Tag Archives: bebop

Donna Lee – Free Solo PDF

I was invited to participate in a jazz solo collaboration on the Jazz Duets channel by Nick Holmes. It is always fun to write solos and explore harmony so here is a 1 chorus Donna Lee Guitar Solo.

The idea was for  all 4 of us to compose a 1 chorus solo of only 8th notes (I decided to leave a few spaces though) and then play it and analyze it.

You can check out the video here:

Join Us on Facebook!

If you like this type of material and want to join a few hundred other Jazz Guitar Insiders then consider joining the new FaceBook Group:

It is a great community of people interested in Jazz http://bit.ly/InsidersFBGroup

Download the Free PDF of the Donna Lee Guitar Solo

You want to download the PDF you can do so here:

The GuitarPro version of this solo is also available via Patreon.

Bebop Guitar Licks With Powerful Arpeggio Hack

One thing that is very typical for Bebop Guitar licks is how they use pivot techniques on arpeggios to get some beautiful melodic large intervals into the line. In this video I will show 4 examples on using pivot technique in jazz licks with a strong bebop flavour and give you a way to use this in your own solos.

The II V I Progression

The examples in this progression are on a II V I in D major, so that’s Em7, A7 and Dmaj7. In the licks I am using an A7alt, mostly to have some variation in the sound going through the lick.

Bebop Guitar

II V I cadence

The Gmaj7 arpeggio and the inversions

The examples in this lesson are all using a Gmaj7 arpeggio and it’s inversions on the Em7 chord in the cadence. I will use the Gmaj to demonstrate how to use the different inversions with the pivot technique to create some solid jazz licks with a strong bebop flavour.

1st inversion and 1st example.

This 1st example is starting with the Gmaj7 arpeggio. The 1st inversion has G as the first note which makes it nice and clear on the Em7.

The idea behind the pivot technique is that the highest note of the arpeggio is played first, then the melody skips down to the lowest note to ascend back up. This is a very common melodic device in bebop guitar.

The A7alt part of the line makes use of the same technique but here it is with a 1st inversion BbmMaj7 arpeggio in the first half of the bar.

Bebop Jazz Lick

Guitar II V I jazz lick

Repeat the success from the 5th

The 2nd example uses the 3rd inversion of the Gmaj7 arpeggio. The arpeggio is again placed in the beginning of the line and is now chained together with a quartal arpeggio. On the A7 the first part of the line is a descending pattern played through a Gm7b5 arpeggio. The line then resolves to the 3rd(F#) of Dmaj7. 

Mixing scales and arpeggios

The 3rd example starts with a scale run from the root. The 2nd inversion of the Gmaj7 arpeggio. The 6th interval is found between the B and the D. The A7 line is chaining an A augmented and Eb major triad.

Even from the root

The root position arpeggio is different from the rest since using the pivot here does not yield a 6th interval, but instead it is a 7th. In this example the Gmaj7 continues into a quartal arpeggio from E. The A7alt line is two inversions of a Bbsus4 arpeggio, a line that I actually transcribed from Michael Brecker.

Pivoting yourself! True Bebop Guitar

The four examples in this lesson should give you some ideas on how to start using arpeggio inversions in this way when making your own lines. It probably will still take a bit of work to get it to really sit in your playing but as you can probably tell that is probably worth the time!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Arpeggio Inversions

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

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Three Ways to Add Arpeggios to Your Jazz Guitar Licks

We spend a lot of time practicing and learning Arpeggios, so it makes a lot of sense to have several ways to use them in our playing. In this lesson I will show you 3 ways you can add arpeggios to your lines so that they help you create more interesting licks and you get more out of the time you have spend practicing.

The examples in this lesson are all on a II V I in Eb major, so Fm7, Bb7 to Ebmaj7.

Emphasizing a Target note

Really bringing out interesting extensions and alterations is a great way to use arpeggios.

In the example below the target note G, the 9th, is given an extra emphasis because it is the top note in an arpeggio. The note is given even more energy by the fact that the arpeggio is played as an 8th note triplet. This heightens the velocity towards it and makes it sound more like a resolution. The fact that the G is on a heavy beat also helps give it more emphasis.

Learn from Charlie Parker and Wes Montgomery

Playing arpeggios and using the top note as a target is something that has been common in Jazz since Charlie Parker. Wes Montgomery also uses 5 or 6 note arpeggios to bring out specific targets in his solo. A recent video I did on his playing talked about his use of this to emphasize the 11th over a minor chord.

Moving this to the Eb major II V I then that would be:

In the example above the Ab major triad is used to target the Bb on beat 3. The arpeggio is really useful and the technique of summing up your lines in the important target notes can be useful to realize this and also for a lot of other things in the line.

Changing direction and adding large intervals

Playing lines that consist of melodies that only move in one direction can become boring and predictable for the listener. Arpeggios and especially arpeggio inversions can help doing this really well. If you look at the general movement from Fm7 to Bb it is a scale run from C to F and then moving from Eb to D on the Bb7.

The arpeggio is here used to introduce a skip from F down to Ab. From there it moves back up to then return to the D.

Change direction on Chord tones

The strong place to do this is to use it when you are on a chord tone. In the example above it was on the root (F). Below I am using the same technique but now the arpeggio is inserted on the 3rd(Ab). The arpeggio I use is a 1st inversion Abmaj7 arpeggio.

Coltrane and his descending Arpeggio Cascades

The previous technique used the arpeggio to introduce a large interval skip which is then resolved by the rest of the arpeggio. In the example below I am using a quote from John Coltrane’s Cousin Mary Solo, a song off “Giant Steps”

One way to summarize the Fm7 bar is to see it as a three note descending scale run: Bb, Ab, G with two arpeggios inserted after the last two notes. The arbeggios are an Fm 2nd inversion triad and an Abmaj7.

This melody is more radical but therefore also more dramatic and surprising. This probably has to do with the fact that the large interval skip is at the end of the arpeggio and not at the beginning. At the same time the dramatic cascade effect is a great way to shake things up a little.

For me personally this is a great example of how powerful Coltrane’s melodic concept was!

Use what you Practice and explore what is possible!

Exploring how to use the things we practice is almost as important as practicing them in the first place. Of course there are many ways we can do this, both by composing and experimenting but certainly also by transcribing and analyzing. 

This lesson demonstrates both transcribing and composing as examples, and for me those are the two main sources of inspiration and knowledge when it comes to applying what I practice.

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Three ways to Use Arpeggios in Scale Runs

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

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

 

The Reason Your Jazz Guitar Licks Suck and How you fix it!

Your jazz licks have all the right arpeggios and chord tones, target notes etc. And they still don’t sound like great bop lines! The Problem is probably with the jazz phrasing.  In this video I am going to give you a basic understanding of some of the jazz phrasing that can lift your solos to the next level.

I am also going to give you a way to write licks which you can phrase better and take a few bars from a George Benson solo to demonstrate how he gets it right!

The Good, The Bad and the Bebop!

In the example below I have written out two examples of jazz lines over a Turnaround in C major.

They both contain right notes and the melodies are moving from chord to chord in a logical way, but the second one sits better in the groove and is easier to phrase in a nice way.

The difference is where the target notes and the notes where the line changes direction are placed. In the first example this is all the time on the heavy beats (so beats 1 and 3). This is shown with the circle.

In the second line these notes are placed mostly on an off-beat and that makes it possible to give them an accent and add some more life to the line.

I guess the difference is that bebop lines need the syncopated lines that have high notes and turning points on off-beats because that makes it come alive and add some small dynamic surprises for the listener. 

Composing lines with better phrasing

It does sound a little strange I know, but actually we can work on making lines that are easier to phrase in a right way. 

The trick is to find a way to create lines where we have a high note on an off-beat.

If we take the two heavy beats in the bar, 1 and 3, then there are two types of off-beats we can have: The one before a heavy beat: 2& and 4& and the one after a heavy beat: 1& and 3&.

Before a heavy beat

In example 3 I am using the Dm7 G7 progression to demonstrate 4 different ways to have a high note (and therefore an accent) before beat 3.

After a heavy beat

The 3 different examples below show how you can add an accent on 1& by making that note a local high note.

It is worth noting that the descending line actually also makes the 1& a note you can accent, so that option is also often a good way to add an accent. You will also see this in the George Benson solo.

Examples of Jazz Licks with accents

To show you some examples of lines that have melodies that you can add accents to I have written to II V I lines in C major.

The first example starts with an accent on the 2&. This is achieved with an Fmaj7 arpeggio similar the 2nd bar in Example 3. The rest of the bar does not contain anything that gets an accent. 

In the G7 bar the first accent is on the 1& where the D is a high note. There is another accent on the 3& where the B can get an accent.

The 2nd example is using the same arpeggio on the Dm7 to get an accent on the 2&, but this time the arpeggio is played in an inversion to add a large 6th interval skip on the 1& 

The ascending arpeggios are also used to get accents on the 2& and 4& on the G7alt. Here it is first a G augmented triad and the 2nd one is an Fm7(b5) arpeggio.

Other ways to lget better at phrasing

Learning from composing and analyzing is only one way of the ways to internalize these things. Of course it will help you recognize and hear where accents are and understand the phrasing examples you hear on a conscious level.

Another way to work on this is to listen and imitate examples of good phrasing, this can be copying records or learning to play transcriptions.

Why George Benson has great phrasing

As an example of somebody with good phrasing here is 4 bars from a George Benson solo. These 4 bars are an excerpt from his (really fantastic!) solo on Billies Bounce. I transcribed it and will go over where the accents are.

The excerpt starts on the II V to Gm7, which in Billie’s bounce is Am7 D7(b9). The first part is a sweep of a triad which does not contain any accents, mostly because this technique does not really allow you to add an accent.

The line on the D7 moving to Gm7 does have an accent. The Sweep of the C major triad comes out on an F#. From here it skips up to a D and descends step-wise to Bb. This means that it is possible to add an accent on the 4&(C) which George does. 

On the Gm7 the A on the 2& get’s an accent., and for the rest there is no accents in the Gm7 line. Ont the C7 the G on the 1& is a high note which then gets an accent. It is followed by a dramatic skip (dramatic in a beautiful way…) and the line is ended with a bop cliche that ends on an D on the 3& that also naturally get’s an accent.

On the F7 D7 there are not notes on the off beat and therefore no accents. 

The Gm7 C7 line at the end of the chorus actually has accents on all off beats in the bar, which is of course possible, in this case it is also part of a blues phrase that somewhat asks for it.

How do you go about improving your phrasing?

When you are working on phrasing I would suggest that you combine all the approaches I discussed in this lesson. It is important to listen and analyze solos to get the sound of the phrasing into your ear. At the same time you can reinforce this process with composing and exploring what lines you can come up with that has notes that you can give an accent.

Finally it is also really good to have some solos that you really copy and play along with the record to really get into how the guitarist is phrasing.

Good luck with it!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Take this approach further with more examples

If you want to explore the concepts discussed in this lesson further with some exercises and examles you can check out this lesson in my WebStore:

Jazz & Bebop Phrasing – C Blues

Get the PDF!

You can also download the PDF of my examples here:

The reason your jazz licks suck!

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

 

 

3 types of Rhythm Changes licks you NEED to know – Bebop Guitar Lesson

Rhythm Changes and The Blues are probably the two most important chord progressions that you need to master if you want to play jazz guitar and especially bebop.

This lesson is going to go over 3 different approaches to play over the rhythm changes. Each one demostrated with a 4 bar lick and some exercises.

Rhythm changes in Bebop

Since Bebop the chord progression from I got Rhythm has been used countless times for great bebop themes such as Anthropology, Oleo, Dexterity, Moose the Mooche etc. In fact about 30 percent of all Charlie Parker compositions are on Rhythm Changes

Most of the time when you are soloing over a rhythm changes form you find yourself improvising over this turnaround in the key of Bb major.

Of course there are many variations available on this turnaround, but the essence of it will probably always be this progression.

Using several approaches to a solo

In most good solos you will find that during the solo different things are being emphasized, so the approach in the solo changes. In fact I think that most (good) solos on Rhythm Changes will probably contain parts that use each of the ideas that I go over in this lesson.

Room for rhythm – The Simplified Chord Progression

The first concept is to reduce the amount of chords that are played in the solo. This means that instead of playing all 4 chords of the turnaround in example 1 above. The focus is now on the two main chords in that progression: Bb and F7, the tonic and the dominant.

Both of these chords are diatonic to the Bb major scale as shown in example 3.

One good exercise to get used to hearing these two chords and the scale over the changes is to do the Barry Harris scale exercise shown here below:

Another very important exercise is to play the chords in time over the progression as shown in example 6:

The example line that I played using this approach is shown here:

The first line on the Bbmaj7 is a line consisiting only of Bb maj7 arpeggio notes. On the F7 the line is first a descending scale run from Eb to Bb and then a small melody with the notes of an A dim triad.

The 2nd Bbmaj bar is using a Bb6 or Bb major pentatonic melody that with a string skip moves to an Eb major triad over the F7. The line concludes with inserting a chromatic passing note between D and C.

Advantages to this type of thinking

For this type of  playing you get a lot more freedom to think about the rhythm since you don’t have to catch as many changes. In fact this approach is also very close to what you will hear in older swing recordings on Rhythm Changes.

Nailing all the changes

This way of playing over the chords actually makes the progression as difficult to play as Giant Steps from a technical perspective.

Very often if you analyze Charlie Parker solos on rhythm changes you will hear him play simpler phrases in the first two bars and really spell out the changes in the next two bars.

Finding the scales

In order to play over the chords we can use the Bb major scale on the Bbmaj7 and the Cm7 chord.

On the G7 the scale that is most appropriate is a C minor harmonic or G mixolydianb9,b13

We can do the same thing with the F7 as shown in example 9:

Setting the target notes and connecting the dots

The concept behind the lines in this example is to use target notes, and then make lines that move towards that line. Something I have also worked on i other lessons.

An example of a set of target notes that you can fill in with short melodies.

The line example that I am playing is using this technique to connect the lines. To build a vocabulary for this type of playing you need to work on having simple 4 note phrases that you can use to aim for the target notes in the next chord. 

You can always use the Blues

Of course since the Rhythm Changes is such an important part of jazz it also is connected to the Blues, and using blues phrases on a rhythm changes progression is very common.

The approach that I am using in the line below is mixing some blues phrases with more some F7 phrases. The blues phrases are using  a more mixolydian sound than an actual minor pentatonic sound. You can use the Bbm pentatonic as well of course, but the more major sounding blues phrases are a little more common, which is of course also the case for jazz in general.

The phrase on the first Bb chord is a D dim arpeggio. The line on the Cm7 F7 bar could be seen as both a F7 line or a Bb major line. 

The 2nd Bb bar has a clear Bb7 line with a leading note to the 3rd. This also really evokes the blues sound.

The last bar has a Cm7 line to take us back to the chords before the progression would go to the 4th degree.

Conclusions

As I already mentioned it is important to realize that you should vary your approach during the solo. This is by the way true for all solos. I hope you can use the examples as inspiration to widen your vocabulary and the array of sounds you have available over Rhythm Changes.

Take your Rhythm Changes skills to the next level

Rhythm Changes – Target Note Strategies


 

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

 

Get the PDF!

You can also download the PDF of my examples here:

3 types of Rhythm Changes licks you NEED to know

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

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

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, and then I will analyze them and talk about how they are constructed and what the building blocks of this type of jazz lick is.

The Bebop Dominant

Since the bebop style is very focused on dom7th chords 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 is used to target 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, but the line is constructed by playing 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 and 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 and 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 which is 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 to do this, one of them is shown 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 are constructed from 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.

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

 

You can also download the PDF of my examples here:

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

3 Bebop Concepts and how to turn them into Jazz Licks

Bebop is a fundamental part of all modern jazz. In this video I am going to go over three concepts that are used a lot in bebop solos. I will turn them into some simple exercises and finally demonstrate how you can put them together to make some solid bebop jazz licks.

All the examples and exercises are in the key of G major, and the lines I will end up with are all going to be II V I licks in the key of G major.

The exercises are not necessarily meant as something you need to learn to play really fast. They are more aimed at things you can check out so that you get better at composing lines, explore the possibilities and develop your vocabulary.

Concept 1: Triplet arpeggios with chromatic leading notes

Using 7th chord arpeggios to emphasise a note is a very common device in Bebop lines. One of the ways that you will see this used the most is to take a 7th chord arpeggio, play it with a leading note before the first note and the rest of the arpeggio as a triplet. This makes it a natural way of highlighting the 7th in the arpeggio. 

To practice playing this we can do this for each of the arpeggios in a scale. In example 1 I have written this out in a G major scale. You probably want to take it through the different positions you use

Working through a position like this is a great work out for your technique and you need to figure out different ways to execute the triplets which may vary from position to position.

Another way you want to work on these arpeggios is to not work in a position but to work on a string set as shown in example 2 here below:

Concept 2: Adding Chromatic Passing notes to the scale

The 2nd idea is to be able to insert chromatic passing notes between any two notes in the scale.

In this example I will use the same position for the G major scale as above:

We can insert a chromatic between any of the notes in there as shown in example 4 below.

This is really simple in all examples except when we don’t have a chromatic note between the notes. This is the case between B and C. One way to solve this is to  use the diatonic note above, so in this case the D. This is also shown in example 4.

Of course you can expand on this and start to use several chromatic passing notes in a line. I won’t cover this in detail, but an example of adding passing notes between A and B and also between B and C is shown below:

Concept 3: Octave Displacement

The concept of octave displacement is a way to introduce larger intervals into your melodies by displacing part of a simple melody an octave. A few examples of this is shown in example 6 here below. The only thing to remember is that the octave displacement works the best if it is introduced on an off beat.

The first line is a simple II V I in G major using an Am7 arpeggio and a scale run on D7 to resolve to the 3rd on G major.

The 2nd line is displacing the phrase from the G in the Am7 arpeggio . This yields a beautiful descending 6th interval and it resolves to the B an octave lower.

In the 3rd line the octave displacement is on the D7, where the line is displaced an octave up on the E. 

The final example is using octave displacement on both the Am7 and the D7 to get two nice skips.

It is quite amazing how useful this idea is and how we can make several melodies that sound quite different from the same simple statement. 

Creating bebop lines with the concepts

In this section I am taking the three concepts and putting them to use in some II V I lines. This will show how easy they actually are to use. Hopefully it will also show you how strong the concepts are in making solid bebop lines.

Arpeggios, Scale runs and diminished sounds

In the first example here below, I start with an Am7 arpeggio with a leading note. From the targeted G on the 3rd beat the line continues up the scale adding an A# between the A and B. On the D7 it is first descending down the scale to F#. From the F# it goes on in an F# diminished arpeggio. The arpeggio is octave displaced which adds a very nice major 6th interval between the F# and the Eb. It then descends down to resolve to a B on the G major chord.

The arpeggio from the 3rd

In the next example I start by encircling the 3rd(C) of Am7. The line then continues with a triplet Cmaj7 arpeggio and then adds a “chromatic” D between B and C .

The D7 line is again utilising an F#dim arpeggio that is octave displaced. This time between the high Eb and the F#. It then continues first up to C and then down the arpeggio to resolve to the 5th(D) of Gmaj7.

Interval skips leading into an augmented triad

The third line is also using the Cmaj7 arpeggio on the Am7. This time in the lower octave. From the B on beat 3 it then descends down an Em pentatonic fragment which serves to encircle the 3rd(F#) of D7. On the D7 the line starts with an octave displacement moving the descending line up between F# and Eb. From the Eb it descends down the (G harmonic minor) scale to the b13(Bb). This becomes the first not of an augmented triad that is then resolved to the 9th(A) of Gmaj7.

How to use the material in this lesson!

To get the exercises into your fingers and ears you probably want to play the exercises in different positions and keys.  

Where I would suggest that you spend most of the time when working on this is in making lines with the material. Once you can play the exercises a bit you can start working on coming up with lines using the three concepts and in that way expand you vocabulary. You cna work on this both by writing down material but also just sitting around and coming up with melodies. If you do the latter you are better off making sure that you can play them in time so that you are sure that it makes sense rhythmically.

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: 

Another way to work further on developing your Bebop phrasing is available in this lesson:

Jazz & Bebop Phrasing – C Blues

You can also download the PDF of my examples here:

3 Bebop Concepts and how to turn them into Jazz Licks

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

 

Bluesette – Backing Track – Playalong – Jazz Waltz – 147 bpm

Bluesette is probably the most famous Toots Thielemans song and certainly a jazz standard. Such a great take on a 3/4 Parker Blues with a few extra twists!

This is a great progression! A Belgian version of the Parker Blues and also in 3/4. I guess that is the Belgian part of it?

This song has a very nice way of travelling through a lot of keys and still end up home in a turnaround. Certainly one of my favourite waltzes, probably no 2 on the list 😀

Here’s my solo on the track:

 

Here are the changes: