► Chord Melody Jazz Standards Tutorials & Jazz Guitar Lessons ◄
✅ Jazz Guitar Lessons (improv, chords, concepts, chord melody) ✅ Chord Melody Jazz Standards ✅ Jazz Gear
I'm a graduated jazz guitarist and graduated guitar instructor for jazz and popular music, living in Vienna, Austria.
What you`ll find here: * Jazz Guitar Lessons: I simplify Jazz for you! * Chord Melody Lessons for jazz standards * Jazz Guitar Rhythm Comping * Jazz Guitar Soloing (how to improvise and entire solos) * Jazz Guitar Tutorials on chords, scales, practicing * Jazz Guitar reviews, Gear tutorials, how to get great jazz sounds etc.
You can contact me through the contact form on my shop page on guitarversum.com
You might want to just try adjusting the pickups a little bit maybe the pole pieces a little bit on the EA and D see if that gives you a little bit more bottom end sometimes just a minor adjustment makes a big difference not sure if it'll work on that but for the minimal effort might be worth a try
I have only recently started getting deeper into Jazz and following your channel. I'm currently going through a couple of Joe Diorio books to get sense of bebop improvisation. Coming from an indoor Classical Guitar background, the Emperor is quite tempting. However, I would like to get your thoughts on the location of the input jack. Since it's on the lower side, wouldn't it interfere with one's leg while sitting.. and wouldn't one have to be extra cautious when putting the guitar down? Or is it just me who wonders these things! 😄
If you hold it like a classical guktarist it could be in your way. Maybe you can test one at a music store or have one sent to you and return it, if it diesnt6work for you? In Austria we can return anything witvin 14 days and we don't have to pay postage.
Thank you Sandra. We don't have the option to return an instrument here (and greetings from Bangalore!!) but I will take the effort to travel to a city which has it in store. Thank you again for all that you do on your channel - you are helping people all over the world.
Really, really enjoyed this video. Frankly I have been a bit frustrated puttering around with modeling style amps trying to get an enjoyable sound. Perhaps one of these could be the answer...
Hello Sandra, thank you for the insights. Humbly, I would like to bring a different perspective, which I resisted for years: what is your role as a jazz guitarist in the context? There is a fundamental difference. Some would characterize it as "old style" versus a more contemporary sound. I don't think that's it. The question is: with whom am I playing? How can I best contribute to this given context? I mean, does the harmonic richness of my chords add to it? Is it necessary to play the bass line? The answer depends on with whom I am playing jazz. If I am in a small group, where the guitar filling in adds to it, great. The "traditional" sound, rich in low frequencies, with beautiful mids to highlight the chords, is fundamental. This applies to duo settings (with a wind instrument or singer), a small trio of guitar, bass, drums, and of course, solo performances. But it took me years to realize that this is the application for this type of tone. If the context is a group with a piano, winds, bass, drums, or more, this sound does not cut through the group. There is a frequency clash with the piano (acoustic or electric), the bassist is handling the low lines… So, why am I playing a guitar as if it were a piano? It's time to look at all the achievements of the guitar, in terms of vocal expression, mainly coming from the Blues. I'm not referring to the harmonic vocabulary but to the expressiveness that the guitar can have, which I was discarding by insisting on sounding pianistic. I sold all my hollow-bodies (and I had the best ones) and kept an Ibanez John Scofield for its flexibility. I'm not talking about using drives, fusion, etc. I am referring to the expression of the instrument, which we have strangely become refractory to. Take the case of Sco and his absurd expressiveness, feel, etc. Making the guitar sing, something that pianists envy us a lot for. Haha. I mean losing the fear of the bridge pickup, using bends, hammer-ons, pull-offs, and yes, a pinch of crunch to help the guitar sing. In these contexts, I don't want to be a piano or a bass. I want to be a wind instrument. Or better yet: a voice singing through the guitar.
Great points. If I were to keep only 2 guitars, it'd be my beloved Gibson HR Fusion for the bigger sounds, (although my Heritage would do that better, but it was my first love and still is) and the D'Angelico Mini DC, which is supee versatile. I play it with lighter gauge strings (11), so I can use it for bendings too.
@@GuitarversumSandraSherman Nice! I tried a Howard Roberts Fusion years ago and loved it. Funny enough, it’s a rare Gibson that I identified with (I had 1 ES175, 1 ES335, at least 5 Les Pauls, 1 SG, etc.) and I never connected with the guitars. I don’t quite know the reason. Something personal related to playability, perhaps. I ended up becoming a Fender guy (and I never imagined that). I don't know, maybe it's the expressiveness. So, I have 3 Strats (2 Jeff Beck Signatures and 1 standard with Noiseless N5 pickups. Certainly, this is another point we share, besides the love for jazz: I also hate noise 🙂) and a Telecaster. Besides them, I have the Ibanez JSM and a Godin with HSH and synth access. I’ve been using one of the JBs (the first edition, with lace sensors, HSS, etc. It's a Fender Stratocaster Ultra with additional features requested by Jeff Beck) and the Telecaster to play almost everything. The JSM has been pretty much idle because I haven’t had many duo gigs or other forms of mini-combos.
I bought the Tripp 3mm, 1 size up from the Jazz3. Although the size was just what I was after, it has an annoying characteristic of making a sound like a tink on a pipe when hitting the strings, whereas the Jazz3 doesn't. $11.70 for 1 pic, shipped...ouch.
Oh Sandra...this is wonderfun!! It's taken me a while but I am now stumbling thru this beautiful arrangement and so appreciate you sharing this with us. Many thanks!!!!!!
I know the hank garland solo, but I forgot of the rhythm. Many years ago i was in a blues band, but could also secretly play jazz like a monster too. Nobody knew until one day a friend and I went to a jazz club and JJ invited me up to perform. I was still in my 20s never had a lesson on lead just knew it. Aint that crazy
I guess he is talking about how you pick by twitching your fingers (thumb and index finger) instead of picking from the wrist or from the elbow and keeping your fingers still, which is more common…
That's a Gibson Howard Roberts. I made a video about my gear I jse for recording my video tutorials. Pnus I show the amp settings too. Check it out: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--6Tylw4gf0E.html
I started out strumming pop and folk songs when I was 11. Then a childcare worker showed me the Blues and the Pentatonic and I got to borrow an electric guitar. My biggest influence in those early years was Mark Knopfler from Dire Straits. Later I loved Funk. At the age of 22 I went to the Vienna conservatiry (music college) and studied Jazz guitar, simply because I wanted to get better and there was no Rick diploma in Austria back then. Within the first year I really started to first appreciate Jazz for its challenging nature. A year later I began to understand the music more and my ears fell in love with the genre. So it wasn't love at first sight /ear 😊. I'm an open minded person with an eclectic music taste, which helped too.
Yep, tried that obe. Has a really good grip, but turned it down, bc I sometimes turn the pick 90 degrees when I do Swing comping (strumming). The elevated grip scratched the strings and I got stuck between strings.
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Hi Sandra, I love your lessons and great style of teaching. After a lot of work I managed to reasonably learn your transcriptions of Misty and My Foolish Heat. Have you ever considered transcribing "Laura" into a chord melody?
Great job! I don't knlw that song, but will look it up. I found that we play different jazz standards in Europe than in the US. We're more on the Bebop side, while a lot of Americans play Gershwin and the Great American Songbook.
@@GuitarversumSandraSherman Its the title song of a 1940s movie with Clifton Webb and Gene Tierney. It’s considered a classic on this side of the pond.
I have the Bob Weir Deluxe Bedford, it is the most amazing guitar I’ve ever had. They are So underrated. I believe they are one of the most well built, quality and works of art you can buy. Of any manufacture. And the tones…. Incredible. Awesome video and playing, thank you sooooo much.
Greetings Sandra from the land of Oz in the USA. As others have said, thank you for imparting such excellent jazz knowledge. After watching your guitar reviews, it is obvious to me that you and I have very similar tastes in what we like in a jazz guitar; shape, size, beveled board edges, frets, etc. That said, I strongly encourage you to get your hands on a Sadowsky Semi-Hollow and try it out. I acquired mine about five years ago, and for me, it just checks all the boxes. I still have a few other objectively great guitars that I occasionally play for a change, but the Sadowsky is my #1. I have a feeling you would really bond with one of these too. All the best, Paul.
Ouch! Yes that must hurt. Keep your eyes open for one, and you might snag a good one used. They are fantastic guitars, and to be honest, I would not have taken up your time telling you about them if I did not think so much of them. The Spruce center block is one ingredient that contributes to the stellar jazz tone of these guitars. They sound better than most fully hollow guitars I've played, and there are no feedback or intonation issues, two things I am not willing to tolerate. If I were a rich man, I would purchase one and send it to you, but hey, I'm a jazz guitarist! That's the name of that tune. Paul.
