Tag Archives: guitar lessons

m7 Chords – How to use Quartal Harmony in a solo

Quartal harmony and Quartal arpeggios are a great sound to also have in your vocabulary and especially on m7 chords. They also really fit with the sound you get when you super-impose pentatonic scales on chords. That’s a great way to approach it.

This video is going over some examples, how you can use them in for m7 chords in your own solos drawing from examples of players like Kurt Rosenwinkel, Peter Bernstein, and Allan Holdsworth.

Modal Application for m7 chords

All the examples in this lesson are on a modal Am7 setting, but it will fit on other m7 chords in songs you play as well and is not too difficult to move to other chords.

Quartal Harmony and Pentatonic Scales – The Connection

A good way to appraoch quartal arpeggios is through pentatonic scales. The line shown here below is in face coming out of an Am pentatonic scale applied to an Am7 chord.

There are 3 ascending quartal arpeggios: starting on the D and starting on the A in bar 1. In bar 2 there is a higher version of the D quartal arpeggio.

To practice this you can do the following exercise in an Am pentatonic scale.

Diatonic Quartal Arpeggios for a Dorian m7 and m13 sound

Another way to work with the quartal arpeggios is to look at the scale. In this case I am thinking of the Am7 as a Dorian sound, so the parent scale is a G major scale.

This lick is using the quartal arpeggios on the middle string set and walking up the scale. Playing the arpeggio descending like this works really well for also creating groups of 3 8th-notes.

Odd note groupings – Beautiful way to break up the solo

This example is also using diatonic quartal arpeggios from the G major scale. In this example I am moving the arpeggios as groups of 3 quarter notes on top of the meter.

Holdsworth’s approach to Quartal Arpeggios

This is a great way to play these arpeggios that I picked up from Allan Holdsworth. The idea is to lay them out as 4th intervals on one string and then skip strings to construct a 4 part quartal arpeggio. You can check out this video where I discuss how Holdsworth uses arpeggios

I am using this technique in the opening arpeggio in this lick.

Later in the example I am also using another Holdsworth idea which is pulling of from on G on the G string and then pulling off to another G on the B string.

Kurt Rosenwinkel’s 2 octave Quartals

This way of using two octaves of a quartal arpeggio is something I picked up from a Kurt Rosenwinkel solo on I’ll Remember April. You can check out the solo here: Kurt Rosenwinkel Solo Lesson . He plays a lot of great phrases with a lot of very advanced ideas, both in terms of harmony and melody.

In the example below the arpeggio is used from the 5th of the chord E and is played across the barline from bar 1 to 2. I also end the line on the 13th of the chord (F#) to really drive home the Dorian sound.

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When Do You Know A Scale?

If you play Jazz Guitar then you will often be confronted with learning and practicing scales. The major scale, pentatonic scale or a jazz scale like melodic minor.

A big part of the vocabulary and the material that you use when you are improvising is linked to scales in some form or other and it is common to practice scales on a daily basis.
But of course, you want to also make sure that you can actually make music with it and think a little bit about how and what you practice

Content:

0:00 Intro

0:23 Jazz and Scales – What you Need and How to Learn It

1:00 #1 Learn To Play The Scale

1:07 Start with a Scale Position

1:47 How To Play The Scale – what is important

2:26 Connecting Positions

2:52 Next Level After Positions

3:26 #2 Music Theory

3:40 Learn The Notes(!)

4:14 The Basic Things You Need To Know

4:50 Finding the material available with Music Theory

6:08 #3 Making Music With The Scale

6:11 It’s not all exercises

7:23 Cmaj7 in G major example

8:14 Cmaj7(#11) identifying triads that are good upper-structures9:00 Like the video? Check out my Patreon Page

How To Learn and Practice Scales for Jazz Guitar

How do you practice and learn scales for Jazz Guitar? These videos go over different approaches and practice strategies with exercises for scale practice.

When you learn a scale on guitar because you want to use it to play jazz guitar and improvise then there are many things you need to know and some things that can make your practice more efficient. These videos will give you ideas on how to work on this and build a scale practice routine or strategy that fits your way of working.

You can check out more information over this topic in this playlist:

How To Learn and Practice Scales for Jazz Guitar

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Melodic Solo – What You Should Be Practicing!

We often talk about whether a solo is melodic or not, but what does that mean and how do you practice towards playing more melodic? Most Melodic Solo Guitar Lesson videos talk about which notes to play, but it is actually more important to learn to think on another level and to find ways of connecting the things that you play.

In this guitar lesson, I take a look at some of the things that can make your jazz guitar solos more melodic. Demonstrate what is and isn’t melodic and give you some exercises to work with for adding a story, stronger overall sense of melody.

If you want some more ideas for what to practice and keep in mind when planning your practice schedule then check out this post:

Content:

0:00 Intro
0:24 The Level You Need To Take Songs To
0:48 Learning How to play melodies not just notes
1:15 Listen To Yourself – Be Creative
1:46 Example – A Bad Solo
2:08 The Process of Playing a Solo
2:30 A Story in The Solo
2:55 #1 Think in Phrases
3:32 #2 Call-Response
4:01 Example – Solo using Call-Response
4:24 Two Ways of Using Call-Response
4:34 1st –  Two Voices or a Conversation
5:43 Practicing Call-Response
6:34 2nd – More Subtle call-response
6:45 The Wes Montgomery Example
7:55 Practicing The 2nd Call- Response idea
9:14 #3 Motivic Improvisation
9:42 Motives From Darth Vader to Autumn Leaves
10:26 Example – Motivic Solo
10:48 The Three Note Motif from the solo
11:50 Motifs vs Call-Response
12:24 Motif Practice
12:58 How To Practice Motivic Improvisation
13:52 Like The Video? Check out My Patreon Page!

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3 Unusual Maj7 Chords And How To Use Them

You want to have different choices when it comes to chords, also Maj7 chords. There is no need to play the same things all the time.

In this video, I am going to show you voicings and lines that demonstrate how you can use some other sounds on maj7th chords. Often we only focus on what to play on the V chord, but there are some really great sounds to explore when it comes to the good old (boring?) maj7 chord.

This will really help you add some more ideas and sounds to your vocabulary, whether you are using it for soloing, composing or arranging.

Content:

0:00 Intro
0:37 You Need Maj7th chords for everything
0:53 Example #1 – Maj7(13#5)
1:02 Lydian Augmented with a Twist
1:24 Understanding this Chord
2:00 Creating the Voicing and using it
2:28 Example #2 a line using this sound
2:36 Stealing an idea from Rosenwinkel
2:57 A great Triad Pair
3:21 Example #3 – Maj7(#9#11)
3:30 Modern Jazz or is it?
3:55 The Maj7(#9#11) – A polychord
4:05 Constructing the Chord Voicing
4:32 The Chord Progression
4:54 Example #4 – Placing it in a Scale5:03 Assigning a Scale to the Chord
5:17 Using the Poly-Chord as a triad pair
6:14 Example #5 – Synthetic Maj7th Chords: Maj7(#5#9)
6:24 Augmented Scale Chords
6:41 The Chord and the Progression
7:07 Chord Voicing and interpretation
7:16 Example #6 –  
7:24 A Basic II V resolving to a weird I chord
7:50 The 3 Magic Triads in the Augmented Scale
8:17 Like the video? Check out my Patreon Page!

Check out this lesson for more information on The Augmented Scale:

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How To Study Jazz Licks The Right Way

When You are learning jazz, a huge part of learning vocabulary and melodic techniques is studying Jazz Licks. But you can study licks in useful and less useful ways. This video is going over a 3-step process of how you might study a jazz lick. The focus is on making it a flexible part of your vocabulary. Really a part of your playing.

Most jazz guitar lessons are using jazz licks as a way of demonstrating the topic. Learning licks is also an important part of how we study jazz vocabulary and assimilate jazz languages as bebop and blues. When you are studying it is very useful to also think about how to learn jazz guitar and make sure that you have an efficient way of studying.

In this video I am covering several Jazz Licks Guitar Approaches that you can use when you are studying new vocabulary to have a faster and more efficient way to get it into your system.

Content:

0:00 Intro – How it is difficult to use licks
0:54 The lick I am using in this video
1:32 #1 Make Sure You Can Play The Lick
1:57 Keeping the Context and Chords in mind
2:23 Connect it to you Vocabulary
2:43 #2 Move around the lick
3:14 What Defines the Phrase?
3:58 Move the Lick around the scale
4:36 Take It Through The Blues
6:52 It’s Not An Exact Science, Use Your Ears.
7:19 Voice-leading a Motif Through The Blues
8:42 The Thinking Behind This Process
9:57 #3 Developing and Making Variations
11:31 Rhythmical Variations
12:32 Like the Video? Check out My Patreon Page!

Learn the Progressions you play!

One thing that is very important when it comes to using licks on a song is to have songs that you know really well. If you want to work on really learning songs then check out this article:

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5 Jazz Blues Licks – How to use Transcribed ideas

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 highlights how I work with material that I have transcribed, and most of them are in fact in videos I have done on these artists.

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.

For the rest the line is using some of the great ideas that we use in Blues influenced jazz with the sliding leading notes and especially approaching the 3rd from a half step below.

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 playes the upbeat in quarter notes. Here I turned that into 8th ntoes.

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.

Supercharge your Blues playing!

If you want some more jazz blues examples then check out this WebStore lesson:

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How to Study The Bebop Language – 4 Great Approaches

In this video, I am going to talk about the Bebop Language, what that means, how to study Bebop Language. So I will go over some of the different ways you can practice and study to get this language into your ears and your playing.

Learning to play Jazz usually starts with being curious about how to get a certain sound that you have heard on a recording. And once you start exploring jazz you probably become aware that it is, in fact, a complete musical language that you need to understand and internalize. In the same way, you have internalized other languages like for example rock or blues.

This video is not a lesson going over what bebop is, it is an overview of the different ways you can study bebop and learn that language.

Content

0:00 Intro

0:29 Jazz or Bebop As A Language

0:55 “What Is Bebop Language”

2:11 Should You Learn Bebop? (And Why?)

3:09 Studying Bebop

4:28 Listen To The Music You Want To Learn

5:13 Analyzing Transcriptions

6:37 Transcribing Solo – The Most Efficient Way?

7:29 Composing – The Underrated Tool

7:38 Composition is a part of the Bebop Tradition

8:36 Like The Video? Check Out My Patreon Page! dd Bebop Embellishments to your playing!

Here’s a new lesson on how to work with bebop embellishments and other ways of adding variations to bebop or jazz lines.

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Jazz Guitar Licks With No Scales – This Is Why Its Great

The ingredients of most common approach to jazz guitar: Scales and Arpeggios. never thought I would hear myself say this, but you can make some really great lines by ignoring scales completely. This way of thinking is quite different from the idea of assigning scales to the chords the way we usually do. At the same time it is a traditional way of making lines and a very useful approach to changing things up.

The problem with too much scale movement

The way of making lines that I am going to cover here is at the very least helping you get rid of lines that sound as predictable and boring as this:

Of course in the long run you probably want to learn you scales just the same. It is better to have more options after all. I will talk about why later.

The George Benson Connection

I came across this way of making lines while analyzing a George Benson solo and I realized that if create lines with this concept you can make some really strong lines that don’t move in a predictable way but still make sense.

In this video I am going to show you how it works and how you can start experimenting with it in your own playing.

The basic concept: Triads and Leading notes

This is a really simple concept. Instead of making lines with scales and arpeggios (my entire system for guitar just fell apart) then we can also just think in simple triad arpeggios and leading notes. So Lines are constructed by having triad tones as targets and adding small melodies of leading notes that point towards those triad tones.

The Chord and The Progression

For this lesson I am going to focus on how to use this on a II V I in Bb major, and especially the Cm7 in that progression!

Cm Triad and leading notes – Two Exercises

So the way the melodies are made are from using the simple triads for example: Cm. The basic material I am using is an enclosure and a leading note on a Cm triad like this:

Putting the idea to use in a II V I lick

And an example of a line using this could be something like this:

Above the triad targes are first Eb, then a low G and finally a C. The beginning of the F7 line is also using a chromatic enclosure to move to the 3rd.

The big advantage to Chord and Leading notes approach

What is liberating is that when we play like this then it often works to just jump from one place to the next and you don’t have to think so much about the direction of the scale run or arpeggio run, and because it is using a very basic arpeggio then the leading note melodies make a lot of sense.

Here’s another example on a II V I. Again using chromatic approach phrases to move to both Cm7 and F7 chord tones.

Of course there are also some things that this doesn’t do, and I would not only use this way of playing as a total approach to everything, but it is a nice way to come up with some lines that sound different and still work with the chords. Using this method to create lines with more more extensions gets a little difficult because the extensions also want to sound like leading notes and the leading notes for the extensions are often chord tones.

This example is using one of the lines that Benson uses a lot on the dominant. It is in fact a Parker lick that Benson learned.

How to work on this approach

So the best way to work on this is to mix it with another approach. This is also what George Benson does in his solo. I will link to my video analyzing this in the description of this video.

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Merry Christmas – a look at some stuff from 2018 and what is coming up

Instead of laying a lot of heavy Nerd Arpeggio Magic on you here on Christmas Eve I decided to try to make a Video Christmas Card.

But beyond the christmas greetings I also talk a little about the year, how I think about making videos and of course what I plan to do.

If you have ideas for videos or suggestions on the stuff I already do then leave a comment!

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How to Play Fast & Difficult Jazz Guitar Phrases

You probably feel that you get confronted with your technical limitations very often. I think we all do, which of course is also only a testament to the fact that we always try to take things to the limit of our abilities and expand that limit.

Playing fast phrases on guitar is difficult, and with bebop phrases this is even more difficult because the music contains very complicated lines and melodies in Jazz.

There are actually many ways to play fast phrases. I think this is sometimes a bit overlooked, and if you are aware of the options it can really solve a lot of problems in your playing. In this lesson I am going to discuss how you can use different kinds of technique to execute the first phrase of Donna Lee. What techniques work for you is something that only you can figure out, but you should be aware of them, so you can choose instead of banging your head against the wall in 

The Dreaded Donna Lee Theme with Alternate Picking

Donna Lee is one of the more busy bebop themes. It was originally credited to Charlie Parker, but I personally find it unlikely that he wrote it. Miles Davis is a more logical choice.

The main technique that I rely on is alternate picking and usually that is where I start when it comes to playing bebop themes like this.

Example 1 shows the first phrase of the theme:

The first place to start looking for a better way to play the theme is the embellishments, so the trills and the 16th note phrases in bars1 and 3.

Solving problems with legato technique

These are easier to execute and sound much more natural if you play them with legato.

Legato technique is probably the most common way to make it easier to play fast phrases. When I say legato in this context I am talking about hammer ons, pull offs and slides. So basically any technique that does not relying on striking the next note.

If we turn the two faster difficult phrases into something that we can loop it might look like this:

Legato Strategy for difficult lines

The way of finding a way to play phrases like this that I go over here is probably something you should end up getting to automatically. I rarely sit down and go over phrases with so much thought. It is as much about trying to hear the phrase on the instrument and then let your fingers translate what you hear into sound.

That said it can always be useful to check out some phrases and really think about ways to play them.

The idea here is to try to insert a pull off when transitioning from one string to the next. This will buy your right hand some time.

In example 3 I am doing this with by pulling off from the E to the Eb. This also helps phrasing since it gives the E an accent.

Legato Exercises

To practice mixing legato and picking you can do the exercises here below. The idea is to pick two notes in a 3 note per string scale.

Below is an ascending and descending set of scale exercises.

Slide – the forgotten legato technique

The next technique to add to the example is Slides. Using slides is something that is actually very common bu that is not taught very often.

A great place to use this is in bar 3 where it helps us get some time to move from the A string to the D string in the Dø arpeggio.

Economy Picking

Another way to make it easier for your right hand is to use economy picking. The Economy picking idea is that when possible you can move from one string to the next in one go by not alternate picking but sticking to one direction. 

In example 7 I have shown how to do this with the Donna Lee Theme.

Exercise for Economy Picking!

Below is an exercise demonstrating how to play an Ab major scale using Economy Picking. The idea is pretty simple, but take care with getting the timing right when you play it. Economy picking can very easily rush.

Moving the melody around

Sometimes you can solve a lot of problems by changing position while playing a phrase. This is really due to the fact that sometimes a part of a line like an arpeggio or a scale run can be difficult to do.

In the example belowthe F7 arpeggio in bar 2 is moved around so that the first note A is moved to the G string. In this case it actually makes the shift back a little tricky, but it does work.

Shifting to another place completely

One way to solve problems is of course also to play the theme in a different place on the neck. It is always a great exercise and in doing so you can also discover what is difficult or what might work better for the theme.

Below is the phrase written out starting on another string.

Find the solutions that work for you!

The key element here is for you to find ways of playing the phrases that work for you. A part of that process is of course to check out the techniques and realize what it available as I go over here, but you need to check out what works for you and also what works for others.

Check out how I play double time phrases in this solo

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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.

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