Jazz as we know it now grew from a form of music that was passed directly from musician to musician without too much theory being involved. Jazz guitar theory is a collection of ideas and traditions that has grown over the decades of jazz playing.
The original jazz players did not need theory. They needed to know their guitars well enough to be able to provide part of the rhythm for other instruments in the band or to play solos if they were needed. The nature of guitar playing in jazz bands varied over the years and depended on whether the guitarist was in a big band or a small group.
Jazz guitar theory is the product of the need for jazz players to communicate musical ideas to one another. To pass these ideas on a guitarist needed to be able to read standard musical notation and, as jazz playing became more sophisticated, he needed the technique to play the exotic barre chords that became the norm in jazz guitar music.
A part of jazz theory is what we could loosely call traditions of jazz – ways of approaching music that have become standard practice for jazz players. None of these traditions is set in concrete, but the use of the electric archtop guitar has become widespread over the years as is the use of barre chord voicings rather than open chords.
If you learn jazz guitar theory you will learn to rely on the seventh and third notes of a chord and how interest can be added by the use of the ninth, eleventh or thirteenth notes. These notes may be totally foreign to the original melody the guitarist is improvising over, but jazz players have the work of guitarists from previous generations to draw on when they make use of these unusual voicings.
A big part of jazz guitar theory is the types of techniques used to express musical feelings. Jazz guitar players have their own strumming patterns and chord progressions that may vary greatly from the ways of playing the original genre they might be interpreting. Also, although rock and blues guitar players of the past thirty or so years have left their mark on jazz, there is a tendency among jazz guitarists to use electronic effects rather sparingly.
To examine the basis of jazz guitar theory we need to be aware of the founders of modern jazz playing, like Wes Montgomery, Jim Hall, Barney Kessel, Joe Pass and Herb Ellis as well as the founders of guitar tradition like Django Reinhardt and Charlie Christian. Jazz guitar theory has been shaped by modern players who have departed from tradition, such as John McLaughlin, Al Di Meola and Pat Metheny.
By: Ricky Sharples
In addition to its beautiful, mountainous terrain and friendly, Southern appeal, Tennessee is well-known for its thriving music scene, particularly in the jazz and blues genre. From Nashville to Memphis, some of the greatest minds in the music industry have recorded, lived or played in the state, taking advantage of its musical heritage and deep-rooted fan base. Both the jazz and blues genres have their roots in African-American communities; however, over time, the genres have evolved to reflect and include all cultures and faces.
Jazz Roots
Tennessee blues is rooted in piano, guitar and vocal chord progressions and raw, gritty lyrics that reflect the struggles of everyday life. No topic is taboo when it comes to the blues, with songs relating to racism, love, loss, finances and more – all meant to reflect the pain and emotion of society at the time. Meanwhile, jazz is a bit more upbeat, incorporating blue notes and vocal improvisation to a melodious sound. Jazz is generally a bit more polished and includes more instruments than blues, which is usually more dependent on percussion, guitar and vocals.
Founding Father of Blues
When it comes to great artists, W.C. Handy is known as the Father of Memphis Blues and is credited with writing one of the first Memphis blues songs, appropriately titled “Memphis Blues.” He also was the author of “Beale Street Blues,” aptly written to describe one of the main thoroughfares through the heart of Memphis. Many people credit Handy with the entire inception of the Memphis blues genre and for bringing it to the forefront of the music industry.
Tennessee Music Festivals
Since music is such a large part of Tennessee’s history, there are several festivals and celebrations centered around music annually. Two of the biggest festivals held in Memphis, both of which are well-attended by residents and tourists alike, are the Memphis in May music festival and the International Blues Challenge. Both of these festivals draw large crowds and feature some of the best performers in the industry.
Past artists in attendance at these festivals have included BB King, Ray Charles, Jerry Lee Lewis, the North Mississippi All Stars, James Brown and many others. The Blues Challenge is a competition that draws more than 100 acts from around the world, all of them competing for cash, industry recognition, record deals and other prizes. The Challenge is put on by the Blues Foundation in an effort to continue the tradition of showcasing new talent to keep the genre from being eclipsed by more popular musical trends.
Another great festival is the Memphis in May music festival, which spans an entire month and incorporates the Beale Street Music Festival as one of its events. For visitors looking to hear some real, down home jazz and blues, the Beale Street Music Festival is the place to be. It most represents what Tennessee music is all about and boasts an unlimited amount of raw, real talent in one place.
By: Jason Hagemann