Tag Archives: bebop vocabulary

Bebop Soloing – The Licks You Need To Check Out

Bebop is a beautiful but difficult musical language to learn.

Bebop is a beautiful but difficult musical language to learn.

Sometimes it works better to hear how the phrases sound and try to play them. This way you get a feel for how you should phrase them, and add to your bebop soloing techniques.

This started as a lesson on how arpeggios are used in bebop but then I got really into the licks and liked them so much that I ended up just making a lot of really solid traditional bebop lines.

You should check out the licks but also try to isolate small phrases and make your own licks with them. That is how it really becomes a part of your vocabulary.

1 Inserting 2nd voice and using trills

In the example below I am using two voices in the Dm7 line. The 1st voice is on beats 1 and 3 and in between are the counter-point melodies. This way of adding extra melodies is a great way to add surprising skips and have short changes of direction in the lines

2 Using a chromatic enclosure to resolve

Chromatic enclosures are a great way to create suspensions and movement in a line. In this line, the Dm7 line is first suspending the F with a 4-note enclosure. I am also using chromaticism to move from the G7 to Cmaj7.

3 Adding Arpeggios in Scale-runs

Inserting arpeggios in scale melodies is a good way to change things up. This is what is happening with the Am triad on the Dm7 chord.

The G7 line is using a G augmented mixing it up with an Abm triad.

4 Arpeggio Patterns to get large intervals

Using Arpeggios played in inversions and patterns is a great way to have melodies that are closely related to the harmony and add larger, more surprising, intervals.

On the Dm7 I am using a 1531 pattern of the F major triad. The triad of the 3rd. The G7 line has a Bdim arpeggio, again the arpeggio from the 3rd.

5 Voice-leading ideas as great bebop lines.

Many great bop lines are made from voice-leading concepts. This example is turning a Dm7 – DmMaj7, Dm7 Dm6 into a great super-imposed bop line.

Notice how the Dm to DmMaj7 uses basic arpeggios and introduces a large range.

6 2-note enclosure and motivic chromaticism

The line on the Dm7 is starting with a 2-note enclosure. The G7 line is using the G augmented triad and adding octave-displacement.

The last half of the G7 bar is a chromatic phrase that is moved and repeated on the Cmaj7 to develop the melody.

7 Moving phrases on the G7 chord

Another way to move phrases is illustrated on the G7 line in this example. The motif uses a maj7th interval that really makes it stand out.

8 Chromaticism and Maj7 inversions

Chromaticism as a means to suspend the sound of the chord is a good way to keep the line moving forward and also a way to add an outside phrase to a line.

The line below opens with a double-chromatic enclosure resolving back into the chord on beat 3.

9 Extended arpeggios in Bebop Soloing

Using 9th arpeggios is also a good option for bebop lines. The line here below is using a DM9 arpeggio and playing the last part of it as an 8th-note triplet.

The G7 line is using a Bdim arpeggio and breaking up the 8ht note flow with a trill.

10 Triplet and embellishing dim arpeggios

The Dm7 line is using the Fmaj7 arpeggio, again the arpeggio from the 3rd of the chord. This time it is played as an 8th note triplet.

The entire line on the G7 is based around a pattern of a B (or Abdim) that is embellished with passing notes and played in an inversion.

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Bebop Jazz Guitar Licks – Classic Bebop Sound Decoded

Checking out bebop jazz guitar licks is a huge part of learning a style of music like Bebop. This also means out how to incorporate what makes them Bebop Guitar them into your playing. This would be true both for phrasing and specific arpeggios, chromatic enclosures that are being used in Bebop.

In this video, I will go over 3 good examples of Bebop Jazz Licks. I will analyze them and discuss how they are constructed. In the process I also go over what the building blocks of this type of jazz lick is.

The Bebop Dominant

Bebop is very focused on dom7th chords. Therefore I have made examples of V I progression in the key of G major. It is of course also possible to use these on a II V I in G major.

In general the people who play bebop and teach it (like Barry Harris) will focus more on the dominant than the II chord in a cadence.

Bebop Jazz Guitar Lick #1

One of the really common Bebop phrasing ideas is to use 16th note scale runs in the middle of an 8th note line to create some variation. The first example here below has this in the middle of bar 1.  The easiest way and to play this and get it to sound good in terms of phrasing is to use pull-offs towards the target note.

Another very common device is using chromatic enclosures which what you see in the 2nd half of bar 1. The enclosure targets and emphasize the 3rd of D7 on the 1 of the 2nd bar.

The first half of the 2nd bar is in fact just a D7 arpeggio. The line is first a descending D7 arpeggio and then displacing the last three notes an octave. This yields a very beautiful and melodic 6th interval between the F# and the D.

At the end of the line, I included a D augmented triad that nicely resolves to the 9th(A) of Gmaj7.

To practice playing the 16th note trills with legato you can take this exercise through a position of 3 notes per string major scale. I have only written out the first 3 string sets.

Bebop Jazz Guitar Lick #2

This example contains two ideas that you will find in a lot of bebop lines. The first is playing a 7th arpeggio with a triplet, which is how the line starts. In the line I am playing a descending Em7 arpeggio. 

From here the line skips back to A for a descending scale run. 

In the 2nd bar, you’ll first hear a 16th note triplet trill between root and b9. This is again executed with legato. From here the line continues down the arpeggio. Inserts a leading note a half step below the 3rd of D7. From there it uses another octave displacement before resolving to the 3rd(B) of G

The triplet idea can be practiced in position as shown in the exercise here below. It’s an extremely good alternate picking exercise if you use that technique. You should notice that it will also work really well with sweeping (as I demonstrate in the video)

To work on the trill (and work on your legato technique) you can do this exercise. You do this by taking the trill idea from the line above through a G major scale position.

Bebop Jazz Guitar Lick #3

The ascending 7th chord arpeggio with an added leading note is a very typical for bebop licks. In this example I am using that on an F#m7(b5). F#m7(b5) is the arpeggio from the 3rd of D7 and a great arpeggio to use over a D7.

 From the high E I add a chromatic leading note and make a short chromatic run before going to C on the 1 of bar 2.

The 2nd bar is first a descending Cmaj7 arpeggio that then continues to the b9(Eb) on beat 3. From here the line uses octave displacement and continues with a line to resolve to the 3rd of G, and tagging it with a G. Another trademark bebop move.

To practice the arpeggios you can, of course, take them through the scale. There are several ways you can do this. You can check out one of them here below.

Making new licks with the building blocks

The main point of this lesson is of course that you can start making your own lines that sound more like bebop. To demonstrate how you might do that I have included two bebop licks that use the ideas that I used in the first three licks.

Derived Bebop Lick #1

In this first line I start with the opening idea from Lick no 3, but now I am using it on a D7 arpeggio.  This is followed by a 16th note scale run fill as in the first example.

In bar 2 I continue with a descending scale run. This leads into the 3rd of D7 where I use the same octave displacement idea that I used in Lick no 2, only now played an octave higher.

In this way we end up with the lick shown here below:

Derived Bebop Lick #2

In the last lick I am starting with the 16th note trill idea from Lick no 1. This is followed by a scale run that leads into two arpeggios chained together, an Am7 and a F#m7(b5). The line ends with the “bebop” ending that resolves to a D and then drops down to the 9th(A)

I hope you can use these exercises and building blocks and the process to start incorporating some more bebop into your lines. Bebop is a very rich melodic language with a great amount of things you can use even in more modern bop based jazz guitar solos.

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Bebop Jazz Guitar Licks – Dominant Ideas and Analysis

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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