Tag Archives: jazz guitar solo licks

II V I – You Need To Practice This For Solos

The II V I progression is probably the most common chord progression in Jazz. In this video, I am going to go over some of the basic things that you need to practice and also how you take those basic tools and turn them into great material for a solo.

So that you can improvise over the chord changes so that your solos sound like Jazz and not just noodling in a scale.

What is a II V I?

If you look at the key of C major (play the scale)

then for each note in the scale you have a chord, this is what we call diatonic chords and for C major you have these chords:

(add the roman numerals on screen)

The II V I is a chord progression that starts on II (Dm7) goes to V(G7) and resolves to (I) Cmaj7. So the II V I is a short progression to take us to the C major.

If you play the chords of a II V I a little closer together you could get something like this:

Next, let’s look at some exercises you can do on the progression to give you something to solo with.

How To Solo Over A II V I – Basic Arpeggios

When you improvise in Jazz then you are playing melodies that are related to the chords that are in the song. That means that if you have a chord progression like a II V I then you want to know the melodic version of the chords, which is the arpeggios.

That means that a great exercise is to practice those arpeggios on the chord progression. Something like this:

Notice that I am playing the arpeggios as one-octave arpeggios in the same position, that is an easy way to practice these and especially easy to connect them to a chord progression.

Making Scale Practice Useful and Practical

Practicing scales and arpeggios directly on a piece of music is super useful to get an idea about how they sound in context and when to use them in a solo. It’s a great exercise whenever you want to learn a song or learn to use something on a song.

If you solo with the arpeggios then that clearly connects with the chord changes, so already with these arpeggios, you can make strong licks like this:

The trick is to make sure that you really bring out the notes of the chord, and here I make the change of the chord extra clear because I put a not on the 1 of the bar which was not in the previous chord, so the B on G7 and the E on the Cmaj7.

The Most Important Scale Exercise

The way I am playing the arpeggios as one-octave melodies is something that you can practice on a scale. If you do that then you are working on being able to play all the arpeggios in that scale in one place and you are pretty much ready to do the previous exercise for any progression.

Later in the lesson, I will show you why this exercise quickly becomes a gigantic short cut to having much more material on any chord you want to solo on.

Use The Scale As Well

As you could see at the beginning of this video, the whole progression is in the key of C major, and if you want to solo then you can use the arpeggios but you can, of course, also use the rest of the notes in the scale, so before we start to add some Bebop tricks then we need the rest of the notes:

 

Again it makes sense to practice this on the progression and hear how it relates to the chords, and you can do that in a very easy way by adding scale notes around the arpeggios from example 4

Like this, you can still hear the scale over the chord, and you still have the chord tones as the important notes because they are on the beat. (Highlight in the example maybe just on the Dm7 bar)

Now you can make a lick like this:

So there are more options with melodies, and the chord tones are still used, especially on the heavy beats of the bar: beat 1 and 3 which still makes it pretty clear how the solo relates to the chord.

Chromatic Notes (Bebop Made Simple)

Besides playing lines that are spelling to the changes then using chromatic notes in your solos is another part of the Jazz sound.

You can put up complicated rules for this, but you can also just try to start making lines and adding a chromatic note before a chord tone like this:

Here the chromatic notes are before a chord tone to help pull the melody forward and also really connect with the chords.

  1. First C# before the D
  2. A# to go to B on G7
  3. D# to E on Cmaj7

You can also see how the chromatic notes are used to really make the change of chord clear

And you can also use chromatic approach notes to other notes that give you a sound like this:

Here you have some chromatic notes scale notes, not chord tones, and also some places where I am using a chromatic note to delay the note, for example at the beginning of the G7 bar.

More Amazing Arpeggio Ideas.

As I said earlier if you practice the arpeggios in the scale then you get access to a lot more material, in fact, more than twice as much.

Let me show you an example:

If you look at a Cmaj7 arpeggio or chord then the notes are:

C E G B

When you solo on it then a line using the arpeggio sounds good because you are playing the same notes as the one playing the chords.

Since C E G B sounds good then the arpeggio from the 3rd of the chord works as well because that is mostly the same notes:

C E G B

   E G B D

This trick you can do for all the chords in the II V I and then you get this exercise:

And you can take this material and make a lick like this:

And here I am using Fmaj7, Bø, and Em7 on the II V I, but you can also mix in the original arpeggios and there are a lot of options.

The Jazz Guitar Roadmap

My new online course is a great way to get started learning Jazz guitar, you can build your skills going through a step-by-step method.

✅ 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

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/ii-v-i-you-need-41894098

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.

II V I – When you want to sound different (in 8 ways)

The II V I is the most important and common chord progressions in Jazz.

But sometimes it is also nice to have some other ways of approaching this progression so that it sounds a little less predictable maybe even less like a II V I.

In this video, I am going over 8 ways to change the chords to get some new sounds, and I am only messing with the II and the I chord because I have a ton of other videos with different V chord options.

Of course, you can also take these examples and use them on a static chord if that fits the music you play better and you want to change it up a little.

Check out other videos on Reharmonization

Why Reharmonization Is For You And How To Get Started

Reharmonization – Are you getting it wrong?

Content:

0:00 Intro – Changing up the II V I sounds

0:20 8 Ways to change the sound of a 2 5 1

0:44 Example 1 – IImMAj7

0:59 What The Chords Sound Like and why that is important for solos….

2:29 Example 2 – IIø(9)

3:19 More Different Rhythms

3:36 Triplets Groupings

3:53 Example 3 – IIsus4(b9) – The Prhygian Chord

4:58 The Elephant In The Room

6:11 Example 4 – IIalt

7:04 8th note triplet groupings on altered dominants

7:45 Example 5 – Imaj7(#11)

8:47 Example 6 – Imaj7(#5)

9:29 Sneaking in Melodic Minor sounds

10:04 Triplet rhythms for medium swing – Hancock, Rosenwinkel, Mehldau

10:29 Example 7 – Imaj7(#9,#11)

11:43 Example 8 – Imaj7(#9,#5)

11:58 The Augmented Scale – That I never practiced

13:33 Like the video? Check out my Patreon Page

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:

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 200 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 700+ 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.

Rene Thomas – Is This an Overlooked Bebop Hero?

Rene Thomas is maybe not the first Jazz guitarist to come up in a conversation, but his very melodic and strong bebop inspired jazz lines are very much worth checking out. The Rene Thomas Guitar Legacy includes sideman gigs with Stan Getz, Sonny Rollins and Chet Baker. Besides that he recorded several albums under his own name.

The excerpts in this video are form his first US album “Guitar Groove” an album that features Rene Thomas and saxophonist Bobby Jaspar with whom he recorded and worked very frequently.

The story goes that Stan Getz heard a trio with Thomas once in London and hired the band on the spot.

These examples arereally illustrating how he manages to use modern jazz sounds and a lot of bebop tradition in his playing. The melodies are often very refined and the ideas very long which is of course also a trademark of a master improvisor.

If you want to check out some other performances then I have a short playlist of videos here: Rene Thomas Live Videos

Especially the solo on Oleo is burning!

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.

Pat Metheny – This is What Jazz Blues Should Be

The Solo in this Pat Metheny Lesson is on a medium swing 12 bar blues in Bb. The Freedom and the multitude of approaches that Pat Metheny has when it comes to improvising over a blues is mind-blowing. Certainly worth a closer look!

This covers the super melodic side of Pat but also really illustrates his Bop playing and the great way he uses Blues material. There is a reason why Charlie Haden really emphasized how much he loves playing Blues with Metheny. I think this solo really demonstrates why.

Pat Metheny Lesson Content

0:00 Intro

1:18 Example 1 – Blues, Double-time and Lydian Dominants

4:37 Example 2 – Spelling out Harmony and Reharmonizing

8:42 Example 3 – Free Jazz, Tritone Substitutions and Chromaticism

Check out the John Scofield Solo on the same song

If you want to check out the video I did on the John Scofield solo on this track then have a look here: https://www.youtube.com/watch?v=Y6n9FE7PDBU&list=PLWYuNvZPqqcF247KJAOrdpBzCY0YTWk6O&index=6

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.


Pat Metheny Is Not About The Notes, Are You?

This is not only a Pat Metheny Lesson. It is also a short discussion and a practical example of how most things that we hear in great solos are not complicated scales or concepts, but much more masterful and melodic improvisations with basic scales and arpeggios.

In the solo I go over some fragments from the Pat Metheny How Insensitive live from the Secret Story live dvd. It is a fantastic solo.

The solo can be found here: https://www.youtube.com/watch?v=y9SPR9eUIbk

And a transcription is available here: https://kupdf.net/download/pat-metheny-how-insensitive_598dfa35dc0d60e927300d1a_pdf

Table of Contents:

0:00 Intro

0:17 No Magic Just Playing The Song

0:40 Getting lost in Theory and Scale Choice

1:21 Pat Mehteny – The How Insensitive Solo

1:49 Why Pat Metheny is a great example for this

2:05 Not only The Lick

2:17 How much do scales really matter?

3:18 Example using Locrian Nat. 2

3:30 Example Using Locrian

3:50 Example Bringing out the Locrian Nat 2 sound

4:19 Solo Fragment 1

4:27 Playing Dm blues or Playing the Changes?

5:19 Solo Fragment 2

5:28 Scale Sequences and Triad Groupings

6:01 Breaking down the line

7:52 What makes this a great solo?

8:15 Keeping the Melody and the key in mind

8:47 Melodic Ideas

9:08 Dm Pentatonic scale?

9:57 Like the video? Check out my Patreon Page!

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.