Guitar riffs are developed from scales. Some guitarists have a "trick bag" of riffs they can use in a pinch. Painting: "Jazzy Guitar" by Debra Hurd.

A riff is a short melodic phrase used as a building block in improvisation. All fields that make use of the art of improvisation make use of the “riff.” There are jazz riffs, country riffs, bluegrass riffs, blues riffs, etc.

Riffs can be played on any type of acoustic or electric guitar. Most players develop signature riffs and use them frequently in their solos. Riffs can be learned from other players, copied from recordings, or invented.

All riffs come from scales. Depending on the musical style, a riff will come from a scale typical of that style. Country music uses the Nashville Pentatonic scale. Blues uses the Blues scale. Jazz often uses the Dorian scale. A riff can be developed and used from any of these scales.

I have never copied a riff from any source to use in my own playing. I have always felt that the riff approach to music tends to produce a predictable solo. Many players however find it beneficial to integrate specific riffs into their playing.

The great jazz guitarist Wes Montgomery wrote and recorded a cute song on his Boss Guitar album called “The Trick Bag.” He told me that this song was a reference to any set of personal riffs that guitarists use over and over in their solos.

Visit Chuck Anderson’s website to join his mailing list and learn about upcoming concerts. Take a look at his CDs and educational materials. And of course, become a Facebook fan!

Montgomery was always said to be a kind-hearted man, and it sounds as if Chuck experienced him this way as well. Knowing that a 16-year-old fan was in the audience, Montgomery spent time time with Chuck, showing him how to play octaves and dispensing advice about guitar study.

Montgomery encouraged Chuck to study guitar with a teacher. In the days when Montgomery was learning guitar and developing his jazz style (the mid-1940s), there were few, if any, teachers focusing on jazz guitar.

Like many musicians then and today, Montgomery couldn’t read music. This was clearly not a source of pride on Montgomery’s part. He encouraged Chuck to study formally, and expressed regret that he hadn’t had the chance to do so.

There is a misconception among many people that music can be self taught. Anything, theoretically, can be self taught. The question is: how far will you get relying only on yourself? For the 98% of us who are not musical prodigies, we will only get so far.

People who say they can’t play music or sing may simply never have had the coaching necessary to do so. If you were surrounded by music and singing in your household as a child, you may feel more comfortable with the concept of playing music, but it doesn’t make those who grew up in non-musical households any less musical.

If we all depended only on the skills – physical, psychological, intellectual, musical, social – that we’d learned or seen in our own homes, most of us would not be successful on many fronts!

Millions of people tune into Dr. Phil to learn how to be better partners or parents; they may be hoping to learn interpersonal skills they never learned or saw at home. Embarking on music study, through a teacher, is a lot like leaving “home” and the comfort of what is familiar. Sometimes, it’s like having your own, personal Dr. Phil!

In my experience, music teachers, accountants, and real estate agents have one thing in common: they must be closet psychologists to do their jobs well. All three require you to be honest with them, and with yourself.

If you’ve been playing the same music, at the same level, for years (or you’ve never played music but want to try), it may be time to leave your comfort zone and find a music teacher.

Note:  Music After 50 is in the process of developing a national directory of music teachers that focus on adult learners. Look for it in early 2010. Bookmark this blog and check back periodically for updates. Please contact us with any questions.

Jazz guitarist Wes Montgomery.

Since the age of 16, I’ve been fascinated by the Jazz Guitar. I can’t tell you why I didn’t want to be a Rock star or the lead guitar player in a famous Rock, Blues or Country band.

Fame held no appeal to me nor did the promise of money. I eventually began to understand what aesthetics were and why creating art was central to my identity.

My first influence was Wes Montgomery. I saw him perform at Pep’s Musical Bar on North Broad Street in Philadelphia when I was a teenager. Not only did I watch and listen to him but I also had the opportunity to meet him. Wes himself taught me his famous octave technique.

He also encouraged me to study guitar and music. He said: “Don’t do what I did. I couldn’t find a teacher in those days. I had to ‘teach’ myself.”

I think his words were significant in my determination to study the guitar and ultimately to teach it.

Octaves is the doubling of melody notes; it creates a unique, rich sound that is fuller than the sound of a single note.

Jazz guitarist Wes Montgomery appeared at Pep’s on Broad Street in Philadelphia when I was 16 years old. After some “negotiations,” my father got the two of us in to hear him. That was my first experience with $1.00 Cokes.

Wes came up to our table, introduced himself (as if necessary) and sat down. He asked if I had any questions, which I did. I asked how he played octaves. He went back to the stage, got his Gibson L5 guitar and brought it over. Putting it in my hands, he showed me how he played octaves. So I learned octaves directly from Wes Montgomery. I still have his picture and autograph in my studio.