Tag Archives: how to learn jazz guitar

5 Jazz Guitar Tips That Will Save You Years Of Practice

In this video, I will go over 5 things that were game-changing for how I learned Jazz so that you can use those as well.

When you are in the process of learning something, like playing Jazz, then there is a part that is just hard work for a long time, and then there are moments that really change the way you think about something and help you progress a lot faster by practicing in the right way.

#1 Think Ahead

When I started playing Jazz, I spent months practicing before I finally could play a solo on 2 Jazz Standards. I chose to start with Stella By Starlight and There Is No Greater Love, and both of those are pretty horrible choices for a beginner with way too many chords and complicated progressions, but luckily I was pretty stubborn so I just kept going until I could make my way through the song.

This was years before mobile phones when Grunge was still hip, so there are no videos, you will have to settle for a dramatic re-enactment

At this point in time, I was barely able to improvise over the chords, and I had to work hard to find something to play on each of the chords which is what I focused on, and that had a very bad effect on how the solos sounded.

Phrases didn’t really connect or have a longer story to it.

This actually remained a problem for quite a long time. I did not find a way to fix it until more than a year later when I was taught to play changes so that you were thinking of where you need to go, what target note to play towards. This way of thinking made the solos have a much more natural flow and made the melodies a lot stronger.

And that is something that is very important with most things in music: Think Ahead, make sure you are ahead of what you are playing. So play towards target notes, see the voice-leading taking you to the next chord, or learn to read ahead if you are sight-reading.

It will make your life easier and make you sound better, especially in terms of soloing if you combine it with the next tip.

I have a video on how I apply this to playing chord changes that you can check out here:

#2 Arpeggios and Scales – The Right Way

While I was studying in Copenhagen and playing Jazz Standards in the streets, I also had the luck to go to a week-long Barry Harris workshop in The Hague, and one of the things that I took away from that is also a cornerstone in how I teach and one thing that is really overlooked in learning Jazz on the guitar.

Usually, when we think about arpeggios, these position boxes show all the notes of a m7 arpeggio in a given position. This way of learning them is good for being able to see the notes on the fretboard, but it almost completely fails at helping you learn how to incorporate them into your playing, and there is a much better way to practice them.

The exercise that Barry told me to practice, was to play all the arpeggios in the scale, not as separate boxes that don’t naturally connect to the rest of what you use when you play.

Most of the time, the chords will change, but the scale stays the same and when you make lines, you are not only using arpeggios all the time, so having the arpeggio placed in the context of the scale will make a lot more sense.

Working on this exercise also gives you something that is much closer to the way arpeggios are used typically used in Bop-inspired lines, which is not often using several octaves of one arpeggio, but mostly just one-octave melodies in the middle of a line.

My most viewed video on the channel digs into this and how you use it to make some great bebop-inspired lines, and last tip in this video is probably the advice that I give the most as an answer online.

You can check out the video on practicing arpeggios and making lines here:

#3 Keep it Simple

— Play a solo then stop and start talking?

It is actually pretty simple, and you don’t want to make it too complicated. In a way, I was lucky that I could read sheet music because of my classical lessons, because it helped me figure out some things from reading transcriptions that I would have had a much harder time learning by ear.

One of the things that really fascinated me when I first started to listen to Charlie Parker was how the solo would sound different from moment to moment. This was very different from what I was used to with most of the blues and rock solos that I was listening to where most of the time everything stayed in one scale across the chords not really playing melodies that were following the changes that closely.

That sounds complicated, but if you check out jazz solos then most of the time the way the phrases follow the changes is actually pretty simple. It is just about hitting the chord tones on the important notes of the melody and usually also somehow connected to the heavy beats, give or take a suspension or rhythmic variation.

In the beginning, playing simple and clear solos will help you really get that connection. And that may seem different from how you think about “complicated Jazz” with extensions, alterations, and upper-structure triads, but you want to hit those 3rds and 5ths and get that to make sense so that you later can choose to be vague and clear and use that in your solos.

So keep it simple and make sure you can hear the chords in your solo.

#4 Jazz Chords Done The Wrong Way

The people I checked out before getting into Jazz probably offered me a shortcut when it came to this. When you first start out learning chords on the guitar then everything is based on grips which is a practical and visual way to learn chords, but when it comes to playing Jazz harmony then that approach is not that useful. In Jazz, connecting the chords across the bar line with both melody and voice-leading is much more important. And you will realize that the chord voicings are something that you can change and mess around with. Something you can use creatively and get to fit together, turning them into beautiful music. This will open up your comping and your fretboard to a sea of possibilities and not just a few grips.

Before I got into Jazz I was checking out a lot of Hendrix and Stevie Ray Vaughan and both of these have more of an open way to work with chords which include improvising with them and not playing the same voicings all the time, and in that respect, I already thought of chords as something you could change and move around which in hindsight made the transition to Jazz comping a lot easier since that works exactly the same.

The last tip is probably the advice I give the most as an answer online and also the most effective way to learn Jazz.

What Was A Shortcut That Helped You?

Maybe you have another tip that really changed things for your playing or you don’t agree with any of this? then let me know about that in the comments

#5 The Thing That Ties It All Together

At the beginning of the video, I talked about how I spent a long time learning two songs that were actually a bit too difficult and that in hindsight being stubborn and powering through to get those two songs down, even if it sounded pretty badly was very useful. The same can certainly be said for building a repertoire while playing in the streets of Copenhagen. One thing that I see very often, especially now that there is so more jazz educational material available, is that it stays too superficial, you practice some licks and exercises but it does not become a part of your playing and maybe you don’t even really focus on learning songs. That is a huge mistake.

Think of it like this:

if you only learn a few new things but make sure to be able to use them on all the songs you know then you will sound better and play great solos on all those songs, which is pretty much everything you can play.

If you learn something that you can’t put to use on any songs then what are you really spending time on?

For me, learning those two songs and later spending a lot of time playing songs in the streets of Copenhagen was a huge help in getting to use everything and in that way really getting better, so that first song is worth really pushing through. Of course, if you want some help in getting through that then you can check out the Jazz Guitar Roadmap which is about exactly that process of really getting a song down.

Check out the Jazz Guitar Roadmap

Bonus Tip: A Bit Of Healthy Realism

With all the exercises that you are told to do and ways of learning very specific things then it can mean that you get a little detached from the actual music.

Just like playing songs is the way to learn to use what you practice then often it is a very good idea to also find the things to start practicing in the music that already exists.

And of course, the way you do that is by transcribing solos, that way you get insight into what arpeggios go where, how they sound and how to use them.

This also helps you not going down strange rabbit holes like using all the diatonic arpeggio on each chord and other strange time-consuming unrealistic goals that I have seen people waste time on.

Check out the post on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/5-jazz-guitar-of-52831887

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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 Reharmonization – How To Make Great Variations of a II V I

There are some really beautiful variations and reharmonizations of a basic II V I progression that you can check out and start adding to your own repertoire. You don’t always want to play the chords exactly as written, especially if you are trying to make a chord melody arrangement or an intro sound better.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/jazz-how-to-make-45761083

Content:

00:00 Intro

00:33 The Basic II V I

00:45 #1 Walking up

01:46 #2 Walking down

02:13 #3 Wandering to minor

02:58 #4 Strolling back from minor

03:46 #5 Coltrane’s Detour

04:27 #6 The Walk Down to Another Key

05:11 #7 The “Wrong Chromatic” approach II V

05:59 Make your chord progressions more interesting

06:13 Like the video? Check out my Patreon page!

 

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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. 

Triplets Can Make Your Jazz Solo Sound Amazing

You are always working on playing better solos, making your lines more interesting and finding the right arpeggios or scales. But Jazz is also about rhythm, and it is actually more important to work on playing more interesting rhythms in your solos. Using triplets is a great way to improve your vocabulary and not sounding like an 8th note robot with no dynamics or expression.

In this video, I am going to show you 4 ways that you can easily add 8th note triplets to your jazz lines and make them sound a lot more interesting.

Chromatic Triplets

Let’s get to it. The first place to use triplets is pretty easy to play because you can put it on one string most of the time. When you check out these examples you will also hear that these are really a core part of the Bebop Language

Chromatic enclosures add tension or dissonance that is then resolved quickly, and the combination of this with 8th note triplets is a very nice way to add some energy and momentum to a line. Here I am first using it on the Dm7 with one triplet and two 8th notes to target the F on beat 3. You can find this with Joe Pass and Charlie Parker (Pictures?)

A shorter variation is used on the Cmaj7.

This double triplet chromatic melody is one you will find often with Charlie Parker in his solos on Anthropology or Now’s the time. (Pictures?)

To practice phrases like this you could see the phrase as being a way to connect a minor 3rd with half steps, E to G.

You can then also make one for a major 3rd that starts with a whole step not a half step.

This way you can play the pattern through an Fmaj7 arpeggio like this:

The next thing to check out is how you can create some great sounding arpeggio lines with triplets

Bebop Arpeggios

Playing the Gm7 arpeggio as a triplet with a leading note is something you will find pretty much everywhere, and certainly, something that should be a part of your playing.

You could see the triplet as a way of giving emphasis to the top note, consider that a target note of the arpeggio.

Another way to use the triplets with arpeggios is what you will hear in this Wes Montgomery inspired line again the point is to target the first note after the triplet:

In this example, I also use Honeysuckle rose arpeggio played as a triplet on the Fmaj7.

The best way to practice the arpeggios like this and get them into your playing is to take them through the scale in an exercise like this:

Next I am going to show you a way to transform “normal” 8th note phrases to phrases with triplets

Triplet Transformations as 8th note variations

Here you could play this as “normal” 8th notes like this:

But you can easily hear how the first version is more exciting, and really this is just about mapping 4 8th notes on to a the rhythm with triplets

ILLUSTRATION

Another variation of this principle could be this:

Here the rhythm is this (ILLUSTRATION) and you could make other variations yourself.

Let’s look at how to use triplets for polyrhythms

Groupings and Polyrhythm

Usually, we feel triplets as groups of 3 notes like this:

EXPLAINER OVERLAY

But triplets can also be seen as the bar split into 12 notes and you can group them into 3 groups of 4 notes which sounds like this:

And this shifts on top of the quarter note pulse in a very nice way that you can also use in a solo like this:

Here you have 4-note groupings on the G7alt

Another way to use this on an entire II V I, but then playing a slightly less obvious rhythm would be this:

Here I am using a rhythm which is 3 notes and the last is a quarter note triplet.

Practicing Playing These Rhythms

When it comes to these triplet rhythms both the transformations and the polyrhythms then it can be really useful to work on playing these by working on soloing on Afro Cuban 12/8 grooves which are based on the triplets and will help you get comfortable playing them.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/triplets-can-44042233

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

The Most Effective Way To Improve Your Jazz Solos

A title like this is of course extreme, but I do really think that this way of working and improving your jazz solo is both underused and misunderstood, and that is a pity because it is very effective and in fact, it is also a part of The Jazz education tradition.

If you can practice in a way that makes you learn faster and sound better then what do you have to lose?

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/most-effective-43667025

Content: 

00:00 Intro

00:22 How To Really Learn A Lick

02:31 Composing Is About The Process!

04:32 Cornerstone of Barry Harris’ method

06:16 Hearing Strong Melodies

07:24 Analyze Licks with Your Ears

08:44 This Is Why You Should Study Bebop

09:03 Like the video? Check out my Patreon page!

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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 Chords – Using Triads in Jazz Comping – Study Guide

You can use triads to play jazz chords, and it is a very powerful tool for this. Triads are very flexible and easy to play while also sounding great as chords. In this playlist, I will go over how you can use the triads you already know to play great sounding jazz progressions using only easy 3-note jazz chords.

We can play a wide range of chords with these 3-note easy jazz chords and they are very easy to add notes to or change notes to give us the extensions or alterations we want.

You can check out the videos here or go through the playlist on YouTube through this link:

Jazz Chords – Using Triads in Jazz Comping – Study Guide

Working with Triads as Jazz Chords and making it a flexible tool

This video discusses how you can work with triads and inversions when comping, showing you how to voice-lead them, use inversions, and add extensions and alterations.

Finding Triads for 7th chords

This video is actually about soloing, but the first few minutes provide a very thorough method for relating triads to a 7th chord.

Playing a Jazz Standard using Triad voicings

In this lesson, I am going to show you how you can get started with some triad voicings. Starting with what you already know and then go over 5 levels, step-by-step, of how you can play some great sounding comping ideas using these amazing voicings.

Applying Triad voicings to a Jazz Blues

This lesson is going over how you find triad voicings for a C jazz blues. You will also learn what you can do with the voicings you find using melodies and inversions.

 

Other great 3-note Jazz Voicings to Add To Your Vocabulary

When you think about Jazz Chords then you are probably thinking about rich chords with a lot of beautiful extensions. Of course, the rich colors of Jazz are about having chords that are embellished like this. At the same time when you are playing Jazz and when you are comping then you also want to have flexible chords so that you can move from one to the next, create small melodies and 3-note chords are fantastic for this.

 

Using less common Triad choices on a Maj7 chord

This video is going over 6 triads that I use for my Cmaj7 voicings and will also demonstrate how you can use them in a II V I cadence in C major. At the end of the video, I go over 4 more triads that are a bit tricky to use but also yield more interesting sounds!

Let me know what you think!

These videos give you a path to work on using triads and becoming very flexible with them, is there something you are missing or maybe something else you would like to see?

Leave a comment on the post!

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:

Sign up for my newsletter – Get the II V I Ebook

 

 

A Great New Sound In Your Jazz Solo

Arpeggios and scales are often reduced to the notes they contain against a chord, but by doing that you throw away other information that is more important for the sound of your jazz solo, and this is something you want to be aware of and not miss.

It is a way to get so much more out of scales and even pentatonic scales that you already know because you can use them in a different way.

What is the difference?

If you listen to how quartal arpeggios sound on a II V I: 

Compared to a more traditional bop line:

Of course, you can mix the two as well, but I think this makes the difference quite clear.

There are a few ways to approach this, and I am going to go over both diatonic and pentatonic options using the II V I in G major: Am7 D7alt Gmaj7

The Scale and a Diatonic Arpeggio exercise

For the Am7 and Gmaj7, you can use the G major scale, and it is fairly easy to play a G major scale in diatonic quartal arpeggios:

The construction of a diatonic quartal arpeggio is really simple:

G A B C D E F# G A B C D

if you want to find the quartal arpeggio on B you just stack 4th intervals: B E A:

 

or for C: C F# B, but notice here that you get an augmented 4th between C and F#:

Using this on the Am7 chord

It is easy to make some lines using these arpeggios on Am7, especially if you avoid using the ones with the F# in there (for now anyway)

That gives us these:

Example using Quartal Arpeggios on Am7

Here I am using two quartal arpeggios on Am7, the one from B and the one from A. I actually continue with quartals on the D7 altered, but I am going to cover those a little later.  First, let’s try to come at this from a pentatonic scale instead of a major scale.

Am pentatonic scale and an important exercise

You all know the Am pentatonic scale:

And if you play this exercise in that scale:

A lot of these are quartal arpeggios (high light and explain) also the C and Am triads

Example using the Pentatonic scale

You can use this as a way to get to this sound in a lick like this

Quartal Arpeggios on an Altered Dominant

Now let’s look at how you can also use quartal harmony on an altered dominant:

Here I am using quartal harmony on all 3 chords and it is constructed so that I am moving two quartal arpeggios on each chord as a motif.

You can practice the quartal arpeggios in the Eb melodic minor

See this in use on a song:

Lady Bird – Arpeggios & Pentatonic Scales

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro Files here:

https://www.patreon.com/posts/great-new-sound-38490214

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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 release

How To Make It Sound Like Jazz – Great Embellishments

In this lesson, I am going to show you some techniques and ways to play simple phrases that make them sound more like Jazz. There are some very common phrasing techniques in Jazz Guitar that are a huge part of the sound, and you can quite easily start adding them to your playing if you want to work on your Jazz phrasing.

I am going to go over how you might play them and also give you some good examples of how they can be added to a line.

In the lesson, I will show you how to get better sounding lines by adding them to a basic Cmaj7 arpeggio, and while I was preparing this video I was actually quite surprised about how they really give you a lot of sounds, especially some of the longer embellishments at the end of the video.

Slides (and the triplet trick)

The basic Cmaj7 arpeggio can be played as is shown below.

I am also going to play it with a leading note and then making it a triplet which is also a very bebop thing to do, which is shown in the following bar.

Adding a Slide to the top-note

One of the easiest ways to get this slightly boring arpeggio to have a little more life is to use slides, so you can slide into the top note, which serves as a sort of target for the arpeggio when you use the triplet.

Notice how I play the notes at the end of the phrases short most of the time, that is also a way to connect with the groove and make the lick sound better.

This is a big part of Wes Montgomery’s phrasing vocabulary like this from his solo on Unit 7. which is a Gm(11) arpeggio over a C7 chord

Delaying the target note

Chromatic passing notes are great for getting things to sound like Jazz, and this is a quite simple way to make that work on the Cmaj7 arpeggio. As I said before, the “target note” of the arpeggio is the B, and delaying this works really well:

Sometimes you will get told that chromatic leading notes have to be on the offbeat and resolve back on the beat. As you can hear in this example that is not true, but don’t take my word for it, ask Charlie Parker:

Above you can see how Parker uses a leading note on the beat. In bar 2, beat 4 and in bar 6, beat 3 and 4.

Turns

The names for embellishments like this are a little open, so sometimes what I am calling turns here are also called trills and slurs. It’s like chord symbols, just try to figure out what is meant and don’t worry about it.

For this video, a turn is more or less a short faster phrase with notes close to a target note. The examples will make it easier to understand what I mean.

There are a few ways you can add turns to this arpeggio.

Turn #1 – 16th note pull-off

The first variation is shown here below:

The easiest way to work on this is probably to play the scale with the turn on one string like this:

Turn #2 – 16th triplet – Mid Phrase

The 16th note triplet is also a good way to get into this. It should be executed with a quick hammer-on/pull-off and is a very common and very effective way to break things up.

Turn #3 – 16th triplet – Begin Phrase

Another way you can use this embellishment is at the beginning of a phrase.

That is what I am doing in the example below, think of it as a way of sending off the arpeggio. The line continues with a slide to the high B.

Joe Pass using “Double Turns”

To give you an example of how this is used by jazz artists, here is a lick from Joe Pass on a II V I in D major.

Pass uses the turns in the 2nd half of the A7 bar, and the last turn is used to introduce a b13 and create a little tension before resolving to Dmaj7.

Take It To a Song and Into Your Playing!

Take The A Train – Bebop Embellishments

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro Files here:

https://www.patreon.com/posts/how-to-make-it-38287760

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:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

The Most Important Solo Tools For A Maj7 Chord

Sometimes it is hard to come up with something that inspires you when you are improvising a jazz solo. There are a lot of things you can use if you want to improvise over a maj7 chord, and in this video, I am going to give you some of my favourites terms of arpeggios, triads, pentatonics and a few special tricks as well.

You should have a lot of things to start working with at the end of this video, and most of it is really just a new way to use the things you already know.

Focus on how it sounds because I think that is how you are going to be inspired by it, and I will also give you some other tips on getting new ideas that are not only about what notes to play.

Cmaj7 – You can always get more out of this!

The basic material in this video is this chord, the C major scale.

And the one Cmaj7 octave arpeggio

Chromaticism – Pure Bebop

A great way to tap into Jazz as a sound and getting this type of melodies into your playing is to use chromaticism.

The example below has two short lines using different chromatic enclosures and a melody build around a Cmaj7 chord. You can check out more information on different types of chromatic enclosures here: 5 chromatic enclosures

There are more examples in this lesson: 10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

Be creative! Don’t just run up and down arpeggios

Very often when I listen to a great line and check out what it is and how to use it. Often I find that the melody is actually a basic arpeggio melody. Below are some examples of lines like this that I have come across.

You can use a variation of the Rosenwinkel melody like this:

You can also experiment with inventing melodies playing patterns with a one octave arpeggio. Try to mess around and see if you find something that sounds like an interesting melody.

Em7 – Don’t Box yourself in, you are missing out

The Em7 arpeggio is the diatonic arpeggio from the 3rd of Cmaj7.

If you look at the notes of Cmaj7: C E G B – and look at the notes of Em7: E G B D you can see that they share most of the notes and the Em7 adds a D, the 9th of C. That makes it a great arpeggio to use on a Cmaj7.

In fact the arpeggio found on the 3rd of the chord works great for most chords.

Sometimes you miss great melodies because the focus is on learning in a position, in a scale or in some other shape. This example using an Em7 arpeggio is branching out of the regular patterns and making specific melodies a lot easier to play.

Gsus4 – Not Obivous and Very Cool

The thing with the sus triads is that they sound a little less obvious and that is why they are great to use once in a while. In this first example I am using the Gsus4 triad to make a 5-note group that I can repeat before continuing, another way to change things up in a solo: odd-note groupings.

Another way to play the notes of the Gsus4 triad is this beautiful C quintal arpeggio that is the perfect way to add some larger intervals to your lines. In this case, I am combining it with a sus4 triad which is another great tool on a Cmaj7.

The Esus4 triad is really useful (leave this clip out?)

Esus4 – Complete Chord And some Color!

The Esus4 is really the complete chord, it has an E and a B so the 3rd and 7th of Cmaj7 and also the 13th: A adding some color. Here I am using it as a 3-note grouping and again taking advantage of sus4 triads being less obvious so that it is easier to repeat them in a melody without it getting boring.

Em pentatonic – Quartal Cmaj7 licks

The Pentatonic scale is very closely related to the sound of quartal harmony, and since it is a scale that we guitarists are usually very familiar with then it is a great place to find some interesting lines.

Practicing the pentatonic scale in the way shown below can help you explore melodies similar to what I use in the example.

Triad Pairs

This triad pair works fantastic for Cmaj7, besides that they are also what I used to make the most annoying picking exercise I ever cam up with…. (B-roll) and the way I usually improvise with triad pairs is by chaining together inversions to get different colors on top of the chords. This has a sound that is different from other types of melodies and still produces very strong melodies.

Putting these concepts in a song

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.

How To Make Jazz Licks From Easy Chord Shapes

When you use the chord shapes you play to make solo lines you can access a lot of very useful material. The Link also helps your solos in other ways because it makes it easier to use the chords to tie together several phrases.

In this lesson, I am going to go over this approach with some easy chord shapes and show you how you can apply this to a song and also how you can put it to use on complicated progressions like Giant Steps.

Setting up this Jazz Solo Lesson

To show you how easy this is I am going to take the first 8 bars of Take The A-train, make some easy voicings and use them to make some lines. (here we go)

Finding Voicings for a Solo

A simple way to play the chords of Take The A-train with basic jazz chords could be:

To make them more useful for solos then it makes sense to take away the root and turn them into more compact 3-note voicings:

Examples making lines on a Cmaj7

Now you have some chord voicings and you can start working on turning them into solo lines. The concept is really simple, the melody is using the notes of the chord and adding notes around it from the scale.

These two examples are just basic ways to turn the rootless Cmaj7 voicing into a line by using the voicing and some of the notes around the voicing.

Another example could be this one:

Notice how the lines are different from what you normally will end up with if you use scales and arpeggios.

Playing a Solo based on the Chords

Turning this into a complete solo is really just following the same principle

First, let’s have a look at how the lick is constructed and then I can show you how that works in connecting the lines.

Voice-leading Jazz Licks

The big advantage is that now you have a melody based around the 3-note chord and for the next chord you can use the same lick and just move it to that voicing. In that way you are voice-leading the entire thing. This is exactly what I do in example 3 on the Cmaj7-D7 chords.

Voicings as more interesting melodies

If you use this technique on a II V I with common voicings like the ones shown below, then you can get some really great fresh sounding melodies.

The melody is really just arpeggiating the Dm7 shape, but because the voicing has the 9th(E) in there then we get a nice maj7 interval in the melody.

If you think about this then it is as much a question of learning songs to improvise on and then use the chords as a way of getting some solo material as well

A Practical approach to turnarounds

A basic way to play a turnaround in C could be using the chords shown below.

This is easily turned into a lick, just playing the chord shapes and adding an occasional extra note here and there:

A Solid Strategy for Giant Steps

This is also a refreshing way to approach Giant Steps where you can get some new melodies using shapes that you already have in your fingers.

Using these shapes to play a lick could give you something like this:

With Giant Steps I think it really works well to also add melodies that are not only 8th notes, something that we play too often on changes like that.

Learning Songs to Solo on

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:

https://jenslarsen.nl/sign-up-for-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.

Why Half Diminished Chords Are Amazing And How To Use Them

For many beginners, the half diminished chord or m7b5 chord is a weird mysterious chord, but it is actually a very flexible chord to have in your vocabulary

In this video, I am going to talk about how to construct and play them and then go through how you can use them in a song, not only as half-diminished chords but also as a lot of other chord sounds.

Content:

0:00 Intro

0:57 #1 Basics: Half diminished Chord construction and Voicings

2:08 #2 Basic use in a minor II V I

3:35 Two things!

4:33 #3 Dominant

6:56 #4 Altered Dominant

9:22 #5 Lydian Chords

11:13 Like the video? Check out my Patreon page.

Getting Comping and Chord voicings into your playing!

Comping – Putting It All Together

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

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

Jazz Guitar Insiders Facebook Group

Join 1500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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, or Facebook to keep up to date with new lessons, concerts, and releases.