EX­AM­PLES MAS­TER­CLASS

Guitar Techniques - - LESSON | VIDEO -

Jazz play­ers’ de­fault Pen­ta­tonic is the ma­jor, whereas in blues it’s the mi­nor Pen­ta­tonic. nigel se­lects spe­cific notes from the scale to high­light the chords – the first note on ev­ery change is usu­ally a chord tone.

in the fi­nal part of the first cho­rus nigel goes deeper into the har­mony and in bar 9 he plays the first su­per­im­posed ar­peg­gio – abm(maj7) over G7 which sug­gests a G7#5b9 sound. it’s also in­ter­est­ing to point out his ap­proach to the turn­around: of­ten jazz stu­dents feel they need to high­light ev­ery chord; nigel bril­liantly shows how some­times it’s bet­ter to ig­nore cer­tain chords by play­ing Bb Blues scale over the last four chords: it works great.

More su­per­im­posed arpeg­gios! nigel plays dm7b5 over Bb7 and then Gm7b5 over eb7. although they are in dif­fer­ent keys the con­cept is the same. The for­mula is: m7b5 ar­peg­gio start­ing from the 3rd of a dom7 chord. This high­lights the 3rd, 5th, b7, and 9th. sax­o­phon­ist John Coltrane was fond of this idea, which is now part of the great her­itage of jazz phrase­ol­ogy.

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