Tag Archives: bebop jazz

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

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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

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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 Real Secret About Chromatic Phrases And Great Jazz Licks

Chromatic Passing Notes are such a powerful part of the Jazz sound!

One of the few times that I had a guitar lesson that really blew my mind and opened up how I thought about music was before I was even interested in learning to play Jazz. In the lesson, my teacher showed me a way to use chromatic notes when I was improvising and that felt like I had just been given the secret power to use all the wrong notes, and still sound great! (EXPLOSION?)

Chromatic Phrases in Jazz

For Bebop-inspired Jazz, chromatic phrases and using chromatic notes is a huge part of the style, and, as you will see, it is one of the easiest ways to start getting that sound into your playing

The phrase he showed me was this:

Which is a great chromatic enclosure, and probably you are now asking what is a chromatic enclosure?

When it comes to using chromatic notes in your solos then there are two main ways you can do that.

Passing notes, which is a way to have a single chromatic note that resolves to a note in the scale or a chord tone

or longer chromatic phrases that approach a target note from above and below which is what we call Chromatic enclosures

Chromatic enclosures are great as short licks that you can combine with the scales and arpeggios in your solo to play lines that have a surprising element and really move forward.

They actually have an advantage over just adding chromatic notes, but I will get back to that later.

Let’s first check out some solid chromatic enclosures that you can easily add to your playing so that you can hear how powerful a tool they are for Bebop lines!

#1 Pat Martino

All enclosures have a target note, so the phrase is moving toward that note. (Pat Martino Enclosure) This enclosure is using a half step below and works better if you have a diatonic note a whole-step above the target.

When I was taught this I was told that it was from Pat Martino, but I don’t think I have ever heard it in any of his solos? But feel free to let me know in the comments if you know of a place where he uses it.

You can create a great line by combining it with an Am7 arpeggio:

And combining enclosures with arpeggios is a very solid strategy for making lines sound like Jazz!

You can also use the 3rd of the chord, C, as the target note and play that arpeggio giving you this:

I am sure you can hear how this is a fairly simple way to create some Bop lines that really work!

 

#2 Michael Brecker

Michael Brecker has some great chromatic phrases as well. This is a variation on one I took from one of his solos, and it is a great way to use a very dissonant note right on beat 1. I am combining the enclosure with the arpeggio from the 3rd of the chord.

So if people tell you that you can’t put chromatic leading notes on the beat then play them this example. (Michael Brecker Enclosure) It is interesting that like this, the enclosure actually only has one chromatic note. but of course, in the end, a bebop line is about creating movement.

You can use it where more of the notes are chromatic because that works equally well if you use the root, A, as a target note and then you get this:

And as you can see, this phrase is really just built around playing the enclosure: ENCLOSURE and then playing the arpeggio ARPEGGIO.

Since you know the basic recipe then you can also start to try other things with how you play arpeggios and where you can put the enclosure, because there are so many great sounding options for this.

EDITOR JENS: I took this phrase from his solo on Confirmation, and I just went back and checked, and he actually plays it a little differently moving the rhythm, but this also illustrates how you need to make these things something you can use and a part of your sound.

Let’s try to use the enclosure a little differently in the line.

#3 Sonny Stitt

The reason I thought of this topic for a video was actually that I came across that first enclosure in a Sonny Stitt solo and thought it was worth showing you. This is a pretty common line, I have already talked about it in my video Doug Raney as well.

The enclosure is this:

What makes this an appealing melody is actually the interval skip in the middle as much as it is the chromatic leading note under the A, but maybe that is only me?

Using this together with an Am7 arpeggio, which is now played as a triplet gives you:

What Is So Amazing About Enclosures?

Melodies that just move in one direction are not as interesting as melodies that change direction.

and adding a single passing note rarely changes the direction of a melody, but adding an enclosure does. In that way, enclosures make your lines more surprising and interesting.

Barry Harris has a whole system for chromatic notes, which actually offers some really nice things as well. Let me know if you think a video on that would be interesting?

NOT only on the off-beat

In some lessons, you will hear that the chromatic notes are supposed to be on the offbeat and chord tones should be on the downbeat so that the chord is clear. That is actually not true, you are free to put them anywhere you want, but you do, of course, need to make it into a melody that makes sense.

The chromatic notes are there to create tension that then resolves back into the key and if you put them on strong beats then they just become stronger tension. Charlie Parker actually did this quite often, if you look at a part of his solo on Anthropology there are two very clear examples with a C# on D7 and an F# on Bbmaj7.

If he uses that, then so can you, so let’s go over an example that does exactly that:

B-roll: Picture from Omnibook

#4 Double Chromatic Enclosure

This enclosure is approaching the target note in half steps from both sides:

Which is often called a double chromatic approach.

And to make the line even more interesting then let’s combine it with a Pivot arpeggio. And Let me quickly show you what that is using a Cmaj7 arpeggio. A pivot arpeggio is an arpeggio where you play the root and then move the rest of the arpeggio an octave down.

And that will give you something like this:

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5 Licks That Will Help You Understand Jazz Guitar

When I started listening to Jazz and trying to play it then a huge part of what I found exciting about it was that the lines were mysterious and complicated, and at the same time made sense and did not seem completely random.

This was what made me try to pick up phrases from Charlie Parker and John Scofield. I wanted to figure out how the music worked and how I could learn to play like that.

That turned out to be pretty difficult, but there are some basic things that you want to understand about Jazz licks or Jazz solos that will help you learn to play a lot faster. Things that I spent years figuring out, but that are an important part of what makes your solos sound like Jazz, and knowing that is going to speed up your learning process A LOT.

Dig Into The Chords

One of the things that make Jazz music challenging to play in the beginning is that the chords change quite fast. It doesn’t help that the harmony is fairly complicated, but this is also a description of how, especially Bebop-inspired Jazz, works: The lines you play in a solo will connect with the changes and often are so clear that you can pretty much tell what the chords are from just listening to the solo line.

This next example has a lot of chord tones in the melody, especially on beat 1 of the bar, so that when the new chord starts then there is a clear connection between the new chord and the note in the solo.

As you can hear, using chord tones and really hitting the clear chord tones when the chord changes give your solo that sound, that connection to the progression. (highlights)

The Most Important Chord Progression in Jazz

Here, the chord progression is a basic II V I in the key of C major (example chords) and this progression is, as you probably already know, one of the most common progressions in Jazz, and you will find that all over a lot of Jazz songs.

When you start improvising over the chords then you want to know the chord tones each chord, what you also call the arpeggio of the chord. One way you can practice this could be a simple exercise like this:

It is useful to also keep things in one position so that you can easily make a melody that moves smoothly from chord to chord without having to jump all over the neck, you can start doing that later(zoom?)

With this material, you can start making licks that really nail the changes, let’s check out how to make the licks stronger melodies.

The Solo Needs Energy And Direction

In the previous example, you saw that what you play in a solo is connecting to the chord, but just playing random chord tones doesn’t work.

It still has to make sense as a melody, and especially the transition from one chord to the next is important. This is often described as Forward motion, and when you play a solo then you play lines that aim for the target note on the next chord. Something like this:

With this lick, you can see how the descending melody on the Dm7 is going in an almost straight line to the B on G7. It is a bit more complicated on the G7 where you almost have two voices moving to the E on Cmaj7(highlight)

It is a good idea to practice composing lines and then work on choosing a specific target note on the next chord that you want to hit, doing a lot of that will help you start to hear melodies like that and that will become a natural part of your playing.

In these examples, I was mostly going for the 3rd of the chord. That is simply because that is one of the strongest and clearest notes. So in the beginning, this makes it easier for you to hear the chord change in your own solo line.

With all of this in mind then you can now start to learn some more building blocks for your Jazz solos.

Shortcut To Better Melodies

I already showed you how it pays off to use the chord tones in the melodies, but you can actually take that a bit further because the arpeggio is a great melody or building block that you can use in your lines in a few different ways, and there is more than one arpeggio per chord!

Here you have the Dm7 arpeggio on Dm7, but there are some other options for arpeggios on a chord. The arpeggio on the G7 chord is a Bø which is the arpeggio from the 3rd of the chord, and it is played as a triplet which is a nice way to change up the rhythm as well.

Just to quickly explain “The Science” behind the arpeggio from the 3rd:

If you look at a G7 arpeggio and a Bø together then you can see that they mostly contain the same notes and the difference is that you add a 9th to the sound when using the Bø instead of G7.

The same technique is used on the Cmaj7 where the arpeggio from the 3rd is Em7.

Until now everything was about the right notes, but let’s start to make it a bit more spicy with some wrong notes

Try Some Funny Notes

One of the things that often springs out when you both listen to a line or just look at a transcription is that there are a lot of chromatic notes in there.

Chromatic phrases are used in different ways and there are a few different types in this example:

Let’s first check out the complicated phrases and then get to the easy chromatic phrases.

The first chromatic phrase on the Dm7 arpeggio is actually used as a way to create some tension that helps you move to the G7. A phrase like this is called an enclosure, which is really just a short melody that moves to a target note. In this case, the B on the G7, and in that way, it is helping them transition from Dm7 to G7.

A shorter enclosure is used on the G7 in the exact same way to take us from G7 to Cmaj7. This type of enclosure is sometimes referred to as a diatonic above chromatic below enclosure, something that you can use in many ways in your playing and that you want to explore on different chords.

The final use of chromaticism is on the Cmaj7 chord where the F# is used as a chromatic passing note. Because you don’t need complete phrases, you can also experiment with adding chromatic notes here and there that resolve to a note in the scale, or what is often stronger: a note in the chord. In this case, the F# is resolving to the 5th of Cmaj7, G.

But you can improvise with more than notes, you can also start to change the sound of the chords, and that is an amazing effect to work with!

You Can Change The Chords To Create New Sounds

Besides improvising licks on the chord progression then you can also start improvising with the chords in the progression. If your progression is going from Dm7 to Cmaj7 then you have a lot of freedom with what chords you are using to get there.

A simple version of this, and probably the first one you want to explore is to use a b9 on the dominant, so making it a G7(b9).

Doing this will help you get a bit more dissonance and more flow towards the Cmaj7.

So what I am using here is first the arpeggio from the 3rd on Dm7, and a Dm triad.

On the G7(b9) I am using a B diminished arpeggio, and you can see how that is the arpeggio from the 3rd of the chord: G7 B D F Ab.

This is a concept you can take a lot further with altered dominants, harmonic minor, and a lot more, but just getting started using the b9 and the diminished arpeggios is a great way to ease into it.

Important Skills To Develop For Jazz

What also really makes a huge difference for how well your jazz solos sound will be phrasing and rhythm, that are really the two next ingredients or skills that you want to develop, and one of the ways that you can really get that into your ears and into your playing is to start learning some solos by ear. That might sound incredibly difficult, but it certainly doesn’t have to be. Just check out this video where I recommend some solos that are very useful and both easy and short to get you started learning Jazz by ear.

5 Easy Solos to Learn By Ear and Boost Your Jazz Guitar Skills

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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!

 

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My 7 Best Jazz Licks with Only Four Notes

You are probably thinking 4-Note Jazz Licks! That doesn’t make any sense!

But actually, those 4-note licks are very important! They are the flexible building blocks that you put together as phrases in your solo.

Think of a solo phrase as a sentence (example 1 + text ) and these building blocks are the words, they are how you say something, and you need great building blocks for great solos and as you will see, just naming it with an arpeggio or a scale is nowhere near enough.

Let’s first look at one that is like adding instant Bebop to your solo.

Lick #1 – A Beautiful 6th Interval

This is so simple, but it sounds fantastic in a line, and it isn’t just an arpeggio or a triad.

You can at most call it a scale run with an inserted interval skip, and that is also not much of a description.

If you use it on a m7 chord you get this:

but it is equally great on a maj7 chord

With The Next One, you will see an example where it is pretty clear that just a chord name is not really a description

Lick #2 – Minor Triad With Extras

This is sort of an Am triad with an added B,

 

 

 

 

 

 

or you can think of it as a Cmaj7 shell-voicing with an added A.

 

 

 

 

 

 

 

It is great for altered dominants like this G7alt:

or over an F# half-diminished chord like this:

And I think you will agree that calling it an Am triad or Am(add9) is not really describing it.

An Arpeggio Is Just A Set Of Notes

So you can see how this isn’t just an arpeggio or a scale, and that is what makes it great. You can again think of these building blocks as being like words. it is not enough to have an analytical term for a set of notes like maj7 arpeggio, Diminished triad, because it is just as important what melody you make with those notes.

Similar to what word you use in a sentence there are options and they feel different even if they are sort of the same thing. The 3 examples below are all Cmaj7 arpeggios, but as you can see the melody is very different from example to example:

So you need to know what set of notes but also need to have some ideas on how you get them to sound great. Sometimes the arpeggio is enough, but you want to be more creative with your melodies than that.

Ironically, the next two examples are arpeggios and sound amazing.

Lick #3 – A Hidden Arpeggio

This arpeggio is not strictly a diatonic arpeggio in C even if the notes are all in that scale, it is an Fmaj7 with a B instead of a C

The fact that I call it a maj7(b5) arpeggio is also something that can get the comment section all fired up because some people will insist that it is a #11

But: an Fmaj7(#11) is a chord with 6 notes: F A C E G B and it seems a bit silly to call it an Fmaj7(omit5, add#11). Calling it Fmaj7(b5) makes it very clear that the arpeggio only has 4 notes and especially that there is no C in there which is important for how you use it.

Of course, there is plenty of room in the comments if this really offends you. Go right ahead!

This is a great sound for an altered dominant or a backdoor dominant like this:

You can also use this as a voicing and that sounds amazing as well.

If you have Fmaj7 here, then you create Fmaj7(b5) by moving down the 5th a half step:

And listen to this:

That sounds really great!

The next one is pretty simple but is also so good for really nailing a sound!

Lick #4 – Almost Obvious Arpeggio

So this is a basic m7b5 arpeggio, and I am starting with an Fm7(b5) here because I want to show you how great that sounds on a G7 altered, really nailing the sound and resolving so nicely!

Example 16

Before we get back to some examples that are more melodic techniques than great sounds on a chord, then I want to just show you how you find blocks like this in the solos you transcribe or analyze, because these are really the things you want to search for and try to work into your playing.

Finding the blocks

 

Just to give you a quick impression of how you can isolate some blocks then look at this part of Pat Martino’s solo on Just Friends.

Of course, not everything is a neat 4-note phrase, so the first phrase is a 1-bar phrase with some rhythm in there.

Then you get a pick up followed by a scale melody, a Coltrane pattern, another scale melody with a 16th note turn, descending scale, and then a Bbm triad with an added C. A different version of what I cover as the 2nd lick.

So that is how you can start to find things you want to get into your playing.

Here is another Bebop classic that you definitely need to know.

Lick #5 – The Bebop Arpeggio Melody

There is a fair chance you have heard me talk about this Bebop phrase before. Playing a maj7 arpeggio with octave displacement is a great sound for a lot of chords, and it is in so many Bebop and Hardbop solos. Here it is on a m7 chord:

This list would not be complete without a chromatic enclosure. The next one is one I took from a Michael Brecker solo

Lick #6 – A Great Enclosure

This is one that I picked up from Michael Brecker, but later I actually realized later that he probably got it from Charlie Parker.

It is like a standard enclosure with a leading note for the leading note.

But you also want some more modern sounding melodies, and the next one is one of my favourites, and one that is really underused in my opinion

Lick #7- My Secret Weapon

This Quartal arpeggio with a tritone is a great sound. It works for so many things, tonic minor, altered dominants, but also diminished scale sounds.

I have written it out so that it is the top part of a G7(#9) chord:

         

and you can use it in an altered line like this:

but it also works great with a diminished scale sound:

Finding Truly Great Phrases

When you start searching for blocks like this then I think the best place to do that is probably in the music that inspires you, so the solos that you think are amazing are also more likely to give you this material. This is also why I referenced Pat Martino’s solo on Just Friends. Learning solos and analyzing phrases is incredibly useful for this, and if you want to check out some of the phrases that I think are must-know vocabulary then check out this lesson:

The 3 Bebop Licks You Need To Know

The other way is to mess around with material and try out things to see if you come across something that you like. This is also a lot of fun but can be very time-consuming.

 

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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:

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10 Classic Charlie Parker Licks That Will Make You A Better Player

If you want to learn to play Jazz, then nothing is more useful than checking out Charlie Parker, but you can learn a lot more than just where to add a chromatic note or which arpeggio to use. The 10 examples in this video will show you that but also some great ideas you can use for making better licks which is probably the real genius of Charlie Parker!

#1 Classic Parker With Odd Note Groupings

This example is one that you will find in a lot of Parker solos., and there are a few things to pick up here.

  1. Triplet arpeggios are great! Here it is a Gm7 arpeggio over the C7 chord with an F# leading note.
  2. The main thing here is the groups of 3-notes are a nice way to create an interesting flow on top of the changes. He is playing this with the chromatic phrases, but it can also work with a lot of other things like diatonic triads

Here you have a line using Dm, C and Bb triads as 3-note groupings on the C7

#2 Voice-leading Creates Beautiful Melodies

Another thing that Parker uses very frequently, especially in BLues is to play relatively simple melodies and then just lead the voice-leading turn it into beautiful music

 

So he is nailing the changes AND telling a story by just changing one note from D to Db which turns it into a great example of motivic development.

You can also add some extra chords in your solo to get more movement in the lines:

#3 Embellish The Chords

 

This line is from the solo on Billie’s Bounce, and Parker turns Gm7 C7 into Gm GmMaj7 Gm7 C7 and even adds this nice wide trill to the first Gm triad.

In fact, he uses the same technique in the theme, but with a different melody. It is also worth noticing how he changes up the sound by following up this fairly dense line with a really basic F blues lick with a lot of repeated notes.

#4 Don’t Be Afraid Of Chromatic Passing Chords

Another example of using more dense harmony is this part of a Rhythm Changes solo:

Using chromatic passing chords is something that didn’t really become that common in Jazz until after Bebop, but Parker was ahead of his time. Here he is turning Dm7 G7 Cm7 F7 into Dm7 Dbm7 Cm7 F7.

He probably thought: As long as you get to the right place then it doesn’t matter what route you take.

This next example is a great example of taking a very simple one-bar idea and then creating a 10-12 bar story with it.

#5 Arpeggios And Rhythm!

 

This is amazing! He is playing a very simple arpeggio melody, repeating it, and then developing it. This is a great example of how to develop a simple descending arpeggio with rhythm! That you can make a million variations of!

Let’s check out another real strong use of an essential melodic technique

#6 Motivic Development – Simple But Effective

 

The line on this Bb7 is really just using a Dø arpeggio, but then making the main motif a little more interesting with some 16th notes and moving around where it is played so that it is first on beat 3 (with an upbeat) and then on beat 2.

Changing the last note also gives it a typical blues call-response sound.

#7 Triad Inversions Are Bebop Gold

Chances are that you are not practicing your diatonic triad inversions. Most people don’t get beyond the root position triads, and that is a pity because you can make some great lines with them:

 

Here is a fairly simple short example of Parker using a 2nd inversion C minor triad, and in general you will find a lot of triad inversions in his solos, so just go practice that! You can thank me later!

Here is another example with a Bb major triad in 2nd inversion:

#8 Scale Runs Made Beautiful

The next example will show you two very common Bebop devices.

Here you have Parker inserting an arpeggio in a descending scale run. This way of breaking up scale runs to make them sound more interesting is all over Bebop, and in this case he is inserting an F major triad which is the triad from the 3rd of Dm7 which also adds the complete sound of the chord to a simple descending scale melody.

#9 How Grown-Ups Use Chromatic Passing Notes

You have jazz licks with chromatic passing notes, and then you have Parker licks with chromatic passing notes. Just check this out.

This is a lot more interesting and unpredictable than just adding a chromatic leading note before an arpeggio and he is really skipping around and adding leading notes in the middle of arpeggios. You really want to open up how you think about this!

#10 How The Pros Use Diatonic Triads And Arpeggios

You also want to be able to put together different diatonic triads and arpeggios to create more inspired melodies. Here Parker is doing that by playing the arpeggio from the 3rd, Dm7 as a triplet and then using that to transition into a Bb major triad adding scale runs in between to give it a great flow.

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For Any Jazz Lick You Need To Understand These 3 Things

In a lot of lessons on playing Jazz then chord progressions are reduced to scales and then that is the only way you try to understand what is being played. Obviously, that is important but you can learn so much more than this very basic understanding of what is happening, which is really just scratching the surface of the music and not really helping you make your own lines, which is probably why you are studying the licks in the first place.

Level #1

Even before I was playing Jazz, I was always more interested in trying to figure out how to make my own version of whatever lick or solo I came across. That is the real goal of checking it out.

So let’s say you have something like this:

Probably the things that you actually find great about the lick is not only going to be which notes are used or the scales for each chord.

If that was the case then you could just scramble the notes around, but that will mostly turn it into complete nonsense

I remember having problems with lines that I learned and could not turn into something of my own, I could only play THAT version of it and not get it to work in a different way, and that was really annoying. One of the first ones was this Parker Octave displacement line:

EXTRA example 1

And it was impossible to move it around and get it to work and I got licks that didn’t resolve right and just didn’t sound good.

Extra example 2+3 (voice-over)

And I could not figure out what I was missing but something was certainly missing….

Level #2

A Jazz lick is a melody, sometimes we forget that, maybe because we zoom in too much on the chord or the notes. Melodies are not just individual notes next to each other, they are a long story, and very often they have building blocks. This is true for Jazz melodies like “In The Mood” which is built on a 1st inversion major triad:

But this is also the case with songs like the Jazz Standard “All Of Me” which also uses a 1st inversion major triad, and in fact, continues with a root position triad as the next phrase.

Instead of just looking at the individual notes that are played in a solo then it can be really useful to recognize which structures are played, and how they sound similar to Charlie Parker loves to use the m7b5 arpeggio from the 3rd of a dominant chord. This can give you shorter melodies and sounds that you can use in your own playing. It can also help you find new melodies in another way which I’ll show you in a bit, let’s first just look at another example and start with identifying some harmonic structures:

 

Here we have on Gm7, Dm7, Bb major triad,

For the C7alt: Ab major and Db minor triads

And finally an Am7 arpeggio for the Fmaj7

But there are also other melodies that you want to recognize besides arpeggios and triads. You don’t have rules or the exact names for them, but that is not that important, since it is more important that you have a way to identify what you want to play. Whether you call something a Honeysuckle Rose arpeggio, a pivot arpeggio or octave displacement is not going to make a big difference for what you play.

This example uses a few different melody types that are very common in Jazz.

When you analyze lines then start with the things you can easily recognize. Here that would be the arpeggios

Bbmaj7 on Gm7 and an Emaj7(#5) on the C7

A few of the new types of melodies

Before the Bbmaj7 you have an enclosure of the Bb.

The phrase after the arpeggio on C7alt is a scale melody with a chromatic passing note and

on the Fmaj7 you have a scale run from A down to F with an inserted chord tone.

But this is still about what is being played and not why it sounds good. Let’s have a look at how you might describe the melody that you are playing, something that I think we don’t spend nearly enough time on in Jazz and Jazz education

Level #3

One thing is that you can make melodies and use arpeggios then you still need to connect the melody across the chords for it to be a great line. There has to be a bigger picture or larger story to what you are playing, so let’s look at that.

This isn’t taught very often, and I think we still miss the tools to describe it, but it is beginning to show up in education. Let’s start with some examples using techniques that you probably already know and then a few that are more, sort of my own way of describing melody.

This is a clear example of a basic motif that is moved from chord to chord using voice-leading. This is a great way to tie together, and as you can see, it doesn’t have to be obvious.

Another way to play a motivic melody is to use the same type of melodies:

Here the skipping arpeggio melody is continued through the line creating melodic tension as well as harmonic tension. This is then resolved on the Fmaj7.

You can also use shifting phrases as a type of motivic development:

Here the arpeggio melody on the Gm7 is shifted to an Ebm7 melody on the C7alt and in that way, there is a motif that is developed.

The other well-known type of Melodic development is call-response, which sounds something like this:

Here you have an ascending call on the Gm7 with a descending response on C7.

But call-response can also be seen as a sort of melodic tension and release so in a simplified way, and you can think of melodic or rhythmic tension which then resolves on the next chord.

This example is creating tension by having arpeggios and large intervals on Gm7 and then resolving that tension with more stepwise motion on the C7alt. Rhythm can be a way to work with this as well:

Here you have the syncopation on Gm7 creating tension that resolves on the C7, and this is what ties the two melodies together.

 

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