Posts Tagged ‘Lessons’

Lary Carlton Stormy Blues lessons

In Blues, Chords, Lessons, Rhythms on June 24, 2016 at 5:36 pm


Pick Up The Pieces (Guitar lesson)

In Lessons, Pick Up the Pieces on December 7, 2014 at 11:15 pm

from Tom Bornemann

Pickup the  pieces chords

and the original from the Average White Band

Drop 2 voicing

In Chords, Lessons on July 1, 2014 at 12:46 pm

Drop 2 voicings are formed by taking a chord and then dropping the next to the highest note, or voice, to the lowest note of the chord. Similarly, there are drop 1, drop 3, drop 2 & 4, etc. Drop 2 voicings are important because most of these chords are easy for a guitarist to play on 4 adjacent strings.

Drop 2 is just a name for how the chords were derived from another chord. This is only important for naming the voicings. We will describe how they are derived then we will show you the voicings.


the complete article here: DROP 2 VOICINGS

The example below shows four C Major 7 chords and their drop 2 voicings in standard notation. The important thing to realize is which note is dropped to the lowest note


Secrets of Funk (by Leo Nocentelli)

In Funk, Lessons on June 30, 2014 at 12:28 pm

cissy Strut pic

a video lesson from Leo 🙂

Cissy Strut

(The meters)

Blues Lessons by Tim Lerch

In Blues, Lessons on May 21, 2014 at 7:05 pm

Good to go back to basic, thanks Tim!

There is so many lessons, on the internet, but Tim is really excellent, you can find even more on Jet City Music Youtube channel.

Overview of Funk’s styles and guitar chords

In Chords, Funk, Lessons, Rhythms on March 16, 2014 at 12:27 am
9th Chordsfunk-logo
funk guitar ninth chords

The 9th Chord

The 9th chord (shown above) is a funk guitar staple used constantly by funk guitarists. Especially the chord on the left, with the root (notated by the red dot) on the fifth string. Be careful about playing the sixth string root 9th chord on the lower frets – it can sound very muddy.

The 9th chord is a 7th chord with one extra note, added for color. Try replacing 7th chords in songs you know with 9th chords. There are some situations where this substitution doesn’t work – use your ear to tell you what sounds right.

It is also EXTREMELY common for funk guitarists to only play the top three strings when playing the fifth string root 9th chord. Sometimes, they’ll even only play the top two strings.

The 13th Chord
thirteenth 13th chords funk guitar

Played on it’s own, this is a pretty “jazzy” sounding chord that might sound a little out of place in funk music. It is commonly used, however, as a “passing chord”.  Note that the above 13th chord is essentially a 9th chord, with the note on the first string being two frets higher. Many funk guitarists will play the 13th chord, then quickly resolve it to the 9th chord, by removing their pinky from the first string, and playing the chord again.

Basic Funk Chords
basic funk guitar chords

There seems to be a preference in funk music to use chord shapes that have the root on the first string. Since the first and sixth string are both “E” strings, learning to use these chord shapes should be easy for guitarists who have already learned their note-names on the sixth string.

The major chord above gets used reasonably often, although many times, funk guitarists will only play the top two notes of the chord, which makes it identical to the 5th chord displayed above.

The minor chord above is also used extensively. Note that this minor chord shape is identical to the 9th chord with root on fifth string, when the bottom two strings are not played. So, many funk guitarists would play the above chord shape on the fifth fret for both an A minor chord and a D9 chord.

The above 5th chord is extremely popular. This two note chord is VERY versatile, and can be used for many things. Since a 5th chord can be used to play either a major or minor chord, the above shape, played at the fifth fret, could be an A major or an A minor chord. It could ALSO be the top two notes of a D9 chord. This chord shape is used to represent all of these chords – it’s a popular one – so get comfortable with it.

Funk Guitar Rhythmstru-funk
You want to know the real secret of playing great funk guitar? It’s ALL about paying attention to the rhythmic aspect of the music. Many funk songs consist of only a simple melody and a couple chords, so the groove has to be strong to maintain listener interest. It is important to acknowledge that the role of most funk music is to get people dancing. You’ll have a harder time accomplishing this with intricate and flashy guitar parts. You’ll need to give your ego a rest and focus on locking in a groove with your band. Let’s take some time to explore various songs, and the approach the guitarist takes in each. There are several philosophies of playing funk rhythm guitar…. Minimalist Funk & Funk Guitar Often somewhat misleadingly referred to as “black funk” (because, initially, more African Americans took an interest in this approach to funk music), the concept here is “play what you need to play, and get out of the way”. Applied to funk guitar, this means leaving a LOT of space, without playing muted strums, etc. Give a listen to the following mp3 clips: James Brown – Sex Machine
Notice the guitar player is playing NO muted strums in this part – simply repeating a four strum figure. Many of us, when playing a part like this, would feel a natural desire to include muted 16th note strums within the part. Avoid doing this. The Meters – Just Kissed My Baby
The guitar plays a single-note line, but the minimal guitar part is very disciplined in that it does not stray from the riff. The JB’s – House Party (Fred Wesley)
This song sounds “busier”, and there are two guitarists, but listen to each of them, and you’ll note they’re repeating the exact same parts again and again, with no variation. Another example of the need for discipline in funk music. Pay attention to all instruments here – everyone plays their specific part, which adds to the whole.“Busy” Funk

This approach is a little different – perhaps a little less disciplined than the above style of playing funk. There is less space in this style of music, and guitar players in this style tend to play a lot more muted string strums, etc. The result is a groove that usually feels a little less laid-back, and more “frantic”. Have a listen to a few songs in this style:

Tower of Power – What is Hip?
Really active bass and drums give this song it’s somewhat frenzied, albeit very funky sound. The guitar player wisely stays largely out of the way, keeping muted strumming to a minimum (too many musicians being too busy at once can yield disasterous results).

Stevie Ray Vaughan – Superstition
SRV’s take on the Stevie Wonder classic is a great example of this style of funk music. Vaughan fills up the space in the music with muted string strums to propel the music forward.

Graham Central Station – The Jam
Bassist Larry Graham leads this one, and it’s another example of very robust, in-your-face funk, with little left to the imagination. Lots of busy strumming by the guitar player.

Online Funk Rhythm Lessons

Now you’ve listened to some great examples of various kinds of funk and funk guitar, you might want to practice your funk rhythm chops a bit. Have a look at some or all of the following sites: Funk Guitar 101
Designed to help you practice your 16th note funk strums. Good for “busier” funk music. MelBooker Music: Funk Guitar Rhythms
This YouTube video features Mel describing some basic funk rhythmic patterns. This style of playing would fall under “busy funk”. Arlen Roth Funk Guitar Lesson
This video lesson demonstrates Arlen Roth’s approach to playing funk guitar. Some nice licks and advice, although his style of funk guitar playing is too undisciplined for my tastes. Leo Nocentelli Funk Guitar Lesson
A fantastic video lesson from the legendary guitarist from The Meters. Nocentelli describes his process of creating a funk guitar part that mimics a drummer and horn players.Funk Guitar Parts: James Brown’s “Sex Machine

james brown sex machine funk guitar tab

Now is the time to see some of the techniques we’ve learned in action! The following are just a few of the thousands of funk songs that feature 9th and 13th chords, muted strums, and more. Try listening to each mp3 clip, and concentrate on replicating the guitar part exactly. In almost every instance below, mimicking the notes is easy, but capturing the proper feel of the guitar part is much more difficult. Be patient and critical of your guitar playing for all examples.

This is a prime display of the funk guitarist’s use of a 13th chord to create an interesting part. Concentrate on deadening the strings with your fretting hand. Avoid adding muted strums to fill in the space within the guitar part. Try to make the riff groove without any extra strums.

The Temptations’ “Shakey Ground

temptations shakey ground funk guitar tab

The notes are easy – getting the feel right is much tougher. The key is to “pop” the strings with your pick – strike them firmly, with careful attention to rhythm. The muting (not included in tab) should all be done via the fretting hand.

Jeff Beck’s “You Know What I Mean

jeff beck you know what i mean guitar tab

The classic opening cut on Blow by Blow, this features Beck at his funky best. Notice he avoids using any muted strumming, which you should try and reproduce. This is another example of a 13th chord moving to the 9th chord.

Kool and the Gang’s “Hollywood Swinging

kool and the gang funk guitar tab lesson

As is fairly typical of funk music, the bulk of this song is one chord. To create interest, the guitarist switches chord shapes from an E7 to an E9, which changes the sound slightly. Notice the subtlety in the rhythm pattern – the first three phrases start with an up-strum, but the last one begins with a down-strum.

James Brown’s “Papa’s Got a Brand New Bag

james brown papa's got a brand new bag guitar tab

This is a VERY common sort of funk guitar part – especially in earlier funk. The guitar is simply playing short quarter notes, staying out of the way of horns, and other instruments. When playing the flurry of 16th note strums at the end of the part, pay careful attention to playing the rhythms accurately. Note that the song is simply a 12-bar blues, played in a funk style.

Patrice Rushen’s “The Hump

patrice rushen the hump guitar tab

This is an almost cliche guitar part that nonetheless sounds cool, and can literally be played with one finger. The trick is the rhythmic aspect of the guitar part. Lots of muted strums here – pay careful attention to detail, and try to replicate the part perfectly.

Protected: Funk Guitar Rhythms mp3s

In Chords, Funk, Lessons, Solfège on March 15, 2014 at 10:24 am

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Altered scales

In Lessons, Scales, Theorie on November 7, 2013 at 12:40 pm

In jazz music, the altered scale and it’s appropriate scale is a great choice for melodies and chord voicings to make dominant chords sound full of color and tension. Then resolving that tension into the next chord can sound very pleasing. The scale contains every possible altered tension which are b9, #9, #11, b13 as well as the major 3rd and minor 7th. Here is the scale written out for an altered C7 chord:

altered scale, jazz music, theory

This scale is a great option when playing dominant V7 chords that resolve down a fifth to a minor chord such as C7 to a F-7. When resolving down a fifth to a major chord, it is more “normal” to use a natural 13 which corresponds to the major 3rd of the major chord.

Another option is to begin the voicing or melody on a basic mixolydian scale and then switch to the altered scale to finish it. This works well when the dominant chord is a full measure or 2 measures.

It’s worth noting that this scale interestingly has the same notes as it’s relative substitute dominant chord. So in the above example of a C7alt, it shares the same notes as a Gb7 with a #11. These two chords are practically interchangeable because the main difference is the bass note.

Another nice use of an altered chord/scale is resolving it up a half step to a major7 chord. This works because it has the same notes as the IV7 #11 in that major key. So in our C7 example, if it resolves up to a Dbmaj7, it shares the notes of a Gb7#11. This is a great technique if you want to add more chords to a chord progression: slip in the altered dominant chord a half step below the major chord you’re about to play. I specifically use the voicing 3, b13, b7, #9 most often in this situation but feel free to explore your own artistic voicings.

Anyway hope you’ve learned more about the altered dominant chord and scale and a few of it’s various uses.

from the Jazz Ressources

Lessons from John Basile

In Lessons, Scales on October 8, 2012 at 12:04 am

minor scales, voicing and interpretation.

The Turnaround

In Chords, Lessons on September 4, 2012 at 9:40 am

A turnaround is a chord progression that occurs at the end of a tune. It is designed to get you back to the beginning, to “turn it around”. Usually, it is a 2-bar progression consisting of four chords, two beats each.

The most basic is the so-called 1-6-2-5 turnaround. In the key of C, it would look something like this:

We can replace the Cmaj7 (the I chord) with Emin7 (the III chord) and the turnaround still functions the same way:

The 2nd chord of the turnaround doesn’t have to me a min7. It can be an “altered” 7 chord. We can also add an augmented 5th to the last chord for extra “flavor”:

Here’s a completely different turnaround taken from the Miles Davis tune “Half Nelson”. It makes use of the “tritone substitution” principle (more on that later):

Listen to all the turnarounds in a row:
You should learn these in all keys. These turnarounds should be a permanent part of your playing. They happen at the end of every chorus of a tune, so you’re gonna play a lot of them from now on!