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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:

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The 5 Bebop Facts That Will Help You Learn Faster

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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.

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Bebop Magic – One Of The Best And Most Difficult Things About Jazz

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One essential part of Bebop lines and melodies that you need to check out is octave displacement. It is a simple technique, but you need to understand how to use it if you want to really nail the Bebop sound. That is what I want to show in this Jazz Guitar Lesson.

One of the great typical or cliché phrases in Bebop sounds like this:

and actually, that is just a way of playing this line which sounds about 5% as interesting:

I am sure you want your solos to sound like the first phrase, I know I do…

The difference between those two is that in the middle of the first example then the melody moves up an octave in a way that sounds both beautiful and interesting. This is mostly referred to as octave displacement, and you can use this for a lot of great things, and that is what I want to talk about in this video.

What is Octave Displacement

This technique or way of making melodies is called a few things, mostly it is referred to as Octave displacement, but you will also hear, among others, Barry Harris call some of them pivot arpeggios and different ways of looking at them will give you different ideas for using it, as you will see later in the video.

The concept is fairly simple, if you have a scale melody then you can move a part of the melody an octave, just like you saw above:

And you can do this in other places as well:

Another variation could be this:

But here the skip is placed so that the high note is on the beat, and that works but are not as catchy as the other one in terms of phrasing.

But of course, you can also use this on arpeggios to get some really beautiful melodic interval skips in your lines.

I was always drawn to licks like this when I was beginning to learn Jazz, and I was trying really hard to make lines that had larger intervals, but they always sounded unnatural and weird, not like the Pat Martino or Charlie Parker lines that I was transcribing and checking out. It wasn’t really until I went to a Barry Harris workshop that I started to understand how this worked and got some tools to start to incorporate it into my playing.

Pivot Arpeggios

A great way to make your lines less one-directional (B-roll) and add some great twists and turns is to use this on arpeggios.

The concept is pretty simple, instead of playing an ascending arpeggio like this:

Here I am playing first a chromatic enclosure and then the Bø, so the arpeggio from the 3rd of the chord, over a G7 and resolving this to the Cmaj7.

If you turn into the Bø arpeggio into a pivot arpeggio then you get an example like this:

Here you play the B and then you move down the rest an octave to get a nice descending 6th interval.

Strategies For Making Better Lines

And of course, you can extend this to other chords as well and use it to make your lines more interesting with a few adjustments.

Look at this fairly basic Bop-line:

We have an Fmaj7 arpeggio on Dm7, so the arpeggio from the 3rd, then a chromatic enclosure to take us to G7 where the line is built around a G7 arpeggio and a scale run G7b9 sound, and finally an Em7 arpeggio on Cmaj7, so again the diatonic arpeggio from the 3rd of the chord.

This is all pretty solid but you can add pivot arpeggios to this fairly easily like this:

Here I am moving the first note of the Fmaj7 arpeggio up an octave, and later also making the Em7 a pivot arpeggio

But you can also apply this to the G7 bar:

Now the G7 arpeggio in the beginning of the G7 bar is turned into a pivot arpeggio, and you can see that the pivot technique also often works on inversions of an arpeggio since the G7 arpeggio is in fact an inversion with the 3rd as the lowest note.

Displacing David Baker – Aiming for a single note

This is a very specific example, but it I find that there are so many great lines to get from this that it should be included, and you can also add some nice chromatic things with this.

You, of course, already know the David Baker Lick, in part thanks to David Baker but probably also thanks to Adam Neely:

Using this lick with octave displacement can give you not only some of my favourites but also some Charlie Parker and George Benson favourites, (whoever you feel is more important as an influence 🙂)

Let’s look at one way to understand the construction because actually, it is just a scale run with some passing notes.

Clearly, the G, Gb , F is scale melody with a Gb leading note. E to D is also clearly step-wise. So only the A is a bit odd, but you may know how Barry Harris talks about adding “half-steps” between notes that are already a half step apart. His concept is that in that case, you can use any note as a “half-step” and here we are using the A. So in that respect the lick is a scale run with two added “half-steps”, the Gb and the A

And that A is a great candidate for octave displacement, like this:

This already sounds great and is something you will find in a lot of George Benson and Grant Green lines, but you can also add an extra leading note:

Which sounds amazing, and you can make it a short turn as well, something that I have found with Doug Raney:

Just to give you an impression of how this can be put to use you can check out this II V I lick:

In this lick, I am using the octave displaced licks on the Dm7 chord and on the Cmaj7 chord.

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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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This Is Why You Should Study Bebop

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You have probably heard people say that you have to check out and learn Bebop in order to learn Jazz Guitar. That in itself can cause some discussion and I am not going to go into that too much in this Bebop lesson.

I think the point I want to make is more than studying bebop is a really efficient way to add what most of us consider Jazz sound to our playing. And there are some things that are just so great in Bebop that you really want to check out, so in this video, I am going to explore some amazing sounding lines that are so pure in that style and you want to know them as well.

I am also throwing in an unwelcome truth or two along the way.

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Content:

Content:

00:00 Intro

00:44 Lick #1 – Bebop Voice-leading and How my solo sucked

3:03 Variation on Lick #1

3:56 What is the point of studying this

4:22 Do you have to become a Bebop monk?

5:14 Lick #2 from Parker: Playing the arpeggio But not just running the changes

5:50 Bebop scales – Creative vs Systematic?

7:02 Basic Arpeggios but very melodic!

7:44 Several voices in one melody

8:51 What should you practice? Maybe do what Barry Harris does!

9:54 Making A Similar Lick for Rhythm Changes

10:45 Octave Displacement = INSTANT JAZZ!

11:01 Example 4

11:59 Example 5

12:26 Bebop is not about Scales

13:09 Example 6

14:21 Improve your phrasing and solos

14:31 Like the video? Check out my Patreon page.

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