Tag Archives: jazz guitar lesson

5 Ways You Need To Know And Practice Your Arpeggios

Arpeggios are huge part of improvising over changes in jazz guitar and especially in the more bop oriented styles. When we improvise we use arpeggios to connect to the harmony and spell out interesting extensions or alterations.

Practicing Arpeggios

This video is going to discuss 5 ways to practice arpeggios so that you get as much as possible out of practicing arpeggios and that you also make sure to make music with them.

I also included a few extra examples for working on creating more intervallic or modern sounding licks or solos. There are a few ways to achieve this, one of the ones that I like to use is experimenting with turning chords into solo lines and in that way access some larger intervals.

Hope you like it!

Content of the video:

0:00 Intro

0:56 It’s not only how you practice, it is also why you practice and what you learn.

1:18 Knowing Arpeggios in Positions – What you need and how you work on it.

2:04 Arpeggio positions and Scale fingerings + Downloads

2:29 Putting Arpeggios in a Context: Diatonic arpeggios

3:31 Across the Fretboard – Getting freedom with the arpeggios

4:00 Example Dm7

4:11 What to focus on and learn from this

5:06 Melodic Patterns

5:29 Two examples of Arpeggios patterns

6:04 Making Music – Using The Arpeggios

6:19 Improvisation example

6:33 Adding large intervals to your solo via Arpeggios

7:04 Examples of useful voicings

7:15 Example 1

7:22 Example 2

7:29 How do you work with arpeggios? Do you have ideas or suggestions?

8:09 Like the video? Check out my Patreon Page

Practice Major Scales like this and You will get more out of it!

You may think that this is a guitar technique video about major scales, but there is more to scale practice than moving your fingers. Most musicians study major scales as part of their practice routine. In this video I want to talk about what you want to learn, what you need it for and how you use it to build on when making music. Hopefully you can recognize and maybe re-shape your practice and connect things more.
 For a lot of you this may be a big check list that you can cross a lot of stuff off on, but it will also give you some new ideas on where to go and connect the things you already know. I may give you the advice to learn a bit of theory.

List of Content:

0:00 Intro – What you need to know, what is going to make you play better

0:18 It’s more than moving your fingers

0:57 Step 1 – Learn the scale on your instrument

1:07 Learn the notes of the scale

1:31 Combine The theory and the scale practice

1:50 Learn the Fretboard using the scales

2:29 How knowing the notes helps in a solo and how you use it

3:26 Step 2 – Learning the Diatonic Chords and Arpeggios

3:39 The chords are in the scale

3:58 Construction Diatonic arpeggios in the scale Cmaj7 and Dm7

4:32 What you need to know about the diatonic harmony

5:19 Knowing the notes of the chords in the scale and using that.

6:01 The 7th chords in Jazz and the Triads

6:30 Triads and how they are built

6:47 Triads in Jazz: Upper-structure triads and how they are used

6:56 Em triad as upper-structure on a G7

7:24 Step 3 – Beyond the Basics

7:44 The “Diatonic” Minor Pentatonic scales – Modern Jazz Sounds

8:11 The three Pentatonic scales

8:45 Connecting knowledge to understand the pentatonic scales

9:01 Super-imposing Pentatonic scales on Extended chords

9:32 Example of how to relate a pentatonic scale to a Cmaj7 chord

10:00 Improvising with the super-imposed scale

10:32 Quartal 3-part arpeggios

10:47 Playing the arpeggios and Quartal chords in the scale

11:02 The mysterious chords and how we use them

11:33 How to use the Quartal Arpeggios in your playing

11:56 Example of analyzing some chords against a Cmaj7

12:45 The Many other subsets, arpeggios and structures to work with

13:25 What you need to learn and use!

14:00 Do you have a favourite scale exercise or approach?

14:48 Like the video? Check out my Patreon Page!

The Reason Your Jazz Guitar Licks Suck and How you fix it!

Your jazz licks have all the right arpeggios and chord tones, target notes etc. And they still don’t sound like great bop lines! The Problem is probably with the jazz phrasing.  In this video I am going to give you a basic understanding of some of the jazz phrasing that can lift your solos to the next level.

I am also going to give you a way to write licks which you can phrase better and take a few bars from a George Benson solo to demonstrate how he gets it right!

The Good, The Bad and the Bebop!

In the example below I have written out two examples of jazz lines over a Turnaround in C major.

They both contain right notes and the melodies are moving from chord to chord in a logical way, but the second one sits better in the groove and is easier to phrase in a nice way.

The difference is where the target notes and the notes where the line changes direction are placed. In the first example this is all the time on the heavy beats (so beats 1 and 3). This is shown with the circle.

In the second line these notes are placed mostly on an off-beat and that makes it possible to give them an accent and add some more life to the line.

I guess the difference is that bebop lines need the syncopated lines that have high notes and turning points on off-beats because that makes it come alive and add some small dynamic surprises for the listener. 

Composing lines with better phrasing

It does sound a little strange I know, but actually we can work on making lines that are easier to phrase in a right way. 

The trick is to find a way to create lines where we have a high note on an off-beat.

If we take the two heavy beats in the bar, 1 and 3, then there are two types of off-beats we can have: The one before a heavy beat: 2& and 4& and the one after a heavy beat: 1& and 3&.

Before a heavy beat

In example 3 I am using the Dm7 G7 progression to demonstrate 4 different ways to have a high note (and therefore an accent) before beat 3.

After a heavy beat

The 3 different examples below show how you can add an accent on 1& by making that note a local high note.

It is worth noting that the descending line actually also makes the 1& a note you can accent, so that option is also often a good way to add an accent. You will also see this in the George Benson solo.

Examples of Jazz Licks with accents

To show you some examples of lines that have melodies that you can add accents to I have written to II V I lines in C major.

The first example starts with an accent on the 2&. This is achieved with an Fmaj7 arpeggio similar the 2nd bar in Example 3. The rest of the bar does not contain anything that gets an accent. 

In the G7 bar the first accent is on the 1& where the D is a high note. There is another accent on the 3& where the B can get an accent.

The 2nd example is using the same arpeggio on the Dm7 to get an accent on the 2&, but this time the arpeggio is played in an inversion to add a large 6th interval skip on the 1& 

The ascending arpeggios are also used to get accents on the 2& and 4& on the G7alt. Here it is first a G augmented triad and the 2nd one is an Fm7(b5) arpeggio.

Other ways to lget better at phrasing

Learning from composing and analyzing is only one way of the ways to internalize these things. Of course it will help you recognize and hear where accents are and understand the phrasing examples you hear on a conscious level.

Another way to work on this is to listen and imitate examples of good phrasing, this can be copying records or learning to play transcriptions.

Why George Benson has great phrasing

As an example of somebody with good phrasing here is 4 bars from a George Benson solo. These 4 bars are an excerpt from his (really fantastic!) solo on Billies Bounce. I transcribed it and will go over where the accents are.

The excerpt starts on the II V to Gm7, which in Billie’s bounce is Am7 D7(b9). The first part is a sweep of a triad which does not contain any accents, mostly because this technique does not really allow you to add an accent.

The line on the D7 moving to Gm7 does have an accent. The Sweep of the C major triad comes out on an F#. From here it skips up to a D and descends step-wise to Bb. This means that it is possible to add an accent on the 4&(C) which George does. 

On the Gm7 the A on the 2& get’s an accent., and for the rest there is no accents in the Gm7 line. Ont the C7 the G on the 1& is a high note which then gets an accent. It is followed by a dramatic skip (dramatic in a beautiful way…) and the line is ended with a bop cliche that ends on an D on the 3& that also naturally get’s an accent.

On the F7 D7 there are not notes on the off beat and therefore no accents. 

The Gm7 C7 line at the end of the chorus actually has accents on all off beats in the bar, which is of course possible, in this case it is also part of a blues phrase that somewhat asks for it.

How do you go about improving your phrasing?

When you are working on phrasing I would suggest that you combine all the approaches I discussed in this lesson. It is important to listen and analyze solos to get the sound of the phrasing into your ear. At the same time you can reinforce this process with composing and exploring what lines you can come up with that has notes that you can give an accent.

Finally it is also really good to have some solos that you really copy and play along with the record to really get into how the guitarist is phrasing.

Good luck with it!

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Take this approach further with more examples

If you want to explore the concepts discussed in this lesson further with some exercises and examles you can check out this lesson in my WebStore:

Jazz & Bebop Phrasing – C Blues

Get the PDF!

You can also download the PDF of my examples here:

The reason your jazz licks suck!

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.



the 3 jazz scales you need to know

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

My Approach to Jazz Scales – Learn from the songs you play

In this video I am going to take a practical look at the chord progressions you will encounter and what scales over what chords you are going to need. I am also going to discuss how you apply the scales to the chords and practice in a more general way towards being able to use a scale over any of it’s diatonic chords.
Hope you like it!

List of content: 

0:00 Intro — a myriad of Jazz Scales

0:20 Practice efficiently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!

Jazz Blues Analysis – The Variations you need to know

The 12 bar Blues is probably the most common song structure or chord progression in music! In this video I am going to analyze some of the common variations of the Jazz Blues and cover what you need to know to make have a strong chord progression adn chord substitution vocabulary for playing over a jazz blues.

I am going to talk about how the jazz blues can contain IVm progressions, #IV dim chords and also some other parallel II V options.

Hope you like it!

0:00 Intro – Jazz Blues – the most common progression in Western Music

0:34 Example: The Basic Jazz Blues form

0:57 The Main Structure and parts of the form

1:35 Analysis of the harmony

2:20 A bit of history of the Blues Harmony since Charlie Parker

3:50 The options for altered dominants and Tritone II V’s in various places

4:07 Examples of possible cadence to IV

5:25 It’s all about the subdominant!

5:40 #IV dim chord

5:50 Example: Blues with a #IV dim chord in bar 6

6:18 Scale choices for the #IV in the blues

7:07 Blues themes with #IV in the progression

7:20 #IV bonus: The Blue note!

9:02 The IVm chord

9:34 Scale options for IVm or bVII 10:24 IV in Blues themes

11:21 Cadence to II chord

11:56 the chromatic II V chain

12:22 example with the Chromatic II V’s

12:45 How to deal with the parallel motion in a solo

14:21 Tritone sub for the II chord

15:00 Do you know any great Blues Progression harmonizations?

17:00 Like the video? Then check out my Patreon page!

How to Come up with New solo ideas – Rethink the stuff you already know

It can be difficult to come up with new ideas for your solos, but this video talks about how you can use all of the diatonic triads, arpeggios, pentatonic scales etc and find the right ones to the chord you are playing over. Not only playing just with the arpeggio, but also how to mix it with the other material.

The video has a lot of examples and explanations and also a lot of philosphy on playing over changes, superimposing arpeggios and other things like developing a personal sound and taste.


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0:49 The Maj7 and the F Major Scale

1:10 What I will check out

1:48 The Fmaj7 chord and diatonic arpeggios

2.55 Solo using Fmaj7 arpeggio

3:12 How you solo with an arpeggio when learning new ideas

3:53 Arpeggio from the 3rd

4:18 Solo using Am7 Arpeggio 

4:43 Why we don’t really want the Bb in there and C7 doesn’t work

5:46 A 3rd below: Dm7

5:56 Solo using Dm7 Arpeggio

6:31 Arpeggios against another root note and the having an overview of the scale

8:20 Solo using F major triad 9:29 Am triad solo

9:51 Thoughts on making melodies with Am triad vs Fmaj7

11:01 Solo using C major triad 11:23 C major triad and not having the 3rd in the arpeggio.

12:14 Solo using D minor triad

12:32 Finding associations with the different arpeggios and the sound they make

13:48 Quartal Harmony

15:19 Solo using Quartal Arp from G

15:34 DIfferent fingerings and mixing it with other things

16:27 Solo using Quartal Arp from A

16:53 Connecting to the chord, using chord tones

17:28 Solo using Quartal Arp from D

17:46 Emphasizing the intervals in the arpeggio

18:32 Solo using Quartal Arp from E

18:53 Different patterns of the Arpeggio

19:37Other options like spread voicing, drop2 and inversions..

20:14 Pentatonics

20:27 Solo using Dm Pentatonic

20:47 Choosing pentatonic scales for a chord

21:48 Solo using Am Pentatonic

22:13 The “other”Pentatonic scales lesson series

22:48 Shell Voicings – Finding Useable

24:10 Solo using Fmaj7 Shell Voicing

24:51 Solo using Am7 Shell Voicing

25:05 Ways to practice shell voicings in postition and along the neck

26:26 Solo using Dm7 Shell Voicing

27:38 Solo using Em7b5 Shell Voicing

27:55 Compensating for the lack of chord tones in the arpeggio

28:44 What am I trying to do when practicing with these arpeggios

29:26 Sus4 triads and Mark Turner

30:03 Finding useable Sus4 triads

30:38 Difference between Sus4 and Quartal Harmony?

32:02 Solo using Gsus4 triads

32:33 Solo using Asus4 triads 32.49 The sound of the sus4 triad

33:35 Solo using Csus4 triads

33:51 Using the resolution of the sus chord in the melody as well.

34:42 Solo using Dsus4 triads

35:05 Sus4 triads as voicings.

35:33 Using this approach to develop and understand your own taste

37:38 Outro


3 Exercises you MUST know on songs – Better than the usual Scales and Arpeggios

Working on Exercises while improvising is a very efficient way to improve your jazz improvisation. Developing you abilities while improvising means that you are finalizing what you have checked out as exercises or written new material with. In this video I will cover 3 exercises that you can add to your jazz guitar practice routine and help different aspects of improvising and translating your technical skills to your improvised solos.

I have also added an extra exercise that will give you a new way of developing and understanding of the harmony and voice-leading plus elp you come up with new licks or lines.


List of contents:

1:32 Solo only using Basic Diatonic Arpeggios
2:11 Discussion of Arpeggio solo exercise
4:32 Solo in one position
5:08 What to take away from soloing in one place on the neck
6:59 Continuous Motion solo
7:36 What to focus on and learn from Continuous Neck movement on the neck
9:43 When and how to use these exercises
11:04 The Bonus exercise to develop new licks or lines
13:31 How to make guide tones and what you can work on with this exercise.

Allan Holdsworth Chords on a Jazz Standard – Advanced Modern Chord Voicings

Allan Holdsworth is of course famous for his fantastic chord voicings and use of extended chords. I thought it would be an interesting experiment to take a standard and try to play through it with the type of chords that Holdsworth might use, so I took the song Days Of Wine And Roses and went through that applying chords and voicings with that in mind.

Holdsworth and Standard Jazz Harmony

The music of Allan Holdsworth is of course not based on the same type of harmony that you find in a jazz standard, and in his chord vocabulary there are many different types of voicings. The ones I chose to focus on in this video are the more open chords that are spread out over several octaves. Since the music that Holdsworth plays is also a different harmonic language my chord choices are a bit different. This is mostly because I would have to completely reharmonize the piece to get closer to those chord sounds, and for now I feel that it would missing the point. I really want to try to bridge the gap between this type of  voicings and more standard jazz chord progressions for this lesson. Maybe in another lesson I can also adapt the chord sounds a bit.

A lot of these are Drop2&4 voicings or derived from that, though not all of them. If you want to check out more on drop2&4 voicings to make it easier to play and understand what I am doing here you can do so here:

Drop 2&4 chords

Using the funny inverions and Drop2&4 voicings

The chord voicing is actually an inversion of a very common Fmaj7(9) voicing with the notes A G F and E spread out over two octaves. The original is a very common “bossa nova” chord: F A E G.

The 2nd chord: Eb7 is constructed by voice leading the first voicing, so A moves to G, F to Eb, G to A and E to Db. This gives us an Eb7(b5) voicing which is in fact also an inversion of an Drop3 Eb7(b5).

The Am7(b5) voicing has some added “Holdsworth color” because I opted for a Am7(9b5) which I here play with an Ebmaj7(#5) Drop2&4 voicing. 

The D7alt is voiced with a drop2&4 D7(b9b13) chord, which you could also look at as being an Ebm6 chord.

Mixing drop3 and drop 2 and 4

Both Drop2&4 and drop3 voicings share that they contain larger intervals, and this means that you can often easily get away with mixing them.

This happens on the Gm7 below where the first chord is a Bbmaj7 drop2&4 voicing that then is followed with a drop3 Bbmaj7 voicing. The drop3 is played a bit odd because I skip a string in the middle, but like this the sound between the two fits better. I didn’t actually notice that it was a drop3 in the beginning.

The Bbm7-Eb7 is a straight ahead way to voice IVm II V in F: Dbmaj7 and Eb7(b5) both drop2 and 4.

The chord voicings that I am using on the Am7 is a stack of 4ths over a low E. The voicing is less common because it has the 3rd and 7th high in the chord and the 5th and 11th lower.

The Dm7 chord is coming out of voice leading the Am7 to F, so it has a Dm7(9) sound.

On the Gm7 C7 I start with the Drop3 Gm7(9) and move from there to a C7(13) drop2&4.

Spread Triads with added notes

To me the emphasis, when using these voicings is on the sound of the chord more than the functional character of the progression. This is evident both in the voice leading and also in the way I play the chords as mostly sustained surfaces of sound.

That actually makes it a bit difficult to really get it to work on the kind of progression shown here below. The First two bars are repeating material that I already covered.  The only thing worth noticing is of course that the Eb7(b5) from bar2 can also work as an A7(b5).

On the Gm7 I use a Bbmaj7 spread or open-voiced triad and then over that triad I add an 11th( a C). This voicing has a 5ht interval as the highest interval and I move this interval up a 1/2 step to the C7alt (which is then a C7(b5b9).

Parallel fifths!

The parallel fifths that are moving already on the Gm7, C7alt are resolved as a G and D on the Fmaj7. This is coming from voice-leading the C7alt.

The Eb7(b5) is a standard drop2&4. The Am7(b9) is also a drop2&4 this time I am using a CmMaj7 chord voicing to add the 9th to the sound. THe D7(b13) is another drop 2 and 4 voicing.

Re-using voicings on other chord types

The first two voicings on Gm7 are the same as in the first half. On the Bbm7 I am using the same voicing as I started with on the Fmaj7 in bar 1. Now I am playing it from F and it contains F,Db,Eb and C which is a Bbm(9,11) sound. In the context the Ab is not really missed. 

The Eb7 is coming out of voice leading the Bbm chord and contains G(3rd),Db(b7),A(#11) and C(13th).

A few different ways to derive new voicings

The Am7 voicing here below is using the same structure as we saw on the Gm7 before the half of the song: An Open triad with an added 11th. The Dm7 is a Drop2 and 4 Fmaj7 voicing where the A is substituted with a G so that we have a Dm7(9,11).  I really like this voicing with it’s stack of 5ths and the added 9 on top.

On the Bm7(b5) I am using a straight Bm7(b5) drop2&4 voicing. 

The Bb7 is played with an FmMaj7 voicing, this one derived from teh Fmaj7(9) voicing I used in the beginning but now with an Ab instead of an A. 

The last 4 bars start with an Am7 voicing that are coming out of voice leading the Bb7. I chose to add a 9 even if that is not really in the key of F.

The Dm7 and Gm7 are both drop2&4 voicings that I talked about earlier.

The C7alt voicing is another drop2&4, but this time with a C7(#9b5) which has a major 6th as the highes interval (Gb toEb).

The turnaround is reharmonized a bit so instead of going to F I resolve first to a Dbmaj7 using the drop3 voicing I also used on Gm7 and a Gbmaj7 that is voiced with the chord I also started with. This also makes it easy to loop the whole progression.

How to use this lesson

I hope you can use this etude to learn some new chords and hopefully you can also get some ideas for new voicings and also a bit of insight in how you comp with these larger interval structures in the style of Allan Holdsworth.

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You can also download the PDF of my examples here:

Allan Holdsworth Voicings on Days of Wine

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Bebop Jazz Guitar Licks – Classic Bebop Sound Decoded

Checking out bebop jazz guitar licks is a huge part of learning a style of music like Bebop. This also means out how to incorporate what makes them Bebop Guitar them into your playing. This would be true both for phrasing and specific arpeggios, chromatic enclosures that are being used in Bebop.

In this video I will go over 3 good examples of Bebop Jazz Licks, and then I will analyze them and talk about how they are constructed and what the building blocks of this type of jazz lick is.

The Bebop Dominant

Since the bebop style is very focused on dom7th chords I have made examples of V I progression in the key of G major. It is of course also possible to use these on a II V I in G major.

In general the people who play bebop and teach it (like Barry Harris) will focus more on the dominant than the II chord in a cadence.

Bebop Jazz Guitar Lick #1

One of the really common Bebop phrasing ideas is to use 16th note scale runs in the middle of an 8th note line to create some variation. The first example here below has this in the middle of bar 1.  The easiest way and to play this and get it to sound good in terms of phrasing is to use pull offs towards the target note.

Another very common device is using chromatic enclosures which what you see in the 2nd half of bar 1. The enclosure is used to target and emphasize the 3rd of D7 on the 1 of the 2nd bar.

The first half of the 2nd bar is in fact just a D7 arpeggio, but the line is constructed by playing a descending D7 arpeggio and then displacing the last three notes an octave. This yields a very beautiful and melodic 6th interval between the F# and the D.

At the end of the line I included a D augmented triad that nicely resolves to the 9th(A) of Gmaj7.

To practice playing the 16th note trills with legato you can take this exercise through a position of 3 notes per string major scale. I have only written out the first 3 string sets.

Bebop Jazz Guitar Lick #2

This example contains two ideas that you will find in a lot of bebop lines. The first is playing a 7th arpeggio with a triplet, which is how the line starts. In the line I am playing a descending Em7 arpeggio. 

From here the line skips back to A for a descending scale run. 

In the 2nd bar you’ll first hear a 16th note triplet trill between root and b9. This is again executed with legato. From here the line continues down the arpeggio. Inserts a leading note a half step below the 3rd of D7 and uses another octave displacement before resolving to the 3rd(B) of G

The triplet idea can be practiced in position as shown in the exercise here below. It’s an extremely good alternate picking exercise if you use that technique and will also work really well with sweeping (as I demonstrate in the video)

To work on the trill (and work on your legato technique) you can do this exercise which is taking the trill idea from the line above through a G major scale position.

Bebop Jazz Guitar Lick #3

The ascending 7th chord arpeggio with an added leading note is a very typical for bebop licks. In this example I am using that on an F#m7(b5). F#m7(b5) is the arpeggio from the 3rd of D7 and a great arpeggio to use over a D7.

 From the high E I add a chromatic leading note and make a short chromatic run before going to C on the 1 of bar 2.

The 2nd bar is first a descending Cmaj7 arpeggio that then continues to the b9(Eb) on beat 3. From here the line uses octave displacement and continues with a line to resolve to the 3rd of G, and tagging it with a G. Another trademark bebop move.

To practice the arpeggios you can of course take them through the scale. There are several ways to do this, one of them is shown here below.

Making new licks with the building blocks

The main point of this lesson is of course that you can start making your own lines that sound more like bebop. To demonstrate how you might do that I have included two bebop licks that are constructed from the ideas that I used in the first three licks.

Derived Bebop Lick #1

In this first line I start with the opening idea from Lick no 3, but now I am using it on a D7 arpeggio.  This is followed by a 16th note scale run fill as in the first example.

In bar 2 I continue with a descending scale run. This leads into the 3rd of D7 where I use the same octave displacement idea that I used in Lick no 2, only now played an octave higher.

In this way we end up with the lick shown here below:

Derived Bebop Lick #2

In the last lick I am starting with the 16th note trill idea from Lick no 1. This is followed by a scale run that leads into two arpeggios chained together, an Am7 and a F#m7(b5). The line ends with the “bebop” ending that resolves to a D and then drops down to the 9th(A)

I hope you can use these exercises and building blocks and the process to start incorporating some more bebop into your lines. Bebop is a very rich melodic language with a great amount of things you can use even in more modern bop based jazz guitar solos.

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Bebop Jazz Guitar Licks – Dominant Ideas and Analysis

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5 Great Jazz Licks You Need to Know With The Dominant 7thb5 arpeggio

The dom7th(b5) chord is a great sound to use in your solo. Since it isn’t really diatonic to any scale then we often forget to use it as a dominant arpeggio. In this video I am going to demonstrate 5 great ways to use this arpeggio on different chord types.

Here you will learn how it works for several chords and several sounds like the altered scale, the diminished scale and a few more melodic minor sounds!

Lydian Dominant

The Lydian dominant is a dominant with a #11. One way of playing that chord is to play it as a dom7th(b5).

In the first example I am using the arpeggio on a bVII dominant which is one of the very common Lydian dominants. The progression I am using is in the key of C major and it is a IV IVm I type progression.

On the bVII I am using Lydian dominant scale which is F minor melodic over a Bb7 in the key of C.

The scale is shown in example 1: 

The Bb7(b5) arpeggio in this position could be played like this:

The progression in C is Fmaj7, Bb7 to Cmaj7. The line on the Fmaj7 is first a chromatic run from E to G and then a line based on the arpeggio from the 3rd of Fmaj7: Am7. The line continues to the Bb7 where it ascends from Bb to Bb in the arpeggio and via the Ab and F resolves to the 5th(G) of Cmaj7.

Dominant from the diminished scale

The diminished scale also contains the arpeggio. In this example I am using a II V I in C and since the dominant is a G7 we have a G7(b5) available.

Notice that the G7(b5): G B Db F is the same as a Db7(b5): Db F G B

The Diminished scale that fits on the G7 is shown here below:

The G7(b5) (or Db7(b5) arpeggio in this position could be played as shown in example 5:

The line on the Dm7 is in this example starting with a trill on the 3rd and then continues up an Fmaj7 arpeggio. From the E it descends down to the b5 of G7 and continues up the arpeggio to B. From the B it continues with an Ab and an E to spell out a first inversion E major triad. The line then resolves to the 9th(D) of Cmajor.

The dominant sound of a G7 from the diminished scale could be written as a G7(13b9b5). The line spells out this sound with the G7(b5) combined with the E major triad. E major over a G yields E(13), G#(=Ab, b9) and B(3).

Altered Dominant

If we look at G altered. G Ab Bb B Db Eb F G, you can see that it is possible to construct a G7(b5): G B Db F. This means that the G altered dominant is also a great place to put this arpeggio to use.

The G altered (or Ab melodic minor scale) is shown in example 7:

The Arpeggio in this position could be the same as in the previous line, shown in example 5.

The II V I line with the altered dominant is making use of an Fmaj7 shell voicing followed by a chromatic pasing note and an chromatic enclosure resolving on the 3rd(B) of G7.

On the G7 the line is the ascending G7(b5) arpeggio from B to B. This is followed up by a 2nd inversion Eb major triad.The combination of the G7(b5) and the Eb major triad spells out a G7(b5b13#9) in total which is a great combo for an altered dominant. 

Tonic minor

From the previous example we know that the Melodic minor scale contains a dom7th(b5). One place where we can use this is on a tonic minor chord. In this example I am using an F7(b5) arpeggio (as shown in example 9) over a Cm6 chord.

The line starts with a small melody using an augmented triad followed up with a scale fragment. In the second bar the line is a F7(b5) (or B7(b5)) played in a sequence. It resolves to the Maj7(B) of C.

The Lydian Augmented or Lydian #5 sound

Another sound that we can apply the arpeggio to is the Lydian Augmented sound found in melodic minor. In this case I am using it on a Cmaj7(#5).

The scale that fits on this is A melodic minor:

The D7(b5)/G#7(b5) arpeggio that is found in this scale could be played like this:

The way I am using the Lydian Augmented chord in the progression is a as a suspension of the tonic. This means that the progression is a II V I, but the I is suspended by first a Imaj7(#5) and later resolved to Imaj7.

The Dm7 line consistst of an Am7 and an F major triad. On the G7 I am using a strict C major or G mixolydian sound. This yields a melody that spells out a fairly basic G7 sound. This is first resolved to a Cmaj7#5 where the line consists purely of a D7(b5) arpeggio that then resolves to the 5th(G) of Cmaj7. 

 Other places where you can experiment with the dom7th(b5)

The arpeggios that are found in scales but not build by stacking 3rds can be a very useful way to introduce specific sounds. The Dom7th(b5) sound is also great if you have a dominant for an extended period of time. This happens in the beginning of a Blues or the Bridge of a Rhythm Changes.
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5 Great Licks with dom7thb5 arpeggios

If you have any questions, comments or suggestions for topics or how I can make the lessons better 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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