Jazz Guitar
Learn how to play jazz guitar with our eBook bundle
+ Reply to Thread
Results 1 to 30 of 30
  1. #1
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064

    Pictures Lesson: Maj7b5 chords - A One size fits all chord/arpeggio (well almost...)

    Here's a lesson I made on the Major7b5 arpeggio and chord demonstrating a lot of the ways it can be put to use in jazz improvisation and accompaniment.



    The sheet music can also be found and downloaded here: Maj7b5 - chords and arpeggios | Jens Larsen

    Let me know what you think and if you have any questions or suggestions.

    I hope you like it!
    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  2. #2
    Join Date
    May 2012
    Location
    Calif.
    Posts
    2,325
    Thanks Jensl.

  3. #3
    Cool Jensl,

    Sounds like your using the voicing as an access point for modal interchange to Melodic Minor.

  4. #4
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by edh View Post
    Thanks Jensl.
    Your very welcome!

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  5. #5
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Reg View Post
    Cool Jensl,

    Sounds like your using the voicing as an access point for modal interchange to Melodic Minor.
    Thanks Reg!

    I am not too clear on modal interchange as a concept, but yes I guess I am using the chord as a way to introduce melodic minor.

    Jens

    Edit: though I can't take credit for that idea, even if I don't remember who taught it to me
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  6. #6
    I prefer to see and use this chord as a dominant type of chord- rootless Dom13th, rootless min6/9, m11b5...
    It's got a cool modern sound, 2 x 4ths and a tritone. I like all the drop2 inversions of it too, a bit stretchy, but worth it!

  7. #7
    Join Date
    Mar 2013
    Location
    London
    Posts
    12,978
    You can do this with other chords too - majors, minors of various kinds. See what you come up with.

  8. #8
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by princeplanet View Post
    I prefer to see and use this chord as a dominant type of chord- rootless Dom13th, rootless min6/9, m11b5...
    That would be example 5, example 4 and example 3 in the lesson

    So me too!

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  9. #9
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by christianm77 View Post
    You can do this with other chords too - majors, minors of various kinds. See what you come up with.
    Yes and it's always a good theory exercise to figure out what you end up with related to the root you're playing it over.

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  10. #10
    Hey Jens,

    I don't know if you were around when I joined this forum.... three or four years ago, anyway one of my first few posts were about what playing in a jazz style was. What basic musical concepts guitarist needed to be aware of to basically play Jazz.

    They were about being able to hear and open four musical Doors,

    blues notes
    Melodic minor
    modal concepts
    modal interchange

    Most of the replies were... basically I was full of it etc... who really cares.
    It's been interesting watching other great players and teachers, like yourself, become aware of... or develop understandings of these same basic four jazz musical concepts.

    Please don't take my comments wrong... I've always dig your playing and posts, and I am just bringing up my thoughts on your thread... they're not directed at you Jens... sorry if they come off that way.

    Its more of a general trend on this forum...

  11. #11
    Quote Originally Posted by Reg View Post
    Hey Jens,

    I don't know if you were around when I joined this forum.... three or four years ago, anyway one of my first few posts were about what playing in a jazz style was. What basic musical concepts guitarist needed to be aware of to basically play Jazz.

    They were about being able to hear and open four musical Doors,

    blues notes
    Melodic minor
    modal concepts
    modal interchange

    Most of the replies were... basically I was full of it etc... who really cares.
    It's been interesting watching other great players and teachers, like yourself, become aware of... or develop understandings of these same basic four jazz musical concepts.

    Please don't take my comments wrong... I've always dig your playing and posts, and I am just bringing up my thoughts on your thread... they're not directed at you Jens... sorry if they come off that way.

    Its more of a general trend on this forum...
    Hi Reg, I was probably one of the great unwashed that didn't really understand your concepts 4 years ago, but willing to give it another shot now. And maybe you've gotten better at aiming your explanations at our levels of understanding, soooooo, how about starting yet another thread that specifically deals with the "4 musical doors" ?

    I know some may suggest I go back and review your past posts, but just hoping we could start fresh with an approach that reads more like "Reg's 4 Musical Doors for Dummies". Whaddya say?

  12. #12
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Reg View Post
    Hey Jens,

    I don't know if you were around when I joined this forum.... three or four years ago, anyway one of my first few posts were about what playing in a jazz style was. What basic musical concepts guitarist needed to be aware of to basically play Jazz.

    They were about being able to hear and open four musical Doors,

    blues notes
    Melodic minor
    modal concepts
    modal interchange

    Most of the replies were... basically I was full of it etc... who really cares.
    It's been interesting watching other great players and teachers, like yourself, become aware of... or develop understandings of these same basic four jazz musical concepts.

    Please don't take my comments wrong... I've always dig your playing and posts, and I am just bringing up my thoughts on your thread... they're not directed at you Jens... sorry if they come off that way.

    Its more of a general trend on this forum...
    No problem Reg!

    Nice that you think it inspires to a discussion.

    As far as what I have read about modal interchange it is borrowing chords from elsewhere? So it would include among other things all the sub dominant minor stuff but also borrowing from najor in minor etc. The concept is not alien to me at all, I was just taught to label it a little bit differently and maybe using a few more labels.

    Mostly my point with the lesson is that the Cmaj7b5 chord is a chord or arpeggio that is practical in a lot of contexts where you put it to use as something else. So to me there is no real interchange going on there? I made the lesson because that arp is not diatonic and we tend to practice those arps a little bit less (C7b5, Cmaj7b5, C7#5 etc..)

    But maybe you could explain to me if you see that differently? Because now I am curious

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  13. #13
    Nice lesson Jen,

    From a pedagogical perspective, I have to comment on the origins of all these materials. I believe it would be a good idea to introduce the chord (first and foremost) as a major 7th with a #11 ... simply because it is diatonic somewhere. A good starting point for students, I find.

    From seeing Cmaj(#11) as Lydian (we're in the key of G major) then your application to Em7 and F#m7(b5) chords become immediately obvious.

    Then by going through Cmaj7(#11 #5) as the third mode of melodic minor (we're in the key of A melodic minor), more of your applications become clear.

    And last, by seeing Cmaj7(#11 #9) as the sixth mode of harmonic minor (we're in the key of E harmonic minor), some more of your applications become clear.

    :-)

    It's because whenever I see the notation "maj7(b5)", I cringe a little bit.

  14. #14
    Join Date
    Sep 2012
    Location
    North West, England,UK
    Posts
    1,461
    Quote Originally Posted by Marc-Andre Seguin View Post
    Nice lesson Jen,

    From a pedagogical perspective, I have to comment on the origins of all these materials. I believe it would be a good idea to introduce the chord (first and foremost) as a major 7th with a #11 ... simply because it is diatonic somewhere. A good starting point for students, I find.

    From seeing Cmaj(#11) as Lydian (we're in the key of G major) then your application to Em7 and F#m7(b5) chords become immediately obvious.

    Then by going through Cmaj7(#11 #5) as the third mode of melodic minor (we're in the key of A melodic minor), more of your applications become clear.

    And last, by seeing Cmaj7(#11 #9) as the sixth mode of harmonic minor (we're in the key of E harmonic minor), some more of your applications become clear.

    :-)

    It's because whenever I see the notation "maj7(b5)", I cringe a little bit.
    Yes, if you're using chord scale relationships, but what if you're not.

  15. #15
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Marc-Andre Seguin View Post
    Nice lesson Jen,

    From a pedagogical perspective, I have to comment on the origins of all these materials. I believe it would be a good idea to introduce the chord (first and foremost) as a major 7th with a #11 ... simply because it is diatonic somewhere. A good starting point for students, I find.

    From seeing Cmaj(#11) as Lydian (we're in the key of G major) then your application to Em7 and F#m7(b5) chords become immediately obvious.

    Then by going through Cmaj7(#11 #5) as the third mode of melodic minor (we're in the key of A melodic minor), more of your applications become clear.

    And last, by seeing Cmaj7(#11 #9) as the sixth mode of harmonic minor (we're in the key of E harmonic minor), some more of your applications become clear.

    :-)

    It's because whenever I see the notation "maj7(b5)", I cringe a little bit.
    Thanks Marc!

    Surely not all chords are diatonic? If you can only construct and view chords as stack of thirds in a scale you are limiting yourself quite severely. Did you ever think about that no dominant chords are diatonic to a diminished scale? or that the melodic minor does not have a dominant on the 7th degree? So both those options are impossible for dominants?

    For the rest I sort of know what you mean. Our notational system does not really work too well because when I call it Cmaj7b5 we want it to be a Gb not an F#, and since I am really only concerned with the 4 notes C E F# and B I felt that Cmaj7b5 is a better choice than Cmaj7(add#11omit5). Cmaj7#11 is a 6 note chord, and I am only working with the 4 notes here, so I said to myself: "Live with it!"

    I think (but that is only my opinion and experience of course) that if you play the examples they are fairly obvious to your ear without adding more theoretical information like #5's and #9s etc.

    Which of my examples is harmonic minor to you? Not that it's not possible, but I don't hear it like that.

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  16. #16
    Quote Originally Posted by GuyBoden View Post
    Yes, if you're using chord scale relationships, but what if you're not.
    Well ... if we're not using (at all) chords-scales relationships, then we're missing out on ... what, about 500 years of musical history?! :-)

    Starting from diatonic chords, scales, modes, arpeggios, (etc.) is not the *only* way to go, that's for sure. But I personally find it practical to present​ materials in lessons.

  17. #17
    I see what you mean Jen. You don't want to always build chords in thirds ... but let me just say this: the diminished scale is not a 7-note scale, so it's a totally different beast. The diminished clearly "hosts" a dominant chord though (right?)

    And let me just say this also: the "third" in an altered scale is actually a flat 4th ... the role is still as a 4th (we need to extend the chord to the 11th to get it), but our ears get it as a major 3rd. Also a totally different beast. Nevertheless, the dominant chord "lives there".

    In any case, we can build any synthetic 7-note scale, and just stack thirds until we have all seven notes of the scales ... and in this way we can pretty much get anything we are looking for, chords-wise. Just a matter of perspective I guess! :-)


    Quote Originally Posted by JensL View Post

    Which of my examples is harmonic minor to you? Not that it's not possible, but I don't hear it like that.

    Jens
    Oh... I had mis-interpreted some of your examples. I understand now that in each example, you only used the maj7(b5) idea on one chord. My mistake! [Laughs]

  18. #18
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Marc-Andre Seguin View Post
    I see what you mean Jen. You don't want to always build chords in thirds ... but let me just say this: the diminished scale is not a 7-note scale, so it's a totally different beast. The diminished clearly "hosts" a dominant chord though (right?)

    And let me just say this also: the "third" in an altered scale is actually a flat 4th ... the role is still as a 4th (we need to extend the chord to the 11th to get it), but our ears get it as a major 3rd. Also a totally different beast. Nevertheless, the dominant chord "lives there".

    In any case, we can build any synthetic 7-note scale, and just stack thirds until we have all seven notes of the scales ... and in this way we can pretty much get anything we are looking for, chords-wise. Just a matter of perspective I guess! :-)




    Oh... I had mis-interpreted some of your examples. I understand now that in each example, you only used the maj7(b5) idea on one chord. My mistake! [Laughs]
    Yes, there are dom7th chords in the diminished scale, and of course it's different than major and minor scale, but I was not the one who did not accept anything that was not a stack of diatonic thirds..

    So what you are telling me is that if you play an E7(b9b5) chord in other words an altered chord you hear the major 3rd as a 4th and that it is in fact a minor chord with a suspended 3rd?

    I get that you can construct scales to fit anything but, in the case of my lesson in the example where I play a Cmaj7b5 on the D7 in a II V I in Gmajor don't you just hear D7 resolving to G? I don't see a need to come up with some sort of synthetical construction for that. It is afterall just a cadence without alterations in the key of G major.

    To me the point of music theory is to describe what we hear, not to limit what we are allowed to do. Again that is just my opinion.

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  19. #19
    Join Date
    Sep 2012
    Location
    North West, England,UK
    Posts
    1,461
    Quote Originally Posted by Marc-Andre Seguin View Post
    Well ... if we're not using (at all) chords-scales relationships, then we're missing out on ... what, about 500 years of musical history?! :-)

    Starting from diatonic chords, scales, modes, arpeggios, (etc.) is not the *only* way to go, that's for sure. But I personally find it practical to present​ materials in lessons.

    I know music history, I studied music at college, but I think Jazz CST started in the late 1950's, my point is that Jazz CST can't be used to explain all the note choices in Jazz music. I'm all for using CST in the correct context, but I don't understand the logic in trying to make every note fit CST.

  20. #20
    Jen and GuyBoden: right on. I agree with you both.

    My first post was just a "perspective" on showing this stuff to jazz newcomers. :-)

  21. #21
    Jens,

    Nice video. It entices people into the game of uncovering multiple music applications for a singular harmonic structure.

    Two paths to increase content:

    1. Continually learn new material
    2. Learn additional functions of material already known

    I would have to dig it out to remember but Mick Goodrick's "Advancing Guitarist" had a nice few pages where he created extended progressions integrating one chord in multiple functions. I believe of the 2 examples, one was centered on Ma7b5 or Ma7#11 for those who prefer.

  22. #22
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by bako View Post
    Jens,

    Nice video. It entices people into the game of uncovering multiple music applications for a singular harmonic structure.

    Two paths to increase content:

    1. Continually learn new material
    2. Learn additional functions of material already known

    I would have to dig it out to remember but Mick Goodrick's "Advancing Guitarist" had a nice few pages where he created extended progressions integrating one chord in multiple functions. I believe of the 2 examples, one was centered on Ma7b5 or Ma7#11 for those who prefer.
    Thanks for checking it out Bako!

    I'll check the Mick Goodrick book, I would not be surprised if he had some stuff on this. It is one of the few books I have on jazz guitar stuff (and I can't recommend it enough...)

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  23. #23
    Reg,

    I remember. We had one member who was on a crusade to protect his rather limited musical world view
    from alleged charlatans. He also had a crew of members that seemed to think it was an ok thing to freely
    hurl insults to supplement the content of their arguments, stopping just inches short of "your mother wears army boots".

    I remember you used an expression something like a "blue note control system".
    Although I wasn't 100% sure what you meant but I found the phrase evocative.
    I took it to mean harmonizations of the unique notes that appear via blues scale usage.
    Others were troubled whether it's veracity could be verified through academic citing of past occurrence of the phrase.
    Anyway, I am glad that you stuck it out. Your perspective as an overly busy freelance musician constantly navigating new material, much of it jazz in a wide range of band situations is a very important contribution to this forum.

  24. #24
    Ahhh... My dear friend Kevin, the life time grad student, who forgot how to play, but used
    to really be able to cut it up... at least that's how I think he use to put it.

    Yea... I basically don't take music that personal or serious, you can either play or you
    can't, or your somewhere in the middle... It's all good.

    But getting to one of Jens point about what one
    is playing. You can't really say without a reference. Jens has his ears and hears what he
    hears because of references... he relates his voicings, (played and implied), to his
    references.

    That's basically how I play all the time... I'm aware of many common practice references
    and relationships, both from years of study and years of performance. So I try and be
    aware of other references, besides what I choose to hear. Actually, I have to do that a
    lottttt...

    One of those basic four jazz concepts is being aware of modal concepts.... which note(s) in a
    collection of notes is/are going to create the rules or guidelines. Jens is using his note
    collection...Maj7b5 as reference and uses them or the b5 to help create guidelines of
    application.. or something like that. I just briefly listened and don't want to speak for
    Jens, I'll check it out again. ( I like it)

    Blue note control system... OK, it's just four words used to describe a concept. Most are
    at least aware of what blues notes are, at least with relationship to one Root. The
    control system is just that, a system... an organized set of guidelines that uses blue
    notes to help control the harmonic references, movement and relationships, just like
    any modal tonal system ...

    short version... blue notes derived from harmonic sources ....through modal interchange (MM as much as possible)

    How many of you use pentatonics derived from MM... very blue note organizationally
    friendly. (not rock blues etc)

    Hey Jens... thanks... yes to your comments. I tend to hear your voicings through... use of
    the diatonic III- chord becoming a Dom 7susb9.

    Your playing of the arpeggio... (Cma7b5)...beginning with the major 7th... B C E F# sounds like B7susb9, which is one of the standard access Doors chords to modal relationships and Melodic Min.

    I tend to use modal Interchange with a few levels of usage... Its not just borrowed
    chords, it's the options for relationship from the borrowed chord as reference.

    It's all BS when we talk about it, but it can open doors and ears for playing jazz.

    I definitely like the voicings... I also use versions very similar... tend to be part of
    chordal passages, voicings under my lead lines.

    Again thanks for posting Jens. Reg

  25. #25
    Quote Originally Posted by GuyBoden View Post
    I know music history, I studied music at college, but I think Jazz CST started in the late 1950's, my point is that Jazz CST can't be used to explain all the note choices in Jazz music. I'm all for using CST in the correct context, but I don't understand the logic in trying to make every note fit CST.
    My sentiments entirely.

  26. #26
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Reg View Post
    Blue note control system... OK, it's just four words used to describe a concept. Most are
    at least aware of what blues notes are, at least with relationship to one Root. The
    control system is just that, a system... an organized set of guidelines that uses blue
    notes to help control the harmonic references, movement and relationships, just like
    any modal tonal system ...

    short version... blue notes derived from harmonic sources ....through modal interchange (MM as much as possible)

    How many of you use pentatonics derived from MM... very blue note organizationally
    friendly. (not rock blues etc)
    Could you maybe demonstrate that or give an example somehow? I think I know what you mean but I am not really sure, maybe it's a language thing since English is not my first language...

    Quote Originally Posted by Reg View Post
    Hey Jens... thanks... yes to your comments. I tend to hear your voicings through... use of
    the diatonic III- chord becoming a Dom 7susb9.

    Your playing of the arpeggio... (Cma7b5)...beginning with the major 7th... B C E F# sounds like B7susb9, which is one of the standard access Doors chords to modal relationships and Melodic Min.

    I tend to use modal Interchange with a few levels of usage... Its not just borrowed
    chords, it's the options for relationship from the borrowed chord as reference.

    It's all BS when we talk about it, but it can open doors and ears for playing jazz.
    Yes I see it as the Phrygian Chord or 7b9sus4 sound too. I actually had an example for it but did not have time to put it in the video so I left it out of the lesson altogether...

    So if I am understanding you right you are seeing(hearing in fact..) that the Cmaj7b5 is a voicing that you play as a F#m7b5, but because the Cmaj7b5 sounds very "melodic minor" you then play melodic minor at that point in the progression? Sort of letting the voicing have a life of it's own and choose the sound or scale that you play from that not from what is going on in the rest of the harmony.

    I tend to do a similar thing with especially augmented stuff so that I can fit the whole tone scale, augmented scales over mMaj7 chords, I sort of let a part of the chord decide the scale regardless of what is in the rest of the chord.

    That's not what I read about modal interchange (not that that matters too much....)

    Thanks for getting in to all of this. I think it's very interesting to talk about even if it is all theory...

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  27. #27
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Here's a video where I talk about letting the upperstructure lead a life of it's own at the end:



    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

  28. #28
    Quote Originally Posted by JonR View Post
    My sentiments entirely.
    Hey Jon,
    maybe you could explain those sentiments with an example of what your talking about, maybe even play something.

    Or I could just say ...I don't understand why someone wouldn't ... Sorry just couldn't let those comment get by.
    its all good, talk is cheap.

  29. #29
    Hey Jens... The use of blue notes as guidelines or the penatonic thing.

    you understand how you use your voicing maj7b5 as access or method of access to different chord structures with different functions, different types of movement. Blue notes can have same function or be same method of creating different chord structures using a collection of notes or just one note. At least that's one method.

    If you think of modal concepts... What note(s) create the guidelines of function, define chordal movement, not just maj/min functional harmony, other modal tonalitys. (I know... We're into science fiction).

    Anyway blue notes don't have to be random chromatics, they can have organization and harmonic source.....
    I'll try and post something.

    There are more levels of understanding and usage of modal understanding than basic traditional Borrowing etc...

  30. #30
    Join Date
    Mar 2011
    Location
    The Hague, The Netherlands
    Posts
    1,064
    Quote Originally Posted by Reg View Post
    Hey Jens... The use of blue notes as guidelines or the penatonic thing.

    you understand how you use your voicing maj7b5 as access or method of access to different chord structures with different functions, different types of movement. Blue notes can have same function or be same method of creating different chord structures using a collection of notes or just one note. At least that's one method.

    If you think of modal concepts... What note(s) create the guidelines of function, define chordal movement, not just maj/min functional harmony, other modal tonalitys. (I know... We're into science fiction).

    Anyway blue notes don't have to be random chromatics, they can have organization and harmonic source.....
    I'll try and post something.

    There are more levels of understanding and usage of modal understanding than basic traditional Borrowing etc...
    Cool! I curious of the post. This is not too clear to me, yet. I don't mind the science fiction, I am used to creating 7 and 8 note synthetic scales for chords and mess with them like that, even if it is not something I pull out on every blues in F I play

    I am curious of a set of blue note and how you organize them.

    Jens
    jenslarsen.nl --- My YouTube Channel with lessons and live videos--- YT Lesson Facebook page --- Træben album: Storm on itunes

    I endorse Ibanez guitars, John Daw Custom picks and QSC monitors

Join our Facebook Page

Get in Touch


Jazz Guitar eBooks
How To Get a Jazz Guitar Tone?
Privacy Policy

 

 

Follow us on:

Jazz Guitar Online on FacebookJazz Guitar Online on TwitterJazz Guitar Online on YoutubeJazz Guitar Online RSS Feed