines will sound clear.
Many jazz guitarists struggle with muddy articulation at higher tempos—not because of the left hand, but because of inefficient right-hand technique. The rest stroke is the missing link behind powerful, clean, swinging lines.