In this video, I go over 5 longer Jazz Blues Licks that incorporate different ideas that I took from transcriptions of great guitarists such as Grant Green, George Benson, Charlie Parker(not really a guitarist, but he wished he was), Wes Montgomery, and John Scofield.
These examples really
How I use transcribed licks
For me using larger chunks of a solo from somebody else was never really working. I always preferred to work with small phrases or even the concept behind a phrase and then use that to make my own version of that idea.
In these examples, I am mostly using small bits and pieces of other guitarists licks. This is mainly because the relation to the original would maybe be too unclear.
Grant Green and his great triad lick
This first example uses an opening phrase that is quite common with Grant Green. He uses this 2nd inversion triad in both Miss Ann’s Tempo and I’ll Remember April.
Another typical jazz line is the use of the G augmented triad to help pull towards the C7.
George Bensons Major Blues Genius
A comment on my recent video on George Benson went on and on about how his use of major pentatonic lines was dreadful. A very strange idea since most of the guys (like Parker and Coltrane) use this sound a lot. And besides that I can’t imagine not wanting to be able to play Blues phrases with the soul of Benson.
The quote in this phrase is in the middle of the line. It starts in bar 2 and continues into bar 3. In the original(in F) he
The phrase in bar 4 is a Parker line similar to one of his lines in his original version of Billie’s Bounce.
Kenny Burrel and Wes Montgomery
The first phrase (another major pentatonic 🙂 ) is from Kenny Burrell. The descending 6th at the end is really beautiful. On the C7 I am using a double stop trill that you can hear both Benson and Montgomery use. Wes plays a whole chorus in No Blues off Smoking at the Half note with this phrase. Here I am putting it on the IV chord rather than the I where both Benson and Wes use it.
Scofield’s Amazing Arpeggio Ideas and slides
This example is beginning with a lick that is not exactly taken from a Scofield solo but is more “in the vein of” The way he uses different types of legato techniques to create a really nice flow is beautiful, even if it is a little tricky to play.
The phrase in bars 3 and 4 is more of a direct quote from Scofield but the 2nd half is my take on developing the original as a motif. Here I take the opportunity to also turn it into a more altered sound.
Imitating Wes is always worthwhile
This example is a take on a Wes line from his (unbelievable) solo on Four on Six off the Smoking at the half note album. The original is on 4 bars of G minor, but here I have taken it to G major keeping the basic shape and changing the notes around.
What to take away from this lesson
I think these examples describe how I work with material that I have transcribed. Some of the examples I might really play in a solo and some that I might work with while practicing to develop them into more personal takes on the lines.
Developing your own material is important (and fun) so I’d suggest you do the same.
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