Tag Archives: jazz blues lesson

Sonny Rollins – Things You Need To Know About Jazz Blues

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

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

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

Content:

0:00 Intro – Sonny Rollins

0:25 Tenor Madness with John Coltrane

0:56 Example #1

1:14 Changing the Chords – Intuitive and Decision driven

2:10 Is it Chi-Chi changes?

2:44 Altered but not altered scale

3:19 A Motif across the Chords

4:24 Eaxmple #1 Slow

4:45 Reharmonizing Bars 5-9

5:07 Example #2

5:30 A Musical Reharmonization with two voices

6:50 Example #2 Slow

6:59 Example #3

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

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

8:55 Example #3 slow

9:10 Blues phrases that are not Dominant chords

10:09 Example #4

10:14 Bb Triad + Chromaticism

11:44 Example #4 Slow

11:56 Examples #5 and #6

12:10 Using Bbmaj7 on the Blues

12:36 Examples #5 and #6 – Slow

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Oscar Peterson – How To Play Piano Blues Licks on the Guitar

In this Oscar Peterson Lesson, I am going to go over some of the blues licks and phrases he plays on C Jam Blues off the Night Train Album. Oscar Peterson is an amazing player to check out for both some very solid bebop and some awesome Blues. His ability to play blues on pretty much everything and get it to sound great is mind-blowing.

The examples in this video illustrate how Oscar Peterson used blues phrases and melodies and mixed those with bebop chromaticism and some very hip rhythm ideas.

Check out some of the lessons I did on other Jazz Pianists

How To Learn Great Concepts From Thelonious Monk

Bill Evans – How To Get Your Rhythms To The Next Level

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

Content:

0:00 Intro – Why Oscar Peterson is great

0:22 C Jam Blues Solo – What Guitar Players Can learn from him

0:43 Example #1 – Stop Chorus!

0:47 Analysis of the Form

1:16 Typical “Piano” Ideas in licks (Herbie does this as well…)

1:38 Major Pentatonic like Charlie Parker!

2:18 Hear Parker Play it!

2:24 Example #1 Slow

2:31 A few thoughts on Swing Phrasing and Tempo

3:25 Example #2 – Intervals

3:28 Guitar Players: Use more notes in Blues!

3:53 Breaking down the idea!

4:10 The Rhythm: Anticipation

4:34 Example #2 Slow

4:36 Example #3 – Amazing Turnaround idea

4:39 Chromaticism in Blues

5:52 Example #3 Slow

5:58 Example #4  Another type of Anticipation

6:03 Another type of Anticipation

6:32 Using Octaves to accent notes

7:11 Example #4 Slow

7:29 Example #5 – Blues Double Stops Supreme!

7:34 Using Chromaticism in a Blues Phrase

8:45 Example #5 Slow

8:51 Like the video? Check out my Patreon Page

Level up your Jazz Blues with this lesson

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Triads on a G7 – The Most Important Solo Tool

When you start to play jazz it is easy to get completely lost in extensions, alterations and chord substitutions. And while that is also a part of jazz then it is often much more useful to work on more simple things like what Triads you can use on a dominant chord.

To demonstrate some of triads you can use in a Jazz Blues solo and also talk about different ways to use them I have written a one chorus solo on a Blues in G which will illustrate a lot of options in terms of triad options for a lot of the chords in there.

The G Jazz Blues Solo

As you can see in the video the first thing to check out is the solo. If you can then go through the solo now and mark down the different triads you see. Not all phrases are pased on triads, but most of them are.

The Basic triads on a G7(9,13)

The first bar is a phrase made with a root position G major triad, sliding up to the 3rd and then playing first the root and then the 5th that I repeat.

You want to check out how to use the G triad on a G7, especially for a G jazz blues, but make sure to also work on how to play different melodies with it by learning the triad notes in different order or checking out inversions.

If you want to hear somebody use triads well then listen to Charlie Parker or John Coltrane (not the smallest names in Jazz..)

An overview of the triads on a G7 can be made by looking at the G7 with all extensions, similar to stacking the scale in 3rds from G:

G B D F A C E – G7(9,11,13)

G B D – G major

B D F – Bdim

D F A – Dm

F A C – F major

E G B – Em

Am and C major have too much of a “C” sound to really work well on G7. If you want to check out some more ideas for triads then this article might be helpful: Triads – How To Make Jazz Licks and what to Practice

The line on the C7 is not based on a triad.

In Bar 3 the opening phrase is developed using a similar but extended version of the melody. Now the triad used is the one from the 3rd of the chord: B dim.

This is developed further moving up to a Dm triad in bar 4. From there the melody is with a Db triad. The triad of the tritone substitute: Db7.

The IVth degree and the #IV dim chord.

On the C7 the melody is constructed of the triad on the 5th: Gm and on the C#dim the triad is on C#dim. Of course all 4 dim triads could work: C#,E,G and Bb.

Returning to the G7 the melody is constructed from a descending F major. With the F major triad you need to be a little careful with the C so that it still sounds like a G7. In this case I am moving the melody to a B.

On the Bø E7 is played using the triad from the 3rd of Bø: Dm and the one on the b9: Fdim

The Final Cadence and two Triad Combinations

The Final II V: Am7 D7 is using combinations of triads. The Em and C triads on the Am7. In this case this is not a triad pair since a triad pair is made up of triads that have no common notes. If you want to explore triad pairs then this lesson might be useful: Traid Pairs Part 1

On the D7al the triads are Ab and Ebm. The Ebm is neatly resolving to the triad on the 13th of G7: Em.

The melody on the D7alt and G7 is repeated and developed on the D7 into a D augmented triad.

Give you Jazz Blues playing a Boost

If you want to get some new ideas for you blues soloing and check out how I phrase on a medium Bb Blues then check out this lesson based on a transcribed 4 chorus solo. Discussing arpeggios, blues phrasing and pentatonic scales.

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You can also download the PDF of my examples here:

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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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F Jazz Blues – Study Guide

This study guide will give you a row of lessons to check out how to solo on an F Jazz Blues. The material will cover basic and advanced chords and voicings, arpeggios, scales and also some of the things to check out if you want to work on being able to play better melodies in your solos.

The 12 bar blues is an essential part of the Jazz Repertoire. The F Jazz Blues is probably the most common key. Famous pieces like Straight No Chaser, Billie’s Bounce and Au Privave are most know themes played in F. 

Your Feedback is very valuable

Remember that the guides are here to help you so if you have suggestions for this or other guides then let me know! I might have missed something or you have another idea for something that is important to check out! Feel free to send me an e-mail or message via social media.

I have also collected the videos in a Playlist on Youtube if you prefer that:

Playlist: F Jazz Blues YouTube Playlist

The Jazz Blues Survival Kit: Basic Scales and Chords + an Etude

The first three lessons deal with a basic chord vocabulary and how to use it when playing important chord progressions and jazz standards

Expanding your chord vocabulary

Where the basic clear voicings are presented in the previous section you can move on to a higher level by checking out these two lessons. 

The first is directly continuing with the material from the Survival kit and the second is introducing Drop2 voicings.

Arpeggios and Soloing

The best place to begin with soloing and expanding on it when approaching the blues from a bebop perspective is probably to check out the arpeggios. Being able to play the harmony is very important and a very solid foundation to build on.

The Blues in Jazz also has a specific language that is worth checking out. Adding this on top or next to your bop vocabulary is very useful. This video goes over 5 examples of lines mixing these two traditions.

Developing Phrasing for both chords and solos

Playing Chords does require more than just knowing what chord to play where. Some of the other parts of phrasing chords on a blues are dealt with in this lesson. The lesson is not using an F blues as an example, but the information in it will greatly help you get a good hard-bop blues vibe.

More Modern sounds

There are also more modern approaches that you can apply to an F Blues. Quartal Harmony and Pentatonic sounds are very common devices in Modern Jazz.

Chord Solos

Chord Solos is a must in mainstream jazz and this lesson goes over how to work on playing chord solos on an F blues by demonstrating a chorus and giving some exercises to develop your own chord vocabulary that is aimed at playing chord solos

Learn more about Jazz Blues

If you are looking for more extensive turtorials and examples you can check out some of the examples in my WebStore in the Blues category

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More Resources

If you want to have more resources available then you can also check out these lessons from my webstore with longer examples, exercises and analysis of material on an F Jazz Blues