Tag Archives: Jake Hertzog

Melodic Minor

Hey Jazz Guy, I got the major scale down well, but I keep hearing about melodic minor, can you give me some tips on how it works?? –Major in Minneapolis Dear Major, The mysterious melodic minor’s many magical modes have always presented a myriad of possibilities. The sound is unmistakable and some of the modes […]

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Reharmonizing Melodies

Hey Jazz Guy, What are some more ideas for re-harmonizing a melody? –Standard in Syracuse Dear Standard, Using re-harmonization to spice up a melody can be very exciting. One method that is useful and interesting is to change the bass note. In the examples here we’ve used F as the melody note, and re-harmonized it […]

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Rhythm Changes – Part 2 – Bridge

Hey Jazz Guy, Now that I got the A section of “Rhythm Changes” together, what can I play on the dominant chords in the bridge? –Subordinate in Salem Dear Subordinate, The bridge or B section changes in “I Got Rhythm” is one of the most commonly found harmonic progressions in jazz. Using all dominant chords, […]

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Rhythm Changes – Part 1 – A Section

Hey Jazz Guy, What kinds of things can I play over ‘rhythm changes’? –I Got Nothing in Naperville Dear I Got Nothing, Ahh, Gershwin’s little delight “I Got Rhythm” is one of the most important forms in the jazz idiom. This tune is a gateway drug to the great American songbook and understanding it well […]

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Guide Tone VS Leading Tone

Hey Jazz Guy, Whats the difference between a guide tone and a leading tone? –Unguided Dear Unguided A LEADING TONE is a half-step away from the tonic note in any key. This is more of a classical music term. For example in C Major the leading tone is B. In A minor, the leading tone […]

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Comping

Hey Jazz Guy, I’ve got my chords down pretty well, but how can be more rhythmic in my accompanying? –Square in Sacramento Dear Square, The most important thing about accompaniment or “comping”, is to make whatever it is you are accompanying sound better. A large rhythmic vocabulary is crucial to making you sound great behind […]

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Jazz Tap

Hey Jazz Guy, Is there a way to introduce tapping in a jazz solo/improv? –Picking in Puerto Rico Dear Picking, What a great question! This is a really cool idea, so adventurous however, that few guitarist have managed to try it, let alone master it. The most obvious candidate for this type of playing is […]

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Chromatic Creation

Hey Jazz Guy, I love the way that chromatic playing sounds. Can you explain how I can play more chromatically in my soloing? –Diatonic in Denver Dear Diatonic, This is a fascinating topic! Playing chromatically is a very modern technique that will add a sublime element to your playing. Unless you are in an atonal […]

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Wide Open (Intervals)

**Hi cats! So in the magazine the music example has a couple typos… GMaj7 in the first two examples should be Gmin7 and CMaj13 in the last example should be Cmin13. Sorry bout that…my mistake on the fine print! Thanks for following, happy shedding…here’s the lesson: PS – you can download the corrected practice sheet […]

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Diminished Thoughts…

Hey Jazz Guy My beef concerns diminished chords. Most teachings I have encountered on diminished harmony improvisation consist in playing playing patterns and arps. But how do we make “diminished” sound musical while outlining the harmony? Take for example “Quiet Nights” (A- to Ab dim), the bridge in “Air mail special”, “All of me” turnaround […]

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