Tag Archives: jazz guitar

Tal Farlow – This Is Cutting Edge Bebop

Tal Farlow was one of the pioneers to further develop Bebop Jazz Guitar after Charlie Christian. He really has his own style and own melodic language which I demonstrate in this video with an analysis of the solo on Gone With The Wind.

This Tal Farlow solo really highlights how he plays across the bar line and has a very advanced use of chromaticism in his playing. In many ways his concept and his solo lines where ahead of his time and he was truly a bebop innovator with a clear own voice.

At the end of the video I also talk a little bit about how his playing likely has influenced Kurt Rosenwinkel.

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!

Ed Bickert – A Jazz Guitarist You Need To Know About!

Ed Bickert is the secret super hero of Jazz Guitar. He is somehow always under the surface, but you don’t want to miss checking him out! Probably most of us know him from his great playing on Paul Desmond albums like Pure Desmond and Desmond Quartet Live.

This video is on a solo on the Standard Have You Met Miss Jones, off a live trio album with Don Thompson and Terry Clarke.

What I really like about Ed Bickerts playing is his sense of melody and also how he is amazing at adding chords to his solos. But the examples in this video also highlights his use of reharmonization and cross rhythms.

I don’t actually know too much about Ed Bickert probably because he mostly has been active in Canada and haven’t appeared on that many albums as a sideman. But I really enjoy his playing. First I wanted to cover a song from the Pure Desmond album, but then I came across this great transcription on Francois LeDuc’s channel so I used that instead. You can check out Francois’ channel and Patreon in the description of this video. He has a lot of great transcriptions there!

Francois Leduc – Patreon

If you want to check out some more stuff on Ed Bickert then try to look up the two Paul Desmond albums that he play on:

Paul Desmond – Pure Desmond with Ed Bickert

And the live album with the same band:

Paul Desmond Quartet – Live

Lydian Dominant – 10 Licks – What is the Best Arpeggio?

This video is going over 10 Lydian Dominant Guitar Licks each one with a different arpeggio that you can add to your own vocabulary. I will also first cover what common chord progressions have Lydian Dominant chords, and some solid Lydian b7 chord voicings.

Some of the arpeggios that I cover are sus4 triads, quartal harmony and some non diatonic melodic minor arpeggios. There are many great options for getting some new sounds over these chords.

Lydian Dominant Scale

The first thing to cover is what the Lydian Dominant scale is. All the examples in this article are using a G7(#11). The scale is a mode of the melodic minor scale found on the IV. This means that G lydian b7 is D melodic minor from G to G. The scale is shown here below:

3 Lydian Dominant Progressions

There are three common lydian dominant progressions. The Tritone Substitute, the backdoor dominant and the V of V in a major key.

Below all three are shown.

First the G7 is the tritone substitue of Db7 in a II V I in Gb major. 

The second example in that line is a IV bVII I in A major where G7 is the backdoor dominant or bVII.

G7(#11) Chord Voicings

Below are some common and playable voicings for a G7(#11) that all fit in the G Lydian b7 sound.

Lick 1 – DmMaj7 Arpeggio

The first example is using the minor melodic connection by using a DmMaj7 arpeggio in the line. This also fits with the context since it is a G7 that is resolving as a backdoor dominant up to Amaj7. The arpeggio on the Amaj7 is the top part of a Herbie Hancock Arpeggio

Lick 2 – F augmented Triad

The F augmented triad is also an integral part of the G lydian b7 or D melodic minor. In this example the G7 is again resolving to Amaj7 and the F augmented arpeggio is used in the 2nd half of the bar.

Lick 3 – Fmaj7(#5) arpeggio

This example is using the G7 as a tritone substitute in a II V I in Gb major.

The G7 line is a combination of two arpeggios, first the Bø which is the arpeggio from the 3rd of the G7. This nicely leads into an Fmaj7(#5) arpeggio that really spells out the extensions of the G lydian dominant with the #11(C#) and 13(E)

Lick 4 – A7 arpeggio

This example is a longer line on a G7 resolving as a backdoor dominant back to Amaj7.

The first part of the G7 line is really build around a Dm triad arpeggio and this is followed by two arpeggios first a descending A7 and then an ascending Bø that resolves to the maj7th(G#) of Amaj7.

Lick 5 – Gsus(#4)

If you explore the diatonic sus4 triads in D melodic minor you will come across this great sounding arpeggio: Gsus#4. This sound is very distinct and as you can hear it is a great candidate for a G lydian b7 sound.

The example starts with a chromatic enclosure, then a Dm melody and from there continues with a Gsus(#4) arpeggio resolving to Amaj7.

Lick 6 –  A(add9) or A major Coltrane Pattern

The first part of this line is an Fmaj(#5) followed by a Dm melodic scale run. From here it continues with an A Coltrane Pattern that is repeated in the octave and finally resolves to the 7th(/F) of Gbmaj7.

Lick 7 – G7(b5)

The G7(b5) arpeggio is a clear candidate for the Lydian sound since the arpeggio is contains the #11 (or b5). Notice how G7(b5) is not strictly a diatonic arpeggio in D melodic minor.

In this example I am using G7 as a tritone substitute in Gb major again.

The G7b5 is played as a pattern and the entire bar is filled up by this pattern.

Lick 8 – A7(#5)

The A7(#5) is one of my favourite arpeggios in melodic minor, and in fact there are two dom7th(#5) arpeggios in there.

This example is using a IV bVII I progression in A major where the G7 is the bVII.  The entire line on the G7 is taken up with an ascending A7(#5) arpeggio and resolves via the F down to the 5th(E) of Amaj7.

Lick 9 – C#7(#5)

The other Dom7(#5) arpeggio is the C#7(#5). In this example I amusing that in a line where the G7 is a tritone substitute for Db7 in Gb major. 

Again the arpeggio is clear enough to be the only thing I am using on the G7.

Lick 10 – G major b5

The forgotten triad or G major b5 is also a good arpeggio to get the Lydian b7 sound across. In this example I am combining it with first a Dm triad then the G(b5) arpeggio and then I resolve that to an Amaj7.

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

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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.

How To Practice In All 12 Keys – This Is What You Learn!

How to practice in all 12 keys and what will it teach you! In this video I am going to show you some of the things that you will learn if you start practicing in all 12 keys and talk about some easy ways to get started practicing different things in all 12 keys from your scales to complete songs.

The video focuses on 3 main areas:

  • Technique – knowing scales and arpeggios all over the instrument and in all keys.
  • Theory – You can play everything in all keys but can you think in all keys – connecting the theory to what you practice
  • Songs – Taking Technique and the theory and use it to learn, understand and transpose songs and help us learn faster and improvise better.

Content of the video:

0:00 Intro

0:13 Overview of the Topics

1:04 #1 Technique And Scale Practice

1:39 Making a Routine That uses all 12 keys

2:08 How I do this

2:33 Example of Eb Major with 1st inversion diatonic triads

3:08 Scale Practice as Ear Training and Theory Workout

3:44 #2 Music Theory

4:11 Understanding harmony to see how songs are similar

4:29 All The Things You Are & Fly Me To The Moon

5:02 Understanding the Form – There Will Never Be Another You/Mellow Tone

5:45 #3 Learning Songs in All 12 Keys – Myths and Anecdotes

6:08 How to Start Practicing songs in all 12 Keys

6:36 How NOT to start

6:51 The Way I use it in playing

7:25 How to Transpose All The Things You Are To Another Key

7:45 The Melody

8:05 Transposing the Chords

9:00 Soloing in the other key

9:38 The places where you need to take care

10:33 What you need to do this on guitar?

10:45 Like The Video? Check out my Patreon Page

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.

Mike Stern – What is The Best Mix of Bebop and Rock?

Mike Stern is known for a few things: He is a great bebop player, he knows his rock licks and he sounds good on everything. In this Mike Stern Lesson I am taking a look at some phrases from his solo on There Is No Greater Love of the “Standards and other songs” album.

The Mike Stern Solo on this track has many of his trademark or signature licks and, besides demonstrating what a great soloist he is, it is also a good jazz lesson if you want to have a look at how a Mike Stern Guitar Style is put together using elements from many genres and still sounding unique.

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

The amount of notes and colors that you can add to chords on piano is always making guitar players jealous. But in this Herbie Hancock Guitar Lesson I am going to take the Herbie Hancock Voicing for a m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors. In the process you also get a Herbie Hancock Guitar Chord that you can use for maj7 chords or m11 chords and taking this further to create some other arpeggios and chord voicings for other chords.

Learning things from Piano or other instruments

This lesson is as much about applying material from piano than it is about this specific voicing.

Learning and using material from other instruments is a very important part of Jazz. Jazz is a genre that is not dominated by one type of instrument, and different instruments have a leading role throughout Jazz history, just look at the shift from Alto to Tenor with Parker to Coltrane. The guitar is a little late to the game even if it has gradually become one of the most influential instruments in Jazz since the 1970’s.

The Herbie Hancock m11 voicing

The Herbie Hancock voicing can be seen as a poly chord. If you play it on piano then the left hand is playing an Am triad (as a spread triad) and the right hand is playing a 2nd inversion G major triad.

This gives us these pitches:

A E C D G B

Which is an Am7(9,11) chord.

The chord is shown in example 1 both as a complete 6 note chord and a more playable version that leaves out the root.

Construction of the Piano Voicing

The best way to understand this is to look at it as consisting of two parts (similar to left and right hand on the piano)

The lower part is this Am spread triad or open-voiced triad. 

And the upper part, a G major triad.

Turning the voicing into an arpeggio

While it is difficult to really play this chord on the guitar it is very possible to turn it into an arpeggio and use it as an interesting melody with a large range.

The easiest way to do that is probably to play it one note per string, as shown below in example 4.  I have added an extra D on top because I like the sound of it.

Putting the Herbie Hancock Arpeggio to use

Now that we have a great Am7 arpeggio it is easy to put it to use in a II V I in G major like this:

Creating more Arpeggios and Chords

The first thing to try todo to create some more variations of the arpeggio is probably to understand it as a part of a scale. This allows us to move it around as a diatonic structure and hopefully find some other great sound and playable arpeggios.

In doing so then it makes sense to start with the lower part. Here are the 3 string versions of the open-voiced triads. With this I think the low and the high G major are both a bit tricky, but it depends on how you sit and your guitar.

Diatonic Transposition #1 – Cmaj7(#11) chord

The first thing to try is to move up the arpeggio a diatonic 3rd. This is shown in Example 7.

This yields a Cmaj7(9#11): C G E F# B D

and an interesting Cmaj7(9#11) chord voicing (2nd half of the 1st bar)

Diatonic Transposition #2 – D7(#11) chord

Repeating this process and moving it up to D7. When you do that strictly in the scale you have a D7 with an 11, a G and that is not the nicest note to have on a D7. One way to fix this is to make it a #11. Changing the G into a G# gives us this arpeggio and another interesting new chord voicing (at least I didn’t know it)

Changing the Arpeggio and making it more playable

The lower part of the arpeggio is very difficult to play, so it makes sense to try to change that for another structure. Similar to the Kenny Barron voicing the lower part could be a quintal chord (also known as a stack of 5ths)

Implementing this change on the Cmaj7 and using an Esus4 triad as an upper-structure yields this arpeggio:

And a similar idea using the D quintal arpeggio and an F#dim(sus4) arpeggio creates this arpeggio:

Explore more and put it to use

I hope you can take this idea and use it in your own playing. Try to mess around with different arpeggio and chord ideas and let us know what you come up with either here or on the YouTube video!

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.

Stella By Starlight – 6 ways to Harmonize a minor II V I

The Minor II V I is a difficult progression to have options for. In this video I am going to demonstrate 6 variations of Stella by Starlight Guitar chord melody options that you can use on this song and on other Minor II V I options.

It should help you get some different ways to approach the minor II V I and not play the same things all thet time.

The examples are going from the original and I also made one with Coltrane Changes, so there is a bit of Jazz history in there as well!

Most of the examples you can easily use on many minor II V I cadences, and some are a little more specific but can still give you some ideas for a way of working on your own arrangements and reharmonizations.

If you know one I didn’t talk about then please leave a comment!

The Content of the Stella By Starlight Video

0:00 Intro

1:25 #1 Original Changes of Victor Young

1:42 Analysis – The Original harmony and the dim chord!

3:18 Finding great harmony by NOT thinking in Chords

5:17 #2 The Real Book Changes

5:57 Analysis

7:01 #3 Eø Natural 9th

7:26 Analysis

8:30 F7 as a Lydian Dominant – Why It Works

9:11 #4 Phrygian Dominant

9:26 Analysis – What is a Phrygian Dom7th

11:15 #5 Major II V Cadence

11:33 Analysis – A great trick also for solos!

13:38 An Extra Level of Hancock in this version

14:13 #6 Coltrane Changes

14:30 Analysis

15:57 #7 Coltrane Changes 2.0 – a more musical approach?

16:44 What is your favourite Reharmonization for this song?

17:10 Like the video? Check out my Patreon Page!

Corinna Danzers Great Video with the original Changes: 

Bill Frisell – How He Plays Surprising & Beautiful Things

Bill Frisell can be described as the gentle genius of jazz guitar. He has a strong command of the style but really goes for his own voice which is a beautiful mix of elements from essential parts of American music culture: Jazz, Country, Bluegrass and Rock. 

Bill Frisell Guitar solos can start a line with a bebop lick or a reharmonization and end in a triadic bluegrass idea or go the other way and throw a open-string cluster voicing in there. The examples in this video cover both of these. 

Another thing that Bill Frisell also has pioneered is trying to really play polyphonic ideas in your solos. You will hear this from time to time with others like John Scofield, but Frisell is using it very often and is a true master. Possibly also where Julian Lage got the idea?

Paul Motian  -Bill Frisell - On Broadway

This solo on How Deep Is The Ocean is from one of the Paul Motian On Broadway albums. A great series of albums with some Jazz Giants playing some really great renditions of jazz standards.

Favorite Jazz Guitar Album Recommendations From YouTube

One of the most important ways to stay inspired and motivated to keep on playing and practicing is to check out new Jazz Guitar Albums or Jazz Albums. The main way that I get introduced to new music is from recommendations so I thought it would be a fantastic idea to ask a lot of Jazz YouTubers what their favourite Jazz Guitar Album is and get some great recommendations.

Since I expect that you guys are probably also interested in some good music, so I made this video!

You should check out these channels if you like my videos. These are the people I check out on YouTube when it comes to music and Jazz Guitar!

I would like to thank Brent, Bob, Rick, Nick, Chris, Jacob, Ben, Levi and Sean for being a part of this video. I am really grateful for their help and recommendations!

Let us know what your favourite Jazz Guitar Album is!!

Brent Vaartstra – Learn Jazz Standards – https://www.youtube.com/user/Learnjazzstandards
Bob Reynolds – https://www.youtube.com/user/bobreynolds
Rick Beato – https://www.youtube.com/user/pegzch
Nick Homes – Jazz Duets – https://www.youtube.com/channel/UCqimxUbWsE26KSpx2_OcmmA
Chris Zoupa – https://www.youtube.com/channel/UC5A0eJ-bgtJddy0rG_prVog
Quist – https://www.youtube.com/channel/UCEXDaXzYhqYdLCQ3Ce7U2Og
Uncle Ben – https://www.youtube.com/user/BenEllerGuitars
Levi Clay – https://www.youtube.com/channel/UCySQog_SBfX4-CnR2hWVBOQ
Sean Daniel – https://www.youtube.com/user/seandaniel23
Jens Larsen – https://www.youtube.com/jenslarsen