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Hailing from northeastern Pennsylvania, Austin Filingo grew up immersed in a wide range of music from classic rock to country to jazz. At age seven he moved to Nashville, TN and began playing guitar. A few years later, at age eleven he competed in a guitar contest at Mars music, placing first in the rock category. From that moment on, his dream was realized and he knew he wanted to pursue music as a career.
In high school, guitar became Austin’s passion as he honed his s... (more)
Austin currently offers 89 guitar lessons at JamPlay, with 89 intermediate lessons.
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Gypsy Jazz guitarist Austin Filingo covers the basics of the Gypsy Jazz and Swing Guitar styles.
Austin Filingo introduces himself and discusses his lesson series on Gypsy Jazz. He gives a general overview of the style and explains what he'll be teaching.
Austin demonstrates some helpful warm-up exercises, including hand stretches and chromatic octaves.
Austin gives a brief overview of the history of the style. He also lists some of the gear out there that can help you get the right sound in both live and studio applications.
Austin discusses picks and proper right hand placement for achieving a gypsy jazz sound. He demonstrates the sound of three different picks, and explains which one is his favorite.
Austin teaches how to play the "la pompe" (Freddie Green in swing circles) rhythm. This accompaniment patter is crucial to playing in the gypsy jazz and swing styles.
Austin discusses and demonstrates a couple of bread and butter chords in the key of G. He covers multiple voicing for the G6, G6/9, D7, and D9 chords.
Austin uses the chord voicings taught in Bread and Butter Chords Part 1 to play over a track.
Austin demonstrates a few more bread and butter chords for us in the context of the tune "Dinah" by Fats Waller. He covers voicings for Em, Em7, B7, A7 and Am7.
Austin takes all the chords from Bread and Butter Chords parts 1-3 and puts them together in the tune "Dinah."
Austin teaches how to use different chord voicings and inversions of chords in the context of the Fats Waller song "Dinah".
Austin teaches various ways to begin and end a performance of "Dinah". These concepts can be applied broadly to other jazz tunes.
Austin Filingo starts digging into the tune "Minor Swing". In this lesson, he breaks down some tried and true voicings that can be used when comping in a Freddie Green or 'Le Pompe' style.
Austin teaches some passing chords and chord substitution principles that can be used in "Minor Swing" and more broadly in this genre.
Austin uses the context of "Minor Swing" to teach various intro and outro ideas to use in the gypsy jazz and swing genres.
Austin teaches the melody to the tune "Dinah".
Austin teaches a collection of drop 2 voicings that are commonly used in jazz.
Austin teaches how to build major and minor triads all over the neck.
Austin expands on the major and minor triads with augmented and diminished formations.
Austin utilizes the triads he's taught in previous lessons to build a few different chord melodies for the tune Dinah.
Austin teaches some soloing concepts for the tune Dinah.
Austin demonstrates and analyzes some soloing concepts for Minor Swing.
Austin builds off of Chord Pools Part 1 and plugs some of the chord voicing into a practical chord solo.
So you want to dip your toes into the sand that is Jazz. The question is, where do you start? Between the chord knowledge, crazy naming conventions, altered and substituted chords, it can feel a little intimidating. Let Austin Filingo demystify the Jazz genre for you by providing a proper foundation to build on. By the end of this course, you'll have practical knowledge of Jazz chord construction, naming conventions, and progressions.
If the Jazz genre has piqued your interest, one of the first steps to becoming a competent player is learning the core progression ideas that are appropriate in the genre. Starting slowly, Austin will provide some insight into chord structure and naming that is prevalent in the genre, then move on to the practical application of common chord progressions. He will touch on common ideas like chord substitutions and alterations without going too deep into the theory side of those concepts. This course is designed for an early to middle intermediate player but will be accessible to late beginners who have a solid grasp of the instrument.
To start off the series, Austin discusses how Jazz chords are built. This basic foundational approach will underpin the series going forward.
Now let's take the chord building concepts from the previous lesson and quiz ourselves to see how well we understand the material.
Now that you understand how Jazz chords are constructed, let's take that concept and apply it to a harmonized major scale.
Let's take the harmonization concepts you learned in the previous lesson and apply them practically, with practice.
We're now entering the world of re-harmonization. In Jazz specifically, it will be common to substitute or "alter" the diatonic harmonized scale for other chord types. Austin goes over the concept of the secondary dominant substitution, what it sounds like and how it's used.
Now let's put our knowledge of secondary dominant chords to the test and quiz ourselves to identify deviations from a harmonized diatonic scale.
Now that you've got some basic concepts and ear training under your belt, let's start by taking a look at one of the most common Jazz chord progressions. Austin will cover the progression and also provide insight into the types of chord grips that are stylistically appropriate.
Now it's time to practice the I VI ii V progression you learned in the previous lesson. You'll practice it at three different tempos.
Now on to the next progression, the minor ii V i. Austin discusses thinking about this progression in terms of a major scale of a different key.
Now let's practice the minor ii V i progression. Once again, you'll practice it at three different tempos.
Next up is a more in-depth progression that is popular in both Jazz and various Pop genres.
Now let's practice the I vi ii V Progression. You'll be practicing it at 60, 90 and 120 beats per minute.
Progressions are now starting to get a little bit more complicated. In lesson 14, Austin shows you the I VI ii V progression.
Now that you understand the construction of the I VI ii V progression, let's practice it at three different tempos.
In lesson 16, Austin is spicing it up further with a progression that uses diminished substitution. He discusses the concept, then breaks down the progression.
Now let's practice the progression you learned in the last lesson.
We're getting more harmonically complicated yet again. Lesson 18 is all about the funky pairings found in the Texas changes.
Now it's your turn to practice the Texas-style changes. Austin will guide you through the track, at three different tempos.
Keeping with the theme of making progressions more complex, Austin offers up a longer progression that makes use of secondary dominant chords. He also discusses this progression as being typical of a bridge section.
Now let's practice the III VI II V progression you learned in the previous lesson.
Like the previous progression you learned the Dominant I IV II V progression is best used in a bridge section and also contains secondary dominant chords.
Now let's practice the I7 IV II V progression you learned in the previous lesson.
Once again you're thinking about a 2-5 progression to a IV chord in this progression. This one is a bit longer and again is increasing in complexity. Austin discusses how the progression works, then shows you how.
Now let's practice the progression you learned in the last lesson. You'll once again practice at three different tempos.
You've made it to the final chord progression of the series! This one is the longest of the progressions taught and unlike most of the other progressions you've learned, this one doesn't start on the tonic.
You've made it to the final practice session of the series. You'll be practicing the progression from the previous lesson with a track at 60, 90 and 120 bpm.
Western Swing is one of the most unique and timeless genres of American music. In this fun and engaging course, veteran guitarist Austin Filingo breaks down the history, techniques and musical conventions that make this style of guitar playing so special. In this course, you'll learn everything you need to know to get into playing Western Swing. Austin covers rhythms, chord voicings, harmonizing melodies, and soloing concepts, and applies these ideas to two full-length original songs. If you've ever wanted to dive deep into Western Swing guitar, look no further - this is the course for you.
Welcome to Austin Filingo's Western Swing Genre Study! In this introduction, we go over the topics the course will cover, some prerequisite knowledge, and expectations for the lessons ahead.
Austin kicks things off with an overview of the history and key players that made Western Swing what it is today.
We get into playing some Western Swing by looking at some common approaches to rhythm guitar parts.
Now that we've got our rhythms worked out, we look at common chord shapes and chord voicings for both major and minor.
Let's break down the chords and arrangement for our first Western Swing song.
Now that we know the first tune, let's look at the chords and form for our second song.
We explore the chord progression of the first song in more detail by learning a variety of useful passing chords to navigate the changes.
Let's apply what we learned about passing chords over the first tune to the second one.
We explore more techniques for making our rhythm playing as dynamic and musical as possible.
Double stops are an integral part of the Western Swing sound. Here, Austin will break down the mechanics and application of this important skill.
Triads can be used to navigate the fretboard more fluidly by connecting triadic runs. In this lesson, we'll discuss how we can incorporate these shapes into our soloing.
Let's move on to some licks inspired by the greats! We'll start off with this Tiny Moore-influenced lick.
Our next lick is inspired by one of the originators of the "fuzz" tone, Junior Bernard.
Let's keep the pedal down with this lick from the genre-defying Jimmy Wyble!
Now let's close out our "licks inspired by the greats" section with this cool series of licks in the style of Western Swing great Eldon Shamblin.
We learn a fully composed melody and harmony part for our first Western Swing track.
Moving on, we learn a full melody and harmony for our second Western Swing song.
Using concepts from throughout the course, we learn a composed solo that works over all the changes of our first Western Swing song.
We apply the same concepts to learn a fully composed solo over the second Western Swing track.
Austin closes out the course with some pointers, tips, and exercises to improve your improvisational vocabulary in a Western Swing context.
The acoustic guitar may seem like a very one-dimensional instrument, but with the correct techniques, it can be expanded to truly become a versatile instrument that provides a wide range of colors, tones, and feels. Let's join Austin Filingo as he breaks down the skills required to unlock your acoustic playing and achieve a new level of versatility!
Austin Filingo introduces us to, 'Acoustic Versatility: Core Skills'!
Let's get underway as Austin discusses the all-important right-hand, which is as important as the left in regards to creating a versatile acoustic sound.
Should we play with a pick or our fingers? The answer is both. In this lesson, Austin will highlight some great hybrid picking techniques with a fun Swing-styled chord progression.
Harmonics can add a layer of finesse to our playing. Here, Austin will cover some techniques to incorporate our right hand into the harmonic mix and expand our knowledge beyond the standard open harmonic positions!
Strength and speed are essential to attributes to versatile playing. In this lesson, Austin presents us with a challenging exercise using a two-octave G-major scale.
A strong left hand can help create clear and confident notes that allow for great embellishments in our playing. Here, Austin shows us a great trilling exercise to help develop our left hand strength!
Open string licks not only sound great, but can also be a great way to traverse the fretboard. Here's a great pedaling horizontal lick that really captures a classic-rock feel.
Now let's cover open-stringed vertical licks with this fun descending lick!
One of the common embelishments that we'll run into are bends. Here, Austin provides us with a bluesy lick that uses bends to cover a lot of real estate on the fretboard!
Capos are one way that we can effortlessly embellish our sound to create unique tones and textures. In this next lesson, Austin will highlight a few different capo positions over a single backing track to create different feels within the song.
It doesn't take much to steer the feeling, color, or melody of a song. In this lesson, Austin highlights a minimalist phrasing technique utilizing very few notes.
Displacing our notes rhythmically throughout a piece can create an interesting ebb and flow in our phrasing. In this next lesson, Austin will highlight this technique over a familiar backing track.
We've all heard the term "in the pocket", but what does that actually mean as a guitarist? Here, Austin covers this topic and provides us with a rhythmic phrasing exercise to help us find and stay in "the pocket"!
It's time to open up the fretboard a bit with this pleasant chording exercise that highlights the I, IV, and V positions!
Let's take our I, IV, and V positional knowledge to the next level with this exercise covering the scales and modes of those positions.
Closing out our section on the I, IV, V, here Austin will help us to relate these chord positions to their accompanying arpeggios!
Arpeggios are a fun and useful trick, but how can we make them musical? In this next lesson, Austin will highlight some of his techniques for creating musical arpeggios!
Bebop Scales can be moved chromatically on the fretboard due to the inclusion of passing tones in the scale. Here, Austin will highlight the use of these scales with a droning chord exercise where we can try our hand at incorporating these useful scales from the Bebop Era of Jazz.
Congratulations! You've arrived at the final lesson of the course! To close things out, Austin will share a great sounding two-string chromatic lick.
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