Tag Archives: charlie parker licks guitar

10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

One of the things that really got me into Jazz was the sound of the chromatic jazz licks. This is such a huge part of the Jazz sound, especially from Bebop and beyond.

In this video, I am going to show you 10 examples of some great sounding Jazz licks with lots of chromaticism used in different ways: Passing notes, Enclosures, Shifting Patterns, Chromatic interval melodies, and more Atonal or completely far-out ideas.

The examples are borrowing from people like Charlie Parker, Doug Raney, Pat Metheny, and Herbie Hancock.

Content:

0:00 Intro – Jazz and Chromatic melodies go together!

0:28 Simple II V I – From Passing Notes to Chromatic or Atonal Ideas

0:50 Example 1 – Passing Notes

1:05 Example 1 Analysis

1:12 Example 2 – Basic Enclosures and Octave Displacement

1:27 Example 2 Analysis

1:35 Example 3 – 4-Note Enclosures and Bebop Chord Tone Enclosure

1:50 Example 3 Analysis

2:00 Example 4 – Arpeggio Leading notes and Shifting 3rd intervals

2:14 Example 4 Analysis

2:24 Example 5 – Borrowing from Melodic Minor and Longer Runs

2:38 Example 5 Analysis

2:47 Example 6 – Dissonant Enclosure and Chromatic Turns

3:01 Example 6 Analysis

3:10 Example 7 – Side-Slip reharmonization

3:26 Example 7 Analysis

3:35 Example 8 – Shifting 3-note phrase

3:49 Example 8 Analysis

3:58 Example 9 – Chromatic 3rd melody

4:14 Example 9 Analysis

4:22 Example 10 – Chromatic or Atonal 4th melody

4:38 Example 10 Analysis

4:46 Like The Video? Check out My Patreon Page!

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5 Charlie Parker Licks – This is How To Play Bebop Blues

If you want to study Jazz Blues and learn how to play solos that really mix Bebop lines and Blues licks then one of the best sources has to be Charlie Parker!
In this video I am going to go over 5 Charlie Parker licks from him and this is fantastic material for playing changes and getting that mix of bebop lines with blues phrasing.

The Licks are also great examples of how to create melodic ideas that last several bars and connect several phrases which are also why Parker clearly was a genius innovator in Jazz.

The Most Famous Charlie Parker Lick – Opening of the Solo

This first example is an opening phrase that Parker uses in both Now’s The Time and Billie’s Bounce. The first part is really just an F major 2nd inversion triad with some chromatic approach. This is followed with a more bebop encircling and trill. From here he runs down an F major pentatonic scale and repeats the root in a dotted quarter note rhythm.

The lick really starts with a blues phrase and then morphs into a bebop line to go back to a repeated simple rhythm.

Parker really bringing the Blues

Where the first example is somewhere in between the blues and bebop, this is more directly Blues phrasing and melody.

The core idea is a motif that is repeated and developed through the first 4 bars. The basic motif is a major pentatonic line.

The first repetition is changing the A to an Ab. This way of marking the transition from F7 to Bb7 is quite common for Parker. The idea is to play an F major phrase on F7 and then repeat or develop that phrase but play it in F minor on the Bb7.

Keeping the b7 untill we need to move on

Another typical Parker choice is to delay the b7, the Eb over F7 in this case, until the song is moving to Bb7. This is clear here where the Eb does not appear until bar 4.

Charlie Parker’s Riffs

Bebop is as a style famous for long lines and surprising twists and turns. But Parker certainly developed from the swing era checking out people like Lester Young and Coleman Hawkings. And Charlie Parker does play riffs as well as bebop lines.

This example is a clear example of a riff. A simple motif that is repeated and developed in a basic way through the changes.

The main motif is a basic F major melody build around an F major triad. The development is also following the F major -> F minor that I alread mentioned, and the riff stays pretty in tact and true to the original phrase.

Start in Blues and end in Bebop

This shorter example demonstrates how Parker starts with a basic Blues leading note lick and connects this to a Bebop trill and F7 arpeggio to get the best of both worlds.

Blues Phrasing and Bebop Phrasing

One of the traits of Blues phrasing is sliding or bending to notes. In Jazz, we mostly do this with sliding. In this example, you see a beginning which is starting with sliding to the 5th. The first part of the phrase is more blues based. Using basic chord tones from the triad, being rhythmically free. The part of the phrase on the F7 is using a trill followed by a scale run that is a very typical Bebop phrase.

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Charlie Parker This Is The 5 Way He Uses Arpeggios

Everybody can play a Cmaj7 arpeggio, but not everybody can do it like Charlie Parker.

Knowing and using arpeggios is a part of jazz, but there are a lot of ways to create great melodies with them. In this video I am going to go over 5 ways that Charlie Parker uses arpeggios in his solos. If there is one place you want to learn this then it is probably the father of Bebop.

An you do want to have some ideas that are not just running up and down the arpeggio or up the arpeggio down the scale which is exactly what this video can show you.

We often forget that a the difficult part is not what notes to play over a chord, it is how t play them. For me this is something that I have learned from transcribing and analyzing solos like I am doing in this video.

How to learn from Charlie Parker

This video is covering the 5 ways that Parker played arpeggios, taken from his solos and then I discuss how you can put that to use in your own playing with examples where I have made Jazz Licks using the same techniques with arpeggios.

Content of the video:

0:00 Intro

0:29 It’s about how you play the arpeggio not what notes are in it

1:05 #1 The Bebop Arpeggio

1:28 What is the Bebop Arpeggio and How To Practice it

2:32 How You can use The Bebop Arpeggio in your solos

3:06 #2 Honeysuckle Rose Arpeggio

4:11 Two Ways to use the Honeysuckle Rose Arpeggio

5:27 #3 Melodic Trail off

6:45 Using Melodic off in a II V I lick

7:27 #4 Voice-Leading Arpeggios

8:44 How To Use this principle in your own lines

9:27 #5 Rhythmic Displacement

9:50 How Charlie Parker sets up the Rhythmic idea

12:03 Explaining the Poly-rhythm

12:38 Like the video? Check out my Patreon Page!

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3 Charlie Parker II V I Licks How To Play Them On Guitar

If you want to learn how to play jazz then it is probably a good idea to check out how Jazz Giants play like some Charlie Parker II V I licks!

Learning Bebop and Charlie Parker

A thing I never get tired of checking out is Charlie Parker and Bebop in general. I guess I still find it fascinating how the lines are so good and the material they are created with is really quite basic.

In this video I am going to go over 3 II V I licks. I will focus on how Charlie Parker is great at having surprising turns and leaps in his lines so they don’t sound like running up and down scales and he also still manages to get them to sound like real melodies instead of abstract interval exercises. He also often gets away with melodies that move across the bar line.

Hope you like it!

Learning from a Master improviser

These licks are clear examples of Parkers musical or melodic language and are really a great place to get some more ideas on how to come up with great lines. I especially find the way he uses displacement of different parts of the lines to open up the sound of his solo fascinating.

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