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The One Thing You Wish You Could Improve In Your Jazz Playing

What Is The Magic of Wes and Benson?

I am pretty sure that you have listened to Wes Montgomery or George Benson playing a solo and thought “I wish I could sound like that”, but when you are playing Jazz then you are busy with scales and arpeggios and getting the lines to fit together without losing the form.

But scales and arpeggios will make you sound more like Wes, ot is something else that makes him sound like that, and you are not working on that side of your playing. Let me show you how to fix that!

If you are starting out learning Jazz guitar,  you often get stuck with the first problem that you run into: What notes go where? That is not so strange because it is difficult to navigate a Jazz song and play the right notes in the right place, but once you start to be able to do that, then you need to also start developing other things, and especially rhythm and phrasing, because if you let the notes and the harmony dictate your phrasing then you won’t sound like Jazz:

A Method For Magic

You probably check out licks and solos and try to figure out how they work in terms of what scale, arpeggio, or chromatic thing is used so that you can use that in your playing as well:

This is something you want to do with rhythm and phrasing as well, and the important part is that you start with something you hear and then use that to create your own material,

mainly because we don’t have as many terms for those rhythmical building blocks.

Let me show you what you can do with a simple and short Wes Montgomery phrase to start opening up your own playing. Check out this short but amazing phrase from the 2nd chorus of his solo on “No Blues” off the “Smokin’ at the Half-note” album.

Obviously, we could focus on what notes he uses, and that IS interesting but let’s try and see if there is something to be learned from the rhythm and the phrasing, because Wes is one of the greatest improvisers when it comes to really making strong and clear phrases also in terms of rhythm, and that part of it will already make you sound 10 times better!

To keep it simple, I am going to cut off the pick-up, but I will talk about adding that back in later in the video, also because that is part of another very important thing to develop and ties into something that I talk about very often as well.

Removing the pickup leaves us with this:

I picked a phrase where I like the rhythm, and maybe also because I like the shape of the phrase, so how the melody flows.

I will start by keeping that in there, but you don’t have to of course.

First, you just want to hear the phrase, so sing it, you can probably hear that I am still hearing the flow of the melody. “Rhythm”

In the way that I sing it, you can also hear where I have accents “rhythm”

Make It Your Own

A side note on learning by ear: One of the ways that I trained this and I think also what is the traditional approach to teaching this is learning solos. When you learn solos by ear you want to keep playing them with the track for a long time after figuring them out. In that way, you get the phrases and the rhythms into your system, and that is useful for a lot of things, so you want to keep doing that, but what I cover here is a more focused way to develop your rhythm and phrasing vocabulary. Both approaches are worth exploring.

The goal now is to start hearing phrases with this rhythm, and the easiest way to start is to stick with the shape of the melody. Later I will expand this so that you can start hearing other phrases as well coming out of this example. When you start working on this there is one thing that might demotivate you but I’ll get to that. Here’s a simple version using the Wes rhythm and flow on a Gmaj7:

or maybe something like this, try to recognize the flow in there and judge for yourself if it works as a line.

What you want to do is to create lines over a different chord with the same rhythm and a similar phrasing, and keep in mind that this is to get you out of always playing:

An important thing to keep in mind is that you probably start doing this with a phrase that you consider perfect and doing this exercise will not only give you 150 perfect jazz licks that are going to blow everyone’s mind. It is not so much about the licks as it is about the process, because what you are training is hearing phrases with that melody.

You should only check if the lick does actually work, and it is fine if some of them don’t, you learn from that as well.

Letting Go Of The Flow

I remember when I was just getting into Jazz and I came across this very solid Bebop line or cliche, which is an example of octave displacement, and could probably be taken out of a Bach piece as well, but it works amazingly as a Jazz lick:

And because I didn’t understand octave displacement and the direction of melody I spent a long time coming up with one failed phrase after another. At the time I could hear that it didn’t work, but I could not figure out why or how to fix it in a consistent way. That came much later.

That is why, In the beginning, you want to stick close to the original phrase.

Because then there is a bigger chance that you will write lines that make sense, but after some time it also makes sense to explore if you can let that go and just use the rhythm without the phrasing, check this out then I’ll explain:

So now I am not trying to keep the direction of the melody but just using the rhythm to make a new line and listening for how it should be phrased which in this case gives a few different accents (show sheet music comparing accents between ex 4 and ex😎

If you forgot then often Bop lines sound great if you give an accent to a high note which is not on the beat. It is not a rule, so you will find exceptions all over the place, but that is what I am doing here, and it does make it sound better.

Here’s another example:

Of course, you can repeat this process with other lines and in that way expand your vocabulary, but what you can also do to open up this phrase even more is to use it while improvising like this.

Training Your Creativity

Let’s say that you can come up with some phrases using the rhythm that we got from Wes so what you can try now is to play some call-response soloing using those phrases and see what you hear afterward. I’ll do this on a Gmaj7 chord, think of it as a never-ending loop of the first part of I’ll Remember April:

Keep in mind that you don’t have to do this in time, and if you have a line that you like then it can be really useful to play it several times and come up with different responses to it. This is all about starting to place it in your vocabulary and making it work in your solos.

Of course, from working on it rubato you can level it up to using it on a song that you know well and get it into your playing.

I also want to talk about another way that you can open up your playing and not get stuck on the barlines too much.

Breaking Free of the Barlines

This could almost be an independent video, but one of the problems you run into when you are learning to spell out chord changes in your solos is that you want to play clear notes on beat 1 when the chord changes. This is not a bad habit, but you do need to move beyond that if you don’t want to sound boxed in by the barlines, your melodies should be more free on top of the song. Luckily, if you are used to playing toward target notes then you can easily start to practice playing into the chord with a pickup like this:

And another thing that you also want to start exploring is not ending lines on the target note, but instead continuing into the bar like this:

The Right Melodies With The Right Phrasing

But when you are making lines using rhythms and phrasing then you do need to understand Jazz how to create jazz lines that work otherwise there is nothing to phrase or add rhythm to. Check out this video, If you want to explore how to develop this and learn the essential building blocks that make up Jazz lines.

I Wish Every Jazz Beginner Could Watch This!

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This is A Perfect Jazz Solo! – Why Scofield Always Gets It Right!

I might touch on a few unpopular opinions in this video, but Scofield NEVER fails to impress me, even when he is just jamming a well-known Jazz standard, and it is surprising how traditional his approach is while he still manages to add his own sound to it, isn’t that what it is all about?

One of the beautiful things about Jazz is that you don’t only play your own music, you also interpret Jazz Standards that make up a big part of the repertoire. And it is always interesting to hear how the people you admire interpret songs, it feels a little like you are playing with them at a jam session.

The video I am talking about also gives me a chance to be a bit patriotic since Scofield is playing with the Danish-Vietnamese bass player Chris Minh Doky and it appears to be a recording for Danish TV (Patriotic b-roll)

The song is Alone Together, certainly one of the most common Jam session standards in the book, and let’s start with how he plays the theme, because that may be sort of an unpopular opinion, and later I will also talk about why I think Scofield is probably one of the first Jazz guitarists to be really important for the entire style, which might be another hot take, so grab your pitchforks and check this out!!

Interpreting A Melody (without being a Robot)

Since they are playing in a duo then Scofield is adding chords to the melody, but the way he does this is really effective and probably also my preferred approach, mainly because it gives you room to really phrase the melody and let that shine.

What he does is,  of course, to play the melody and then add chords around it, instead of playing the melody inside chords all the time which removes some of the possibilities for more vocal-like phrasing. A great example of the “other” approach would be something like this Joe Pass playing Misbehavin’

Of course, here Joe Pass is also playing solo guitar so he needs to cover more of the groove as well, and actually, I also think that the instrument and sound matter a bit here, but if start talking about that then the comment section blows up. Later, in the video, you’ll also see some examples of how Scofields playing is pretty traditional, which is at least not what I really think of when I think of his style.

The Melody of Alone Together lends itself very well to this because the structure is often a pick-up and then a long note on beat 1 which leaves room for adding chords:

Like he does in this section:

So first you get the melody just adding a 5th under it and then a complete Eø(9) and A7.

Same thing on the Aø D7, and then you get this really nice open 3-part harmonization on the Gm7.

Another thing that stands out to me is how Scofield often adds voice movement with suspensions under the maj7 chord. First some octaves and then a nice Maj7(#5) that resolves:

So there is also some reharmonization or embellishment of the harmony going on. You also want to notice that he very often plays E7 A7 instead of Eø A7

Like this:

It is a small detail to add in there but he really uses it incredibly well in the solo too, which really gives the song some personality and changes the overall sound.

Expression is Mostly In The Right Hand

I always found it so impressive even if it is subtle, that Scofield is able to do so much with the sound, picking some notes close to the bridge to get a different sound, using pick and fingers or just fingers for some parts, he really changes that very often throughout the song.

Check out how he is really using where he picks the string to get different sounds:

Two things to learn from this: First, notice how the first bar is picked with a more mellow sound and he moved closer to the bridge to make the 2nd bar more nasal.

The second thing connects to how I talked about some more traditional aspects of his playing, and here is one of them: He is not playing Eø A7 in that line, it is all A7 altered, so like Joe Pass or Barry Harris, he does not play the II chord all the time. And this really connects to how he starts his solo as well.

Scofield Knows His Bebop

I think it was one of the times that I saw him live with the trio with Bill Stewart and Steve Swallow when he talked about how he loved to practice bebop tunes and check out Charlie Parker, so it isn’t really a surprise to me that he knows that part of it as well even if I didn’t really recognize that in the first things I heard from him which had a lot of New Orleans and Blues influence. I’ll talk a bit more about that later as well. Let’s first listen to the first part of the solo:

The next phrase he plays also shows that he doesn’t only rely on bebop lines, but has a very wide vocabulary of rhythms as well:

The next part really lets the E7 sound shine!

So you get the B and the G# and then the counter movement with the melody going up and the 2nd voice moving down from  G# to G to F.

I’ll show you another really great example of this later.

Again he is not playing the II chord on Aø D7 but goes straight for the D7.

Open Strings and Open Sounds

This is super typical for Scofield, but also really one of the things that I love about his playing: Harmony and Melody are really melting together.

The first part is a chromatic run, which I suspect is actually a Parker lick, but it’s hard to tell. Using a LOT of legato like this is also a very typical part of John Scofields sound or phrasing.

Then you hear the Eø to A7 which is a really simple scale run spelling out the harmony,

But the part that I really like here is the resolution to the 3rd interval, and then adding the melody over the sustained F# starting with the open string.

He did something similar in the theme with the open E. That is such a beautiful sound and again a way of making the best possible use of what is practical on the instrument.

From there you hear a short Lydian maj7 lick before going to the 2nd A, so he is again messing with the sound on the Dmaj7 similar to what he did in the theme.

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When Guitar Ruled Jazz

Few guitarists have had as big an impact on Jazz as a genre as John Scofield. Having worked with everyone from Miles Davis to Joe Henderson and Chris Potter his music and take on Jazz guitar is a huge influence maybe more on Jazz in general than on Jazz guitar, which also just tells you how fantastic a musician he is. My introduction to Jazz was marked by discovering John Scofield and Charlie Parker at the same time, both being really strong in playing Blues which was probably what I could recognize or relate to.

As Jazz guitarists then we often live in a bubble where we focus the most on the guitarists in the genre, but in most of Jazz history then the guitar players were not what shaped the style. Mostly this was left to horn players like Miles Davis, Charlie Parker, John Coltrane, or piano players like Bill Evans and Herbie Hancock. Before the comment section explodes —  let me explain what I mean. Kenny Burrell or even Wes or Joe Pass did not really start a new direction in Jazz, it wasn’t so that all the musicians that are not guitarists bought their albums, so there are no “kind of blue” or “giant steps” albums in there. That doesn’t make them lesser musicians so keep in mind that it is not a criticism of their playing or ability in any way, I am just looking a bit beyond what albums were game-changing for Jazz Guitarists, and widening the scope to Jazz in general.

I think that Scofield and Metheny probably did have that type of genre-defining impact on Jazz as a style.  When I studied then everyone had Scofield Quartet albums, especially “Meant To Be” because they were sort of the “Workin'” Steamin'” and “Relaxin'” albums of that period. You hear it pop up in other albums where the connection is very clear, and I think that was the first time that the influence of a guitarist really went across the entire style and didn’t stay with guitar players. For Scofield, it was probably a lot about groove and pulling in new influences to Jazz, especially New Orleans grooves but also some more acoustic-sounding funk.

I think it is worthwhile giving Scofield that credit and it is really nice to be able to reference his music when talking to other musicians on gigs if you want to play a song in a Ponciana groove or something using second-line. That the guitar became a more defining instrument in Jazz so late probably also has something to do with the instrument evolving and being very dominant in pop and rock music.

Counterpoint Funkyness

This is really great, again more open rhythmical phrases and not Bebop lines but he is using the E7 again, and going into it in a really nice way using 6th intervals

It’s almost like a minor II V in Am. The real counterpoint is the next phrase which is Bach meets Blues:

It’s only a few notes but it sounds really great with the B moving up to the C before going into another variation of the E7 A7 that he used earlier.

Genius of Intervals and Counter Melodies!

The way Scofied uses intervals and sparse voicings to make the individual voices more clear is really effective and is a great way to get the melody across, both in solos and when playing chord melody. Developing this in your playing can really open up some beatiful sounds and add another dimension to your playing. If you want to explore that further then a Contemporary of Scofield, Bill Frisell is who you should check out, and I go over how his take on Days Of Wine and Rose which is incredibly beautiful and a great intro to this type of playing.

Amazing Chord Melody Without Any Chords? So Beautiful That Nobody Cares

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Why They Sound Better Than You Every Time!

What is the difference between a good solo and a great solo? And what are some of the skills you want to develop to go from playing the right notes to really playing a great solo?

There is a set of 3 skills that especially a beginner won’t notice because you are too busy finding the chord tones and playing chromatic notes, and you want to start working on this from early on if you want to play solos that make sense and are not just random phrases.

The Problem With The Right Notes

When I was getting started playing Jazz then I practice scales and arpeggios since I had learned that I needed those to play Jazz. The problem I had with my solos was that even if I could play the right notes then it still sounded very fragmented and messy because I played everything per chord. Let me show you how that is the opposite of how George Benson plays. My playing at the time was like this:

 

These are all the right notes. but as you can clearly hear then it doesn’t make any sense at all because I am:

#1 Starting a new idea every bar

#2 Always Starting on Beat 1

#3 Stop playing so I Can Think Of The next chord

George Benson Gets It!

So what is the difference? He is playing from one chord to the next, so his melodies are ending on a note that clearly tells your ear that the chord is changing. In this case. it is super clear by hitting the 3rd every time:

Getting stuck with just playing something more or less random on each is a natural part of learning to play changes, but you can quite easily get started fixing it, and that is a really important skill to get in there so let’s look at that, and then dive into two other approaches that you hear a lot in the playing of Wes Montgomery and Jim Hall.

Forward Motion

When it comes to Bop-inspired Jazz, then a core principle in the solos is that often the melodies are dense with a lot of notes and are really pushing forward to the chord changes, similar to what you heard in the George Benson example. This is not that different from how Bach wrote music even if Jazz uses different harmony and also some “extra” notes here and there.

Hal Galper wrote a good book about this calling it Forward Motion

which is a good way to describe it. The simple version of the concept is that you practice playing lines that end somewhere, so target notes. The notes in a solo line are not just random pitches against a chord,

they should fit together as a melody that moves to the next chord. Which is what you heard in the Benson example.

But there are some things that you can get wrong when you are working on target notes, so here’s a suggestion for getting started, and actually you should consider buying that book.

Choosing Target Notes and Practicing

For finding the right target notes then you sort of have to forget what you learned when you started checking out Jazz chords.

I am sure you have had lessons telling you that when you play chords then you just need the 3rd and the 7th to get the sound of the chord across. That would also suggest that you can use those two as target notes, but that is actually not really true.

Let’s look a II V I in C major:

The 3rd of the chord is still a really good option, as you heard in the George Benson example,

but the 7th is often a bit vague, and in the beginning, you want to train your ear by having very clear notes that tell you that the chord has changed.

On Dm7 then the C doesn’t really sound like a Dm7 on it’s own, it sounds much more like a C major chord, so having that as a target is going to be much more difficult.

The 5th, A, is however a very good target note instead, which is sort of the first note you would throw out of a chord. This is true for Cmaj7 as well where the 7th, B will really just sound like you are not resolving the V chord in a II V I. Of course, you can play melodies that make these notes possible, but as I said, you want to keep it easy to hear in the beginning.

Let’s say that we keep it easy and play the 3rd as a target note on all the chords, just like George.

You want to practice coming up with Dm7 lines that play towards and end on a B, a simple version could be something like this:

Or like this:

 

These are of course super simple, and I don’t actually have to start with the F on the Dm7, but I think you can hear how the melodies are naturally moving towards the chord change. Before we get to the Wes and Jim Hall examples then let me just show you how you can easily make it a lot more embellished with trills, leading notes etc:

So here it is a little less clear and the target note is often moved to the 4& which also makes it a bit lighter, but that is really just the next step to work on and it is the same concept.

How To Practice Forward Motion

If you practice soloing like this then you will get a lot better at creating lines that have a flow and that don’t sound like random things copy-pasted on top of the progression. I would suggest starting with keeping it simple composing lines and then gradually going from improvising over a basic turnaround rubato into playing in time and then taking it to some songs.

This skill is essential for anything Bop inspired, but the next two are maybe even more powerful and less Jazz specific. The first one is in everyone’s playing, but Jim Hall is truly a master at this!

Make People Remember Your Phrases

What Jim Hall does in this solo is probably the strongest melodic principle that we have, it is at the core of so many great solos and great compositions.

You first have a motif being repeated and developed over the Dm section of the song. He then rounds this off with a very chromatic line on the Aø D7 before starting to work with a short intervallic motif that is moved around in triplets.

Check it out:

So this is all over Jim Hall’s playing, but Wes uses this as well:

Here are a few very clear examples from Four on Six.

Clear, but still changing the rhythm on a simple 4-note motif. Notice that he plays it 3 times and then sort of finishes the sentence with something else. That is very common.

Both Wes and Jim Hall uses forward motion and motivic development, it is not one or the other, some of Jim Hall’s motifs have forward motion. Beethoven and Mozart knew how motivic development worked as well. The effect of this as a listener is that you hear something that you recognize but it is not just a loop, it changes and stays interesting in that way.

How To Practice Developing Motifs

The first important step is that you want to recognize these things when you listen to music,so try to listen to solos that you know and that you like and recognize the motifs in there. Again the way to practice this is to solo and try to stick with motifs when you improvise, so start rubato and play a short phrase then imagine how this phrase should move through the changes. Later you can start just sticking with a motif over a song and see what you can do with it.

I sometimes see comments on YouTube that want to attribute Wes’ playing to magic or some other vague term. I think that is surprising when his genius is, to me anyway,  the clarity of his strong melodic ideas. Can you be tone-deaf for melodies like melody-deaf?

Wes Montgomery uses another melodic technique quite often, and that is also a great strategy for making your solos a longer story.

Have A Conversation With Yourself

I often talk about how music is a language,  and music is a form of communication, a place where conversations happen.

And this can also be in your solo where you are having a conversation between phrases, what is often referred to as Call-response.

Check out how Wes does this:

He actually also has a great example of this with octaves from the earlier recorded version:

So this is about hearing different phrases as a back and forth between two sides.

Bebop 101 for Guitar!

Another guitar player that is really great at this and has some amazing lines to learn from both in terms of solid bebop and motivic development is Grant Green, and if you check out this video then you can learn something about how he creates melodic, playable, and beautiful bebop lines. Especially since it is bebop but not too difficult for guitar!

I Wish I Had Checked Out This Guy! His Solos Are Jazz 101 On Guitar

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I Wish I Could Play Fast Jazz Solos Using This Approach

We NEED to talk about this because it is outrageous that people lie to us like this.

I am sure you have heard how Jim Hall had this text on his business card:  “Won’t play loud, can’t play fast”

Which, kind of, fits his style. His playing is relaxed with an incredibly strong time, good phrasing, and he is very melodic, but after taking his word for it all these years, I recently found out that this isn’t true at all!

He actually plays songs at more than 260 bpm, AND he does it very well adding all sorts of stuff at that tempo, how is that “Can’t play fast”?

But it is a GREAT solo with some amazing rhythms, polyrhythms, and phrasing concepts, and there are quite a few things to learn from it, so let’s have a look at that.

Great Rhythms Are Not Only 8th Note lines

Usually, the first thing you think of with an up-tempo solo is fast 8th-note lines, and that is a large part of what is often played. The Hampton Hawes solo that is before Jim Halls solo on this track is also very dense with 8th notes, but Jim Hall goes about it differently, and it is incredible how there are so many nuances to his playing and phrasing even at this tempo.

The song they are playing is Dizzy Gillespie’s Groovin’ High and this is off a Hampton Hawes album from 1958 called All night Session Vol. 1

Jim Hall is so much more about rhythm and melody than just running the changes. As you can hear then he takes his time and leaves quite a lot some space but also chooses to start on a nice chromatic leading note to create some tension.

He is also working a lot more with quarter notes than with 8th notes, which is sort of, a swing thing,

but what you first want to notice is all the detail and variation he adds to the phrasing. He is not just playing the notes, there is a lot more going on.

The first one is the very subtle trill Am7 D7,

but there are also slides on the Ebmaj7 and Gm7 C7 that follow.

Later there are some clever ways of using slides in the melodies, and you can also see that Jim Hall uses some Barry Harris strategies, and a few other tricks to play at this tempo, and I really love how he does this, drawing on both Swing and Bebop.

The Opposite of Bebop

I mentioned earlier how Jim Hall draws from swing as well as Bop, and his main influence was certainly Charlie Christian who is also in between those styles.

This whole section is using lots of repeated notes, which he can only get away with because his time is so good and the rhythmic ideas are strong enough. When he plays lines then it is all except for one spot just using Eb major.

So not digging into the changes that much and relying on other things to make it work, but as you can hear it clearly works. Mainly because the melodies are strong enough.

Is He Faking It?

You might think, well he is just faking it and making it easier for himself, but don’t think that he can’t play the changes, because he certainly nails them later in the solo, and even starts playing polyrhythms on top of the song, something that was not that common at this point in time. This is all a choice that also becomes clear later in the solo.

Swing and That Thing Pat Metheny Stole

Most of the time, I talk about Bebop in the lessons, mainly because that is the large foundation for what we consider mainstream Jazz, but as I talked about in the video on learning solos by ear, then swing phrasing also has a place in there also just to be able to play something that isn’t ONLY 8th notes. They can also be a way to get more out of your syncopation, check this out:

The first part of this is actually just a pentatonic pickup

then playing the 3rd of the chord in half notes

And then he adds an embellishment around that 3rd

But because the first part is so heavy on the beat then once he start adding up beats and then they have much more effect. Filling the whole thing up with 8th notes would not really give you that effect.

Here you can also see that he is just thinking D7 on the Am7 D7, since he comes out on the F# at the very beginning of those two bars and just plays D major pentatonic.

This is really typical both for Jim Hall’s playing in general but certainly also for this solo: Since there are fewer notes then the melodies are clearer

Then you get the Pat Metheny lick, which is then actually a Jim Hall lick that Pat Metheny stole, I am not sure which Jim Hall albums Metheny checked, but I suspect this was one of them. If anybody knows then leave a comment.

I am of course talking about the repeat notes scale run:

The next part is incredibly simple but this way of phrasing such a simple melody and also use a motif across a II V really blew my mind.

A 3-note motif on Gm7:

and how it is developed on the C7:

Let’s check out some polyrhythms and chromaticism

Jim Hall, Does It Thunk?

But first I want to just talk a little bit about Jim Hall’s sound on this which, as far as I can tell, is the same as it is on his debut tribute album just titled “Jazz Guitar” which came out in 1957, so the year before this album, All Night Session Vol 1. Both of these albums are great, this one was new to me and is in fact in a part of a series of 3 albums that all are great, also if you want to hear how Jim Hall comps a piano player, they get that to work extremely well.

As far as I can tell, it is Jim Hall playing his ES175 into a Gibson amp, and the sound is very dry. If you have seen my video on my 175 then you know that I sometimes found myself fighting against the lack of sustain. To me, that is also what you hear on this recording, the sound is compressed, but there is not a lot of sustain.

When I hear the expression Thunk, then this is the sound I think of, it may be that there is not enough bass in the sound, since it is an old recording and also because the amp is very small. If you know a better example then let me know in the comments.

Polyrhythms

So the star here is of course the descending chromatic run that is then used as a part of a 3/4 bar shifting on top of the meter.

Notice how he is emphasizing the #11 on the F7, so really going for a Lydian dominant sound there and just moving that motif around before resolving it back to Eb with a pretty simple Bb phrase and sliding into the 3rd of Eb.

Most of the stuff that he borrowed from swing until now has been about the rhythm, but I think this next phrase also really uses some swing note choices.

Swing melodies

The opening of this 2nd chorus of the solo is really emphasizing the 6th and uses the Eb,maj6 sound, which you could also describe as major pentatonic, since the major pentatonic scale really just a maj6/9 chord.

Eb major Pentatonic:

An Eb major triad:

plus a 6th and a 9th:

But the melody in this case is really going for the 6th in a way that is maybe strong than most places where you hear major pentatonic. You also want to notice that you again have the Barry Harris: Am7 D7 is just D7.

The next phrase falls in the category of making melodies with chord tones and leading notes more than thinking scales. Here it is an Eb major triad with a leading note that also really brings out the #11 on the chord. Very similar to the way I have talked about George Benson, Grant Green, and Charlie Parker sometimes construct their lines.

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Stop Being Lazy With Your Triads (Jazz Guitar Secrets)

Triads are only 3 notes but you can use them in so many ways for both comping and solos.

If someone asked me what 3 things are most important to learn for your solos, Triads would be on that list!

Often people hear triads and just think about campfire chords and country music, but I am going to show you how much you can use triads when it comes to Jazz.

Let’s start with some chords:

#1 Triads Are Great Jazz Chords

On-screen: chord progression arrow written out chords(fancy)

Playing Jazz Chords is about taking a chord progression and turning it into exciting and beautiful harmony that fits the song, therefore you want to have flexible chords, and here, triads are a fantastic option.

Let’s say you have this

That’s Dm7, G7 and Cmaj7.

For all of these chords then if you take away the root you get a triad:

Dm7 becomes, F major, G7 becomes Bdim and Cmaj7, E minor

And the 3 note voicings are a lot easier to play, and you can do stuff like this:

But before we get into using triads for soloing, you can actually take this a step further, with something that I think is often overlooked:

#2 Open Triads Are Amazing Chords!

The basic triads that you just saw can do a lot of great things, but don’t forget to also check out the open triads which are also easy to play but gives you a different sound.

The method is pretty simple:

The Open triad version of an F major triad gives you these 3 inversions:

And using these on a II V I sounds beautiful and is a really nice, but more unusual way to use 3-note chords

And you can do this on the other inversions as well

and since it is only 3 notes you can also easily add some extra things to embellish the progression:

But it is not all comping, and triads are solid for soloing as well!

#3 Getting Free From Scale Melodies

One of the most boring types of melodies is to just play scales in your solos:

Example 4

And both triads and arpeggios are great ways to fix this, so you want to practice your scales in diatonic triads:

and like this, you have a connection between the scale and the triads,

so using the same triads I used with the chords: F major, Bdim, and Em then you can create lines like this:

 

But you don’t want to forget to also check this out in other scales than the major scale. Diatonic triads in Melodic minor are incredibly useful as well, and there is actually a nice trick to using them that I’ll show you.

Here are the triads for Ab melodic minor which is what you use for G7 altered.

With this you don’t have to only play altered licks like this:

Instead, you can use a B augmented and an F dim triad,

and actually, also make a line that fits over some other chords as well:

The beauty of melodic minor is that if you move up the altered lick a half-step then you have a great lick for an Am6 chord:

So knowing your diatonic triads in other scales will give you a lot of different sounds and melodies.

#4 This is REALLY knowing your triads

Now you have the diatonic triads that you can use but you are actually still missing something. Listen to Wes, just using a Dm triad on a Dm chord:

Here Wes is using the 2nd inversion of the Dm triad.

And you want to start practicing both 1st and 2nd inversions of the triads as well, not only as exercises like this

But also in make some lines, mainly just because they are incredibly strong melodies that you can use for a lot of nice things. Here is an example using the same Dm 2nd inversion triad on a II V I in C major:

Let’s look at another way to work on creative melodies with triads.

#5 Getting Melodic

Triads are amazingly strong melodies, but you want to take advantage of the fact that they are only 3 notes and therefore also very flexible and easy to do things with.

So instead of just playing up and down the triad all the time like this

Then you also want to be able to turn them into something like this:

In this line the triads are played in different patterns for the F major (partly voiceover slow version), B diminished, and Em triads. Still just using those basic choices. that I showed you at the beginning

And it really pays off to work on taking some of these patterns through the diatonic triads in exercises to get them into your ear and into your fingers. Here is an exercise using the melody I used on the B dim triad:

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Triads – You Are Missing 3 Skills In Getting The Most Out Of Them

Triads are essential building blocks in the strongest solos and melodies, and you want to make sure that you not to miss some of the great ways they can be put to use.

You already know that even though Jazz is mostly using chords with a lot of notes and extensions then triad melodies are still incredibly strong and something that should be a core part of your playing.

It doesn’t matter if you look at a Parker Lick – Parker Billie’s bounce lick

Or classical music – Mozart or Beethoven

The triads are always in there and they should be in your playing as well.

Getting Your Triad Practice Right

There are probably two ways that you are practicing triads:

In positions, playing the triad across a position, hopefully visualizing or keeping in mind what scale it is found in (voice-over)

The other way that you want to practice triads is by playing diatonic triads

This exercise will help you find all the triads in the scale and give you an overview of the harmony.

Both of these are great ways to work on the material, but not directly help you use them in solos and what is more important: a lot of very useful triad melodies are also left out, so let’s fix that.

Practice All The Melodies

One of the most common triad melodies both in Bebop themes and solos is the 2nd inversion triad. You have clear examples of this in Anthropology.

or Blue Bird :

And the 1st inversion major triad is also great for solo lines like this:

So if you are not practicing those then you are leaving A LOT of great melodies out of your vocabulary.

It is not that difficult to get used to playing the inversion so that you can start incorporating them into your playing, and actually it is also a great exercise for your ear, and the connection between what you hear and what you play.

Incorporating the inversion into a triad position would mean playing it like this:

But working through the triad inversions in a scale position is a great exercise for quite a few things:

So of course, just playing these is already giving helping you be more flexible with what you can play in the scale, but it is also introducing some string skipping,

but maybe the most useful part of the exercise is that you take a predictable 3-note melody and then try to play that through the scale.

When I start working on this then I am not really thinking about which notes or which triad I am playing, as much as I am hearing a melody and then hearing it move up through the scale. This may sound a bit vague, but it is actually a great exercise that will help you become better at playing melodies by ear. If you have never tried this before then take 3rds through a scale, and notice how your ear will tell you if you are playing the right notes or not.

Now that you know the triad and the inversions then you want to start getting this into your playing.

The Power Of Simplicity

An important part of how we use triads in Jazz is as upper structures, mainly because it ties together extensions in a strong sound and make the chord or melody make more sense, similar to this line and I will talk about how you can use triads like this later in the video, but this is not the strongest melodic tool when it comes to triads.

The first thing you want to do is to become better at making lines based on the basic triads and then really get good at using those in a creative way so that your skills are already in place when you move up into the thin air of more tricky extensions.

If you think about the Charlie Parker Lick from Billie’s Bounce that I used in the beginning then that is using an F major triad over an F7. Another way that Parker uses the F major triad is in the opening of the solo:

So, as you can see, it really pays off to start making lines that are using the basic root triad and also do more than just play it up and down, but use it as a skeleton for the melody you want to play.

For example, you can use scale notes as passing notes as I do on the Dm7 and the Cmaj7 here:

And because the triad is such a strong melody then you can also change the order of the notes and skip around more, as I do on the Dm7 here:

So if you find something that works, like the Dm triad melody here then try to explore using it in different ways like playing it backward:

Or explore how changing the order of the notes sound:

There are some great melodies in there for you to discover.

The easiest way to start doing this is to play the triad and then add a scale note between the notes in that inversion:

For the root position C major triad, you can add either a D or an F between the triad notes, for the first inversion then you can add the F between the E and the G, and for the 2nd inversion you would add the D between C and E.

This is just how you start, and in the end, you can, of course, do a lot more. The reason for starting here is just that it makes it easier to keep the sound of the triad in there.

But triads are also great for adding extensions and colors but also how it helps with some strong melodies.

Shifting Colors On Top

There are two levels to using upper structures. First, let’s look at how you can use a system to create shifting lines and the second is creating a flow of shifting colors on a single chord.

The best way to understand this is to look at the available triads over a Dm7. That is easy if you write out the scale in 3rds from D.

This gives you Dm F Am C triads, the rest are not directly useful for the sound of the chord.

You can build the same thing for G7 altered, for voice-leading purposes then I am starting on Db, but the result is as you will see, the same:

That gives you: Db Fdim Abm Baug Eb and Gdim and Bbm. For the G altered chord then pretty much everything will work, so there are more options.

In the line then you can see how I am using an Am triad over Dm7 and then moving that to Abm on G7 altered, so I am really just voice-leading or shifting the upper structure triad to create the lick.

You can even do this moving up from Am instead of down so you go to Bbm:

What is Better Than One Triad?

The previous example was using two triads on the G7 altered: Bbm and B augmented, and constructing melodies like this is a great way to create interesting lines and also often lines that span a larger range.

For the G7altered this is equal to the sound you get if you change several notes in the chord

The easiest way to get a triad pair like this is to just take two triads that are next to each other. Because, this works better if there are no common notes between the two triads, especially for the next approach to creating melodies.

A basic version of this type of lick using Abm and Bbm triads on G7altered could be something like this:

You can see how the Dm7 lick is also using an Am triad and that helps make that transition stronger.

Another way to make more adventurous lines is to work with melodies that connect inversions of the triads.

If you take B augmented and Db on the G7 altered then that could give you something like this:

Modern Jazz Sounds

An incredibly useful tool that, like triads, can really add something to your soloing is using pentatonics in your jazz lines. In this video, you can see how pentatonic scales can create completely different sounding melodies and how to put them to use on pretty much any type of chord. This approach is a great shortcut to a more modern sound in your playing.

7 Pentatonic Tricks That Will Make You Play Better Jazz Solos

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Minor Chords – Unlock Some Beautiful Jazz Chords In Your Music

When you play chords or if you are writing songs then you reduce the harmony to chord symbols like Dm7 Bb7 Cmaj7. But the great thing about Jazz harmony is that you can make a lot of choices when it comes to how you want to color the chords, and especially with minor chords there are some incredibly beautiful choices that are not getting the attention they deserve, so let’s start easy and then go to the extremes with some minor chord options.

Level 1 – Jimmy Page Got It Right

The basic chord where it all begins is of course just a minor triad:

You have a root, a minor 3rd, and a 5th.

But it is only 3 notes, so you can add combinations of the remaining 9 notes and get a lot of different colors. The first, and most common one is level 2.

But Minor chords can even work as substitutions for altered dominants, which is a great way to make some interesting chord progressions. I’ll show you in a bit.

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock Scale Of Harmonic Goodness. I am going to give this the minor triad a “This is great if you are in Guns And Roses or another stadium rock band”

Level 2 – They Are Everywhere, So What!

The most common extension to add to a minor chord is probably the b7 which makes it a m7 chord:

This is the typical first chord in a II V I

But you actually have m7 chords in 3 places in the major scale, on the II, III and VI:

And two variations of a m7 chord that you can very often throw in there would be chords with the 9th:

or the 11th:

These are all nice, beautiful, calm sounds but also sometimes a little bit boring.

Herbie Hancock Scale Of Harmonic Goodness

So this is a clear “You Still Need To Check Some Things Out But Don’t Use The Real Book!” on the Herbie Hancock Scale Of Harmonic Goodness.

Let’s take this in a different and more colorful direction!

Level 3 – You Are Missing Out!

This is what I probably consider the most overlooked option.

Instead of adding a b7 you can also add a major 6th to the chord:

A C E G → A C E F#

And the m6 chord is a great sound that works especially well with tonic minor chords for example the Gm6 in Autumn Leaves which is also what is often played as a riff under that chord.

When you are soloing then the m6 chord is usually associated with melodic minor:

A B C D E F# G# A

This sound is often with the next type of minor chord, but a very common variation that you want to know is the m6/9 chord:

You want to explore how to use this chord and test how it sounds in different places, it can be a great sound and also add some much-needed variation to playing m7 chords everywhere.

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of harmonic goodness this gets a “Now we are talking!”

Level 4 – So Much More than Pink Panther!

You most likely already know this sound as the ending chord of this:

Or a more recent song like this:

The basic chord type here is a mMaj7 chord,

so that is a minor triad with a maj7 7th

A C E G#

This chord is dissonant and at rest at the same time and is a nice more spicy color you can add to a chord progression:

 

The mMaj7 chords sounds great if you add a 9th to it:

or even a 13th:

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of harmonic goodness, this gets a “Rick Beato Approves”

Level 5 – You Are Playing A Wrong Chord!

This chord is almost like a mistake!

Most of the time when you have a m7 chord then it is put to use as a suspension of a dominant chord, so a more independent version of a sus4 chord.

If you listen to a II V I then that is:

and it is really just a bass note away from:

If you look at how this chord works then the point of it is to move one note.

The 7th of the m7 chord down to the 3rd of the dominant. Here that is a G on Am7, down to an F# on D7.

That means that the one note that you don’t want on the m7 chord is probably the 13th because that is the note that you are trying to save for the next chord.

But if you just listen to it m7(13) chord is a great chord to use as a sound in itself, and as Herbie Hancock has demonstrated quite often. Paired with an altered dominant it sounds great in a II V I.

Herbie Hancock Scale Of Harmonic Goodness

Clearly, this should get a “There Are No Wrong Notes” on the Herbie Hancock scale of Harmonic goodness. But there are even minor chords that are so strange that almost don’t exist.

Level 6 – This Doesn’t Even Exist

If you have watched any mediocre YouTube guitar lesson on improvising then you have probably learned that Lydian is way better than Major. While that is of obviously complete nonsense then that does make you wonder:

“What is a Lydian m7 chord?”

The pragmatic and boring people will tell you that it is Dorian because of the major 6th interval, but the truly visionary out there will tell you about the legend of the m7(#11) chord.

This sound is mostly just a special effect that you can throw in there if you want to change things up on a minor blues or a song with a static minor chord for some time, but you can use it in a cadence:

Herbie Hancock Scale Of Harmonic Goodness

On the Herbie Hancock scale of Harmonic goodness, this is an obvious “Don’t Play The Butter Notes“

Level 7 – That is Not Even A Minor Chord!

With all these options then you can start to use the different minor chords as substitutions for other chords.

A great example of this is to use a mMa7 chord as an altered dominant, here it is EbmMaj7 instead of D7alt:

You can hear Jobim do this in the bridge of his song Dindi, and it is something you can get a lot of beautiful harmony out of.

You can also use a CmMaj7 instead of the D7:

Herbie Hancock Scale Of Harmonic Goodness

These need to be somewhere between “You Are Fired and Don’t Steal My Gig” on the Herbie Hancock scale of Harmonic goodness. Let me know in the comments which one!

Why Your Comping Doesn’t Work

Colorful chords are great and a big part of what is fun to explore about Jazz harmony and playing jazz songs, but if you want to get started playing Jazz then it is as important that you dig into the type of chords that have room for you to add extensions and colors to them. This video will introduce you to shell-voicings and also show you how they are fantastic for a lot of things from walking bass and chords to bossa nova and a great starting place for building some beautiful chords.

5 Basic Jazz Chord Exercises That You Want To Know

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This Is Ruining Your Jazz Solo – A Powerful Bebop Breakthrough

You have a problem if your Jazz solos sound too much like this:

In a way, this should work because a lot of things are right about this:

  1. It is nailing the changes
  2. There’s a place where you can add a nice Bebop accent
  3. It is actually also a motif that is being moved through the changes.

But it still doesn’t really sound ok, So what IS the problem?

“It is Jazz! It needs chromatic notes!!!”

Still not really working, let me show you why:

A great jazz line should surprise you, it should not only change direction on the heavy beats like this or even the previous one did.

Because that makes it sound heavy, the lines should have more life and more interesting rhythm, not just go from heavy beat to heavy beat like a lawnmower.

Instead, you want something that is more like this:

Of course, It isn’t so that you can never change direction on a heavy beat, but not all the time, and it pays to figure out how to make the line more surprising, so let’s look at some surprisingly easy strategies for that.

Flipping Chromatic Enclosures

A simple chromatic enclosure that you probably already know is a great hack for this!

So if you have a Dm triad

then you can add the enclosure around the notes like this:

These are called diatonic above chromatic below.

The great thing about these is that they have a direction, and can go both up and down:

And that is much more powerful than you think.

 

Let’s say that you are playing a Descending Dm7 arpeggio:

But you want to add a chromatic enclosure around the last note, the D. The arpeggio is descending, so if you also take a descending enclosure then you get:

But if you have the enclosure go against the descending melody then you get this:

I am sure you can hear how HUGE that difference is!

And this will help you create lines like this:

Throw In A Triad

Another useful tool is to use the diatonic triads like I am using the Am triad on Dm7 in this example:

The concept is pretty simple if you have a note  where you can dip down and take a triad that fits the chord,  then that will work as a way to skip around and still be a strong melody.

In example 10, I did this on the E adding an Am triad. But you could also just take the A and use the Dm triad:

That will work in a line like this where I also use it on a D diminished triad on the G7(b9):

Steal a Bebop Trick

B-roll: Illustration of the F and E -> add low A?

Often a fantastic solution is to get a large interval skip in there but that sometimes sounds very unnatural. Luckily, we can lean on the Bebop greats to give us some tricks for this!

If you are playing a melody in the scale with a half step apart, so for example F down to E on the Dm7 chord then you can throw in a lower chord tone like the 5th, A:

And this always sounds great, another place where you can use that is on the G7 between the b9 and the root adding a low B:

One of the most powerful places to learn this and also get a ton of inspiration is of course to study the Bebop Greats, and especially Charlie Parker. Check out this video, If you want to see what you can pick up from him and also how I use that in my practice and playing. I can promise you that it is worthwhile and a lot of fun!

 

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5 Habits To Help You Learn Jazz Faster

You don’t learn to play Jazz Guitar in 20 minutes, it is a process and a set of skills that you build over time through practice. That is why you want to get used to doing things the right way, build the habits that help you progress faster so you are not wasting your time.

In this video, I want to discuss some of those habits that can help you level up your playing a lot faster because some of these are not obvious but they are all incredibly effective!

Practice Consistently

When I was studying mathematics at the university in Århus there was a summer where I decided that now I REALLY needed to start practicing every day, something my teachers had been telling me forever. And I still remember going to practice with my band for the first time after practicing daily for a few weeks. The instrument had just opened up for me, and I could play all these new things that I had never been able to play before, which felt amazing!

To be honest, I never had that again, but I immediately learned the lesson of consistent practice and what it could do. Which is maybe one of the most important things I have learned?

But it is more than just playing every day. If you want to improve something then you need to work at it until it really gets in there, and that often takes fairly long, like weeks or months.

The main thing to keep in mind with this is that you want to keep working on the same exercises for some time and track how you are progressing.

Here you keep playing the exercises to get better, and you track your progress to stay motivated. What you want to avoid is that you just scratch the surface and practice something new every day without really getting better. That is a lot less efficient.

This has often been a part of how I have worked when I have really improved my playing, especially with technique and speed but also with other things like improvising over difficult chord changes.

It is useful to often remind yourself that nothing will suddenly be something you can just do, you always have to practice, but you will see that later in the video as well.

Evaluate Your Practice

“Insanity Is Doing the Same Thing Over and Over Again and Expecting Different Results”

This is often put forward as an Albert Einstein quote, but it probably isn’t.

While Jazz Guitar may qualify as some type of mental illness, then what this will teach us is something else. You need to check if what you practice also helps you get better at the skills you want to improve.

If you are following the advice of practicing consistently then you also need to look at what you practice and compare that to what is improving in your playing, and maybe look at what you want to get better at and change or come up with exercises that focus on that skill.

You can do this by trying to have a list of goals that you want to improve. That is anyway a good exercise, because the more specific you can be about what you want to learn, the easier it will be to learn it. It is amazing how much time is wasted fumbling around in the dark. You won’t learn to improvise over a Jazz Blues by practicing scales or get better at comping by just practicing chord voicings.

This is very important so that you don’t spend hours working on something that won’t help you get better at the things you want to level up, and one of the main things to have in there is the next habit:

Use What You Practice

I say this very often in my videos, and it is something that I have to remind students of all the time!

“Work on using the things that you practice if you want them as a part of your playing!”

And this goes for diatonic arpeggios, drop2 voicings, or pretty much anything else. If you don’t have a strategy for getting it into your playing then you are probably wasting practice time.

Building this habit often means that you have to find a way to go from a basic technical exercise into something you use while playing, and often the missing link here is to use some form of composition and explore how you can connect the new material with all the other things you already have in your vocabulary.

This is something you want to keep in mind with your evaluation of your practice routines and pay attention to so that you make sure that you get the most out of all the exercises you do and that you are not wasting time on stuff that you can’t use.

It is also something that you want to think about when you come up with exercises, if you practice something that you have no idea how to use then you should wonder if it is really what you should be practicing.

Borrow Other Peoples Ears

I guess I am old-fashioned with this, but I am pretty sure that the most efficient way to learn is to take lessons with a good teacher. You can always disagree in the comments.

The important thing to realize is that if you are learning something new then you have to rely on your own ear to figure out if it is good enough or what is wrong, and sometimes we forget that you need a trained ear to recognize things like phrasing problems, swing-feel or even just how melodies lock in with the changes.

That is the biggest part of why you take lessons to get access to an experienced listener that will tell you what to work on. That is also why I use the community in my online course to give feedback on how the students are doing, which even helps with things that I don’t always talk about in the course.

If you don’t have access to a teacher in some form then you can also find people to practice with or even use Facebook groups like my Jazz Guitar Insiders group. Posting a video and saying what you are working on can give you a ton of useful feedback. With posting videos on the internet you do want to be aware of the amount of nonsense you can also get, so it pays to know who is commenting so that you know who to listen to and who to ignore

Play With Other People

Jazz is not a solo art form. It was developed in bands and it is about making music together and communicating with each other while improvising, but there are more reasons why it is very useful to make music with other people.

For me, this was always the most fun part of playing Jazz; Making music with others, and that is also clear from the fact that I learned a huge chunk of my repertoire playing in the streets of Copenhagen with a bass player before I started studying in the Hague.

What I see as the most important advantage is that you

  1. Are forced to play and make things work
  2. Have to take everything to where you can use it
  3. Have more fun and stay motivated.

And these are all 3 more important than you might think when it comes to learning, so if you don’t play with other people and you want to play better Jazz, then seek out the opportunities and find people to play some songs with and both learn and enjoy that experience.

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An Overlooked Skill That Will Give Your Jazz Solos A Massive Boost

It is funny how sometimes a single solo that you hear can really change the way you think about music and what you are trying to learn.

In this case, it was a pretty obscure video and a single solo, that I kept coming back to and that has influenced what I practiced for years, and I never even transcribed it, I just realized that I needed to figure out how to get that one thing a lot stronger in my playing.

The solo I am talking about is this incredibly low-resolution Jon Damian solo, where he is playing Sweet Georgia Brown in a duo with Jake Langley, both, of course, amazing guitarists.

A part of what made it stand out is probably the contrast between Jon and Jake’s solos, where Jake is playing a lot more traditional Bop-oriented 8th-note lines and Jon is relying almost purely on sparse melodies and A LOT of creative and swinging rhythms.

When I first listened to this then I did not immediately get what it was that I liked so much about the solo, but that is why I kept coming back to it and I tried to figure out why I thought it was great. Gradually I started to realize that it was about playing more interesting rhythms and not focus as much on 8th note lines which is what I had done until then. I needed to learn to hear phrases with that type of rhythm.

What Is The Difference?

Let’s first look at what I am talking about. A great but dense 8th note Bebop line could be something like this:

But Jazz is also about syncopation and rhythm and what you also want to be able to do is improvise lines like this:

And here you have fewer notes, but there is a lot of energy and tension in the rhythm that really comes to life, Who said early Jim Hall?

Get More Creative With Rhythm

So How Do You Practice This? Ironically the best way to get more options is to limit yourself and use that to develop your skills.

Let’s start with a simple rhythm, something you compose or take something from a solo that you like. Actually, there are some great themes and solos to check out for inspiration, but I will come back to that later.

In this rhythm, I am just using a few notes to keep it flexible. Here, I am using 2, but 3 would work as well. Just make sure that you don’t make a long complicated phrase like this:

And that is because you want something you can work with, and make variations of and eventually even take through an entire song.

Displaced Rhythms

Displacing rhythms is actually a very important part of jazz phrasing and jazz melodies if you listen to songs like Bernie’s Tune or Broadway.

You can practice is to take the basic phrase and then move it around, that can be in like this where I am shifting the phrase around one 8th note at the time:

Example 5

Of course, this is a pretty intense exercise and you can also just work with this as a way of composing lines and in that way expand the rhythms you use. This could give you a II V I line like this:

Another thing that can be fun is working with this on a one-chord backing track is a great way to learn to hear more rhythms and in that way expand what you can do, and gradually start to move it over to more complicated progressions.

Developing Rhythm and Melody

There is another way that you can develop more rhythmical playing, which will also lead me to give advice that I usually never give..

What you can do is explore simple ways to make variations of the rhythm.

Since there is a fair amount of space in the main rhythm that you are using then you can easily explore how to make variations by adding more notes here and there.

When you have very active rhythms like this then it is often easier to use very basic melodies. Usually, I suggest working with arpeggios, but you should probably start by using scale melodies here because that is less likely to sound like abstract skipping around.

You can of course also explore removing notes or shortening the phrase instead of adding to it and in that way take it further

Who To Check Out?

Anything you want to learn, you also want to learn at least partially by ear. You need to know what it sounds like.

I have already mentioned that you should check out themes similar to Bernie’s Tune or Broadway. Actually working on Bebop themes in general, is very useful, because even if Charlie Parker often plays more dense lines then these rhythms are certainly there and most of his compositions are not great examples to learn from. This is also one of the main reasons why Donna Lee may not be written by Parker since it is a lot more dense and on the bear than the rest of his compositions.

Call-Response

As you can probably tell by now, I am using the same tools for the rhythm that I use when I am working on melodic skills in solos. Another great way to work with melodies is to use Call-response.

The concept here is that you listen to what you play and then come up with a response to that.

In this case, the main statement is relying mostly on off beats, which creates tension, and then a logical response will be more resolved and have more downbeat. That is also what you can see in both of the examples of responses.

Of course, these are just examples of what I hear as a response, and you might hear something completely different, which is actually great.

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