Author: Gianni C.

Posted in The Blues

Is Minor Major Taking Over the Blues Scene?

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Lately, there’s been a fascinating shift in the world of Blues music. Have you noticed how contemporary players like Robben Ford and session pros such as Mike Landau are steering away from the traditional blues scale? It’s all about this intriguing minor major tonality that’s making waves, and it’s a trend worth exploring.

Instead of the classic bend on the minor third that’s been a staple in blues, these modern musicians are separating and emphasizing the minor and major 3rd distinctively. It’s a departure from the familiar, and it’s giving the music a fresh, edgy feel.

What’s causing this change? Some suggest influences from the diminished scale or the fusion of major and minor tonalities found in legends like Miles Davis. These elements seem to have seeped into the Blues world, shaping a new sonic landscape.

The result? A revamped pentatonic structure: Root, minor third, major third, fourth, fifth, flat seventh, octave, and a myriad of variations. Imagine the possibilities—different fingerings, various applications, and a whole new palette to paint your musical landscape.

Curious to explore further? Dive into these musical nuances. Whether you’re a seasoned player or just starting, these shifts in tonality could be the spark you’ve been seeking to ignite your musical creativity.

And hey, if you found this insight intriguing, there’s more to delve into. If you’re up for it, check out my books on modern Blues—’Contemporary Blues Soloing’ and ‘Contemporary Blues Chords and Comping.’ They cover everything from the basics to the complexities of modern Blues. Available in both hard copy and digital formats, these resources might just be the inspiration you’re looking for.

Let’s keep the Blues evolving, pushing, and embracing these new sounds. Share your thoughts below! Have you noticed this change in the Blues scene? What’s your take on this shift to minor major tonalities?

Posted in The Jazzy stuff (but good for every style!)

Mastering Long Flowing Lines in Jazz Improvisation: Embracing Infinite Soloing Techniques Inspired by Jazz Icons

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Have you ever wondered how jazz musicians like Pat Martino or George Benson create those mesmerizing, seemingly endless solos that effortlessly flow from one phrase to another? It’s a mastery of technique, an amalgamation of smaller jazz elements, and a practice in endurance and articulation. In this post, we’ll delve into a technique that builds upon the concept of ‘Jazz Bites’ to help you craft those long, seamless lines in your improvisation.

Understanding Jazz Bites: A Foundation

In an earlier video, the concept of ‘Jazz Bites‘ was introduced—small, digestible units of jazz vocabulary that form the building blocks of improvisation. These tiny units serve as the groundwork for what we’ll explore further—the creation of expansive, continuous phrases.

The Art of Concatenation: Crafting Endurance

The technique involves stringing together these ‘Jazz Bites’ into long lines, almost akin to a musical marathon. It’s not just about playing fast; it’s about the endurance to sustain a continuous flow of 8th or 16th note phrases without pause. This exercise serves dual purposes: enhancing endurance and developing the ability to articulate complex musical ideas seamlessly.

Emulating the Masters: George Benson & Pat Martino’s Influence

Imagine the signature sounds of George Benson or Pat Martino, effortlessly maneuvering through extended phrases, never losing momentum. This technique aims to emulate that style, capturing the essence of their playing by amalgamating various small phrases into one cohesive, elongated line.

Practical Application: Exercise vs. Performance

It’s essential to note that while this technique serves as a fantastic exercise for expanding your improvisational abilities, it might not necessarily reflect a typical performance approach. However, it equips you with the confidence and skill to navigate through extended phrases should the need arise during a gig or session.

Putting It into Practice

To start, focus on slowly concatenating phrases. It’s about building a mental repository of various phrases and smoothly connecting them. While repetition may occur, the aim is to cycle through numerous phrases without breaks.

Final Notes

Remember, this exercise isn’t about mimicking an exact performance but rather about honing the skill set necessary for extended improvisation. It’s an exploration, a journey to expand your musical language and enhance your improvisational capabilities.

Posted in The Jazzy stuff (but good for every style!)

Mastering Jazz Soloing: Sharpen Your Phrasing with Focused Exercises

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In the realm of jazz, mastering the art of soloing isn’t just about skillful fingerwork or memorizing scales. It’s about controlling the narrative of your music, navigating through changes, and embracing rhythms in a way that captivates your audience. In a recent insightful tutorial, the focus was on refining the length and precision of musical phrases, a challenge often encountered by aspiring musicians.

Understanding the Essence of Phrasing

Phrasing isn’t just about playing notes; it’s about sculpting musical thoughts within a specific span of bars. It’s the difference between a free-flowing cascade of notes and a structured, deliberate sequence that synchronizes effortlessly with the underlying beat or harmonic rhythm.

The tutorial starts by highlighting two primary approaches: free-flow playing and playing in rhythm. While free-flowing allows for spontaneous expression over a structure, playing in rhythm involves following chords and maintaining synchronization with the beat.

The Exercise: Controlling Phrases with Precision

To aid in this skill development, the tutorial introduces the use of a metronome. Starting with shorter phrases, participants are guided to play one-bar phrases alternated with a bar of rest, gradually progressing to longer phrases like two-bar sequences. The aim is not just to play for the sake of it but to listen keenly, crafting musical sentences that have a clear beginning and end.

The tutorial encourages musicians to experiment further, suggesting three-bar and four-bar phrases to align with common music structures. Through these exercises, an inherent sense of rhythm and control over the duration of play is cultivated.

Beyond the Basics: Applying Techniques

Moving beyond the metronome, the tutorial introduces a looper, providing a more dynamic platform to practice these exercises. Demonstrating on a D Minor loop, the tutorial showcases how these exercises translate into real musical application.

Posted in The Jazzy stuff (but good for every style!)

Navigating the Musical Maze: My Journey to Unraveling Modes

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C Ionian (derives from C major):
Formula: 1 2 3 4 5 6 7
Notes: C D E F G A B
Arpeggio: C E G B
Harmonized: Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5
Sounds: Happy
Example in a tune: La Bamba

C Dorian (derives from Bb major):
Formula: 1 2 b3 4 5 6 b7
Notes: C D Eb F G A Bb
Arpeggio: C Eb G Bb
Harmonized: Cm7 Dm7 Ebmaj7 F7 Gm7 Am7b5 Bbmaj7
Sounds: Jazzy/Loungey
Example in a tune: Oye Como Va – Santana/ So what Miles Davis

C Phrygian (derives from Ab major):
Formula: 1 b2 b3 4 5 b6 b7
Notes: C Db Eb F G Ab Bb
Arpeggio: C Eb G Bb
Harmonized:
Cm7 Dbmaj7 Eb7 Fm7 Gm7b5 Abmaj7 Bbm7
Sounds: Spanishy
Example in a tune: Em to F type progression

C Lydian (derives from G major):
Formula: 1 2 3 #4 5 6 7
Notes: C D E F# G A B
Arpeggio: C E G B
Harmonized:
Cmaj7 D7 Em7 F#m7b5 Gmaj7 Am7 Bm7
Sounds: Dreamy
Example in a tune:
Flying in a blue dream – Joe Satriani

C Mixolydian (derives from F major):
Formula: 1 2 3 4 5 6 b7
Notes: C D E F G A Bb
Arpeggio: C E G Bb
Harmonized:
C7 Dm7 Em7b5 Fmaj7 Gm7 Am7 Bbmaj7
Sounds: Funky/Bluesy
Example in a tune:
Sex Machine – James Brown

C Aeolian (derives from Eb major):
Formula: 1 2 b3 4 5 b6 b7
Notes: C D Eb F G Ab Bb
Arpeggio: C Eb G Bb
Harmonized: Cm7 Dm7b5 Ebmaj7 Fm7 Gm7 Abmaj7 Bb7
Sounds: Sad
Example in a tune:The Loner/Parisienne walkways

C Locrian (derives from Db major):
Formula: 1 b2 b3 4 b5 b6 b7
Notes: C Db Eb F Gb Ab Bb
Arpeggio: C Eb Gb Bb
Harmonized: Cm7b5 Dbmaj7 Ebm7 Fm7 Gbmaj7 Ab7 Bbm7
Sounds: Used in 2-5-1- minor/ dark
Example in a tune: not used as such

Modal Interchange:

Ionian
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5
Dorian
Cm7 Dm7 Ebmaj7 F7 Gm7 Am7b5 Bbmaj7
Phrygian
Cm7 Dbmaj7 Eb7 Fm7 Gm7b5 Abmaj7 Bbm7
Lydian
Cmaj7 D7 Em7 F#m7b5 Gmaj7 Am7 Bm7
Mixolydian
C7 Dm7 Em7b5 Fmaj7 Gm7 Am7 Bbmaj7
Aeolian
Cm7 Dm7b5 Ebmaj7 Fm7 Gm7 Abmaj7 Bb7
Locrian
Cm7b5 Dbmaj7 Ebm7 Fm7 Gbmaj7 Ab7 Bbm7

Posted in From the major scale to (hopefully) understanding how things work.

Mastering Guitar Arpeggios: Connecting Chords, Scales, and Modes

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Are you tired of struggling with guitar arpeggios? A few weeks ago, we explored how to play seventh chords all over the fretboard. Today, let’s delve into connecting chords, scales, modes, and arpeggios seamlessly on your guitar.

1. Understanding the Connections

When it comes to understanding chords, scales, modes, and arpeggios, it’s crucial to visualize and hear them as interconnected elements. For instance, visualizing a C major chord leads to understanding its corresponding scale, arpeggio, and potential phrases that can be played over it. These elements should not be learned in isolation; they should be viewed and heard as part of a unified whole.

2. Exploring Different String Sets

We explore arpeggios across three main sets of strings: the low set (root on E string), the middle set (root on A string), and the top set (root on D string). Understanding these sets provides a versatile foundation for navigating arpeggios in various positions on the guitar.

3. Common Fingerings for Seventh Chords

Certain seventh chords share common fingerings or shapes. For example, G major 7 and C major 7 on the same set share the same fingering. Recognizing these patterns simplifies the learning process and facilitates smooth transitions between chords.

4. Practical Application in Jazz Standards

To apply these arpeggios, consider a standard jazz tune. By identifying chord roots and playing arpeggios corresponding to the chords in the progression, you create a strong framework. These chord tones can serve as a foundation for improvisation, allowing you to navigate the tune with confidence and creativity.