Tag Archives: jazz guitar tutorial

Why Chord Substitutions Are Holding You Back!

To me, this is one of those things that can really open up how you work with chords and help you create some beautiful-sounding progressions without having to rely on systems and rules.

It also touches on one of the things I don’t like about a modal approach to harmony, but I will try not to rant too much about that in this video. Instead, I am going to show you a way to think about the chords that will free you from just using substitutions and will help you create some beautiful harmony that really flows through the piece.

This is closely related to the type of thinking behind the Coleman Hawkins quote: “I don’t play chords, I play movements” which is often associated with Barry Harris even though that is also not the approach that I will focus on in this video.

Like most others then I was introduced to chord substitutions pretty early in my study. This was when I was still living in Copenhagen and spent most of my time playing Jazz standards in the street when I wasn’t in school trying to get better at guitar.

I was just beginning to figure out how to harmonize melodies and turn them into chord melody arrangements but still only relying on the basic harmony (B-roll – Looking in the real book, pointing, and then trying to play a difficult chord looking baffled)

For this, I am going to start with a few basic substitutions and then we are going to expand that into something much more powerful and creative.

Chord Substitutions 101 – Tritone Subs

The first chord substitution you learn is usually the tritone substitution, which I sometimes get the impression is taught because theory teachers don’t know what to talk about in the lessons.

A tritone substitution is exchanging a dominant for the dominant a tritone away because the two chords share the same core notes: 3rd and 7th.

So in a II V I in C major EXAMPLE  the G7 is replaced with Db7. To give you this nice progression:

And you can see how the same tritone is in the two dominant chords which is why it is possible to switch them.

The best way to understand stuff like this is usually to hear it used in a song.

The basic version:

 

and with a tritone sub:

 

And this demonstrates two things: Tritone substitution(or any other chord substitution) doesn’t really make any sense if you don’t understand how it works with the chords around it. You are making the substitution to get the progression to sound different,  and you need to hear it in the context to really get what is going on, otherwise, you are in this case, just playing an E7 (b-roll: E7!) and  E7 sounds differently in a Blues in E compared to A Jazz ballad in Eb

The other thing you want to notice is that Tritone substitution usually works better when the dominant resolves, so a tritone substitute of a backdoor dominant is probably not going to sound fantastic.

Chord Substitution 102 – Major and Minor + Tritone 2.0

There are probably 3 more chord substitutions that are very common and that you want to know when you are at the stage of just swapping out chords and not really trying to think in harmony as a movement, which we will get to later.

#1 Tritone Dom instead of a II V in minor.

The first one is if you have a minor II V I like for example What Is This Thing Called Love

and you then replace the m7b5 chord with a tritone substitute resolving to the V, so in this case, Db7 moving down to C7:

The next two are about messing with how the ear expects to hear either major or minor in a II V I and then you do the opposite.

#2 a m7 instead of a IIø

If the ear expects to hear a dark-sounding m7(b5) chord EXample and instead you play a much brighter sounding chord that is a m7 with a 9th and or an 11th then that is a really nice surprise. Example

A good example could be Beautiful love. The first few bars usually sound like this:

And you can get a much brighter sound by using an Em7(11) like this:

This is pretty common and also something you can use in a solo, and there are actually even a few spots where Parker does this.

#3 a m7(b5) instead of a m7 chord

The other way around is also really nice! If you have a II V I in a song

and then make it darker by playing:

Beyond Chord Substitution

Jazz Harmony space B-roll (chord symbols flying in space?)

I guess it is sort of ironic that I started out the video by teaching chord substitutions when I actually don’t want you to think like that, so let’s go beyond that, first a bit further and then into Uncharted Jazz Harmony Space  (B-roll)

When you can only think in terms of chord substitutions then you can switch one chord out for another chord, but it actually becomes a lot better if you start to learn to work with entire progressions and come up with other ways of harmonizing that section of the melody.

This was something I first started to get into when I was studying at the conservatory and had lessons with Peter Nieuwerf and Eric Gieben who showed me some exciting ways to work much more freely with harmony, and as you will see, some of these don’t make any sense if you think of them as of chord substitutions.

Let me show you an example, that sort of goes against one of the things that makes reharmonization most effective. I am going to assume that you know what Blue Moon sounds like so that you can hear how these chords are different, and then I am going to explain what is going on.

You can hear how this still works, and still has a flow but also how far away you can go on a very simple turnaround. And actually, you can approach it in a much more open way but I’ll get to that in a bit.

The first thing I changed was turning the Am7 chord into a C#dim.

That is just a secondary dim chord and not something special.  In Bar 3, there is a lot more happening, because here the long G in the melody was original on Cmaj7 Am7, but now it is harmonized with Abmaj7 and Dbmaj7 leading into the Dm7 G7,

and Abmaj7 and Dbmaj7 are not exactly substitutions of Cmaj7 Am7, you could at most call them suspensions but since they don’t resolve back to C then that is also not really a description of what is going on.

The best way to see it is probably just to see it as something that

A/ sounds good with the melody

B/ fits in the key and the chord progression

Here they work because they are both minor subdominant chords in C major and of course sound great under the G in the melody.

In Bar 5 The Cmaj7 Am7 is turned into Bb7(#11) A7.

Again Bb7 is not really a substitution for Cmaj7 or related to Cmaj7. Instead, it is an example of choosing harmony that focuses on a different aspect of the turnaround: The chord that was there: Cmaj7 is just a tonic chord and it is a resolution when you land there, but the song keeps on moving, and the Bb7 only makes sense here because it keeps on moving to A7 and in that way is both a bit surprising but makes sense as the music continues. So you can look at the turnaround and think:

A- It is a tonic chord and then it moves on

or

B- It is a progression that needs to resolve in 2 bars.

And here I am using Bb7 because that works with the melody and really helps push towards the resolution in bar 7. In this last turnaround, I also changed the Dm7 to a D7, but that is just because I think that sounds a little better than the m7 chord with the melody.

So the big difference here is that I am much more free to use whatever chords I can get to work with the melody and the chord progression, not just looking at a chord and then thinking what chord fits instead of this.

This can give you A LOT of freedom, but before I get into that then let’s look at a way to set up a reharmonization so that it really stands out.

The Easiest Way To Make It Work

Timing is incredibly important for reharmonization and chord substitution. When you are playing a song and changing the harmony then what you are really working with is a way to go against the listener’s expectation. That is also what you hear in the Blue Moon example where I first play a turnaround in C to establish the song and then I start to change the chords.

If you start with changing the chords then there is less of an expectation and nothing for the listener to be surprised by:

And of course, that is possible but it is not nearly as strong. If you start listening for how people use reharmonziations then this is more common than you think, try to listen to Gilad Hekselman’s recording I Should Care where the 2nd half of the ABAC form starts with an F#ø Fm6 Em7 A7 because that is a new way to color the melody when it repeats in the 2nd half of the form.  This is by the way a very common reharmonization used on a ton of songs, but let’s get into some more uncommon progressions and different sounds.

Everything Is Allowed!

Until now, I was just showing you some things that were changing a chord here and there and creating some beautiful sounds, but you can also just leave out most of the chords and completely re-imagine the chord progression, using “atonal” ideas and Giant Steps.

To have a place to start check out the first few bars of You Don’t Know What Love Is:

Let’s say that you played that as the first A and now you can change things up in the 2nd A:

Here I am starting with a different chord that is essentially the same Fm6 with a Bb in the Bas and then I sculpt the rest of the chord progression around an ascending bass line ending with Gbmaj7 instead of Db7, but this would really work well moving on to Gø that would follow it.

This next example is borrowing some ideas from Coltrane’s Giant Steps circle:

Giant Steps don’t really exist in minor, and actually, you don’t want to be tied down by some sort of system when doing this, so I am being very liberal with how I incorporate the chords, and I still want to play the song.

The idea I use is to start on Fm6 and then through E7alt go to Amaj7 which is pretty far away from Fm, and to move on to Db major and finally take another route to end on Bmaj7(#11) instead of Db7.

You can probably tell how this is really more about using the Coltrane cycle as a source of inspiration and not at all a system, but like this, the melody is still intact and you get something different.

A great place to put this to use is to work on chord melody:

How Chord Melody Will Help You Master Important Skills

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No Bending In Jazz, Please!

I guess this might be a hot take on the topic of bending in Jazz, but this is a really common question, and that was sort of surprising to me because I never really thought about it like that but I will try to explain that later.

I get a lot of comments about this ranging from “why is there no bending” or the more frustrated ones that are “Bending isn’t allowed” and of course my favorite which is to blame it on me. which is always fun.

But why isn’t bending a part of Jazz Guitar? And actually, I think there are quite a few reasons for this.

Is Bending Overrated?

Maybe sometimes string bending gets a bit overrated?  The main reason you would ask why Jazz doesn’t use string bending is usually that you come from playing genres where that is a common part of phrasing and playing. That would probably be Blues, Classic Rock, and Metal? In those genres bending has almost become synonymous with demonstrating good taste, emotion, and not over-playing in a solo. Usually, David Gilmour from Pink Floyd is the typical hero of this way of playing almost to the point of it almost becoming a joke.

Some of the comments I get on YouTube will explain to me that “bending is the BEST phrasing” and that is used to argue that Jazz is lacking emotion or expression, but maybe it is worthwhile to point out that there are a lot of genres of guitar music where bending is not a standard part of the phrasing. Unless you also want to write off Flamenco, Bluegrass, and Classical music as lacking emotion as well.

It is not that Jazz fans are really any better, you can easily find examples of Jazz used in the same way to dismiss chord progressions that don’t have extensions as boring which obviously is just as silly.

But, while you are learning Jazz then there is a reason why I often tell people to avoid to play in a way that makes it a lot less effective to play boomer bends as a way of phrasing.

There Are Jazz Players That Use Bending

Of course, there are Jazz Guitarists that DO use bends, let’s start with a modern example and then add some of the more classic guys!

John Scofield was one of the first Jazz guitarists I listened to a lot, and in many ways, he is also one of the people to use bending in phrases that are not just Blues phrases. You can hear it in this example where he is using quite a few bends in the theme of the Gershwin ballad “Someone To Watch Over Me”.

Scofield always had this a part of his sound. It is certainly a part of his style, but you can actually find examples of most Jazz players using bends, it is just not as big a part of their vocabulary and not something that happens every other phrase.

As I mentioned earlier then you most commonly hear this in Blues phrases, like this example with Barney Kessel –  BARNEY EXAMPLE  or here with Kenny Burrell – BARNEY EXAMPLE

Both are soloing on a Blues and using blues vocabulary which of course is a part of Jazz.

So it is in there and it always was, but it is not something you use all the time. I think there are 3 possible reasons why bending is not so common in Jazz.

#1 Jazz Melodies Are Different!

You want to keep in mind that string bending is primarily used in blues phrases, and it is not a technique you would use for the Bebop lines, let me show you what I mean:

In the Blues, bends are used more on sustained notes or when notes are repeated.

But Bebop vocabulary is not about long notes or repeated notes so the effect of bending is not as powerful. The point is that you want to clearly hear that gradual move in pitch. Another thing is that for Jazz lines, connecting and locking in with the groove is more important where Blues melodies often will float more freely on top of a very clear groove.

Example of floating Blues Lick?

Try to listen to this short phrase where you can hear that the melody uses more notes, has more direction and tension, and is a lot lighter with a more syncopated rhythm.

It is a completely different type of melody, and playing syncopated rhythms more freely floating just means that you lose what is nice about them being syncopated.

I don’t know if I need to mention this, but the difference between Jazz and Blues is not really about one being better than the other, this is just that they are different and what makes Jazz Jazz and Blues Blues.

It Is Bending Too Slow For Bebop?

If you were to try to add bends to an 8th note line then it is fairly clear that bending is not a very efficient way to produce a note compared to legato, slides, and the other techniques used in a phrase, and for Bebop then speed and efficiency is certainly a factor.

Maybe you can see that from the opening phrase of Donna Lee. You could choose to play the trill in the beginning of the melody with a bend:

But it is a lot of extra motion for the left hand so it is not very efficient to get to work in a Bebop line compared to a normal legato trill.

Another thing that is also worth mentioning is the guitars and I am sure they were certainly also a factor.

#2 The Guitars and Pickups

Evolution of sound: Acoustic, Jazz Guitar + Amp – Solidbody with effects – Guitar into Laptop

If you think of how Jazz guitar sits in the history and development of Jazz then it was mainly used from Bebop and on, and the instruments that were used at that point were archtop guitars with fairly heavy strings and some sort of early single coil pickup like a p90 or a Charlie Christian pickup.

This type of guitar sounds great but, similar to an acoustic guitar, does not have a lot of sustain, which again fights a bit against a technique like bending that works better if the note keeps ringing and doesn’t fade out before you have hit the pitch you want.

I think you can also sort of hear this in how T-bone walker, who also played a hollow body guitar, often repeats notes when bending almost like he tries to find a way to compensate for that.

Again, it makes sense to compare Jazz to Bluegrass where the acoustic guitars have a similar sound without a lot of sustain. In Bluegrass, the soloing style is also relying on more dense and active melodies weaving through the changes and not long notes with vibrato. The gear really does often shape the style of music, by now modern styles of guitar music really incorporates recording and studio effects as much as real gear like amps and effects to shape the sound. In a way, it is an evolution from acoustic to adding more and more ways to shape the basic sound.

There was another thing that we don’t talk about that much, but it most likely also played a fairly big role besides the guitar though.

#3 You Don’t Want Feedback

You might be thinking that even with a single coil pickup you can get more sustain, which is certainly true for a tele or a les paul with p90s where you can turn up the amp to get more compression and therefore also more sustain, but If you have ever played a hollow body with a p90 like this one, then you also know how much trouble you can get with feedback which can get completely out of control. In the 40s and 50s when the basic Jazz guitar style was evolved then most amps just had a volume knob and some sort of simple EQ. This limits how loud you can go with an instrument like that and if you want to play the amp so loud that it starts compressing and gives you more sustain then you are most likely going to be at a volume where you are spending more time trying to mute the strings and keeping the guitar in a direction away from the amp so it doesn’t go crazy with feedback.

I am curious about which reason you think was more important, maybe it is something I didn’t mention at all? You can let me know in the comments.

It Is Not Jazz, It is You!

A completely different reason for why it feels like bends are not allowed in Jazz has nothing to do with Jazz, because it could also be that you show up to a Jazz Jam session and want to play the blues licks you have in your fingers over the standards, which I imagine will not go down too well.

Before I start explaining why the way I teach Jazz sort of leads away from string bending there is something else that is maybe also worth understanding, especially if you were one of the people asking the question.

Does AC/DC Need Synthbass?

The first few times that I had students or people on the internet asking me about this then I was pretty surprised by the question, simply because it wasn’t something I had ever thought about. I guess that also has to do with how you approach the music.

When I got into Jazz then the main thing that drove it all was that I liked the music that I heard, and I was very curious about how to sound like that. That also means that I was not really concerned with what they didn’t do, only in figuring out what they were doing so that I could do that as well. If there was no tapping, bending, or delays then that didn’t matter. What interested me was how to sound like the music I heard. I especially remember this from hearing El Hombre, Pat Martino’s debut album.

The reason I mention this is because I suspect you will get that reaction more often, and it feels a bit like asking why there is no synth in AC/DC or BB king tapping licks. The music is fine as it is, and we can’t go back in time and change it.

Beginning Jazz Phrasing

When it comes to Jazz phrasing, and especially Bebop phrasing, then the fact that the vocabulary is about rhythm and syncopation also means that you start by letting people play shorter notes. That is also what you hear if you go back to the phrasing of swing which is the origin of Bebop.

Pat Martino playing the Benny Goodman piece, Seven come eleven is also an example of this. Phrases end are ending on an off-beat and the last note is short to make it clear that it is syncopated. Often when you come from especially Blues then it is less important to stop the notes and you let every note in the melody ring out. When you start playing Jazz then you need to learn to take control of the length of the note and really choose when to play long notes. Bending is just not that effective if you play a lot of fast short notes.

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Is This Jazz Guitar Method Fantastic and Terrible At The Same Time

Jazz solos are not improvising every single note, we use building blocks to construct phrases, similar to how words are used to form sentences and you don’t spell each word in the sentence, you just put them together to make a statement, and that is also how you want to improvise.

When it comes to learning some really solid building blocks fro Bebop vocabulary, then one of the best books that I know is “Joe Pass guitar style“, and I am far from the only one to recommend it, both John Scofield and Mike Stern have mentioned studying it and when I was studying then most of my teachers gave me homework from that book.

Building Blocks

Jazz Lick:

But it does have a problem and maybe not the one that I hear people mention all the time, and that is what I want to talk about in this video.

The Method

The part of the book that I worked on and that I also use with my students is the 2nd half of the book that has some written-out solos that you can work on playing.

Playing these solos will give you some great examples of super-strong basic Bebop vocabulary and teach you a lot about improvising over chord changes, using chromatic phrases and Bebop melodies.

And, of course, it is also good for your reading, technique, and fretboard knowledge.

So lots of stuff to learn.

Joe Pass is obviously an expert when it comes to Bebop on guitar, and the solos are filled with great phrases that are clear and sound logical without being predictable or formulaic.

So what is the problem with the book?

As you can see, the solos are very dense:

They are mostly just streams of 8th notes. One of the two complaints I hear the most often is, of course, “There are no tabs” which is true. But even if you have to spend some time deciphering where to play these solos without tabs then they are actually worthwhile, and almost a reason to learn to read.

This book was just made before tabs were really something that was common.

When it comes to the dense 8th note lines then Joe Pass explains it with this:

“These solos are in straight 8th-notes. By eliminating rhythmic variety, you force the ear into building better melodies. 8th-note studies also tend to avoid the practice of playing memorized licks.

Chord symbols are for your analysis, not necessarily for accompaniment.”

My interpretation of this is that he is saying that playing continuous 8th-notes forces you to play the changes clearer with more logical melodies and that it is more difficult to rely on licks you already know. I think that makes sense. I don’t think that he means straight 8th notes as opposed to swing 8th notes, just that it is one long stream of 8th notes. It also sounds like he is suggesting that you actually practice improvising like this as much as you play his solos, which is not how I hear most people use this. But that can certainly be a great exercise to work on.

On a side note: the chord symbols are sometimes really off and not a very strong analysis in my opinion, but that is not so important for this video.

Playing these dense 8th note solos is technically more demanding and if you are performing then that is probably not how you want your solo to sound since it has no rests, no room to breathe.

And yet, almost any Jazz guitarist will tell you that this is great material to study and most certainly worth your time, so let’s look at how you can work with these phrases?

The Building Blocks

Besides playing the exercises and getting these types of melodies into your fingers and ears, which is already a great exercise in itself, then there is a lot more you can use this material for.

One thing that is worth noticing about the solos is that Joe Pass is constructing lines with building blocks that are mostly a few notes with a direction to a target note. This keeps the entire solo moving forward and since the target note is almost always a chord tone it also really helps with connecting the melody to the chord progression, so nailing the changes

These building blocks are what you want to get into your own playing and doing that is perhaps one of the best things you can take away from the book. Something that will really help you sound like Jazz when you improvise.

One way to do that is to take a single phrase and then start composing lines using that phrase and in that way get it to fit into your vocabulary.

So if you start with a phrase like this:

That can work on a Gm7 chord to create a solid bebop line like this:

 

And you can of course also put it to use on the C7, add a triplet and some octave displacement, and then you have a great line like this:

Is Building Blocks Cheating?

As I mentioned earlier, sometimes I get comments from people who insist that the ideal is that you improvise each note of a phrase and never study licks or how to use them, even going as far as dismissing arpeggios and triads as being clichés. I often wonder who they listen to? Because most people I have listened to use phrases that they clearly got from others and they all use arpeggios and triads. And, I never felt that it makes them sound bad, at least not to me anyway. Like Grant Green, who, like George Benson, uses a ton of Parker lines, and in another style, Stevie Ray Vaughan Playing like Albert King.

So using building blocks is a practical way to learn to play in a style, it is how the people you listen to learn, and it is a part of learning the language. But You want to be as flexible as possible with the material because that makes it easier to use in a solo. So in that respect, this book is full of useful information for you to internalize.

The fact that the lines are constructed from blocks actually also makes it easier to learn.

The Blocks Help You Learn The Solo

If you are trying to learn a new language then you don’t first try to memorize a whole story and then figure out what each word means. You use the words to help you learn the story, and that is also how you should be learning solos like this as well.

It may look like there are no individual phrases, but, as you have seen, there is a logical way to split it up in blocks, and if you do that you can think in smaller phrases each a few notes long. This will help you learn because what you are playing makes more sense and you will have an easier time learning how to play the whole thing without feeling like you are trying to memorize all the letters in a book!

The Problem

Until now, it was about all the great things you can learn from these solos, but of course, this is a specific exercise and there are things that it probably won’t teach you.

The other complaint that I get about this material, both in comments and from students, is that there is no rhythm in the solo, it is all 8th notes, and that is unrealistic. You don’t want to play like that if you are performing.

There is actually rhythm and syncopation in the solo. I’ll show you that in a bit, but for the rest it is true that if you listen to Joe Pass on recordings then he certainly does not play like this.

The emphasis in the solo and in practicing like this is on flow, forward motion, and strong melodies, so if you play these solos and improvise like this, as Joe Pass suggests, then that is something you will develop. You won’t develop more open phrasing focused on syncopated rhythms, or playing riff-like material similar to what you might find in a Lester Young or Charlie Christian solo. But then again that is also not really what you are trying to develop with this material, and you can work on that elsewhere. The idea that you should learn everything at once from one source is anyway a bit silly.

It is, however, good to be aware of that the lines will teach you to be clear and always play from one heavy beat (so beat 1 or beat 3) to the next heavy beat, and only phrasing like that can be a problem down the road.

Just like you have chord tones as target notes in these Joe Pass solos, then you probably also want to develop rhythmical target notes so that you can play strong melodies to 4& and 1& as well as just beat 1. A big part of Bebop phrasing is also about doing those types of syncopations which is what makes Bebop sound playful and light, not just a machine working its way from downbeat to downbeat.

Rhythmical Target Notes

But I also said that there actually is syncopation in the solo, even if it is just all 8th-notes. Let’s have a look at that.

There is Rhythm, You Just Don’t Recognize It

Dismissing the solos as not having any rhythm or syncopation is actually wrong. I understand why it might look like that, but if you play them and know just a little bit about Bebop phrasing then you can also see how there are some syncopated accents in there.

There are no really strict rules for accents, but some obvious places in this line would be something like this

So you can see how the accents add a layer of syncopation that you don’t immediately see when you just look at the long row of 8th notes, and that is something you don’t want to miss and a huge part of learning jazz phrasing

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3 Things that Ruin Your Jazz Practice And Stops Your Progress

We all want to play fantastic lines in our solos!

But one of the worst things you can do if you want to play better lines is to practice songs at full speed and then just hope that it becomes better.

#1 Too Fast = No Control!

It won’t make your lines better, but it might make you bitter, and that is how a lot of people go about it, I have certainly done that myself quite often.

When you do that it is a bit like trying to learn Chinese by watching a Chinese movie with Chinese subtitles. You will probably get there but it is going to take a few years.

Setting up a better method

So, you should slow things down and really work on playing stronger lines by having time to really listen to them, and figure out how to make them better before you are blasting away at full speed.

The best way to work on your lines is by composing lines, and I am going to show you how I do that and talk about how you benefit from that and what to pay attention to so that you get the most out of it because this is about a lot more than just practicing slowly!

In the example below you can see how I composed an 8th-note line using different building blocks.

It starts with a chromatic enclosure and continues with an Fmaj7 arpeggio before ending with a descending Dm triad melody that also involves a chromatic enclosure.

Refining The Arpeggio Melody (stealing from Benson & Bird)

The next thing to add to the mix is a bit more energy with the rhythm. You can do this by playing the arpeggio as a triplet as you can see in the example below:

This is almost identical to a line that both Charlie Parker and George Benson use very often.

A More Original Idea

Let’s try to create a line that is a little more original and a little less like a transcription. Here the example is combining the Fmaj7 arpeggio with a scale melody that continues into a descending melody in the 2nd bar. The descending melody is in fact a pentatonic phrase with an added chromatic enclosure.

In the video, I talk a bit more about how important melodic direction can be for this.

What Are You Really Practicing

It is important to remember that in the end it is not really about composing the perfect lick, what you are working on is practicing to put things together so that you get better at doing that when you are soloing.

#2 It is NOT just the notes!

You need to focus on more than just playing the right notes. You can get a robot to play the right notes, but it won’t make it a great solo.

You want to develop your skills when it comes to taking those notes and turning them into a SOLID MELODY.

In the example below I am adding a note to the arpeggio because that is a great way to explore and find some good melodies.

The Power Of Pivot Arpeggios

Using Pivot Arpeggios and Octave Displacement is another way to get some more interesting melodies. In the example below I am doing that with the Fmaj7 arpeggio at the beginning of the line.

#3 Fix Your Phrasing!

Now that you are slowing down you practice then you can also start working on adding better phrasing to the lines.

The first thing to work with here is to get used to ending lines on the off beat. In the example below it is on the 4-and:

Another thing to work with is to add accents to the line. When you play a stream of 8th notes then what makes it rhythmically interesting is how you add accents to get the syncopation in there.

What you are looking for is a note that is on the off-beat and that is higher than the following note. In the example below the Eb is a great candidate, also because it is a chromatic leading note so it has some tension and therefore more energy:

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10 Patterns That Sound Great On A C7 Dominant – Beautiful Sounds

Some of the things that I really like to play in my solos are not just an arpeggio or just a scale run, but more a combination of things or a certain way of playing something that makes it more interesting.

In this lesson, I am going to show you 10 different patterns that I like to use for C7 chords. Most of them are longer runs for just a single chord, but you can, of course, use them in many ways.

Let’s just start with some of the basic arpeggios because there is a lot to be said for being creative with the things you already know and you can always get more out of them. Then gradually it is going to get more complicated and even outside.

#1 Know Your Arpeggios (even better)

This is coming out of a basic C7 arpeggio like this one:

But playing the pattern that I am using here makes it sound much more interesting because the pattern creates groups of 3 notes that move around on top of the meter in a very nice way.

A lot of what you want to explore with material like this is finding a combination of what makes the notes, arpeggio or scale or something else, sounds good and also practical and easy to play.

Before I am going to get into the less common structures then the next logical candidate is the arpeggio from the 3rd of the chord, Eø which becomes a great intervallic melody like this:

#2 It Doesn’t Really Sound Like An Arpeggio

This example is just a way of playing this basic arpeggio shape:

Here I am using legato-technique to make the line easier to play, by giving your right hand a bit more time to move, so the pull-off is giving you time to change to the next string.

This pattern is something you can apply to a lot of different arpeggios to get melodies that move around more instead of running up and down arpeggios or scales all the time.

Let’s check out some less obvious examples that sound really solid.

#3 Is It A Pentatonic Scale Or An Arpeggio?

This example is using a group of 5-notes, and I am playing it so that it repeats in octaves, something you will see quite often in this video, again really just because that is practical on the guitar.

The 5 notes are G A Bb D E which sort of spells out a Gm6/9 or you could consider it a type of Gm6 pentatonic scale. Against the C it is C7(9,13) so it is pretty spot-on for the sound of the chord.

The way I am using it here, it is turned into a melody that is a group of 6 notes. If you just play the pattern then you get 5 note groupings, and while groups of 5 notes might seem hipper, then the melody with the 6 notes is a bit more interesting and it is also easy to play.

If you want to practice the 5 notes you could turn that into this exercise:

The next example is a more distinct or dissonant sound on the chord but still works great.

#4 Digging The Wrong Note!

This pattern is a way to really emphasize a wrong note on the C7.

The basic group of notes is a Bb major triad with an added #11, which you could practice like this:

 

The note F is, sort of, a wrong note on the C7, and this pattern is really playing with that sound to get it to stand out.

I often convert melodies to chords to have an idea about how it sounds, and in this case, that would be this:

And the melody I am using here is designed to really make the E and the F come out on top of the chord to get that dissonance because that is the interesting effect here.

That is also why it is great to have it as a repeating pattern

Let’s have a look at some triad options that sound incredible!

#5 The Only Thing Better Than One Triad

I think that the only thing that is better than a triad is two triads, or rather a triad pair.

Here I am using Gm and Am triads, and the way I am improvising with them is pretty free, but I am using one triad at a time to create shifting colors on top of the chord.

If you want to improvise with triad pairs, then spend time learning triads in inversions, as diatonic triads in scales, positions and inversions, and string sets. That way it will get a lot easier to put them together in lines and create great sounds like this.

You can check out this video on practicing triads if you want some more strategies and exercises:

Now it’s time to add some interesting notes to the mix before I’ll show you some structures that are not really arpeggios like the ones I have used until now.

#6 Using Fancy Arpeggios

This arpeggio is from the C Lydian b7 or G melodic minor scale and it is not really a diatonic arpeggio:

Diatonic Arpeggios of G melodic minor:

GmMaj7 Am7 Bbmaj7(#5) C7 D7 Eø F#ø

But you can still construct it:

F# G A Bb C D E F# G

F# G A Bb C D E F# G – F# Bb D E

and it sounds great on the C7 chord as a C7(9,#11)

#7 Modern Structures And Great Melodies

 You can view this as one large quartal arpeggio or two 3-note quartal arpeggios, and you can use it either way. I like this way of playing it because it creates a melody that is less one-directional.

You probably know the sound as chords like this:

But all of these you can also explore as arpeggios and they sound great because they are so different from the regular stacked 3rds that you use all the time.

Let’s check out a more exotic-sounding triad pair before it’s time to get into some outside stuff!

#8 Inside and Outside

Once you start to also use the Lydian dominant sound on the C7 you can actually get some really interesting sounds by finding the right way to emphasize that sound.

As you know the Lydian b7 and the basic C7 scale are identical except for the F# and F

C D E F G A Bb C

C D E F# G A Bb C

Using triad pairs can be a great way to create some beautiful sounding melodies that really get the sound across in an interesting way:

Here I am using the Bb augmented and the C major triads which together actually form a C7(9,#11)

C E G Bb D F#

1 3 5 b7 9 #11

I love how these shift on top of the chords and you should explore these for all sorts of melodic minor modes like altered dominants or Lydian dominants.

Now we can take it a bit outside!

#9 Wrong Triads Are Great As Well

This is Close to the sound of the Lydian b7, but it is more dissonant and more out.

I am using triads a tritone apart from the diminished scale.

The dim scale that goes with C7 is:

C Db Eb E F# G A Bb C:

and in there you have C, Eb, Gb, and A major triads.

This example uses the A and the Eb together:

This pattern gives you a lot of tension on top of the C7 but it is also not completely far away.

The next example is pretty out there and atonal so it should sound a lot more outside and dissonant than it actually does

#10 This Should Sound A Lot Weirder Than It Does

The Augmented scale is a weird-sounding scale because it is symmetrical and atonal but that is also why it can be such a nice effect on the chord. In this case, I am using the Bb augmented scale:

There are three major triads in there: Bb, D, and F#

If you think about the material in the scale it should sound pretty weird, but it actually sounds really cool and not that far out because of the strong symmetrical melodies.

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An Amazing Recipe For Jazz Guitar Licks Everyone Should Know

Jazz is often made more complicated than it needs to be. And whether you are setting out on a journey to explore Jazz guitar or just want a different sound to use in your solos, you can get incredible sounding Jazz licks with some very basic Bebop building blocks.

In this video, I am going to show you how to use 2 ingredients to create some great sound Jazz licks, as you will see, a process you can apply to pretty much any song or chord.

Most Important Bebop Ingredients

Voiceover Illustration of extras example 1 maybe with screen capture of writing it? play the line, then play the line slowly with chords on the chord change

A huge part of what makes a Jazz solo sound like Jazz is that the solo follows the chords and in that way spell out the different colors of what is going on in the harmony.

Like this line:

And with the chords, you hear how it connects

The simple way of following the harmony is just to use the arpeggios of the chords that you solo over so that what you play in your solo matches what is being played in the chords.

So the first ingredient is an arpeggio, like this Cmaj7 arpeggio:

Another important part of especially the Bebop sound is using chromatic phrases like:

Approach notes:

Short Enclosures:

Long Enclosures:

And already combining arpeggios with chromatic phrases like these, you can quite easily make some very solid Jazz lines!

Easy Licks

Let’s start with the Cmaj7:

A simple place to start is to play it as a triplet and add a leading note before the arpeggio. You can add more dense and complicated chromatic phrases which will give you some pretty advanced sounding lines, but that will come later in the video. This simple version is actually Bebop gold:

As you can tell, this already starts to sound like Bebop and it is something you can move around to pretty much any chord or arpeggio that you can think of, not only 7th chords, it also sounds beautiful on a for instance a m7(9) like this:

Right now, you are only using a single chromatic leading note before the arpeggio, so let’s add some more chromaticism by at the end of the arpeggio. For the Cmaj7 this gives you a lick that is a favorite of Charlie Parker and that I am pretty sure George Benson transcribed from him because he plays it all the time as well.

Really all that is happening here is that the arpeggio is followed by a chromatic phrase connecting the 7th to the 5th, which is just going down the scale and adding some leading notes.

Let’s look at how you can make this a bit longer with a chromatic enclosure

Getting More Serious

This example is using an Am7 arpeggio, and the melody leading into it is a short enclosure.

Play slow

The formula for this first enclosure is diatonic above, chromatic below, so the target note is A and the note above that in the scale is a B. The chromatic note below is a G# This is a very useful way to create some chromatic movement and still have melodies that sound natural and make sense.

For an Am7 arpeggio that would give you this exercise:

At the end of the lick, you also have a chromatic enclosure like this.

The Arpeggio runs up to the 7th and from there moves down in half-steps to F which is then a part of an enclosure of the 5th of Am.

But you can do even more with some of the longer chromatic phrases like this:

“Real” Chromatic Enclosures

Adding a more extensive chromatic phrase like this is a great way to lead into the arpeggio and it makes the line more surprising and moving before really connecting to the chord, which is really what we use chromatic phrases for small bits of outside melody. In this example, the lick with a short enclosure around the 5th, before the last note, the 3rd, on the 1&

You can also use chromatic phrases like this on the high note of the arpeggio and that can give you some other great effects in the licks:

This example adds a leading note before the arpeggio and then tags it with a more extensive chromatic phrase to the last note. The way this is done then it adds a nice large 5th interval skip to the line.

Until now the chromatic phrases are before or after the phrase, but of course, you can also add them inside the arpeggio which will make the line be less obvious but still give it a natural flow.

Open Up The Arpeggio

This example is built around the Am7 arpeggio using leading notes for the root, and a short enclosure for the 3rd and the 5th.

But you can also get great sounds with longer chromatic phrases:

Now the next thing you can explore is to also use inversions of the arpeggios and get a completely new set of melodies:

Turning It Upside Down

Here you have an inversion of G7:

the lick is built around this descending G7 1st inversion:

First a leading note for the 7th and then a short enclosure of the 3rd before it skips up to the root.

 

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Jazz Phrasing – The 3 Simple Things That Will Make You Sound Better

I am sure you know this feeling: You are playing the right notes, the arpeggios, chromatic passing notes but it still doesn’t sound like Jazz even when you play a lick you transcribed from one of your favorite jazz guitarists.

The 3 things I am covering in this video and especially how they tie together with the last exercise are things you need to develop if you want to learn to sound like Jazz when you improvise.

Take Control of the Note

When I am giving feedback to the students in my course “The Jazz Guitar Roadmap” then this is one of the most common things that I have to point out, but It is also a thing that you can easily fix and very quickly makes you sound a lot better, and almost nobody talks about this.

Jazz is about rhythm and what most people don’t think about is that when you solo, then each note has two points of rhythm, and they are both important.

What I mean is that a note is placed somewhere in the bar, that is the first rhythm but the other part of the rhythm is also going to make or break how it sounds: Where does it end? How long is that note?

When you are playing a Jazz solo then this is especially important at the end of the phrase, and most guitar players have a very bad habit: You ALWAYS end on long notes. Mainly because you spent a lot of time practicing playing legato and having a beautiful sustain, and once you can then you don’t think about it. And that sounds like this:

And if you compare that to this:

Then I am sure you can hear the difference.

And this is really easy to fix:

  • Take a song that you know really well and start soloing keeping it simple and easy 
  • Focus on not letting notes ring at the end of the phrase and tighten it up.

Of course, there are many times that you want to let a note ring at the end of a phrase, but you should train yourself to hear the phrase and whether it should be a long note or a short note, it should be a choice, not just the habit of letting notes ring.

Practicing like this will break the bad habit!

There is also another way of getting this skill into your playing but I will return to that later in the video.

This Is Why It Is Called Bebop

“It is impossible to play rhythms like that when I have to think about the arpeggios and chromatic notes!”

This is a response that I have gotten quite often from students, in real lessons, and online. And it is true that when you are using a lot of energy to come up with the line you want to play then it is very difficult to also worry about the rhythm. But you can develop that skill if you approach it in the right way, and it is both not that difficult and something that really will improve how your solos sound.

What I am talking about here is ending phrases on the offbeat, which is in fact where we got the name Bebop.

Naturally, you are probably more inclined to end a phrase on a heavy beat, so this often takes some training, but you can work on it. Another similar part of phrasing is a little more complicated, but I will also give you some really good exercises for that right after this.

3 Exercises To Help You Play “Bebop”

There are a 3 different ways you can work on ending phrases like this:

#1 Start with a simple song or progression that you know very well, maybe a blues or an easy standard. Then practice playing short phrases that end on the offbeat. Keep it simple and short so that you can focus on the rhythm

#2 Learn some Bebop Themes and try to take over rhythms from them. You can turn most Bop themes into great exercises for rhythm in this way and they are anyway very useful to check out for a lot of other reasons.

Let’s take the beginning of Au Privave as an example

And you can take that and use it as a motif in a solo like this:

 

#3 Take a lick that is a short and clear example and work on making variations on that, like this Wes Lick:

Now, Wes is great for this because he often plays shorter phrases and is very motivic and has excellent taste in rhythm.

You can move this around on a Blues as well, and like the other exercises, this will teach you how to hear the right type of phrases and in that way, it will begin to become a part of how you play.

The Secret To Great 8th Note Lines

Before I got into Jazz, I remember one night when I was a kid, going from channel to channel on the TV and ending up watching some random Jazz guitar concert on TV, and it sounded like endless rows of 8th notes weaving through the song

I have no idea what or who I was watching that time, but I found it fascinating that anybody wanted to play like that and I was also really aware that they really wanted it to be like that. But there is a lot more to a great jazz solo than just playing long 8th note lines.

Not all 8th notes are created equal, and not all melodies are created to be great Jazz lines.

One of the most difficult things to learn in Jazz is to learn to phrase 8th-note lines and especially learn to improvise lines that allow you to get the right rhythms in there by accenting some of the notes. My old teacher, Eef Albers, used to refer to it as making the lines dance.

So how do you learn this?

There is one rule which isn’t really a rule it is more of a guideline, and you can use that to find candidates for some of those accents.

A note can get an accent if it is:

  • Not on the beat and,
  • Higher than the next note in the line

So you want to learn to make melodies that have high notes on the offbeat.

A consequence of the guideline is also that if you play a descending line then you can pretty much choose whatever note you want to and give that an accent.

Before you start turning your solos into real-time sudoku solving then you could also just ease into it by going through some simple exercises that help you hear phrases like that and then start making variations on those keeping in mind how they need to be phrased.

You can use these exercises as blueprints and try to make different versions and fit them on other chords, especially the last one which is also a must-know melodic technique for playing Bebop.

Exercise 1 – This is a basic arpeggio melody. I am using the arpeggio from the 3rd, Em7, but it will work for the Cmaj7 arpeggio too. This way of playing the arpeggio gives you a natural accent on the 1&

Exercise 2 – Here I am is using a descending C major triad and then adding a scale note above the 5th to get a note that you can accent

 

The Triad from the 3rd can also be played so that it creates a nice accent on the 2& like this:

And of course, a lesson on Jazz and Bebop phrasing would not be complete without an example of octave-displacement:

This honeysuckle rose or octave-displaced Cmaj7 arpeggio in this exercise gives you a great accent and change of direction on the 2& which makes the line much more interesting as a melody.

What You Should Really Learn From The Masters

The thing that you must develop to improve your phrasing is to hear the right melodies that can be phrased in the right way. Now, besides these exercises then a great way to really dive into that is to learn solos by ear, and that is simply because when you work on learning a solo then you really listen intensely to the phrases and you start absorbing not only the lines but also the phrasing and timing, so working on that is also a great way to improve your phrasing.

The Bebop Secret

The most important thing to take away from this is that the phrasing is depending on the melody, and you need to learn to play the right type of melodies in your solos if you want to play with better phrasing. Bebop is one of the clearest examples of this and if you want to play better bebop melodies and really nail that beautiful Jazz phrasing then check out this video on the Bebop Secret which will teach you how to use octave displacement in your solos in many different ways that all work great for your phrasing.

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

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5 Jazz Guitar Tips That Will Save You Years Of Practice

In this video, I will go over 5 things that were game-changing for how I learned Jazz so that you can use those as well.

When you are in the process of learning something, like playing Jazz, then there is a part that is just hard work for a long time, and then there are moments that really change the way you think about something and help you progress a lot faster by practicing in the right way.

#1 Think Ahead

When I started playing Jazz, I spent months practicing before I finally could play a solo on 2 Jazz Standards. I chose to start with Stella By Starlight and There Is No Greater Love, and both of those are pretty horrible choices for a beginner with way too many chords and complicated progressions, but luckily I was pretty stubborn so I just kept going until I could make my way through the song.

This was years before mobile phones when Grunge was still hip, so there are no videos, you will have to settle for a dramatic re-enactment

At this point in time, I was barely able to improvise over the chords, and I had to work hard to find something to play on each of the chords which is what I focused on, and that had a very bad effect on how the solos sounded.

Phrases didn’t really connect or have a longer story to it.

This actually remained a problem for quite a long time. I did not find a way to fix it until more than a year later when I was taught to play changes so that you were thinking of where you need to go, what target note to play towards. This way of thinking made the solos have a much more natural flow and made the melodies a lot stronger.

And that is something that is very important with most things in music: Think Ahead, make sure you are ahead of what you are playing. So play towards target notes, see the voice-leading taking you to the next chord, or learn to read ahead if you are sight-reading.

It will make your life easier and make you sound better, especially in terms of soloing if you combine it with the next tip.

I have a video on how I apply this to playing chord changes that you can check out here:

#2 Arpeggios and Scales – The Right Way

While I was studying in Copenhagen and playing Jazz Standards in the streets, I also had the luck to go to a week-long Barry Harris workshop in The Hague, and one of the things that I took away from that is also a cornerstone in how I teach and one thing that is really overlooked in learning Jazz on the guitar.

Usually, when we think about arpeggios, these position boxes show all the notes of a m7 arpeggio in a given position. This way of learning them is good for being able to see the notes on the fretboard, but it almost completely fails at helping you learn how to incorporate them into your playing, and there is a much better way to practice them.

The exercise that Barry told me to practice, was to play all the arpeggios in the scale, not as separate boxes that don’t naturally connect to the rest of what you use when you play.

Most of the time, the chords will change, but the scale stays the same and when you make lines, you are not only using arpeggios all the time, so having the arpeggio placed in the context of the scale will make a lot more sense.

Working on this exercise also gives you something that is much closer to the way arpeggios are used typically used in Bop-inspired lines, which is not often using several octaves of one arpeggio, but mostly just one-octave melodies in the middle of a line.

My most viewed video on the channel digs into this and how you use it to make some great bebop-inspired lines, and last tip in this video is probably the advice that I give the most as an answer online.

You can check out the video on practicing arpeggios and making lines here:

#3 Keep it Simple

— Play a solo then stop and start talking?

It is actually pretty simple, and you don’t want to make it too complicated. In a way, I was lucky that I could read sheet music because of my classical lessons, because it helped me figure out some things from reading transcriptions that I would have had a much harder time learning by ear.

One of the things that really fascinated me when I first started to listen to Charlie Parker was how the solo would sound different from moment to moment. This was very different from what I was used to with most of the blues and rock solos that I was listening to where most of the time everything stayed in one scale across the chords not really playing melodies that were following the changes that closely.

That sounds complicated, but if you check out jazz solos then most of the time the way the phrases follow the changes is actually pretty simple. It is just about hitting the chord tones on the important notes of the melody and usually also somehow connected to the heavy beats, give or take a suspension or rhythmic variation.

In the beginning, playing simple and clear solos will help you really get that connection. And that may seem different from how you think about “complicated Jazz” with extensions, alterations, and upper-structure triads, but you want to hit those 3rds and 5ths and get that to make sense so that you later can choose to be vague and clear and use that in your solos.

So keep it simple and make sure you can hear the chords in your solo.

#4 Jazz Chords Done The Wrong Way

The people I checked out before getting into Jazz probably offered me a shortcut when it came to this. When you first start out learning chords on the guitar then everything is based on grips which is a practical and visual way to learn chords, but when it comes to playing Jazz harmony then that approach is not that useful. In Jazz, connecting the chords across the bar line with both melody and voice-leading is much more important. And you will realize that the chord voicings are something that you can change and mess around with. Something you can use creatively and get to fit together, turning them into beautiful music. This will open up your comping and your fretboard to a sea of possibilities and not just a few grips.

Before I got into Jazz I was checking out a lot of Hendrix and Stevie Ray Vaughan and both of these have more of an open way to work with chords which include improvising with them and not playing the same voicings all the time, and in that respect, I already thought of chords as something you could change and move around which in hindsight made the transition to Jazz comping a lot easier since that works exactly the same.

The last tip is probably the advice I give the most as an answer online and also the most effective way to learn Jazz.

What Was A Shortcut That Helped You?

Maybe you have another tip that really changed things for your playing or you don’t agree with any of this? then let me know about that in the comments

#5 The Thing That Ties It All Together

At the beginning of the video, I talked about how I spent a long time learning two songs that were actually a bit too difficult and that in hindsight being stubborn and powering through to get those two songs down, even if it sounded pretty badly was very useful. The same can certainly be said for building a repertoire while playing in the streets of Copenhagen. One thing that I see very often, especially now that there is so more jazz educational material available, is that it stays too superficial, you practice some licks and exercises but it does not become a part of your playing and maybe you don’t even really focus on learning songs. That is a huge mistake.

Think of it like this:

if you only learn a few new things but make sure to be able to use them on all the songs you know then you will sound better and play great solos on all those songs, which is pretty much everything you can play.

If you learn something that you can’t put to use on any songs then what are you really spending time on?

For me, learning those two songs and later spending a lot of time playing songs in the streets of Copenhagen was a huge help in getting to use everything and in that way really getting better, so that first song is worth really pushing through. Of course, if you want some help in getting through that then you can check out the Jazz Guitar Roadmap which is about exactly that process of really getting a song down.

Check out the Jazz Guitar Roadmap

Bonus Tip: A Bit Of Healthy Realism

With all the exercises that you are told to do and ways of learning very specific things then it can mean that you get a little detached from the actual music.

Just like playing songs is the way to learn to use what you practice then often it is a very good idea to also find the things to start practicing in the music that already exists.

And of course, the way you do that is by transcribing solos, that way you get insight into what arpeggios go where, how they sound and how to use them.

This also helps you not going down strange rabbit holes like using all the diatonic arpeggio on each chord and other strange time-consuming unrealistic goals that I have seen people waste time on.

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The 5 Reasons You Are Not Getting Better At Jazz Guitar

A part of playing what is fun about Jazz is that you keep getting better at it and enjoy the new things you learn.

But sometimes you feel like you are not getting anywhere and it gets harder and harder to keep going and stay motivated and that is what I want to talk about using my Jazz guitar practice habits and horror stories as examples.

#1 Don’t Practice

If you are not practicing you are not going to get better fast. For me, it is easier to practice if I have a steady time to do so, and usually, that is in the morning after maybe bringing the kids to school and shopping. Then I can sit down with my guitar and a cup of coffee to get started with some technique. I try to have some things that I do every day and then a lot of things that I can change and vary to keep my mind, my ears, and fingers awake.

You might be in a period where it is difficult to find a regular time or to practice or maybe just time at all, and if it is difficult to be motivated to practice then make sure to focus on the fun things first so that you are playing. Once you build habits then you can become more focused on covering everything you want to practice while also allowing you to have fun.

Lately, I realized that I don’t spend too much time on chords in my practice, probably that was not a problem until COVID because I was anyway comping for several hours every week on different gigs, but now I started to add some chords in there because it felt like that was slipping away.

My point with that is that a practice routine should not be static you want to adjust it according to how things are going, something that I will talk more about later in this video.

#2 Not Getting Far Enough

Maybe, like me, you have the discipline to go through some sort of regular schedule and you are used to practicing, but then you can get stuck by falling into another trap.

If everything you practice is only played as an exercise and not really put to use in the music you play, or maybe you don’t even practice playing music regularly, you may be wasting quite a lot of time.

If you think about it it is pretty obvious, just learning to play up and down the pentatonic scale doesn’t make you the next Stevie Ray Vaughan. You need to learn how to make it sound good as well, and that part does not come by itself. It is a part of what you need to practice.

Improvising over an altered dominant is not that different. You need to do more than just practice the melodic minor scale.

In my practice this is mostly about doing two things: 1 – writing lines with what I practice or what I want to add to my vocabulary and 2 – Making sure I can use to use this while soloing on a song. I think you need both of these steps, and you should always look at whether you can use the material you practice in solos, otherwise, why are you practicing it?

If you want some general ideas for beginning Jazz, then check out this post:

How To Learn Jazz Guitar – Suggestions To Begin Studying

Another aspect of getting things far enough is that you also need to practice making music and not just sounding like an exercise, so that you can sometimes play with more space, vocal-like melodies, and not always just spell out all the changes and try to play the “correct” arpeggio.

#3 Always Playing The Same Things

A thing that I have found myself doing is getting stuck with the same things, these can be the same exercises that you don’t improve on or it can be always playing the same song, not challenging yourself to expand your vocabulary, places where you can use that vocabulary. It can be in terms of tempo but it can also be in terms of songs, keys, chord progressions.

This is something I try to catch whenever I can, and it can be tricky to figure out if you need to go to another song or break up the technique schedule that you are really used to, but doing so every now and again is very healthy for your playing and always doing the same things can be very inefficient even though they are nicely automatic and doesn’t require much effort.

So if you are only practicing one song, like a blues, or like me playing Out Of Nowhere way too often then it is time to change things up and make sure that your musical diet is healthy and varied.

#4 Don’t Know Enough Songs

The easiest way to learn to improvise freely on harmony is to learn a lot of songs.

I have talked about this quite often, and it ties together all the things I already talked about in this video. Studying songs is where you put it all to use, you learn how to play over the important chord progressions, harmonizing melodies, using chord voicings with the right extensions, and also tying it all together in a story, when to play a vocal melody, a bebop line or something more abstract and modern.

Learning songs and playing songs is where everything you practice comes together and where your artistic and personal take on the music is created, don’t rob yourself of that.

For me, it is about sitting down and playing a song from start to finish and really get the whole thing to make sense as if I am playing in a band. I sometimes find it difficult to practice like that but it is also the place where you are really in the zone and new things can happen.

If you are looking for songs to explore I will link to a list of 50 Jazz Standards that are really useful to have in your repertoire, and Misty is not on that list.

#5 Information Overload

When I was starting out trying to learn Jazz, I didn’t have internet and the library only had David Baker books on Jazz that I didn’t like and also were not useful for me. Most of the music came from borrowing the few LP’s and CDs available at the library. At the same time, compared to my teachers I actually had a ton of information available, they were wearing out singles and using the radio.

I also remember seeing David Liebman’s “A chromatic approach to jazz harmony” and buying that because Pat Metheny recommended it, even though at that time I couldn’t even play a solo on Autumn Leaves, and that is also a good description of how useful that was at that moment.

Today you have everything a few google searches away and can pretty much find information about anything about Jazz at all levels, but we end up with another problem, overload. It is impossible to choose and you never know who to trust and what fits together. Even on my channel the amount of videos is so immense that it is hard to navigate.

The important thing is probably to try to stick with songs as smaller end goals because they are practical and will help you gradually develop and use your skills. I have a post where I talk about this on my website, I will link to it in the video description.

That is also one of the reasons I decided to create my course the Jazz Guitar Roadmap because in that type of content you can go step-by-step for a longer period of time something that would never work on YouTube where nobody watches part 2 of anything, and certainly not part 43 of 67 videos.

The Jazz Standards You Want To Know

It is important that you develop your skills for soloing over chord changes and if you check out this video then you can learn to nail the changes and have an easier time learning songs, which will really boost the development of your skills as a Jazz guitarist, or musician, would that be Jazz guitarist AND musician? I don’t know…

50 Jazz Standards – The Songs You Need To Know

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3 Important Exercises for Jazz Guitar Beginners To Get Started

You need many skills if you want to play Jazz, and some of them can be hard to find good exercises for, or even realize that you need to work on them. In this video, I am going to go over 3 Easy exercises that will help you play better solos and develop skills that are difficult to fix by just practicing scales, arpeggios, or chords.

#1 Playing Changes – A Little Easier

Hope you are having a great day playing some Jazz! This video should help you develop your melodies, your rhythm and your phrasing.

This is something you get hit by very hard the first few times you try to improvise over a jazz standard. I know I certainly did, thinking that it must be impossible to follow the chords that move so fast! When you try to play a solo, chords are flying at you left and right and it seems like you have to be a math genius or a computer to figure out what to play and where to play it.

But improvising over chord changes is a part of Jazz and you want to be able to not only follow the chords but also play melodies that make sense.

This first exercise makes that a lot easier, and mastering this and the next exercise will already make you sound really good when you solo.

Let’s use a bit of the Standard How High The Moon:

The chords are:

The Trick is to do the “calculations” beforehand because eventually, you can get by without having to solve crazy equations whenever you see a chord progression, that is mostly a matter of experience. If you practice like this then you build that skill and it becomes something you can quite easily get into your playing (B-roll on top: complex equation overlay on How High The Moon)

I am not going to cover how you find chord tones, diatonic arpeggios and how to analyze chord progressions in this video. I want to focus on how you practice soloing, but if you want to dig into that then check out the playlist I link to in the description with videos that help you get started with that:

https://www.youtube.com/playlist?list=PLWYuNvZPqqcHYOlEVg5uHPBy_AudysODz

Of course, you want to play something on the chord progression that makes sense and has a natural flow. The best way to do that is to play phrases that begin on one chord and end on the chord change.

So in the song, when you move from Gmaj7 to Gm7 then the chords sound like this:

and a clear line going from Gmaj7 to Gm7 could sound like this:

So you play towards a very clear note in the next chord often a chord tone, and you can hear how it gives you a natural-sounding melody and also makes the change of chord very clear.

With How High The Moon:

Essentially this is two bars of G major, the key of the piece followed by a II V I in F major.

The simple thing you can do is to target the 3rd of the chord, but you should also check how well the 5th might work because that is a very strong melodic note, the 7th is for solos often not a very strong target note. If you play like this then that could give you:

So when you want to develop this skill then take the chord progression and

1 – Find target notes (especially 3rd and 5th)

2 – Make sure Target Notes are in the same area of the neck

3 – Practice playing short phrases to hit each target note

To develop this keep it simple, in one position and one target note at a time. If you develop a skill like this you can expand on it later.

You also want to give yourself time to think ahead, so just stop on the target note and think about making a melody to the next target note. Later you can open this up and become much freer and also not only play to target notes on beats one and three.

This approach is one of the best ways to develop a natural flow when you improvise over changes and learning to think ahead is incredibly important for so many things in Music, not just playing solos over chord changes.

Working like this you can end up with some very heavy phrasing that doesn’t really sound like Jazz which is why you want to check out the next exercise.

#2 The Most Important Part Of Jazz

The most important ingredient in Jazz is rhythm, but it can be difficult to develop mainly because you forget it when you focus on the chord changes and that can really ruin how you sound.

In general, a great way to develop a skill is to reduce your freedom with other things so that you are forced to focus on training and developing that skill.

When it comes to rhythm, then a very useful exercise is to limit your note choice so that you only have two notes and have to focus on being creative with rhythm to get what you play to work, and if you try this exercise then you will probably be surprised how much you can learn. Let’s check out an example and then talk about what you need to focus on to really develop your rhythm.

You Stepped Out Of A Dream

When you set up this exercise for yourself:

1 – Try to choose notes that are mostly chord tones and close to each other across chords so that you have an easier time connecting.

2 – Explore how to use a lot of off-beats especially ending phrases on an off-beat

(this is the sound of bebop phrasing and will help your solos sound 10x better)

3 – Try to play melodies with quarter notes

You always focus on learning to play 8th note lines and forget how great it can sound to play quarter-note rhythms

#3 Passing Notes – Grown Up Jazz Licks

When you can already play a solo over the harmony and you are beginning to use some more interesting rhythms

Maybe cut in: “I mean that you are working on exercise one and two from this video…”

Then you can start working on making the melodies more surprising and more complicated, and you do that by playing a lot of wrong notes and then resolving them to some right notes.

Obviously, this is a HUGE topic, but an easy way to get started is to do two really simple things:

1 Add a chromatic note before the start of a phrase like an arpeggio

2 Add a chromatic note between two notes in the scale.

And if you if put that to use over Ladybird then that sounds like this:

In the beginning, you want to resolve to chord tones and have the resolution on the beat, as you see here where:

The first Cmaj7 bar starts with adding a chromatic passing note between D and C, and later between A and G

on the Fm7 I am adding a chromatic leading note before the Fm7 and making the arpeggio an 8th note triplet which is a great Bebop sound.

The Bb7 has a passing note between the C and the Bb, and transitions back to the Cmaj7 by moving up from the 5 to the G on Cmaj7

Get the PDF and GuitarPro on Patreon:

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

https://www.patreon.com/posts/3-important-for-51390399

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

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Get the PDF!

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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.

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.