Tag Archives: guitar

How To Get The Most Out Of Transcribing

The amount of improvement you can book by transcribing guitar solos or Jazz Solos and learning to play them is quite amazing. In this video, I am going to talk about how you can use the solos you transcribe to improve your Phrasing, Learn New Vocabulary, Connect your phrases and add a better build up to your solo.

Making your own transcriptions is a huge part of learning jazz, but often it is not so much about writing down the solo and a lot more about playing them and figuring them out by ear!

Content:

0:00 Intro

0:27 Transcribing – What You Learn

0:47 Transcribing – Do You Write It Down?

1:12 It depends on the focus and what you want to learn

1:44 #1 Learn To Play The Solo With The Recording

1:55 Phrasing!

2:27 How To Start Sounding Like Jazz, not Just Notes

2:39 Smart Phone – Swing Feel! 🙁

3:15 Are These the biggest benefits?

3:27 #2 Learn New Vocabulary – Analyze The lines

4:01 Analyzing Lines and Melodies

4:53 #3 Analyze the Phrases

5:09 Zoom Out – Understand the Phrases

5:23 Wes Montgomery Example

6:47 A General Thing for Wes Solos that we miss

7:38 #4 Analyze the Form of The Solo

7:48 Zoom out (More)

8:05 The Form Of The Solo

8:16 Wes as an Example

8:37 Other things used in a larger form9:18 Like The Video? Check out My Patreon Page

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How To Learn Great Concepts From Thelonious Monk

Thelonious Monk is one of the most important composers and improvisers to emerge from Bebop. His very personal style of both playing and writing songs has both simple and complex sides to them and is a great place to study and improve your jazz solos.

In this video, I am going over a way to use a Thelonious Monk blues, Straight No Chaser, as a resource in making your own lines and how to take a melody and use different techniques to create new musical ideas from it.

While I made the video with Monk in mind and using Straight No Chaser as an example this will really work in other genres and with other melodies than just jazz and bebop.

In making the video I also analyzed the melody of Straight No Chaser, and the way it is constructed is surprisingly elegant and sophisticated. I am curious about what you think!

Content:

0:00 Intro – Not just the right notes or the right arpeggio

0:27 Better Improviser – Better Composer

0:39 Exercise for using composition to solo better.

0:59 Thelonious Monk and the Composition

1:34 The Blues Cliché deluxe

1:48 #1 Inversions of a melody

2:23 Making Licks from the main statement

2:52 #2 Octave Displacement – Bebop Melodies

3:16 How to use Octave Displacement on the melody

3:37 #3 Chromatic Enclosures

4:10 Understanding the melody of Straight No Chaser

5:17 Analyzing the Phrases of the Melody

7:44 #4 Rhythmic Displacement and Repetition

8:04 Using the repetition in a lick

8:25 Example of a II V I lick with this type of repetition

9:01 Phrasing across the barline

9:07 Displacing the rhythm

9:21 Developing the melodic idea

10:12 Changing the polyrhythm

10:56 Some thoughts on how to use repetition11:12 Like the video? Check out my Patreon Page.

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Minor II V I – Getting The Most Out Of The Basics

The Minor II V I is a very common progression in Jazz. But it is also a bit more complicated than the major counterpart. This is mainly because of the IIø chord and also because you need to change scales moving through the chords.

This video is going over 5 Minor II V I licks demonstrating some of the scales, arpeggios and melodic ideas you can use when improvising over a minor II V I. This can really help you expand your vocabulary on this chord progression, and there is a lot of great ideas in there that you need to know.

#1 A few basic scales and tricks

First, we should cover some basic material. The Dø is coming out of a C natural minor or Eb major scale. Here I am just playing the arpeggio in a pattern and adding a chromatic run to take me to the G7.

The G7 is the dominant of Cm, so I am using C harmonic minor over this chord., but I also add a Bb to the melody.

The G7 melody is build around one arpeggio: Fm7b5.

Fm7b5 related to a G root gives us a chord with a b9 and a b13. If you play the Fø chord with a G bass note you will probably also recognize that as a G7 voicing.

#2 Beyond the basic arpeggios of the chord

It is useful to have a few arpeggio choices for any chord you want to improvise over.

In this example I am using Abmaj7 over the Dø which is a great choice for this chord.

On the G7 I am using the arpeggio from the 3rd of the chord: Bdim.

#3 Coltrane Patterns

Another useful resource is to use Coltrane Patterns.

In this example I am using first an Fm Coltrane Pattern on the Dø.

The G7 is combining the Bdim which I also used in the previous example with the augmented triad. In C harmonic minor the augmented triad is found on Eb, but that is, of course, enharmonic with a B augmented which makes a little more sense on a G7.

#4 Maj7th and DimMaj7th Ideas

This example is using two different Maj7th ideas.

First the Abmaj7 on the Dø, here combined with an Fm Coltrane pattern.

On the G7 the melody is build around an Abdim(maj7) arpeggi.o

#5 Maj7(b5) and m7(b5)

The b5 connection. A great voicing for a Dø(11) is in fact an Abmaj7(b5). This is also the arpeggio I am using in this example on the Dø.

On the G7 the first part is a basic G majro triad which (of course) also works great. From there it is again the Fø arpeggio that is now played descending and resolves to the 3rd of Cm6.

More Minor II V I options

A great song to really work on some Minor II V I ideas is Blue Bossa.

And of course also my first Blue Bossa Solo Lesson

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That is not a Musical Exercise, I don’t like it!

You hear exercises being described as unmusical very often. But how much sense does it make to label a jazz guitar exercise as unmusical? When we practice then it is maybe more about looking at the skill we are improving than whether an exercise is musical or not?

In this video, I am discussing this and also going over some common misconceptions about different types of guitar practice like metronome practice.

Content:

0:00 Intro

0:19 Avoid Un-musical exercises?

1:05  Unmusical Exercise  Exercise #1

1:20 Unmusical like Pat Metheny

1:51 The Musical Exercise in a “Facebook video”

2:38 Skills involved

2:53 What is the point of an Exercise?

3:47  Unmusical Exercise #2

4:07 Benefits of Robotic Exercises

4:56  Unmusical Exercise  #3

5:07 How It sounds and What it is

5:40 What you learn!

6:57 Unmusical Exercise #4

7:08 Innovation is the tradition in Jazz

7:26 Just Try something!

8:01 What Is Your Opinion on Musical/unmusical exercises?

8:21 Like the video? Check out my Patreon Page!

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Jazz Comping – How To Keep It Interesting

Jazz Comping and especially good jazz comping is not about knowing a million voicings. It is more about how you play the chords you know. The different ways you add embellishments or connect the voicings that make the difference.

In this video, I am going to go over a few different approaches and techniques that you want to add to your comping. This will help you have a wide vocabulary of techniques and options available when you a playing chords behind something else.

Content:

0:00 Intro

0:25 Focus on How you play not What You Play

0:47 Basic progression and why you should leave out the bass note

1:33 Top Note Melodies – How To Get Started

1:58 Turn you comp into a musical statement

2:47 Tying together a lot of voicings.

4:20 Arpeggiate The Chords

5:26 Chromatic Passing Chords

7:21 How To Add Fills

9:34 Inner-voice movement

11:03 Like the video? Check out My Patreon Page

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Doug Raney – The Best Solo If You Want To Learn Bebop?

If you want to learn Bebop then this Blues solo with Doug Raney on Jazz Guitar is a great place to look. This solo has Doug Raney playing an amazing Jazz Guitar Solo on this Bb Blues. This is off the Something’s Up album and really demonstrate how Raney has a solid grounding in Bebop tradition and also can take in some more modern jazz sounds.

The Blues is the Charlie Parker classic Mohawk and Doug Raney’s solo feature great examples of Chromatic enclosures, Playing across the barline, Lydian dominant.

Content:

0:00 Intro

0:44 Example 1

0:49 Bb Jazz Blues and two great Raney Albums

1:10 Breaking down the Example

1:46 Example 1 Slow

1:53 An overview of the phrase in the solo

2:11 Example 2

2:18 Developing the Solo – Going across the barline

4:06 Example 2 Slow

4:16 Example 3

4:25 Introducing More Modern Jazz Sounds

4:38 Lydian Dominants in Jazz Blues

5:43 Example 3 Slow

5:55 What Do You Consider the best example of A Jazz Guitar Bebop Solo?

6:24 Example 4

6:34 The Ultimate Bebop Phrase!

7:58 Doug Raneys Legato Technique

8:43 Example 4 Slow

9:18 Example 5

9:28 Octave Displacement and displacing the phrases across choruses.

11:14 Example 5 Slow11:29 Like the video? Check out my Patreon Page!

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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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Pentatonic Scale – How To Not Sound Like The Blues

The Pentatonic Scale can be great both as a way to get started playing jazz and also just some extra material that you can use as another sound if you are already playing jazz. But when you want to use The Pentatonic Scale in jazz you don’t always want to use blues licks. You want to play melodies that sound like jazz.

In this video, I am going to go over some exercises and show you how you can use them to get another sound out of pentatonic scales and create some modal and some II V I jazz lines. Pentatonic scales are a huge part of the vocabulary of people like Pat Metheny, Kurt Rosenwinkel and John Scofield.

Content:

0:00 Intro

0:15 Jazz Melodies with Pentatonic Scales

0:39 Who Uses Pentatonic Scales in Jazz

0:58 Example 1

1:02 The Basic Am Pentatonic Box

1:28 Analyzing the Example

2:14 Exercises  1

2:27 Making Variations on Exercise 1

3:23 Example 1 – slow

3:28 Using The Am Pentatonic Scale with other material

3:42 Example 2

4:02 Example 2 – slow

4:07 Example 3

4:10 What is really important about the exercises!

4:37 Exercise 2 – Construction

5:10 Exercise 2 – Demonstration

5:16 Analysis of Example 3

5:43 Example 3 – Slow

5:53 Example 4 – Using it in a II V I

6:11 Example 4 – Slow

6:36 Example 5

6:40 Flexibility in Practicing

7:04 Designing Exercises with Good Phrasing

7:18 Analysing Example 5

7:56 Exercise 3

8:38 Example 5 – Slow8:41 Like the video? Check out my Patreon Page

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Jazz Comping – Intervals is the (Beautiful) Simple solution

A great approach to Jazz Comping is to not only rely on chords but also use intervals as a way of conveying the harmony. Using intervals is an easier way to leave more space for the rest of the band, so it also works well if you play with a piano player.

In this video, I am going to go over some of the ways you can work with intervals and demonstrate how this works on the Jazz Standard All The Things You Are.

Finding intervals for Jazz Comping

If we first take a look at the first chord of All The Things: Fm7.

The note that we want to have in there is the 3rd and then add another note and check out the intervals we get, as shown here below:

Notice that I am not trying to find all options, just exploring and experimenting with what I think might work.

Voice-leading intervals

As an example, we can now look at how to voice-lead the different intervals on Fm7 to the next chord Bbm7. This could be done as shown in example 2.

In some of the examples I am adding extra movement between the two intervals. This is not too difficult when working with intervals so it is a good idea to already experiment with that option.

Counter melodies and polyphony

The final bars contain a few examples of several voices moving. In the last bar the voices are also moving in the opposite direction.

Playing the song with the intervals

When I comp like this I am not always staying completely clear with all chords, but I am trying to get an over all flow that makes sense on the song.

In this example I am keeping it simple by not having to many moving melodies and playing one or two intervals per chord.

Making an improvised Counterpoint as an exercise

You can turn the voice-leading part of this into a small counterpoint exercise that sounds like the one in the example below.

You can hear in the video how this example has a lot of moving voices, keeping one voice static while the other is moving around more.

Adding some rhythm and a little more Jazz Feel

Besides working on this with playing long notes and sustained sounds, you also need to work on using the intervals while adding some jazz rhythms.

An example of this is shown here below where there is also a focus on rhythm, not only moving voices, notes and extensions.

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Jimmy Raney – This Is A Great Way To Make Beautiful Lines

Jimmy Raney is one of those guitarists who can start something as a blues lick and then turn it into a II V I line in another key while playing a 3/4 pattern over a 4/4 meter.

It is always a good idea to have strong concepts to work with when you are soloing and in this video, I am going to look at one aspect of how Jimmy Raney improvises.

This may seem like an idea that is almost random, but the way he repeats phrases and melodies, sometimes within one line really makes his lines solos sound great, and analyzing
this and working on doing this in your own playing is not a waste of time.

Content

0:00 Intro

0:50 Lick #1 – Making Lines with Repetition and Odd-Note Grouping

0:57 Analysis

1:15 What I love about the later Jimmy Raney Albums

2:46 Lick #1 – Slow

2:53  Lick #2 – Stay Off The Beat on a Blues

3:02 Analysis – Shifting Motifs in a line

5:35  Lick #2 – Slow

5:46  Lick #3 – Chromatic Enclosures as a motif

5:54 Analysis

7:15 Across the Barline – delaying resolution

7:46  Lick #3 – Slow

8:25 Lick #4 – Sliding into the Blues (with Polyrhythms)

8:29 Analysis

9:56  Lick #4 – Slow

10:02 Lick #5 – from Blues to Altered Dominants

10:08 Analysis – Decoding a brilliant shifting idea

11:22  Lick #5 – Slow

11:32 Like the video? Check Out My Patreon Page!

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