Author Archives: jens

Herbie Hancock – This is What Modal Jazz Really is

When You think about Modal Jazz then usually you think about playing on one chord or vamp using the same sound all the time. That is not how Herbie Hancock approaches it in this solo on the Wayne Shorter song Witchhunt off the Speak No Evil album. This Herbie Hancock Lesson breaks down a lot of great surprising rhythms and melodies, moving in and out of the tonality, and adding some Atonal Chromatic ideas as well.

To me, this is one of the greatest Herbie Solos I know, and also a fantastic example of how to play medium swing and play some fantastic rhythmical ideas.

Content:

0:00 Intro

0:09 The Ultimate Modal Solo

0:40 Speak No Evil – 1964

1:14 Four & More + My Funny Valentine

1:20 Example #1

1:32 Shifting Sus4 motifs

2:02 Breaking Down the melodies

2:12 Quartal Arpeggios and Modal Jazz

3:19 Example #1 Slow

3:33 Build up of the phrases

3:56 Witchhunt Analysis – a Minor Blues

4:36 Example #2

4:42 Slow Progressions – Modal

5:22 Super-imposed Altered dom7th

6:23 Example #2 Slow

6:30 Example #3

6:37 Chromatic Melodies – Leading notes

7:10 Chromatic Melodies – Atonal ideas

8:21 Example #3 Slow

8:43 Example #4

8:50 Back to Jazz! Tonal Minor

9:12 Medium Swing? The most difficult tempo in Jazz?

10:14 Example #4 Slow

10:25 Like The Video? Check out My Patreon Page!

Check out one of my other Herbie Hancock Lessons:

The amount of notes and colors that you can add to chords on the piano is always making guitar players jealous. But in this Herbie Hancock Guitar Lesson, I am going to take the Herbie Hancock Voicing for an m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors.

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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The 3 Things You Need To Add To A Lick To Make It Sound Like Jazz

What are the key ingredients of a Jazz Lick? What do you need to figure out to get something to sound more like Jazz?

In this video, I am going to start with a simple Pentatonic lick and then gradually add things to it to make it sound like a Jazz or Bebop line. This is useful if you want to experiment with adding some jazz ideas to your playing or if you want to check out how good you are at using some of the key Jazz Skills.

The Lick

Here’s a simple lick over a Dm7 chord using a very basic Dm pentatonic scale.
It doesn’t sound wrong, but it is also not really there as a jazz lick.

The lick is using the basic Dm pentatonic scale box 1:

#1 Arpeggios

In Jazz, and especially Bebop, the melody follows the chord progression. One way of doing that is to use the arpeggio of the chord.
When you start to work with this it quickly becomes a lot easier not to think too much in Pentatonic scales, but more in 7 note scales. In this case, I am going to use a C major scale for my D minor chord.

We are playing over a Dm7 chord so we can use that arpeggio (play the Dm7 arpeggio) and another great arpeggio is the one from the 3rd of the chord. The 3rd of Dm7 is F and the arpeggio we have there is an Fmaj7.

If we add the arpeggio then we have a lick that could sound like this:

Practicing Arpeggios

When you want to use arpeggios in your lines it is a good idea to learn them in the scale that you are playing. For this Dm7 I am using a C major scale:

And then practicing the diatonic arpeggios in that scale will be this exercise:

Chromaticism

Another very typical Jazz thing is to use chromatic notes. You use chromatic notes that are either between two scale notes, these are called passing notes.  (play the E. Eb D fragment)
Another option is a short melody that points towards a target note. These are called enclosures. (play the enclosure

If we add those to the line then we have this :

Practicing Chromaticism and Chromatic Enclosures

There are two main ways of working with Chromaticism in lines like this one. In general, there are two types: diatonic passing notes and chromatic enclosure. Most of the time you use both types to target chord tones.

Chromatic Passing notes.

In the exercise below Iam playing diatonic approach notes to the chord tones of the Dm triad. It is a simple way to practice using leading or passing notes.

Chromatic Enclosures

Another, slightly more complicated, way to use chromaticism is to make enclosures. An Enclosure is a small melody that targets a note. Again, I am using this to target chord tones of the Dm triad.

#3 Rhythm – What Jazz Is Really About!

I think The most important part of Jazz is actually rhythm. There are many things to get right about the rhythm, but one thing to work on is to add some upbeats and upbeat accents to the melodies you play.

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This Is The Exercise That Shows If You Are A Beginner

There is one exercise that you want to do to develop a lot of essential skills for playing jazz guitar. A way of practicing where you use and develop both musical and technical skills in your playing in a way that really internalizes them and helps you make music. Be warned: It is a Metronome Exercise!

In this video, I am going to explain why you should practice with the metronome on 2 & 4 and go over all the things you train in doing so: Timing, Ear-training, swing-feel, and playing changes

Content:

0:00 Intro

0:40 Practicing Songs The Right Way

1:19 Internalizing – It’s more than just timing

1:51 #1 Develop Your Internal Time Feel

2:46 #2 Develop your Swing Feel

3:00 Ear-training for Groove

3:33 Example – Just in Time

4:05 Example – Hearing A Groove

4:33 #3  Hear the harmony and the form of a song

5:00 Hearing the Harmony of a Blues

5:33 Getting Started With Metronome Practice

5:59 #4  Play clearer lines that spell out the changes

6:17 Why You Need To Spell Out The Changes

6:30 Blues In C – Hearing The Changes

7:19 Do You Practice with A Metronome?

7:38 Like The Video? Check out my Patreon Page

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Joe Henderson – Why He Is One of the Big 3

Joe Henderson is one of the three most influential tenor players to help shape modern Jazz in the ’60s. You probably know him from Blue Bossa and Inner Urge, but his impact on Jazz both as a composer and improviser is huge. And he is a fantastic improviser as I will show you in this video.

The solo I am using here is a later solo, but it is a great demonstration of how much Joe Henderson can do with a very simple beginners standard like Billy Strayhorn’s Take The A-train.

The song is performed as a duo with drummer Gregory Hutchinson, it is from an album with only Billy Strayhorn songs, and A-train is a great vehicle to demonstrate a few of the things that are really fantastic about Joe Hendersons playing!

Content:

0:00 Intro

0:27 Solo on Take The A Train

0:45 The Big 3: John Coltrane, Wayne Shorter and Joe Henderson!

1:05 Example #1

1:13 Subtle Motifs

2:04 Reharmonizing The A train

2:56 Example #1 Slow

3:07 Example #2

3:12 Rhythm as Tension Release

3:26 Michael Brecker Pedal Point

4:07 Pedal Point Abm7 line in A train

4:21 Example #2 Slow

4:29 Example #3

4:34 Dom7th(b5) arpeggios

4:44 Pedal Points

5:16 Example #3 Slow

5:22 Example #4

5:31 16th note Sequences

6:19 Lines with a Large Range

7:07 Example #4

7:19 Like the video? Check Out My Patreon Page!

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Jazz Chords – The 3 Levels You Need To Know

In this video I am to cover some different types of Jazz Chords and talk about the order you should learn them. I’ll show you the basic idea with the chords and how you can use this order to gradually build a chord vocabulary that you can also make music with.

I don’t focus on the types of voicings, like drop2 drop3, etc. because they are just names, it is more important to chords you can play music with.

Level 1 – A Set For Playing Music and Songs

To play songs and easily find the chords we need one set with the root on the 5th and one set with the root on the 6th string. This is shown in the example here below:

If you are used to finding chords in other genres this is probably how you think about it.
These chords are basic chord sounds, not too many extensions. 

  • They are Easy to play.
  • Similar to the bar chords you already know
  • Include the root – full picture of the harmony
  • A Complete set of chords

Why start with these:

  • You can play the song alone and hear the harmony. 
  • Works well in a duo
  • Easy to add extensions and develop
  • Easy to turn into very flexible rootless voicings

Level 2 – Rootless voicings for Bands and Flexibility

Now you can play the chords and to get some more options then the best place to go is to just take the chords from Level 1 and then remove the lowest note: The Root.
The essential exercise is this:

We can now start making the chords more flexible and add melody by changing the top note and even adding an extra higher note as shown below in example 3 for a C7.

Why:

  • Works better in a band
  • Is much more flexible
  • You can play melodic ideas with the chords

Level 3 – Inversions and more melodic options

Now we can start working on inversions, and a good place to start is to take these voicings that we come across while adding notes to the 3-note chords.

The idea of a chord inversion is really just to find the same notes in another order on the neck. The chords we have are called drop2 voicings, and I go over how to make the inversions in the Drop2 lessons in this guide: How To Learn Jazz Chords

If I take the four basic chords and play those inversions then I have this:

How To Learn Using These Chords

Whenever you practice something like this it is very important that you also practice using it in songs. Learning a lot of stuff that you don’t use in music is usually a waste of time and you just forget it again.

Check out some more in ideas with Drop 2 voicings

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How To Get The Most Out Of Transcribing

The amount of improvement you can book by transcribing guitar solos or Jazz Solos and learning to play them is quite amazing. In this video, I am going to talk about how you can use the solos you transcribe to improve your Phrasing, Learn New Vocabulary, Connect your phrases and add a better build up to your solo.

Making your own transcriptions is a huge part of learning jazz, but often it is not so much about writing down the solo and a lot more about playing them and figuring them out by ear!

Content:

0:00 Intro

0:27 Transcribing – What You Learn

0:47 Transcribing – Do You Write It Down?

1:12 It depends on the focus and what you want to learn

1:44 #1 Learn To Play The Solo With The Recording

1:55 Phrasing!

2:27 How To Start Sounding Like Jazz, not Just Notes

2:39 Smart Phone – Swing Feel! 🙁

3:15 Are These the biggest benefits?

3:27 #2 Learn New Vocabulary – Analyze The lines

4:01 Analyzing Lines and Melodies

4:53 #3 Analyze the Phrases

5:09 Zoom Out – Understand the Phrases

5:23 Wes Montgomery Example

6:47 A General Thing for Wes Solos that we miss

7:38 #4 Analyze the Form of The Solo

7:48 Zoom out (More)

8:05 The Form Of The Solo

8:16 Wes as an Example

8:37 Other things used in a larger form9:18 Like The Video? Check out My Patreon Page

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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How To Stop Just Playing Scales In Your Jazz Solos

You don’t want to only play scales in your solos. Melodies like that are by far too predictable and get boring very very fast. But what can you play instead of scales? You need to check out some other melodic ideas and concepts that you can use. In this guitar lesson, I am going to take a look at how some great players change construct their lines and add some melodies that are more surprising and interesting to listen to.

Wasting time on licks?

With the licks in this lesson you also have to think about how you work with and learn licks.

Are You Wasting Valuable Time Practicing Jazz Licks Like This?

Content:

0:00 Intro

0:18 Examples of Great Lines

0:44 Example #1 – Charlie Parker’s Octave Displacement

0:46 Charlie Parker Nailing The Changes

2:09 Honeysuckle Rose Lick

2:28 Example #1 Slow

2:32 Example #2 – Moreno’s Shell-Voicings

2:35 Interval Structures with Large Intervals

4:01 Example #2 Slow

4:05 Example #3 – Lage Lund – Spread Triads

4:07 How To Use Use Open-Voiced Arpeggios

4:58 Example #3 Slow

5:02 Example #4 – Michael Brecker’s Super Double Time!

5:06 How To add more chords and use that as building blocks

6:21 The Reharmonization

6:38 Example #4 Slow

6:55 Example #5 – Allan Holdsworths Quartal Arpeggio

6:58 Learning from Allan Holdsworth

7:53 Example #5 Slow

7:56 Like the video? Check out My Patreon Page

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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The Best Way To Use Lydian and 5 Musical Ideas

You should have the Lydian Mode or Lydian Scale in your vocabulary. It is a beautiful and great sound that you can work into your guitar playing in a musical way as a great extra color.

When we think of Lydian then it is only about the #4 or #11 and you can’t make great melodies with just one note, so in this video, I am going over how to 5 ways you can make some great Lydian melodies and add those to your playing. That way you can really get started working on using The Lydian sound like a great extra color in your guitar solos

The Lydian Mode is often what I hear beginners say that they use because they think it sounds great to say that and actually they are just looking for a scale where they can run up and down the scale without thinking about it.

Content:

0:00 Intro

0:41 How You Should Use Lydian

0:54 A Bit of Context in a Chord Progression

1:38 Where to use it and How Often?

1:50 Example #1

1:54 A Great Pentatonic Solution for Lydian

2:47 Example #1 Slow

2:53 The Difficulty thing about how we think about Lydian

3:23 Example #2

3:28 A Lydian Triad Pair

4:54 Example #2 Slow

5:01 Example #3

5:06 A real Lydian Arpeggio?

6:01 Example #3 Slow

6:06 Example #4

6:10 Shifting Up An Arpeggio a 1/2 step

7:32 Example #4 Slow

7:56 Example #5

8:01 A great Sus4 triad and how to move it around in a melody,

9:36 Example #5 Slow

9:43 Like The Video? Check out my Patreon Page

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Oscar Peterson – How To Play Piano Blues Licks on the Guitar

In this Oscar Peterson Lesson, I am going to go over some of the blues licks and phrases he plays on C Jam Blues off the Night Train Album. Oscar Peterson is an amazing player to check out for both some very solid bebop and some awesome Blues. His ability to play blues on pretty much everything and get it to sound great is mind-blowing.

The examples in this video illustrate how Oscar Peterson used blues phrases and melodies and mixed those with bebop chromaticism and some very hip rhythm ideas.

Check out some of the lessons I did on other Jazz Pianists

How To Learn Great Concepts From Thelonious Monk

Bill Evans – How To Get Your Rhythms To The Next Level

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

Content:

0:00 Intro – Why Oscar Peterson is great

0:22 C Jam Blues Solo – What Guitar Players Can learn from him

0:43 Example #1 – Stop Chorus!

0:47 Analysis of the Form

1:16 Typical “Piano” Ideas in licks (Herbie does this as well…)

1:38 Major Pentatonic like Charlie Parker!

2:18 Hear Parker Play it!

2:24 Example #1 Slow

2:31 A few thoughts on Swing Phrasing and Tempo

3:25 Example #2 – Intervals

3:28 Guitar Players: Use more notes in Blues!

3:53 Breaking down the idea!

4:10 The Rhythm: Anticipation

4:34 Example #2 Slow

4:36 Example #3 – Amazing Turnaround idea

4:39 Chromaticism in Blues

5:52 Example #3 Slow

5:58 Example #4  Another type of Anticipation

6:03 Another type of Anticipation

6:32 Using Octaves to accent notes

7:11 Example #4 Slow

7:29 Example #5 – Blues Double Stops Supreme!

7:34 Using Chromaticism in a Blues Phrase

8:45 Example #5 Slow

8:51 Like the video? Check out my Patreon Page

Level up your Jazz Blues with this lesson

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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The Most Important Scale Exercise In Jazz

You probably already practice arpeggios, but chances are you can do it as a better Scale exercise than what you are doing now, and that is what I want to talk about in this video. Jazz Scale Exercises should be about giving you the material you can use in your solos and help you know and play the different arpeggios and melodies found in the scale.

When you improvise in Jazz then the lines or melodies that you play are related to the chords you are playing over and the solo follows the chord progression it is played over. One easy way to do this is to use the arpeggios of each chord.

You can use the arpeggio of the chord you are playing over, but in fact, there are more options than this and the exercise in this lesson will help you tie all of that together in one exercise.

Practicing Arpeggios in the Scale

The reason why it makes a lot of sense to practice diatonic arpeggios in a scale position is quite simple.

When you improvise a solo you are not only playing scales and then only arpeggios. The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available.

Here is a C major scale in the 8th position

Playing the diatonic one-octave arpeggios through this scale position would give you this exercise:

Know the Scale!

Often when you learn Guitar in the beginning you rely mostly on the visual aspect of the instrument. Scales, Chords and Arpeggios are shapes that you can see on the fretboard.

This works really well for learning and remembering, but make sure that you also know what notes you are playing and what notes are in those chords and arpeggios. It will become very useful along the way.

For the exercises here above, it is a very good idea if you also play them while saying the notes or saying the names of the chord that you are arpeggiating. This will teach you the fretboard and the music theory on another level and also really attach it to what you play.

Using the arpeggios in your solos

It is not enough to just practice the scale exercise and then hope that your solos will suddenly magically include the arpeggios.

To show you how you can make some basic licks mixing scales and arpeggios here are a few ideas using a Cmaj7 arpeggio and chord.

The first one starts with the Cmaj arpeggio and then continues with a scale melody.

In the second example You can see how it is possible to mix scale notes into the arpeggio and also add a little chromaticism to more of a bebop sound.

Bebop Arpeggios!

This is a great variation on the exercise that also is really setting you up to play some bebop lines. Here you play the arpeggio as a triplet and insert a chromatic leading note in front of the root. This creates some energy and motion that then really brings out the target note that is the 7th of the arpeggio.

This exercise for the scale looks like this:

Make some Bebop Licks!

Using this way of playing arpeggios can be used in licks like this.

The first lick is using the Cmaj7 arpeggio in the lower octave and combining it with an intervallic melody in the2nd half of the bar.

The 2nd example is using the higher octave and adding a chromatic run between D and C before ending on G.

The Arpeggio from the 3rd

Until now I have only been talking about what how to use the basic Cmaj7 arpeggio over a Cmaj7 chord, but you can use more arpeggios.

The way to understand this is quite simple. You can use other arpeggios that contain notes that work well on the chord. The Arpeggio from the 3rd of a chord is usually a great option:

Cmaj7: C E G B – Em7: E G B D

So the two arpeggios share E G B and the Em7 is only adding the D on top of the Cmaj7 which is the 9th and a good note to add in there.

A few ways of playing an Em7 arpeggio in this position is shown here below:

Jazz Licks with an Em7 arpeggio on a Cmaj7 chord

You can use the Em7 arpeggio like this.

The first example is a basic “bebop Em7 arpeggio” that continues with a more modern sounding Quartal arpeggio from B.

The 2nd example is again focusing more on adding some chromatic ideas. Here the first half of the bar is a chromatic enclosure that is leading us to the first note of the Em7 arpeggio.

Putting all of this into a II V I lick

To give you and idea about how easy this is to generalize to a progression I have added this final example.

Take a look at the lick and see how I am using Fmaj7 on Dm7. Both Bø and G7 on the G7 and also both Em7 and Cmaj7 arpeggios on the Cmaj7.

It is easier than you think!

Use this approach in a Song!

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