Tag Archives: jazz licks guitar

3 Simple Bebop Tricks You Can Make Great Jazz Licks With

In this video, I am going to show you how to take these 3 basic phrases: play 1-3 short and make some really great licks. The important thing you will learn from this is to hear the difference between boring and interesting lines. I am sure you have already been struck with the Curse of the Bad Bop Licks with all the right notes and arpeggios and still sound really boring. This video will help you improve that and develop your melodic ear in general.

 

Curse of the Bad Bop Licks with All The Right Notes

Here is a line with the right notes and arpeggios that still doesn’t work:

It is using the right scale and a Dm7 arpeggio with some chromaticism, but it is still boring.

The main problem with this line is that it is very predictable and it changes direction on the heavy beats of the bar, so 1 and 3.

You can play scale runs in your solo, but often it is nice to try to break it up so that it is more surprising to the listener. If you can make it surprising without making it sound random then it works better.

If I took the 3 phrases I talked about at the beginning of the video and made them into a lick then that would sound like this:

Here the melody skips around a lot more and is a lot less predictable. It is not nearly as much just something that moves in one direction.

In this video, I will show you how you can start making licks that sound like that, and develop your skills and ears.

The Diatonic/Chromatic Enclosure

The first phase of the example above is really just an enclosure of the 3rd of Dm, F. You have the diatonic note above G and the chromatic note below E. In this case the chromatic note is also diatonic, but that is actually a coincidence.

If you are writing lines on a Dm7 then it pays off to check this exercise out on the chord tones:

And as you will see later in the video, the direction of the enclosure can make a huge impact on the line that you are playing so you should also try to play it the other way around:

Melodic Direction is Important

Let me show you how the direction of the enclosure can make a huge difference:

If you have a simple scale melody like the first bar below.

You could do it like as in bar 2 or like this  bar 3

I am sure you can hear how the last variation sounds a lot more interesting with the skip down to the C#. And that is because you are adding an enclosure that moves in the opposite direction of the scale melody, so the scale melody moves down and the enclosure moves up.

You can then make a lick like this:

What you want to spend time on with material like this is to compose and play lines, that way you start to figure out how you can get it to work and you also start really getting into your ears how solid lines should sound, so don’t forget to get started working on writing lines. This is also how Barry Harris teaches bebop in his masterclasses.

Break Up The Flow: Lower Chord Tones

Besides the enclosures, I will go over another great way to use arpeggios in your lines, but first le’s look at a way to add some large interval skips to a simple melody without sounding completely random.

The first bar shows how you can add a lower chord tone in between notes in a scale run.

One way of understanding this is that you start with a descending scale run and then you add a chord tone between two notes, in this case, the F and the E.

In the original example, I use a low A, because the 6th interval is nice and it is clearly breaking things up, but you can also use a D or instead take a high chord tone like the A

You can turn this into an exercise using a Dm triad as the foundation, and you actually get 3 really solid melodic building blocks:

Turning this into a lick could be something like this:

Notice the rhythmical variation used in the 2nd bar

Bebop Arpeggios

The 3rd phrase I used in the intro is this way of playing an arpeggio using an 8th note triplet.

I am sure you have already heard this in tons of Parker, Benson or Wes lines, and I also have a video where I talk about talking triplet arpeggios through the scale that I will link to in the video description.

For the Dm7 chord that I am using here there are 3 arpeggios that are really useful and easy to use, namely from each of the notes in the Dm triad: D, F and A

D: Dm7 – D F A C

F: Fmaj7 – F A C E

A: Am7 – A C E G

You can practice these ascending like this:

and the descending version is also really useful, though it is a little less common:

A lick using the triplet arpeggios sounds like this:

Get the PDF and GuitarPro on Patreon:

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

https://www.patreon.com/posts/3-simple-bebop-40334993

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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. 

The Type Of Jazz Licks That Make You Play Better Solos

You probably know this feeling with Jazz Licks: You have transcribed a great lick that you want to use because it sounds amazing on the album where you learned it. But every time you use it in a solo then it is this big block that just never really sits right in your solo and sort of breaks up everything.

This video gives you a better way to approach solos and licks you have transcribed

 

Get the PDF on Patreon:

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

https://www.patreon.com/posts/type-of-jazz-you-40232611

Content:

00:00 Intro

00:33 Keep it Short and use Phrases as Building Blocks

01:05 Joe Pass is a Good Guitarist, Be Like Joe

02:08 Forward Motion and Joe Pass

02:40 A Message from Things-I-Forgot-To-Film-Jens

03:19 Different types of Phrases to Recognize and Learn

05:25  Building Your Own Jazz Vocabulary – 2 Examples

07:15 Analyzing Longer Phrases – What You Lose When You Zoom In

08:19 Kurt Rosenwinkel Breaks the Rules (again)

09:27 But Parker also Breaks the Rules

10:34 Arpeggios as Building Blocks

10:40 Like the video? Check out my Patreon page

 

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 500 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 6000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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. 

A Great New Sound In Your Jazz Solo

Arpeggios and scales are often reduced to the notes they contain against a chord, but by doing that you throw away other information that is more important for the sound of your jazz solo, and this is something you want to be aware of and not miss.

It is a way to get so much more out of scales and even pentatonic scales that you already know because you can use them in a different way.

What is the difference?

If you listen to how quartal arpeggios sound on a II V I: 

Compared to a more traditional bop line:

Of course, you can mix the two as well, but I think this makes the difference quite clear.

There are a few ways to approach this, and I am going to go over both diatonic and pentatonic options using the II V I in G major: Am7 D7alt Gmaj7

The Scale and a Diatonic Arpeggio exercise

For the Am7 and Gmaj7, you can use the G major scale, and it is fairly easy to play a G major scale in diatonic quartal arpeggios:

The construction of a diatonic quartal arpeggio is really simple:

G A B C D E F# G A B C D

if you want to find the quartal arpeggio on B you just stack 4th intervals: B E A:

 

or for C: C F# B, but notice here that you get an augmented 4th between C and F#:

Using this on the Am7 chord

It is easy to make some lines using these arpeggios on Am7, especially if you avoid using the ones with the F# in there (for now anyway)

That gives us these:

Example using Quartal Arpeggios on Am7

Here I am using two quartal arpeggios on Am7, the one from B and the one from A. I actually continue with quartals on the D7 altered, but I am going to cover those a little later.  First, let’s try to come at this from a pentatonic scale instead of a major scale.

Am pentatonic scale and an important exercise

You all know the Am pentatonic scale:

And if you play this exercise in that scale:

A lot of these are quartal arpeggios (high light and explain) also the C and Am triads

Example using the Pentatonic scale

You can use this as a way to get to this sound in a lick like this

Quartal Arpeggios on an Altered Dominant

Now let’s look at how you can also use quartal harmony on an altered dominant:

Here I am using quartal harmony on all 3 chords and it is constructed so that I am moving two quartal arpeggios on each chord as a motif.

You can practice the quartal arpeggios in the Eb melodic minor

See this in use on a song:

Lady Bird – Arpeggios & Pentatonic Scales

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro Files here:

https://www.patreon.com/posts/great-new-sound-38490214

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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 release

How To Make It Sound Like Jazz – Great Embellishments

In this lesson, I am going to show you some techniques and ways to play simple phrases that make them sound more like Jazz. There are some very common phrasing techniques in Jazz Guitar that are a huge part of the sound, and you can quite easily start adding them to your playing if you want to work on your Jazz phrasing.

I am going to go over how you might play them and also give you some good examples of how they can be added to a line.

In the lesson, I will show you how to get better sounding lines by adding them to a basic Cmaj7 arpeggio, and while I was preparing this video I was actually quite surprised about how they really give you a lot of sounds, especially some of the longer embellishments at the end of the video.

Slides (and the triplet trick)

The basic Cmaj7 arpeggio can be played as is shown below.

I am also going to play it with a leading note and then making it a triplet which is also a very bebop thing to do, which is shown in the following bar.

Adding a Slide to the top-note

One of the easiest ways to get this slightly boring arpeggio to have a little more life is to use slides, so you can slide into the top note, which serves as a sort of target for the arpeggio when you use the triplet.

Notice how I play the notes at the end of the phrases short most of the time, that is also a way to connect with the groove and make the lick sound better.

This is a big part of Wes Montgomery’s phrasing vocabulary like this from his solo on Unit 7. which is a Gm(11) arpeggio over a C7 chord

Delaying the target note

Chromatic passing notes are great for getting things to sound like Jazz, and this is a quite simple way to make that work on the Cmaj7 arpeggio. As I said before, the “target note” of the arpeggio is the B, and delaying this works really well:

Sometimes you will get told that chromatic leading notes have to be on the offbeat and resolve back on the beat. As you can hear in this example that is not true, but don’t take my word for it, ask Charlie Parker:

Above you can see how Parker uses a leading note on the beat. In bar 2, beat 4 and in bar 6, beat 3 and 4.

Turns

The names for embellishments like this are a little open, so sometimes what I am calling turns here are also called trills and slurs. It’s like chord symbols, just try to figure out what is meant and don’t worry about it.

For this video, a turn is more or less a short faster phrase with notes close to a target note. The examples will make it easier to understand what I mean.

There are a few ways you can add turns to this arpeggio.

Turn #1 – 16th note pull-off

The first variation is shown here below:

The easiest way to work on this is probably to play the scale with the turn on one string like this:

Turn #2 – 16th triplet – Mid Phrase

The 16th note triplet is also a good way to get into this. It should be executed with a quick hammer-on/pull-off and is a very common and very effective way to break things up.

Turn #3 – 16th triplet – Begin Phrase

Another way you can use this embellishment is at the beginning of a phrase.

That is what I am doing in the example below, think of it as a way of sending off the arpeggio. The line continues with a slide to the high B.

Joe Pass using “Double Turns”

To give you an example of how this is used by jazz artists, here is a lick from Joe Pass on a II V I in D major.

Pass uses the turns in the 2nd half of the A7 bar, and the last turn is used to introduce a b13 and create a little tension before resolving to Dmaj7.

Take It To a Song and Into Your Playing!

Take The A Train – Bebop Embellishments

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro Files here:

https://www.patreon.com/posts/how-to-make-it-38287760

Get a free E-book

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

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 5000+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

This Is A Great And Easy Recipe For Jazz Licks

You probably already know that a big part of what makes a solo sound like jazz is the are chromatic passage like this:

And another part of it is how there is a close connection to the chord that you solo over using arpeggios to spell out the harmony.

In this lesson, you are going to see how putting these two concepts together is a solid recipe for making some great sounding licks.

Even if you are not that familiar with Jazz then I think this way of making lines could be a good way to try and make your own licks that have more of a Jazz sound.

Let’s start with a basic 1-octave Cmaj7 arpeggio like this. You probably already know this one.

You want to add some chromaticism to this arpeggio and there are a few ways you can do that. Let’s start with this chromatic enclosure.

Here’s an enclosure that I learned from Pat Martino:

What is a Chromatic Enclosure?

In this context, a chromatic enclosure is really just a short melody with some chromatic notes that resolves to a target note, and when we are using it here the target note is one of the notes in the Cmaj7 arpeggio. You can read more about them here: Chromatic passing notes – Instant Bebop guitar lesson! And if you put together the arpeggio and the enclosure then we get:

This already sounds pretty good, but we can add something at the end like this:

Chromatic below – diatonic above

And now I added an extra chromatic approach which is using a scale tone above and a chromatic note below. In the lick it is on the 5th, G and then you have A and F# to resolve to G.

You can do this on the entire arpeggio like this:

And you can even add one more to the lick like this:

Let’s try making another lick, but now start with a descending arpeggio

the lick could be something like this:

Here I am using an enclosure that works really well on the 7th and also on the 3rd like this:

And you can go back up and add another part like this:

Better Rhythm

You can also change the rhythm of the arpeggio a little by making it a triplet and then adding some chromaticism, something like this:

Here we have an enclosure of the C, then the arpeggio played with an 8th note triplet and then a double approach going from B via Bb to A:

Benson’s chromatic run

Another great variation that you can hear George Benson do a lot is using this type of arpeggio and then connect the top-notes with a chromatic run.

Something like this:

And putting this into a lick could sound like this:

Of course he actually stole this from Charlie Parker who also does this all the time, but you probably knew that already…

Descending Benson

And you can also apply the triplet to a descending arpeggio and add an ending to it:

Add More Chromaticism to Your Playing

Get a free E-book

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.

The Most Important Solo Tools For A Maj7 Chord

Sometimes it is hard to come up with something that inspires you when you are improvising a jazz solo. There are a lot of things you can use if you want to improvise over a maj7 chord, and in this video, I am going to give you some of my favourites terms of arpeggios, triads, pentatonics and a few special tricks as well.

You should have a lot of things to start working with at the end of this video, and most of it is really just a new way to use the things you already know.

Focus on how it sounds because I think that is how you are going to be inspired by it, and I will also give you some other tips on getting new ideas that are not only about what notes to play.

Cmaj7 – You can always get more out of this!

The basic material in this video is this chord, the C major scale.

And the one Cmaj7 octave arpeggio

Chromaticism – Pure Bebop

A great way to tap into Jazz as a sound and getting this type of melodies into your playing is to use chromaticism.

The example below has two short lines using different chromatic enclosures and a melody build around a Cmaj7 chord. You can check out more information on different types of chromatic enclosures here: 5 chromatic enclosures

There are more examples in this lesson: 10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

Be creative! Don’t just run up and down arpeggios

Very often when I listen to a great line and check out what it is and how to use it. Often I find that the melody is actually a basic arpeggio melody. Below are some examples of lines like this that I have come across.

You can use a variation of the Rosenwinkel melody like this:

You can also experiment with inventing melodies playing patterns with a one octave arpeggio. Try to mess around and see if you find something that sounds like an interesting melody.

Em7 – Don’t Box yourself in, you are missing out

The Em7 arpeggio is the diatonic arpeggio from the 3rd of Cmaj7.

If you look at the notes of Cmaj7: C E G B – and look at the notes of Em7: E G B D you can see that they share most of the notes and the Em7 adds a D, the 9th of C. That makes it a great arpeggio to use on a Cmaj7.

In fact the arpeggio found on the 3rd of the chord works great for most chords.

Sometimes you miss great melodies because the focus is on learning in a position, in a scale or in some other shape. This example using an Em7 arpeggio is branching out of the regular patterns and making specific melodies a lot easier to play.

Gsus4 – Not Obivous and Very Cool

The thing with the sus triads is that they sound a little less obvious and that is why they are great to use once in a while. In this first example I am using the Gsus4 triad to make a 5-note group that I can repeat before continuing, another way to change things up in a solo: odd-note groupings.

Another way to play the notes of the Gsus4 triad is this beautiful C quintal arpeggio that is the perfect way to add some larger intervals to your lines. In this case, I am combining it with a sus4 triad which is another great tool on a Cmaj7.

The Esus4 triad is really useful (leave this clip out?)

Esus4 – Complete Chord And some Color!

The Esus4 is really the complete chord, it has an E and a B so the 3rd and 7th of Cmaj7 and also the 13th: A adding some color. Here I am using it as a 3-note grouping and again taking advantage of sus4 triads being less obvious so that it is easier to repeat them in a melody without it getting boring.

Em pentatonic – Quartal Cmaj7 licks

The Pentatonic scale is very closely related to the sound of quartal harmony, and since it is a scale that we guitarists are usually very familiar with then it is a great place to find some interesting lines.

Practicing the pentatonic scale in the way shown below can help you explore melodies similar to what I use in the example.

Triad Pairs

This triad pair works fantastic for Cmaj7, besides that they are also what I used to make the most annoying picking exercise I ever cam up with…. (B-roll) and the way I usually improvise with triad pairs is by chaining together inversions to get different colors on top of the chords. This has a sound that is different from other types of melodies and still produces very strong melodies.

Putting these concepts in a song

Get a free E-book

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.

How To Make Jazz Licks From Easy Chord Shapes

When you use the chord shapes you play to make solo lines you can access a lot of very useful material. The Link also helps your solos in other ways because it makes it easier to use the chords to tie together several phrases.

In this lesson, I am going to go over this approach with some easy chord shapes and show you how you can apply this to a song and also how you can put it to use on complicated progressions like Giant Steps.

Setting up this Jazz Solo Lesson

To show you how easy this is I am going to take the first 8 bars of Take The A-train, make some easy voicings and use them to make some lines. (here we go)

Finding Voicings for a Solo

A simple way to play the chords of Take The A-train with basic jazz chords could be:

To make them more useful for solos then it makes sense to take away the root and turn them into more compact 3-note voicings:

Examples making lines on a Cmaj7

Now you have some chord voicings and you can start working on turning them into solo lines. The concept is really simple, the melody is using the notes of the chord and adding notes around it from the scale.

These two examples are just basic ways to turn the rootless Cmaj7 voicing into a line by using the voicing and some of the notes around the voicing.

Another example could be this one:

Notice how the lines are different from what you normally will end up with if you use scales and arpeggios.

Playing a Solo based on the Chords

Turning this into a complete solo is really just following the same principle

First, let’s have a look at how the lick is constructed and then I can show you how that works in connecting the lines.

Voice-leading Jazz Licks

The big advantage is that now you have a melody based around the 3-note chord and for the next chord you can use the same lick and just move it to that voicing. In that way you are voice-leading the entire thing. This is exactly what I do in example 3 on the Cmaj7-D7 chords.

Voicings as more interesting melodies

If you use this technique on a II V I with common voicings like the ones shown below, then you can get some really great fresh sounding melodies.

The melody is really just arpeggiating the Dm7 shape, but because the voicing has the 9th(E) in there then we get a nice maj7 interval in the melody.

If you think about this then it is as much a question of learning songs to improvise on and then use the chords as a way of getting some solo material as well

A Practical approach to turnarounds

A basic way to play a turnaround in C could be using the chords shown below.

This is easily turned into a lick, just playing the chord shapes and adding an occasional extra note here and there:

A Solid Strategy for Giant Steps

This is also a refreshing way to approach Giant Steps where you can get some new melodies using shapes that you already have in your fingers.

Using these shapes to play a lick could give you something like this:

With Giant Steps I think it really works well to also add melodies that are not only 8th notes, something that we play too often on changes like that.

Learning Songs to Solo on

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-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.

5 Ingredients Of The Best Jazz Phrases

This Jazz Solo Lesson is for you if all the lines in your solos are just a sequence of “now I am playing an arpeggio” then “a bit of scale”. That is of course not that exciting to listen to. There is more to jazz lines and jazz melodies than just trying to put arpeggios and scales next to each other.

In this video, I am going to show you some of the ways that you can make more interesting melodies in your solos. It is all about surprising to the listener without just being weird and hard to understand.

In hindsight, this is a lesson I really wish I had when I was starting to learn Jazz and wanted to play better lines in my solos.

Content:

0:00 Intro – Less boring and predictable Lines in Your solos

0:57 #1 Breaking up Scale melodies – Adding a lower chord tone.

2:05 Example 2

2:52 #2 Breaking up Scale melodies – Chromaticism & Chord Tones

3:56 #3 Breaking up Scale Melodies – I can fit an entire arpeggio in here!

5:34 Example 2

6:10 #4 Benson’s Top-note melodies

7:37 Simpler Example

8:24 #5 Pedal Point Strategies

9:13 II V I Example

10:00 Like the video? Check out my Patreon Page!

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-my-newsletter/

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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, or Facebook to keep up to date with new lessons, concerts, and releases.

This Will Make Your Jazz Licks 10x Better

You already know how to find the scales and arpeggios that go with the chords, and you can play something on each of the chords, but your solos still sounds very much like you are just playing something on each chord, and when you listen to great players like Wes then you hear a whole melody in the solo, not just something on Dm7 and something else on A7.

In this video, I am going to show you how to improve the skills that make it possible for you to play a solo that is a complete piece of music and not a bunch of random lines next to each other.

I a m going to go over 5 examples that will show you what to focus on start hearing and playing connected melodies in your solos. You can use them as blue prints for writing your own lines and try to add this to your solos.

In a way the concepts I am going over here could be described as a “holy trinity” of Beethoven, Muddy Waters and Kurt Rosenwinkel – just a strange side-note.

The material I am using here is pretty basic and you probably know it already.

It is a II V I in C major so we have an arpeggio from the root and one from the 3rd of each chord:

And around that we have a C major scale:

If you want to explore more on diatonic arpeggios then check out this lesson:

Beethoven inspired II V I lick

One way to connect a melody is to follow up a phrase with a developed repetition of that phrase. This is called motivic development and is a very powerful way to make melodies just ask Ludwig Beethoven

This is a really solid example of basic motif: the melody on the Dm7 and G7 are almost identical and just transposed, but that does make it easy to hear how the G7 melody is a logical follow up on the Dm7.

Muddy Waters playing Changes

Call-Response is associated with blues, but is really a part of all melodic traditions. In the example it becomes almost a question answer where the Dm7’s ascending melody is a question and the G7 is the descending answer.

It feels a little like the Dm7 is opening up something and the G7 melody is closing it again. The Cmaj7 line becomes more of a tag to finish it off.

Creatively Voice-leading Motifs

When you work with motifs then you can be very strict and mechanical, but in the end you should also want to be able to use it more freely and maybe a little less obvious.

This example is starting with a descending Fmaj7 arpeggio on the Dm7 and that is “voice-lead” to a descending G7 arpeggio.

It is not only for II V I licks

To keep everything compact in this lesson I am just using short II V progressions, and you should practice making melodies or licks with this types of melodic connections, but as you start getting it into your system then it really pays off to take this to entire songs and work on creating musical sentences over entire sections of a song. I think especially Wes is a great clear example of this, but if you listen closely you will hear it with pretty much everybody!

Stubborn Rosenwinkel Habits

One of the things that I learned from a Kurt Rosenwinkel masterclass was how he already in technical exercises worked on continuing a melodic direction through the changes.

This II V I lick is a simple example of that where the melody is ascending throught the II V to resolve on the Cmaj7.

Another thing that is worth noticing is that instead of playing only scales, arpeggio patterns then the G7 line is using something that works like a D pedal point in the line.

Reverse Rosenwinkel with a motif

And of course you can make a lick that is descending through the entire cadence. In this example it is combined with a motif using first a Dm triad and then a B dim triad.

Adding Alterations (Like Benson)

The previous examples where all very simple and I tried to keep everything diatonic to make it clear that it is about melody (and maybe also about rhythm?)
Of course you can also do this with altered dominants and this example is developed from an altered phrase that I transcribed from a George Benson solo.

The melody has a motivic development between the Fmaj7 and the Fø arpeggio, but also a connection between the Fø and the Em7 arpeggio on the Cmaj7.

New Concepts for your Solos!

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-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.

7 Great Jazz Licks And Why You Need To Know Basic Arpeggios

You need to know your basics and you need to know them extremely well. I am sure you have heard that before. Once in awhile it is very useful to go back to the basics and really improve the jazz licks that you can write with very simple and basic scale and arpeggios choices.

When you do that then you are working on being better at using rhythm, make stronger melodies and have better phrasing, and you always want to improve that.

In the end, it is more important to improve those skills instead of knowing a lot of scales and arpeggios.

The things you need for this video are basic material that you probably already know and practice: the scale, the arpeggios and also the diatonic arpeggios of that scale.

And what this lesson is going to show you is 7 great licks that are just using these basic arpeggios and give you some ideas so you can start making better licks like this yourself.

Scale and Arpeggios

The basic C major scale I am using here:

This is combined with the diatonic arpeggios that I also cover in this lesson: The Most Important Scale Exercise In Jazz

And of course, you can also download Scale and Arpeggio diagrams in this section of my website: PDF Charts and Diagrams

Lick #1 Just Basic Arpeggios – But Great Rhythm

The first example is only using the basic arpeggios of each chord. The reason why this works so well is that the rhythm is more interesting and driving it forward.

Notice that moving to the G7 and the Cmaj7 the melody is changing to the next chord on the 4&. In that way it is anticipating the chord change, something that is an important part of Jazz.

It is also important to see how them melody really works towards the chord change and in that way adds direction to the line.

Lick #2 Forward Motion

The second lick is making use of forward motion, an aspect of especially bebop, that Jazz has in common with the music of Bach.

When you work on forward motion you should try to create melodies that move towards a target note in the next chord. You can explore this in more detail in this lesson: Target notes on a II V I or an extensive guide in this webstore lesson: Rhythm Changes – Target Note Strategies

In this example the target note is the 3rd on both the G7 and the Cmaj7

Lick #3 Quarter-note Rhythms

Rhythm is important, as you can tell from the first two examples, but Jazz is not only about 8th notes. It is as important to learn to play rhythms that use quarter-notes and in fact, they are great for more groove-oriented playing. You don’t want to only play long 8th note lines in your solos and you want to sit in the groove with the beat.

The example below demonstrates how you can incorporate some quarter-note rhythms in your lines, but again keeping it simple.

Lick #4 Rhythmical Tension

Rhythmical tension is not often a topic in Jazz guitar lessons, but any aspect of music can be considered as a tension/release tool.

In this example, you can hear how the melody is moving forward and using first the trill in the Dm7 bar and the off beats in G7 to create tension which is then released back on the beat on the Cmaj7.

This way of thinking about other aspects of music when improvising, so no only trying to create tension with harmony, scale or note choice, is very powerful and really underrated.

Lick #5 Changing Direction

The first examples were focused on rhythm and direction of the melody, and the goal was to drive the line forward.

If you only focus on that you will get very clear lines, but they also become a little predictable because you are playing from chord to chord and often emphasizing the heavy beats where the harmony changes.

In the example below, you can hear how the melody is changing direction and skipping around in the middle of the bar.

Especially the G7 arpeggio that is played with octave-displacement or pivotting.

If you want to see more examples of this then check out this lesson: Bebop Soloing – The Licks You Need To Check Out

Or this WebStore lesson: Bebop Embellishments on Take The A-train

Lick #6 Chromatic Enclosure

Another way to create tension without using fancy scales or structures is to use Chromatic melodies in the lines. The concept is to use a short melodic phrase with notes that don’t belong to the scale.

That melody sounds outside and is made so that it resolves to a target note back inside the sound of the chord or the key.

In the example below I am using chromatic passing notes on the chords as enclosures and passing notes (on the Dm7), and also to drive the change of chord from G7 to Cmaj7.

Lick #7 Everything All The Time

And of course, you can also put all of these things together (well most of them anyway). In this example, there are different rhythms, enclosures and melodic turns.

See if you can recognize the different blocks which will really help you understand how the line works and get more out of analyzing other solos by famous players like Charlie Parker or Wes Montgomery.

Of course, I also analyze it in the video.

Get started with the Music and build a foundation

Get a free E-book

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

https://jenslarsen.nl/sign-up-for-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.