Author Archives: jens

Kenny Burrell – You Want To Be Using Blues Like This

Kenny Burrell is famous for his use of Blues in his jazz solos. This solo is no exception, but the lines he plays here really showcases a very sophisticated way to use both Blues and Rhythm in a Hardbop solo.

I think that his playing on Broadway has examples of his vocabulary that showcases the blues influence, but also the swing and the bebop influence. The rhythms he uses are complicated but have a natural flow and he is not shying away from altered chords or tritone substitutions in this solo either.

Content:

0:00 Intro

0:16 Kenny Burrel: Rhythm and Blues (and bebop)

0:43 Example 1 – Blues Phrases on The Tonic Chord

0:48 Analysis

1:22 The Cmaj7 – F7 trick That Charlie Parker Also Uses

2:07 Example 1 – Slow

2:14 Example 2 – Arpeggios And Bebop Lines

2:18 Analysis

3:20 Example 2 – Slow

3:27 Example 3 – Blues Scale = Altered Dominant?

3:35 Analysis

5:15 Example 3 – Slow

5:46 Example 4 – Tritone substitution

5:50 Analysis

6:55 Example 4 – slow

7:01 Like The Video? Check out my Patreon Page.

Check out my lesson on Grant Green:
https://jenslarsen.nl/grant-green-how-to-bridge-bebop-and-blues/

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Jazz Comping – Intervals is the (Beautiful) Simple solution

A great approach to Jazz Comping is to not only rely on chords but also use intervals as a way of conveying the harmony. Using intervals is an easier way to leave more space for the rest of the band, so it also works well if you play with a piano player.

In this video, I am going to go over some of the ways you can work with intervals and demonstrate how this works on the Jazz Standard All The Things You Are.

Finding intervals for Jazz Comping

If we first take a look at the first chord of All The Things: Fm7.

The note that we want to have in there is the 3rd and then add another note and check out the intervals we get, as shown here below:

Notice that I am not trying to find all options, just exploring and experimenting with what I think might work.

Voice-leading intervals

As an example, we can now look at how to voice-lead the different intervals on Fm7 to the next chord Bbm7. This could be done as shown in example 2.

In some of the examples I am adding extra movement between the two intervals. This is not too difficult when working with intervals so it is a good idea to already experiment with that option.

Counter melodies and polyphony

The final bars contain a few examples of several voices moving. In the last bar the voices are also moving in the opposite direction.

Playing the song with the intervals

When I comp like this I am not always staying completely clear with all chords, but I am trying to get an over all flow that makes sense on the song.

In this example I am keeping it simple by not having to many moving melodies and playing one or two intervals per chord.

Making an improvised Counterpoint as an exercise

You can turn the voice-leading part of this into a small counterpoint exercise that sounds like the one in the example below.

You can hear in the video how this example has a lot of moving voices, keeping one voice static while the other is moving around more.

Adding some rhythm and a little more Jazz Feel

Besides working on this with playing long notes and sustained sounds, you also need to work on using the intervals while adding some jazz rhythms.

An example of this is shown here below where there is also a focus on rhythm, not only moving voices, notes and extensions.

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

When Do You Know A Scale?

If you play Jazz Guitar then you will often be confronted with learning and practicing scales. The major scale, pentatonic scale or a jazz scale like melodic minor.

A big part of the vocabulary and the material that you use when you are improvising is linked to scales in some form or other and it is common to practice scales on a daily basis.
But of course, you want to also make sure that you can actually make music with it and think a little bit about how and what you practice

Content:

0:00 Intro

0:23 Jazz and Scales – What you Need and How to Learn It

1:00 #1 Learn To Play The Scale

1:07 Start with a Scale Position

1:47 How To Play The Scale – what is important

2:26 Connecting Positions

2:52 Next Level After Positions

3:26 #2 Music Theory

3:40 Learn The Notes(!)

4:14 The Basic Things You Need To Know

4:50 Finding the material available with Music Theory

6:08 #3 Making Music With The Scale

6:11 It’s not all exercises

7:23 Cmaj7 in G major example

8:14 Cmaj7(#11) identifying triads that are good upper-structures9:00 Like the video? Check out my Patreon Page

How To Learn and Practice Scales for Jazz Guitar

How do you practice and learn scales for Jazz Guitar? These videos go over different approaches and practice strategies with exercises for scale practice.

When you learn a scale on guitar because you want to use it to play jazz guitar and improvise then there are many things you need to know and some things that can make your practice more efficient. These videos will give you ideas on how to work on this and build a scale practice routine or strategy that fits your way of working.

You can check out more information over this topic in this playlist:

How To Learn and Practice Scales for Jazz Guitar

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Jimmy Raney – This Is A Great Way To Make Beautiful Lines

Jimmy Raney is one of those guitarists who can start something as a blues lick and then turn it into a II V I line in another key while playing a 3/4 pattern over a 4/4 meter.

It is always a good idea to have strong concepts to work with when you are soloing and in this video, I am going to look at one aspect of how Jimmy Raney improvises.

This may seem like an idea that is almost random, but the way he repeats phrases and melodies, sometimes within one line really makes his lines solos sound great, and analyzing
this and working on doing this in your own playing is not a waste of time.

Content

0:00 Intro

0:50 Lick #1 – Making Lines with Repetition and Odd-Note Grouping

0:57 Analysis

1:15 What I love about the later Jimmy Raney Albums

2:46 Lick #1 – Slow

2:53  Lick #2 – Stay Off The Beat on a Blues

3:02 Analysis – Shifting Motifs in a line

5:35  Lick #2 – Slow

5:46  Lick #3 – Chromatic Enclosures as a motif

5:54 Analysis

7:15 Across the Barline – delaying resolution

7:46  Lick #3 – Slow

8:25 Lick #4 – Sliding into the Blues (with Polyrhythms)

8:29 Analysis

9:56  Lick #4 – Slow

10:02 Lick #5 – from Blues to Altered Dominants

10:08 Analysis – Decoding a brilliant shifting idea

11:22  Lick #5 – Slow

11:32 Like the video? Check Out My Patreon Page!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Jazz Licks on a Maj7 chord – How To Sound Like Bebop

Learning the rules of a jazz language like Bebop can be a really useful way to study and internalize that sound. In this video, I am going to use some Jazz Licks to cover some of the techniques and how you use them on a Maj7 chord. The 5 examples will show you how you can use Chromaticism, Arpeggios, trills and octave displacement on a maj7th chord.

Jazz Lick #1 – Cowboy Bebop?

When playing bebop we often think about long rows of 8th notes. But it is important to break up that flow to keep it interesting. This example starts with an 8th note triplet which is a chromatic run. This is already adding a different feel fromt the beginning.

From there it continues with a C major triad. The Triad is a great arpeggio to use on a Cmaj7 chord. Charlie Parker plays major triads all the time. From the triad the melody skips up to the 6th(A) and via a chromatic passing note ends on the 3rd(E). Notice how the line is ending on the 2&. This keeps the energy higher than ending on a beat or even a strong beat.

Jazz Lick #2 – Bensons favorite Maj7 lick

This example is build around another 8th note triplet idea. This 8th note triplet is using a Cmaj7 arpeggio. Playing arpeggios as triplets is a very common device in bebop, it really helps target and emphasize the 7th of the arpeggio which is also the top-note. From the target note the line descends in half steps down to the 5th(G)

This example is a favourite of both George Benson and Charlie Parker.

From the G the line concludes with an approach to the 3rd and skipping up to the 6th.

Jazz Lick #3 – Barry’s Recipe

A very useful way to both construct your own lines and understand lines that you have transcribed is to see them as scale melodies with added detours. Barry Harris often constructs lines in his workshops in this way.

This line is essentially a scale melody in bar 1, but with an added chromatic approach between the C and the B.

The 2nd bar is using the arpeggio from the 3rd of the chord, Em7, and adds an exciting skip from C to G, ending on 4&.

Jazz Lick #4 – Octave Displacement on a Maj7

Octave displacement is another way to break up the direction of a melody. The idea is to have a melody is moving in one direction and then move a part of the melody an octave up or down.

In this example I am using Octave Displacement to change a Cmaj7 arpeggio and in doing so create a more surprising melody in the first half of bar 1. This is also know as the Honeysuckle Rose lick, since it is in that melody.

The line continues with a descending 1st inversion Am7 arpeggio followed by a trill. Trills are another way to add embellishments to a line that breaks up the flow of 8th notes in a nice way.

In this case the trill is a part of a skip down to the lower G and from here the line concludes with an Em pentatonic melody.

Jazz Lick #5 – Putting it all together!

The final lick is making use of most of the devices discussed in the first 4 examples! Try to have a look and see if you can spot what is used where.

More Bebop lines and Bebop Embellishments?

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Melodic Solo – What You Should Be Practicing!

We often talk about whether a solo is melodic or not, but what does that mean and how do you practice towards playing more melodic? Most Melodic Solo Guitar Lesson videos talk about which notes to play, but it is actually more important to learn to think on another level and to find ways of connecting the things that you play.

In this guitar lesson, I take a look at some of the things that can make your jazz guitar solos more melodic. Demonstrate what is and isn’t melodic and give you some exercises to work with for adding a story, stronger overall sense of melody.

If you want some more ideas for what to practice and keep in mind when planning your practice schedule then check out this post:

Content:

0:00 Intro
0:24 The Level You Need To Take Songs To
0:48 Learning How to play melodies not just notes
1:15 Listen To Yourself – Be Creative
1:46 Example – A Bad Solo
2:08 The Process of Playing a Solo
2:30 A Story in The Solo
2:55 #1 Think in Phrases
3:32 #2 Call-Response
4:01 Example – Solo using Call-Response
4:24 Two Ways of Using Call-Response
4:34 1st –  Two Voices or a Conversation
5:43 Practicing Call-Response
6:34 2nd – More Subtle call-response
6:45 The Wes Montgomery Example
7:55 Practicing The 2nd Call- Response idea
9:14 #3 Motivic Improvisation
9:42 Motives From Darth Vader to Autumn Leaves
10:26 Example – Motivic Solo
10:48 The Three Note Motif from the solo
11:50 Motifs vs Call-Response
12:24 Motif Practice
12:58 How To Practice Motivic Improvisation
13:52 Like The Video? Check out My Patreon Page!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Jim Hall – Ingredients Of The Best Solos

Jim Hall is famous for his very melodic and musical solos. In this video I am going over some examples from his solo on Poor Butterfly and talk about how in many ways I think this is the perfect medium swing solo. These examples show you how he keeps changing his lines with ideas involving rhythm, harmony and note choice. I especially like how he re-interprets some cliché lines and makes them much more interesting and surprising.

Content:
0:00 Intro
0:49 Example  1 – In The Groove, In The Harmony
0:58 Analysis
2:32 Example  1 Slow
2:45 What to learn from these examples?
3:19 Example 2 – Double-time lines with Interesting Rhythms
3:26 Analysis
5:32 Example  2 Slow
5:41 Analysis
5:46 Example 3 – Re-inventing a Cliché
7:28 Analysis
7:35 Example  3 Slow
7:55 Example 4 – Using The Blues (Like You Should)
8:02 Analysis
9:56 Example 4 Slow
10:06 Paul Desmond and Jim Hall – Great Collaboration
10:29 Example 5 – Triplets and Adding Chords to the Lines
10:34 Analysis
11:39 Example 5 Slow
11:45 Like the video? Check out my Patreon Page!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

2 5 1 – How To Solo with Diatonic Arpeggios (the most important approach)

You Need to be able to improvise over a II V I or 2 5 1 in Jazz. In this video, I am going to show you how you can get started improvising over this progression using the scale and the diatonic arpeggios in that scale.

The examples are a 2 5 1 in C major, a scale position and the diatonic arpeggios in that position. Then I am going to give you some examples of lines using the basic arpeggios of the chords but also a few other very useful suggestions. Then I am going to add the triads in there, and in the end, you have a lot of material to work with from this very basic approach.

This is the most important part of how I improvise. Having a set of arpeggios that work for a chord in a progression is a great way to have lots of options when you improvise. So you learn to think the chord but you have 8 or 9 different arpeggios that you can use when you are improvising.

The 2 5 1 chords and scale

One of the most important and common chord progressions is the 2 5 1, sometimes written with Roman numerals as II V I.

In this lesson I am going to focus on how to improvise over this progression in the key of C major.

First let us look at how t play the C major scale and then the chords contained in there.

Building Diatonic Chords in C major

If you build diatonic chords in a scale then you stack thirds in the scale. In C major that would be:

C major : C D E F G A B C

Stacking 3rds:

1 C E G B = Cmaj7

2 D F A C = Dm7

3 E G B D = Em7

4 F A C E = Fmaj7

5 G B D F = G7

6 A C E G = Am7

7 B D F A = Bø

How to play these chords is shown here below

As you can see I have added numbers to each of the chord signifying the degree in the scale.

This is how to understand the 2 5 1 progression. A 2 51 in C major is shown below:

Practicing and Playing Diatonic Arpeggios

The next thing to check out how to play the arpeggios of all the chords in the scale. Playing each of the chords within the scale is shown here below.

Of course there are now more chords and arpeggios than we need, but that will become very useful later.

Putting the arpeggios in the Progression

The first logical thing to practice now is to take the arpeggios throught the progression. That is what is shown here below:

Making Great Licks with Basic Arpeggios

Already just using the arpeggios, so the basic chord tones of each chord. You can make some great licks:

Really using Arpeggios (so not just playing the arpeggios..)

When you check out solos from famous Jazz Artists you will notice that their lines are not only consisting of the arpeggios. The melodies are a mic of scale notes and arpeggios, but the arpeggios are on the heavy beats and work as a frame to hold the melody together.

An example of this is shown here below:

The most important Other arpeggio

Now that you know the arpeggio for each chord and can work on incorporation it in lines that also mix it with the scale. We can haveea look at the next arpeggio to check out which wil almost always work in a line: The arpeggio from the 3rd of the chord

For the progression we have these arpeggios:

Dm7: Arpeggio Fmaj7

G7: Arpeggio – Bø

Cmaj7: Arpeggio Em7

Practicing this on the progression becomes this exercise:

Making lines with the Arpeggios from the 3rd.

Now with two arpeggios for each chord you can make a lick like this:

And mixing it with the scale then something like this is possible

Adding the mighty Triad!

One of the strongest melodies we have is triads. The diatonic triads as arpeggios in the scale is shown here below.

Finding triads for the chords

There are several triads that fit with each chord.

For a Dm7 you can use the three below.

Notice that if you have a Dm7(9) arpeggio: D F A C E then you have all 5 notes that make up the 3 triads.

The same approach applied to G7 is yielding these 3 triads. So a triad from the root, 3rd and 5th.

And finally we have the C, Em and G for Cmaj7:

Using Triads in a 2 5 1 Lick

Putting some of the triads to use in a lick could give us something like this:

If you want to explore more ideas with Arpeggios and scales in the key of C major then check out this lesson based on a solo on the Strayhorn tune Take The A-train:

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

3 Unusual Maj7 Chords And How To Use Them

You want to have different choices when it comes to chords, also Maj7 chords. There is no need to play the same things all the time.

In this video, I am going to show you voicings and lines that demonstrate how you can use some other sounds on maj7th chords. Often we only focus on what to play on the V chord, but there are some really great sounds to explore when it comes to the good old (boring?) maj7 chord.

This will really help you add some more ideas and sounds to your vocabulary, whether you are using it for soloing, composing or arranging.

Content:

0:00 Intro
0:37 You Need Maj7th chords for everything
0:53 Example #1 – Maj7(13#5)
1:02 Lydian Augmented with a Twist
1:24 Understanding this Chord
2:00 Creating the Voicing and using it
2:28 Example #2 a line using this sound
2:36 Stealing an idea from Rosenwinkel
2:57 A great Triad Pair
3:21 Example #3 – Maj7(#9#11)
3:30 Modern Jazz or is it?
3:55 The Maj7(#9#11) – A polychord
4:05 Constructing the Chord Voicing
4:32 The Chord Progression
4:54 Example #4 – Placing it in a Scale5:03 Assigning a Scale to the Chord
5:17 Using the Poly-Chord as a triad pair
6:14 Example #5 – Synthetic Maj7th Chords: Maj7(#5#9)
6:24 Augmented Scale Chords
6:41 The Chord and the Progression
7:07 Chord Voicing and interpretation
7:16 Example #6 –  
7:24 A Basic II V resolving to a weird I chord
7:50 The 3 Magic Triads in the Augmented Scale
8:17 Like the video? Check out my Patreon Page!

Check out this lesson for more information on The Augmented Scale:

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Pat Martino – How to Play Powerful Bop Lines

Pat Martino is famous for weaving long beautiful bop lines through chord changes with surprising twists and turns.

In this Pat Martino Lesson, I am going to analyze a few examples from his solo on the Benny Golson tune Along Came Betty and show you some of the building blocks he uses and how he is a master of using those building blocks in a musical way in his solos.

The fast lines and fantastic flow through the chord changes are really what Pat Martino is known for and this double-time samba version of Along Came Betty is no exception. In the lesson, I analyze some of his phrases or licks and talk about how they are constructed and what we can learn from them.

Content:

0:00 Intro
0:24 Building Blocks for lines
0:43 Example #1 – Amazing Pickups
0:54 The Form and the double-time feel
1:40 Analysis of Example #1
2:16 Arpeggio Motifs and Build Up
4:00 Example #1 – Slow
4:23 Example #2 –
4:28 Analysis – Using Motifs to play changes
6:45 Example #2 Slow
6:55 Example #3 – Continuous 8th note melodies
7:04 Mixing Melodic minor and Dorian
8:58 A quote from Parker (or George Benson)
9:49 Re-using the same line?
10:17 Example #3 Slow
10:36 Example #4 – Cross Rhythms
10:43 Cross-rhythms and PPolyrhythmswith 8th notes
11:02 The Martino Honeysuckle Rose Variation
11:42 The Polyrhythms
12:47 Example #4 SLow
13:02 Like the video? Check out my Patreon Page

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.