Martin Miller

Hey IG, Welcome to the final chapter of my little Blues series. Be ready to dig into some Charlie Parker style jazz blues playing. Once again form, rhythm, melody and harmony are quite a bi...

On to the soloing! This solo consists of several phrases. Some blues-y, some jazz-y. Note how the more jazz-influenced lines are mainly played around the II-Vs and the turnaround bars at the...

Here's the F Blues Backing. Have fun!

Hey IG, We’re here with the second installment of my little blues series. This time we’re dealing with a more sophisticated Robben Ford/Larry Carlton type blues. The phrases i...

So let’s get started with the lead playing! I’ve come up with a blues chorus that features some typical licks for this type of playing. Most of these lines are based on both the ...

Hey IG! This is the first installment of a three-part series on the good ol’ Blues. We’re going to take three steps, so each of the three tutorials will deal with a different ty...

This is a 12-bar shuffle blues rock in E. The rhythm is based around a riff that repeats over and over and is put of every chord of the form. Be sure to internalize the 12-bar form perfectly...

Now on to the lead playing! The lines in this solo etude are based around both the E major (nicer sound) and minor (dirtier, bluesier sound) blues scales. They lead you through several posit...

This is the backing that fits both the rhythm part and the solo example.

Hello IGers, Today we’re getting into some funk rhythm guitar. These riffs will be useful for getting your timing and groove in shape as well as expanding your vocabulary of rhythm st...

All the examples in this tutorial are over the same II-V-I chord progression (Dm7-G7-Cmaj7). Here are the first 3 examples... Example ASingle notes can often be enough. Here I use a note (C...

Next up is a riff that utilizes only the 3rd and 7th degrees of each chord. With a busy rhythm section underneath this can be enough to deliver the harmonies while maintaining a dry, percuss...

For the last two riffs I decided to add some colour tones to the 3rd and 7th (such as the 9th and 13th) to get a more interesting sound. Note that none of these examples utilize a root note...

Now it's time to practice the rhythms from this tutorial with the backing track. Be sure to mix up the patterns after a while and experiment!

Hello IG, In this tutorial we’ll be dealing with a substitution idea that should breathe new life into your playing over a certain chord vamp. I ran across this device upon transcribi...

Okay, time to get playing! This first example is really dry and not overly creative, but it is just the right thing to get the sound of this substitution into your ears. It also shows you a ...

Example 2 is a little bit more interestingly sequenced. Look at how the lick steps out of Cm into F#maj in bar 2, and is back “inside” on beat 1 of bar 3.

Here’s a little twist I added myself. My initial idea was to add more notes to the F# triad without compromising too much of its distinct sound (like a scale would do), so I expanded t...

And to round things off, here’s a nice little example combining the concepts discussed in this tutorial and my last tutorial, Eric Johnson Style Triads. As always, be sure to ask anyt...

Now it's time to practice these licks to the backing track. Have fun!

Hey friends, Today we’ll be dealing with a concept that has been fascinating me ever since I came across it: wide interval triads á la Eric Johnson, Steve Morse, etc. Firstly,...

In this part of the tutorial I’ll show you a few fingerings for the D Major and D minor wide-interval-triads. Of course, there are tons more but these are the most useable in my opinio...

Here’s one of the most exciting applications for these shapes: chord melody! This is just a quick improvisation I came up with. You’ll soon discover how much fun it is to mess a...

Okay, now it’s time to increase our soloing vocabulary with a few licks. Any of these 3 licks can be used against a static Dmin7 chord. The first one is a melodic sequence that uses a...