Tag Archives: jazz guitar

5 Levels of Walking Bass And Chords – A Great Comping Approach

Ever since I heard Joe Pass play walking bass and chords behind Ella Fitzgerald, I was completely sold and found that to be the ultimate way to comp in a duo. Something that I then also spent a lot of time practicing and later putting to use on gigs.

Comping like that with several layers happening at the same time can be a bit tricky, so in this video, I am going to show you how to develop it, what to pay attention to and how to practice this type of playing and even take it one step further.

Level 1 – Walking Bass Fundamentals

The best place to start is by first constructing a bassline and then add chords under it.

The way I learned this was by transcribing walking bass off albums, but you can actually construct them pretty easily using a few guidelines.

Keep in mind that working on this is actually also very useful for your soloing, because like a great solo line, then a strong walking bass is moving forward and has momentum towards the next chord.

When you play walking lines on the guitar then you are only using the two lowest strings, E and A, which is also going to make it easier to add chords later since that is where you generally place bass notes when you play Shell voicings, Drop2 or Drop3 voicings, and you have plenty of string to add the chord while you play the bassline.

For this video I am going to use a basic progression, just to have a few different things to work with so I am using: Cmaj7 Em7 A7 Dm7 G7 Cmaj7

It is just a slightly embellished I VI II V so Cmaj7 A7 Dm7 G7 C

Learn To Compose Basslines

Before you start just improvising basslines then it is useful to know how to compose them, and that is pretty easy to do.

For now, you can focus on having a walking bass that moves from root note to root note, so let’s add those and then use that to construct the rest:

For the bass line to really connect with the chords and be clear then I have the root note on the first beat and for the chords that last one bar I have also already put a chord tone on beat 3, for Cmaj7 G, Dm7: A and G7: D. That is an easy way to get a bass line that really sounds like the chords. You can also use the 3rd on beat 3, it just has to be a strong basic chord tone.

For now, I am only using chord tones and diatonic notes to go from one chord to the next, and mostly I will use chord tones, again this is because you want a bassline that really sounds like the chord.

For the Cmaj7 bar, here I can easily go from C to G by adding the E in between, and to go from G to E on Em7 then F is an obvious diatonic passing note, just walking down the scale.

On Em7 then B is a great option for a chord tone to take us to A on A7. You could have used G as well, but B is closer and easier to play. In a similar way the 3rd, C#, works to takes us from A to Dm7.

With Dm7, I need to move down to A, and the 7th, C is a good option there. Moving to G is done by just going down the arpeggio to the low 3rd: F.

The G7 is using the triad, and here you can reuse the 3rd, B, as a leading note to C

Example Level 1

Level 2 – Adding Chords

Adding chords to a bass line like this is pretty simple. I am going to start with some easy shell-voicings and just add them around each chord change:

Example Level 2

Before we start adding chromatic passing notes and chromatic chords, then let’s just have a look at what is going on: All I do here is to add the rest of the chord whenever the chord changes, so

On the G7 you have a delayed chord which adds some more syncopation and energy to what is going on and this is something you want to explore as well and that you will see a lot more of later in the video.

Learn Shell-voicings (and be a Happy Jazz Guitarist)

As you will see then most of the chords in this video are either directly shell-voicings or derived from shell-voicings, and if you want to see how much you can create starting from this easy and basic structure then check out this video.

Level 3 – Chromatic Passing Notes

Until now the bassline was using either chord tones or diatonic notes, but since the point of a walking bass is to keep the music moving then adding some tension with chromatic passing notes is a great thing to do as well. So let’s add that and also some variation in the rhythm:

Example Level 3

So this is roughly the same bassline, but now, there are a few chromatic notes in there as well:

I have added a D# as an 8th note to lead to E on Em7 so that is both an extra leading note and a more active rhythm. In the next bar, you also have the Bb and the Eb leading notes.

As you can see then I add the leading notes before the chord change to add some extra forward motion, that extra tension that is then resolved when you get the root of the next chord.

On the Dm7 then the Ab is now taking us to G which is actually easier to play than the F. The G7 bassline has a Db on beat 4, and here this is also harmonized with a chromatic passing chord: Db7 which then resolves to Cmaj7.

As you can hear then you can also add complete chords as ways of making things move more or be more exciting. Let’s add a lot more of those and also add some more color to the chords.

Level 4 – Chromatic Chords

Example Level 4

(highlight dom7th chords with extensions in sheet music)

Here I am adding notes to most of the chords, giving the dominants 9ths and 13ths, and really just adding color to the sound.

I also harmonize some of the leading notes. Since the point of a leading note is to create tension that is resolved then harmonizing it with a dominant chord is often a very good idea as you can see on the Cmaj7 bar where I am harmonizing the F bass note with an F7 that then resolves to Em7, or turning the Ab bass noted turning into an Ab7 that resolves to G7.

The basic principle is really just to harmonize the bass notes, and you can take it even further and then put a chord under all the bass notes, which gives you a harmonized bassline.

Level 5 – Harmonized Bassline

Example Level 5

Here you are harmonizing every bass note with a chord and using inversions and other voicings to connect the whole thing. Most of the time I simplified the chords a little because it gets a bit busy if they are all 4-note chords with a lot of notes and complicated sounds.

You can find some great examples of Jim Hall playing like this, and Joe Pass also does this in some places when he is playing with Ella. Often when you do this you also use more chromatic passing chords simply because that is practical instead of changing voicings all the time, but that also depends on the tempo.

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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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How To Play Outside – A Few Great Jazz Solo Secrets

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

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

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

#1 Half-step Below

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

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

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

How and Why Superimposed Chords Work

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

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

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

#2 Altered Dominant

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

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

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

Altered Dominant & Scale Melodies

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

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

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

#3 Half-step above

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

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

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

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

#4 Diminished Scale

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

You have a connection with the Cm scale:

C D Eb F G A Bb C

C D Eb F F# Ab A B C

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

Using  The Triads

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

Scale:

C D Eb F F# Ab A B C

The 4 major triads:

D: D F# A

F: F A C

Ab: Ab C Eb

B: B Eb F#

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

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

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

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

#5 Augmented Scale

The augmented scale is a 6-note scale:

Eb F# G Bb B D Eb

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

Eb augmented and D augmented

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

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

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

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

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

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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

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Pentatonic Scale In Jazz – Exploring An Important Sound

These videos will show you how to develop Jazz lines and use them on Jazz Chords and Progressions so that you can start with material that you already know in Jazz.

When You Start Playing Jazz then using the Pentatonic Scale to really get the sound of different chords with alterations and extensions.

Check out the videos on YouTube

You can check out the videos as a playlist on YouTube here:

Pentatonic Scale in Jazz – Exploring an Important Sound

7 Pentatonic Tricks That Will Make You Play Better Jazz Solos

You might be getting Pentatonic scales wrong, and it is a really great and powerful Jazz sound even when you are using a very basic version of it. In this video, I am going to talk about how to come up with great pentatonic scale jazz licks and go over 7 ways to use pentatonic scales over chords I will start really simple and go pretty far out.

This pentatonic scales guitar lesson takes a look at how you can get some solid jazz licks using for the biggest part very basic pentatonic scale shapes and positions that you already know. For most guitar players the pentatonic scale is one of the first things we learn.

Check out the article here: 7 Pentatonic Tricks

9 Surprising Pentatonic Scale Secrets on a Blues

Pentatonic Scales and Modern Jazz go hand in hand just like a guitar and pentatonic scale do. In this video, I am going to try to bring the two together using a 12 bar blues and demonstrating 9 ways you can apply pentatonic scales to this chord progression. The ideas are not only going to be on which scale to use on which chord, but more about finding a series of pentatonic scales that you can use to create other movements on top of the jazz blues.

The blues is a great progression to explore reharmonizations and super-imposed pentatonic scales. There are a lot of very standard chord changes that can be approached in many interesting ways. Most of the examples are using several scales to demonstrate other ways to move through the changes, but there are also a few surprising scale choices for a chord here and there.

Each of the concepts is demonstrated on the 12 bar F blues and then the idea is analyzed and explained.

Check out the article here: 9 Pentatonic Scale Secrets on a Blues

The Things You Should Know In The Pentatonic Scale

The Pentatonic scale is one of the first things we learn on guitar, and it is also a great scale to use on top of Jazz Chords. But there are also a lot of really great melodies and arpeggios that most people don’t use. In fact, it is one of the best ways you can make really melodic sounding licks with large intervals.

In this video, I am going to show some of them and how you can use them in some really great sounding lines and not only try to play Eric Clapton’s licks on maj7 chords.

Check out the article here: Pentatonic Scales – You Should Know This

Pentatonic Scale vs Arpeggios – Focus on The Right Things

What to focus on when learning Jazz Guitar: The Pentatonic Scale that you know or the arpeggios that everybody keep talking about? It is difficult to make the right choice, but you also want to get it right so that you don’t practice something that won’t help you get what you want from playing Jazz!

Check out the article here: Pentatonics vs Arpeggios

5 Pentatonic Scales That Sound Great On A Maj7

A Pentatonic scale is a great resource to get some solid melodies and colorful extensions to shine on a maj7 chord. In this video, I am going to go over 5 options for pentatonic scales that are really great on a maj7 chord.

Some of them you know already, but I will also show you how to get them to sound a little more interesting.

A few others you probably don’t know and I actually had a hard time finding the right name for them.

I am going to go over the 5 scales but also give you some tips or hacks on how to make more interesting melodies with pentatonic scales because that is something that is very underestimated.

Check out the article and PDF here: 5 Pentatonic Scales for a Maj7

1 Pentatonic Scale over 8 Chords – Jazz Guitar Lesson

In this guitar lesson I will take one pentatonic scale and show you how it you can improvise over 8 different chords with it.

All the examples in this jazz guitar lesson are using the E minor pentatonic scale, and it is quite amazing the wide range of guitar chords you can use a simple pentatonic scale on.

Even if you already know how to play over chords, you should always be looking for new ways to come up with melodies and chances are that in this lesson you might find new inspiration to add some jazz scale sounds to your vocabulary that you don’t already use!

Check out the article and PDF here: 1 Pentatonic Scale on 8 Chords

Do you really know the pentatonic scale?

Most guitarists learn the pentatonic scale as one of the first things they ever learn on the guitar, and most of the time it is not a scale that we think too much about when we use it. It’s just the pentatonic scale and it’s something that is in our ears and fingers for years, even if we are already for the rest playing music with extended chords, altered dominants etc.

In this lesson I am going to take apart the pentatonic scale and look at some of the things that you can find in there since that might yield some new ways of using it by combining what you know of the pentatonic scale and what you know about improvising with chords and arpeggios

Check out the article and PDF here: Do you really know the pentatonic scale?

 

How To Go From Scales to Great Jazz Phrases

You are practicing scales so that you know what to play in your solos, but, like me, I am sure that you are quickly realizing that running up and down the scale is a pretty boring solo. Scales is just not music. You need to learn how to take the raw material of the scale and turn that into musical phrases that you can actually use in a solo.

Scales Are Boring

This is about how you think about what you are playing, and realizing that Jazz is a language that you need to learn to speak on your instrument, but, as you will see, once you get used to that thought then that can also help practice in a much more efficient way and get to enjoy your own playing more.

You already know your scales and hopefully, you also checked out some of the essential exercises like the diatonic triads and 7th chord arpeggios in there since those are very useful for not sounding like you are just running up and down a row of notes.

 

If you don’t know those exercises then check out this lesson on practicing scales.

Jazz Beginner Mistakes – How To Learn Scales

You want to avoid playing solos that just sound like you are running up and down the scale without any direction, completely at random.

Which doesn’t really sound like something that works in a solo.

How To Play A Jazz Phrase on a Cmaj7

So how do you solve this? You need to find a way to construct lines that are not just using random scale notes and that also make sense as an interesting melody and sounds like Jazz.

To keep it simple, let’s just say that you are improvising over a Cmaj7 chord and then I will show you how to start making lines that actually work.

Instead of playing random notes then you want to play something that connects with that chord. A Cmaj7 is C E G B (chord with diagram, right side) and if we play those notes then that will work really well with the chord.

With this you can already start to make something that sounds like music:

The difference is that it is not just running up and down the arpeggio, but instead, you try to hear a melody with the notes, adding some rhythm and hearing where it ends. But it is still pretty limited, so let’s add in some more notes in there, which is easy because there are 3 more notes in the scale.

Scale Notes and Phrases

If you make a line with the arpeggio notes and then start to add in the scale notes around it then you can create something like this:

As you can see the most of the notes are still the chord tones, and the way they are placed in the melody then they still help us connect to, or hear the chord, in fact, you can remove the scale notes and still have a great sounding line:

Sounding Like Jazz – Rhythms and Accents

One of the most important parts of getting a phrase to sound like Jazz is to get some syncopated rhythm in there. You can do this by either using syncopated rhythms like this:

Or by accenting notes so that the accents give you a syncopated rhythm

You get those accented notes by having a high note on an off-beat. In the beginning, you probably need to practice making and hearing melodies like that, but then it gradually becomes a natural part of how you hear melodies and how you improvise.

Adding Some Beautiful Wrong Notes

Another thing that you hear in something like a Wes Montgomery, George Benson or a Charlie Parker solo is chromaticism, which essentially means using wrong notes to create some tension that resolves to a right note. If you just play the “right” notes then it is as if you are missing something, and if you just play the chromatic notes then that sounds like you are just playing something wrong.

It has to make sense in the melody and resolve in the right way.

In this example, you have two types of chromatic phrases. Passing notes that resolve to chord tones, like this:

You can create chromatic phrases that resolve to a chord tone. Here it is connecting 7th to the 5th, G in half-steps. You can also have chromatic phrases that move around the resolution like this:

The enclosures you have here are targeting chord tones, first the 5th and then the 3rd: l (isolate enclosure of G and E)

And of course you want to end up with phrases that combine the two like this:

How You Practice Making Phrases

What you have seen until now are different options for building blocks, so small fragments that you use to build phrases with like the arpeggio, the scale, and two types of chromatic phrases. If you want to work on playing better lines then you should work on putting together phrases, but you can also learn a lot from studying how your favorite soloist plays. The way you do this is by analyzing the solo and try to figure out what building blocks are used and how the different blocks are put together.

Transcribing and analyzing phrases is really powerful because it comes from music that inspires us, and you start with what you hear.

This is not the only option, you can also work with making variations of building blocks by moving them around the scale, onto other chords or using rules not unlike what you find Barry Harris doing in his workshops.

In this video, I was only talking about using the arpeggio of a single chord, but there are many other options that you can work on. If you want to explore how you can start using different arpeggios for a chord and also how you make bebop inspired lines with them then check out this lesson on: “the most important scale exercise in Jazz”

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

One essential part of Bebop lines and melodies that you need to check out is octave displacement. It is a simple technique, but you need to understand how to use it if you want to really nail the Bebop sound. That is what I want to show in this Jazz Guitar Lesson.

One of the great typical or cliché phrases in Bebop sounds like this:

and actually, that is just a way of playing this line which sounds about 5% as interesting:

I am sure you want your solos to sound like the first phrase, I know I do…

The difference between those two is that in the middle of the first example then the melody moves up an octave in a way that sounds both beautiful and interesting. This is mostly referred to as octave displacement, and you can use this for a lot of great things, and that is what I want to talk about in this video.

What is Octave Displacement

This technique or way of making melodies is called a few things, mostly it is referred to as Octave displacement, but you will also hear, among others, Barry Harris call some of them pivot arpeggios and different ways of looking at them will give you different ideas for using it, as you will see later in the video.

The concept is fairly simple, if you have a scale melody then you can move a part of the melody an octave, just like you saw above:

And you can do this in other places as well:

Another variation could be this:

But here the skip is placed so that the high note is on the beat, and that works but are not as catchy as the other one in terms of phrasing.

But of course, you can also use this on arpeggios to get some really beautiful melodic interval skips in your lines.

I was always drawn to licks like this when I was beginning to learn Jazz, and I was trying really hard to make lines that had larger intervals, but they always sounded unnatural and weird, not like the Pat Martino or Charlie Parker lines that I was transcribing and checking out. It wasn’t really until I went to a Barry Harris workshop that I started to understand how this worked and got some tools to start to incorporate it into my playing.

Pivot Arpeggios

A great way to make your lines less one-directional (B-roll) and add some great twists and turns is to use this on arpeggios.

The concept is pretty simple, instead of playing an ascending arpeggio like this:

Here I am playing first a chromatic enclosure and then the Bø, so the arpeggio from the 3rd of the chord, over a G7 and resolving this to the Cmaj7.

If you turn into the Bø arpeggio into a pivot arpeggio then you get an example like this:

Here you play the B and then you move down the rest an octave to get a nice descending 6th interval.

Strategies For Making Better Lines

And of course, you can extend this to other chords as well and use it to make your lines more interesting with a few adjustments.

Look at this fairly basic Bop-line:

We have an Fmaj7 arpeggio on Dm7, so the arpeggio from the 3rd, then a chromatic enclosure to take us to G7 where the line is built around a G7 arpeggio and a scale run G7b9 sound, and finally an Em7 arpeggio on Cmaj7, so again the diatonic arpeggio from the 3rd of the chord.

This is all pretty solid but you can add pivot arpeggios to this fairly easily like this:

Here I am moving the first note of the Fmaj7 arpeggio up an octave, and later also making the Em7 a pivot arpeggio

But you can also apply this to the G7 bar:

Now the G7 arpeggio in the beginning of the G7 bar is turned into a pivot arpeggio, and you can see that the pivot technique also often works on inversions of an arpeggio since the G7 arpeggio is in fact an inversion with the 3rd as the lowest note.

Displacing David Baker – Aiming for a single note

This is a very specific example, but it I find that there are so many great lines to get from this that it should be included, and you can also add some nice chromatic things with this.

You, of course, already know the David Baker Lick, in part thanks to David Baker but probably also thanks to Adam Neely:

Using this lick with octave displacement can give you not only some of my favourites but also some Charlie Parker and George Benson favourites, (whoever you feel is more important as an influence 🙂)

Let’s look at one way to understand the construction because actually, it is just a scale run with some passing notes.

Clearly, the G, Gb , F is scale melody with a Gb leading note. E to D is also clearly step-wise. So only the A is a bit odd, but you may know how Barry Harris talks about adding “half-steps” between notes that are already a half step apart. His concept is that in that case, you can use any note as a “half-step” and here we are using the A. So in that respect the lick is a scale run with two added “half-steps”, the Gb and the A

And that A is a great candidate for octave displacement, like this:

This already sounds great and is something you will find in a lot of George Benson and Grant Green lines, but you can also add an extra leading note:

Which sounds amazing, and you can make it a short turn as well, something that I have found with Doug Raney:

Just to give you an impression of how this can be put to use you can check out this II V I lick:

In this lick, I am using the octave displaced licks on the Dm7 chord and on the Cmaj7 chord.

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