Tag Archives: jazz guitar solo

How To Play Outside – A Few Great Jazz Solo Secrets

This lesson will show you 5 different ways that you can play some beautiful outside things on a static m7 chord, not just what to play but also how to use it.

If you are soloing on a static chord then a great way to make your solo more interesting and surprising is to play something that really rubs against what the listener expects to hear.

But you can’t just play random notes, it still has to make sense and sound like a melody, and that is what you will learn with some different strategies in this video

#1 Half-step Below

The examples are all on a static minor 7 chord, and the first few examples use different chords on top of the harmony and then later I will cover some other strategies and how they sound.

A great place to start is by moving everything a half-step down, often referred to as side-slipping or side-stepping. This is easy to work with thinking wise and you can use the same position and material while still sounding great. First, let’s check out how that sounds, and then I will show you how to get the melodies to connect and make sense, both going into the outside section and also coming out of it. The backing is a static Cm7, so the side-slip will be a Bm7.

The first part of the solo is just using the Cm Dorian sound, just so that we have a sense of what home is, then I transition to Bm7 by using the parallel motion of the arpeggios, first I play Gm7 and Ebmaj7 arpeggios and then I use these as a motif to move down to a Dmaj7 arpeggio thinking Bm7. The solo really sits on the C# to create tension and then I go back to Cm7 by playing the Ebmaj7 arpeggio rounding it off with a blues phrase.

How and Why Superimposed Chords Work

So I am really treating it as a chord change and connecting across the chords with motivic development. In that way, the melody makes sense and is not random, I am using the same logic to make melodies with Bm7 as I do on Cm7 and it is practical that it is the same chord.

This is true for more of the examples in this video, but some can be used differently as well, like the next one.

The only thing you need to be careful with when you connect with motifs is that you don’t make the motifs too obvious, that sounds predictable and unnatural, but that is the same as when you use motifs in your solos on changes.

#2 Altered Dominant

You can also use altered dominant lines on top of the chord to make your solo sound more surprising. As you will hear, this creates tension and movement within the solo in a very natural way. For the Cm7 then the altered dominant is G7alt, and the G altered scale is the same set of notes as Ab melodic minor. There is a really big advantage to using the altered dominant for this and I will explain in a bit.

The advantage with G7 is that you are used to working on improvising lines that resolve to Cm, so it is a lot easier to make lines that resolve back into the sound of the chord because it is a connection you already know.

In this example, I first set up the Cm sound with some Dorian and Cm blues and then transition to the G altered scale and play a typical G7alt line using the diatonic arpeggios Fø and Bmaj7(#5). These are arpeggios I would normally use for that chord so you can use the material that you already know. The transition back is done by simply sliding down to resolve from Ab to a sustained G, ending with a Cm pentatonic phrase. If you are looking for more things to play on Altered dominants then I will link to a video on that in the description of this video.

Altered Dominant & Scale Melodies

For the altered dominant scale you can also get the melodies to work with more scale oriented melodies, which is a simpler way to make melodies and a nice addition to your playing:

Here I set up Cm quickly before moving into the G7alt line that is essentially just an ascending scale that then resolves back with the scale played in 3rds.

Next, let’s have a look at what is probably the most common outside suggestion you come across.

#3 Half-step above

Moving up a half-step is a common way to create some outside sounds, and similar to the first example, an easy way to get there and you can use the same material you are already playing. The example I am using here demonstrates another way to move smoothly into the outside part of the phrase: A Pivot note

The beginning of the example setting up the Cm7 is a little more extensive here, and with more rhythms. Moving up to Cm7 is done by using the Eb as a pivot note. A pivot note is a note that is in both chords, Cm7 and C#m7. It is the 3rd in Cm7 and the 9th on C#m7, and the melody starts out using it as the 3rd of Cm7, and then it turns into the top-note of a descending arpeggio on C#m7.

The solo goes back to the Cm7 by simply shifting down a 3-note scale fragment, so just C# D# E, first a basic version on C# and then a more embellished version on the Cm7.

Next, let’s have look at a completely different sound and approach to creating outside lines.

#4 Diminished Scale

There is a great trick to using C diminished as an outside sound on a Cm7 chord.

You have a connection with the Cm scale:

C D Eb F G A Bb C

C D Eb F F# Ab A B C

Because you have a lot of common notes, but you also have some “funny notes” like the F#, Ab, and the B.

Using  The Triads

The trick is that you can use the major triads of the diminished scale to improvise with and shift those around to create some strong and interesting melodies.

Scale:

C D Eb F F# Ab A B C

The 4 major triads:

D: D F# A

F: F A C

Ab: Ab C Eb

B: B Eb F#

in the scale, we have the 4 major triads: D, F Ab and B

All the triads contain very strong colorful notes on over Cm7 and since they are triads you can easily use them to create interesting melodies.

In example 4 I use the D, Ab and B triads together to create a melody which sounds like shifting colors on top of the Cm chord.

In this example the 4 triads don’t really “belong” in the sound of the chord, but we have another less common sound that can actually shift in and out of the chord sound in a similar way, that is the next thing to check out:

#5 Augmented Scale

The augmented scale is a 6-note scale:

Eb F# G Bb B D Eb

You can se it as either two augmented triads next to each other:

Eb augmented and D augmented

or, what is practical in this case, you can see it as 3 major triads in major 3rd distance:

Eb G Bb , G B D and B Eb F#

In this case, I am making a link to Cm7 by using the Eb major triad which is the upper structure of Cm7, and then create lines by mixing the 3 triads in different inversions:

In the example you hear how the line moves to the B major triad and then to the 2nd inversion G major triad, plays some more scale-based melodies before returning to Cm7 by resolving the F# to G.

Melodies like this are something you hear a lot in Michael Brecker solos.

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One Thing That Will Make Your Solos A Lot Better

There is a trap that you can fall into when it comes to practicing. Usually, we spend a lot of time learning songs and trying to hit the right notes in your jazz solo, but it can be very a huge problem if you only take your playing to that stage. That is not where the music is, there is a lot more that you need to develop to sound great when you are improvising, but most of it is fairly easy to improve if you are aware of it and focus on it in your practice routine, as you will see in this jazz guitar lesson.

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Content:

00:00 Intro

01:02 Metheny Practicing

03:07 Parker Thinks The Same

05:07 Practice Practice Practice

06:03 Telling Better Stories in Your Solos

06:30 Use Different Building Blocks

08:30 This video didn’t teach you anything

08:57 How to Connect Phrases 

10:09 Develop your skills

10:16 Like the video? Check out my Patreon Page

 

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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 keeps 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!

This is a very common question in YouTube comments and my Facebook group.

Surprisingly the answer is not that simple, because it is really about what You think is important and what you want to achieve, but it is still important that you make the right choice.

 

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Content:

00:00 Intro

00:30 A Difficult But Important Choice

00:40 Pentatonic Scales – Start With What You Know

02:27 Chords That Don’t Fit With A Pentatonic Scale

02:54 What Do You Think?

03:23 A Jazz Lick with Pentatonic Scales vs A Bebop Jazz Line

04:46 How Most Jazz Musicians Think about Pentatonic Scales

05:55 Arpeggios – Directly Into The Jazz Vocabulary

06:24 Connecting To The Harmony

07:19 Jazz & Bebop Vocabulary

07:45 Which one is better?

08:25 Getting more out of Pentatonic Scales!

08:30 Like the video? Check out my Patreon page!

 

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Simple Ideas That Make Your Solo Better

You know the feeling: You are practicing and in your jazz guitar solo you are using the right notes, the right scale, and arpeggios but it is also really boring. In this lesson, I am going to go over some of the things I like to mess around with and try to change things up a bit with different arpeggios, rhythms, and melodic ideas. It should give you some inspiration and a way to change things up a bit in your own playing.

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Content:

0:00 Intro

0:44 #1 How to not sound like scales and arpeggios – with (Secret) Arpeggios

2:18 #2 How to not sound like scales and arpeggios – with Scales

3:48 #3 How to not sound like scales and arpeggios – Wrong Scales and Arpeggios

4:57 #4 8th-notes in groups of 3 notes

6:01 #5 Triplets in Groups of 4 notes

7:21 Triads – The Strongest Melody we have!

7:40 Like the video? Check out My Patreon Page

Expanding your solo vocabulary

Lady Bird – Arpeggios & Pentatonic Scales

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How To Listen To Your Solos And Really Learn Something

You are practice playing jazz guitar solos because you want to get better at it, and you probably also discovered that it really helps to record yourself and listen to how the solo sounds because you don’t really have time to listen if you are playing the guitar.

But what do you listen for, and how do you figure out what to improve your jazz guitar skills? In this video, I am going over some of the things you can learn from recording your own solos.

Content:

0:00 Intro

0:17 Recording Your Solos – But what to learn from them?

0:52 Get the most out of your practice (also the easy things)

1:18 It is Hard to listen to Your Own Playing

1:49 Ear-training (but not just chords and scales)

2:48 Lost in the Zoom – Don’t only check out details

3:46 What to listen for and work on

4:34 Things for the list of stuff to check out

6:48 Do you record your own solos?

7:14 Like the video? Check out my Patreon page

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Great Chord Sequences And How To Use Them In A Solo

There is a great way that you can create new lines over a chord progression which is a simple way of changing the chords and outline other chord sequences. This way you get more movement in the lines and another logic to the melody. And checking out a few of those options on basic progressions like a II V I or a static chord can add a lot of variation to your solos.

In this lesson, I am going to show you a few examples of this. Some are staying within the key and others add a few outside sounds, and later I will also show you how this works if you open up the rhythm a bit.

The Basic Chord Progression and Concept

To show you how this works, first we need to set up a key and a II V I to work with.

We have a basic II V I in G major: Am7 D7 Gmaj7 and often if I play these chords then I can also get away with these chords: Am7 Bm7 Cmaj7 D7 (see example 2 below)

Using this progression in a solo

If I do that in a solo in a really basic way then that sounds like this:

You can hear that the comping is just playing the II V I, but it still works and a freer solo line that still sounds like this: could be something like this:

As you can see I am still using the super-imposed chords (short rundown of the arps)

A Modal or Static Variation

You can hear that I am using the direction of the “alternative chord progression” to give the line a specific direction that works great, almost as a counter-point to the comping underneath.

And of course, the same concept used on a static Am7 chord works as well:

More Diatonic Reharmonizations

The previous example was moving up the scale, and there is a very easy way to use the same principle and move down through diatonic chords like this:

The Ab7 is there because it fits in the descending motion, but a D7 would work as well, of course.

Strong Triad lines

A good way to clearly use the descending movement on top of the standard harmony is to use basic triads like this:

Adding Chromatic Passing Chords

There are two obvious ways you can add a chromatic passing chord in this context, namely using a side-slip up or down.

The two examples below shows how that might sound:

And if you translate these into solo lines:

Example 10 using a Bbm7:

And example 11 using Abm7:

More Creative Rhythms and Polyrhythms

Until now the chord progressions have been used as if the chords are placed on the heavy beats of the bar. This is of course what you usually find with chord changes, but when you solo you can be a lot more open and have more fluid barlines.

These 3 examples have a more open approach to the rhythm and also make use of polyrhythms.

A loose Bbm side-slip

Example 12 is a more loose way to quickly insert a Bbm7 line (actually just a Db major triad) and here it almost sounds like an added Eb7 in the context.

The triad is introduced by moving up the preceding C major triad a half step.

Dotted Quarter note arpeggios

The example below uses the Am7 Bm7 Cmaj7 D7alt chord progression, but the melody uses a 3 8th note long melody for each of the chords.

Another great 3 8th-note grouping

Again triads are a fantastic resource to create melodies. This example is using the basic triads of the chords and spelling out the Cmaj7 Bm7 Am7 Ab7 chord progression. The last two beats are covered with a quartal arpeggio that is essentially an Ab7(13).

Level up your Jazz Lines with Bop Embellishments

Another great way to add more variation to your jazz vocabulary is to use more interesting phrasing:

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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.

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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

Doug Raney – The Best Solo If You Want To Learn Bebop?

If you want to learn Bebop then this Blues solo with Doug Raney on Jazz Guitar is a great place to look. This solo has Doug Raney playing an amazing Jazz Guitar Solo on this Bb Blues. This is off the Something’s Up album and really demonstrate how Raney has a solid grounding in Bebop tradition and also can take in some more modern jazz sounds.

The Blues is the Charlie Parker classic Mohawk and Doug Raney’s solo feature great examples of Chromatic enclosures, Playing across the barline, Lydian dominant.

Content:

0:00 Intro

0:44 Example 1

0:49 Bb Jazz Blues and two great Raney Albums

1:10 Breaking down the Example

1:46 Example 1 Slow

1:53 An overview of the phrase in the solo

2:11 Example 2

2:18 Developing the Solo – Going across the barline

4:06 Example 2 Slow

4:16 Example 3

4:25 Introducing More Modern Jazz Sounds

4:38 Lydian Dominants in Jazz Blues

5:43 Example 3 Slow

5:55 What Do You Consider the best example of A Jazz Guitar Bebop Solo?

6:24 Example 4

6:34 The Ultimate Bebop Phrase!

7:58 Doug Raneys Legato Technique

8:43 Example 4 Slow

9:18 Example 5

9:28 Octave Displacement and displacing the phrases across choruses.

11:14 Example 5 Slow11:29 Like the video? Check out my Patreon Page!

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Jazz Guitar Solo – This Is What I Think About

What do I think in a Guitar Solo? A Jazz Guitar Solo is not as much thinking as you may assume. In this video I improvised a solo, transcribed it and then I go over the solo discussing what I thought or about or what I might have thought about when playing the solo.

This should give you some insight into how I improvise and also maybe what you should not worry about when playing a song. Jazz is a genre of music that lends itself to over-thinking.

Some of the topics I go over is how and why I think certain things like altered dominants or motifs. I also talk about the construction and thought process behind double-time lines and some polyrhythmic ideas.

Content of the video

 0:00 Intro – What I think about in a solo

0:20 The Driving a Car Analogy

0:42 Solo and Transcription.

1:17 Out Of Nowhere – The Song and the Form

1:48 The Solo

2:43 The Beginning – How to start a solo

4:04 How Target notes are a part of my playing

5:18 Ab Blues in G major?

5:49 The Added C7(#11) chord

6:33 The Gmaj7 Gm6 trick

7:09 Bm7 E7 – Thinking an Altered Dominant

8:39 I am not Pat Martino (surprised?)

8:50 A Tonic minor sound on the II chord

10:14 The Lydian Dom7th: Eb7

11:03 Double Time Line

12:31 Using Blues G Phrases in Medium Swing

14:22 A Simple Motif through a few bars

15:53 Bm Pentatonic to C7(13)

16:33 The Bm7 chord as a II chord not a III

17:25 4th note Triplet Poly Rhythm- Groups of 2 (displaced)

18:45 The Final turnaround and the ending

19:50 Blues in Medium Swing (Joe Pass)

20:54 How Not To Think About What I do

21:15 Like the video? Check out my Patreon Page

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The 7 Questions You Need To Ask About A Solo You Love

We all have a jazz guitar solo that we really love and we dream of being able to play a solo like that. Often the advice that you get is to transcribe the solo and use that to learn to figure out what is going on, but that can also be a way for you to zoom in too much on the details. Often it isn’t that important if it is an E or and Eb, but it is much more important that he is developing a motif or only using short phrases or playing triplets in groups of 4.

In this video I am going to focus on what you can learn by listening to solos and focus on other things than what notes are being played, a lot of topics that are just as important and that we forget to talk about.

Hope you like it!

Content of the Video

0:00 Intro

0:12 The Problem with Transcribing

0:47 Focus on The Bigger Picture

1:22 How Long Are The Phrases?

1:37 John McLaughlin Vs Wes Montgomery

2:27 Using Phrase Length in Your Own Practice

2:44 What Is Happening With The Rhythm?

2:54 Pat Martino vs Herbie Hancock

3:27 Herbie going beyond the 8th note and in the groove phrasing

3:50 Intersesting ideas with 8th notes

4:00 Timing, Placement on the beat?

4:21 Is It Bebop Lines or Vocal-like Melodies?

4:50 Paul Desmond Vs. Pat Metheny

5:43 How Is The Development Of The Solo?

5:52 Mainstream Jazz and Dynamics?

6:05 Steve Vai vs Stan Getz

6:36 A Method for Solo Construction: Wes Montgomery

7:20 Is it In The Groove or Floating over it?

7:57 Joe Pass Vs Allan Holdsworth

8:31 Are The Phrases Connected, and How?

8:55 Wes Montgomery Vs Pat Martino

9:26 How Is The Soloist Using Space?

9:44 Use Space to Create Tension!

10:00 Like John Abercrombie!

10:28 Like The Video? Check out My Patreon Page!

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