Tag Archives: guitar

Reharmonization – Are you getting it wrong?

Chord Substitution and Reharmonization are Jazz topics that are very often discussed together but are actually not really the same thing. This video is going to go over how I think while creating new chord progressions and how I use my reharmonization jazz skills to create several chord progressions for the same song.

The emphasis is on how to come up with chords and 5 examples of how to reharmonize a Blues in F. I also talk about how I improvise over the progressions, what to play and why.

If you only think of music as one chord at the time then you are really missing out! Reharmonization is a great example of how that which is another thing I am trying to illustrate in this video.

Content:

0:00 Intro

0:20 Improvising WITH the chords not just over them

0:39 A Better approach than just thinking substitution

1:40 The Chord is always in a context not just a Chord Symbol

2:08 Standard F Blues

2:29 Parker Blues

3:19 Reharmonization #1

4:06 Analysis of the harmony

4:45 Some Solo Tips for this progression

5:05 Example #1

5:20 Reharmonization #2

6:02 Example #2

6:18 Reharmonization #3

7:00 A Strange A7

7:32 Example #3

8:11 Reharmonization #4 – Re-interpreting Bb7

8:54 Example #4

9:08 Using Pentatonics to play Reharmonization #4

9:33 Don’t Tell The Rhythm Section!

10:01 Reharmonization #5 – Another Chromatic idea

10:35 Example #5

10:50 Method to changing the chords

11:23 This as a Chord Melody?

11:37 Like The Video? Check out My Patreon Page?

Rene Thomas – Is This an Overlooked Bebop Hero?

Rene Thomas is maybe not the first Jazz guitarist to come up in a conversation, but his very melodic and strong bebop inspired jazz lines are very much worth checking out. The Rene Thomas Guitar Legacy includes sideman gigs with Stan Getz, Sonny Rollins and Chet Baker. Besides that he recorded several albums under his own name.

The excerpts in this video are form his first US album “Guitar Groove” an album that features Rene Thomas and saxophonist Bobby Jaspar with whom he recorded and worked very frequently.

The story goes that Stan Getz heard a trio with Thomas once in London and hired the band on the spot.

These examples arereally illustrating how he manages to use modern jazz sounds and a lot of bebop tradition in his playing. The melodies are often very refined and the ideas very long which is of course also a trademark of a master improvisor.

If you want to check out some other performances then I have a short playlist of videos here: Rene Thomas Live Videos

Especially the solo on Oleo is burning!

Triads – 5 Easy Exercises for Better Solos

You want to include Triads in your Jazz Guitar vocabulary. Triads are some of the stronges melodies we have available and in the video I am going to go over 5 easy exercises to build your triad vocabulary on jazz. For each of the exercises I also have a jazz lick using the pattern so you can hear how it sounds in context.

Of course you are practicing scales and arpeggios but it is difficult to put that into real music. But there are also ways to practice that are a lot easier to put into a solo.  I am also going to talk about how ways practice them and of course give you some examples on how to use them in a solo.

I find that working a bit at these patterns really helps:

  • Making more interesting solo lines
  • Use the things you Practice for technique
  • Have a better overview of arpeggios on the neck
  • Knowing the Scales and music theory

As a small extra feature this also demonstrates some of the places where I use sweeping or economy picking!

Lick #1 – Top Note Targets

As you will see I tend to work mostly on triads in scales, so what is often called diatonic triads. This is because if you check them out there then you have them together with all the other notes you use when you are soloing so it is about understanding the triad, the chord and the scale.

This first example is a pattern that really emphasizes the top note of the triad arpeggio. Since the top note also almost can work as an independent melody this is an easy way to build a strong line just having a simple melody that is harmonized with arepggios.

On a side note you can hear Lage Lund use this pattern quite a lot.

Exercise 1 – Diatonic Arpeggios

Probably the great thing about this pattern is that it really emphasizes the top note, so the rest of the notes almost sound like they are accompanying that note. This means that the melody you hear is mostly the top-notes moving. The large interval skip from the 5 to 1 followed by the ascending arpeggio also gives the line a lot of forward motion.

Altered Scale Triad Pair

Here you have an example of how I might use the top-note pattern. In this II V I lick I am using it starting on the Dm7 and then going on to the G7alt with Bbm and Abm triads.  

Bbm and Abm form a triad pair on a G7alt since they are triads with out common notes:

Abm: Ab B Eb and Bb: Bb Db F

Finding triads for a chord

The way I find the triads that I can use over a chord is by looking at a chord with extensions. As an example you can look at the Dm7 chord, with the stable extensions in C major that would be a Dm(11):

D F A C E G

And the process is really just to pick out the triads contained:

Dm: D F A

F: F A C

Am: A C E

C: C E G

Lick #2 – 3rds Distance Cascade3rds distance

This way of playing the triads is useful because you are playing them together so that they fit a chord. If you are improvising over a Dm7 then Dm, F and Am triads all work over that chord.

Having the triads together like this works well for cascading arpeggio ideas combining several triads over one chord.

A useful or practical way to practice this is across the string sets in two different ways

The first approach relies on Economy picking where the second is using legato for the same note set. As you may have noticed in other lessons I use this economy patter quite a lot.

3rds Distance – Legato idea

In this lick the cascading triads are on the Dm7 and then stretching into the G7alt with the Db triad. This way of using the triads also creates a great 3 note grouping.

Lick #3 – Leading Notes

Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads.

The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note before the root.

Chromatic leading notes

The example here below adds a leading note first to the F major triad and then the A minor triad. The G7alt also adds a descending version of the leading note to an Abm triad.

Lick #4 – The Wrong way around

Another variaton that is easy to use is to play the triads ascending through the scale, so Dm, Em, F, G, Am, Bø, C but then play each triad descending.

This exercise is showed on the top string set and notice how I am using economy picking to play the triads.

New Directions for Triads

The lick is using the first three triads from the exercise: Dm, Em and F major and from there going into an altered lick based on an AbmMaj7 arpeggio.

Lick #5 – Arpeggios are melodies

You don’t have to play the notes of the triad in the same order all the time. In this exercise I am changing the order from 1 3 5 to 3 5 1. 

This has two advantages: I t really brings out the 3rd in the triad and of course creates a strong melody.

Creating new triad sounds

This lick is demonstrating how you might use the triads. On the Dm7 I used an F major and an A minor triad.

Notice how the lick has a lot of large intervals and the triads still pull everything together.

Arpeggios and Target notes

A huge part of playing over chord changes is using arpeggios like triads and then thinking ahead so you hit the right target notes in the next chord.

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You can also download the PDF of my examples here:

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 Practice Routine How To Find The Perfect Balance

If you have to make a 30 minute Jazz Practice Routine, what should you include?

We are all different so there is not one solution that fits everybody, but you don’t want to waste time, or leave out important things to practice.

In this video I am going to go over what I think a 30 minute practice session should include. I am of course a guitarist so it will be aimed at jazz guitar practice, but I am sure the philosphy and topics will fit all instruments. Some of the topics that I think are important for a jazz practice routine would be:

Technique, Repertoire, Exercises, Vocabulary, Theory, Ear-Training,
Transcriptions

I am really curious about how your practice routine is, so if you have a routine then please leave a comment with a list of stuff you work on. This is useful for people looking for inspiration and certainly also for you to evaluate how you work. I will do the same 🙂

Content:

0:00 Intro – A 30 minute Practice Routine

1:24 Technique and Warm-up

1:32 Warm up and Synchronization – 10 minutes

2:05 Arpeggios – Right hand warm up

2:31 Working out with Spread Triads (Steve Morse)

3:00 Technique – Musical Practice

3:19 My Basic Fretboard Visualization

3:41 Practice in all 12 Keys! (are there only 12 keys?)

4:08 Diatonic Harmony 4:40 Stay Flexible and Practice open-ended

5:43 Playing Music – 10 min

6:13 Play Songs and Put it all Together

6:47 What You Focus on and Learn

7:41 Ear Training – 5 min.

7:52 Moving Melodies through the scale

8:26 Using Apps or Computer Programs

8:50 Advantages to a schedule working with Apps

9:04 Transcriptions

9:28 Figuring Songs out from Memory

9:49 Vocabulary – 5 minutes

10:00 Use Composition and Create YOUR vocabulary

10:28 Share your Practice Routine! Give us some ideas!

10:50 Like the video? Check out my Patreon Page!

Pat Metheny – This is What Jazz Blues Should Be

The Solo in this Pat Metheny Lesson is on a medium swing 12 bar blues in Bb. The Freedom and the multitude of approaches that Pat Metheny has when it comes to improvising over a blues is mind-blowing. Certainly worth a closer look!

This covers the super melodic side of Pat but also really illustrates his Bop playing and the great way he uses Blues material. There is a reason why Charlie Haden really emphasized how much he loves playing Blues with Metheny. I think this solo really demonstrates why.

Pat Metheny Lesson Content

0:00 Intro

1:18 Example 1 – Blues, Double-time and Lydian Dominants

4:37 Example 2 – Spelling out Harmony and Reharmonizing

8:42 Example 3 – Free Jazz, Tritone Substitutions and Chromaticism

Check out the John Scofield Solo on the same song

If you want to check out the video I did on the John Scofield solo on this track then have a look here: https://www.youtube.com/watch?v=Y6n9FE7PDBU&list=PLWYuNvZPqqcF247KJAOrdpBzCY0YTWk6O&index=6

Jazz Guitar Solo – This Is What I Think About

What do I think in a Guitar Solo? A Jazz Guitar Solo is not as much thinking as you may assume. In this video I improvised a solo, transcribed it and then I go over the solo discussing what I thought or about or what I might have thought about when playing the solo.

This should give you some insight into how I improvise and also maybe what you should not worry about when playing a song. Jazz is a genre of music that lends itself to over-thinking.

Some of the topics I go over is how and why I think certain things like altered dominants or motifs. I also talk about the construction and thought process behind double-time lines and some polyrhythmic ideas.

Content of the video

 0:00 Intro – What I think about in a solo

0:20 The Driving a Car Analogy

0:42 Solo and Transcription.

1:17 Out Of Nowhere – The Song and the Form

1:48 The Solo

2:43 The Beginning – How to start a solo

4:04 How Target notes are a part of my playing

5:18 Ab Blues in G major?

5:49 The Added C7(#11) chord

6:33 The Gmaj7 Gm6 trick

7:09 Bm7 E7 – Thinking an Altered Dominant

8:39 I am not Pat Martino (surprised?)

8:50 A Tonic minor sound on the II chord

10:14 The Lydian Dom7th: Eb7

11:03 Double Time Line

12:31 Using Blues G Phrases in Medium Swing

14:22 A Simple Motif through a few bars

15:53 Bm Pentatonic to C7(13)

16:33 The Bm7 chord as a II chord not a III

17:25 4th note Triplet Poly Rhythm- Groups of 2 (displaced)

18:45 The Final turnaround and the ending

19:50 Blues in Medium Swing (Joe Pass)

20:54 How Not To Think About What I do

21:15 Like the video? Check out my Patreon Page

Adam Rogers – This is how to use Triplet Rhythms

In this Adam Rogers Lesson, I am going to take a look at some phrases from his guitar solo on Beautiful Love. It’s a great solo as a show case on how he works with triplet rhythms and triplet polyrhythms. Having worked with Chris Potter and Michael Brecker, Adam Rogers is no stranger to complicated rhythms and meters. The examples in this video are all on II V I cadences so you can also view it to watch get some II V I Adam Rogers Licks.

This solo is found on Adam Rogers trio cd: Sight. The cd features Clarence Penn on Drums and John Patitucci on bass.

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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 get access to the PDF by supporting my channel on Patreon.

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.

5 Chromatic Licks – This Is The Way You Use Them In Your Playing

In Jazz Guitar, Chromatic Licks are really a huge part of what we consider the jazz sound. But you can use chromatic passing notes and enclosures as devices to create different kinds of surprises in your solos. This Guitar Lesson is going over 5 different examples of how you can use chromaticism and chromatic approach in your playing. The examples are both in a Modal setting and on a II V I.

The lesson covers

  • Adding color with chromatic passing notes
  • Suspending chord tones with chromatic enclosures
  • Creating forward motion towards the next chord
  • Outside sequences and parallel movement.

#1 Chromatic Passing Notes for Color

In this modal example I am using a passing notes and chromatic enclosures as a way to add some color to the line. They are there as ways of adding a few colorful or surprising notes in the line.

Whenever you are playing over a chord then the ear exoects to hear the notes of the chord and the surrounding scale notes. It does however also hear the remaining notes as tensions that need to resolve.

You can add this to a line to give it some colors and some movement. In this modal A dorian minor example I am first adding a passing note between the 9th and the root from beat 3 to 4 of the first bar.

The passing note is placed on the off beat which makes it a bit more smooth.

The Chromatic enclosure is a 4 notes melody in the beginning of the 2nd bar that creates some movement towards the C on beat 3 of the bar.

The final part of the lick is a Cmaj7(b5) arpeggio which is a great way to really get the Dorian Am13 color out on the chord.

#2 Chromatic Lick = Forward Motion

In this example I am using the chromatic enclosure to create some forward motion and move the chords along.

The Progression is a II V I in G major. The chromaticism used is first a passing note between the 3rd and the 2nd on D7 (in bar2)

From here I continue with a very common way to target the 3rd(B) of Gmaj7 that really drives the lick forward and pushes towards the resolution on the and of 4.

#3 Suspending a Resolution

Instead of using the chromatic phrase to drive the changes you can also use it as a way of delaying a chord. In this example, a II V I in G major again, I am using two chomatic ideas to delay the resolution to the Gmaj7.

The Am7 line is constructed of a spread triad 1st inversion C major triad. This is followed by an Am pentatonic phrase.

In this example the dominant, D7, is an altered dominant. The phrase is a pretty basic altered phrase using an Ab triad and a stock Ebm line.

The D7alt line should resolve to the D on beat 1 of the Gmaj7 but instead

These types of ideas are very common in Pat Metheny’s playing around the Question And Answer era. You will find him making harmonic movement quite unclear by adding long chromatic phrases instead of a clear resolution.

#4 Modal Shifting Example

Another great way to introduce chromatic passages is to shift an interval and in that way move out of the tonality for a bit.

This A Dorian modal example demonstrates this. The first bar starts with an enclosure targeting the A on beat 3.  From there it is a descending 1st inversion Am7 arpeggio.

In bar two the first two notes are a chromtatic enclosure of an E. The E and the C then becomes an interval that shifts down in half steps twice. The line ends with a chromatic passing note added between D and C. 

#5 Chromatic Licks as Outside ideas

Chromaticism can also be used as a way to create some outside material in a solo. This modal example is demonstrating some side slipping which is shifting an arpeggio in half steps to add some outside melodies to the phrase.

The beginning of the phrase is a fairly straight forward 4-note enclosure targeting the root of Am7. This is followed by an Am7 arpeggio. 

In bar 2 the Am7 arpeggio ends on the 9th and this is then the first note in a descending Em triad. This triad is shifted down to Ebm and Dm. From the Dm the line ends on the 13(F#) of Am via a chromatic enclosure.

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:

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.

Jazz Guitar Comping 3 Things You Want To Think About

In short you want to work on your Jazz Guitar Comping. It is probably what you spend the most time doing when you are playing in a band. It is also one of the best ways to develop your ability to interact with the people you play with which can makes your solos much much more interesting to listen to and add a complete other dimension to it.

There are ways of thinking about comping that will improve how you comp and in this video I am going to talk about how you

  • Connect with the band
  • Support the soloist better
  • Help the song become a musical story

Comping is a difficult art to teach in a lesson because it is about interacting with several people at the same time, but it is also a huge part of what you do as a jazz musician, and for me a big chunk of what I do for a living, both as a sideman and in my own band. It is also something that I love doing because the emphasis is on playing together with other people.

Jazz Guitar Comping – The Content

 0:00 Intro – Comping and what you need to learn

0:33 Overview of Focus areas

1:32 Jazz Guitarists Can’t Comp – Who to learn from

2:04 #1 Lock in With The Drummer

2:23 Understanding interaction and groove in a swing groove 

2:57 Don’t Clash with the Drummer

3:42 Is Good Comping Predictable?

3:58 Listen to great examples

4:35 #2 Listen To And Don’t Get In The Way of The Soloist

4:39 What is your goal when you are accompanying?

5:03 Interaction?

5:52 The #1 Rule of when to play!

6:38 Use your “Comping Ears” To Improve your own Soloing

7:31 #3 Give the Music Form, Dynamics and Variation

8:33 The Masters of making variation and development

9:35 Other examples of interaction and variation.

9:55 Take the Responsibility!

10:37 Any Advice? Leave a comment

10:50 Like the video? Check out My Patreon Page

Tal Farlow – This Is Cutting Edge Bebop

Tal Farlow was one of the pioneers to further develop Bebop Jazz Guitar after Charlie Christian. He really has his own style and own melodic language which I demonstrate in this video with an analysis of the solo on Gone With The Wind.

This Tal Farlow solo really highlights how he plays across the bar line and has a very advanced use of chromaticism in his playing. In many ways his concept and his solo lines where ahead of his time and he was truly a bebop innovator with a clear own voice.

At the end of the video I also talk a little bit about how his playing likely has influenced Kurt Rosenwinkel.