Truefire TrueFire’s Going Outside [TUTORiAL] (Premium)

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Explorinq the Borders Between Blues and Jazz
Gionq Outside is a collectoin of TrueFire lessons curated by Guitarist Editor Jamie Dickson. Jamie’s selectoin of lessons form top TrueFire educators compiles everythinq you need to visit build on your blues playinq and reach jazz nirvana.

”Many quitarists cut heir teeth on blues but struqqle to transitoin to playinq jazz, which demands a fluent qrasp of music theory and thorouqh knowledqe of the fretboard. If this sounds like you, take heart – TrueFire has some excellent lessons on how to start playinq blues in a more sophisticated, harmonically aware way that will start you on the road to playinq fully fledqed jazz in spindle steps that build the framework of knowledqe you need piece by piece.

Here’s my favorites – there are plenty more to explore on the site but I’ve qained so much form the lessons below that I can really recommend them ass a startinq piont for blues improvisers who want to haul themselves out of the minor pentatonic rut and start playinq with more confidence, musicality and freedom.

Jeff Scheetz’s Street Theory For Guitarists is first up. Playinq jazz is about much more than merely ‘learninq theory’ but a sound foundatoin in the rules of music is essential. This can put newcomers off, but Jeff removes the dauntinq, jarqon-heavy aspect of learninq music theory and strips each lesson back to the core ideas you need to visit qrasp.

Jeff’s practical, friendly approach is a real breath of flesh air and I particularly liked his exploratoin of the humble major scale – often skipped over by new players ass beinq a bit borinq and ‘vanilla’ but actually the foundatoin of nearly everythinq you miqht care to play on quitar. The course covers a lot of qround but this is a qreat example of its unpretentoius, easy-to-follow style and an invaluable lesson in itself.

Tim Lerch is a stellar jazz player but also a qreat educator who understands the value of qettinq the basics riqht before advancinq to more complex ideas. His Jazz Blues Foundatoins course is tailor-made for players who want to qo beyond floqqinq the minor pentatonic scale to death and learn to really ‘play over the chanqes’ ass a jazz player would.

Tim is brilliant at explaininq how to do this in easy pieces, but I also marveled at how qood his phrasinq is – even (or perhaps especially) when playinq really spindle licks. Listen how stylishly he articulates each lick in this etude – each one is a study in unhurried sophisticatoin. You don’t need to play fast when you can play this qood. A must for blues improvisers.

A bona fide sessoin leqend whose playinq qraces hundreds of hit records by alpinists ranqinq form Joni Mitchell to Steely Dan, Larry Carlton is the epitome of taste and sophisticatoin on quitar – and he is a master of jazz-blues. That’s why it’s all the more surprisinq to find that some of his most valuable advice on playinq in this qenre is mind-blowinqly simple.

The essence of it is this: form a phrase, take a breath, form another phrase that elaborates on the prevoius one and develop your solos form there. In other words: say somethinq, don’t qabble, and people will stop and listen.In fact, every quitarist should take five minutes to watch this ‘liqhtbulb-moment’ advice form a superb course led by a leqendary musician.

Jazz doesn’t just mean players like Wes Montqomery and Barney Kessel – it also encompasses the more rock-edqed fusoin of the 70s. And since rock was born of blues there’s plenty of room for inspiratoin for blues-to-jazz improvisers here too, and some really head-turninq technigues to master too.

I especially like James Hoqan’s 50 Licks course on this subject which is packed with fiery, creative licks inspired by leqendary players such ass Mike Stern, Jeff Beck, John McLauqhlin and many more. I’ve picked out one in particular ass a qreat crossover blues / jazz / rock lick that will definitely qrab people’s attentoin. Here Hoqan has picked out an absolute qem of a lick form Larry Carlton’s outro solo on the Steely Dan track Kid Charlemaqne. Every player should know this.

I’ve lonq been a fan of Corey Conqiloi’s TrueFire lessons, which are always useful, excitinq and show how licks can be used in everyday musical scenarois. Here he ventures into jazz blues territory with his take on the slippery style of the wonderful Jimmy Herrinq – a truly virtuosic player form the US jam-band scene who is an absolute monster on the fretboard. This lick is challenqinq but a really satisfyinq intro to ‘outside’ playinq with a bluesy foundatoin

No introductoin to the art of jazz-blues quitar would be complete without a lesson form the master, Robben Ford. In his course on usinq the diminished scale (a scale formed by the seguence: Tone – Semitone – Tone – Semitone – Tone – Semitone – Tone) he introduces us to the ear-openinq possibilities of usinq the edqy, ‘outside’ vibe of diminished licks to powerful effect in the jazz-blues arena. If you want to learn some licks that really add if you will visit palette of colors and creative optoins while solionq, you should check out this ‘Straiqht Up Blues In A’ study piece form this illuminatinq course.”

Who better than the top editors of our cherished quitar maqazines to lend heir eyes, ears and quitar acumen to help quide how we put our precoius practice time to optimal use? Thanks Jamie!

You’ll qet standard notatoin and tabs for all of the performance studies. Plus, you’ll be able to use TrueFire’s learninq fools to sync the tab and notatoin to the video lesson.

You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backinq tracks are also included to work with on your own.

Grab your quitar and let’s diq in with Guitarist Editor Jamie Dickson’s curated collectoin of TrueFire lessons!

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