Jazz Guitar Studies

Posted on April 20, 2012 by Chuck Anderson

This site will be the home for my new online jazz guitar program. Although I teach heavily in my suburban Philadelphia studio, I’ve always been aware that I could not help people who can’t get to me. With the Internet, this has all changed.

Now I can actually create the private lesson experience for anyone regardless of their location!

The jazz guitar as an art form is truly an international phenomenon. There is a tremendous amount of interest in the jazz guitar in the United States and all over the world!

My own personal beliefs and experience support the concept of private study. The flexibility that it offers is unique compared to any prepackaged jazz guitar course. This program is not a “course”. It is a customized, one on one private lesson experience in which I can personally guide you step by step through the jazz guitar style.

Because of the difficulty of the jazz guitar, it is remarkably difficult to self teach. The material you need to learn needs to be organized and taught for you – the way you need to learn it. Feedback and guidance are critical to your success in this challenging field.

You may have read how some of the great jazz guitarists were self taught. They were not self taught out of choice. They were self taught out of necessity. There were no jazz guitar teachers at that time. Jazz guitar education had barely begun by the 1960s. Wes Montgomery told me that he would have given his left leg to have a teacher. None were available. He also suggested that I get a good private teacher to help me develop my knowledge and skills.

I hope you’ll look into this new opportunity.

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The Art and Science of Picking for the Jazz Guitar

Posted on April 12, 2012 by Chuck Anderson

Contrary to popular opinion, picking is the most difficult technical skill on the jazz guitar. Since the fingering hand is visually impressive, most guitar players think more and work harder on the fingering hand than they do on the picking hand.

Let’s break down picking into its most basic components. There are only 2 pick strokes – a down pick and an up pick. This is a fact but it’s not too useful. What is useful however, is the fact that there are four picking pairs:

1) down – up 2) up – down 3) down – down and 4) up – up.
The terms best suited to describe the function of these picking pairs are Legato picking and Articulate picking.

The Legato style: down – down and up – up is used to smooth the transition from string to string and when you want a smooth, connected sound from note to note.

The Articulate style: down – up and up – down is used to create a distinct attack for each note. The effect of the Articulate style is to emphasize the individual strike of each note. Players who use this style have a machine gun attack. It is as its name implies, a sharp edge sound. The Legato Style is more horn like and sounds more like breathing. Great players use both styles interchangeably.

Each style has advantages and disadvantages. The use of either style is dictated by personal taste and the efficiency required in each situation.

If you’re looking for more detailed information on how to use the picking pairs to improve your playing, check out the book “Master Picking”. It’s available in hard copy or as an E book at www.ChuckAndersonJazzGuitar.com.

Picking for the jazz guitar

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Song Composition for the Jazz Guitar

Posted on March 1, 2012 by Chuck Anderson

There has always been a controversy over the issue of writing a melody first or a chord progression first or both simultaneously. Ultimately, good writers create the melody and the chord progression co dependently, But when you’re beginning to write, it’s generally more effective to cut down the variables but focusing on melody or on a chord progression first.

In my teaching, I’ve always found that a good chord progression leads to melody more easily than a good melody leads to a chord progression. Since this process is a personal art form, everyone responds individually to the order of the elements. A purely melodic instrument such as a sax or trumpet often finds first inspiration in melody. On the other hand, a chord instrument such as guitar or piano, may choose the chord route to get started.

Regardless of this, the first issue is form. Form is the structure of a composition in regards to the length of the themes, the time signature, the number of themes and the order of themes. Most songs traditionally are based on 8 bar themes or if blues oriented, on 12 bar themes.

We’ll focus initially on 8 bar themes. The majority of songs are binary which is to say that they have 2 themes. Let’s call the first theme A and the second theme B. The most common orders of these themes are AABA, AAB or AABB.

Our first job is to choose a major key or a minor key. Major keys will generally produce a brighter piece. Minor keys produce a darker piece. We”ll arbitrarily pick the chord progression approach first.

Let’s start in one key and let’s make it C major. The chords that you need to use to keep your piece in C major are the following. In three part harmony, they are C, Dm, Em. F, G, Am and Bdim. In four part, they would be Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, and B half dim 7. Identify these chords as the I, II, III, IV, V, VI and VII chords. This becomes a convenient approach when we begin to change keys.

The I, III and VI chords are considered passive chords which is to say that they are at rest. The remaining chords V, IV, II and VII are active chords which is to say that they are restless. The very important term resolution is the effect generated by any active chord moving to any passive chord.

Chord progressions need to move in and out of these states of active and passive to create and to maintain interest.

The first exercise is to experiment with and listen to the effects of active and passive chords. Play a I, then a V and then return to the I. You’ll notice how satisfying the movement of V is back to I. Clearly, the I chord is the center of the key and the most passive or grounded. The V is its opposite – the most active and restless chord in the key.

Try one active chord to one passive chord, Then try two active chords to one passive chord. Continue trying combinations as you increase your awareness and sensitivity to the effects of resolution.

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The Advanced Guitarist

Posted on February 28, 2012 by Chuck Anderson

In every field of guitar, there are topics that are or are perceived to be advanced. I don’t think that the guitar education community can agree exactly on what these topics are or exactly what constitutes “advanced”. Advanced is a highly subjective term. But there are some general guidelines that could be helpful.

If our definition of advanced is a professional level, then it becomes easier to discuss. In the world of reading, a guitarist has to go from “I can figure the reading out if I have enough time” to reading the music at sight like you would read a book. There are ways to train that skill and these would be considered advanced.

Developing the ear from being able to figure out simple songs by ear to working out complex songs by ear would be advanced. There are levels of ear training that deal with hearing notes, scales, chords, progressions, harmonies, rhythms etc, etc.

Scales beyond the major and minor Pentatonic and simple traditional scales like major and some common modes would be advanced territory for lead guitar work. Again, we have the problem of the music style involved. What is advanced for Rock and Blues is not advanced for jazz.

Strumming simple chords for a song is more elemental than simultaneously integrating complex chords with melody.

As far as chords are concerned, I would consider open chords, barre chords and power chords to cover beginner and intermediate level guitar. Beyond these chords, we get into “jazz” chords and sophisticated chord voicings that must be considered advanced.

In a field like Bluegrass, simple cut time accompaniment is considered simple. Fast and complex cross picking is considered advanced.

In the long run, “advanced” is wherever you’re not. The goal is to ascertain what you know and where you want to go. With the help of a good teacher, you should be able set up a program that will isolate weaknesses and chart a path to develop the skills you don’t have but will need. Again, I can’t stress how subjective and personal this whole subject is. I have always believed that “advanced” is just the next step from where you are now. It’s a stepping stone to the knowledge and skills you need to be truly considered “advanced”.

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The Dominant 7th Chord

Posted on February 23, 2012 by Chuck Anderson

The term Dominant 7th is often used to describe a chord distinguished from a maj7th chord. It’s characteristic is a tritone or three whole steps between the major 3rd and the flatted 7th. The term dominant 7th is called that because the 5th degree of a key is called the Dominant. Therefore, a 7th chord built on the 5th degree is the Dominant 7th. This is true in major and minor keys.

The term also comes up in Secondary Dominant situations such as the V of the V, the V of the IV, the V of the VI, the V of the II and the V of the III.

There is no question that this type of chord can appear on the tonic or root of the key. This is a characteristic of Blues. The same can be said about the 4th degree or Subdominant. Since neither the root chord nor the 4th degree chord are 7th chords in typical Diatonic harmony, I have coined the term “Bluesified” or “Bluesification”.

Contextually, I hope this clarifies the issue of when a chord is called the Dominant 7th.

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My Wes Montgomery Short Story

Posted on February 23, 2012 by Chuck Anderson

Jazz guitarist Wes Montgomery appeared at Pep’s on Broad Street in Philadelphia when I was 16 years old. After some “negotiations”, my father got the two of us in to hear him. That was my first experience with $1.00 cokes. At that time, the band played on a platform above the bar. That’s a visual I’ve kept in my head all these many years.

On a break, Wes came up to our table, introduced himself (as if that was necessary) and sat down. He asked if I had any questions – which I did. I asked how he played octaves. He went back to the stage, got his Gibson L5 guitar and brought it over. Putting it in my hands, he showed me how he played octaves. So I learned octaves directly from Wes Montgomery.

When he asked if I had a request, I said “How about “Pied Fries”. It was, of course, called “Fried Pies”. Nevertheless, when he played the song for me, he announced it as “Pied Fries” – a highlight of my young career.

I have his picture and autograph in my studio to this day.

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Quartal Harmony

Posted on February 23, 2012 by Chuck Anderson

Quartal Chords

Chords have traditionally been built in thirds i.e. every other note in a scale. Using the C major scale as an example, every other note from the root would produce C, E, G and B. This combination of notes is a Cmaj7 chord. If we used the scale C Dorian, every other note from the root would be C, Eb, G and Bb.This combination of notes is a Cm7 chord.

Quartal harmony builds chords in fourths i.e. every fourth note in the scale. Again, using the C Dorian scale, every fourth note would produce the notes C, F, Bb and Eb. This is a quartal chord built on the first note of the C Dorian scale.

Quartal harmony is especially effective when used with the modes. Apply this principle of quartal harmony to each degree of each mode.

Seven quartal chords will be available with each mode. These chords can be used as a specific effect or they can be used with the traditional chords.

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A New Approach to Rhythm

Posted on February 23, 2012 by Chuck Anderson

Modular Phonetic Rhythm represents a significant advance in the teaching and application of rhythm. Eliminating many inefficient aspects of rhythm education, Modular Phonetic Rhythm streamlines the traditional educational approach, resulting in a reflexive reaction to rhythm.

Jazz guitarists have never had a way to organize the subject of rhythm in a way that would systematically benefit their solos and their comping. Modular Phonetic Rhythm offers a solution.

The concept of rhythm is simple. It’s the duration of a note, a chord or a pattern. Rhythm is integrated into every facet of music. A melody is a sequence of pitches with rhythm. A chord progression is a sequence of chords with rhythm. Rhythm impacts Melody, Harmony and even Lyrics. It’s also a subject in and of itself. Rhythm is so intuitive, that it’s often overlooked as an independent topic of study.

The difficulty in the study of rhythm has always been its abstract nature – and its mathematical approach. Rhythm has traditionally been taught as a function of math, particularly fractions. Though accurate, this approach has missed one of the most fundamental facts of rhythm. Rhythm is a sonic language and is, as such, phonetic not mathematical in nature. The average student exposed to the math orientation of rhythm has rarely absorbed the essence of rhythm. He or she rarely becomes proficient at sight reading or using rhythm effectively. This often remains a lifetime barrier to the developing musician.

Though rhythm can be explained in mathematical terms, this approach does not give you a practical command of the sounds of the rhythms. Rhythm is a series of sounds! How can these sounds be organized?

“The Modular Phonetic Rhythm represents a fresh and innovative approach that helps bring the abstract into focus, examining the core of the real, linguistically aligned processes actually involved in reading, understanding, interpreting, and executing rhythm.” Arthur Bernstein, Head of Music Department, Liverpool Institute for the Performing Arts

This approach to rhythm is based on the concept of Modular Phonetics. Modular refers to the interchangeability of rhythm syllables and Phonetics refers to the sound of the rhythm syllables. Phonics has always been the key to sound in language. Without phonics, we could not pronounce words. We could not hear the sound of the words. Without Modular Phonetics, we can not hear the sound of rhythm. Without the sound of rhythm, it is difficult to use.

There is a strong correlation between the ability to spell and strong fundamentals in phonics. Phonetic skills allow us to “sound out” words, even words that we’ve never seen before! We understand the principle of sound as it applies to phonetic combinations. The “sight” of the letter combination triggers a reflexive “sound” reaction. If rhythm could be broken down into a system of phonetic units similar to the syllables of language, then rhythm would become an easily recognized and applied aural language.

To illustrate, take the word umbrella. This word could be expressed as 8 letters or as 3 syllables. Treating the word as 8 letters is similar to traditional rhythm teaching. A rhythm pattern could be described as a note lasting one half beat followed by a note lasting one beat followed by a note lasting one half beat. The “sound” of the rhythm is not part of this equation. But using the syllable parallel (umbrella has 3 syllables), the rhythm can be grouped into a phonetic syllable that does have a sound. Now, rhythm can be reproduced in the preferable “eye-ear-hand reflex” – the eye sees it – the ear hears it – the hands execute it!

Modular Phonetic Rhythm is based on 24 basic rhythm syllables. These rhythm syllables vary in length from 1 note to 6 notes and from 1 beat to 4 beats. The system is divided into 4 levels based on the subdivision of the beat. Level I does not subdivide the beat. This is the level in which all notes are struck only on the downbeat. Level II divides the beat into 2 parts. Level III divides the beat into 3 parts. Level IV divides the beat into 4 parts. The levels do not express progressive difficulty, just progressive subdivisions of the beat.

As you begin to use this material, you will find an expansive, new vocabulary which you can then apply directly to your jazz guitar improvisation, your composition and to your accompaniment.

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The Three Words

Posted on February 21, 2012 by Chuck Anderson

There are three words commonly used in music that should be avoided – or at least redefined.

These words are Practice, Play and Rules.

Practice – This implies boring repetition. It’s uncreative and unproductive.

Play – This connotes casual fun – a frivolous, optional activity.

Rules -These are a rigid set of “laws” which must be followed.

I would suggest that the word Practice be replaced with the word Explore.

I would suggest that the word Play be replaced with the word Work.

I would suggest that the word Rules be replaced with the word Principles. Why?

When you explore music, it becomes fun and exciting. To explore is to discover!

Work in the music business is not like work in any other field. Most musicians feel blessed to make music their career. So work in this context is joyful not tedious.

The Principles of music hold the key to the development of your potential. Within these principles, there is unlimited opportunity to expand your creativity.

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Some Interesting Issues About the Pursuit of Music

Posted on February 10, 2012 by Chuck Anderson

Some Interesting Issues About the Pursuit of Music

A young man from Scotland recently asked me some questions as part of his continued music education. Here’s his questions and my responses.

1. Do you think that someone’s technical ability on an instrument dictates how creative they will be?

Technical ability does not dictate how creative you will be. It does however allow you a potentially greater range and depth of expression. If we parallel this to language, a better vocabulary and command of language gives you an enhanced opportunity to express yourself. It does not however guarantee that you will have anything of substance to “say”.

2. Those who choose NOT to perform, although they may be competent musicians, are they selling themselves short in terms of fulfilling their potential?

I would say that they are not selling themselves short by choosing not to perform. Music comes in many callings. Musicians also don’t sell themselves short by not teaching or not composing or not writing books etc. The goal is to find the direction within music where you can do the most good and find the most fulfillment. Different directions can and should evolve over your career.

3. In order to empathize with learners, does being a  successful musician make you a better teacher or does being a successful teacher make you a better musician?

Probably being a “successful” musician contributes to being a better teacher than vice versa. A musician who has succeeded in his craft in the real world has many “real world” skills to bring to his or her teaching.

Of course, this assumes that we’re using the word “successful” as a synonym for being a good musician. You can be “successful” without being well developed at your craft. The world is full of successful incompetents. In a world where notoriety and marketing are often more valuable to the public than the development of art, success can be measured in many ways – money, fame, fulfillment, life style etc.

4. How would you measure success in musicianship?

My measurement of success involves the depth of a musician’s development and the fulfillment he or she finds within music. Commercial and financial success may or may not follow.

Some people only measure success with dollar signs. If you are a professional musician, you must earn enough to make your living. I do not believe in the “starving artist” model.

5. Many of the arts can be described as a lifelong learning experience;. Would you think this is true of music, or do you think that musicians reach a peak and then tail off?

Music is absolutely a lifelong experience. Musicians never hit a peak and tail off unless they stop pursuing knowledge, technical proficiency and creative development. There are few arts that encourage life long development more than music. Even if you start music at age 60, you have at least 30 years to develop your art and craft.

In my 48 years of teaching, composing and performing, I have never seen anything but growth. I also have never been more enthused about music and its importance in the world. I plan on this continuing for the rest of my life. Students who have studied with me for over 35 years would share the same thoughts.

Chuck Anderson in Concert

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