Tag Archives: jazz guitar licks

Did You Do This With Your Favourite Jazz Lick?

You probably have licks that you play all the time, I think most of us have and of course that is a part of having a style (Pat Metheny or Pat Martino Lick?) But not to get stuck with the same phrases too much it is very important to make variations and open up those phrases.

In this video, I am going over 4 ways you can make new licks from the ones you already know. Something that will also help you get better at writing your own licks and come up with great phrases.

The Lick!

So to have something to talk about we need something to work with. Let’s use this II V I lick

This is, of course, a little long and most of the time I work with ideas that are a lot shorter, but it is a good example to demonstrate some techniques that will give you a lot more vocabulary.

#1 Transpose it to Another Chord

This is always useful to do, if you have an idea that works well on one chord then it probably works well on other chords too.

The first part of this line is really close to a maj7 chord and we can use that directly on Cmaj7 and make a similar type of melody from the rest.

Usually, I wouldn’t move the last part, but here it fits so nicely and it is good to mess around with that as an exercise for your melodic and theoretical skills as well.

You can turn it into a Dm7 phrase as well. Notice that I am not strict about preserving the last part. It is more important to make something that sounds good and is playable.

#2 Invert The Melodies

The goal here is to make a new melody by changing the direction of some of it, so if it is an ascending scale or arpeggio run then you can make it a descending version instead.

The first part is difficult to move around and get to sound good, but the arpeggio works really well. In fact, you can do that and play the rest an octave lower.

#3 Octave Displacement

Another way to turn things around is to use Octave Displacement. The idea with octave displacement is to keep the direction of the melody but move it an octave.

You can see in the example below how that works:

And it can be used on the example as shown in example 7:

Using this on the Dm7 part of the line would give you something like this. Turning around the Fmaj7 is very close to what you hear George Benson and Grant Green. Here is a Grant Green example:

You can do the same with the dominant part of the lick and get something like this:

#4 Diatonic Transposition

Another thing that can work really well is to move a part of the line a diatonic 3rd up or down. In this case that happens to work completely if you do so, but that is actually a coincidence.

If you want more ideas for licks you can start working on and get some ideas for more licks then check out this playlist with videos that are on licks with a certain type of chord or arpeggio.

Putting Licks to use in music

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10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

One of the things that really got me into Jazz was the sound of the chromatic jazz licks. This is such a huge part of the Jazz sound, especially from Bebop and beyond.

In this video, I am going to show you 10 examples of some great sounding Jazz licks with lots of chromaticism used in different ways: Passing notes, Enclosures, Shifting Patterns, Chromatic interval melodies, and more Atonal or completely far-out ideas.

The examples are borrowing from people like Charlie Parker, Doug Raney, Pat Metheny, and Herbie Hancock.

Content:

0:00 Intro – Jazz and Chromatic melodies go together!

0:28 Simple II V I – From Passing Notes to Chromatic or Atonal Ideas

0:50 Example 1 – Passing Notes

1:05 Example 1 Analysis

1:12 Example 2 – Basic Enclosures and Octave Displacement

1:27 Example 2 Analysis

1:35 Example 3 – 4-Note Enclosures and Bebop Chord Tone Enclosure

1:50 Example 3 Analysis

2:00 Example 4 – Arpeggio Leading notes and Shifting 3rd intervals

2:14 Example 4 Analysis

2:24 Example 5 – Borrowing from Melodic Minor and Longer Runs

2:38 Example 5 Analysis

2:47 Example 6 – Dissonant Enclosure and Chromatic Turns

3:01 Example 6 Analysis

3:10 Example 7 – Side-Slip reharmonization

3:26 Example 7 Analysis

3:35 Example 8 – Shifting 3-note phrase

3:49 Example 8 Analysis

3:58 Example 9 – Chromatic 3rd melody

4:14 Example 9 Analysis

4:22 Example 10 – Chromatic or Atonal 4th melody

4:38 Example 10 Analysis

4:46 Like The Video? Check out My Patreon Page!

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New Book: Advanced Jazz Guitar Concepts!

It is here! My New Book:

Advanced Jazz Guitar Concepts

In Advanced Jazz Guitar Techniques I provide more deep insights into the techniques and theory of contemporary jazz guitar. 

You’ll discover a practical, no-nonsense guide to jazz guitar topics that have mystified even experienced jazz musicians – such as effective soloing with triad pairs, applying quartal harmony, how to use altered scales, and much more!

Master the advanced guitar techniques and melodic concepts you’ve heard in the music of everyone from Charlie Parker and Wes Montgomery, to Kurt Rosenwinkel, Michael Brecker and Mike Moreno. 

What you’ll learn:

  • How to use tritone substitution more effectively in your playing
  • Chord and scale substitution ideas to create new sounds with scales you already know
  • How to use triad pairs from the Altered Scale
  • How to combine triads, arpeggios and scale runs to create melodic, modern-sounding licks that avoid clichés
  • Intervallic patterns to introduce exciting melodic leaps into your jazz soloing
  • The Augmented and Tritone scales and how to use them

Learn More

Here’s What You Get:

  • A step-by-step jazz guitar method that starts simple and adds layers of complexity
  • Perfectly notated examples with tab and studio-quality audio to download for FREE
  • A full-length blues with a solo analysis demonstrating all the concepts at work
  • Apply your knowledge to the most common progressions in jazz

You can get the Paperback on Amazon here: Advanced Modern Jazz Guitar

You Can also order it as a PDF on the Fundamental Changes Website here: Advanced Modern Jazz Guitar

I am so proud of this book. I think it really presents some information on soloing in with a more modern sound that is not really available anywhere else but is certainly a key ingredient for a lot of the Jazz Musicians of today.

Learn Jazz – Make Music!

Best regards,
Jens

25 Jazz Guitar Exercises – How To Improve Skills In A Musical Way

It is important that we practice and improve our technique, and often a good way to do this is to work on jazz guitar exercises like a phrase or musical fragment. In this video I am going to go over some technical topics you can work on and a few phrases to help you develop your technique.

The format of this lesson is different from what I normally do since it is a set of exercises to work on that will work as technical and musical exercises teaching you.

#1 Triads are great Jazz Chords

#2 Mix Triads with 3-part Quartal chords and sus4 triads

#3 Advanced 3-Part Jazz Chords

#4 Drop2 chords

#5 Drop2 chords with extensions

#6 Beautiful Inner-voice movement

#7 Must Know Drop2 voicings

#8 Medium-swing Bop Lines

#9 Chaining Arpeggios together

#10 Charlie Christian Inspired

#11 F7 Blues line #1

#12 F7 Blues line #2

#13 F7 Blues line #3

#14 Challenge your right-hand

#15 String Skips in arpeggios

#16 Quartal arpeggios

#17 Using Legato in lines

#18 Using Slides

#19 Legato in arpeggios

#20 8th note triplets in lines #1

#21 8th note triplets in lines #2

#22 8th note triplets in lines #3

#23 Sweeping Arpeggios #1

#24 Sweeping Arpeggios #2

#25 Sweeping Arpeggios #3

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Great And Simple Way To Make New Jazz Licks

I think we all know how it is: You are improvising over a song and there is a place or one chord where you always feel like you are playing the Old Jazz Guitar Licks.

One of the ways that I go about finding some new material that I like is actually pretty simple and that is what I am going to show you in this lesson.

In my experience, you are better off working on taking the things that you already know and get better at using them instead of trying to learn a million Star Trek scales that
you can’t make music, so this is actually pretty down to earth.

Very often when I listen to the jazz guitar solos that I love, like Wes on Four on Six or maybe a Kurt Rosenwinkel, then some places really stand out to me, and when I transcribed those passages they were always using very basic things but just creating great melodies with that.

So this is more about getting great melodies or licks out of basic things and that is what I am going to show you a way of exploring in this video because you can make 1000s of great licks with stuff you already know.

For this lesson I am going to take a C7 and the scale that it belongs to which will be an F major scale, so the basic framework is

And it is important to see the Arpeggio or the chord in the context of the scale (Neck Diagrams) Making music is about connecting things, not playing separate ideas one after the other.

We are making licks for a C7 so let’s first try to make some melodies just with the arpeggio and then add in the rest.

The Arpeggio works really well, but for a melody to be interesting then it probably needs to be a little less predictable than just the arpeggio.

#1 Change the order of the notes

The first two suggestions for making licks is really about knowing the arpeggio better and being freer to improvise with it. And this is what you need to work on to do that:

And you can put the 2nd bar from the example above to work on the beginning of a Blues in C:

You don’t always have to play the notes in the same order, we think of them as 1 3 5 7 but when you improvise you can play a lot of other melodies with the same notes in different orders.

#2 Inversions = New Melodies

Just like chords, there are ways you can also change the octave of some of the notes and in that way create inversions which are really just more solid melodies with the same notes.

#3 Repeating Notes

A lot of Great melodies use only arpeggios and one thing that they mostly do is that they also repeat the notes in the arpeggio, Mozart’s Eine Kleine Nacht Musik comes to mind.

In general you can just explore diffierent ways to make patterns by repeating notes as shown here below:

And if you put this to use on a Blues you have this:

#4 Add The Scale Notes

Until now, everything was done using only the arpeggio but we can also add the rest of the scale and create this exercise, which I usually refer to as the Barry Harris exercise:

If we take a few arpeggio patterns to add scale notes to then they could look like this:

And adding the scale could yield an example like this:

This Is How You Should Use Scale Exercises

If you want to play jazz and want to learn how to play jazz solos then you are probably also practicing scales and working on scale exercises.

In this lesson, I am going to go over a few scale exercises that you probably already know or at least should check out and then I am going to talk about how to connect them to chords and really use them to make music.

It is very important that you don’t just work on moving your fingers with exercises, you should always try to practice the things you need when you are playing.

Getting Started – Basic Scale Exercises

So first I am going to go over a few exercises and then I am going to relate this to a little simple music theory and show you how you can turn that into something you can make music with.

Let’s look at some of the fundamental things you check out in a scale, just playing the scale and playing thirds.

Lets take a Cmaj7 chord and this C major scale.

You want to play these two exercises because they are going to help you develop the technique to play the things that you can use in lines. Of course, you can use both 3rd intervals and scale runs in solos, but that is something I will save for another lesson.

The Mighty Triad – Powerful Melodic Structures

For most of this lesson, I am going to focus on how to practice and use triads because they are both flexible and powerful tools in soloing. But the process is really the same for all sorts of arpeggios.

There are a few great ways to practice triad arpeggios in the scales. First here is a basic version: play Diatonic Triads

But you can also give it more of a jazz sound already at the exercise level by adding leading notes both ascending

and descending:

Now we can start working on making some really great sounding licks with these exercises, but first, we need to figure out which triads will work over a Cmaj7.

Music Theory (just a little..)

Now, we have 7 triads in the scale. They don’t all sound that great on the chord, so first we need to find some that work.

The only note that sounds funny on the Cmaj7 is an F. I don’t like calling it an avoid note, but if we are looking for triads then that is not the greatest one to use.

We have all these triads: C, Dm, Em, F, G, Am, Bdim,

C: C E G
Dm: D F A
Em: E G B
F: F A C
G: G B D
Am: A C E
Bdim: B D F

If we remove the triads that contain an F then we get these 4 triads C, Em, G, Am

These fit!

C: C E G (1, 3, 5)
Em: E G B (3, 5, 7)
G: G B D (5, 7, 9)
Am: A C E (13(6), 1, 3)

Now we can start making lines with these exercises and then I will show you another exercise that is great for creating solid melodies

Making Lines with the triads

The first example is using an Em triad and adding a leading note to the 5th:

Another way to work with the Em triad is to play the triad as a triplet to change up the rhythm:

You can also chain together triads as I am doing here with G major and Em triads:

Another Great Exercise

Since the triads work so well in licks it is also possible to change the order of the notes. Until now it was always 1 3 5 or 5 3 1 but if you practice other patterns you can really get some great melodies as well.

Here is a simple pattern that starts on the third: 3 1 5 pattern example

If I make some licks with this pattern then you get something like this:

Arpeggios and Pentatonics!

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How to Use Chromatic Ideas in Jazz Licks The Right Way

Chromaticism is a huge part of Jazz. In this video, I am going to take a look at some great examples of chromatic jazz licks or phrases from Charlie Parker, Pat Metheny, Doug Raney, Pat Martino, and George Benson. All the examples are great ideas when it comes to chromatic phrases and also quite different takes on how to work with it.

I am sure you can get some great ideas from this, I know that I did.

Content:

0:00 Intro

0:19 Jazz licks from Charlie Parker, George Benson, Pat Metheny, Doug Raney, and Pat Martino

0:33 Charlie Parker Lick – #1 Connecting Jazz Chord Tones

1:50 Lick # 1 Slow

1:54 Pat Martino – #2a Chromaticism with a Pedal Point

2:35 #2b Chromatic Enclosure

3:04 Exercise for Chromatic Enclosures

3:23 Lick #2 Slow

3:27 George Benson – #3 Pentatonic Chromaticism

4:53 Lick #3 Slow

4:59 Doug Raney – #4 Bebop Chromaticism

5:41 Creating lines from a skeleton with added chromatic phrases

6:15 Lick #4 Slow

6:31 Pat Metheny #5 Outside Chromatic Notes

7:00 Bebop Ala Metheny

8:20 Lick from Solar with Parallel Thirds

8:43 Lick #5 Slow

8:49 Like the video? Check out my Patreon Page!

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Triads – How To Make Them Jazz Chords

In this video, I am going to show you how you can use the triads that you already know as a great way to create some beautiful jazz chords. Starting with material that you already know to open up a vast amount of jazz voicings is a really efficient approach to becoming much freer and begin to create a jazz chord vocabulary, and it is also really great for fretboard knowledge.

It is really interesting to explore how great a tool the triads are as jazz voicings.
I am going to do this in three steps:

  • How To Find Triads You Can Use, in a Practical Way
  • Easily Turn This Into a lot of chords and ideas to play
  • Find Triads for more Complicated Chords with Extensions

Step 1 – Rootless Jazz Voicings for a II V I

If we take a II V I in C major with some very basic jazz chords then we have this:

If I remove the Bass note then I have

Turning Diatonic 7th chords into triad voicings

The same principle use on all the diatonic chords in C major would yield:

And without the root we have these triads that could work as the above chords:

Step 2 – More Triad voicings with inversions

Before looking at adding extensions and alterations to the chords, let’s have a look at how much we can already do with these simple triads.

We now can play a II V I with these rootless, triad-based, but if this F major triad is a good voicing for Dm7 (Example 3) then the inversions of it are as well.

If I do this for the II V I progression I have these 3 ways to play that:

And of course this is just on the middle string set. This works on other string sets as well

Step 3 – Adding Extensions and using other triad types

If you look at a G7b9 voicing spelled out x 10 9 10 9 x or G B F Ab then the top notes of this chord are B F Ab which is, in fact, an F dim triad.

If I inser these into the II V I’s from example 4 then I have:

In the same way a Dm11: 10 x 10 10 8 x or D C F G has the three notes C F G on top. That is a Csus4 triad.

This gives us these II V I examples

And finally we can add a 13th to the Cmaj7: which is the same as playing an Asus4/C which gives us:

If you want to check out more options on using upper-structure triads for Cmaj7, I also have this lesson: 6 Triads for a Cmaj7 Chord (well 10 actually..)

Mix it with Other Chord Types

Check out how Triads work well with other 3-note voicings in this lesson on the changes of Some Day My Prince Will Come.

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The 3 Things You Need To Add To A Lick To Make It Sound Like Jazz

What are the key ingredients of a Jazz Lick? What do you need to figure out to get something to sound more like Jazz?

In this video, I am going to start with a simple Pentatonic lick and then gradually add things to it to make it sound like a Jazz or Bebop line. This is useful if you want to experiment with adding some jazz ideas to your playing or if you want to check out how good you are at using some of the key Jazz Skills.

The Lick

Here’s a simple lick over a Dm7 chord using a very basic Dm pentatonic scale.
It doesn’t sound wrong, but it is also not really there as a jazz lick.

The lick is using the basic Dm pentatonic scale box 1:

#1 Arpeggios

In Jazz, and especially Bebop, the melody follows the chord progression. One way of doing that is to use the arpeggio of the chord.
When you start to work with this it quickly becomes a lot easier not to think too much in Pentatonic scales, but more in 7 note scales. In this case, I am going to use a C major scale for my D minor chord.

We are playing over a Dm7 chord so we can use that arpeggio (play the Dm7 arpeggio) and another great arpeggio is the one from the 3rd of the chord. The 3rd of Dm7 is F and the arpeggio we have there is an Fmaj7.

If we add the arpeggio then we have a lick that could sound like this:

Practicing Arpeggios

When you want to use arpeggios in your lines it is a good idea to learn them in the scale that you are playing. For this Dm7 I am using a C major scale:

And then practicing the diatonic arpeggios in that scale will be this exercise:

Chromaticism

Another very typical Jazz thing is to use chromatic notes. You use chromatic notes that are either between two scale notes, these are called passing notes.  (play the E. Eb D fragment)
Another option is a short melody that points towards a target note. These are called enclosures. (play the enclosure

If we add those to the line then we have this :

Practicing Chromaticism and Chromatic Enclosures

There are two main ways of working with Chromaticism in lines like this one. In general, there are two types: diatonic passing notes and chromatic enclosure. Most of the time you use both types to target chord tones.

Chromatic Passing notes.

In the exercise below Iam playing diatonic approach notes to the chord tones of the Dm triad. It is a simple way to practice using leading or passing notes.

Chromatic Enclosures

Another, slightly more complicated, way to use chromaticism is to make enclosures. An Enclosure is a small melody that targets a note. Again, I am using this to target chord tones of the Dm triad.

#3 Rhythm – What Jazz Is Really About!

I think The most important part of Jazz is actually rhythm. There are many things to get right about the rhythm, but one thing to work on is to add some upbeats and upbeat accents to the melodies you play.

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Jazz Licks on a Maj7 chord – How To Sound Like Bebop

Learning the rules of a jazz language like Bebop can be a really useful way to study and internalize that sound. In this video, I am going to use some Jazz Licks to cover some of the techniques and how you use them on a Maj7 chord. The 5 examples will show you how you can use Chromaticism, Arpeggios, trills and octave displacement on a maj7th chord.

Jazz Lick #1 – Cowboy Bebop?

When playing bebop we often think about long rows of 8th notes. But it is important to break up that flow to keep it interesting. This example starts with an 8th note triplet which is a chromatic run. This is already adding a different feel fromt the beginning.

From there it continues with a C major triad. The Triad is a great arpeggio to use on a Cmaj7 chord. Charlie Parker plays major triads all the time. From the triad the melody skips up to the 6th(A) and via a chromatic passing note ends on the 3rd(E). Notice how the line is ending on the 2&. This keeps the energy higher than ending on a beat or even a strong beat.

Jazz Lick #2 – Bensons favorite Maj7 lick

This example is build around another 8th note triplet idea. This 8th note triplet is using a Cmaj7 arpeggio. Playing arpeggios as triplets is a very common device in bebop, it really helps target and emphasize the 7th of the arpeggio which is also the top-note. From the target note the line descends in half steps down to the 5th(G)

This example is a favourite of both George Benson and Charlie Parker.

From the G the line concludes with an approach to the 3rd and skipping up to the 6th.

Jazz Lick #3 – Barry’s Recipe

A very useful way to both construct your own lines and understand lines that you have transcribed is to see them as scale melodies with added detours. Barry Harris often constructs lines in his workshops in this way.

This line is essentially a scale melody in bar 1, but with an added chromatic approach between the C and the B.

The 2nd bar is using the arpeggio from the 3rd of the chord, Em7, and adds an exciting skip from C to G, ending on 4&.

Jazz Lick #4 – Octave Displacement on a Maj7

Octave displacement is another way to break up the direction of a melody. The idea is to have a melody is moving in one direction and then move a part of the melody an octave up or down.

In this example I am using Octave Displacement to change a Cmaj7 arpeggio and in doing so create a more surprising melody in the first half of bar 1. This is also know as the Honeysuckle Rose lick, since it is in that melody.

The line continues with a descending 1st inversion Am7 arpeggio followed by a trill. Trills are another way to add embellishments to a line that breaks up the flow of 8th notes in a nice way.

In this case the trill is a part of a skip down to the lower G and from here the line concludes with an Em pentatonic melody.

Jazz Lick #5 – Putting it all together!

The final lick is making use of most of the devices discussed in the first 4 examples! Try to have a look and see if you can spot what is used where.

More Bebop lines and Bebop Embellishments?

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