I know that chromaticisms don't modulate, I'm just saying I dig the colorization and at the same time it only serves to confuse me in figuring the music out. Personally I don't mind the chords and lack of melody in the parts you're refering to, it lends itself to a particular style, I figured he was doing something with spelling out a melody within those chord voicings, but I don't know.
I think I keep refering to this being jazzy because the style is so new to me and it is precisely because I am so used to conventional metal or classical. Classical, especially "classical guitar" can really rely heavily on conventional triads, especially some Phrygian cadences. So many years I've been into learning some Tarrega, I've gotten the ear for it but never observed the theory. So that's my pickle. I'm only used to playing things mindlessly and am completely lost in jazz. This is because music hasn't always been the center of my attention, at the moment it is, and I'm trying to absorb everything I can.
At the same time it's not entirely foreign, now that I think about it it reminds me a bit of Tommy Emmanuel. But again, I've never sat down and analyzed his music before, although I will now probably. I should also stress that this is entirely because I fully endeavor to be able to write as well, this is why I'm stressing the analysis part, to familiarize myself with these styles I've never dabbled in before.
As an afterthought, I think this comes off as comping to me, which to my undeveloped ear always comes off as jazzy if too many sevenths or nonconventional chords are used, especially chromatic notes if done in some non-Chopin sort of way, more in a jazzy or blues way.
Originally Posted by SchecterWhore
A few observations:
• Too much reverb.
• Mostly triads. A respectable number of sevenths, rarely an extension.
• Form is repeated binary. ABAB'
• The music is decidedly in one key at a given time. Chromaticism and tonicization do not automatically result in modulation or harmonic ambiguity.
• Where the .... is the melody?! He relies too heavily on the chord changes.
I don't like compartmentalizing music into genres, but this doesn't resemble the accepted iterations of jazz. There are some ideas that are stylistic of the blues (particularly in the B section), but I think it is better that you accept the music for what it is: solo guitar music.
You might be drawn to the "jazz" definition because of Javier's use of fingerpicking and voice leading, but this is really just using the guitar as a polyphonic instrument. I hear a lot of common practice ideas, such as the V7 I cadence, and while that's common to a lot of styles of music (jazz included), the cadential pattern sounds very classical. If you want to be doing this sort of thing, I recommend taking classical guitar lessons or buying a classical guitar method book. One additional thought: the style reminds me of some of Steve Howe's work with Yes.