Jazz Anatomy

Welcome to Jazz Anatomy! This first series of sessions covers comping and soloing concepts for some of the most common jazz progressions and feels. Get a grip on these concepts, and you'll be equipped to comp and solo over hundreds, if not thousands of tunes. Start with the basic concepts presented in each set of lessons and master those before taking on the more advanced concepts that follow. You'll find that the notation (standard notation and Power Tab) is essential material to work with as you progress through the course. My Mel Bay book, Guitar Arpeggio Studies on Jazz Standards (http://truefire.com/list.html?store=instruction_books&item=6770) expands on all of the arpeggio concepts presented in this course. Also please check out Favored Nations (http://www.favorednations.com/artists/mimi/mimi.html ) for my latest recordings and news. And of course, you can always visit with me at MimiFoxJazzGuitar.com to stay tuned to the latest happenings. Big props to Mike Oria for transcribing the extensive range of musical examples presented in this course. Nobody on the planet could have done it better! In this first lesson, we'll examine the first basic jazz rhythm for guitarists to master -- the "4 to the bar" sometimes referred to as "Freddie Green style" because of his masterful playing in this idiom. I highly recommend checking out the classic Count Basie recordings with Freddie to hear how he propelled the band with his tremendous chordal work. In this lesson we cover this style.

Welcome to Jazz Anatomy! This first series of sessions covers comping and soloing concepts for some of the most common jazz progressions and feels. Get a grip on these concepts, and you'll be equipped to comp and solo over hundreds, if not thousands of tunes. Start with the basic concepts presented in each set of lessons and master those before taking on the more advanced concepts that follow. You'll find that the notation (standard notation and Power Tab) is essential material to work with as you progress through the course. My Mel Bay book, Guitar Arpeggio Studies on Jazz Standards (http://truefire.com/list.html?store=instruction_books&item=6770) expands on all of the arpeggio concepts presented in this course. Also please check out Favored Nations (http://www.favorednations.com/artists/mimi/mimi.html ) for my latest recordings and news. And of course, you can always visit with me at MimiFoxJazzGuitar.com to stay tuned to the latest happenings. Big props to Mike Oria for transcribing the extensive range of musical examples presented in this course. Nobody on the planet could have done it better! In this first lesson, we'll examine the first basic jazz rhythm for guitarists to master -- the "4 to the bar" sometimes referred to as "Freddie Green style" because of his masterful playing in this idiom. I highly recommend checking out the classic Count Basie recordings with Freddie to hear how he propelled the band with his tremendous chordal work. In this lesson we cover this style.

In addition to the "4 to the bar" style demonstrated here and in the previous comping lesson, I am using the "Charleston" rhythm which has hits on "1" and the "and of 2". This gives a strong sense of forward motion and works well in conjunction with both the "4 to the bar" and the more complicated patterns I use here. Listen to drummers to improve your comping!

In addition to the "4 to the bar" style demonstrated here and in the previous comping lesson, I am using the "Charleston" rhythm which has hits on "1" and the "and of 2". This gives a strong sense of forward motion and works well in conjunction with both the "4 to the bar" and the more complicated patterns I use here. Listen to drummers to improve your comping!

It's always fun to play the blues and you'll encounter thousands of opportunites to draw on the concepts covered in this soloing section. Everyone from B.B. King to Pat Martino sound great using the blues scale - but incorporate the correct arpeggios, scales and phrasing, and you'll get more of that distinctive jazzy sound. I'll also cover "call and response" and a few rhythmic timing tips. Please study pages 10-12 in my arpeggio book!

It's always fun to play the blues and you'll encounter thousands of opportunites to draw on the concepts covered in this soloing section. Everyone from B.B. King to Pat Martino sound great using the blues scale - but incorporate the correct arpeggios, scales and phrasing, and you'll get more of that distinctive jazzy sound. I'll also cover "call and response" and a few rhythmic timing tips. Please study pages 10-12 in my arpeggio book!