Jazz and Blues (Guitar Lesson)

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Jane Miller

Jazz and Blues

Jane explains the chord changes used in a 12 bar jazz style blues.

Taught by Jane Miller in Jazz Guitar with Jane seriesLength: 17:30Difficulty: 2.0 of 5

Video Subtitles / Captions


Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

Rod_GRod_G replied

Nice one Jane! Good explanation of how to add the additional colour chords to give the more jazzy feel!

arthur1967arthur1967 replied

if the chord progression is in F, then how is a D dominant 7 #9, G minor 7, C7 a 2,5,1 turnaround ? I get that D dominant 7 #9 is acting like the 5 of G minor 7 (the 2 chord in the progression). But how is C7 ever the 1 chord ? - when the progression is in F ?

Jason.MounceJason.Mounce replied

If you take a look at about 2:50 in scene 3 where Jane is discussing the progression, what she doesn't really elude to is that you have a key change going on. The 2-5-1 in this case is a turnaround to G instead of F where you started. She's doing it that way to voice lead to G.

vinaygideonvinaygideon replied

Hey, Prof. Jane. Loved this lesson & you're a pretty good teacher/scholar. Thank you very much for this precious knowledge.

scottintacoma253scottintacoma253 replied

Wicked chill instructor that has the tone, in her vocal instruction, that brings fear of guitar out of the equation. Thank you!

taalstartaalstar replied

This is so excellent. I am a complete hack but have been fooling with this instrument for 44 years and probably 30 years back discovered moveable 9th and 13th chord forms. Do some of this stuff by ear having discovered it through experimentation. Really think studying these set ups for transitions will be useful. Very interesting and pleasing playing here and I will work on what you have presented.

zehringzehring replied

Jane you play beautifully, I could listen to you all day, However I would like to be able to learn this. i cannot follow your explanations. I am completely lost her.

vinaygideonvinaygideon replied

Have you tried checking out the supplemental lessons? It has all the chord diagrams. Just play your old basic 3 chord blues but add these new jazzy chords & progressions.

nuno coelhonuno coelho replied

First lesson of the series and she already includes Chord extensions, 5-2s everywhere, altered chords and chord substitutions. Is this to scare everyone off? Why not teach these concepts one at a time progressively? Bad introductory lesson...

nuno coelhonuno coelho replied

First lesson of the series and she already includes Chord extensions, 5-2s everywhere, altered chords and chord substitutions. Is this to scare everyone off? Why not teach these concepts one at a time progressively? Bad introductory lesson...

alancomstockalancomstock replied


yadd@67[email protected] replied

Jane, you rock! Learning so much thanx.

BKKSebastianBKKSebastian replied

I am having difficulty with Your explanations. I came across jazz lessons from glen rose on the internet. Yes, it is true that you have great skill, but his explanations bear looking at---they much clearer.

jimmykjimmyk replied

Hi Jane, Are there some "Rules for Functions as", I'm following the question preceding this answer but not this answer. btw your lessons are outstanding, exactly what I've been looking for. The Cm is the ii to the B (which is the fourth in F) the C is the fifth in F but here it functions as the ii in B, the f then functions as the fifth in B, which resolves to the B, which is the fourth in F, which is of course our key. So while the c is the fifth of F, it functions here as the ii ofvthe fourth. So a ii, V, 1, where 1 is the fourth of F. Hope that helps, Many Thanks,

pjorpjor replied

Jane this is fun. But I am really confused about the II-V in measure 6. Why B flat minor to E flat resolving to F. Isn't the II of F a G minor. Therefore why not G minor to C7 to F. I get that B flat to E flat is a II-V but why the resolution to F. You say something about e flat being the flatted 7 of F but I don't get what you mean.

foszterfacefoszterface replied

I'm a bit confused about something she says early on in the 3rd part of this vid, about measure #4: she treats C as a ii chord (and treats it well, I admit) but I thought it was the V chord in the key of F.

meltingmelting replied

The Cm is the ii to the B (which is the fourth in F) the C is the fifth in F but here it functions as the ii in B, the f then functions as the fifth in B, which resolves to the B, which is the fourth in F, which is of course our key. So while the c is the fifth of F, it functions here as the ii ofvthe fourth. So a ii, V, 1, where 1 is the fourth of F. Hope that helps,

rservicerservice replied

Hi Jane - Would you consider it poor form to bar F7(13) and Bb7(13) instead of fingering as per the charts? I have good form on bar codes and I find I gravitate to a bar code formation on those chords. Let me know as I would rather get it right than substitute if in effect, that's what I'm doing. .... Thx. ~ Ron

oldguy39oldguy39 replied

Jane! Finding your lessons has been a dream come true. I'm a 73 Y/O man that has played the guitar since around age 12. I fell in love with Julie London back in the day, but mostley because of Barney Kessle's guitar. I've tried to learn the style but because I've always been self taught it was slow. Then I got sick about ten years ago and wasn't able to play. A couple of weeks ago I dug out my old acoustic and am now starting over. Plan to get a good acoustic electric in a week or so, one that will allow me to fret above the 10th fret I've played in a few bands, I know I will never play in public again, but I'm really enjoying creating music again. Thank you so much for your help, and for the privilage of seeing and hearing you play.

bunkybunky replied

I stopped after this lesson to review the notes names and chord tones. The lessons below were really helpful. http://members.jamplay.com/guitar/phase-2/series/127-6-week-note-memorization-program

bunkybunky replied

The link below is a good review for Chord names. http://en.wikipedia.org/wiki/Chord_names_and_symbols_(popular_music)

bunkybunky replied

Jane, I saw your live lesson today and you inspired me to give Jazz another try. On the first lesson I hit the same problem I always do, the chord names drive me bonkers. For example in the second tab of the supplemental content 6x666x is named Bb-7, I have also seen this in blues as Bm7. When I look at the chord I see the 7th has been lowered and it makes sense, but I dont understand why in Jazz it is called Bb-7. Also x4554x is called Eb7(13) but it is obvously an inversion, so why call it Eb anything.. When I see Eb.... I think Eb base note. Please help me understand why, in jazz, these things are done. It is like there is a secret language for Jazz so only insiders can understand it. I am not just complaining I feel I am missing somthing.

gcharliegcharlie replied

The - is sometimes used as an abbreviation for minor. Without the dash Bb7 is BbDom7. With the dash Bb-7 is minor Bbmin7. I think!

bunkybunky replied


bunkybunky replied

Jane, I saw your live lesson today and you inspired me to give Jazz another try. On the first lesson I hit the same problem I always do, the chord names drive me bonkers. For example in the second tab of the supplemental content 6x666x is named Bb-7, I have also seen this in blues as Bm7. When I look at the chord I see the 7th has been lowered and it makes sense, but I dont understand why in Jazz it is called Bb-7. Also x4554x is called Eb7(13) but it is obvously an inversion, so why call it Eb anything.. When I see Eb.... I think Eb base note. Please help me understand why, in jazz, these things are done. It is like there is a secret language for Jazz so only insiders can understand it. I am not just complaining I feel I am missing somthing.

erikthorerikthor replied

Two questions: 1) would it not be better to list the notes in a b9 chord like Bb7(b9): D Ab Cbb F rather than: D Ab B f since B is a sharp 1, and C is actually the 9? And, you also name chords C7(#11). Why not C7(b5). Is there a theoretical reason for this preference? Thanks,

goodbar ukgoodbar uk replied

Hi Jane, I've bween on JP for almost a year now and only just discovered your lessons, WOW!! it's opened a whole new genre for me. I've had a 25 year break from the Guitar (sad I know) I was following Hawkeye and Michael Maddis as my desire was to learn the blues. I progressed well as I'd reached a good standard all those years ago and was amazed how many things came flooding back, but now I've discovered Jazz thanks to you and it's wonderful. I didn't realise Jazz was so closely related to the blues, and I think your lessons are GREAT!! - Please keep posting them!! Kind regards, Richard, aka Goodbar UK, West Yorkshire UK

adrianabshireadrianabshire replied

I think this (sadly) is too advanced for me - I need more help with the v, vi, vii type stuff... these chords are ok but beyond what I need now. i love your teaching style! I wish you had more 'beginner/int. type tutorials'... maybe you do and I haven't found them yet!

destrilogydestrilogy replied

I feel like at the end of the video when you are playing that amazing thing blues with all those voices, I am completely lost like I'm not sure if I should continue or keep on studying the last part.

mlcopemlcope replied

Very Cool! Thanks

progrmrprogrmr replied

The supplemental content does not match the video. This needs to be fixed - there is no reason a student looking at this video should need to lookup the chords in a separate chord instruction and transpose.

jessestrumjessestrum replied

this is great

thyzelthyzel replied

This is great, its really helping me out with the Jazz thing. :) I really like the chords

wdipaolowdipaolo replied

Thanks Jane - I am really enjoying your series. My question refers to chord selection for the blues. I see you have added 7ths, 9ths and even used ii, vi and vii in different variations. To keep with the 12 bar concept - can you provide some help as to when these chords can be used and substituted?

chrisjoneschrisjones replied

The supplemental content has first position chords but she starts playing up the neck. The roots seem right it's not what she is playing.

chrisjoneschrisjones replied

I made a typo, it's just that the tab shows her playing in first position and the video has her playing up the neck.

nash24nash24 replied

Thanks for helping me find the direction I've been looking for. And I appreciate the way you teach.

andylipscombandylipscomb replied

This is the lesson series I've been waiting for. I have to say, though, that I wish the tabs would occasionally match up with what the instructor is playing. I know that it's part of the learning experience, and particularly part of the jazz experience, to figure things out on your own, but there's a lot of material here that is completely foreign to me. Sometimes I would just like to imitate for awhile until I get the basics down.

elliottdogelliottdog replied

Great lesson! - the first time through a lot of seemingly unanswered questions come up that were actually addressed when I studied it the second time through - such as why a Gmin works in the 7th bar (ii-V-I) in the jazzier version when a C7 is the standard 7th bar cord in the 12 bar blues in F.

elliottdogelliottdog replied

I guess watching it three times through is needed - the ii-V (Gmin C7) replaces the V-IV in the 9th and 10th bars, not the 7th and 8th.

mattbrownmattbrown replied

Over the next several days, I'll be working on transcribing a few choruses of of Jane's blues comping. Hopefully, that will help your understanding of how all of the voicings can be used. Also, I'll add some written information under the "Info" tab explaining concepts such as the ii chord substitution, the tritone substitution, the ii-V turnaround, the I VI ii V "turnback" turnaround, and other important ideas presented in this lesson. Stay tuned!

andylipscombandylipscomb replied

Thanks, Matt. The new tabs you've added are a great help.

Jane.MillerJane.Miller replied

I'll be adding my take on all of this in the next day or two as well. Thanks.

Jane.MillerJane.Miller replied

hi, thanks for your comment. If you play the chords as shown on the 2 pages of the notation (shown as pdf in supplemental content) then you will have played the chords that I played. They will not, as you noticed, be in the same order, but they will for sure all be there. I wrote out diagrams for a few times around the 12-bar form, giving a lot of room for some freedom. If it's easier to look at the page and memorize what's there first, then do that, and then come back to the video. I promise you will then see the chords go by as I play them. I agree with you that it is better in jazz to figure things out, in the spirit of spontaneity. I like to think of comping as I think of improvising: learn to use the language "in the moment" as you play, similar to having a conversation with someone and using familiar phrases without reading a prepared speech over and over again. Hope this helps. It really is all there for you to use in your own way.

andylipscombandylipscomb replied

Thanks for the reply, Jane. I've started clawing my way through the supplementals. I can play the third version with the metronome if the metronome is on 10. I'll come back to the video when I get up to 12 or so. Ah, the pain. Who needs talent when you've got masochism? All BS aside, I really am looking forward to your series.

aquariartyaquariarty replied

I love jazz guitar. Listening to you play is a joy and I would love to play just a fraction as well as you. However I was hoping this course of lessons would start off in a more simple way and gradually build up to the complicated chords and improvisations as the lessons went along. I'm afraid to say for me it's a bit like being thrown in at the deep end, and I'm a bit disappointed. This is no reflection whatsoever on you as a tutor, and I'm sure advanced players on the site will enjoy it.

aquiguillermoaquiguillermo replied

Hands on that. Enjoying your lesson Jane !!Thanks.

clifford wrightclifford wright replied

Thanks for a great lesson. Would it be possible to indicate how you finger the different chords. Sometimes I can't find the exact ones you use on the chord chart. For many of us these chords are new and unfamiliar. Many thanks.

gotatelegotatele replied

great to have you here Jane, looking forward to regaining some of my traditional jazz chops, in my opinion you are a tremendous addition here. cant wait to see the charts when matt posts them and hope we cover some standards as well as blues

ramedyramedy replied

Thx all! It's great to see such quick response to our questions. The folks at JamPlay are impressive!!!

ramedyramedy replied

Jane, there is nothing in the "Supplemental Content" folder! I was looking for those chords that you mentioned. Really cool lesson! Like the progressions used!

Jason.MounceJason.Mounce replied

Where possible we try to have the supplemental content up with the lesson. It's not always possible depending on the instructor however. They will be posted as soon as Jane provides the content for us to post.

mattbrownmattbrown replied

I'll be adding all of the chord charts over the next week or so. I'm not sure when Jane is planning on adding the tabs.

eitanprouserepiceitanprouserepic replied

i cant wait to be playing like that. i wanna be able to playajazz sooo bad

CarolLBCarolLB replied

It takes a bit of time for the good people of Jamplay get the Supplemental up. No worries, they'll be there soon.

leon126leon126 replied

Great lesson Jane. I only can't find the supplemental content.

Jazz Guitar with Jane

Found in our Beginner Lesson Sets

In this lesson series, you will be exploring the world of Jazz guitar with Jane Miller.

Interview with Jane MillerLesson 1

Interview with Jane Miller

This exciting interview takes a close look at the playing and teaching of Jane Miller. Learn about her influences, some jazz recommendations, and her musical experience.

Length: 43:05 Difficulty: 0.5 Members Only
Introductory LessonLesson 2

Introductory Lesson

Jane Miller talks about her new jazz series and provides a couple quick tips to get you started.

Length: 9:03 Difficulty: 1.0 Members Only
Hand Warm-upsLesson 3

Hand Warm-ups

Jane Miller explains the importance of hand stretches and warm-up exercises.

Length: 4:06 Difficulty: 0.5 Members Only
Jazz and BluesLesson 4

Jazz and Blues

Jane explains the chord changes used in a 12 bar jazz style blues.

Length: 17:30 Difficulty: 2.0 Members Only
Soloing Over the BluesLesson 5

Soloing Over the Blues

Jane Miller shares some fun ideas about soloing over a 12 bar blues.

Length: 22:08 Difficulty: 2.0 Members Only
The ii-V-I ProgressionLesson 6

The ii-V-I Progression

Jane talks more about the ii-V-I progression and how to work it into your jazz playing.

Length: 7:25 Difficulty: 1.5 Members Only
Tensions on ChordsLesson 7

Tensions on Chords

Jane Miller shares some valuable thoughts regarding chord tensions.

Length: 20:10 Difficulty: 2.5 Members Only
Melodic Minor ScalesLesson 8

Melodic Minor Scales

Jane provides an introductory lesson on the melodic minor scale.

Length: 2:44 Difficulty: 2.0 Members Only
Melodic Minor Scales ApplicationLesson 9

Melodic Minor Scales Application

Jane explains how the melodic minor scale and its corresponding modes are used in jazz melodies.

Length: 18:09 Difficulty: 3.0 Members Only
Movable Chord FormsLesson 10

Movable Chord Forms

Jane takes a look at movable chord forms played on the treble strings.

Length: 20:39 Difficulty: 2.5 Members Only
Movable Chord Forms ContinuedLesson 11

Movable Chord Forms Continued

Jane Miller expands on her discussion of movable chord forms and how they apply to jazz.

Length: 19:18 Difficulty: 2.5 Members Only
Groove & RhythmLesson 12

Groove & Rhythm

Jane Miller shares a wonderful lesson about the importance of rhythm.

Length: 7:58 Difficulty: 2.5 Members Only
Rhythm Part 2Lesson 13

Rhythm Part 2

Jane Miller explores more rhythm and groove with another lesson using the metronome.

Length: 7:40 Difficulty: 2.0 Members Only
Rhythm Part 3Lesson 14

Rhythm Part 3

Jane Miller continues her discussion on rhythm and using a metronome.

Length: 6:15 Difficulty: 2.0 Members Only
Daily PracticeLesson 15

Daily Practice

Jane Miller concludes her discussion on metronomes and forming daily practice routines.

Length: 10:27 Difficulty: 2.0 Members Only
Right Hand TechniquesLesson 16

Right Hand Techniques

Jane Miller dives into her first lesson on right hand techniques.

Length: 3:58 Difficulty: 2.0 Members Only
Right Hand Part 2Lesson 17

Right Hand Part 2

Jane Miller dives right into part 2 of her Right Hand Techniques mini-series.

Length: 5:00 Difficulty: 2.0 Members Only
Right Hand Part 3Lesson 18

Right Hand Part 3

Jane Miller talks about fingerstyle playing exclusively in the third installment of Right Hand Techniques.

Length: 18:05 Difficulty: 2.5 Members Only
Drop 2 VoicingsLesson 19

Drop 2 Voicings

Jane Miller explores drop 2 voicings in this lesson.

Length: 18:06 Difficulty: 2.5 Members Only
Bargain ChordLesson 20

Bargain Chord

Jane Miller talks about a "bargain chord" in this lesson. Learn what a bargain chord is and how it can be applied to your playing.

Length: 15:35 Difficulty: 2.5 Members Only
Chord SolosLesson 21

Chord Solos

Jane Miller talks about chord solos in part one of this fascinating mini-series.

Length: 18:43 Difficulty: 2.5 FREE
Chord Solos Part 2Lesson 22

Chord Solos Part 2

Jane Miller explores another aspect of chord solos in part two of this fun topic.

Length: 6:27 Difficulty: 2.5 Members Only
Chord Solos Part 3Lesson 23

Chord Solos Part 3

Jane Miller concludes her discussion on chord solos.

Length: 13:59 Difficulty: 2.5 Members Only
Latin GroovesLesson 24

Latin Grooves

Jane Miller explores some common Latin vamps in this lesson.

Length: 10:49 Difficulty: 2.5 Members Only
Repertoire PracticeLesson 25

Repertoire Practice

Jane Miller shares her insights on the topic of practice versus repertoire practice.

Length: 7:39 Difficulty: 0.5 Members Only
Song Demonstrations: Bedtime StoryLesson 26

Song Demonstrations: Bedtime Story

Jane Miller plays an original song called "Bedtime Story" that showcases techniques discussed in earlier lessons such as the use of open strings and Bossa Nova comping.

Length: 4:19 Difficulty: 1.0 Members Only
Song Demonstrations: Free Alongside ShipLesson 27

Song Demonstrations: Free Alongside Ship

Jane demonstrates another original song called "Free Alongside Ship" that uses techniques learned in previous lessons.

Length: 3:00 Difficulty: 1.0 Members Only
The Other RoomLesson 28

The Other Room

Jane Miller shares an original tuned called "The Other Room." Similar to songs taught in the past few lessons, "The Other Room" showcases techniques that Jane taught earlier in the series. See if you can...

Length: 4:55 Difficulty: 2.0 Members Only
Diminished Chords & ScalesLesson 29

Diminished Chords & Scales

Jane Miller takes a look at diminished chords in this lesson. She also touches on diminished scales and their relationship with diminished and dominant chords.

Length: 11:36 Difficulty: 2.5 Members Only
Diminished Chords: InversionsLesson 30

Diminished Chords: Inversions

Jane Miller continues her discussion on diminished chords. In this lesson, she touches on their inversions and how they can be used in chord progressions.

Length: 11:43 Difficulty: 2.5 Members Only
Diminished ScalesLesson 31

Diminished Scales

Jane Miller changes gears and talks about diminished scales that go along with the diminished chords you learned.

Length: 12:48 Difficulty: 3.0 Members Only
SubstitutionsLesson 32


Jane Miller touches on making diminished 7th chords a substitution for dominant 7th chords.

Length: 15:38 Difficulty: 3.0 Members Only
Diminished Scales ContinuedLesson 33

Diminished Scales Continued

Jane Miller returns to the subject of diminished scales. This time she explains how they fit in with the chord substitutions you learned about in the last lesson.

Length: 14:28 Difficulty: 2.5 Members Only
ArpeggiosLesson 34


Jane Miller starts explaining arpeggios. In continuation of the last couple of lessons, she starts with diminished 7th chord arpeggios.

Length: 10:07 Difficulty: 2.5 Members Only
Arpeggios Part 2Lesson 35

Arpeggios Part 2

Jane Miller continues her discussion on arpeggios in this lesson. This time around, she focuses on major 7th chord arpeggios.

Length: 9:42 Difficulty: 2.5 Members Only
Arpeggios Part 3Lesson 36

Arpeggios Part 3

In continuation of her last lesson, Jane Miller discusses another use for major 7th arpeggios.

Length: 8:50 Difficulty: 2.5 Members Only
Arpeggios Part 4Lesson 37

Arpeggios Part 4

Jane Miller gives a few more examples of using major 7th arpeggios against minor chords and explains how you can better incorporate them into your playing.

Length: 14:45 Difficulty: 2.5 Members Only
Major 6th ChordsLesson 38

Major 6th Chords

In this lesson, Jane Miller talks about major 6th chords and their relationship with minor 7th chords.

Length: 8:35 Difficulty: 2.5 Members Only
Scales & PatternsLesson 39

Scales & Patterns

Jane Miller talks about scales & patterns in this lesson. She addresses some popular questions including how to improve the melodic element of your improvisation.

Length: 10:10 Difficulty: 2.5 Members Only
Scales & Patterns Part 2Lesson 40

Scales & Patterns Part 2

Jane Miller revisits her last lesson and explains how to apply major scales.

Length: 7:24 Difficulty: 2.5 Members Only
Scales & Patterns Part 3Lesson 41

Scales & Patterns Part 3

Jane Miller continues her lessons about scales & patterns with a discussion on the pentatonic scale.

Length: 14:43 Difficulty: 2.5 Members Only
Scales & Patterns Part 4Lesson 42

Scales & Patterns Part 4

Jane Miller continues her discussion of the pentatonic scale and its patterns. She talks about how to start applying some of the lines you learned in the previous lesson.

Length: 13:36 Difficulty: 2.5 Members Only
The Whole Tone ScaleLesson 43

The Whole Tone Scale

Jane Miller talks about the whole tone scale. This scale consists entirely of whole steps.

Length: 13:41 Difficulty: 2.5 Members Only
The Chromatic ScaleLesson 44

The Chromatic Scale

Now that you've learned all about the diminished and whole tone scales, Jane Miller discusses the chromatic scale.

Length: 9:21 Difficulty: 2.5 Members Only
Chromatic Scale Part 2Lesson 45

Chromatic Scale Part 2

Jane Miller continues her discussion of the chromatic scale with a great exercise to help you practice dynamics.

Length: 6:58 Difficulty: 2.5 Members Only
Dynamics & ImprovisingLesson 46

Dynamics & Improvising

Jane Miller continues her discussion on dynamics in this lesson. She invites you to think about volume as a way to add feeling or catch attention while improvising.

Length: 7:01 Difficulty: 2.0 Members Only
Bass LinesLesson 47

Bass Lines

Jane Miller discusses bass lines in this lesson. She begins by explaining how you can get a bass line going by itself first. Then, she explains how to add in chord voicings.

Length: 15:53 Difficulty: 2.5 Members Only
Upper Structure TriadsLesson 48

Upper Structure Triads

Jane Miller begins a discussion on upper structure triads. In this lesson, Jane refers to the top part of a major 7th chord as well as added tensions.

Length: 12:37 Difficulty: 2.5 Members Only
Upper Structure Triads Part 2Lesson 49

Upper Structure Triads Part 2

Jane Miller continues her discussion of upper structure triads.

Length: 15:14 Difficulty: 2.5 Members Only
Upper Structure Triads Part 3Lesson 50

Upper Structure Triads Part 3

Jane Miller picks up where she left off in her last lesson and shares a great technique that will provide you with some new comping options.

Length: 4:58 Difficulty: 2.0 Members Only
Upper Structure Triads Part 4Lesson 51

Upper Structure Triads Part 4

Jane Miller concludes her discussion of upper structure triads. In this lesson, she helps you turn the E minor triad you have been using into a G major triad.

Length: 9:29 Difficulty: 2.5 Members Only
Lydian ModeLesson 52

Lydian Mode

Jane Miller changes gears and focuses on the E Lydian mode in this lesson.

Length: 13:31 Difficulty: 2.5 Members Only
You Are Many ThingsLesson 53

You Are Many Things

For the next portion of her Jazz series, Jane focuses on a tune called "You Are Many Things". She uses this song as a vehicle to talk about playing jazz melodies, chord comping, playing solo arrangements...

Length: 28:17 Difficulty: 2.5 Members Only
The MelodyLesson 54

The Melody

In this lesson, Jane talks about playing the melody for "You Are Many Things." This includes a play along segment.

Length: 9:25 Difficulty: 3.0 Members Only
Jazz CompingLesson 55

Jazz Comping

Jane Miller gives some advice on comping in the context of a jazz standard. The tune "You Are Many Things" is once again used as an example.

Length: 21:34 Difficulty: 3.0 Members Only
Advanced CompingLesson 56

Advanced Comping

Jane talks about advanced comping techniques for the song "You Are Many Things." By the end of this lesson you will be able to add an implied melody while comping.

Length: 20:40 Difficulty: 3.0 Members Only
Jazz RhythmLesson 57

Jazz Rhythm

Jane Miller provides some tips on comping with a swing feel.

Length: 14:11 Difficulty: 3.0 Members Only
Jazz Bass Lines Lesson 58

Jazz Bass Lines

In this lesson, Jane talks about applying a bass line to the tune "You Are Many Things".

Length: 16:24 Difficulty: 3.0 Members Only
Chords and Bass Line TogetherLesson 59

Chords and Bass Line Together

Jane demonstrates how to play the chords and bass line for "You Are Many Things" at the same time.

Length: 13:28 Difficulty: 3.0 Members Only
Time SignaturesLesson 60

Time Signatures

Jane Miller talks about putting a song in a different time signature when creating your own arrangement. She continues using "You are Many Things" as an example.

Length: 17:54 Difficulty: 3.0 Members Only
Chord SoloLesson 61

Chord Solo

Jane Miller continues "You are Many Things" with a lesson about putting the chords and melody together.

Length: 20:02 Difficulty: 3.0 Members Only
Chord Solo Part 2Lesson 62

Chord Solo Part 2

Jane Miller continues her discussion on the chord solo for "You are Many Things."

Length: 23:15 Difficulty: 2.5 Members Only
ImprovisingLesson 63


Jane Miller continues using the song "You Are Many Things" for a lesson on improvising.

Length: 14:24 Difficulty: 2.5 Members Only
Playing from a Lead SheetLesson 64

Playing from a Lead Sheet

Jane Miller talks about playing from a lead sheet by using the song "You Are Many Things" as an example.

Length: 24:11 Difficulty: 2.5 Members Only
Playing with Backing TracksLesson 65

Playing with Backing Tracks

Jane Miller tries out different aspects of the tune "You Are Many Things" against a bass track.

Length: 8:46 Difficulty: 2.0 Members Only
Playing with Backing Tracks Part 2Lesson 66

Playing with Backing Tracks Part 2

In her newest lesson, Jane Miller plays against a comping backing track. This is a great track to practice your bass line and melody over.

Length: 8:29 Difficulty: 2.0 Members Only
Playing with Backing Tracks Part 3Lesson 67

Playing with Backing Tracks Part 3

In part three, Jane Miller plays against a backing track that has both bass and comping together.

Length: 10:44 Difficulty: 2.5 Members Only
Playing with Backing Tracks Part 4Lesson 68

Playing with Backing Tracks Part 4

Jane Miller is back with another "You are Many Things" backing track lesson. This time she plays against a track with just the melody.

Length: 11:51 Difficulty: 2.5 Members Only
Playing with Backing Tracks Part 5Lesson 69

Playing with Backing Tracks Part 5

In her newest lesson, Jane Miller explains what it means to trade fours and plays against another backing track for practice.

Length: 16:09 Difficulty: 2.5 Members Only
Playing with Backing Tracks Part 6Lesson 70

Playing with Backing Tracks Part 6

In Jane Miller's final lesson on playing against a backing track, she talks about the idea of leaving space. You will learn how limiting yourself will help you be more concise in your playing.

Length: 13:17 Difficulty: 3.0 Members Only
Jane Miller

About Jane Miller View Full Biography Guitarist, composer, arranger, and Berklee Associate Professor, Jane Miller has roots in both Jazz and Folk circuits. In addition to leading her own jazz instrumental quartet, she is in a working Chamber Jazz Trio with saxophonist Cercie Miller and bassist David Clark, for which she contributes many compositions. She has been a frequent guitarist with singer-songwriter SONiA, of disappear fear.

Jane is a contributing writer to Acoustic Guitar Magazine, writing lessons for the popular intermediate column, The Woodshed. She also writes a monthly column for Premiere Guitar Magazine called the Jazz Box . She has contributed several lesson columns for the Mel Bay publishing company’s on-line magazine, Guitar Sessions.

The Jane Miller Group has released three CDs on Jane’s label, Pink Bubble Records; all three received national radio play and press. She has performed solo and in duo and group settings regionally and around the country at clubs, festivals, and concerts as well as live TV and Radio appearances in New England.

Since joining the faculty in 1994 at Berklee College of Music in Boston, Jane has contributed many arrangements for solo guitar to the Guitar Department library, and has performed solo recitals and concerts with her group in the Berklee Performance Center and Recital Halls.

The Jane Miller Group "The Other Room" (2000)
The Jane Miller Trio "Secret Pockets" with guests Jay Ashby and Bill O'Connell (1998)
The Jane Miller Group "Postcard" with guests Patty Larkin, Mick Goodrick, Mili Bermejo and Ken LaRoche (1993) SONiA "Me, Too" (1998)

Regattabar, Scullers, The Berklee Performance Center,The Firehouse, The Iron Horse, Club Passim, The Acton Jazz Cafe, The Hatch Shell, First Nights in Boston, Hartford, and Worcester, NOW Summit in Washington, D.C., Pride Festivals in San Diego, Baltimore, and Worcester, Susquehanna Music and Arts Festival, MD, Capital Region Guitar Show, Saratoga Springs, NY.

TV and Radio
Live appearances throughout New England, including WGBH-FM, WICN-FM. Composed and recorded theme music for "Barbara...and You," for Leominster Cablevision, as well as other jingles and themes. Former Jazz Coordinator for WCUW-FM, Worcester, MA.

Arts Lottery Grant recipient, award given to worthy artists and composers funded by Massachusetts Arts Lottery.

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