Play Pianistic 7#11 Chords On Guitar & They Call The Jazz Police || Jazz Guitar Lessons Daily 35

From our free, Jazz Guitar Lessons Daily Series: Lesson 35
Friday - Advanced Melodic Triads Concepts
2/26/21
I’m a harmony nerd. No way around it. And while I am absolutely obsessed with playing the guitar, the majority of my favorite harmony masters are piano players. Bill Evans, Brad Mehldau, Keith Jarrett, Thelonious Monk, Aaron Parks, Bud Powell… I mean the list just goes on and on.

One of my favorite things to do on the guitar (and a big part of where the melodic triads approach concepts come from that I teach here and in our online study group) is to attempt to find creative ways of imitating piano ideas and approaches on our fretboard. And so much of that comes down to the differences in the physicality of each instrument - primarily that piano players get to use two separate hands and can therefore visualize, think about, and use two simple ingredients at the same time… while we’re stuck with one fretboard, one hand, and only a few fingers… leaving us trying desperately to catch up.

This realization of “the two hands” of my “imaginary piano player” was a huge lightbulb moment for me. Even though I’m a terrible piano player, learning to organize complex sounds on the keyboard using my two hands, with one simple structure like a shell voicing in my left hand and a different simple structure like a triad in my right, set off a cascade of ideas I hadn’t come across anyone else talking about in jazz guitar lessons or music schools.

There are so many ways this idea of “the two hands” can be applied onto the fretboard. In today’s lesson I’m exploring one of them.

When I started writing for a nine-piece mini orchestra for my album This City, I used this “two hand” thing a ton. It was great to get away from composing and arranging only with the fretboard in my mind, and instead to think about sound, range, and function. Like having a harmonic structure in the “left hand” of the sound with the melodic structure in the “right hand” of the sound. Or one of my favorite new textures to play with was to compose a bass-melody and have the left hand of the piano player double the bass player to help bring it out in the music so it didn’t get lost in the background. You may have noticed many of your favorite piano players playing bass melody figures in their left hand while playing chords or melodic ideas in their right hand. Same concept. Makes perfect sense when you have two hands. A little more challenging to pull off on the fretboard.

That’s where this technique comes from. Outline the lower, harmonic structure of a chord… then top it off with a...
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