Tag Archives: how to play guitar

This Is A Better Strategy For Jazz Guitar

Most jazz guitar lessons will tell you that you need to know your scales all over the neck, you need to know all the arpeggios and all the chords, understand all the theory. But what nobody seems to talk about is what order you should learn this in, and does learning jazz guitar mean that you first have to learn 3-5 scales in 7 positions with 7 diatonic arpeggios each?

Content:

0:00 Intro – Can you play Jazz without 2 years of scale practice?

0:34 How Most of us get into Jazz (me included)

1:16 Wes Montgomery Practicing Scales

1:36 Jazz is not a skill

1:56 Where does it go Wrong?

3:32 What Are You missing?

4:14 How To Fix It

4:46 A more simple approach

5:32 How It Works on a Song

5:58 Quick Analysis of the Chord Progression

7:07 The Scales we need

8:02 Making it a short compact amount of material to practice in 5-10 minutes,

8:45 Like the video? Check out my Patreon page.

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Jazz Phrasing Techniques – How To Get A Better Jazz Flow

Jazz is a musical language, we talk about learning vocabulary and learning phrasing all the time. But I do see a lot of students only
practicing what notes to play and really missing out on how to learn to phrase so it sounds like jazz.

So let’s say that you can make a line like this one:

It sounds good, but it sounds a lot better if you play it like this:

That’s what I want to talk about in this lesson!

Listen for the phrasing and the techniques used

First I am going to give you some examples of the different techniques you can use and then I am going to go over how you can start using it in your own playing for arpeggios, jazz blues and making scale runs much more interesting.

In a way this is a video on legato technique, but it is really more about how you use it make better lines.

How does it make it sound better?

In the example below I am using a slide to move from the chromatic leading note to the root. This brings out the more interesting chromatic note that “doesn’t fit” and it makes the resolution more subtle.

At the end of the 1st bar you can see a 3 note grouping starting on G. The pull-off gives the G an accent which sits well in the groove. The next phrase is the same phrase that is move down a half step and executed in the same way. This shifts the 3-note group but also ties together the line across the two chords.

The trill on beat 3 of the 2nd bar is also a way to add movement in the 8th note line.

More rhythm, more phrasing!

The example here below uses some of the same techniques but is a lot less dense.

The G# leading note is sliding up to the A, again using the concept of bringing out the “interesting” chromatic note and not the resolution. This is also what happens at the end of the line going to G.

The pull-off in the triplet is here more functioning as a way to make the melody more playable.

How do you get this into your own playing

For you to start working with this type of phrasing and techniques you should start looking at the lines you make and spot how you can add to the phrasing.

Example 4a here below is a really basic Gm7:

This can be embellished with a leading note as shown in 4b which makes it sound a lot better:

Adding Dynamics to spice it up

Legato is a great way to add some dynamics and make a lick less monotonous.

Try playing this line:

Instead of playing this by picking each note and make it pretty even you can add a lot of life to it and get it to sound a lot better:

A key ingredient of Jazz Blues

Using grace notes and slides are really what makes Blues work in Jazz lines. Try to listen to these two ways of playing the same melody, first with and then with out the embellishing phrasing:

And without:

Leading notes to arpeggios

A great and easy way to add some interesting phrasing is to use leading notes. This works especially well with arpeggios as shown in the example below, where I am adding an F# in front of the Gm7 arpeggio.

Keep it practical

If you want to practice this then you could explore exercises like this one. Notice how I am using slides in some places and hammer-ons in others. It really just depends on what is easier to use in each case.

Making your scale runs more fun to play

Scale runs can quickly become boring. In this section you have two licks with scale runs and I will shouw you how to make add some more movement with simple embellishments.

Example 7 has a scale run in the 1st half of the bar. This is turned into a triplet rhythm with a slide and hammer on/pull-off. What really helps here is also that the direction now changes within the run so it is less predictable.

Example 8a and 8b use a similar approach for the first part of the bar. Here the scale run also introduces a larger interval from D up to the G on beat 3.

Build your own phrasing!

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Amazing Little Solo Exercise That You Don’t Want To Miss

Working with limitations can be a really good way to help you explore and dig deep into how you solo over a chord progression.
This exercise that I am going to show you works great as a few different levels of practicing and will help you develop:

  • Fretboard overview
  • Making it impossible to rely on habits
  • Creativity with Rhythm and Melody

I am going to apply this to the song Ladybird in the video, but I actually also used to practice this with a single pentatonic scale, and you can also change the way you approach it so that it fits you.

Start with a song you know, but you can also use it to open up songs you are studying and really work on connecting the harmony and moving freely through the chords.

A Pretty Simple The Exercise

I am going to stick to one position and use 3 strings to really explore:

  • How the changes connect
  • What Melodies I can make
  • How to make music with a limited amount of notes

It is a limitation but it is also in a way really making it a lot easier because I don’t have to think about a million possibilities and scale…

Ladybird and Some arpeggios

If you look at the Chord Progressions of Ladybird you can see that essentially it is in C major:

The Basic Scale position and reduction

Since the song is in C major then the basic scale position could be:

And I am going to reduce that to these 3 strings:

The Arpeggios and REALLY knowing the Harmony

The first part of the exercise is to take this small area of the neck and find all the arpeggios. This is because I want to improvise in this area just using the arpeggios, which is a great way to REALLY solidify your fretboard knowledge and know the harmony of the song.

The way I found these arpeggios is using my fretboard knowledge, so the way that I see the notes on the neck and how I organize using the Arpeggio fingerings that I am familiar with. It is very important that you use your own version of this, you could play through mine and see what you think, but it is more important that you use your own choices, that is the information you want to get better at using and my arpeggio fingerings may not help you with that.

Cmaj7

Fm7

Bb7

Cmaj7

Bbm7

Eb7

Abmaj7

Am7

D7

Dm7

G7

Cmaj7

Eb7

Abmaj7

Db7

If you want to download a PDF of my Arpeggios then there is a from further down in the article.

Getting Started

The first exercise is to use the arpeggios above and then solo on the song.

If this is completely new to you then it can be good to run through the song in rubato and get used to making melodies within these limitations.

I play two different solos with this in the video, one with and one without a backing track.

What You Want To Improve

What you want to focus on when playing like this:

  • Freedom when improvising, try new things
  • Using your overview of the fretboard
  • Find NEW melodies

The Next Step – Adding the context

The next thing you can start working with is to take the overview you have of the arpeggios and the harmony and then add in the rest of the material you usually use, so scale, chromaticism etc.

I have a solo demonstrating that in the video as well. Again you want to focus on how free you are and finding new things to play. Really digging in and getting everything out of the few notes you have available.

Putting this to use on other Jazz Standards

It is important to work through the harmony of standards and really get the scales and arpeggios under control just like you need to know the melody and the chords by heart.

This collection of lessons will help you build that foundation for 5 songs:

Getting more arpeggios and scale positions

If you want to expand your knowledge of arpeggios and scales you can also check out the PDF chart section of my website:

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5 Things That Will Boost Your Jazz Guitar Playing

When I look back at when I learned how to play jazz guitar then there are some things that I did which in hindsight clearly helped me get further and took me up sometimes several levels.

Most of these habits I didn’t think about in a strategic way, but I think that if you are trying to learn Jazz then these 5 tips are important for you to consider and will help you learn more and learn faster, which in the end also often means having more fun doing so.

Check out how to Practice Jazz Guitar

This is a Good 10-minute Practice Routine

30 min Jazz Practice Routine How To Find The Perfect Balance

Content

0:00 Intro

0:34 #1 Be Consistent

2:32 #2 Focus on Playing Music 

2:50 Achievable goals and using what you practice

3:14 Difference between learning an Arpeggio and Using it in music

4:08 #3 Play with Others

4:23 Responsibility and using what you practice

5:34 It is also about motivation

6:29 #4 Learn by Ear

6:59 What You Learn

7:29 A song I learned from Vic Juris

7:59 How to learn a song by ear

8:27 Learn Jazz Solos by Ear – What You Learn

9:03 A great alternative to start with

9:35 #5 Be Creative and Decide How It Should Sound

9:54 How do YOU want to sound?

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3 Ways To Play More Interesting Rhythms In Your Solos

Learning to play solos where the rhythm really sounds like Jazz is difficult and it is probably the most important part of Jazz. Jazz Rhythm is a language that you need to develop.

What you want to focus on is practicing things that help you hear phrases that have those rhythms in them. They have to be in your ear and in your system if you want them to come out into your playing.

Content:

0:00 Intro – Jazz Rhythm – Hearing Phrases with great rhythms

0:30 #1 Themes and Melodies

0:45 Internalizing melodies = internalizing rhythms

1:34 Using Theme Rhythms in Solos – Tenor Madness

2:04 The other elusive skill for Jazz Playing

2:18 Rhythmical Target Notes

2:33 The Different Kinds of Target Notes

2:53 Example: 4& as Rhythmical Target on a Turnaround

3:40 #3 Rhythmical Displacement

4:13 Example Motif from Bernie’s Tune

5:20 More than just the notes

5:40 Like the video? Check out my Patreon Page

The Magic Chord – 10 ways to Use this Amazing Jazz Chord

The Magic Chord is a great name for this Maj7(b5) voicing. This is because it can work for a lot of different jazz chords sounds and sounds really great as a lot of useful chords. The Magic Chord can be seen as an advanced chord concept, but really is a very practical way of playing a lot of chords.

In this video, I am going over 10 examples of how you can use this voicing as dominants, tonic minor, half-diminished, Phrygian chords and altered dominants. It really hits some great extensions and chord sounds in harmony from both Major and Melodic minor scales.

Content:

0:00 The Magic Chord (just ask Herbie Hancock)

0:43 II V I in C major

1:17 II V I in D minor

1:52 Phrygian Chord to Tonic – C Major

2:26 II V I in D major

2:58 IIø Valt I in A major

3:31 II bVII I in C major

4:02 II Valt I in Bb major

4:37 II bII I in C major

5:09 II V I in Eb major

5:42 II bVII I in G Major

6:15 Like The Video? Check out my Patreon Page!

What Makes This Sound So Good and How To Play Like That

One thing that we probably all love is the sound of great jazz phrasing in a solo. In this video, I am going to take a look at a great example from George Benson and talk about why these jazz phrases sound great. In that process, I will also go over some ways to turn the lick into exercises and use those to make your own licks that have great phrasing.

I also explain how jazz phrasing sometimes clashes with some of the other skills we teach for jazz improvisation and how to work around that.

The George Benson Solo Example

Here is a transcription of the phrases from the Benson solo that I am using

I am going to use the 2nd line as an example.

#1 Why does it sound great?

I have talked about what makes jazz phrasing great in other videos, and there are many things that come together to make a jazz solo great, but one thing that is a huge factor is how the line lets us give some notes an accent.

Let’s focus on the last part of the example and get a little scientific by slowing it down. You can hear that in the video.

When you listen to the slow version you can hear the accents on the high notes that are not on the beat:

I am sure you already have an idea about this, and one way to access this is to sing bop lines in terms of phrasing, that really helps you realize that you probably hear it and you just need to figure out how to get it on to your instrument.

But two of these examples are similar in a way and you can practice getting that into your lines quite easily.

#2 What Should You Practice

If we look at this fragment (D# to E in bar 2) then what happens here is Benson is playing a blues phrase, but the effect is really just a leading note resolving upwards and then a lower not.

If we apply this idea to an arpeggio then you would have an exercise like this:

And at the end of our example, Benson does something similar with this arpeggio, one way to look at that is as a way of playing a 1st inversion Cmaj7 arpeggio. If you take that through a scale then you have this:

#3 How Do We Play Licks that Sound Like That?

Usually when you start playing Jazz then you have a really hard time playing logical melodies that follow the changes. And one of the first things you learn, or at least should learn, is that if you play chord tones as target notes on the heavy beats of the bar then you connect with the phrase.

This might sound like this:

Where I am playing an F on beat one and an A on beat 3, but the line doesn’t really give us a nice flow with some accents. As my old teacher used to say: “It doesn’t make me want to dance”

But with the exercises, you can start putting together your own lines and in that way getting it into your playing.

Here I am using the exercise from EX2 on the Dm7 (play that) and leaving a little more space to go from G7 to C

Another one could be something like this:

Develop your phrasing

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How to Improve your vocabulary of Jazz Rhythms

We don’t often talk about is how rhythm is actually also a melody, and how to work on your vocabulary for jazz rhythm. But,of course, a very important part of playing jazz is interesting and great rhythms.

In this video, I am going to go over some great examples of rhythms used in a jazz solo taken from Chet Baker, Kenny Burrel, and Jim Hall. I also discuss how you might want to work on improving this part of your own playing.

Content:

0:00 Intro – Adding New Rhythms To Your Solos

0:14 Getting Inspirations from Kenny Burrell Jim Hall and Chet Baker

0:32 Example #1

0:39 Kenny Burrell – Mastering Medium Swing

1:06 How To Use Simple (but great 8th Note Rhythms)

1:24 Example #1 Slow

1:34 How To Use The Material

1:57 Example Lick #1

2:14 Example Lick #2

2:22 Ideas with more of a concept

2:40 Example #2

2:46 Chet Baker – Strong Rhythm and Simple Notes

3:02 Analyzing the line

3:58 Example Lick #3

4:26 Example Lick #4

4:52 Example #3 

4:59 Jim Hall – Rhythmical Diversity and Strong Melodies

5:36 Motif and a Scale Sequence

5:59 Example #3 Slow

6:07 Getting More Out of the Pattern and understanding why it is great!

6:30 Example Lick #5

6:40 Like the video? Check out my Patreon Page!

Check out more lessons on Jim Hall

Here are a few more Lessons I did on Jim Hall and his fantastic playing that always contains a strong and interesting rhythmical concept as well as beautiful melodies.

Jim Hall – Ingredients Of The Best Solos

Jim Hall on Autumn Leaves – Can it get any better?

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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

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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 Best Way To Use Lydian and 5 Musical Ideas

You should have the Lydian Mode or Lydian Scale in your vocabulary. It is a beautiful and great sound that you can work into your guitar playing in a musical way as a great extra color.

When we think of Lydian then it is only about the #4 or #11 and you can’t make great melodies with just one note, so in this video, I am going over how to 5 ways you can make some great Lydian melodies and add those to your playing. That way you can really get started working on using The Lydian sound like a great extra color in your guitar solos

The Lydian Mode is often what I hear beginners say that they use because they think it sounds great to say that and actually they are just looking for a scale where they can run up and down the scale without thinking about it.

Content:

0:00 Intro

0:41 How You Should Use Lydian

0:54 A Bit of Context in a Chord Progression

1:38 Where to use it and How Often?

1:50 Example #1

1:54 A Great Pentatonic Solution for Lydian

2:47 Example #1 Slow

2:53 The Difficulty thing about how we think about Lydian

3:23 Example #2

3:28 A Lydian Triad Pair

4:54 Example #2 Slow

5:01 Example #3

5:06 A real Lydian Arpeggio?

6:01 Example #3 Slow

6:06 Example #4

6:10 Shifting Up An Arpeggio a 1/2 step

7:32 Example #4 Slow

7:56 Example #5

8:01 A great Sus4 triad and how to move it around in a melody,

9:36 Example #5 Slow

9:43 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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Block Chords – The Ultimate Jazz Guitar Challenge

In this lesson, I am showing you how to use Block Chords on the guitar by breaking down an arrangement of the melody to Solar.

Playing Block Chords is quite demanding on guitar but at the same time Chord Solos, and Block Chord Harmony is a big part of the Jazz Guitar Tradition. There are countless great Block chord solos by Wes Montgomery, George Benson, and Joe Pass. It is in some ways the highest level of putting chords to a melody.

I made The Chord Melody arrangement using some of the core principles in harmonizing melodies with block chords. This also links a bit to the Barry Harris 6th diminished scale system, though that system has a lot of other aspects as well.

Harmonizing the melody – Simple Rules

It is really quite simple:

The core principle that I am using for this harmonizing is that I am splitting the melody up in notes that are chord tones and notes that are leading notes.

You harmonize The Chord tones with voicings that are for the chord itself. The leading or passing notes you can harmonize with a chord that can resolve to the chord itself.

Block Chords for the first line

For the first chord The melody notes are C, B, D and G.

You can harmonize C and G with Cm6 voicings. B and D are harmonized with G7 or in this case rootless G7(b9) chords, also known as B dim chords.

The final note in the 2nd Cm bar is an A leading up to Gm7. I harmonized that as a leading note to a Gm7 chord using F#dim.

The Gm7 and C7 melodies are harmonized in the same way. Alternating between Gm7 and F#dim voicings. The first note on C7 is played as a C7sus4, which is really a Gm7/C. This is because that works really well with having a preceding F#dim voicing. Later in the bar, I resolve the sus4 to C7(b9).

Making Exercises for the different chords

You can create exercises for each chord alternating the chord with a diminished chord belonging to the dominant of the chord. I wrote This out here below for Cm6:

You can also check out some of the similar exercise I use in this lesson:

Best exercise for jazz guitar chord solos!

Taking the Passing note strategy a little further

I am using the same approach to harmonize the Fmaj7 line. Here the melody notes are A, G#(or Ab), Bb and C.

The A and C I harmonize with Fmaj7 voicings. For the low C, I am using an Am triad because a four-note Drop2 is a bit heavy.

The Bb is again the dim chord associated with C7(b9: E dim. The Ab is harmonized with a C7alt voicing. The Ab is a chromatic leading note and there are many ways that you can harmonize it, but in this case I find that the C7alt sounds better than for example an Emaj7.

The Fm7 Bb7 bars are harmonized exactly like the Gm7 C7 so I am not going to break that down.

Faster melodies and other strategies

For the last four bars of the melody I am using another more practical strategy.

When the melody starts moving in 8th notes it becomes very difficult to change chord for each note. This is not impossible, but not easy and also tends to sound a little too busy.

Instead I am using a static chord and move the melody on top of that.

In this case, the entire chord is 3 notes, so the static part is just two notes. If you listen to Bill Evans you will hear him do this quite often as well. On Piano that is playing a melody with the right hand and a chord in the left hand. His recording of Beautiful Love has a long section of the solo like this.

For the Ebmaj the underlying chord is the 5th and 3rd of the chord. That is also what I use on the Dø. The Ebm7 Ab7 bar has the 7th and 3rd as the static part of the chord.

Download the Solar Chord Melody Arrangement

If you want to download a Pdf of the entire arrangement then fill in the form here below to get a mail with a PDF link.

Up Your Chord Melody with some solo improvisation skills!

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