Latest articles by Jimmy Brown
Maj7, Maj7b5 and Their Relative Minors
The Asus4b2 arpeggio we looked at last month (November 2017 issue) may be repurposed in a variety of cool, interesting ways, which I think is a worthwhile topic to explore.
Eerie Arpeggios, Part 4: The Spooky Sus4b2 Sound
As a chord reference,FIGURE 1illustrates some finger-friendly Asus4b2 grips on the top four stings, with the open A string included and the first shape additionally shown 12 frets higher.
Using Double-Stops and Add-2 Arpeggios to Create “French Horn Fifths”
The term “French horn fifths” is a partial misnomer, as intervals other than fifths are also used, namely thirds, fourths and sixths.
MADD Men: The Minor Add-2 Arpeggio
Last month, I offered a guitar adaptation of the theme from The Walking Dead, which is based on a repeating melody built from a minor add-9, or minor add-2, arpeggio.
How to Solo Over “Busy” Chord Changes
Before we move on from the minor jazz-blues progression, which we focused on in the last three columns (see them under RELATED ARTICLES), I’d like to offer one more lesson on the topic.
Combining "Walking Thirds" and Jazz-Blues Substitutions
In the previous two columns, I demonstrated a couple of cool ways to play “walking bass” accompaniment over a 12-bar jazz-blues progression.
How to Build Intensity When Soloing at a Slow Tempo
Give your solos an emotional quality and appeal.
String Theory with Jimmy Brown: The Conclusion of Franz Schubert’s “Ave Maria” for Guitar — Video
String Theory with Jimmy Brown: The Conclusion of Frédéric Chopin’s “Prelude in E Minor” — Video
String Theory with Jimmy Brown: A Modern-Sounding Soloing Approach for John Coltrane's “Giant Steps”
String Theory with Jimmy Brown: An Effective Strategy for Soloing on John Coltrane’s “Giant Steps”
