Tag Archives: guitar lessons

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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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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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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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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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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Jazz Phrasing – This is what you want to know

You problably know the feeling of trying to come up or with lines and then even though you know the notes are right it is impossible to get it to sound like jazz.

In this video I am going to show you some things that you need to be aware of when trying to come up with lines and which will help you jazz phrasing really a lot. One thing that is really interesting about this is that it is actually possible to write jazz licks that really are not possible to phrase well.
This is about how you play the notes and a little about which notes you play, and for me it was really a huge part of getting my bop lines to sound good.

How to learn good Jazz Phrasing

I am going to cover two things: First how to write lines like this and later I’ll talk about how to hear it in examples and get it into your system so that you don’t have to think about it, because that is what you eventually want to have. Phrasing is something you hear and feel not something you think about while you are playing.

The Lick that doesn’t swing

Have a look at this lick: Harmony is clear, the notes are mostly chord tones.  Target notes make sense but it sounds heavy.

This line has direction and it spells out the chords, but the melody sounds heavy because it asks for accents on the heavy beats: 1 and 3. There is no place where we have a not popping out to make it dance.

In short: That sounds more like Megadeth than Charlie Parker.

Writing better line with Better Phrasing

Luckily you probably already have a good idea about how a good jazz solo sounds. If you try to sing the phrasing of that then you get a much more.

If you pay attentiont to what you are singing and slow that down then you start to notice that the accents in the phrase are not on the beat, so accents are on the off-beat

In Jazz, or bebop, the accents are naturally on the off beats. The question is then how do you make melodies where you can create those accents.

Let’s look at an example:

In the example above the accents are the higher notes in the phrase, so the C on 1-and plus the A on the 3-and.

The rule you want to notice here is:

If a note is higher (in pitch) than the following note and not on the beat. Then you can give it an accent.

In the line above there are therefore two notes that can get an accent. 

Using your technique to make it easier to phrase

Very often the easiest way to accent something is not to play that note a lot louder but instead to play the surrounding notes a little softer. Using legato is a great way to naturally do that.

The way I use this is to pick the note that gets an accent and then use a pull-off to play the following (lower) notes.

Another example of a line where this strategy will give it a natural phrasing is shown below:

Bebop Phrasing on a II V I

Of course this way of thinking and using this rule can also be applied to a complete II V I lick as shown below.

You will notice that the accents are on 4-and in bar 1 and on 2-and in bar 2. The line also ends with a classic “bebop” phrase where the descending interval is the sound that gave the genre it’s name.

Learning to hear good phrasing

Besides writing lines it is also important to listen to great solos and it can be useful to analyze transcriptions to find places where there are accents in the solo.

Be sure to listen to bebop and hardbop artists to get the most out of this. You also want to keep in mind that even if you don’t analyze it then just hearing good phrasing in huge amounts will also help you a lot. 

How Wes Montgomery Gets it Right

As an example of an analysis of a solo let’s have a look at the opening phrase from Wes Montgomerys solo on Four on Six off the Smokin’ at the half note album.

The first part of the pickup is a sliding 5th interval which is on the beat. This is not a bebop 8th note line so or ideas about accents doesn’t really apply.

The next phrase is a Gm pentatonic phrase an here Wes is playing 8th notes. The phrase is essentially a descending scale run and he does in fact accent the top note (a C).

The ascending arpeggio that follows does not allow any accents, but the descending Dm triad in bar 3 does, and here the first note does get an accent.

The way to better phrasing

For me it was a combination of knowing how to phrase bebop themes and lines, composing lines with the accents in the right place and certainly also training my ears by listening and playing along with great examples. 

I would suggest you find a way to mix in all of those approaches if you are working on your phrasing.

A short cut to improve your Bebop Phrasing

One way to speed up the process could be to check out this webstore lesson with analysis and examples of lines that are easy to play and have great phrasing.

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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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8 Awesome Types Of 3-Note Chord Voicings And How To Use Them

You probably see Jazz Chords as chord voicings with lots of notes, alterations and extensions which makes them big and difficult to play. But actually most of the time when I am comping or playing chord melody I am using 3-note chord voicings, and it is amazing how rich and diverse you can still sound just using 3 notes, and most of those are pretty easy to play.

In this video I am going to go over 8 types of 3-note voicings including different ways to use Shell-voicings, Upper-structure Triads, Quartal Voicings, Sus chords and different types of Cluster-like Interval Structures.

The Voicing types I cover in this lesson is:

  • Shell Voicings (137)
  • Triads
  • Quartal Harmony
  • Shell Voicings (157)
  • Sus4 Triads
  • Triad Derived Cluster Voicings #1
  • Triad Derived Cluster Voicings #2
  • Shell Derived Cluster Voicing

This is a lot of material but going from one type of 3 note voicing to another is surprisingly easy as you will see in the main example.

The Practical Approach: Solar Chords

The way I have chosen to approach this is to make an example chorus of comping on the song Solar. I will break down the chorus and while going over the chord voicings also talk about what type of voicing it is also give you an overview of a set of Diatonic Chords using this type of voicing.

Basic Shell Voicings and Triads – “The Power Chords”

The first part of the chorus on Solar is shown here below. For the first three voicings I am using Shell voicings and then from the middle of the Gm bar there are two triad voicings.

The first Shell voicing is a CmMaj7 Shell voicing. You probably know the shell-voicings as the basic chord voicings that are used for Freddie Green comping or as a basic building block to create voicings with extensions.

In this case I am using the shell-voicings both as basic chords and as upper-structures with extensions and colors.

To Practice shell voicings you can do this exercise of the diatonic shells in C minor melodic:

The CmMaj voicing in bar 2 is a B7 shell voicing. This is not the diatonic chord that is found on the B. This is constructed in a different way but is a chord that you can find in C melodic minor. You just need to be a little creative.

The B7 voicings is great for CmMaj as it contains the Maj7th, b3 and 6th.

The voicing on the Gm7 is a Bbmaj7 shell voicing which works as a Gm7 without the 7th.

Triads as Jazz Chords

The second half of the Gm bar is covered with a Bb major triad. The Bb major triad is a Gm7 without a G: G Bb D F

On the C7 the chord is a Bb dim triad. This set of notes is Bb Db E so it works as a C7b9.

A way to go over the triads is to play them through the scale, but think of them as the chords that you would use them. This is shown in the example below.

Triad inversions: An easy set of extra chords

A bonus from working with triad voicings is that they are easy and practical to invert. If you take the C7(b9) chord as an example then we have these possible chord voicings that all work:

Quartal voicings and 157 Shells

The voicing is a triad voicing for the Fmaj. An Am triad. Again the triad found on the 3rd of the chord.

From there the next three voicings are quartal voicings, two on F and one on Fm7.

3-part Quartal chords

Quartal voicings are hard to really tie to only one type of chord, so instead of assigning them to a specific chord I have written them out without a chord name.

The way the chords are moving in Solar example is a good example of how quartal voicings are used moving in a step-wise manner.

157 Shell-Voicings

The second chord in the Fm7 bar is another type of Shell voicing. I am using an Ab 157 shell voicing which is Ab Eb G. This spells out an Fm7(9). 

The Bb7alt voicing is an Abm7(b5) 157 Shell-voicing, moving on to a BmMaj7 137 Shell voicing.

Moving the 157 Shell-voicings through a scale you get this exercise:

Sus4 Triads as Chord Voicings

The last 4 bars of the example is introducing quite a few voicings.

First a sus4 triad for the Ebmaj7 and then three types of cluster voicings that I will go over.

Sus4 triads – Extra colors

The Ebmaj7 voicing is a Gsus4 triad. This spells out an Ebmaj7(13): G(3) C(13) D(7).

Using the sus4 triads like this is a really useful way to add colors to a chord. Taking this chord through an Eb major scale like this yields these voicings.

Especially the Bb7(13) is a nice sound here, and some to the b13 voicings can be a bit hard to put to use.

Triad based Cluster Chords #1

One way to get a 2nd interval in a triad is to substitute the root with the 9th. This is similar to how you add extensions to a drop2 chord.

Below is shown how the Ebm7 voicing is constructed. Strictly speaking this is an Ebm(add9) voicing since it does not have a b7.

Taking these voicings through the sale yields these voicings:

The Ab7 is an AmMaj7 shell voicing working as an incomplete Ab7(b9) voicing.

Triad based Cluster Chords #2

On the Dbmaj7 I am using another triad derived voicing. This is a the set of notes C Eb F which is derived from a Bbm triad. Here the Bb is replaced with C and the Db with an Eb.

Taking this through the scale gives us these voicings:

Shell Voicing Derived Cluster Voicing

The final voicing type is create from a 137 shell voicing where the 3 is replaced with a 2 or 9. As shown here below:

This chord voicings through the scale yields these chords. My notation software is unable to turn these voicings into chord diagrams.

Taking 3-note Jazz Chords further

If you want to check out more examples of how I use these types of chord voicings on a standard then check out this WebStore Lesson:

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Download the PDF to check out the exercises away from the article:

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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Is a Guitar Teacher Worth Your Money?

Is a Guitar Teacher worth your money? What is a good guitar teacher and do you need one? Those are some of the things I hope this video can open a discussion on.

I am also going to talk about what I think a good guitar teacher is and what the role of an instrumental teacher is. By now anybody can find songs, scales and chords with Google or YouTube, but is that really what you are paying for? Or is it really something else?

The discussions I see on this are really lacking a lot of information so I thought this video could be a good starting point.

Content

0:00 Intro – A lessons worth the money?

0:23 The Role of a Guitar Teacher Now

1:22 What You Don’t Need from a Guitar Teacher

1:44 Sources of Information

2:19 Is Information All You Need?

2:37 The Role Of The Teacher/1st Lesson

3:01 #1 What To Work On and The Order to work on it

3:45 A Good Teacher is…

4:35 Learning Process for Improvising with a Pentatonic Scale

5:21 Self-Taught with Methods

5:56 #2 Listen and Evaluate – Modal Example

6:30 Feedback with a Wider Perspective

6:46 How Useless Internet Feedback really is

7:44 What you Pay for

8:28 Feedback from somebody with more experience.

8:45 Examples of Jazz-Skills that are hard to pin-point for beginners

9:30 Other Styles of Music?

9:42 Trying to combine the info as a Teacher and a Student

9:59 Like the Video? Check out my Patreon Page!

Barney Kessel – How to mix Swing and Bebop

This Barney Kessel Guitar Lesson breaks down three examples of the great mix of swing and bebop in his playing. Barney Kessel is a guitarist that has been around for a huge part of Jazz Guitar history. He has played with everybody from Charlie Parker to Sonny Rollins and done a lot of sideman stuff!

What to learn from Barney Kessel

The idea for this video came from a student bringing in the video and the transcription in a lesson. While there are things that this track are not a great example of it also showcases some of the things that are truly great about Barney Kessels playing and something that everybody should check out! Melodies with great interesting rhythms and how to use that in a jazz context! His mix of swing guitar licks and bebop is really a worthwhile study.

The  Transcription video

The video that my student brought in was this one. It has a transcription of the entire song, theme solo and out theme. The intro is really beautiful and at the same time also really simple!

There are a lot of great phrases and ideas to be lifted from this if you are interested in digging into it a bit deeper.

 

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Walking Bass Jazz Guitar Lesson on All The Things You Are

Playing Walking Bass Jazz Guitar Comping is really a great full way to comp in a duo setting. The walking bass really helps you lay down the groove and you can add the chords to make the harmony clear but also as accents in the rhythm. All The Things You Are is a great jazz standard to check this out on and you probably are already familiar with the song.

Playing these two layers at the same time is challenging in this lesson I am going to discuss some of the things that you want to check out like playing bass lines over several bars of one chord. Adding variation in the bass line rhythms and dealing with higher tempos.

All The Things You Are – Walking Bass Jazz Guitar

This example is a little faster than what I usually do. It demonstrates how I reuse bigger parts of lines on similar progressions very well. It also shows how I use changing positions when playing on the same chord for several bars. 

The First A part – Arpeggio basslines and sliding leading notes

The bassline and chords are clearly displaying that I mostly add the chords on the 1& except on the strong parts of the form like in the first bar. Having the chord on the 1& is technically quite easy and just adds a little extra color and an accent.

The basslines in the first 6 bars are really all constructed from arpeggio notes adding a chromatic leading notes on beat 4 when necessary. This makes the lines very clear and easy to relate to the chords.

On the G7 in bar 6 I have an extra leading note that I slide into the resolution on the Cmaj7. This a great way to embellish the basslines and it will work even at higher tempos where for example 8th note triplets might not be that practical.

On the Cmaj7 the first bar is in the position around the 3rd fret and then moves up to the 8th fret for the second bar. This is one way to deal with several bars of Cmaj7.

Second A – Shifting position and keeping the groove going

The 2nd A also has basslines consisting of arpeggio notes and the occoasional leading tone. Except for the first chord Cm7, which has a more scalar bass melody.

The Transition from Bb7 to Ebmaj7 is aided with an extra sliding leading note from D to Eb.

On the Gmaj7 the bass line is again shifting from 3rd to 10th position and in this case I don’t include a chord on the 2nd bar of the Gmaj7.  To me the most important part of playing like this is to keep the bass moving and therefore it is not always essential to have a chord in there.

The Bridge – Walk yourself out of a tight spot

The first part of the bridge is a II V I in G major. The bass and chords are actually playing the exact same movement as in Bars 2-4 This is a good example of a large chunk being “re-cycled” in another key.

This time the Gmaj7 bassline does not shift position in the second bar. this is because I want to stay in the same region for the II V I in E that follows.

In the II V I to E major the F#m is again an arpeggio but this time the arpeggio is shifting up along the 6th string.  This makes the B7 in the 7th fret is easy to reach. Playing bass lines like this can be very useful to not “walk yourself into a corner”. Having the B7 up there makes it possible to avoid the Emaj7 which is not so easy to have in there with the low open E string.

The C7 is approached with an slide extra and the bassline is a straight C major triad. 

The Last A part

I have an extra leading note on the C7 at the end of the bridge, but in this case the transition to the Fm7 is using a hammer-on instead of a slide to move from E to F.

The Bbm7, Eb7 and Abmaj7 are very similar to the first A.

The descending IV IVm progression

The final 8 bars of the song is IV IVm, III, bIIIdim to a II V I.

The First Dbmaj7 is played in the 4th position but then moves up to play Dbm6 in the 9th position. From here it descends to th 8th for Cm7 and the 7th for the Bdim chord.

The final II V I cadence is again using the same bass line as bars 2-3. This time the final Ab chord is placed on the beat mark the ending of the song. The last bars are a II V back to F incase you want to loop the chorus.

Walking bass etudes and making your own

I hope you can use the exercises and the example to get started making your own Walking bass and chords comping examples. Of course my example can serve as a good etude. You should also used it as a source of inspiration for your own walking bass ideas.

Get Started Soloing on All The Things You Are

All The Things You Are – Getting Started Soloing

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Walking Bass – All The Things You Are

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