A Lesson On Tensions Part 2: Putting the Voicings Into Action
Lessons > Jazz Primer
A Lesson On Tensions Part 2: Putting the Voicings Into ActionBy Mark Kilianski
February 12th, 2011
In my last lesson I bombarded you with tons of thick, gooey tension-filled voicings, and explained how they work. As we all know, with new knowledge comes new responsibility. When and how should these voicings be used? That’s an excellent question, so I’ll give you a couple of suggestions and show you how using tensions in your chord voicings can spice up some great jazz standards. Tensions are an important part of what makes Jazz harmony so rich and pretty. In example 1A you can hear how 7th chords without any tensions sound in the timeless ‘There Is No Greater… (Continue)
A Lesson On Tensions: Can You Paint With All the Colors of the Jazz Chord?By Mark Kilianski
October 28th, 2010
What’s so great about Jazz? What about that sound is so appealing? Why should we as guitarists take the time to study Jazz, even if we do not intend to play jazz gigs? Well, there are many answers, but one that really stands out, especially for us guitarists, is the rich harmonic sound of a Jazz chord voicing. The chords that a Jazz player uses are denser and richer than those of most rock, pop, funk, and countless other styles of music, and so we will dive right into the warm, thick, colorful waters of tensions. From the beginning, Jazz… (Continue)
The Almighty ii-V: Part 2 (Minor)By Mark Kilianski
September 7th, 2010
Sultry. Spicy. Rich. Exotic. No, I am not talking about your mother. I’m talking about Jazz standards in minor keys. Though they make up a smaller percentage of the Jazz repertoire, minor tunes add a great variety and sound to any performance, album, or jam session. Even if the tune you are playing is in a major key, there’s probably at least a hint of minor in there. And if it’s Jazz it’s probably got a ii-V in it. This article will focus on playing over a ii-V progression in minor keys. The ii chord in a minor key is… (Continue)
Altered Dimensions: The Altered Dominant ChordBy Mark Kilianski
June 14th, 2010
The Altered Scale. Sound scary? Well it is. It’s a 20 story tall, fire-breathing beast with enough tension in it to break the entire universe into infinite little pieces and eat them all in one bite. But that’s why it’s so great. If you learn to tame this beast it can add a hip, sophisticated, and wild edge to your playing, and is relevant beyond the scope of Jazz music alone. And it’s actually not that hard once you get used to it. The altered scale came about in the Bebop era of Jazz when musicians were exploring new harmonic… (Continue)
The Almighty ii-V: Part 1 (Major)By Mark Kilianski
February 9th, 2010
The ii-V. All hail the ii-V. Never question it. Accept it. Embrace it. And then once you’re sick of it you can puke it out all over the place. The ii-V-I progression is the most important chord progression in Jazz music, equitable with I-IV-V in Pop music. There are tunes with harmony constructed solely on the ii-V, and it appears in about 85% of the standard repertoire. So if you want to play Jazz, then it’s a good idea to get to know this guy. He’ll get you a long way. Let’s figure out how to construct, play, and play… (Continue)
Putting It Together: Playing Bass Lines & Guide Tones SimultaneouslyBy Mark Kilianski
February 21st, 2008
It’s great to be able to play guide tones as a stripped down approach to comping, and it’s awesome to be able to play bass lines when a bass instrument isn’t covering the low end. Combining the two techniques yields a great way to comp in a setting devoid of another bass and chord instrument, such as a duo or trio without bass, piano, tuba, harp, accordion, or any other bass and/or chord instrument. The most basic way to do this is by playing a bass line and inserting guide tone stabs at certain points. Ex.1: All The Things You… (Continue)
Down in the Basement: Constructing Bass Lines on GuitarBy Mark Kilianski
January 3rd, 2008
As guitarists, our primary role in a jazz setting is to play chords, and very often we also play melody and/or solos. Because of our main function, it can be easy to overlook the usefulness of knowing how to construct a good bass line.
Guide Tones: The Bare EssentialsBy Mark Kilianski
October 15th, 2007
Very often, “less is more” is a good policy to adopt when playing jazz. Overplaying usually gets both players and listeners pissed off because you’re getting in the way of the other musicians, while creating cluttered, disorganized music.
