Author: Gianni C.
Master Some Of Steely Dan’s Sophisticated Chord Styles
This downloadable PDF is from my eBook “Contemporary Blues Chords and Comping” avaliable here:
eBook: https://giannichiarello.com/product/contemporary-blues-chords-and-comping/
Bundle: https://giannichiarello.com/product/bundle-deal/
Level Up Your Jazz Guitar: Autumn Leaves Jazz Vocabulary Study
In this lesson, we dive into one of the most important aspects of learning jazz guitar: vocabulary. When transitioning from styles like rock or pop to jazz, the challenge isn’t usually technical—it’s about learning how to speak the jazz language fluently.
Using the classic tune “Autumn Leaves”, I’ve created a solo study to demonstrate how melodic lines can target specific chord tones, using tools like arpeggios, chromaticism, and bebop phrasing. I break down each phrase to show how I intentionally land on strong notes—like the third or fifth of a chord—at the right moment in the bar. These ideas come straight from the jazz tradition, but I approach them in a way that’s logical and repeatable.
Throughout the study, we explore:
- Targeting chord tones like 3rds and 9ths to create strong melodic resolution
- Encirclements, a bebop technique where notes surround the target note chromatically
- The use of E harmonic minor to outline B7 leading to Em
- Parallel arpeggio movement to create smooth transitions over minor 9 chords
- Recognizing the subtle difference between E minor 7 and E7♭9, and how that affects your note choices
This approach isn’t about copying licks—it’s about understanding the vocabulary so you can use it spontaneously in any key, with your own voice. Jazz phrasing is as much about intention and timing as it is about theory.
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Tinnitus Awareness for Musicians and Producers
What is Tinnitus?
Tinnitus is the perception of ringing, buzzing, or hissing sounds in the ears without an external source. It can be temporary or permanent and is often caused by prolonged exposure to loud sounds, ear infections, or other underlying health conditions. For musicians and producers, it’s a serious concern due to constant exposure to loud environments—gigs, rehearsals, studio sessions, and teaching.
My Experience with Tinnitus
I’ve been playing for 43 years, mostly professionally, performing hundreds of gigs per year and spending countless hours teaching. That means years of exposure to loud volumes—standing near drummers, guitar amps, and playing in loud clubs. As a producer, I’ve also dealt with sharp, spiky sounds that can contribute to hearing damage.
How to Protect Your Hearing
- Invest in quality ear protection:
- I use molded earplugs (ACS -17dB filters). They are the best I’ve found, and I always keep them with me.
- In the UK, if you’re a Musicians’ Union member or get support from Help Musicians, you can get them for around £30-40.
- Never feel ashamed to wear earplugs—your hearing is your career.
- Upgrade your in-ear monitor (IEM) system:
- If you use Shure IEMs, consider the SE535s since they have less emphasis around the dangerous 3kHz area.
- Use a system with a built-in limiter to prevent unexpected spikes.
- When I teach, I use Voicemeeter with headphones, which helps control volume levels.
- Keep your tinnitus as reference and try to keep the volume below that-
- Most IEM packs and monitoring apps have limiter functions—use them.
- EQ out harsh frequencies that typically cause damage (for me, around 3kHz and 800Hz).
- Separate work from enjoyment:
- We love music, but as professionals, we need to balance it with ear health.
- Work in short sessions with breaks. Give your ears time to recover.
- Daily rest: at least one hour of silence per day.
- If your ears feel fatigued, wear earplugs for a bit to reduce strain.
- Keep your airways clear—this helps balance pressure.
- Some people find that chiropractic adjustments help; I haven’t tried it recently but worth mentioning.
- Frequency Considerations:
- Protect frequencies needed for speech intelligibility (can you find male/female speech frequency ranges?).
- Be mindful of EQ settings to avoid damaging essential frequencies.
- Healthy Habits for Tinnitus Management:
- Diet: A healthy diet can help overall well-being, which affects tinnitus.
- Physical activity: Staying active and positive helps keep your mind off tinnitus.
- Socializing: One of the most effective distractions is engaging with people. Don’t isolate yourself.
- Useful Apps:
- OTO: Helps with sound masking and tinnitus training (teaches you to ignore it).
- dB Meter: Monitors your sound exposure—aim to keep levels around 60dB.
- Meditation Apps: Help with relaxation and stress management.
- White Noise Generators: Useful for masking tinnitus.
- Best Practices for Monitoring and Production:
- Use speakers instead of headphones when possible.
- If you must use headphones, keep volumes moderate.
- Get regular hearing tests—a doctor can check for any underlying issues like pressure imbalances or a deviated septum.
Mindset and Career Approach
- Tinnitus doesn’t mean the end of music—it’s about managing it carefully.
- Be mindful of how you work and take necessary precautions.
- Avoid grind culture. Yes, we need to earn money, but overworking leads to burnout and hearing damage.
- Be financially wise: invest, save a buffer, so you can say no to gigs when you need rest.
- Balance work and enjoyment—music can be a 24/7 thing, but your ears need rest.
By being proactive and mindful, you can continue enjoying music and playing for a long time while protecting your hearing. Stay safe and take care of your ears!
5 Challenging Larry Carlton Licks (With Tabs!)
If you’re a guitar enthusiast, Larry Carlton needs no introduction. His work spans genres, pushing the boundaries of jazz, blues, and R&B with innovative phrasing and complex solos. In this post, we’ll break down five of Carlton’s licks, exploring their unique styles and giving you insights into what makes them so special.
Whether you’re new to Larry Carlton or a die-hard fan, these licks offer a rich blend of techniques and influences. I’ve transcribed each lick for you, and you’ll find the tabs linked throughout. Let’s dive into these five challenging licks!
- Backstabbers – Chromatic and BB King Influence
The first lick comes from the track Backstabbers off Larry Carlton Plays the Sound of Philadelphia. This album is packed with smooth, clean tones, and Backstabbers showcases Carlton’s talent for mixing blues and chromatic scales.
This lick is built around an F7#9 chord but features a strong BB King influence. It begins with a classic BB lick but quickly moves into chromatic territory, transitioning out of the usual scale and resolving on a B minor. Carlton’s phrasing here is both intense and soulful, offering a great study in blending traditional blues with advanced chromaticism.
Key Technique: Chromaticism and BB King-style blues phrasing.
- Kid Gloves – Rhythmic, Staccato Ideas
The second lick comes from Kid Gloves, both the album and title track. This lick is distinctly staccato, full of rhythmic ideas that feel sharp and precise. Carlton mixes blues and R&B influences with jazzy twists, leaning into a mix of major sixth intervals and bebop-inspired lines.
This phrase transitions smoothly between bluesy ideas and Charlie Christian-style jazz, showcasing Carlton’s versatility in merging different genres into a cohesive, rhythmic package.
Key Technique: Rhythmic staccato phrasing with R&B and jazz influences.
- Josie – Pentatonic Meets Bebop
One of Larry Carlton’s most recognizable works is his cover of Josie, the Steely Dan classic, from On Solid Ground. Carlton adds a distinct flavor to the track with his overdriven tone and pentatonic flair. This lick comes at the end of the song, played over an E minor groove.
It begins with a high pentatonic run on the 17th fret, blending into bebop-influenced phrases. Carlton incorporates Dorian and minor tonalities, giving the lick a rich harmonic complexity while still maintaining that signature bluesy feel.
Key Technique: Pentatonic scales blended with bebop and Dorian modes.
- Upper Kern – Fast-Paced Jazz Fusion
Next, we explore a lick from Upper K, off the famous Sleepwalk album. This track features a fast-paced, rhythmically complex solo. Carlton plays over a simple chord progression of E flat major 7 to D minor 7, but the intricacies lie in his bends, slides, and trills.
He starts with a B flat major 7 arpeggio before smoothly connecting it to an E flat major arpeggio, followed by a bend from C to D. The lick ends with a D minor pentatonic run, featuring Carlton’s signature trill and slide techniques.
Key Technique: Jazz fusion phrasing with trills and bends.
- Don’t Give Up – Shuffle Blues Fusion
The final lick is from Don’t Give Up, a live performance on Last Night. This tune has a shuffle blues feel, blending R&B and jazz fusion elements, which is quintessential Carlton. The lick revolves around a B7 chord, resolving to a G#7, and is filled with sliding R&B-style phrases.
Carlton plays a B flat major pentatonic line before transitioning into his classic technique of combining two triads, B and A, creating a B sus chord. This trick adds a rich harmonic texture to the lick, and the entire phrase showcases Carlton’s mastery in fusing genres.
Key Technique: Combining triads with a shuffle-blues feel.