Doug de Vries gives a lesson on how to doubble your chord output when playing jazz on the guitar. Using the standard “All the things you are” he quickly demonstrates how to add interest and contrast to your accompaniment using this simple technique.
Tim Nikolsky demonstrates how to do Walking Basslines on Guitar. Tim has been performing with the vocalist Margot Leighton for the past 13 years and has developed a unique style of playing in this musical duo incorporating the whole rhythm section on guitar. The technique of walking bass on guitar is also a great way to accompany other instrumentalists and soloists. Here he demonstrates the secrets of good accompanying on guitar; and breaks down his approach to walking basslines on guitar – step by step.
Anton Delecca explains the uses of chromatic scales in jazz improvisation and as a warm up excercise for sax. In this video, Anton describes three excersices for warm up that improve tone and dexterity and are very useful to enliven passages of improvisation.
Paul Williamson explains the uses of bebop scales in jazz improvisation. In this video, Paul’s first post for Digital Pill, he describes the construction of bebop scales, jazz articulation, the use of a metronome and how bebop scales place the chord tones firmly ON the beat to create an “inside” sound in improvisation. The video together with the pdf download explain the uses of bebop scales over major, dominant and minor scales.
Dave Evans explains the uses of the accordion bellows shake. In this video, Dave describes the uses of the double and triple bellows shake in jazz, zydeco and cabaret music. He includes detailed instructions about how to perform the shake as well as techniques for adding accents to play with the rhythmic aspects of accordion.
Listen to Dave’s music here
Dave playing with the Band Who Knew Too Much on myspace
Cam Robbins demonstrates a classic device for jazz improvisation on the clarinet, rhythmic register jumping. The video contains several examples and Cam demonstrates how to use the technique over one and two chord sequences.
Doug DeVries shares some ideas on how to add harmonic and rhythmic variation to a piece of music. In this lesson he uses one of his own compositions – Astoria – as an example of voice leading in harmony as well as examples of how to increase interest by varying the rhythm.