Tag Archives: jazz blues licks pdf

A Simple Jazz Blues Approach That Makes You Sound Better

You already know it: It is not nearly as important what notes you play compared to how you play them. That is what I am going to use in this video because you can just take some really basic notes and then work on playing them in a way that sounds better. Once I started thinking more like that I really started to feel a difference in what I played, and it really lifted the solos and made them sound much more like “Real Jazz” (if that is actually a thing)

We can start with a basic C7:

And then use this simple one-octave version of the arpeggio for a C7:

Phrasing And A Little Rhythm

Now you can start working playing these notes and get them to sound like a Jazz Blues phrase. This is really about imagining a slow medium groove and just see if you can make some simple melodies, something like this:

So simple short phrases in the groove, think Wes Montgomery or Grant Green, and just try experimenting with coming up with some melodies.

You can actually get them to sound even better by adding this:

All that is changing is that you slide into the notes, which is sort of the Jazz version of bending strings.

Before you move on to another technique you probably also want to start to make longer phrases as well:

Here you want to notice that the longer phrases is really just two phrases put together and that one phrase works as a call (play) and the other as a response.

You can practice this by just playing a phrase then stop and try to imagine what you think should come after it, is it an ascending or descending phrase? A lot of notes or a few etc. Try to start getting used to hearing phrases and listen to what you hear inside

The Power of Legato Dynamics

Often when you practice legato technique then you are probably working on getting notes to sound equally loud so that there is no real difference between the picked notes and the ones you play with hammer-on/pull-offs

but they do have a different quality of tone, and this is something you can use to make your solos much more expressive and add some dynamics to your lines, which is a really important part of Jazz lines.

First, you can add the rest of the position around the one-octave arpeggio

This is just to have more places with two notes on one string so that you can use legato.

Now you can start creating lines like this:

And the fact that some notes are louder than others really helps make the whole thing much more interesting, so it is also something you can incorporate in your music as a dynamic quality. In fact, the is what you will hear with a lot of players like Grant Green, Wes, and more modern guys like Pat Metheny.

Adding A Little Color

Because you start with the basic chord tones then everything you play will sound good, but also very safe and maybe even a little bit boring. Besides working with phrasing techniques you can start to add in some more colors by surrounding the arpeggio with the rest of the scale. So let’s do that and then move on to some double stops.

So you go from this:

And then you place that in the scale:

The best strategy is probably to start by just adding notes in between the notes of the arpeggio:

Here you have the A before the 7th but notice that you can still use the slide to add another sound and the F is inserted to lead to the E.

And you are using scale notes to lead into the arpeggio. here’s another example:

Notice how the slide takes an incredibly simple melody adds a more bluesy character.

So the difference between the two bars below:

Double-stops and Pedal-tones

Double stops are often associated with Blues and work great for the sound. But there is another polyphonic technique that is also really great that you use which I will cover after this.

You can use double stops as a sort of emphasis on a chord tone, like this:

Here the double-stop is the important part of the phrase, and then the descending melody ending on the b7 drives home the blues feel. This is btw something you will hear Parker do very often: ending phrases on the 7th in a blues, especially just before moving to the IV chord.

Another great way to use double-stops could be this:

Example 13

The tritone is a great choice for a double stop that also really nails the sound of the chord.

Another way to use several voices that Kenny Burrell also uses quite often works like this:

Example 14

Using Pedal notes is a great sound, and it is a little overlooked, but still something you will hear in Stevie Ray Vaughn’s playing quite frequently.

 

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Jazz Blues – How To Get The Phrasing Right

In this jazz blues guitar lesson, I am going to teach you how to convert jazz line to Jazz Blues. This can be done by adding blues phrasing so that your phrases find that In this jazz blues guitar lesson, I am going to teach you how to convert jazz lines to Jazz Blues, by adding blues phrasing and find that sweet spot where both genres exist.

Most of us learn have learned to play blues licks along the way. This usually means playing pentatonic blues phrases which is what is the biggest part of that genre. You probably also have learned to play jazz phrases. Melodies that are based on the chords and use arpeggios.

The problem arises when you play a 12 bar jazz blues. Then you want to play something that connects both worlds. You want to follow the changes and you want some of that blues sound.

Most of that is about phrasing.

The basic Jazz Lick – A little Bebop

Let’s take a phrase from a Bb blues. So a Jazz phrase could be something like an arpeggio some scale melody and of course some chromaticism.

When we play it like this it sounds like jazz or a bebop lick but not really like blues.

#1 – Grace notes, slides and Hammer-ons

In these examples, you can see how I add sliding grace notes to the line. The melody is essentially the same but I am adding a few extra notes.

The grace notes are mostly resolving to basic chord tones and are really there to add some extra variation and movement to the line. In blues, you will often do things like this with bends and vibrato as well, but these techniques are less common in Jazz.

#2 -Enclosures and Bluesy Approach Notes

In Jazz Blues leading notes and enclosures are probably coming from the piano. Ironically piano players probably took it over from especially slide guitar players. That is also how it went in Rock and Roll with Chuck Berry.

Adding the enclosures and leading notes to the melody mean changing it a bit, but the basic shape of the melody is still there.

In the first example, here below, I have added an enclosure before the D so that the D is moved to beat 2.

I have also added a leading note between the C and the Bb

In the example below the single leading note is placed before the first D.

Leading into the 3rd like this is very typical for blues and certainly something you want to be able to do.

Another variation of this is to add a trill instead of a leading note. Below,the trill is added on beat 1. It uses the 3rd(D) and the leading note for it (which is the minor 3rd)

Very often Jazz guitarists emulate bends with trills. This is what the example above illustrates.

#3 – Double-stops

Using double-stops is another technique that we borrowed from piano players. By now that has become an important part of the Jazz Blues sound.

It is also a great tool to get other sounds into your solos in an easy way. Just to change up the single-note lines.

The example below is first using a low D as a pedal point before moving to a melody that is in fact harmonized in 3rds.

This second example is more focused on harmonizing the melody in 3rds. The phrasing here also includes grace notes both in a single voice and in both voices at the same time.

Another very common blues device is to have a high pedal point 2nd voice. You don’t hear it too often but Wes Montgomery and Scofield use this.

More Bb Blues Phrasing in a complete solo

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