Tag Archives: jazz guitar lesson

The Two Reasons Triads Are Amazing For Jazz Solos

Usually, you connect Jazz with chords with a lot of extensions and alterations. But Triads are still an amazing resource that you can create beautiful lines with and something you definitely want to check out. In fact, you can use triads to add some things to your playing that are essential to Jazz and not just about what notes you play over a chord.

Of course, there are more than two things that are great about triads, but the two I talk about here are really useful for Jazz, but If you have other suggestions why triads are great and how you can use them then leave a comment.

Diatonic Triads – The Raw Material

Before you start using the triads then you should also have an overview of them and two things you can work on to have that overview would be to practice the diatonic triads in the scales:

and also check out the triads on string sets like this:

This is simple and basic stuff, you want to know diatonic triads and 7th chords for all scales that you need for soloing, and please start with major scales because you need that the most.

Triads Can Help Your Rhythm

First I want to show you how you can use triads to create more interesting rhythms in your lines. One problem that many students run into, and I know I did, is that when they figure out how to play changes, then everything starts to sound heavy and obvious when it should be light and swinging.

So you don’t want to sound like this

What is missing here is that the rhythm and the melodies are predictable and all move to and from the heavy beats

And instead, you want the accents to be on off-beats more syncopation and more surprising and a lot lighter. Since triads are 3 notes they are really good for having melodies that shift accents and make the solo dance more. Something like this:

So I am playing triads to create a pattern of 3 notes that shifts on top of the 4-4 meter and in that way sound a lot better.

And you can explore this in many ways, you can also add chromatic passing notes and not only use triads but still get a great effect:

Finding Triads

To come up with lines like this then it is useful to find the triads that sound great over a chord. Then you have some options to create the licks that sound great.

I am going to give you an easy way to explore that, before covering the other great triad trick you that is super useful for so many other things as well. There is a very easy way to do that by writing the scale out in 3rds.

So for Dm7, this is coming from the C major scale, which you can write in 3rds like this:

C E G B D F A C E G

The Dm7 chord is here: D F A C, and the triads we can use would be

Dm, F, Am, and C which you can see still contain some basic chord tones and also adds some beautiful extensions.

The G7 that you heard in the examples was coming from the C harmonic minor scale, so in fact, you are borrowing the dominant from minor to get some interesting notes, and also some really great sounding triad options:

So here you have the C harmonic minor scale written out in 3rds.

C Eb G B D F Ab C Eb G

The G7 is here! and then you have the triads G Bdim and Ddim, but Eb augmented works as well and you can make some really interesting melodies with them.

Writing out stuff like this is incredibly useful for your overview of the scales and will give you a ton of options to use in your solos.

Change The Chords!

The other thing that triads do really well is that you can get your melodies to make sense by playing the triads of a super-imposed progression and in that way create a sort of counterpoint to the original chord progression. Because you are playing something that works but also moves differently.

This is pretty easy, you can do this on a single chord like this:

Here I am playing a short walk up Cmaj7 Dm7 Em7 just using the basic triads and since Em sounds great on C major then the Dm triad just becomes a diatonic passing chord used in the melody that resolves back into the sound of the Cmaj7. But it really adds some movement instead of just playing up and down a Cmaj7 arpeggio.

More Chord Progressions

The same type of concept used on a II V I could give you something like this:

Here I am using triads from both C major and C harmonic minor, first walking up Dm and Em and then Fm and G from harmonic minor adding a Ddim before resolving. In this way, you have a line that shifts on top of the meter with 3-note groupings and also adds a different kind of movement in the chords.

Notice how using stepwise movement is a pretty easy and strong way to create these progressions.

This is a variation of the same idea, but now moving down from F to Dm and then using a D dim triad to get the G7(b9) sound.

If you really want to open up this type of thinking then you want to also add the triads in the altered scale, that gives you something like this:

Here the chord progression is F and Am on the Dm7 and then Abm and Db on the G7alt . You can hear how this also might work as chords:

And you sort of can turn the G7alt into a tritone II V using Abm7 Db7.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/two-reasons-are-49986387

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.

Pentatonic Scale In Jazz – Exploring An Important Sound

These videos will show you how to develop Jazz lines and use them on Jazz Chords and Progressions so that you can start with material that you already know in Jazz.

When You Start Playing Jazz then using the Pentatonic Scale to really get the sound of different chords with alterations and extensions.

Check out the videos on YouTube

You can check out the videos as a playlist on YouTube here:

Pentatonic Scale in Jazz – Exploring an Important Sound

7 Pentatonic Tricks That Will Make You Play Better Jazz Solos

You might be getting Pentatonic scales wrong, and it is a really great and powerful Jazz sound even when you are using a very basic version of it. In this video, I am going to talk about how to come up with great pentatonic scale jazz licks and go over 7 ways to use pentatonic scales over chords I will start really simple and go pretty far out.

This pentatonic scales guitar lesson takes a look at how you can get some solid jazz licks using for the biggest part very basic pentatonic scale shapes and positions that you already know. For most guitar players the pentatonic scale is one of the first things we learn.

Check out the article here: 7 Pentatonic Tricks

9 Surprising Pentatonic Scale Secrets on a Blues

Pentatonic Scales and Modern Jazz go hand in hand just like a guitar and pentatonic scale do. In this video, I am going to try to bring the two together using a 12 bar blues and demonstrating 9 ways you can apply pentatonic scales to this chord progression. The ideas are not only going to be on which scale to use on which chord, but more about finding a series of pentatonic scales that you can use to create other movements on top of the jazz blues.

The blues is a great progression to explore reharmonizations and super-imposed pentatonic scales. There are a lot of very standard chord changes that can be approached in many interesting ways. Most of the examples are using several scales to demonstrate other ways to move through the changes, but there are also a few surprising scale choices for a chord here and there.

Each of the concepts is demonstrated on the 12 bar F blues and then the idea is analyzed and explained.

Check out the article here: 9 Pentatonic Scale Secrets on a Blues

The Things You Should Know In The Pentatonic Scale

The Pentatonic scale is one of the first things we learn on guitar, and it is also a great scale to use on top of Jazz Chords. But there are also a lot of really great melodies and arpeggios that most people don’t use. In fact, it is one of the best ways you can make really melodic sounding licks with large intervals.

In this video, I am going to show some of them and how you can use them in some really great sounding lines and not only try to play Eric Clapton’s licks on maj7 chords.

Check out the article here: Pentatonic Scales – You Should Know This

Pentatonic Scale vs Arpeggios – Focus on The Right Things

What to focus on when learning Jazz Guitar: The Pentatonic Scale that you know or the arpeggios that everybody keep talking about? It is difficult to make the right choice, but you also want to get it right so that you don’t practice something that won’t help you get what you want from playing Jazz!

Check out the article here: Pentatonics vs Arpeggios

5 Pentatonic Scales That Sound Great On A Maj7

A Pentatonic scale is a great resource to get some solid melodies and colorful extensions to shine on a maj7 chord. In this video, I am going to go over 5 options for pentatonic scales that are really great on a maj7 chord.

Some of them you know already, but I will also show you how to get them to sound a little more interesting.

A few others you probably don’t know and I actually had a hard time finding the right name for them.

I am going to go over the 5 scales but also give you some tips or hacks on how to make more interesting melodies with pentatonic scales because that is something that is very underestimated.

Check out the article and PDF here: 5 Pentatonic Scales for a Maj7

1 Pentatonic Scale over 8 Chords – Jazz Guitar Lesson

In this guitar lesson I will take one pentatonic scale and show you how it you can improvise over 8 different chords with it.

All the examples in this jazz guitar lesson are using the E minor pentatonic scale, and it is quite amazing the wide range of guitar chords you can use a simple pentatonic scale on.

Even if you already know how to play over chords, you should always be looking for new ways to come up with melodies and chances are that in this lesson you might find new inspiration to add some jazz scale sounds to your vocabulary that you don’t already use!

Check out the article and PDF here: 1 Pentatonic Scale on 8 Chords

Do you really know the pentatonic scale?

Most guitarists learn the pentatonic scale as one of the first things they ever learn on the guitar, and most of the time it is not a scale that we think too much about when we use it. It’s just the pentatonic scale and it’s something that is in our ears and fingers for years, even if we are already for the rest playing music with extended chords, altered dominants etc.

In this lesson I am going to take apart the pentatonic scale and look at some of the things that you can find in there since that might yield some new ways of using it by combining what you know of the pentatonic scale and what you know about improvising with chords and arpeggios

Check out the article and PDF here: Do you really know the pentatonic scale?

 

How To Go From Scales to Great Jazz Phrases

You are practicing scales so that you know what to play in your solos, but, like me, I am sure that you are quickly realizing that running up and down the scale is a pretty boring solo. Scales is just not music. You need to learn how to take the raw material of the scale and turn that into musical phrases that you can actually use in a solo.

Scales Are Boring

This is about how you think about what you are playing, and realizing that Jazz is a language that you need to learn to speak on your instrument, but, as you will see, once you get used to that thought then that can also help practice in a much more efficient way and get to enjoy your own playing more.

You already know your scales and hopefully, you also checked out some of the essential exercises like the diatonic triads and 7th chord arpeggios in there since those are very useful for not sounding like you are just running up and down a row of notes.

 

If you don’t know those exercises then check out this lesson on practicing scales.

Jazz Beginner Mistakes – How To Learn Scales

You want to avoid playing solos that just sound like you are running up and down the scale without any direction, completely at random.

Which doesn’t really sound like something that works in a solo.

How To Play A Jazz Phrase on a Cmaj7

So how do you solve this? You need to find a way to construct lines that are not just using random scale notes and that also make sense as an interesting melody and sounds like Jazz.

To keep it simple, let’s just say that you are improvising over a Cmaj7 chord and then I will show you how to start making lines that actually work.

Instead of playing random notes then you want to play something that connects with that chord. A Cmaj7 is C E G B (chord with diagram, right side) and if we play those notes then that will work really well with the chord.

With this you can already start to make something that sounds like music:

The difference is that it is not just running up and down the arpeggio, but instead, you try to hear a melody with the notes, adding some rhythm and hearing where it ends. But it is still pretty limited, so let’s add in some more notes in there, which is easy because there are 3 more notes in the scale.

Scale Notes and Phrases

If you make a line with the arpeggio notes and then start to add in the scale notes around it then you can create something like this:

As you can see the most of the notes are still the chord tones, and the way they are placed in the melody then they still help us connect to, or hear the chord, in fact, you can remove the scale notes and still have a great sounding line:

Sounding Like Jazz – Rhythms and Accents

One of the most important parts of getting a phrase to sound like Jazz is to get some syncopated rhythm in there. You can do this by either using syncopated rhythms like this:

Or by accenting notes so that the accents give you a syncopated rhythm

You get those accented notes by having a high note on an off-beat. In the beginning, you probably need to practice making and hearing melodies like that, but then it gradually becomes a natural part of how you hear melodies and how you improvise.

Adding Some Beautiful Wrong Notes

Another thing that you hear in something like a Wes Montgomery, George Benson or a Charlie Parker solo is chromaticism, which essentially means using wrong notes to create some tension that resolves to a right note. If you just play the “right” notes then it is as if you are missing something, and if you just play the chromatic notes then that sounds like you are just playing something wrong.

It has to make sense in the melody and resolve in the right way.

In this example, you have two types of chromatic phrases. Passing notes that resolve to chord tones, like this:

You can create chromatic phrases that resolve to a chord tone. Here it is connecting 7th to the 5th, G in half-steps. You can also have chromatic phrases that move around the resolution like this:

The enclosures you have here are targeting chord tones, first the 5th and then the 3rd: l (isolate enclosure of G and E)

And of course you want to end up with phrases that combine the two like this:

How You Practice Making Phrases

What you have seen until now are different options for building blocks, so small fragments that you use to build phrases with like the arpeggio, the scale, and two types of chromatic phrases. If you want to work on playing better lines then you should work on putting together phrases, but you can also learn a lot from studying how your favorite soloist plays. The way you do this is by analyzing the solo and try to figure out what building blocks are used and how the different blocks are put together.

Transcribing and analyzing phrases is really powerful because it comes from music that inspires us, and you start with what you hear.

This is not the only option, you can also work with making variations of building blocks by moving them around the scale, onto other chords or using rules not unlike what you find Barry Harris doing in his workshops.

In this video, I was only talking about using the arpeggio of a single chord, but there are many other options that you can work on. If you want to explore how you can start using different arpeggios for a chord and also how you make bebop inspired lines with them then check out this lesson on: “the most important scale exercise in Jazz”

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/how-to-go-from-49739079

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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 Solos You Want To Learn By Ear To Play Better Jazz Guitar

This video is coming out of the worst advice that I see given on the internet, maybe not the worst advice but certainly, the most horrible way to give it.

I am talking about when somebody asks something about getting better at playing anything with Jazz guitar and the standard answer is “Learn from the masters”. Now don’t get me wrong, it is super useful to check out solos by ear, but without any context or suggestions than “learn from the masters” is so lazy that it is just bad advice. You might as well just say “practice guitar” Feel free to answer them with this rant!

Any good teacher will have much more specific advice that will help you get started learning some easy solos, and I know that because I asked a lot of them and this video is full of their suggestions for great easy solos to check out.

Let me know in the comments if there was one that you really liked or if you have other useful suggestions, this topic is not covered anywhere near enough and that is really a pity.

Thanks to all the great musicians and teachers who were a part of this video! Again if you have solos that are easy to learn and useful for playing Jazz then leave a comment and let’s start building a solid list!

Maybe it says something about my abilities as a teacher or maybe I should make a separate video with some suggestions for easy solos?

Besides working on learning solos by ear, you also want to work on learning a lot of other things and you can check out this playlist if you want to dig into which arpeggios, how to play over chord changes or how to play jazz chords all the basic things you need to work on and how to get started.

Get the PDF on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/solos-you-want-49429018

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.

Jazz Chords – A Simple But Amazing Solution You Want To Know

One of the great things about Jazz Chords is that if you learn even just a few basic jazz chords then you can open them up and add things to them in ways that sound really great. This video will show you two simple but important chord exercises and some of the ways that you can turn that into beautiful sounding chords, and I am going to use some real songs to demonstrate it because you need those as well.

Diatonic Chords and Shell-Voicings

I am going to build this on Shell-voicings which is a very solid set of chords to learn because you can turn them into a lot of other things along the way, which you will also see in this video.

Instead of just practicing chords separately then it makes a lot more sense to practice them together in the groups where you need them, for example as all the diatonic chords of a scale.

Here are the diatonic shell voicings of C major with the root on the 5th string:

Diatonic C major Shells

And you want to know the shell-voicings for the 6th string as well, and for F major that gives you these chords:

Diatonic F major Shells

Practicing stuff like this in all keys will teach you a lot about the keys and help you develop your fretboard knowledge.

Basic chords and a little beyond

Already with these chords, you can play most songs, so let’s try that on the standard Ladybird. This will also show you some of the rhythms that are, of course, also important to comping Jazz. I’ll start with the basic chords and then change things up by adding more melody notes in the 2nd half.

Ladybird Chorus

So as you can tell the rhythms are what holds this together, and I am adding a little extra by using different top notes over the chords, just grabbing what is easy to play and then make melodies with it.

so for Cmaj7 you have this shell voicing and then you can add the 5th, G, as a melody note or the 13th or 6th , the A

Walking Bass on the Blues

Instead of changing the rhythms and the melodies you can also focus on bass lines, and with the shell-voicings that are only 3 notes, you can easily get into adding a complete walking bass under the chords which is a great sound on guitar:

Walking Bass Chorus

You might not think about it, but this sounds a lot better on a guitar than on a piano and later in the video, I will cover another thing is a lot easier on guitar.

Two Layers = More Rhythm

I love the sound of chords and walking bass, and it is great for comping in a duo setting. because you are laying down a complete groove, But sometimes it is also nice to not have to play a steady stream of quarter notes. Luckily Shell voicings are naturally split in two so that you have a root and a chord, and you can use these two layers to improvise with, similar to how a Jazz drummer improvises with snare and bass drum.

Example All Of Me

Samba and Bossanova

Another great way to use the 2-layer nature of the shell-voicings is to play Sambas and Bossanova’s. An example of this could be Blue Bossa that you can play as a samba like this:

Example Blue Bossa

If you want to check out some more bossa nova and samba patterns then I have a video on that which you can check out here: Bossa Nova Guitar Patterns – 5 Levels You Need To Know

Easy on Guitar – Annoying on Piano

When it comes to chords then most things are easier on piano than on guitar, and you can also get away with playing a lot more notes if you want to, but there is one thing that is really practical about guitar chords: We can shift them up and down in half-steps really easily, and that is an amazing sound for playing jazz chords.

You can put that to use on a song like “There is no greater Love” like this:

Example #5 There is no greater love

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/jazz-chords-but-49095645

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.

 

 

A Simple Jazz Solo Skill You Want To Master

There is a skill that you can develop in your playing that will really help you play jazz solos, and this is not even that difficult to get started with all you need is a few arpeggios and a simple progression. This video will also show you how to practice more efficiently and not drown your practice sessions in just doing exercises.

An Easy Exercise on a Blues In F

One of the first exercises you should do if you want to get started playing Jazz is to outline a chord progression with one-octave arpeggios. Here is an easy version of that, and you can maybe even try to play along right away. After that, I will show you how to make that into a really strong solo developing rhythms, phrasing, and forward-motion, and I will also explain why I think this one of the most important things about being efficient with what you practice.

F Jazz Blues with arps

If this is still a bit tricky to play you can take the video back and try again or practice it later and return to really nail it, just because sometimes that really feels good.

Notice that you just need 5 one-octave arpeggios for this jazz blues and 4 of them are dominant arpeggios (show diagrams on screen)

F7:

Bb7:

D7:

Gm7:

C7:

Some Easy Music on a Blues In F

With this exercise, you can already start to make some music, and you want to, because that is why you practiced the arpeggios in the first place and it is not so difficult. I’ll play the example and then talk about how you go about playing like that.

F Jazz Blues

When you improvise like this then you are limited to four notes, and that can maybe seem difficult because you want to play bebop lines like

But with just the arpeggio you can start working on some things that are just as important as playing many notes: Phrasing and Rhythm and that is a much bigger part of Jazz in the end than long 8th note lines. Especially working on adding some interesting rhythms to your playing.

If you want some inspiration for this type of playing on guitar then Charlie Christian is worthwhile checking out.

What You Can Learn From Charlie Christian

When I was starting out playing Jazz then I was lucky in one way because one of the first things I had was a compilation album of Charlie Christian, I also had some Scofield and some Charlie Parker which I also loved, but at the time I could only figure out how to learn the Charlie Christian solos. Scofield was too weird and Parker was too fast and difficult to learn by ear. Charlie Christian’s style of playing is a lot less dense and with a lot of clear examples of great swinging rhythms which you want to learn. That is one HUGE reason to check out Charlie Christian and learn some stuff. Remember that Jim Hall heard one Charlie Christian Solo and from that decided to dedicate his life to playing Jazz music.

Check out another lesson on Charlie Christian: Charlie Christian Solo Analysis

Notice that I immediately start making music with the arpeggios that I am practicing, that is very important for everything you work on, I’ll return to that a little later.

Next, Let’s try adding some different types of phrasing, so you have some more sounds available and can change that up as well.

Some Easy Phrasing on a Jazz Blues In F

As you can tell this is really simple, you can add a lot more blues feeling and dynamics just by using some slides (example) and some (hammer-on/pull-off) and when you do that then you are really focusing on the music and how it sounds, it is not about technique or being flashy, you are trying to get it to sound great.

Another thing that is really a part of Jazz which you can also work on with this is to make the changes clear with strong natural flowing melodies, so that is something I’ll show you how to develop later as well.

Should You Practice All The Arpeggios?

What you can see here is that I am really working on getting as much music as possible out of these few arpeggios, and I think that is something to keep in mind, I at least need to remind myself very often, that you don’t always want to spend time first learning all inversions in all keys and all positions, on all string sets in all tempos, subdivisions and all tunings — phew

Maybe it is actually more efficient for your playing if you take a single position work on some simple and easy arpeggios and really get that to the place where you can make music with it. That is much more useful than getting lost in a sea of technical exercises because you actually get to make music with it and you can check out the next position some other day.

Nailing The Changes on a Blues In F

Now that you can play some interesting rhythms and add some phrasing to those lines, then it makes sense to also start to make the melodies longer so that you don’t end up just playing short isolated melodies for each chord which is hard to get to sound like a great solo.

There are a few ways you can do that and the first one you might have heard me talk about before is: Thinking ahead and playing towards target notes. When you do that with simple material like this then you are really working on digging into the harmony and figuring out how it moves and how you can improvise with that movement and connect a longer melody across chords.

The concept is simple: For each chord, you pick a target note and then you practice making melodies with your 4-note arpeggios that lead to the target note on the next chord. An example could sound something like this:

I took this part of the form because it has the most movement so that you can easily hear and understand what is going on.

An easy target note is often the 3rd of the chord simply because that is the most colorful note. This is also why you think about chords in two groups: major or minor depending on the 3rd.

As you can hear and see in the example, the solo really connects with the harmony moving from D7, Gm7 to C7 and because I am thinking ahead and playing towards a note then the melody has a natural flow and sounds much stronger.

With this technique you don’t only want to practice connecting everything and end up with one long line weaving through the entire form, there are other ways to play solid melodies, and one of them is really tied to Blues as a genre.

Blues Melodies But They Work in Jazz

Sometimes it seems that the advice nobody is giving is that you have to learn how to listen to yourself, and I don’t mean that you have to learn to listen to recordings of yourself, even though that is important too. I am talking about playing a phrase and then listening to how it sounded and using this to play the next phrase. When you are playing a solo then working like this is like having a conversation with yourself, and we usually refer to this way of making melodies as call-response.

This is an incredibly effective way to tie together phrases and pretty simple to do and is mostly about giving yourself time to listen and respond. An example of how that might sound could be this:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/simple-jazz-solo-48814367

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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 Magic – One Of The Best And Most Difficult Things About Jazz

One essential part of Bebop lines and melodies that you need to check out is octave displacement. It is a simple technique, but you need to understand how to use it if you want to really nail the Bebop sound. That is what I want to show in this Jazz Guitar Lesson.

One of the great typical or cliché phrases in Bebop sounds like this:

and actually, that is just a way of playing this line which sounds about 5% as interesting:

I am sure you want your solos to sound like the first phrase, I know I do…

The difference between those two is that in the middle of the first example then the melody moves up an octave in a way that sounds both beautiful and interesting. This is mostly referred to as octave displacement, and you can use this for a lot of great things, and that is what I want to talk about in this video.

What is Octave Displacement

This technique or way of making melodies is called a few things, mostly it is referred to as Octave displacement, but you will also hear, among others, Barry Harris call some of them pivot arpeggios and different ways of looking at them will give you different ideas for using it, as you will see later in the video.

The concept is fairly simple, if you have a scale melody then you can move a part of the melody an octave, just like you saw above:

And you can do this in other places as well:

Another variation could be this:

But here the skip is placed so that the high note is on the beat, and that works but are not as catchy as the other one in terms of phrasing.

But of course, you can also use this on arpeggios to get some really beautiful melodic interval skips in your lines.

I was always drawn to licks like this when I was beginning to learn Jazz, and I was trying really hard to make lines that had larger intervals, but they always sounded unnatural and weird, not like the Pat Martino or Charlie Parker lines that I was transcribing and checking out. It wasn’t really until I went to a Barry Harris workshop that I started to understand how this worked and got some tools to start to incorporate it into my playing.

Pivot Arpeggios

A great way to make your lines less one-directional (B-roll) and add some great twists and turns is to use this on arpeggios.

The concept is pretty simple, instead of playing an ascending arpeggio like this:

Here I am playing first a chromatic enclosure and then the Bø, so the arpeggio from the 3rd of the chord, over a G7 and resolving this to the Cmaj7.

If you turn into the Bø arpeggio into a pivot arpeggio then you get an example like this:

Here you play the B and then you move down the rest an octave to get a nice descending 6th interval.

Strategies For Making Better Lines

And of course, you can extend this to other chords as well and use it to make your lines more interesting with a few adjustments.

Look at this fairly basic Bop-line:

We have an Fmaj7 arpeggio on Dm7, so the arpeggio from the 3rd, then a chromatic enclosure to take us to G7 where the line is built around a G7 arpeggio and a scale run G7b9 sound, and finally an Em7 arpeggio on Cmaj7, so again the diatonic arpeggio from the 3rd of the chord.

This is all pretty solid but you can add pivot arpeggios to this fairly easily like this:

Here I am moving the first note of the Fmaj7 arpeggio up an octave, and later also making the Em7 a pivot arpeggio

But you can also apply this to the G7 bar:

Now the G7 arpeggio in the beginning of the G7 bar is turned into a pivot arpeggio, and you can see that the pivot technique also often works on inversions of an arpeggio since the G7 arpeggio is in fact an inversion with the 3rd as the lowest note.

Displacing David Baker – Aiming for a single note

This is a very specific example, but it I find that there are so many great lines to get from this that it should be included, and you can also add some nice chromatic things with this.

You, of course, already know the David Baker Lick, in part thanks to David Baker but probably also thanks to Adam Neely:

Using this lick with octave displacement can give you not only some of my favourites but also some Charlie Parker and George Benson favourites, (whoever you feel is more important as an influence 🙂)

Let’s look at one way to understand the construction because actually, it is just a scale run with some passing notes.

Clearly, the G, Gb , F is scale melody with a Gb leading note. E to D is also clearly step-wise. So only the A is a bit odd, but you may know how Barry Harris talks about adding “half-steps” between notes that are already a half step apart. His concept is that in that case, you can use any note as a “half-step” and here we are using the A. So in that respect the lick is a scale run with two added “half-steps”, the Gb and the A

And that A is a great candidate for octave displacement, like this:

This already sounds great and is something you will find in a lot of George Benson and Grant Green lines, but you can also add an extra leading note:

Which sounds amazing, and you can make it a short turn as well, something that I have found with Doug Raney:

Just to give you an impression of how this can be put to use you can check out this II V I lick:

In this lick, I am using the octave displaced licks on the Dm7 chord and on the Cmaj7 chord.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:

https://www.patreon.com/posts/bebop-magic-one-48174059

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.

3 Things That Make You Sound Better Comping A Jazz Blues

When comping sounds great then it is actually not because of the chords you are playing. It is more about all the other things that you do with them that makes it work. Things like rhythm, chord movement, and melodies. This video will l help you get started developing your comping so that you don’t get stuck just playing chords and wondering why it doesn’t really work.

#1 The Easy Guitar Trick for Chords

One of the main things that you need to include in anything you play is tension and release. That is the way you make things interesting to listen to and keep people listening.

In this case, this is something that you can add to your comping in a very easy way on guitar, and it sounds both natural and pretty hip. But

 

at the beginning of this example, I am just using the basic 3rd and 7th voicings on the chord but as you can see this works just as well with chords with more extensions.

The principle is really simple; you create tension by moving the chord up or down a half step and then resolve the tension by moving back.

And this works great for the 3rd and 7th shells but is equally useful for larger chord voicings.

Let’s have a look at how you can use tension and release in a different way to make things flow a lot better

Comping in a band

One of the things that I learned a lot from with comping was focusing on being together with the drummer, so really trying to play clear ideas and react to what was happening especially on the snare so that it really becomes like a single instrument backing up the soloist! Of course, this doesn’t really work with a backing track as I use in this video.

#2 Give It Direction and Energy

One of the things that I love about Bebop is how the solo lines flow through the changes and are always moving towards the next chord.

And this is actually built into the harmony, so the chord progressions are really pushing forward which is not always what we focus on when playing the chords.

But it is really useful to always think ahead and try to work on ways to move to the next chord. There are 3 things you can use to get that forward motion.

In the first bar, I am using a melody that is ending clearly on the Eb7 which is helping things to move along.

The next two bars are setting up a rhythm and then in bar 4 playing the 3& really creates tension that wants to resolve on the next downbeat which pulls us to the Eb7

Bar 6 is first a bit of movement with the Edim chord and then a chromatic passing chord on beat 4 that resolves back into Bb7 and in that way adds energy and tension.

So I am using:

  • Melody
  • Rhythm
  • Chromatic Passing Chords

to create a comp that is moving forward, and working on these things with the forward motion in mind can help you get that into your playing.

#3 The Most Important Rhythm To Learn

Jazz is about rhythm, and If you think about it you probably already know that the rhythms that are important are the syncopated rhythms, the off-beats.

One way of really using this in your comping is to work on playing anticipated chords, something often associated with Red Garland, the piano player in the 1st Miles Davis Quintet

Practicing to use this in your comping is something you can do by only focusing on that by setting a metronome to 2&4 and play a vamp, like this:

And once you are familiar with this exercise then you can start to work on using it on the Blues like this

Rhythm is probably the strongest ingredient in comping, or in Jazz in general, and this last exercise is also the one that will improve your comping the most.

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/3-things-that-46684261

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.

 

 

Jazz Beginner Mistakes – How To Learn Scales

When I started playing Jazz then I came from improvising mostly with the pentatonic scale, playing phrases, and licks in the scale without really worrying about what I was playing and especially what notes.

Once I got interested in Jazz, in fact, mostly in Charlie Parker solos, then I realized that I needed to use 7 note scales, and that was a lot more tricky to get to sound right and especially to get to sound like great jazz lines

Just practicing the scale, up and down doesn’t teach you how to do that and there is a much better way to practice the scales, one that helps you learn to play Jazz faster and sound in the right way.

Which Scales Do You Need?

First, you need to figure out which scales you need.

Playing Jazz is associated with scales, and often also with a lot of scales with a lot of fancy names. But when you start then you are better off not drowning yourself in different scales, simply because it is more work to learn to use a scale than to learn to play it. Just start with the major scale, and if you are new to major scales then start in a single position

You can add to it later and knowing the scale well in one position will help you learn the others as well. Starting with 5 or 7 positions in one go and trying to be able to play and improvise in them all is not as efficient in the beginning, and you might get overwhelmed and lose the overview, and getting an overview is why you practice scales in the first place.

If you practice in the way that I outline later in this video, then learning other scales and being able to use them will become a lot easier because you can leverage what you already know.

CAGED, 3NPS, Berklee doesn’t matter

A discussion that sometimes appears at this point is what type of scale system should I use, and there are quite a few, CAGED, 3NPS, and Berklee being the big 3. This can sometimes lead to heated discussions, but In the end, it doesn’t matter too much, do what feels more natural to you, you can even change along the way.

Basic Exercises

How do you start? The first thing is to practice the scale, for example, this position of C major:

Try to play it slowly, evenly with alternate picking. Connect the notes, because otherwise, you are going to sound choppy when you have to play faster

Be aware of the notes you play, so first the root

You can even practice the scale while saying the notes you are playing.

The first technical exercise that you should do in the scale beyond playing it is to play it in 3rds.

Scale in 3rds

The reason for this is that when you play Jazz then you are using the notes of the chord, and chords are built in 3rds so you are preparing yourself for learning the diatonic arpeggios, triads, and 7th chords that are found in the scale.

What Do You Need To Play Jazz

What do you need to play jazz phrases? If you look at this fairly typical jazz lick

Jazz Lick – chromaticism arpeggio

Then you can see that it uses a 7th chord arpeggio, Cmaj7, and some chromaticism mixed in with scale notes.

Beyond practicing the scale itself then the things you want to practice are the things you need in your solo. Arpeggios seem like a very useful candidate, to begin with.

The Arpeggios Are In The Scales

When I was first taught arpeggios the I was told to practice them as separate positions. In that way, learn them as independent things, not connecting them to scales or anything else.

A few years later, when I was in a Barry Harris masterclass in the Hague, I learned from Barry Harris that I should know how to play the diatonic arpeggios of the scales, and he talked about how to use them.

If you practice the arpeggios like that you get something like this:

Diatonic Arpeggios

If you know how to play this exercise then you have material that you can use on a lot of chords that you come across in C major, and you see the arpeggios together with the other notes that you have available when you solo. It is already connected to the rest of the material you can use.

II V I lick with diatonic arpeggios

For me, this was really a gamechanger, when you connect the arpeggio to the scale like this it is much easier to play the arpeggio with an extra scale note and also to see how the notes move from one chord to the next, which makes it a lot easier to make strong lines that outline the chords. But there is a lot more you can get out of it, as you will see later in the video. (highlight voice-leading in a lick, overlay lick while talking)

Another thing that is worth noting is that most of the time when you come across arpeggios in Jazz solos, then they are one-octave arpeggios in the middle of a line or even with scale notes in between, so practicing them like this is much more efficient and closer to how you use them in Jazz. As you can see in this transcription (Parker solo transcription?)

How To Practice and Use Them

You can practice the arpeggios from each note in the scale like this (example 4) and again you want to play them cleanly, equal in volume, not too fast, and connecting the notes as much as possible. Another way of practicing them that is useful is to practice up one and down the next

This is actually a bit easier because you don’t have the large interval skip from one arpeggio to the next. In general, you want to practice different things to build flexibility and work towards being free when you improvise, so coming up with variations is something that will help you with that.

If you start thinking of the scales and the exercises like this, then you want to find out what you want to use in a solo and then practice that in your scales so that you learn all the useful variations building a vocabulary you can use in solos.

From Arpeggios to Lines

There are many ways that you can use these arpeggios, to get started it makes sense to just play the arpeggios on a chord progression

Example 7 (no backing)

To turn this into something you can use in a solo then you can use the notes around the arpeggios and add some nice rhythms as well.

For the Dm7, this is the arpeggio:

And you can turn that into a more interesting line by adding the E in between the first two notes:

In this way you can start to work on making lines like this:

Here I am using the Dm7 phrase, a triplet on the G7, and also adding an A to the Cmaj7 arpeggio.

The Mighty Triad

Another obvious one is to also check out the diatonic triads which as you will see we can easily connect to the chords and also are great for creating super-strong lines.

Going over the triads in the scale gives you an exercise like this:

And finding triads to use with a chord is very easy:

If you look at a Dm7 then that is D F A C

Here we already have two triads: Dm: D F A and F major F A C.

For the G7: G B D F – G B D and B diminished and Cmaj7: C major and Em

And using these to make lines could sound like this:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/jazz-beginner-to-46393084

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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 Most Important Melodic Minor Modes In One Song

Melodic minor is a beautiful and important sound in Jazz which you want to have in your vocabulary, but it can be a little difficult to internalize the melodic minor modes and really hear melodies with them so that you can use it in your solos.

In this video, I am going to show you a song that is pretty easy to learn that will teach you the 3 most important sounds you need melodic minor for. Don’t forget that practicing to use the scale in real music is the best way to make it a part of your playing

The Song

The song that I am talking about is the standard Bernie’s Tune, a basic AABA song, usually in Dm and with a bridge that is in Bb major. It is most famous from the recordings of Gerry Mulligan and Chet Baker, but it was written by the jazz pianist Bernie Miller.

The song is not that difficult and the theme is a great swinging melody using 3/4 phrases over the 4/4 meter.

 

Analyzing The Song

Analyzing The Song is pretty easy. In fact, it is really just a minor version of a very common song, but I will return to that later.

The song is in Dm (tonic chords) and it has a II V cadences to Dm at the end of the A-part. The Bb7 is a tritone substitute of E7 so that is a sub for the dominant of the dominant. The chord has an E in the melody so this is very clearly a Lydian dominant.

The bridge is just a few turnarounds in Bb major and a II V back to Dm.

Let’s have a look at where you can put melodic minor to use!

Tonic Minor – The Richest Minor Sound

The m6 and mMaj7 chords are used for the tonic minor sound. This is probably the best place to start when learning to use the melodic minor.

Since this is the sound of the root of the scale then it is easier to hear and get into your playing.

In this case for Dm, we have

D E F G A B C# D

And the diatonic arpeggios in the scale would be:

DmMaj7 Em7 Fmaj7(#5) G7 A7 Bø C#ø

For this chord then you can get a lot out of the basic diatonic arpeggios which is a little more tricky with the other sounds.

The arpeggios you can use would: DmMaj7, Fmaj7(#5), and Bø where Bø is, of course, the same note set as Dm6:

Bø: B D F A -> Dm6: D F A B

DmMaj7 could sound something like:

Fmaj7(#5) is the diatonic arpeggio from the 3rd of D, this sounds like>

and The Bø you could put to use like this:

Lydian Dominant

The next chord in the song is a Bb7 which here works as a tritone substitute for the dominant of the dominant, so Bb7 as a substitute for E7, the dominant of A7. And this chord is what makes it a minor version of a famous song in major, but I will get to that in a bit.

The scale that goes with this chord is F melodic minor, and there are some diatonic arpeggios that work well:

FmMaj7 Gm7 Abmaj7(#5) Bb7 C7 Dø Eø FmMaj7

Here the obvious options would be Bb7 and Dø

Bb7:

Dø:

They both sound great, but the arpeggio nails the Bb7 without really getting the #11 in there, and you can construct other arpeggios that really nail the sound of the chord with the #11 as well and there is a really easy way to do that.

Creating Arpeggios That Nail The Lydian Dominant Sound

This is pretty simple because all you need to do is to take the Bb7 arpeggio(play) and then replace the F with an E, which gives you a Bb7(b5) arpeggio

Bb7: Bb D F Ab → Bb D E Ab = Bb7(b5)

And for the Dø the same thing works, but now you get an arpeggio that is not really related to D and is more likely an E7(#5) arpeggio

Dø: D F Ab C → D E Ab C = E Ab C D = E7(#5)

With these you can make lines like this:

Bb7(b5) 

E7(#5):

 

Where to use Lydian Dominants

Lydian Dominants are mostly used to dominant chords that don’t really resolve. There are a few places where the use is maybe more habit than anything else.

Tritone substitutes: Bb7 A7 Dm7

Backdoor dominants: Fmaj7 Bb7 Cmaj7

V of V in major: Bb7 Bbm7 Eb7 Abmaj7

The Altered Dominant

The Altered Chord is the final sound melodic minor sound that fits the song. This can be used on the A7, and A7 altered is Bb melodic minor:

Bb C C# Eb F G A Bb, here it is written out with a C# instead of a Db because we are using it on an A7 chord.

The diatonic chords:

BbmMaj7 Cm7 C#maj7(#5) Eb7 F7 Gø Aø BbmMaj7

Here the two main arpeggios that gives you the sound of the chord (C# and G) and some alterations are

Gø which gives you 3rd, b9, 7th and b13 :

Eb7 which is b5 7th b9 3rd:

The Gø is a little easier to use and sounds a little less harsh because it has the b13 (F) rather than the b5: Eb

Does It Really Fit?

With the Tonic minor and the Lydian Dominant, there are quite a few standards that clearly use those sounds, but that is less clear with the Altered dominant. In most songs, the sound on the dominant of a minor key is coming from the harmonic minor scale. This is also the case with Bernie’s tune which has an A7 arpeggio. The A7 arpeggio has an E which is a note that is not in the altered scale.

The altered dominant is really more of a reharmonization.

The Jazz Guitar Roadmap

My online course is a series of lessons set up so that you start at the beginning and work towards playing solos and making lines.

✅ An organized approach for practicing and learning Jazz Guitar

✅ How to get you started playing solos that sound like Jazz

✅ What you need and how you start coming up with Jazz lines

But don’t take my word for it:

“This is by far the best  Course out there for anyone wanting to get into Jazz Guitar and overwhelmed by the amount of study material available. Jens Larsen has a way of providing you with what you need at the level you are at and you will be amazed at how much improvement you will see both in your playing and understanding of Jazz Guitar and associated Jazz vocabulary.

Thanks, Jens and I look forward to a follow up course if possible!”
– Ger Leahy

Get an invitation to check it out here: http://bit.ly/JazzGtRm

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/most-important-46156520

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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.