Tag Archives: basic jazz guitar licks

Cookin’ Great Jazz Licks With Basic Exercises – 5 Step Process

The Mysterious Recipe

In the beginning, Jazz improvisation can seem mysterious, but just like food, there is actually a recipe you can follow to develop your ability to improvise great lines. In this video, I’m going to give you that recipe including the secret ingredient that is left out of the process so often, and it really won’t be the same without it.

The goal is to be able to construct a lick like this:

The chord progression is a II V I which is a very common Jazz chord progression. You can play the chords like this:

I am not going to talk too much about the progression, because this is about soloing over it. I have other videos on harmony.

The Main Ingredients

Any recipe starts with some ingredients. You have the Progression, there is a scale that goes with that, in this case, that is the C major scale.

And the main ingredient is that for each of the chords in the progression, we can play these easy 1-octave arpeggios, so this exercise:

Just like a meal usually consists of several different dishes, then as I go through this recipe I will show you how each step is something you can turn each step into music and explain how.

With the arpeggios, you can already follow the chords and create a solid line like this:

Follow This Recipe

Similar to a recipe, chords, scales, and arpeggios are only ingredients and it is as important what you do with those ingredients if you want it to work.

What is the method in this example? I am following the chords completely because I am only using the arpeggio of each chord, so the notes are taken nailing the harmony,

but the important thing is to get this to sound like a melody and not like a bunch of random notes

The way you get that right is by playing from one chord to the next, which means a melody on the Dm7 is moving toward a target note on the G7.

Here it is the 3rd of G7 that is the target note which is very easy to hear and works like a signal that we changed chords, but there are more things in that first example that you still need to figure out.

Adding More Flavor

There are two other “types” of notes, that you can add to your jazz licks. The first one would be the notes that are in the scale but not in the chord, it is a bit like basic seasoning, there is no food without it, and the easiest way to use scale notes is in between arpeggio notes, so this:

can become this:

It is a subtle change, but the rhythm sounds a lot better in the 2nd example.

The other type of note that you want to add, is a more radical sound, adding flavor and spice to the whole thing: The chromatic notes.

Here I am going to stick with a simple version: You can add chromatic leading notes a half-step under a chord or scale note, where the chord tones often are the easiest to use.

There are some myths about how to use chromatic notes, but I’ll get into that in a bit. You could turn that into this exercise for the arpeggios which actually breaks that rule:

The rule that I am talking about is that sometimes people will tell you that chromatic leading notes should not be on the downbeat, and in the exercise every leading note is on the downbeat.

The idea is that this:

Is wrong, and it would be better to do it like this:

I think you can hear that both could work and that it is not useful to limit yourself with rules like that, in fact, rules are rarely a thing in music.

Now you can start writing lines like this:

Serving The Notes In The Right Way

But you need to do more than find the ingredients and cook the food. It also needs to be served in the right way, and that is where rhythm becomes important.

In the first example, I changed up the rhythm in two ways. The first one is pretty easy to use. On the Cmaj7 I play the arpeggio as am 8th note triplet

Triplets are amazing for arpeggios, and two variations of this are very useful to know. The first one is to add a leading note and then play the arpeggio:

But you can also play the arpeggio and use that to get to a target note

But there is another rhythm that you want to explore using which is a very important part of the syncopation you hear in Jazz: Anticipating the chord on the 4&!

This is pretty simple: You want to hit the target note on the 4& instead on beat 1 when the chord changes, so instead of this:

You want to play the B on the 4& like this:

So now you can put all of this together and start writing licks like this:

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A Simple Way To Make Amazing Jazz Licks On A Single Chord

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Whether you are trying to add a little Jazz flavor to your solos or working on getting your Jazz solos to sound better then you are probably stuck with mechanical sounding lines that miss that great feel or phrasing. So you sound like

And you want to sound more like this:

The thing that you want to learn is to start hearing melodies that have this type of phrasing, and that may sound incredibly complicated and like you have to transcribe 150 Charlie Parker and John Coltrane solos, but there is actually another way that can get you started a lot faster and a lot easier.

For most Jazz licks there are two main ingredients, meat, and potatoes if you will: The Scale and The Arpeggio. You can let me know in the comments which is which 🙂

To keep it simple, I will use an Am7 chord as a II chord in G major, what you may also call The Dorian Scale or Mode something like this:

And you can play an Am7 arpeggio, which is the melodic version of the chord like this:

The way your playing sounds using the scales and arpeggios is probably like cooking without any spices, it is not interesting and there are no surprises, so let’s get started fixing that.

The Best Phrasing Building Block!

Let’s make it a little more interesting, with probably one of my favourite building blocks when it comes to phrasing:

So now something is happening, mainly because the line is not just running up and down the scale or arpeggio like this

What I am using is a short melody with 4 notes:

It is skipping around and also has a nice chromatic leading note which resolves in a great sounding way.

Try to play the D on the 1& a little louder that makes it feel better and sound more like Jazz. If you play all of the notes completely even then it sounds a bit boring.

This one is easiest to use if you have a place in the scale that is like this, so B C D, half step, whole step.

If you move it around you see how it doesn’t work as well and gets difficult to play

But the basic version is still great for a lot of licks

A Few 16th Notes Sound Great!

A similar but much more flexible little phrase is also still the easiest to play on one string:

The small phrase you can take from this is this one:

And again you want to accent the note on the 1& a little to make it a bit more syncopated.

This is a great phrase to move around on one string like this:

Which is also a good exercise for knowing the fretboard.

But this type of phrase also works if you don’t have all the notes on one string like this:

So now the pull-off on 1& is still getting an accent, but the last note is on the next string. It is followed by a little scale melody and then the Am7 arpeggio and a scale run to takes us up to the 9th of the chord B.

The one that I always found to be the master of these types of phrases would probably be Charlie Parker, and I actually did a video discussing this on Patreon using one of his solos, but you will also find great examples in the playing of Joe Pass.

Let’s have a look at another great way to make your lines sound like Jazz phrasing and also start to combine the different building blocks!

A few things are going on here. The main ingredient is this 16th note trill:

But as you can see I am also using an Em7 arpeggio over the Am7 chord,

and that has to do with how the notes are of Em7 are related to Am7:

Am7: A C E G

Cmaj7: C E G B

Em7: E G B D

So for Em7 the E and the G are chord tones and on Am7 the B and D are the 9th and 11th both notes that sound good on that chord, and as you can see Cmaj7 is also a great arpeggio to use on Am7.

Back to the Trill!

This is easiest to play if you have the notes on two strings, and actually, this trill is pretty easy to practice in a position like this

Let’s combine this with the first building block:

And of, course, you can also add in the 2nd building block.

As you can see then it really pays off to work on developing a vocabulary of building blocks. Those are the real licks that you want to pick out of Charlie Parker solos or other things you hear.

And when you find something like this then spend time practicing to use them and compose licks so that you become better at that and the new material becomes a part of your playing.

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Simple Things To Play On A C7 That Sound Great

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Sometimes it is great to have some things to fall back on when you are soloing. Stuff that you can easily get to sound good and that fits the chord, whether you solo on a song or on a Blues, you don’t want to run out of ideas or play something that doesn’t work.

In this video, I am going to show you some easy things to use on a C7 chord. Most of this stuff, you already know, I just want to show you how to tweak it and make it sound better.

Chromatic Shortcut

So we keep it simple, this C7 and this scale around it:

You probably know this way of adding chromatic enclosures around the notes of a chord where you use a diatonic note above and a chromatic note below. Joe Pass does this really often.

There is a way of using this that nobody really talks about, that really makes it sound so much better, I will get to that in a minute.

Like anything else, you should mix it with other things like the scale. Then you can make lines like this:

Here I have an enclosure around the G and the E, but this line sounds a little predictable and you can make it much more interesting if you turn around the enclosures:

so now I am skipping down to F# back up to A and then resolve to G, and the same thing happens on the E. This makes the line sound much more interesting and unpredictable but still has a natural flow.

So if you work on using enclosures then think about turning them around like I am doing here, that can really make a huge difference.

Make an Arpeggio Sound Amazing

Before I show you a visual trick that works great for dominant chords then you should check out this really useful concept that combines arpeggios, chromaticism and triplet rhythms.

If you have seen any of my videos then you have probably heard me talk about how you can use the arpeggio from the 3rd of the chord.

For the C7 then you have the C7 arpeggio and from the 3rd, the E, then you have this Eø arpeggio.

This already gives you a lot of material, but an easy way to play this arpeggio so it sounds even better is to add some chromaticism around it and change the rhythm.

Here you add a chromatic leading note before the arpeggio, play the arpeggio as a triplet to add a little energy, and then also add some chromaticism going down from the top note.

And this works great for the Eø, George Benson does this all the time, but you can also do that from the root:

As you can see it is great to really know the diatonic arpeggios because a lot of them work on other chords, so if you want to check out some exercises for this then check out this video called The Most Important Scale Exercise For Jazz

Visual Triad and Quartal arpeggios

You probably know this as the top of a C7(13)

and a great visual connection is how this is diagonal across the strings and you can flip it around and then you have a C major triad.

and that is what I am using here, which sounds great and is pretty easy to play.

Let’s look at some another great arpeggio option

A Secret Arpeggio

One arpeggio, which is in fact another favorite of both Charlie Parker and George Benson, is using the arpeggio from the 7th of the chord, so for C7 that is a Bbmaj7 arpeggio. (filmed end of the examples no backing)

That is what I am using here, playing it as a triplet and putting it together with some basic scale melodies, typical bebop

But you can also connect it to a Gm triad like this:

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3 Simple Bebop Tricks You Can Make Great Jazz Licks With

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In this video, I am going to show you how to take these 3 basic phrases: play 1-3 short and make some really great licks. The important thing you will learn from this is to hear the difference between boring and interesting lines. I am sure you have already been struck with the Curse of the Bad Bop Licks with all the right notes and arpeggios and still sound really boring. This video will help you improve that and develop your melodic ear in general.

Curse of the Bad Bop Licks with All The Right Notes

Here is a line with the right notes and arpeggios that still doesn’t work:

It is using the right scale and a Dm7 arpeggio with some chromaticism, but it is still boring.

The main problem with this line is that it is very predictable and it changes direction on the heavy beats of the bar, so 1 and 3.

You can play scale runs in your solo, but often it is nice to try to break it up so that it is more surprising to the listener. If you can make it surprising without making it sound random then it works better.

If I took the 3 phrases I talked about at the beginning of the video and made them into a lick then that would sound like this:

Here the melody skips around a lot more and is a lot less predictable. It is not nearly as much just something that moves in one direction.

In this video, I will show you how you can start making licks that sound like that, and develop your skills and ears.

The Diatonic/Chromatic Enclosure

The first phase of the example above is really just an enclosure of the 3rd of Dm, F. You have the diatonic note above G and the chromatic note below E. In this case the chromatic note is also diatonic, but that is actually a coincidence.

If you are writing lines on a Dm7 then it pays off to check this exercise out on the chord tones:

And as you will see later in the video, the direction of the enclosure can make a huge impact on the line that you are playing so you should also try to play it the other way around:

Melodic Direction is Important

Let me show you how the direction of the enclosure can make a huge difference:

If you have a simple scale melody like the first bar below.

You could do it like as in bar 2 or like this bar 3

I am sure you can hear how the last variation sounds a lot more interesting with the skip down to the C#. And that is because you are adding an enclosure that moves in the opposite direction of the scale melody, so the scale melody moves down and the enclosure moves up.

You can then make a lick like this:

What you want to spend time on with material like this is to compose and play lines, that way you start to figure out how you can get it to work and you also start really getting into your ears how solid lines should sound, so don’t forget to get started working on writing lines. This is also how Barry Harris teaches bebop in his masterclasses.

Break Up The Flow: Lower Chord Tones

Besides the enclosures, I will go over another great way to use arpeggios in your lines, but first le’s look at a way to add some large interval skips to a simple melody without sounding completely random.

The first bar shows how you can add a lower chord tone in between notes in a scale run.

One way of understanding this is that you start with a descending scale run and then you add a chord tone between two notes, in this case, the F and the E.

In the original example, I use a low A, because the 6th interval is nice and it is clearly breaking things up, but you can also use a D or instead take a high chord tone like the A

You can turn this into an exercise using a Dm triad as the foundation, and you actually get 3 really solid melodic building blocks:

Turning this into a lick could be something like this:

Notice the rhythmical variation used in the 2nd bar

Bebop Arpeggios

The 3rd phrase I used in the intro is this way of playing an arpeggio using an 8th note triplet.

I am sure you have already heard this in tons of Parker, Benson or Wes lines, and I also have a video where I talk about talking triplet arpeggios through the scale that I will link to in the video description.

For the Dm7 chord that I am using here there are 3 arpeggios that are really useful and easy to use, namely from each of the notes in the Dm triad: D, F and A

D: Dm7 – D F A C

F: Fmaj7 – F A C E

A: Am7 – A C E G

You can practice these ascending like this:

and the descending version is also really useful, though it is a little less common:

A lick using the triplet arpeggios sounds like this:

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The Type Of Jazz Licks That Make You Play Better Solos

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You probably know this feeling with Jazz Licks: You have transcribed a great lick that you want to use because it sounds amazing on the album where you learned it. But every time you use it in a solo then it is this big block that just never really sits right in your solo and sort of breaks up everything.

This video gives you a better way to approach solos and licks you have transcribed

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Content:

00:00 Intro

00:33 Keep it Short and use Phrases as Building Blocks

01:05 Joe Pass is a Good Guitarist, Be Like Joe

02:08 Forward Motion and Joe Pass

02:40 A Message from Things-I-Forgot-To-Film-Jens

03:19 Different types of Phrases to Recognize and Learn

05:25 Building Your Own Jazz Vocabulary – 2 Examples

07:15 Analyzing Longer Phrases – What You Lose When You Zoom In

08:19 Kurt Rosenwinkel Breaks the Rules (again)

09:27 But Parker also Breaks the Rules

10:34 Arpeggios as Building Blocks

10:40 Like the video? Check out my Patreon page

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This Is A Great And Easy Recipe For Jazz Licks

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You probably already know that a big part of what makes a solo sound like jazz is the are chromatic passage like this:

And another part of it is how there is a close connection to the chord that you solo over using arpeggios to spell out the harmony.

In this lesson, you are going to see how putting these two concepts together is a solid recipe for making some great sounding licks.

Even if you are not that familiar with Jazz then I think this way of making lines could be a good way to try and make your own licks that have more of a Jazz sound.

Let’s start with a basic 1-octave Cmaj7 arpeggio like this. You probably already know this one.

You want to add some chromaticism to this arpeggio and there are a few ways you can do that. Let’s start with this chromatic enclosure.

Here’s an enclosure that I learned from Pat Martino:

What is a Chromatic Enclosure?

In this context, a chromatic enclosure is really just a short melody with some chromatic notes that resolves to a target note, and when we are using it here the target note is one of the notes in the Cmaj7 arpeggio. You can read more about them here: Chromatic passing notes – Instant Bebop guitar lesson! And if you put together the arpeggio and the enclosure then we get:

This already sounds pretty good, but we can add something at the end like this:

Chromatic below – diatonic above

And now I added an extra chromatic approach which is using a scale tone above and a chromatic note below. In the lick it is on the 5th, G and then you have A and F# to resolve to G.

You can do this on the entire arpeggio like this:

And you can even add one more to the lick like this:

Let’s try making another lick, but now start with a descending arpeggio

the lick could be something like this:

Here I am using an enclosure that works really well on the 7th and also on the 3rd like this:

And you can go back up and add another part like this:

Better Rhythm

You can also change the rhythm of the arpeggio a little by making it a triplet and then adding some chromaticism, something like this:

Here we have an enclosure of the C, then the arpeggio played with an 8th note triplet and then a double approach going from B via Bb to A:

Benson’s chromatic run

Another great variation that you can hear George Benson do a lot is using this type of arpeggio and then connect the top-notes with a chromatic run.

Something like this:

And putting this into a lick could sound like this:

Of course he actually stole this from Charlie Parker who also does this all the time, but you probably knew that already…

Descending Benson

And you can also apply the triplet to a descending arpeggio and add an ending to it:

Add More Chromaticism to Your Playing

Take The A Train – Bebop Embellishments

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7 Great Jazz Licks And Why You Need To Know Basic Arpeggios

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You need to know your basics and you need to know them extremely well. I am sure you have heard that before. Once in awhile it is very useful to go back to the basics and really improve the jazz licks that you can write with very simple and basic scale and arpeggios choices.

When you do that then you are working on being better at using rhythm, make stronger melodies and have better phrasing, and you always want to improve that.

In the end, it is more important to improve those skills instead of knowing a lot of scales and arpeggios.

The things you need for this video are basic material that you probably already know and practice: the scale, the arpeggios and also the diatonic arpeggios of that scale.

And what this lesson is going to show you is 7 great licks that are just using these basic arpeggios and give you some ideas so you can start making better licks like this yourself.

Scale and Arpeggios

The basic C major scale I am using here:

This is combined with the diatonic arpeggios that I also cover in this lesson: The Most Important Scale Exercise In Jazz

And of course, you can also download Scale and Arpeggio diagrams in this section of my website: PDF Charts and Diagrams

Lick #1 Just Basic Arpeggios – But Great Rhythm

The first example is only using the basic arpeggios of each chord. The reason why this works so well is that the rhythm is more interesting and driving it forward.

Notice that moving to the G7 and the Cmaj7 the melody is changing to the next chord on the 4&. In that way it is anticipating the chord change, something that is an important part of Jazz.

It is also important to see how them melody really works towards the chord change and in that way adds direction to the line.

Lick #2 Forward Motion

The second lick is making use of forward motion, an aspect of especially bebop, that Jazz has in common with the music of Bach.

When you work on forward motion you should try to create melodies that move towards a target note in the next chord. You can explore this in more detail in this lesson: Target notes on a II V I or an extensive guide in this webstore lesson: Rhythm Changes – Target Note Strategies

In this example the target note is the 3rd on both the G7 and the Cmaj7

Lick #3 Quarter-note Rhythms

Rhythm is important, as you can tell from the first two examples, but Jazz is not only about 8th notes. It is as important to learn to play rhythms that use quarter-notes and in fact, they are great for more groove-oriented playing. You don’t want to only play long 8th note lines in your solos and you want to sit in the groove with the beat.

The example below demonstrates how you can incorporate some quarter-note rhythms in your lines, but again keeping it simple.

Lick #4 Rhythmical Tension

Rhythmical tension is not often a topic in Jazz guitar lessons, but any aspect of music can be considered as a tension/release tool.

In this example, you can hear how the melody is moving forward and using first the trill in the Dm7 bar and the off beats in G7 to create tension which is then released back on the beat on the Cmaj7.

This way of thinking about other aspects of music when improvising, so no only trying to create tension with harmony, scale or note choice, is very powerful and really underrated.

Lick #5 Changing Direction

The first examples were focused on rhythm and direction of the melody, and the goal was to drive the line forward.

If you only focus on that you will get very clear lines, but they also become a little predictable because you are playing from chord to chord and often emphasizing the heavy beats where the harmony changes.

In the example below, you can hear how the melody is changing direction and skipping around in the middle of the bar.

Especially the G7 arpeggio that is played with octave-displacement or pivotting.

If you want to see more examples of this then check out this lesson: Bebop Soloing – The Licks You Need To Check Out

Or this WebStore lesson: Bebop Embellishments on Take The A-train

Lick #6 Chromatic Enclosure

Another way to create tension without using fancy scales or structures is to use Chromatic melodies in the lines. The concept is to use a short melodic phrase with notes that don’t belong to the scale.

That melody sounds outside and is made so that it resolves to a target note back inside the sound of the chord or the key.

In the example below I am using chromatic passing notes on the chords as enclosures and passing notes (on the Dm7), and also to drive the change of chord from G7 to Cmaj7.

Lick #7 Everything All The Time

And of course, you can also put all of these things together (well most of them anyway). In this example, there are different rhythms, enclosures and melodic turns.

See if you can recognize the different blocks which will really help you understand how the line works and get more out of analyzing other solos by famous players like Charlie Parker or Wes Montgomery.

Of course, I also analyze it in the video.

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Easy Jazz Standards Solo Bundle

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