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Here´s my chord/melody arrangement on "Someday my prince will come".… More…
In this short arrangement of the jazz standard "Alone Together," I use as many TBN (Mick Goodrick's terminology for chords like G/C) as substitutions for more common chords in the jazz guitarist's vocabulary.… More…
This solo features Marcus' incredible guitar playing. His vocabulary is such an interesting blend of blues, jazz, and rock elements. The complexity of his rhythmic ideas was quite challenging to capture… More…
Here's one of the Etudes from my e-Book "Jazz Etudes Over Typical Cadences, Vol II". This one focuses on playing over substitute dominants.… More…
20+ bars of Don Mock (legendary MIT-teacher) showing off some nice ideas over a turnaround progression.… More…
This week's #TranscriptionTuesday is a delightfully short and sweet solo by Billy Bauer over a chorus of 'On the Sunny Side of the Street'. I had not heard of Billy Bauer until recently, when I was frankly… More…
The Blues is one of the most important forms in Jazz!… More…
Dominic Nicholas Anthony Lucinese (August 22, 1897 – July 28, 1982), known professionally as Nick Lucas, was an American jazz guitarist and singer. He was the first jazz guitarist to record as a soloist.… More…
A introductory lesson of the comping style of Joe Pass, master of jazz guitar. More…
A simple arrangement for jazz guitar. Written and performed by yours truly. More…
Another impressive Allan Reuss solo!… More…
An etude using different triad based techniques to break away from drop chords and to move towards pianist harmony in the style of Bill Evans, Herbie Hancock, Keith Jarrett, and Brad Mehldau on the guitar.… More…
An idea for comping over a minMaj9 chord mixing dyads with moving voices and a bass line... derived from triad pairs based on melodic triads.… More…
This dyad line is very dense and probably better to use during a solo then for creating harmony as a comping instrument as you run the risk of getting in the soloists way. But I suppose in the right situation… More…
Playing a rootless voicing for 13b9 (a dominant chord with the 13 and the b9 added) through the circle of 5ths. The voicing is derived from the Melodic Triad approach - using an F# triad over an A7 chord.… More…
Recorded this duo while hanging and playing some tunes with Peter Bernstein - one of my all time favorite guitar players. … More…
This is an etude I wrote over All The Things You Are to put together multiple aspects of the 'melodic triads' approach into a real world comping application. The goal is to get farther away from the drop… More…
Jazz Blues is always such a crowd pleaser. This is a snippet of my track Formless. If you would like to learn the full thing check out my brand new course Advanced Acoustic Mastery. More…
This is a guitar lick making use of legato technique, polyrhythm ideas, and the dorian flat 2 scale! I think it's fun to learn and play. Watch till the end for an extra bonus lick. For any style - rock,… More…
This lick is taken from my recent cover of "Freedom Jazz Dance" by Alain Caron. The lick features the Dorian b9 scale over m7 chord - Kind of a dorian-phrygian sound I think. Also try out the polyrhythm… More…
DOC → http://bit.ly/Accords_7_SGBrown_DOC… More…
DOC → http://bit.ly/Gammes_avec_loop_sur_Solar_DOC… More…
Guthrie Trapp and Josh Smith at a clinic in Tulsa. Guthrie is showing some major seven over sus chord ideas. This can be thought of as mixolydian mode or 5 minor over the 1 dominant 7. "Hillbilly Jazz"… More…
Philly Joe is one of the greatest contributors to the jazz drumming language. His musical approach to soloing, and rudimental background create a very distinctive sound that he brought to many different… More…
Preview of "Exercise 3" from my education book "Jazz Studies - Your Way into Jazz!"… More…
Although I have come to appreciate jazz very much, a significant part of my personal style still comes from years of blues playing with bends and vibrato, and other fun that I need to use to express myself.… More…
