Tag Archives: bebop jazz guitar

5 Lazy Ways To Make Your Jazz Solo Sound 10x Better (In 8 minutes)

Imagine if there were 5 short licks that you can already play that would make your solos sound 10x better!

If you are trying to sound more like Jazz when you solo then you have probably run into this problem:

You can play an arpeggio:

and you can play a scale:

and you can put it together to a lick that fits the chords but…

It doesn’t sound right, even though the notes are all “perfect” and “correct”, Now what? Let me show you!

#1 Make Your Arpeggios Swing!

This is about rhythm even with examples like this that are all 8th notes. And you need the right melody to get the right rhythm. It also turns out that another major part of it is surprisingly enough technique.

other cam:

I have to admit that I wish my teachers had given me stuff like this when I was starting, that could have made phrasing so much easier.

back:

The first lick I want you to use is the first half of the bar, which is just an Em7 arpeggio:

Lazy Lick #1

You can play any arpeggio like this, and it will always sound great! Here’s a G7 arpeggio with a resolution:

Or maybe a C6 arpeggio, it doesn’t really matter:

It’s just a way to play an arpeggio, it’s lazy and doesn’t take a lot of work. Notice that you use legato-technique, the pull-off, and this exact melody to get an accent on the 2nd note of the arpeggio which makes it pop and sound a lot better.

And that is part of getting your solos to sound like Jazz: You want to have high notes on offbeats that get an accent. In the beginning when you are just learning arpeggios and soloing then you end up sounding like this:

You can tell how that is kinda heavy, but adding this way of playing arpeggios to your solos can lighten that up.

Let’s use that on a complete II V I just to hear it in action. I am using it in two places but the last one is making a variation of the rhythm as well.

For me, a few clear examples like this and some guidance on how to phrase them plus maybe some Grant Green solos as homework could have done a LOT for my phrasing early on, but don’t get me wrong I am very grateful to my teachers for all the stuff I learned, but this one thing, that wasn’t really there….

Let’s go to another similar trick that is even easier to play!

#2 Make Your Arpeggios Swing More!

So it is about having that high-note on an off-beat which you then can give an accent. Here’s the 2nd lazy way to do that, it is super simple! I’m using an Fmaj7 arpeggio:

Lazy Lick #2

I am playing this one with legato as well, but you don’t have to. In a way, it is funny that this is about using that a pull-off is naturally softer than a picked note(play the pull off) so we pick the note on the offbeat and the technique makes the following note softer which makes the phrasing better.

For me, that is the opposite of what I try to achieve with legato playing , since I try to get everything as even as possible.

This lick is easy to use and gives your lines a nice natural flow, I am using the Fmaj7 over a Dm7 chord, so the arpeggio from the 3rd:

Let me explain the arpeggio from the 3rd with this chart, it is incredibly useful:

Notice that I am using a pull-off to give the chromatic note on the G7 an accent. This arpeggio building block is also great for moving from one chord to the next which makes it very easy to use in a lot of songs. Check out how the Bø arpeggio resolves to Cmaj7 in the next example and how I am using the Am7 arpeggio on the Dm7 chord to add dynamics in that bar:

Let me know how you feel about this, for me, just being aware of this already started to fix a lot of heavy phrasing in my playing, and made me able to hear it much more clearly when I am listening to solos which is maybe just as important! Lazy learning is just always a bonus! Let’s explore some triad tricks!

#3 Triads + Secret Ingredient

Start with a basic triad like this Dm triad:

Now let’s make that sound about 100x more like a Jazz lick:

And if you play that then this next part almost naturally falls out of your hands!

And here you have the same phrase sounding great with the C major triad on the Cmaj7 chord

The next phrase is really simple but also very effective!

#4 Scale and A Half-step

Lazy solutions are nice! We’re just trying to create a short phrase with a high note on ether 1& or 2&, so why not just use a scale melody? Maybe with a leading note just to spice it up a bit!

The accent is easy enough, and you can of course move this around to other chords, but maybe the Bø is a bit awkward:

It is pretty easy to make a line with this, I’m adding a triplet on the G7 just for a bit of variation as well:

And check out how this next one uses the F and C versions of this scale phrase (play) plus some of the previous 7th chord arpeggio tricks

First the Scale phrase from F, then the ascending Fmaj7 arpeggio which gives you the accent on 4& but also leads to the G7 phrase which is now starting on the 5th. On the resolution to Cmaj7 you have the scale phrase from C with added A to just round it off in a nice way.

Let’s take a look at an easy way to play “the most Bebop sounding arpeggio” which, of course, also has a nice phrasing accent in there!

#5 The Easy Pivot Arpeggio

You might know this from other videos that I have made, this melody:

is an Fmaj7 pivot arpeggio. It is a Bebop Superpower! The term pivot arpeggio is something that I learned from Barry Harris.

It doesn’t immediately look like an Fmaj7 arpeggio which would be:

But the concept is that you play the first note, the F and then you move the rest of the arpeggio down an octave which gives you:

And if you follow the counterpoint rules then after the ascending arpeggio part you want to continue with a descending stepwise motion, so in this case from E down to D. Which gives you that high note on 2& and an accent and it is also just a beautiful melody and great example of octave displacement:

Barry taught this exercise by playing both the normal arpeggio with that resolution and then the pivot through the scale:

But to keep it easy, or lazy, then just focus on the maj7 arpeggio which is both the one that is used the most and which is pretty easy to play if you do it like this on two strings. And this gives you some of the most melodic bebop lines:

But as you know then there are two maj7 chords in C major: Fmaj7 and Cmaj7 so you can also use the Cmaj7 pivot arpeggio on that chord. That could give you this much more syncopated example:

Study Barry Harris to Learn Bebop!

As you can tell, Barry Harris is a great place to level up your Bebop and not only learn scales and arpeggios but also learn how to turn that into beautiful vocabulary that you can use in your solos. One of the most powerful things that he teaches which has really transformed my playing and is also another shortcut for better phrasing is how he adds chromatic passing notes to phrases. I talk about that in this video and it is easily 100x better than Bebop scales, which I anyway really don’t like, I explain why in the video, check it out. Learn Jazz Make Music!

Why Barry Harris’ Approach Is So Much Better Than Bebop Scales!

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/5-lazy-ways-to-8-102951382

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:

Sign up for my newsletter – Get the II V I Ebook

Jazz Guitar Insiders Facebook Group

Join 15000+ 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 send me an email or leave a comment here or on the video. That is the best way for me to improve my lessons and make them fit what you are searching for.

 

 

 

5 Things That Ruin ALL Jazz Beginner Solos

The Roadblock

This is such a common roadblock when you are just getting started with Jazz:

You are practicing scales and arpeggios, but getting that to sound right in a solo is very difficult, and the only help you can find is adding more complicated and weird things which doesn’t really solve the problem and just gives you more scales and arpeggios to practice.

Avoid Scale Solos

Most of the time, The problem is that your solos sound too much like you are just running up and down scales, which is maybe “correct” but also pretty boring and predictable

B-roll: list over “I will show you some simple…” Arpeggios, Interval Skips, Rhythm, Phrasing”

As you can hear, everything is moving stepwise and nothing is really happening. To fix this you need to get better at using scales and arpeggios more creatively. I will show you some simple strategies for that in this video, without throwing scales, chromatic passing chords, and super-imposed pentatonics at you. (Tony Stark eye roll)

#1 Arpeggios Can Be Nice (but use them the right way)

The first thing to add is arpeggios, since the previous example didn’t have any arpeggios, and they already help to break up lines that are only scale movement, but you want to use them in the right way.

A “rule” that I see quite often online for Jazz is arpeggio up, scale down.

That is very similar to a counterpoint rule for melodic tension which says that a leap in one direction is resolved by motion in the opposite direction. (show example with arrows or lines) That counterpoint rule is a good one for a stable melody, but later I’ll show you some examples where great Jazz lines break some of the counterpoint rules.

Arpeggio up/scale down is pretty easy to play, just watch out that it isn’t the only thing you do with arpeggios. Here I am using it going from Dm7 to G7:

But you can also change things up by inserting a descending arpeggio and treat it as a “break” from a scale run. You play the arpeggio and then go back up to the note below the note you started on. Here I am using that over the Dm7 chord and using another useful trick: the arpeggio from the 3r, in this case that’s an Fmaj7 arpeggio. Just to quickly explain that. If you look at the notes of Dm7 and Fmaj7 you can see that 3 of the notes are the same and the only difference is the E which is a 9th against Dm7, which sounds great.

You can do this with most chords, and it just means that you have several arpeggios available for any chord you solo over.

You may have noticed that I sometimes have other ways of not playing scale runs in the last two examples, I’ll get to those later as well. Another way to use an arpeggio is to play it as a triplet which is a great way to change up the flow with rhythm. In this example you also want to notice how I am using the descending arpeggio melody that I just showed you but now with the arpeggio from the 3rd of G7, Bø:

#2 Simple, Flexible and Incredibly Powerful

Before we get to the very simple melodic technique that breaks the counterpoint rule then I want to show you what I used at the beginning of the 2nd example to create this:

and a sneaky variation of it is also what I am using in the 3rd example going from Dm7 to G7

One of the most important parts of the sound of good Bop-inspired Jazz lines, is that they have surprising twists and turns but they also have direction, and that is what I am using here: Enclosures, which is an incredibly deep topic, and something that helps you create great lines on scale melodies, arpeggios and triads!

On the Dm7 line, I start on the A and then instead of moving directly down to F which would be the next note in the arpeggio there are two notes placed around the F, E under it, and G above it. PLAY and what makes it even more powerful is that the enclosure moves up from E to G while the melody is moving from A down to F, so it has both the forward motion and a surprising change of direction.

The easiest way to work on this is to use 2-note chromatic enclosures on the arpeggio, because they are the most flexible and the easiest to play. The concept is simple: a diatonic note above the chord tone and a chromatic note below, so for a Dm7 arpeggio, E above & C# below, resolving to D. G above and E below, resolving to F and so on.

The entire exercise is this:

and you can play it descending as well:

And just using this on the arpeggio gives you solid lines that are anything but boring. Here I am using the enclosure around F and D on Dm7 and also around the B on G7

Let’s have a look at how Bebop breaks some counterpoint rules, and then start talking about how you get this information into your playing because that may not be obvious.

#3 Breaking The Counterpoint Rules

In many ways then Bebop and Jazz lines are closely related to the language of Bach, and the rule that I mentioned about resolving a leap in one direction by moving in the opposite direction does sound quite natural and fits a lot of Jazz lines. Think of the Ellington ending:

But the interval of a minor 6th is not allowed so it is, in that way, breaking the rules, and that descending minor 6th is a great sound for Jazz lines.

Jazz also doesn’t have a problem with parallel 5ths and a few other things but counterpoint was also created for polyphonic vocal music so that isn’t that surprising.

The descending 6th interval can be used as an incredible sound! A simple version of it is to insert it between the half-steps in the scale, in C major that would be between the C and the B, where you can place an E and between the F and the E where it is an A.

And these interval skips are great for Bebop and used all over the place! There are more options but for this I’ll stick with these two. Check out how I first use the interval skip and then two enclosures on Dm7 following that up with the descending arpeggio technique on G7:

The Practice Strategy

By now, you should be wondering how you internalize material like this. You probably noticed that I am not really giving you specific licks it is more like recipes for melodies that you can move around and use to create your own licks.

You could look at getting this into your playing as a 3-step process where the 2nd one is probably often left out, and the reason you won’t get it into your playing:

#1 Exercises

First, you need to take care of any exercises like practicing the scales, be able to play the arpeggios or enclosures

#2 Compose/internalize

Start composing lines with the topic you are working on, so take a single thing and start making lines.

You want to be able to play the lines you come up with in time, but the biggest focus should be on making a lot of lines. That is where you learn something and where you start to hear the melodies that you want to get into your playing.

Keep it simple and don’t try to do only new things because you want to connect the new things to what you already play so that it becomes a flexible and active part of your vocabulary, not something you have to think about.

#3 Put It To Practice

Take a song you know very well and start soloing while you focus on using the new melodic technique or piece of vocabulary that you want to get into your playing.

Most of the time, students underestimate the benefit of writing tons of licks and exploring the material in that way, so pay attention to that while you practice and be a little patient. Keep in mind that Barry Harris taught Bebop by writing licks and explaining the lines. Composing licks can also be great for developing your rhythm and your phrasing, let’s look at that.

#4 The Curse Of Heavy Beats

Keeping up with the changes is very difficult in the beginning, and often we try to hit target notes on beat one whenever the chords change to make it clear to ourselves that we are following the harmony. This is an important skill, but it is not really great for your rhythm so here are two things you should try to work on that helps lighten it up:

#1 don’t stop on beat 1

When you end the line, in this case that makes most sense on the Cmaj7, in the II V I, then continue into the bar and try to end on an offbeat like I do here, and see if you can spot all the other stuff from this video that I use:

This example actually uses the next thing when going from Dm7 to G7:

#2 Resolve on 4&

Try to resolve to the chord on 4& to anticipate the chord change,

again adding forward motion and energy to the line. This is something where it makes sense to spend time composing lines to get it into your ears and into your playing. And in the example, notice how the enclosure is used to help the transition from Dm7 to G7

#5 Technique for Dynamics

The Phrasing is where the music is, and when it comes to phrasing in Jazz then one of the most important parts is the dynamics in the line, and you can use technique to make that easier. This is probably also why so many Jazz guitarists mix a lot of different techniques when they play: It is the most efficient way to get the right phrasing.

For the dynamics then two techniques are great to incorporate: slides and legato.

Here’s an example without any phrasing:

and here it is with some added phrasing techniques, and notice that I tend to use techniques so that I pick a note on the offbeat and make that louder than the note that follows on a downbeat:

I am sure you can hear the difference. When you start working on this then try to find some simple licks where you have a high note on an off-beat, like this way of playing a Dm7 arpeggio:

Or using a pull-off from an offbeat in a descending scale run like this which also makes it easier to play for your right hand:

The Biggest Mistakes Learning Jazz

One of the most difficult moments I ever experienced on a stage in front of an audience is tied to a myth, something that people sometimes will say but that isn’t true. It is easy to waste practice time on stuff like that and you can better focus on actually learning how to play and building the skills you need. I tell the story of that failure on stage and some of the other concepts that you should not waste your time on in this video! Check it out!

Jazz Beginner – 5 Myths That Waste Your Time

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/5-things-that-99367012

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:

Sign up for my newsletter – Get the II V I Ebook

Jazz Guitar Insiders Facebook Group

Join 15000+ 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 send me an email or leave a comment here or on the video. That is the best way for me to improve my lessons and make them fit what you are searching for.

 

 

 

Why Barry Harris’ Approach Is So Much Better Than Bebop Scales!

Bebop IS Modern Jazz

I hate Bebop scales, in fact, I never liked that approach to soloing because it always took away the part of the Bebop sound that I love the most, and this was even years before I knew what that was. Bebop is important, because Bebop IS the foundation for pretty much all modern Jazz, just like Christian McBride says:

“Let’s make something very clear.

Be-bop language is still modern-day language.”

For learning Bebop, There are important skills which are about Melody and flow and they are much more important for the sound than just what scale or which arpeggio to play, so I want to show you how that works so that you can start digging into that beautiful Bebop sound! I am a bit curious how many comments I am going to get from people who hate Bebop, but I am sure that more people love it!

Charlie Parker Is The Mozart Of Jazz

Charlie Parker’s solos completely blew my mind when I was just getting into Jazz. It was especially the Jazz Blues solos that I connected with, like this one on KC Blues.  In those solos, some of the phrases were very similar to the Blues I already knew from Albert King and Stevie Ray Vaughan. But there were these other melodies that sounded great but were completely different, and not at all about Blues. They made me incredibly curious, and I needed to figure out how they worked because they sounded great. And that is how I ended up getting into Jazz and finally getting a degree at the Royal Conservatory in the Hague.

What’s Wrong With Bebop Scales?

The thing that Bebop scales really miss for me is that the emphasis is on playing scales so if you have a G7 bebop scale then that is often something like this:

And there you have the chord tones on the beat and the stepwise melody which really connects with and spells out the chord:

But the lines you get with this are really boring:

And you don’t hear the things that, I think, make Bebop lines sound great like this:

That is not really in there with the Bop scales and music is about more than having chord tones on every downbeat.

To me, this relates to something that we are still learning to teach, Pat Metheny talks about it in the Rick Beato interview:

And, what Metheny says here is also one of the reasons that Barry Harris is so great at teaching Bebop: He teaches melody as well as harmony. Even if he doesn’t seem to have names for everything, then, as you will see, he does have strong concepts that catch this and help you develop your skills with Bebop melodies. This will come up again and again in this video!

Melody is About Direction

To me, this is about learning to hear and play lines that are not stuck on the heavy beats.

So you don’t change direction on beats 1 and 3 all the time:

This is about the rhythm in the melody, and you want to also change direction on the off-beats because that makes it lighter and a lot more interesting,

Check out how I am essentially playing the same notes but changing direction on the 2& and 4&:

But, of course, this is not something you can think about when you are playing, at least I can’t. Instead, you need another approach to get it into your playing, and you want to work on this because it is such an important part of the sound.

This video is really about my favorite trick with Bebop melodies, and I will get to that, but I think it is better to start with a simple approach: Triads and Enclosures.

Back to Triads

I am using this on a G7, so take this G major triad:

With the triad, it is easy to add chromatic enclosures around each note using a diatonic note above and a chromatic note below, so for G:

Which gives you this exercise:

This is not yet super exciting, but check this out:

Here, you have a line that isn’t just moving in one direction all the time and still makes sense with the chords,

there is a secret ingredient that I will get to, but keep in mind how far it is from this:

The secret is that when I have a melody moving down, so I start on G and go down the G7 arpeggio to F and then I want to go to D, but instead of going directly to D, I add the enclosure around the D, But, and this is pretty important: If the melody is moving down, then try to play the enclosure moving up, so in this case I skip down to C# and go back up to E before landing on D. So it jumps around more, but the whole thing still makes sense and has a natural flow.

It is very important to keep in mind that this is not a strict rule and the “only way” you can use enclosures, but you want to train yourself to hear melodies like this because they are more alive and they sound a lot less predictable and boring. Most of us need to work a bit to get them into our ears and our playing, but once you know that it works then you do start to hear them all over the place. A common one with Joe Pass is this one which I transposed to C major:

The reason why I remember this one was that I used to always mess it up when I had to play this solo out of his “Jazz guitar style” book.

You can take any triad and easily figure out the enclosures but don’t forget to start working on composing lines that use this so that you learn to hear how they sound. I often call them flipped enclosures because they move against the melodic direction, I am not sure if there is another name out there.

Let’s try to move to the first Barry Harris Concept which sort of works the same, but just has a lot more notes.

Barry Pivots

Pivot Arpeggios are a super strong Bebop trick and really help you get that sound across. I don’t think I ever heard Barry talk about why pivot arpeggios sound good, but he does teach them and use them a lot, both in his teaching and if you transcribe his solos. It’s actually pretty simple:

In the previous example, I was using an enclosure to change the direction of the melody:

But now I want to use an arpeggio to do that. If you start with the basic Cmaj7 arpeggio:

You turn it into a pivot arpeggio by playing the first note and then moving the remaining 3 notes down an octave:

This is a great way to get your lines to move around in a more interesting way, just listen to Grant Green, he does this ALL the time!
Here’s a phrase from the end of the bridge on I’ll Remember April:

And to translate this back to the G7 I started with: Let’s use the arpeggio on the 7th of the chord which is Fmaj7

and then you have a line that skips around but is still solid:

In this example, I am using another Barry Harris trick that is really powerful, but again you want to just start writing lines with pivot arpeggios and get used to how they sound to get it into your ears and into you playing.

What you might have noticed is in the 2nd half of the bar. Here, the melody is really just moving down, but then it goes back up to the D on beat 4.

That is actually another way to get a beautiful interval skip in there without sounding angular and unnatural. This is a Barry Harris half-step, and coming out of Barry Harris’ Chromatic scale.

Barry Harris Chromatic scale

I get that it may sound strange that I refer to the note D as a half step between C and B in the C major scale,

but that is actually how Barry’s chromatic scale works, and that is an amazingly powerful tool for some really fantastic Bebop phrasing:

You take the C major scale:

Barry came up with a way of adding a half step or chromatic note between all the notes in the scale, but you need a trick along the way.

Whenever there is a half-step available then you use that:

But when you move from E to F, or B to C where there is no half-step then you can use the scale note above the target, which would be G before F:

Continuing like this you end up with:

But it works if you play it descending as well:

There is an amazing extension to this which I will get to, but just the basic scale is already a great way to create some beautiful flowing bop lines. Here I am using it on a G7 with the half-step between E and F, and C and B:

So you have the G between F and E, and, then chromatic passing notes and again skipping up to D between C and B.

Super-charged Barry Harris

When Barry showed us this in the masterclass at the conservatory in the Hague, then he had us play the exercise but then he said something that I didn’t really understand at the time but which is incredibly powerful for  making some super Bebop lines:

“Any note can be a half-step.”

Why is this great? That works because you can use other notes that give you other interval skips and they can still sound great and keep the flow!

Let’s take the beginning of the previous example:

I am using the G as the half-step

but A works as well:

And the lower A with a huge interval skip sounds amazing:

And then you can do stuff like this using enclosures and chromatic scale together:

And remember that this was to not get stuck  playing solos like this

But, it actually gets even more crazy because there is actually another level to this one as well.

Chromatic Boosted Half-step

Now you have a way to add the interval skip as a Barry Harris’s half-step but you can actually add a chromatic leading note to your half-step as well, and I know it sounds a bit weird. But you go from this

and then the low A that we are using as a half-step can also get a chromatic leading note!

So with the chromatic boosted half-step,  which is clearly not a great name for this, then you can create a line like this:

Grant Is The Greatest

Maybe the most important part of getting this into your playing is that you start recognizing it in the solos of the people you listen to, and one of the best places to start with this is Grant Green because his solos are super-inspiring clear examples of this and they are not too fast to follow.

One solo that covers all the examples in this video is his solo on “You Stepped Out Of A Dream” which I break down in this video so that you can hear all of this in action, and get started using it yourself.

I Wish I Had Checked Out This Guy! His Solos Are Jazz 101 On Guitar

Get the PDF!

You can also download the PDF of my examples here:

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/why-barry-harris-89199399

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:

Sign up for my newsletter – Get the II V I Ebook

 

Jazz Guitar Insiders Facebook Group

Join 1500+ 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. 

 

5 Of My Favorite Bebop Shortcuts To Fix Your Jazz Phrasing

When I was still just getting into playing Jazz, before I moved to the Netherlands,  then I often found it very frustrating that I knew what scale to play, the arpeggio of the chord, and all those basic things, but I still couldn’t get it to sound right.

The lines that I played in my solos were correct but way too boring:

At the time I was checking out solos from Parker, Joe Pass, and a Danish Jazz guitarist called Jakob Fischer, and the way their lines flowed were much more elegant:

But while I mostly understood the notes and how it worked with the chords then I could not make my own version of it.

The solution sort of came from two things: Going to Barry Harris workshops in the Hague where I later went to study,  and then those solos that I was checking out.  Barry could really explain Bebop melodies in ways that made sense, and that also taught me more about how to break down the phrases I found in solos so that I could make them into more flexible chunks and get into my own playing.

That is what I am going to show you here, Let’s get to the first Building block which you might recognize from the previous example.

#1 Beautiful Bebop Interval

One of the problems in the boring line is that the melody is super predictable in how it flows which makes it heavy and not very interesting in terms of rhythm. In fact, all of these blocks are really about adding rhythm to your lines, because that is what Bebop is all about.

Here’s a great way to change the melodic direction by adding a lower chord tone, in this case, the 5th of the chord, and a chromatic passing note, it is actually a Barry Harris technique, but I’ll explain that later.

And that can be put into a lick like this:

But you can use this on other chords as well, on a G7 where the 3rd is B and the fifth is D:

or on a maj7 chord also going from the 3rd down to the 5th (show the lick Ex 7)

So you can see how you can easily move it around in the scale and have your melodies come more alive.   The next one is taking this and going a step further.

#2 Beautiful Bebop Interval 2.0

Now that you have the large interval skip you can also add a leading note to that low chord tone and that really works:

And, of course, this can become a line:

Again this will easily work on a G7 as well, giving you something like this:

A side-note to these two examples is that you can see them as part of Barry Harris’ chromatic scale where he essentially sets up a system for adding leading notes, where anything can be a leading note, and that gives you some really amazing options, I’ll link to my video on that in the description of this video.

Make it your own!

An important thing to keep in mind is that you want to use these to develop your own material, so make variations of them, and explore what you can turn them into because that is where they really become valuable.

A few basic takes on the first two blocks could give you:

So there are all these things you can create from this and they all work. Let’s explore a way of changing up the rhythm by adding embellishments which is a little less complicated than these large intervals.

#3 The Triplet trill

It is nice to have material that is easy to throw in there and that change things up so you are not stuck with endless rows of 8th notes, again this is about rhythmic and melodic variation.

Let’s say you are playing a line like this:

But you can add a bit of energy to the first part of the line by playing it like this

And that trill is essentially just this phrase:

I  think you want to play this with legato to get it to sound good, because playing it picking all the notes just doesn’t sound as good 99% of the time.

This little phrase can be used in so many ways. If you combine it with an Em7 arpeggio it is great for a Cmaj7 chord:

Or if you move it in the scale and add a leading note then you have a Dm7 lick:

In those Barry Harris Masterclasses, I remember Barry referencing this as a Parker thing when he added it to the solo line he was working on, but I am not sure if he always did that, it is certainly something you will find only in Parker solos, it is all over Bebop, and maybe a little less in Hardbop.

When it comes to learning this, then being practical is usually  more efficient than being systematic, so an easy way to start exploring this in a scale is really just to move from string to string and see where it is easy to play, and from that try to see where you can use it, which for this position could give you an exercise like:

And an ascending where you are adding that leading note could then be:

Let’s take a look at another important trill to use, so that you never get stuck with 8th-note sickness again.

#4 The 16th Note Trick

This is also really easy to insert into your lines, notice that it again is easier to play it with legato technique, especially for higher tempos, but here you can actually get away with picking the notes as well.

Like this it sort of works as an enclosure for the note F and if you add an Fmaj7 arpeggio you have a great Dm7 line:

Again you can try to move that around to other strings, if I start on E on the G string then it can become a great line like this:

Which is obviously a lot more interesting than:

And here again, you can explore it by moving it around, and see what is practical for you, which is also how I came up with this exercise:

It is about using it!

As you can tell, then I am focusing on how you can use these phrases not only how to play them, and that is because I think that is way more important. In the long run, you want to make it a part of your playing, and your sound and you do that by learning the concept, not just a lick.  Which is also really what Barry Harris taught by moving things around the scale and how to make phrases into exercises. Let’s make arpeggios more Bebop!

#5 The Other Triplet Arpeggio

This is different form the Bebop  arpeggio that  ou probably already know, with a triplet and a leading note:

Another approach that is also really useful is to play arpeggios like this:

This is especially great for targeting the 3rd f the chord, so for a Dm7 you can use an Am7 arpeggio and get a line like this:

And it also is a great way to get the transition from Dm7 to G7:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/76771862

Get the PDF!

You can also download the PDF of my examples here:

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:

Sign up for my newsletter – Get the II V I Ebook

 

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

Get Scale Practice Right And It Will Boost Your Playing

Scale practice sounds, dry and boring and more than anything else about moving your fingers on the instrument in a way that is anything but music, but when you practice exercises like scale exercises then the purpose is to make it easier for you to play the things you want to play in your solos. It is really that simple, and keeping that in mind will help you come up with a lot of exercises that are much more efficient in making you play better.

Let’s take a look at what exercises you should be working on, but also how you should play them and think about them which is probably different from what you expect.

The Basics

With any scale you want to practice then you of course want to start with the most basic exercise of playing the scale. You can practice scales in many ways, in a position:

on a single string:

or across the entire neck.

To begin with, it makes a lot of sense to stick with positions, especially if you want to play songs with chord progressions that require different scales.

Just learning to play the scale, what notes are in there, and how it looks on the fretboard in that position. The important thing is just to not just stop there, because that is not enough and you can come up with more exercises that you want to get into your playing.

How To Play It What notes Seeing It On The Fretboard

What Are You Trying To Learn?

But when you solo then you are not just running up and down the scale, that sounds boring. You want to be able to create lines like this excerpt from Wes Montgomerys solo on Satin Doll:

And in this solo, there are a lot of 7th chord arpeggios and triads.

So it only makes sense that if you want to use those in your solos then you should also practice them in your scales. That is also why I made a video on “The Most Important Scale Exercise in Jazz” which is on practicing diatonic 7th chords arpeggios.

The reason that this is so important is that the basic chords you improvise over are 7th chords and this exercise is how you connect the scale to the harmony of the song.

First, you want to learn the basic arpeggios, and later in the video, I will show you some ways that you can expand the exercises so that it becomes almost small licks you can use in your solos.

This exercise can be a little tricky to play if you never tried it before, but there is a really useful hack to help you into it.

Each 7th chord is a stack of 3rds in the scale:

The C major scale is : C D E F G A B C

If you stack 3rds from C you get: C E G B

but instead of playing the entire 7th chord arpeggio then you can ease into it by first practicing the 3rds:

The 3rds are a good exercise for flexibility in your playing, and for the rest very much a technical exercise. The Diatonic triads are useful in solos and something that you anyway want to explore.

And then continue to the triads:

This also shows you why the 3rd interval is so incredibly important as a scale exercise, it helps you connect the scale to harmony.

 

How is it used: The Next Level!

As you saw both in the first Wes solo and can see in most bop-solos then the arpeggios and triads are played in specific ways in the solo, and you might as well incorporate that into how you practice the arpeggios through the scale.

In that way, you are just turning a scale exercise into a flexible lick that you can insert directly into your solo.

The most important version of this is probably using the 8th note triplet with a leading note:

This exercise is helping you vary the rhythm in your solo and teaches you how to use chromatic passing notes in your solos, and it is all over Bebop solos!

Another great way to use triplets is to use them to resolve the top note in the arpeggio like this:

This way of using the arpeggio lends itself really well to help resolve the top note for example in a II V like this:

A triad version of this exercise is also great and a shortcut to some Wes licks.

You start with this basic exercise

Taking this through the scale also becomes a great phrasing exercise

and this is also what you might recognize from this lick that Wes uses in his 4 on 6 solo from The Incredible Jazz Guitar Album:

Making Exercises From Licks

In general, it can be very useful to experiment with using fragments of licks that you transcribe as scale exercises, and in that way, both play them better and hear them move through the scale.

This can become this exercise:

You may be thinking that this is very complicated to keep track of what notes and arpeggios you have to take through the scale, but that is probably not how you want to approach it.

What Is Practicing The Right Way?

When you are practicing exercises like this then you can’t rely on analyzing everything, that is a separate skill and something you need to build in other ways. Instead, you should look at the exercise as a short predictable melody that you take through the scale and try to hear your way through it.

Again starting with this may seem difficult, but if you start with 3rd intervals and triads then you can get used to how it works and you will find that it is not as difficult as you might think.

With exercises like these then it really pays off to worry more about precision and clean execution than speed. This is simply because if you can easily play them cleanly at a slower tempo then speeding them up will become easier. You will probably also realize that if you speed it up before having control then you are going to have to go back and fix things later, and at that time you may also have developed some bad habits.

The Source Of Your Exercises

As I mentioned earlier then it is useful to take fragments from the solos of the people you transcribe and listen to. An amazing resource for this that you can get a lot of inspiration from is this Joe Pass book which has some rock-solid bebop lines that you want to have in your vocabulary and that can give you thousands of ideas for new exercises and lines to work on.

Is This Jazz Guitar Method Fantastic and Terrible At The Same Time

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/get-scale-right-66234299

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

This Is Ruining Your Jazz Solo – A Powerful Bebop Breakthrough

You have a problem if your Jazz solos sound too much like this:

In a way, this should work because a lot of things are right about this:

  1. It is nailing the changes
  2. There’s a place where you can add a nice Bebop accent
  3. It is actually also a motif that is being moved through the changes.

But it still doesn’t really sound ok, So what IS the problem?

“It is Jazz! It needs chromatic notes!!!”

Still not really working, let me show you why:

A great jazz line should surprise you, it should not only change direction on the heavy beats like this or even the previous one did.

Because that makes it sound heavy, the lines should have more life and more interesting rhythm, not just go from heavy beat to heavy beat like a lawnmower.

Instead, you want something that is more like this:

Of course, It isn’t so that you can never change direction on a heavy beat, but not all the time, and it pays to figure out how to make the line more surprising, so let’s look at some surprisingly easy strategies for that.

Flipping Chromatic Enclosures

A simple chromatic enclosure that you probably already know is a great hack for this!

So if you have a Dm triad

then you can add the enclosure around the notes like this:

These are called diatonic above chromatic below.

The great thing about these is that they have a direction, and can go both up and down:

And that is much more powerful than you think.

 

Let’s say that you are playing a Descending Dm7 arpeggio:

But you want to add a chromatic enclosure around the last note, the D. The arpeggio is descending, so if you also take a descending enclosure then you get:

But if you have the enclosure go against the descending melody then you get this:

I am sure you can hear how HUGE that difference is!

And this will help you create lines like this:

Throw In A Triad

Another useful tool is to use the diatonic triads like I am using the Am triad on Dm7 in this example:

The concept is pretty simple if you have a note  where you can dip down and take a triad that fits the chord,  then that will work as a way to skip around and still be a strong melody.

In example 10, I did this on the E adding an Am triad. But you could also just take the A and use the Dm triad:

That will work in a line like this where I also use it on a D diminished triad on the G7(b9):

Steal a Bebop Trick

B-roll: Illustration of the F and E -> add low A?

Often a fantastic solution is to get a large interval skip in there but that sometimes sounds very unnatural. Luckily, we can lean on the Bebop greats to give us some tricks for this!

If you are playing a melody in the scale with a half step apart, so for example F down to E on the Dm7 chord then you can throw in a lower chord tone like the 5th, A:

And this always sounds great, another place where you can use that is on the G7 between the b9 and the root adding a low B:

One of the most powerful places to learn this and also get a ton of inspiration is of course to study the Bebop Greats, and especially Charlie Parker. Check out this video, If you want to see what you can pick up from him and also how I use that in my practice and playing. I can promise you that it is worthwhile and a lot of fun!

 

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/this-is-ruining-63264299

Get the PDF!

You can also download the PDF of my examples here:

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:

Sign up for my newsletter – Get the II V I Ebook

 

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

 

The 10 Bebop Skills You Want To Master

I think it is time you test your Bebop skills so you know where you are at with your solos. For some of them I am very happy I learned that early on and a few that I wish I had figured out a lot earlier, but I’ll tell you about that along the way.

#1 Diatonic One-Octave Arpeggios

This is essential for Bebop, and luckily something I was taught early on by both my teachers in Denmark and at the Barry Harris workshop in the Hague.

If you transcribe or analyze Bebop solos, maybe even jazz solo in general, you will see that most arpeggios are played as one-octave melodies and not the large positions we use on the guitar.

And it really makes sense a lot more sense to focus on practicing the things that you actually need in your solo, so you want to practice your diatonic arpeggios in any scale you want to use in your solos, but what is more important is of course that you want to practice using the arpeggios in your solos.

And you can use that in a line like this:

So the question is: Can you use these one-octave arpeggios in your solos?

Even if you don’t pass the test then this video will give you some things to you can add to your playing that really will improve how you sound, and it is fun to keep score.

#2 Arpeggio From The 3rd of the Chord

The great thing about the diatonic arpeggio exercise is that it gives you A LOT of material, and the 2nd most important arpeggio for a chord is the arpeggio found on the 3rd of the chord. This is all over Bebop solos, and something you want to have in your vocabulary for sure. Again something I learned from Barry Harris.

To demonstrate this, let’s take a II V I in C major: Dm7 G7 Cmaj7

Dm7 to G7 to Cmaj7. And here you have an Fmaj7 arpeggio from the 3rd of Dm7, which is really giving you the sound of the chord and adding a 9th on top

and for the G7 you have Bø which essentially does the same thing giving you a 9th on top of the G7.

A line using these two could be something like this:

Where you have the Fmaj7 arpeggio here, and the Bø arpeggio on G7 here.

Do you use the arpeggio from the 3rd of the chord in your solos? Keep track and leave your score in the comments!

#3 Ending Phrases On An Upbeat

This is something that is tricky for a lot of guitarists, probably because it is so difficult to learn to play sustained notes on a guitar, but Bebop is called Bebop because of the way a lot of phrases end, so you want to be able to play phrases that end with

I don’t remember when I started getting this right, but I am pretty sure it was after quite some time. It wasn’t really something I was taught or that my teachers pointed out to me, but it is a good skill to work towards:

If you really want to know then record yourself soloing and listen to how often you end on a short note on the offbeat. You may think you have it, but maybe not?

#4 Chromatic Passing Notes

This is usually one of the first things associated with Bebop: Chromatic passing notes, even though that is something you have in a lot of other styles of music as well.

The basic principle is, of course, to add a chromatic passing note that resolves to the next note in the melody, just to create a short moment of tension and some forward motion to the line.

That can be used like this, which is almost a Parker lick:

You probably knew this one, but the complicated cousin of the chromatic passing note, That, is a different story.

#5 Chromatic Enclosures

These types of melodies blew my mind when I first came across them with Pat Martino and Joe Pass. This is where chromatic phrases really start to become interesting. These melodies are also a lot less common in other genres of music.

The idea is to have a short melody with chromatic passing notes that move around the target note and there are many different variations you can use:

Here you have a chromatic enclosure before the C and also a longer chromatic phrase targeting the high B

And you definitely want to have this in your playing if you want to sound like Bebop!

#6 Triplet Arpeggios (two variations)

Playing Arpeggios as 8th-note triplets is a great rhythmical part of the Bebop vocabulary and also something that it really pays off to practice through your scales, both for technique and because it is great vocabulary.

The first variation is to play the arpeggio as a triplet with a leading note. That would give you this exercise.

But you can also drop the leading note and play this variation:

And that will give you phrases like this:

Where I am using the Em7 arpeggio with a leading note and the Cmaj7 triplet arpeggio without the leading note.

You practiced your triplet arpeggios, right?

#7 Octave Displaced Arpeggios

This is probably one of the Bebop secrets. At least it seemed magic to me when I tried to figure out how it worked by myself and just kept failing miserably

But actually, it is something you can easily work with and start using in your playing. The coming skills are not as much about what to play, but how to play it which is really what mostly is missing and what really makes the difference.

The concept is simple: Here is a one-octave Cmaj7 arpeggio, and instead of playing the arpeggio as an ascending melody you can move the last notes down an octave to get this great melodic skip in there.

And you can use that to create lines like this II V I where I use it twice:

And here you have the Fmaj7 arpeggio as an octave displaced or pivot arpeggio on the Dm7 and the Bø arpeggio on the G7.

#8 The Chord Tone Skip

Similar to the octave displaced arpeggios this is a great melodic skill that is a great part of the Bebop language: adding skips between notes in scale melodies. Mastering this helps you get rid of endless boring scale-run licks that are closer to a cure for sleeplessness than a great Jazz lick.

This is especially effective between two notes that are a half step apart like C and B on a Cmaj7 chord.

So you have the arpeggio from the 3rd Em7 arpeggio, and then a chromatic run where I am inserting the low E between C and B.

And you probably recognize this from the solos you have heard by George Benson and Pat Martino. The question for the test results is: Are you like George and Pat?

#9 16th notes

Another melodic embellishment that makes your solos sound more interesting is to add some 16th note turns or trills. I am not actually 100% sure what the name is, feel free to leave suggestions in the comments. This is actually something that I think I could still use a bit more in my playing and have fun working in there more and more.

This type of phrase also helps you not get stuck in the boring 8th note lines, since it helps you how to change direction in a line and create some variation in the rhythm.

You can just add an arpeggio run to it and then it is a great Bebop Line

Did you fail already or are these last skills helping the score?

#10 triplet trill

This type of trill can also really change things up and make your lines sound better. This is all over Parker and Pass solos and also turned into a repeated figure by Grant Green and Wes Montgomery.

On guitar, this is usually executed with legato playing which makes it easier to play the fast-moving trill and also gives it a more fluid sound.

And you can put this to use in a line like this:

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/bebop-test-10-to-61363099

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:

Sign up for my newsletter – Get the II V I Ebook

 

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

 

These Scale Exercises Are Immediately Great Jazz Licks

You want to use the things that you practice, so if your scale exercises are already solid vocabulary or solid licks then that is, of course, a lot easier. Practicing scales should not just be dry technical and boring. What you work on should really connect with what you want to play in your solos and be more than just moving your fingers. So let’s have a look at some great examples of exercises that are really just “Instant Bebop” vocabulary.

Practice Bebop Arpeggios, Not Just Chord Tones!

This is an important exercise! In my experience, the best way to practice arpeggios is as diatonic arpeggios in a scale like this.

That is of course, super useful but also in itself not that inspiring.

Let’s add two things that we love about Bebop and Jazz:

  1. Chromatic Notes to add tension and movement
  2. Interesting Rhythms to keep it grooving and alive

Let’s first work a bit with making the rhythm just a little bit more interesting.

One way to make the rhythm more energetic could be to play the arpeggio as an 8th note triplet like this:

This is something that immediately gives you licks like this:

and you can turn that into a scale exercise like this:

If you play this exercise then you can use this rhythm on all the chords and in a lot of different places, and it already starts to sound like music.

The Chromatic Leading Note

Another great way to use arpeggios that are “Instant Bebop” is combining the triplet with a chromatic leading note:

Of course, you want to work on this for all the arpeggios, so taking it through the scale gives you this:

And, besides sounding like Charlie Parker or George Benson out of the box, this means that you can make licks like this:

Here I am combining the Cmaj7 with some chromaticism, something that both Parker and Benson do all the time.

You can also put it to use on a G7:

There are a few things you want to learn from this example:

  1. The arpeggio from the 3rd of the chord is great (here it is Bø over G7)
  2. Leading notes can sound great on the downbeat like the Eb on beat 3
  3. Large intervals in a scale run sound great! (I’ll return to that later in the video)

And all you have to practice is playing the arpeggio as a triplet and add a chromatic leading note before the first note. Before we move on to a great Barry Harris Exercise then don’t forget that the descending arpeggio sounds great as well, a simple version without the leading note gives the 1st note of the arpeggio a nice accent like this:

Barry Harris Knows A Few Tricks!

The first exercise was something that I learned from Barry Harris when he was giving masterclasses at the conservatory in the Hague, this next exercise is also from those masterclasses. It is what Barry calls pivot arpeggios, and what often is also called octave displacement, but the way Barry shows the exercise really already makes it like practicing building blocks for great licks.

The concept is really simple: First, you play the arpeggio and end by going down one step in the scale.

The second part is the same melody, but now you move the phrase down an octave except for the first note.

Let’s translate this to the guitar, an easy place to play it would be F major like this:

I imagine you can already hear how this already just sounds like a short lick you are moving around, and actually, both the standard way of playing the arpeggio and the pivot version is great as a line.

here’s a II V I in F major:

And it is a solid option for an Fmaj7 line as well:

And as I mentioned, you can also use the “un-pivoted” version as a great way to frame or target a note with an arpeggio like I am targeting the 3rd of the Gm7 in this line:

And cleary Barry knows his stuff because the triplet version of this melody is also a great option:

Until now it has been about getting arpeggios to become amazing Bebop lines, but you can actually also work on this with simpler scale exercises.

Bebop Boost Your Scale Runs

This exercise is just playing the scale in diatonic 6th intervals, a really pretty sound in itself but not immediately an amazing Bebop line.

I guess this is the least obvious exercise, but as you will see it is incredibly useful!

The reason why it doesn’t sound like a lick is that you are playing so many of them next to each other, so you need to spread them out a bit and add them to something like a scale run.

And this is what I used in the previous examples like ex 3 and ex 4, the concept is pretty simple. If you have a scale melody then see if you can add an extra note when you are on a chord tone. In Example 14 that was on the root which adds an E. In example 3 it was the 3rd down to the 6th, and placing it at the end of the line makes it even more dramatic.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/these-scale-are-57253779

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

How To Write Great Jazz Vocabulary And Learn From Charlie Parker

Sometimes I like to challenge myself to find new things to play in solos, and one way I do that is to limit myself to a single thing and then really explore that, and that is what I am going to do in this video with a basic Cmaj7 arpeggio and all the Bebop Tricks I can think of, or at least most of them.

#1 Parker and the Blues Mystery

Of course, you want to explore the beautiful vocabulary of the great players, and then use that to make your own licks.

This is classic Bebop: maj7 arpeggio followed by a descending chromatic run. This is all over Parker and Benson solos.

This specific example is really just a variation of a Parker line that he plays on Au Privave:

Charlie Parker and the Maj7 arpeggios on a Blues

An interesting side-note here is that Parker is old-school: he plays Fmaj7 on an F blues, especially in bar 6. There are quite a few examples of this and that is a great sound to explore! Of course, this is coming from Blues first being just triads F, Bb and C, then probably 6th chords before we started using dominant chords, and I think this is a great reminder of you should not always reduce songs to chord symbols, because we lose something in the process. I am curious what you think?

As I said, Charlie Parker does this very often and another great variation is this example from his solo on Now’s The Time. (Example)

But you don’t want to only play ascending melodies with arpeggios, so before we make it really complicated then let’s try a descending version:

#2 Descending Is Great As Well

With this example, I really love how you can really bring out the chromatic leading notes by sliding into the resolution. Here it sounds great and also helps you get away with a fairly harsh leading note on beat one, and as you can hear the descending 8th note triplet sounds great as well.

To me, whether something is Bebop is probably more about how the melody flows than what notes are being played, I will give you a more detailed example of that later in the video.

#3 Making Scale Runs Sound Amazing

When you are creating lines with a certain type of arpeggio like this Cmaj7 then it is also a test of what you can do with all the other things you know.

In this example, the line is really just the arpeggio and a scale run, but I am adding in a few chord tones to break up the scale run that otherwise would be:

Example scale run #1

And then I am adding Cmaj7 chord tones on off-beats to make the line pop and make more interesting like this:

Example scale run #2

So here you have a high G on the 4& and a low G on the 1&.

#4 This Is Also In There

Combining Arpeggios is a great way to make interesting melodies, a bonus with the Cmaj7 is that you can also just take the upper part which is an Em triad like I do here triads are after all incredibly strong melodies. Another great option is to add more complicated and interesting chromatic enclosures as you will see in the next example.

#5 First A Beautiful Chromatic Phrase

Here I have a chromatic enclosure that is targeting the B, and follow this with the descending arpeggio creating a great line. You could also see the entire descending melody as an Am9 arpeggio. But you don’t need to only add the chromatic phrases before or after the arpeggio, they fit in the middle as well.

When Is It Bebop?

I keep talking about Bebop , but when is something bebop? To me, the type of melody in the examples are Bebop oriented, which I think mostly means that the melody has direction and follows the harmony. In Bebop you are finding creative ways to spell out the changes and create beautiful flowing melodies, but you can easily play licks with the same material that are not like this at all but still sound great:

In this lick, the Am7 line only uses Cmaj7 arpeggio notes, but it does not really sound like a Bebop melody, mostly because it is skipping around more wildly, and the melodies don’t have as much forward motion.

#6 Chromatic Detour

This line is really just a Cmaj7 arpeggio where I add two chromatic phrases..

You start with the Cmaj7 then on the 3rd(E) you add an enclosure which is scale note above, F, chromatic below: D#

The next step is to add a walk-up to the 7th using A and A# as an approach.

Having several descending melodies next to each other can create a great rhythmical cascading effect, like the next lick which is Wes Inspired.

#7 A Great rhythm from Wes, Pat Martino or Parker?

This combination adds a descending line that I have found in both Wes Montgomery and Pat Martino solos, and actually, I have the impression that it is really a Parker lick, but I can’t remember where I heard it. You can let me know in the comments if you know.

This rhythm is an example of playing groups of 3 8th notes, which is both an important sound in Jazz and a great way to change things up. Of course, the Cmaj7 doesn’t have to be the one-chord in the progression, it can also be an upper-structure like it is in the next example.

#8 It Does Not Have To Be A Cmaj7 Chord

Here I am using the Cmaj7 for an Am7 chord in a II V in G.

One of the things I really like about this lick is that I am using the arpeggios to harmonize a really simple melody, so in a way, it is just this melody

That is harmonized with descending arpeggios creating Cmaj7, Am7, and then a C Diminished triad.

#9 Creating Patterns and Pedal Notes

A great way to not only have lines moving from target note to target note is to add some pedal point melodies as I do in this example where the E in the Cmaj7 arpeggio becomes a pedal point with the G B and A melody above.

Another way to make the lines more interesting is to use phrasing and, to me, a Master of that was Wes, so the next example is using some of his techniques.

#10 Wes Uses Technique To Get Phrasing

In this example, there is a bit more space, and the line is using chromatic passing notes that slide into the resolution. This is a technique that I really picked up on from Wes, and it is one of the best ways to just add a subtle change in the sound of your lines, while also making it more surprising. You hear George Benson use this very often as well.

This example is adding leading notes to the B and the E.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/creating-10-with-56459712

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ 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.

The 5 Bebop Facts That Will Help You Learn Faster

Bebop was not invented on guitar, and some of the ways we usually learn things on the guitar works against learning to play Jazz or Bebop, but there are a few basic but important things that will help you think about playing Jazz in a different way so you don’t waste your time practicing the wrong things.

Getting Into Jazz and Learning Bebop

When I was starting out trying to learn to play Jazz then I was doing the same thing that everybody else does, I was working on scales and arpeggios and learning some solos hoping to combine that into something that would be my own Bebop solos. But, it doesn’t really work like that, you don’t learn a language by only learning the alphabet, which is obvious because a lot of very different languages use the same alphabet,

So even though we all use the same notes then we need to practice different words. So transferred to music: Different exercises will be useful depending on what style of music you play.

When it comes to learning Bebop then I always relied on analyzing solos that I transcribed myself or what I could get my hands on written out, but a major breakthrough was going to a Barry Harris workshop at the Conservatory in the Hague. He showed us exercises that were tailor-made playing Bebop and that really helped my playing get a lot better.

One Octave Arpeggios Rule In Bebop

One of the first things that I learned from Barry Harris, that really was a game-changer for me was that you should practice the arpeggios as one-octave diatonic arpeggios in a scale.

The reason for this is pretty simple, that is how they are most often used in Bebop solos as you can see in this transcription of Charlie Parker’s solo on the blues Billie’s Bounce.

If that is how you want to sound then it is probably more useful to practice playing arpeggios like that instead of only working on complete positions all the time.

Another advantage to this exercise is that the arpeggios are connected to the scale and you can use the other scale notes to make lines as well as the arpeggio, it is not an isolated thing like a separate arpeggio position.

There is another huge benefit to working on arpeggios like this, but I will cover that later in the video.

Scale Patterns Are For Heavy Metal

I have often heard people writing off Bop solos as patterns and scale runs, but that really sells short what is going on, it actually doesn’t describe it at all. Jazz is not that pattern-based. In fact, saying that any style is just a bunch of patterns strung together is probably untrue, maybe, except metal as the Ikea-Shredder Yngwie Malmsteen demonstrates playing his favourite 4-note scale pattern on YouTube

A Bebop line is like this:

Comparing it with this “yngwie”-Bop:

Learning To Compose Bebop Lines

For Jazz you don’t want to spend too much time on mechanical scale patterns in your practice, the goal is to do exercises that help you come up with Bop melodies, and it is not just rules and mathematical equations that create the melodies.

Take these two exercises:

And using that material you want to work on combining them in a lick like this:

Melodies Built Around The Chords

So if the solo is not just scales and scale patterns and not just arpeggios, then what is going on?

The arpeggios are often central in the melodies, and the melodies are created around the arpeggio notes. If you take the opening phrase of the Parker Solo:

It is really just an F major triad with phrases leading into each note and the chord tones are placed on the beat. You should also notice that the b7 is introduced later in the line announcing that the chord is changing to Bb7. Parker does this very often.

You want to work on hitting chord tones on the strong beats, 1 and 3 to get the sound of the chord across. You also want to practice creating melodies by adding scale notes and chromatic passing notes around those notes because THAT is what these melodies mostly are, and that is what you should practice creating.

Endless Long 8th Note Lines

A cliché description of a Bebop solo is that it is an endless line of 8th notes that never stops and weaves through the changes. I know that in one of my favorite books, Joe Pass Guitar Style, Joe Pass emphasizes the importance of developing the skill of playing continuous 8th notes through a progression, but if you listen to this Parker Solo then it is clear that Bebop is not only long rows of 8th notes. In fact, there is a LOT of space in this solo and the rhythms are not often 8th note runs, so being aware of rhythms, leaving space, phrasing across the bar line, and working with embellishments and triplets are great things to learn to use and to make a part of your sound.

Being aware of this and listening to Parker and Pass playing actually solos will teach you a lot more than a book anyway…

Let’s look at how the arpeggio exercise that I started with can make your life easier and give you more stuff to use in solos.

You Can Use Different Arpeggios On One Chord

If you look at what Parker is playing in the solo then there are a few spots where he is playing a different arpeggio than the chord that is used.

In the 3rd chorus on the Bb7 he uses Dø and

on the D7 he is using F# diminished:

What he is really doing here is that he is using the arpeggio from the 3rd of the chord.

 

If you take the scale that goes with a Bb7 then you have this scale which you might call a Bb dominant scale or an Eb major scale: Bb C D Eb F G Ab Bb Bb7: Bb D F Ab And If I instead play the arpeggio that you have on D then you get D F Ab C which is Dø

In the same way you have D7(b9) coming out of G harmonic minor (highlight D7 in G harmonic minor)

And the arpeggio on F# in G harmonic minor is an F# dim arpeggio: F# A C Eb

So in that way you have more arpeggios that work over the chords, and you also want to notice how it sounds great to play them as triplets to change up the line. That really adds energy!

There are a few more Barry Harris exercises that are almost great licks in themselves, but I will save those for another video.

Don’t Get Stuck In Bars And Chords

Until now the things that I have talked about are pretty straight forward and the point has been that Bebop improvisers work with the chords as a simplified version of the melody to create their solos. But you can also choose to mess around with the chord progression.

In the first chorus Parker is just playing F7 for the first 4 bars:

But in the 3rd chorus he is clearly going to Bb7 even hinting ad Bbm6 to go back to F

Another thing that he uses is to play over the barline as he does in this example, where he doesn’t really resolve the C7 until beat 2.

Working on being able to improvise with the chord progression and the barlines like this is something that can make your solo much more surprising and interesting, you just have to watch out that you don’t get lost.

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Check it out on Patreon

Get GuitarPro files and PDF on Patreon:

https://www.patreon.com/posts/5-bebop-facts-55319612

Jazz Guitar Insiders Facebook Group

Join 8000+ 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.