Tag Archives: jazz guitar tutorial

Jazz Phrasing – This is what you want to know

You problably know the feeling of trying to come up or with lines and then even though you know the notes are right it is impossible to get it to sound like jazz.

In this video I am going to show you some things that you need to be aware of when trying to come up with lines and which will help you jazz phrasing really a lot. One thing that is really interesting about this is that it is actually possible to write jazz licks that really are not possible to phrase well.
This is about how you play the notes and a little about which notes you play, and for me it was really a huge part of getting my bop lines to sound good.

How to learn good Jazz Phrasing

I am going to cover two things: First how to write lines like this and later I’ll talk about how to hear it in examples and get it into your system so that you don’t have to think about it, because that is what you eventually want to have. Phrasing is something you hear and feel not something you think about while you are playing.

The Lick that doesn’t swing

Have a look at this lick: Harmony is clear, the notes are mostly chord tones.  Target notes make sense but it sounds heavy.

This line has direction and it spells out the chords, but the melody sounds heavy because it asks for accents on the heavy beats: 1 and 3. There is no place where we have a not popping out to make it dance.

In short: That sounds more like Megadeth than Charlie Parker.

Writing better line with Better Phrasing

Luckily you probably already have a good idea about how a good jazz solo sounds. If you try to sing the phrasing of that then you get a much more.

If you pay attentiont to what you are singing and slow that down then you start to notice that the accents in the phrase are not on the beat, so accents are on the off-beat

In Jazz, or bebop, the accents are naturally on the off beats. The question is then how do you make melodies where you can create those accents.

Let’s look at an example:

In the example above the accents are the higher notes in the phrase, so the C on 1-and plus the A on the 3-and.

The rule you want to notice here is:

If a note is higher (in pitch) than the following note and not on the beat. Then you can give it an accent.

In the line above there are therefore two notes that can get an accent. 

Using your technique to make it easier to phrase

Very often the easiest way to accent something is not to play that note a lot louder but instead to play the surrounding notes a little softer. Using legato is a great way to naturally do that.

The way I use this is to pick the note that gets an accent and then use a pull-off to play the following (lower) notes.

Another example of a line where this strategy will give it a natural phrasing is shown below:

Bebop Phrasing on a II V I

Of course this way of thinking and using this rule can also be applied to a complete II V I lick as shown below.

You will notice that the accents are on 4-and in bar 1 and on 2-and in bar 2. The line also ends with a classic “bebop” phrase where the descending interval is the sound that gave the genre it’s name.

Learning to hear good phrasing

Besides writing lines it is also important to listen to great solos and it can be useful to analyze transcriptions to find places where there are accents in the solo.

Be sure to listen to bebop and hardbop artists to get the most out of this. You also want to keep in mind that even if you don’t analyze it then just hearing good phrasing in huge amounts will also help you a lot. 

How Wes Montgomery Gets it Right

As an example of an analysis of a solo let’s have a look at the opening phrase from Wes Montgomerys solo on Four on Six off the Smokin’ at the half note album.

The first part of the pickup is a sliding 5th interval which is on the beat. This is not a bebop 8th note line so or ideas about accents doesn’t really apply.

The next phrase is a Gm pentatonic phrase an here Wes is playing 8th notes. The phrase is essentially a descending scale run and he does in fact accent the top note (a C).

The ascending arpeggio that follows does not allow any accents, but the descending Dm triad in bar 3 does, and here the first note does get an accent.

The way to better phrasing

For me it was a combination of knowing how to phrase bebop themes and lines, composing lines with the accents in the right place and certainly also training my ears by listening and playing along with great examples. 

I would suggest you find a way to mix in all of those approaches if you are working on your phrasing.

A short cut to improve your Bebop Phrasing

One way to speed up the process could be to check out this webstore lesson with analysis and examples of lines that are easy to play and have great phrasing.

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Triads – 5 Easy Exercises for Better Solos

You want to include Triads in your Jazz Guitar vocabulary. Triads are some of the stronges melodies we have available and in the video I am going to go over 5 easy exercises to build your triad vocabulary on jazz. For each of the exercises I also have a jazz lick using the pattern so you can hear how it sounds in context.

Of course you are practicing scales and arpeggios but it is difficult to put that into real music. But there are also ways to practice that are a lot easier to put into a solo.  I am also going to talk about how ways practice them and of course give you some examples on how to use them in a solo.

I find that working a bit at these patterns really helps:

  • Making more interesting solo lines
  • Use the things you Practice for technique
  • Have a better overview of arpeggios on the neck
  • Knowing the Scales and music theory

As a small extra feature this also demonstrates some of the places where I use sweeping or economy picking!

Lick #1 – Top Note Targets

As you will see I tend to work mostly on triads in scales, so what is often called diatonic triads. This is because if you check them out there then you have them together with all the other notes you use when you are soloing so it is about understanding the triad, the chord and the scale.

This first example is a pattern that really emphasizes the top note of the triad arpeggio. Since the top note also almost can work as an independent melody this is an easy way to build a strong line just having a simple melody that is harmonized with arepggios.

On a side note you can hear Lage Lund use this pattern quite a lot.

Exercise 1 – Diatonic Arpeggios

Probably the great thing about this pattern is that it really emphasizes the top note, so the rest of the notes almost sound like they are accompanying that note. This means that the melody you hear is mostly the top-notes moving. The large interval skip from the 5 to 1 followed by the ascending arpeggio also gives the line a lot of forward motion.

Altered Scale Triad Pair

Here you have an example of how I might use the top-note pattern. In this II V I lick I am using it starting on the Dm7 and then going on to the G7alt with Bbm and Abm triads.  

Bbm and Abm form a triad pair on a G7alt since they are triads with out common notes:

Abm: Ab B Eb and Bb: Bb Db F

Finding triads for a chord

The way I find the triads that I can use over a chord is by looking at a chord with extensions. As an example you can look at the Dm7 chord, with the stable extensions in C major that would be a Dm(11):

D F A C E G

And the process is really just to pick out the triads contained:

Dm: D F A

F: F A C

Am: A C E

C: C E G

Lick #2 – 3rds Distance Cascade3rds distance

This way of playing the triads is useful because you are playing them together so that they fit a chord. If you are improvising over a Dm7 then Dm, F and Am triads all work over that chord.

Having the triads together like this works well for cascading arpeggio ideas combining several triads over one chord.

A useful or practical way to practice this is across the string sets in two different ways

The first approach relies on Economy picking where the second is using legato for the same note set. As you may have noticed in other lessons I use this economy patter quite a lot.

3rds Distance – Legato idea

In this lick the cascading triads are on the Dm7 and then stretching into the G7alt with the Db triad. This way of using the triads also creates a great 3 note grouping.

Lick #3 – Leading Notes

Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads.

The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note before the root.

Chromatic leading notes

The example here below adds a leading note first to the F major triad and then the A minor triad. The G7alt also adds a descending version of the leading note to an Abm triad.

Lick #4 – The Wrong way around

Another variaton that is easy to use is to play the triads ascending through the scale, so Dm, Em, F, G, Am, Bø, C but then play each triad descending.

This exercise is showed on the top string set and notice how I am using economy picking to play the triads.

New Directions for Triads

The lick is using the first three triads from the exercise: Dm, Em and F major and from there going into an altered lick based on an AbmMaj7 arpeggio.

Lick #5 – Arpeggios are melodies

You don’t have to play the notes of the triad in the same order all the time. In this exercise I am changing the order from 1 3 5 to 3 5 1. 

This has two advantages: I t really brings out the 3rd in the triad and of course creates a strong melody.

Creating new triad sounds

This lick is demonstrating how you might use the triads. On the Dm7 I used an F major and an A minor triad.

Notice how the lick has a lot of large intervals and the triads still pull everything together.

Arpeggios and Target notes

A huge part of playing over chord changes is using arpeggios like triads and then thinking ahead so you hit the right target notes in the next chord.

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

Get the PDF!

You can also download the PDF of my examples here:

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Jazz 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

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!

10 Awesome Ideas for Better Jazz Licks You Should Know

It’s not all scales and arpeggios when it comes to guitar jazz licks. This video is showing 10 ways to come up with new licks using different ideas that are not all based on the notes. This can really open up your vocabulary and make your solos more interesting and I talk about methods working with dynamics, melodic direction and rhythm.

Some of the examples are also borrowing techniques from artists like Jim Hall, Bill Evans and Kurt Rosenwinkel.

Content:

0:00 Intro

0:49 Lick 1 – Shifting Patterns and Parts

1:43 Variation on Lick 1

2:05 Lick 2 – Melodic Direction and using the range of the instrument

3:06 Lick 3 – Accents, Dynamics and breathing life into your 8th note lines

4:13 Lick 4 – Extended arpeggios as a means to get a larger range

5:30 Lick 5 – Chromaticism and Bebop – Add the jazz flavour

6:36 Lick 6 – All the “other” arpeggios

8:13 Lick 7 – Across the bar line – Don’t be tied down by the bar lines!

9:19 Lick 8 – Space and Great Rhythms (Like Jim Hall)

11:04 Lick 9 – Blues in Funny Places (Courtsey of Joe Pass)

12:31 Lick 10 – Triplets and Modern Rhythmical Jazz Phrasing

14:20 Do you have a great idea? Share it in a comment!

14:43 Like the video? Check out my Patreon Page