Tag Archives: guitar

3 Easy Bebop Licks – How To Sound Like Jazz

What makes a phrase sound like Jazz? Even if you know the chords and can play the right notes there is more to get it to sound like Jazz. This video is going to give you 3 examples of Bebop licks which really use some of the core elements of the jazz sound. I also give you some exercises so that you can get them into your playing and add them to your own solos.

The techniques and the licks

The topic of this lesson is jazz and bebop sounds so it makes more sense to also work with a moving chord progression like the II V I. But at the same time the techniques and exercises will work just as well on static chords, and you can easily convert them.

#1 Lick using Arpeggios and how to use them

The first example here is using arpeggios on the different chords of the II V I.

On the Dm7 the arpeggio from the chord is played with a C# chromatic leading note. On the G7 the melody is created from the arpeggio from the 3rd of the chord: Bø. Here I am adding a scale note between the F and the A.

When you improvise with arpeggios the melodies are created by mixing arpeggios and the scale that fits the chord.

Arpeggio from the 3rd and the Exercise

Something that I have discussed earlier is the concept of using the arpeggio from the 3rd of the chord.

The concept is really simple. Let’s look at a Dm7: D F A C.

You were to build a chord from the 3rd(F) then you would have an Fmaj7: F A C E. Obviously these two chords share a lot of notes and the Fmaj will sound great on the Dm7.

Using that logic we have two arpeggios per chords, the one from the root and the one from the 3rd:

Dm7 – Fmaj7

G7 – Bø

Cmaj7- Em7

Practicing these two arpeggios through the progression could be like this:

#2 Lick using Chromatic Leading notes (and an alteration)

Another very characteristic part of Jazz is the use of chromaticism. Chromatic leading notes and Chromatic enclosures .

This lick is using chromatic leading notes. The two places where they are used are both to lead to a chord tone, so the G# resolving to the 5th of Dm7 and the A# leading up to the B on G7.

Notice how the A# is used to transition to the G7 and in that way really drive the progression and the lick forward.

Practicing leading notes

A great way to work on this is to play through the arpeggios and then add a leading note to each chord tone. This is shown in the example below.

#3 Lick using 8th note triplets

Jazz and especially bop-oriented jazz consists of a lot of 8th note lines. An amazing way to add variation to 8th note lines is to use some 8th note triplets, and especially when playing arpeggios.

8th note triplet arpeggios move quickly over almost an octave range and nicely break up the 8th note flow.

The lick below is using a Dm7 arpeggio played as a triplet and with a chromatic leading note before the root.

Similar to the first exercise this can be used on the arpeggio from the root and equally well on the arpeggio from the 3rd of the chord. This is what the exercise below shows:

Explore these concepts on a song!

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How To Learn a Jazz Standard – Important Exercises

Learning Jazz Standards is essential to learning jazz, in fact learning the repertoire is everything with any genre of music. There are of course many ways to go about this, but since it is important and you want to learn a lot of songs then it is also useful to do this in an efficient way.

The first time I started to learn a Jazz Standard it took me about two months, and there are better ways to do that how I did it. And that is what this video is about.

If you want to check out my other video on the 10 first Jazz Standards to learn, you can do so here: The First 10 Jazz Standards You Need To Know

If you want to check out some more videos on the topic of studying songs then check out this short playlist: Learning Jazz Standards

Content:

0:00 Intro

0:07 Learning Jazz is Learning Jazz Songs

0:28 Take a better approach than I did

0:44 A Method or a Checklist

1:10 #1 Pick A song

2:02 #2 Listen

2:29 Learning By Ear and using vocal recordings

2:54 #3 Analyze the Song

3:35 Join the FB Community

3:54 #4 Playing The Song

4:13 Play the music, not only exercises

4:31 #5  Pick a Position

5:12 #6 Learn The Melody By Heart

6:04 #7 Play The Chords

6:44 #8 Learn The Arpeggios

8:01 #9 Other Exercises

8:50 Like the Video? Check out My Patreon Page

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Altered Scale – The Most Important Things to Know

The Altered scale is a difficult scale to get into your playing. At the same time, altered dominants are also a cornerstone sound in Jazz, and you need to learn how to solo over them.

This video is presenting 15 different things you can use on an altered dominant so you will have a huge vocabulary of triads, arpeggios, and pentatonics that you can work with in your solos.

The point of the scale is to sound dissonant and ask for resolution, so you need to keep that in mind when you practice using it.

Pentatonic Scales, Triads, and Arpeggios

It is important to have a big vocabulary of material that you can use when you are improvising. Having a set of things you can use as a flexible part of your playing is going to give you a lot more freedom when you are playing.

0:00 Intro

0:41 #1 Fø

1:04 #2 Db7

1:29 #3 AbmMaj7

1:55 #4 B augmented

2:17 #5 Bbm Pentatonic

2:43 #6 Bmaj7#5

3:06 #7 Quartal #9

3:30 #8 Db, B aug triad pair

3:53 #9 Bmaj7(b5)

4:15 #10 Quartal from Bb and B

4:39 #11 Absus4

5:04 #12 Eb7#5

5:28 #13 Eb,Db triad pair

5:52 #14 Ebsus4

6:14 #15 Abm, Bbm

6:37 Like The Video? Check out My Patreon Page!

Other lessons on Altered Scale Ideas

Altered Scale – 3 Great Pentatonic Solutions (Easy And Powerful)

Triad pairs in the altered scale

3 Altered Scale Arpeggios that you forgot to learn!

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How To Add Bebop Embellishments To Your Licks

Bebop is famous for having solos of long 8th note lines and bebop licks are often a lot of notes. But an important part of what makes the lines really beautiful and breaks up the constant flow of 8th notes.

In this video, I am going to go over some great lines from Bebop Masters like Dexter Gordon, Clifford Brown and Sonny Stitt. The way they use embellishments and construct lines is a great resource for learning and enhancing your own playing.

Content:

0:00 Intro

0:00 Adding Variation to lines

0:50 Example #1 – Dexter Gordon – Confirmation

0:53 Triplet- Enclosures

2:10 Using Chromatic Triplet enclosures in Your own lines

2:30 Example Lick Using Gm7

2:37  Example Lick Using C7

2:43 16th Note Trills

3:24 Example Lick Using Gm7

3:32 Example #1 Slow

3:39 Example #2 – Clifford Brown

3:43 Joy Spring Solo

4:06 Melodic Enclosure (Peter Bernstein’s Favourite?)

4:37 Triplet Embellishment of an 8th-note line

5:15 Example #2 Slow

5:21 8th Note Triplets in Bebop

5:43 Example Charlie Parker – Using A Similar Idea

6:06 Example #3 Sonny Stitt

6:11 Sonny Stitt on Ornithology

6:40 16th note triplet Embellishment of an Arpeggio

7:03 Example Grant Green Using this rhythm

7:18 Stitt Altered Dominant line

7:50 Using this idea on other lines, like Wes

8:09 Example #3 Slow

8:14 Like The Video? Check out my Patreon Page

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3 Things You Want To Know In All Keys And Positions

When you play jazz you are improvising over chord progressions that move through different scales. And you need scale positions that you can connect and have an overview off in a way that makes it easy to improvise solos.

In this video, I am going to go over a basic way to practice and test your fretboard knowledge by taking progressions and use them to work on scale positions on the guitar neck. This will help you memorize the right information in the right context for when you want to improvise solos and will help you become freer when you play.

The 3 Levels

I am going to go over the exercises in 3 levels getting more and more difficult, but the exercises are essentially quite basic. This is about knowing essential chord progressions, scales, and arpeggios in a position and being able to improvise with them.

Working on this is not really something that belongs to every day practice for hours and hours, just go check this and find ways to work on this that also involve the repertoire you play.

2 Approaches

When you work on this type of exercise you can do this 2 ways: Staying in one position and going through all keys or choosing one key and going through all positions. Both are useful and you should try what works better for you.

Level 1 – 1 Position, Basic Scale and Chords

The idea is to work on knowing essential material for a position. If you improvise in G major, then the G major scale and the arpeggios for the basic cadence are essential to know. The same goes for the arpeggio from the 3rd of these chords.

For G major we have this scale position:

And the basic cadence is Am7 D7 Gmaj7.

These arpeggios are shown below:

And the arepggios from the 3rds of these chords would be

Am7: Cmaj7, D7: F#ø, Gmaj7 Bm7.

Once you know these arpeggios you should work on being able to make lines with them in this position on a II V I.

Two examples of this, one with the basic arps and one with the arpeggio from the 3rd are shown below:

Level 2 – Altered Dominant

A logical next step would be to alter the dominant, in this case D7.

Let’s first take a new position for G major:

And for the D7alt I am using an Ab7 and a Cø arpeggio.

Both are found in the D7 altered scale and contain the C and the F# really spelling out the D7 sound.

And the arpeggios from the 3rd (with Cø being the arpeggio from the 3rd of Ab7)

Improvising with these arpeggio sets could yield lines like these two:

Level 3 – Making it a complete Turnaround

The next thing to do is to add a secondary dominant for the II chord. This is one of the most common dominants to come across so it makes perfect sense to add this to the exercse.

First a new scale position:

For the E7alt I am doing the same thing as the D7alt which gives us a Bb7 and a Dø arpeggio.

And then the basic arpeggio positions:

The Arpeggio from the 3rd:

Get Your Changes Playing from Turnarounds to Giant Steps.

If you want to check out some more material on how to really nail changes and still play great lines then check out this lesson on using Target notes on Rhythm Changes:

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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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5 Common Mistakes When You Learn Jazz

Learning Jazz is difficult and you want to get it right the first time around so you don’t waste any time. When you learn Jazz Guitar then there are some things that you can keep in mind in terms of how you practice jazz, the type of music or jazz theory that you learn and also what you focus on with your jazz practice.

In this video, I am going to go over 5 mistakes that I see many students make and talk about how to approach learning jazz and practicing in a more efficient and useful way.

Content:

0:00 Intro – Be Efficient with your Practice

0:33 You can fix it by thinking differently

0:45 #1 Modes

1:00 Most Jazz Repertoire is Tonal, not modal

1:26 Breaking down Modal vs Tonal Analysis

2:04 Chords are in a context – use your ears

2:37 Play the movement

3:11 Dm7 G7 Cmaj7 vs Dbmaj7 E7 CmMaj7

4:06 Understanding and stripping down Chord Progressions

4:29 #2 Learn Songs

4:30 it’s not all exercises.

4:49 Just Listen to Scofield!

5:21 #3 Listen To Jazz

6:02 What Jazz Do You Like?

6:13 Jazz is not a Skill, it is a type of music….

6:58 #4 Learn Vocabulary

7:30 What is having Vocabulary?

7:48 How To Learn and Develop Vocabulary

8:15 #5 Practice the Right Techniques and Exercises

8:32 Arpeggios and how they appear in a Jazz Solo

9:31 Keep in mind that you need to improvise

9:54 Like The Video? Check out my Patreon Page!

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Sonny Rollins – Things You Need To Know About Jazz Blues

Sonny Rollins needs no introduction in Jazz. He is one of the most influential Tenor players that we have with an amazing and long career. In this Sonny Rollins lesson, I am taking a look at some of the great phrases from the Jazz Blues Tenor Madness. We can learn a lot from his very musical and natural approach to both blues and reharmonization in this solo.

When I was studying at the conservatory we referred to Tenor Madness as the dictionary, because it has so many important lines and chord changes that you want to know for your own Jazz Blues vocabulary.

Check out my analysis of John Coltrane’s solo on Take The Coltrane. The beginning of Modal playing: This Is Not Bebop, But It Is A Great Coltrane Solo

Content:

0:00 Intro – Sonny Rollins

0:25 Tenor Madness with John Coltrane

0:56 Example #1

1:14 Changing the Chords – Intuitive and Decision driven

2:10 Is it Chi-Chi changes?

2:44 Altered but not altered scale

3:19 A Motif across the Chords

4:24 Eaxmple #1 Slow

4:45 Reharmonizing Bars 5-9

5:07 Example #2

5:30 A Musical Reharmonization with two voices

6:50 Example #2 Slow

6:59 Example #3

7:09 Parallel Minor Chords (Like Parker and Coltrane)

8:04 Is that a Wrong note, Mr Rollins?

8:55 Example #3 slow

9:10 Blues phrases that are not Dominant chords

10:09 Example #4

10:14 Bb Triad + Chromaticism

11:44 Example #4 Slow

11:56 Examples #5 and #6

12:10 Using Bbmaj7 on the Blues

12:36 Examples #5 and #6 – Slow

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Triads – How To Make Them Jazz Chords

In this video, I am going to show you how you can use the triads that you already know as a great way to create some beautiful jazz chords. Starting with material that you already know to open up a vast amount of jazz voicings is a really efficient approach to becoming much freer and begin to create a jazz chord vocabulary, and it is also really great for fretboard knowledge.

It is really interesting to explore how great a tool the triads are as jazz voicings.
I am going to do this in three steps:

  • How To Find Triads You Can Use, in a Practical Way
  • Easily Turn This Into a lot of chords and ideas to play
  • Find Triads for more Complicated Chords with Extensions

Step 1 – Rootless Jazz Voicings for a II V I

If we take a II V I in C major with some very basic jazz chords then we have this:

If I remove the Bass note then I have

Turning Diatonic 7th chords into triad voicings

The same principle use on all the diatonic chords in C major would yield:

And without the root we have these triads that could work as the above chords:

Step 2 – More Triad voicings with inversions

Before looking at adding extensions and alterations to the chords, let’s have a look at how much we can already do with these simple triads.

We now can play a II V I with these rootless, triad-based, but if this F major triad is a good voicing for Dm7 (Example 3) then the inversions of it are as well.

If I do this for the II V I progression I have these 3 ways to play that:

And of course this is just on the middle string set. This works on other string sets as well

Step 3 – Adding Extensions and using other triad types

If you look at a G7b9 voicing spelled out x 10 9 10 9 x or G B F Ab then the top notes of this chord are B F Ab which is, in fact, an F dim triad.

If I inser these into the II V I’s from example 4 then I have:

In the same way a Dm11: 10 x 10 10 8 x or D C F G has the three notes C F G on top. That is a Csus4 triad.

This gives us these II V I examples

And finally we can add a 13th to the Cmaj7: which is the same as playing an Asus4/C which gives us:

If you want to check out more options on using upper-structure triads for Cmaj7, I also have this lesson: 6 Triads for a Cmaj7 Chord (well 10 actually..)

Mix it with Other Chord Types

Check out how Triads work well with other 3-note voicings in this lesson on the changes of Some Day My Prince Will Come.

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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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The First 10 Jazz Standards You Need To Know

I say it all the time: Learn Jazz – Make Music, and to do that you need to know some songs, so in this video, I am going to go over 10 jazz standards that you want in your repertoire and are great places to start learning jazz. This is In terms of playing changes and knowing all the chords and scale but also about the form that you want to know which is going to make it easier to learn more complicated standards.

When talking about the songs I will try to reference great versions of them, and also talk about whether this song may be a good place to start for you if you are looking for songs to learn.

If you already know a lot of songs and have some other suggestions for this list then let me know about that in the comments to this video. Sharing information like that is really useful for everybody checking it out! I’ll talk about the first standards I learned later in the video, none of those are on the list.

Get started learning some of these standards: Learn Easy Jazz Standards

For example Blue Bossa or Autumn Leaves

If you want to check out some of the important progressions that make up Jazz Standards then check out this video: Chord Progressions as Building Blocks

Want to learn how to analyze standards? Then see how I do that in this playlist of videos on Jazz Standards and music theory: How To Analyze Jazz Standards

Content:

0:00 Intro – Learn Jazz Make – Music!

0:24 10 Typical Standards and Forms

0:36 The Form Of Songs is Important!

0:56 Where are you coming from?

1:12 Something missing?

1:37 #1 Take The A train

2:04 AABA forms

2:52 #2 Cantaloupe Island – Modal Jazz

4:03 #3 Blues

5:28 #4 Satin Doll

6:12 The Ellington Bridge

6:23 #5 Blue Bossa

6:54 #6 Autumn Leaves

7:25 #7 Perdido – Rhythm Changes Bridge

8:02 No Rhythm Changes?

8:15 The First 3 Standards I learned

8:57 #8 Summertime – Four On Six

9:27 How To Use the list

10:00 Did I leave out a Song?

10:05 #9 Solar – Not by Miles Davis

11:23 #10 All Of Me – ABAC Form

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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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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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