Tag Archives: jazz licks guitar

5 Licks That Will Help You Understand Jazz Guitar

When I started listening to Jazz and trying to play it then a huge part of what I found exciting about it was that the lines were mysterious and complicated, and at the same time made sense and did not seem completely random.

This was what made me try to pick up phrases from Charlie Parker and John Scofield. I wanted to figure out how the music worked and how I could learn to play like that.

That turned out to be pretty difficult, but there are some basic things that you want to understand about Jazz licks or Jazz solos that will help you learn to play a lot faster. Things that I spent years figuring out, but that are an important part of what makes your solos sound like Jazz, and knowing that is going to speed up your learning process A LOT.

Dig Into The Chords

One of the things that make Jazz music challenging to play in the beginning is that the chords change quite fast. It doesn’t help that the harmony is fairly complicated, but this is also a description of how, especially Bebop-inspired Jazz, works: The lines you play in a solo will connect with the changes and often are so clear that you can pretty much tell what the chords are from just listening to the solo line.

This next example has a lot of chord tones in the melody, especially on beat 1 of the bar, so that when the new chord starts then there is a clear connection between the new chord and the note in the solo.

As you can hear, using chord tones and really hitting the clear chord tones when the chord changes give your solo that sound, that connection to the progression. (highlights)

The Most Important Chord Progression in Jazz

Here, the chord progression is a basic II V I in the key of C major (example chords) and this progression is, as you probably already know, one of the most common progressions in Jazz, and you will find that all over a lot of Jazz songs.

When you start improvising over the chords then you want to know the chord tones each chord, what you also call the arpeggio of the chord. One way you can practice this could be a simple exercise like this:

It is useful to also keep things in one position so that you can easily make a melody that moves smoothly from chord to chord without having to jump all over the neck, you can start doing that later(zoom?)

With this material, you can start making licks that really nail the changes, let’s check out how to make the licks stronger melodies.

The Solo Needs Energy And Direction

In the previous example, you saw that what you play in a solo is connecting to the chord, but just playing random chord tones doesn’t work.

It still has to make sense as a melody, and especially the transition from one chord to the next is important. This is often described as Forward motion, and when you play a solo then you play lines that aim for the target note on the next chord. Something like this:

With this lick, you can see how the descending melody on the Dm7 is going in an almost straight line to the B on G7. It is a bit more complicated on the G7 where you almost have two voices moving to the E on Cmaj7(highlight)

It is a good idea to practice composing lines and then work on choosing a specific target note on the next chord that you want to hit, doing a lot of that will help you start to hear melodies like that and that will become a natural part of your playing.

In these examples, I was mostly going for the 3rd of the chord. That is simply because that is one of the strongest and clearest notes. So in the beginning, this makes it easier for you to hear the chord change in your own solo line.

With all of this in mind then you can now start to learn some more building blocks for your Jazz solos.

Shortcut To Better Melodies

I already showed you how it pays off to use the chord tones in the melodies, but you can actually take that a bit further because the arpeggio is a great melody or building block that you can use in your lines in a few different ways, and there is more than one arpeggio per chord!

Here you have the Dm7 arpeggio on Dm7, but there are some other options for arpeggios on a chord. The arpeggio on the G7 chord is a Bø which is the arpeggio from the 3rd of the chord, and it is played as a triplet which is a nice way to change up the rhythm as well.

Just to quickly explain “The Science” behind the arpeggio from the 3rd:

If you look at a G7 arpeggio and a Bø together then you can see that they mostly contain the same notes and the difference is that you add a 9th to the sound when using the Bø instead of G7.

The same technique is used on the Cmaj7 where the arpeggio from the 3rd is Em7.

Until now everything was about the right notes, but let’s start to make it a bit more spicy with some wrong notes

Try Some Funny Notes

One of the things that often springs out when you both listen to a line or just look at a transcription is that there are a lot of chromatic notes in there.

Chromatic phrases are used in different ways and there are a few different types in this example:

Let’s first check out the complicated phrases and then get to the easy chromatic phrases.

The first chromatic phrase on the Dm7 arpeggio is actually used as a way to create some tension that helps you move to the G7. A phrase like this is called an enclosure, which is really just a short melody that moves to a target note. In this case, the B on the G7, and in that way, it is helping them transition from Dm7 to G7.

A shorter enclosure is used on the G7 in the exact same way to take us from G7 to Cmaj7. This type of enclosure is sometimes referred to as a diatonic above chromatic below enclosure, something that you can use in many ways in your playing and that you want to explore on different chords.

The final use of chromaticism is on the Cmaj7 chord where the F# is used as a chromatic passing note. Because you don’t need complete phrases, you can also experiment with adding chromatic notes here and there that resolve to a note in the scale, or what is often stronger: a note in the chord. In this case, the F# is resolving to the 5th of Cmaj7, G.

But you can improvise with more than notes, you can also start to change the sound of the chords, and that is an amazing effect to work with!

You Can Change The Chords To Create New Sounds

Besides improvising licks on the chord progression then you can also start improvising with the chords in the progression. If your progression is going from Dm7 to Cmaj7 then you have a lot of freedom with what chords you are using to get there.

A simple version of this, and probably the first one you want to explore is to use a b9 on the dominant, so making it a G7(b9).

Doing this will help you get a bit more dissonance and more flow towards the Cmaj7.

So what I am using here is first the arpeggio from the 3rd on Dm7, and a Dm triad.

On the G7(b9) I am using a B diminished arpeggio, and you can see how that is the arpeggio from the 3rd of the chord: G7 B D F Ab.

This is a concept you can take a lot further with altered dominants, harmonic minor, and a lot more, but just getting started using the b9 and the diminished arpeggios is a great way to ease into it.

Important Skills To Develop For Jazz

What also really makes a huge difference for how well your jazz solos sound will be phrasing and rhythm, that are really the two next ingredients or skills that you want to develop, and one of the ways that you can really get that into your ears and into your playing is to start learning some solos by ear. That might sound incredibly difficult, but it certainly doesn’t have to be. Just check out this video where I recommend some solos that are very useful and both easy and short to get you started learning Jazz by ear.

5 Easy Solos to Learn By Ear and Boost Your Jazz Guitar Skills

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3 Things that Ruin Your Jazz Practice And Stops Your Progress

We all want to play fantastic lines in our solos!

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

#1 Too Fast = No Control!

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

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

Setting up a better method

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

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

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

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

Refining The Arpeggio Melody (stealing from Benson & Bird)

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

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

A More Original Idea

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

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

What Are You Really Practicing

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

#2 It is NOT just the notes!

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

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

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

The Power Of Pivot Arpeggios

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

#3 Fix Your Phrasing!

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

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

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

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

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My 7 Best Jazz Licks with Only Four Notes

You are probably thinking 4-Note Jazz Licks! That doesn’t make any sense!

But actually, those 4-note licks are very important! They are the flexible building blocks that you put together as phrases in your solo.

Think of a solo phrase as a sentence (example 1 + text ) and these building blocks are the words, they are how you say something, and you need great building blocks for great solos and as you will see, just naming it with an arpeggio or a scale is nowhere near enough.

Let’s first look at one that is like adding instant Bebop to your solo.

Lick #1 – A Beautiful 6th Interval

This is so simple, but it sounds fantastic in a line, and it isn’t just an arpeggio or a triad.

You can at most call it a scale run with an inserted interval skip, and that is also not much of a description.

If you use it on a m7 chord you get this:

but it is equally great on a maj7 chord

With The Next One, you will see an example where it is pretty clear that just a chord name is not really a description

Lick #2 – Minor Triad With Extras

This is sort of an Am triad with an added B,

 

 

 

 

 

 

or you can think of it as a Cmaj7 shell-voicing with an added A.

 

 

 

 

 

 

 

It is great for altered dominants like this G7alt:

or over an F# half-diminished chord like this:

And I think you will agree that calling it an Am triad or Am(add9) is not really describing it.

An Arpeggio Is Just A Set Of Notes

So you can see how this isn’t just an arpeggio or a scale, and that is what makes it great. You can again think of these building blocks as being like words. it is not enough to have an analytical term for a set of notes like maj7 arpeggio, Diminished triad, because it is just as important what melody you make with those notes.

Similar to what word you use in a sentence there are options and they feel different even if they are sort of the same thing. The 3 examples below are all Cmaj7 arpeggios, but as you can see the melody is very different from example to example:

So you need to know what set of notes but also need to have some ideas on how you get them to sound great. Sometimes the arpeggio is enough, but you want to be more creative with your melodies than that.

Ironically, the next two examples are arpeggios and sound amazing.

Lick #3 – A Hidden Arpeggio

This arpeggio is not strictly a diatonic arpeggio in C even if the notes are all in that scale, it is an Fmaj7 with a B instead of a C

The fact that I call it a maj7(b5) arpeggio is also something that can get the comment section all fired up because some people will insist that it is a #11

But: an Fmaj7(#11) is a chord with 6 notes: F A C E G B and it seems a bit silly to call it an Fmaj7(omit5, add#11). Calling it Fmaj7(b5) makes it very clear that the arpeggio only has 4 notes and especially that there is no C in there which is important for how you use it.

Of course, there is plenty of room in the comments if this really offends you. Go right ahead!

This is a great sound for an altered dominant or a backdoor dominant like this:

You can also use this as a voicing and that sounds amazing as well.

If you have Fmaj7 here, then you create Fmaj7(b5) by moving down the 5th a half step:

And listen to this:

That sounds really great!

The next one is pretty simple but is also so good for really nailing a sound!

Lick #4 – Almost Obvious Arpeggio

So this is a basic m7b5 arpeggio, and I am starting with an Fm7(b5) here because I want to show you how great that sounds on a G7 altered, really nailing the sound and resolving so nicely!

Example 16

Before we get back to some examples that are more melodic techniques than great sounds on a chord, then I want to just show you how you find blocks like this in the solos you transcribe or analyze, because these are really the things you want to search for and try to work into your playing.

Finding the blocks

 

Just to give you a quick impression of how you can isolate some blocks then look at this part of Pat Martino’s solo on Just Friends.

Of course, not everything is a neat 4-note phrase, so the first phrase is a 1-bar phrase with some rhythm in there.

Then you get a pick up followed by a scale melody, a Coltrane pattern, another scale melody with a 16th note turn, descending scale, and then a Bbm triad with an added C. A different version of what I cover as the 2nd lick.

So that is how you can start to find things you want to get into your playing.

Here is another Bebop classic that you definitely need to know.

Lick #5 – The Bebop Arpeggio Melody

There is a fair chance you have heard me talk about this Bebop phrase before. Playing a maj7 arpeggio with octave displacement is a great sound for a lot of chords, and it is in so many Bebop and Hardbop solos. Here it is on a m7 chord:

This list would not be complete without a chromatic enclosure. The next one is one I took from a Michael Brecker solo

Lick #6 – A Great Enclosure

This is one that I picked up from Michael Brecker, but later I actually realized later that he probably got it from Charlie Parker.

It is like a standard enclosure with a leading note for the leading note.

But you also want some more modern sounding melodies, and the next one is one of my favourites, and one that is really underused in my opinion

Lick #7- My Secret Weapon

This Quartal arpeggio with a tritone is a great sound. It works for so many things, tonic minor, altered dominants, but also diminished scale sounds.

I have written it out so that it is the top part of a G7(#9) chord:

         

and you can use it in an altered line like this:

but it also works great with a diminished scale sound:

Finding Truly Great Phrases

When you start searching for blocks like this then I think the best place to do that is probably in the music that inspires you, so the solos that you think are amazing are also more likely to give you this material. This is also why I referenced Pat Martino’s solo on Just Friends. Learning solos and analyzing phrases is incredibly useful for this, and if you want to check out some of the phrases that I think are must-know vocabulary then check out this lesson:

The 3 Bebop Licks You Need To Know

The other way is to mess around with material and try out things to see if you come across something that you like. This is also a lot of fun but can be very time-consuming.

 

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New Beautiful Jazz Chords With This Powerful Triad Strategy

The best way to learn something new is to build on things that you already know. That way it is much easier to really get into your playing and more likely that you get something out of it.

That is how this exercise works and it is a great way to learn some very useful and flexible jazz chords that you can do really amazing things with.

And of course, you can also explore some that sound great and are a little more tricky to play.

Basic Jazz Chords

Let’s start with these basic voicings for a II V I and then work out how to create a lot more chords, and more importantly, chords that you can add color and embellishments to.

If we turn them into rootless voicings by removing the bass note then you get

Notice that the Dm7 voicing is, in fact, an F major triad.

And you can play Dm7 on the same string set in 3 ways by playing the different inversions of the F major triad:

And if you look at the II V I then you can see that all that is changing is a single note, C moves to B. So you can create II Vs for all the Dm7 chords by finding the C and then changing it to B:

Already here there might be G7 chord voicings that you don’t use that often, and we are only just getting started! Let’s make them complete II V I’s by adding the Em triads that are used for Cmaj7:

Exercises To Discover New Things

Usually, when you think of exercises, and maybe even practice, then it is about drilling scales and arpeggios with a metronome. Of course, you need stuff like that as well, but it is very useful to also have exercises that help you discover new things. Here, you start with chords that you know and play, and then you develop more options from that, and you can do this with any voicing or chord progression, and as you will see then we can add a lot of beautiful colors to these chords. This is not about repeating material 100s of times, it is about discovering things that sound great and then using that.

Adding More Colors And Tricks

The first thing you can do is make the G7 a G7(b9), so that it has more tension and adds more energy to the progression. This is really just lowering the A a half step to Ab:

and then you can take that through the inversions as well.

Notice that I am also adding a variation to the Cmaj7 chords because I move the 5th up to the 13th for all of them. You could also try to move it down to the #11

But I’ll let you explore that by yourself. For me, it is very important to think of chords as things you can change, not static grips so that you have some freedom to create the sound that you want from some basic chord symbols.

The Advantage of Rootless Voicings and Chromatic Voice-leading

A very common thing to play on a tonic chord like the Cmaj7 is to from the maj7th down to the maj6th in half-steps like this:

When I am playing this then that is not that difficult to do with these 3-note voicings, but if I was playing with the root then that is a very different story.

So playing with the 3-note chords adds quite a lot of flexibility or options for what you can do when playing chords. Which, as you will see, is where all the fun stuff really starts to come up.

When I was in the first few years of my study at the conservatory, then most of the gigs that I did were these long 3-4 hour standard gigs comping singers. Depending on the singer then everything from 1/3 to 1/2 of the songs was ballads. This can get a bit boring, but it is the perfect place to also develop voicings and voice-leading like this. This also helped keep it interesting not only for me but also for the rhythm section while the soloist was still happy (so that I didn’t get fired)

Jazz Chord Heaven!

Let’s try to take that a bit further, so you can start to see all the things that are possible, just starting with those 3 basic Jazz chords.

You have the 7th to 6th thing and you can also work with the 11th on the minor chord. Try to pay attention to how the sound changes when the movement is in different parts of the chords.

What is happening here is often referred to as inner-voice movement, and it is a beautiful way to embellish chords and add some interesting twists and turns that keep the harmony flowing in a nice way.

You also want to notice that I don’t rely on a static fingering for the chords, but instead try to find a solution that helps me play what I want to play. That can be really useful to keep in mind so that you are not stuck with only being able to play a chord in one way.

You can of course also take ideas that start with another inversion like this one:

 

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10 Classic Charlie Parker Licks That Will Make You A Better Player

If you want to learn to play Jazz, then nothing is more useful than checking out Charlie Parker, but you can learn a lot more than just where to add a chromatic note or which arpeggio to use. The 10 examples in this video will show you that but also some great ideas you can use for making better licks which is probably the real genius of Charlie Parker!

#1 Classic Parker With Odd Note Groupings

This example is one that you will find in a lot of Parker solos., and there are a few things to pick up here.

  1. Triplet arpeggios are great! Here it is a Gm7 arpeggio over the C7 chord with an F# leading note.
  2. The main thing here is the groups of 3-notes are a nice way to create an interesting flow on top of the changes. He is playing this with the chromatic phrases, but it can also work with a lot of other things like diatonic triads

Here you have a line using Dm, C and Bb triads as 3-note groupings on the C7

#2 Voice-leading Creates Beautiful Melodies

Another thing that Parker uses very frequently, especially in BLues is to play relatively simple melodies and then just lead the voice-leading turn it into beautiful music

 

So he is nailing the changes AND telling a story by just changing one note from D to Db which turns it into a great example of motivic development.

You can also add some extra chords in your solo to get more movement in the lines:

#3 Embellish The Chords

 

This line is from the solo on Billie’s Bounce, and Parker turns Gm7 C7 into Gm GmMaj7 Gm7 C7 and even adds this nice wide trill to the first Gm triad.

In fact, he uses the same technique in the theme, but with a different melody. It is also worth noticing how he changes up the sound by following up this fairly dense line with a really basic F blues lick with a lot of repeated notes.

#4 Don’t Be Afraid Of Chromatic Passing Chords

Another example of using more dense harmony is this part of a Rhythm Changes solo:

Using chromatic passing chords is something that didn’t really become that common in Jazz until after Bebop, but Parker was ahead of his time. Here he is turning Dm7 G7 Cm7 F7 into Dm7 Dbm7 Cm7 F7.

He probably thought: As long as you get to the right place then it doesn’t matter what route you take.

This next example is a great example of taking a very simple one-bar idea and then creating a 10-12 bar story with it.

#5 Arpeggios And Rhythm!

 

This is amazing! He is playing a very simple arpeggio melody, repeating it, and then developing it. This is a great example of how to develop a simple descending arpeggio with rhythm! That you can make a million variations of!

Let’s check out another real strong use of an essential melodic technique

#6 Motivic Development – Simple But Effective

 

The line on this Bb7 is really just using a Dø arpeggio, but then making the main motif a little more interesting with some 16th notes and moving around where it is played so that it is first on beat 3 (with an upbeat) and then on beat 2.

Changing the last note also gives it a typical blues call-response sound.

#7 Triad Inversions Are Bebop Gold

Chances are that you are not practicing your diatonic triad inversions. Most people don’t get beyond the root position triads, and that is a pity because you can make some great lines with them:

 

Here is a fairly simple short example of Parker using a 2nd inversion C minor triad, and in general you will find a lot of triad inversions in his solos, so just go practice that! You can thank me later!

Here is another example with a Bb major triad in 2nd inversion:

#8 Scale Runs Made Beautiful

The next example will show you two very common Bebop devices.

Here you have Parker inserting an arpeggio in a descending scale run. This way of breaking up scale runs to make them sound more interesting is all over Bebop, and in this case he is inserting an F major triad which is the triad from the 3rd of Dm7 which also adds the complete sound of the chord to a simple descending scale melody.

#9 How Grown-Ups Use Chromatic Passing Notes

You have jazz licks with chromatic passing notes, and then you have Parker licks with chromatic passing notes. Just check this out.

This is a lot more interesting and unpredictable than just adding a chromatic leading note before an arpeggio and he is really skipping around and adding leading notes in the middle of arpeggios. You really want to open up how you think about this!

#10 How The Pros Use Diatonic Triads And Arpeggios

You also want to be able to put together different diatonic triads and arpeggios to create more inspired melodies. Here Parker is doing that by playing the arpeggio from the 3rd, Dm7 as a triplet and then using that to transition into a Bb major triad adding scale runs in between to give it a great flow.

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For Any Jazz Lick You Need To Understand These 3 Things

In a lot of lessons on playing Jazz then chord progressions are reduced to scales and then that is the only way you try to understand what is being played. Obviously, that is important but you can learn so much more than this very basic understanding of what is happening, which is really just scratching the surface of the music and not really helping you make your own lines, which is probably why you are studying the licks in the first place.

Level #1

Even before I was playing Jazz, I was always more interested in trying to figure out how to make my own version of whatever lick or solo I came across. That is the real goal of checking it out.

So let’s say you have something like this:

Probably the things that you actually find great about the lick is not only going to be which notes are used or the scales for each chord.

If that was the case then you could just scramble the notes around, but that will mostly turn it into complete nonsense

I remember having problems with lines that I learned and could not turn into something of my own, I could only play THAT version of it and not get it to work in a different way, and that was really annoying. One of the first ones was this Parker Octave displacement line:

EXTRA example 1

And it was impossible to move it around and get it to work and I got licks that didn’t resolve right and just didn’t sound good.

Extra example 2+3 (voice-over)

And I could not figure out what I was missing but something was certainly missing….

Level #2

A Jazz lick is a melody, sometimes we forget that, maybe because we zoom in too much on the chord or the notes. Melodies are not just individual notes next to each other, they are a long story, and very often they have building blocks. This is true for Jazz melodies like “In The Mood” which is built on a 1st inversion major triad:

But this is also the case with songs like the Jazz Standard “All Of Me” which also uses a 1st inversion major triad, and in fact, continues with a root position triad as the next phrase.

Instead of just looking at the individual notes that are played in a solo then it can be really useful to recognize which structures are played, and how they sound similar to Charlie Parker loves to use the m7b5 arpeggio from the 3rd of a dominant chord. This can give you shorter melodies and sounds that you can use in your own playing. It can also help you find new melodies in another way which I’ll show you in a bit, let’s first just look at another example and start with identifying some harmonic structures:

 

Here we have on Gm7, Dm7, Bb major triad,

For the C7alt: Ab major and Db minor triads

And finally an Am7 arpeggio for the Fmaj7

But there are also other melodies that you want to recognize besides arpeggios and triads. You don’t have rules or the exact names for them, but that is not that important, since it is more important that you have a way to identify what you want to play. Whether you call something a Honeysuckle Rose arpeggio, a pivot arpeggio or octave displacement is not going to make a big difference for what you play.

This example uses a few different melody types that are very common in Jazz.

When you analyze lines then start with the things you can easily recognize. Here that would be the arpeggios

Bbmaj7 on Gm7 and an Emaj7(#5) on the C7

A few of the new types of melodies

Before the Bbmaj7 you have an enclosure of the Bb.

The phrase after the arpeggio on C7alt is a scale melody with a chromatic passing note and

on the Fmaj7 you have a scale run from A down to F with an inserted chord tone.

But this is still about what is being played and not why it sounds good. Let’s have a look at how you might describe the melody that you are playing, something that I think we don’t spend nearly enough time on in Jazz and Jazz education

Level #3

One thing is that you can make melodies and use arpeggios then you still need to connect the melody across the chords for it to be a great line. There has to be a bigger picture or larger story to what you are playing, so let’s look at that.

This isn’t taught very often, and I think we still miss the tools to describe it, but it is beginning to show up in education. Let’s start with some examples using techniques that you probably already know and then a few that are more, sort of my own way of describing melody.

This is a clear example of a basic motif that is moved from chord to chord using voice-leading. This is a great way to tie together, and as you can see, it doesn’t have to be obvious.

Another way to play a motivic melody is to use the same type of melodies:

Here the skipping arpeggio melody is continued through the line creating melodic tension as well as harmonic tension. This is then resolved on the Fmaj7.

You can also use shifting phrases as a type of motivic development:

Here the arpeggio melody on the Gm7 is shifted to an Ebm7 melody on the C7alt and in that way, there is a motif that is developed.

The other well-known type of Melodic development is call-response, which sounds something like this:

Here you have an ascending call on the Gm7 with a descending response on C7.

But call-response can also be seen as a sort of melodic tension and release so in a simplified way, and you can think of melodic or rhythmic tension which then resolves on the next chord.

This example is creating tension by having arpeggios and large intervals on Gm7 and then resolving that tension with more stepwise motion on the C7alt. Rhythm can be a way to work with this as well:

Here you have the syncopation on Gm7 creating tension that resolves on the C7, and this is what ties the two melodies together.

 

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A Simple Way To Make Amazing Jazz Licks On A Single Chord

Whether you are trying to add a little Jazz flavor to your solos or working on getting your Jazz solos to sound better then you are probably stuck with mechanical sounding lines that miss that great feel or phrasing. So you sound like

And you want to sound more like this:

The thing that you want to learn is to start hearing melodies that have this type of phrasing, and that may sound incredibly complicated and like you have to transcribe 150 Charlie Parker and John Coltrane solos, but there is actually another way that can get you started a lot faster and a lot easier.

For most Jazz licks there are two main ingredients, meat, and potatoes if you will: The Scale and The Arpeggio. You can let me know in the comments which is which 🙂

To keep it simple, I will use an Am7 chord as a II chord in G major, what you may also call The Dorian Scale or Mode something like this:

And you can play an Am7 arpeggio, which is the melodic version of the chord like this:

The way your playing sounds using the scales and arpeggios is probably like cooking without any spices, it is not interesting and there are no surprises, so let’s get started fixing that.

The Best Phrasing Building Block!

Let’s make it a little more interesting, with probably one of my favourite building blocks when it comes to phrasing:

So now something is happening, mainly because the line is not just running up and down the scale or arpeggio like this

What I am using is a short melody with 4 notes:

It is skipping around and also has a nice chromatic leading note which resolves in a great sounding way.

Try to play the D on the 1& a little louder that makes it feel better and sound more like Jazz. If you play all of the notes completely even then it sounds a bit boring.

This one is easiest to use if you have a place in the scale that is like this, so B C D, half step, whole step.

If you move it around you see how it doesn’t work as well and gets difficult to play

But the basic version is still great for a lot of licks

A Few 16th Notes Sound Great!

A similar but much more flexible little phrase is also still the easiest to play on one string:

The small phrase you can take from this is this one:

And again you want to accent the note on the 1& a little to make it a bit more syncopated.

This is a great phrase to move around on one string like this:

Which is also a good exercise for knowing the fretboard.

But this type of phrase also works if you don’t have all the notes on one string like this:

So now the pull-off on 1& is still getting an accent, but the last note is on the next string. It is followed by a little scale melody and then the Am7 arpeggio and a scale run to takes us up to the 9th of the chord B.

The one that I always found to be the master of these types of phrases would probably be Charlie Parker, and I actually did a video discussing this on Patreon using one of his solos, but you will also find great examples in the playing of Joe Pass.

Let’s have a look at another great way to make your lines sound like Jazz phrasing and also start to combine the different building blocks!

A few things are going on here. The main ingredient is this 16th note trill:

But as you can see I am also using an Em7 arpeggio over the Am7 chord,

and that has to do with how the notes are of Em7 are related to Am7:

Am7: A C E G

Cmaj7: C E G B

Em7: E G B D

So for Em7 the E and the G are chord tones and on Am7 the B and D are the 9th and 11th both notes that sound good on that chord, and as you can see Cmaj7 is also a great arpeggio to use on Am7.

Back to the Trill!

This is easiest to play if you have the notes on two strings, and actually, this trill is pretty easy to practice in a position like this

Let’s combine this with the first building block:

And of, course, you can also add in the 2nd building block.

As you can see then it really pays off to work on developing a vocabulary of building blocks. Those are the real licks that you want to pick out of Charlie Parker solos or other things you hear.

And when you find something like this then spend time practicing to use them and compose licks so that you become better at that and the new material becomes a part of your playing.

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

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

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

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

#1 Know Your Arpeggios (even better)

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

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

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

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

#2 It Doesn’t Really Sound Like An Arpeggio

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

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

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

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

#3 Is It A Pentatonic Scale Or An Arpeggio?

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

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

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

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

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

#4 Digging The Wrong Note!

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

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

 

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

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

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

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

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

#5 The Only Thing Better Than One Triad

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

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

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

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

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

#6 Using Fancy Arpeggios

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

Diatonic Arpeggios of G melodic minor:

GmMaj7 Am7 Bbmaj7(#5) C7 D7 Eø F#ø

But you can still construct it:

F# G A Bb C D E F# G

F# G A Bb C D E F# G – F# Bb D E

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

#7 Modern Structures And Great Melodies

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

You probably know the sound as chords like this:

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

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

#8 Inside and Outside

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

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

C D E F G A Bb C

C D E F# G A Bb C

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

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

C E G Bb D F#

1 3 5 b7 9 #11

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

Now we can take it a bit outside!

#9 Wrong Triads Are Great As Well

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

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

The dim scale that goes with C7 is:

C Db Eb E F# G A Bb C:

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

This example uses the A and the Eb together:

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

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

#10 This Should Sound A Lot Weirder Than It Does

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

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

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

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The 3 Bebop Licks You Need To Know

Obviously, you are not going to learn to play Bebop by just studying 3 licks, but if you want to add that sound to your playing and mix in some bebop in your solos then this is not a bad place to start. And you want to make sure that you know these if you want to play Jazz.

Bebop – Learning The Language

Having the right vocabulary for a style of music is really what determines whether you can play that music or not, and I clearly remember when I was starting out playing Jazz. I transcribed solos, practiced scales and arpeggios, and then I tried to improvise jazz solos

And I quickly became aware that even though I knew the changes and the song then my solos did not really sound like Jazz. They were just a lot of the right notes.

What helped me, and what will probably also help you is learning licks and also start to make your own licks with the same type of melodies, so studying licks is not just learning them, it is learning how to write certain types of melodies. That is what learning vocabulary is really about.

#1 Triplet Arpeggios

This first one, you probably heard me mention before, and it is really the closest thing I know to instant bebop: Playing arpeggios as triplets with a leading note.

And this way of playing arpeggios is a part of so many classic bebop licks like this Parker line:

And it works for other chords as well:

It is a great way to add a little variation to an 8th note line, and the faster notes really adds some energy or excitement to your solo.

 

The way you, of course, practice this is to play this pattern through the scale as diatonic arpeggios and then start writing licks with them, and there are so many things you can work on:

You can combine two arpeggios:

Here I am using Em7 and Cmaj7 over the Cmaj7 chord, both solid choices for that chord.

Another option is to follow a triplet arpeggio with some chromatic leading notes:

Small Building blocks, not massive licks

As you can tell, I am presenting these licks as building blocks, and that is really because that is how they will be most useful to you and help you develop your own language. As I mentioned in the intro, my experience is that making your own licks and getting those to sound like bebop is one of the best ways to learn to play bebop, and also pretty much how Barry Harris teaches it. I will return to this a little later in the video and also explain why I don’t like Bebop scales.

#2 Honeysuckle Rose

This lick is called honeysuckle rose because it is the main motif in the Fats Waller song Honeysuckle Rose, but it is also an extremely common way to play arpeggios in Bebop, and it is one of the most melodic ways to add large intervals to your 8th note lines which can stop your solos from sounding very very boring.

This is really just a way to play an inversion of an arpeggio, it is also called octave-displacement. You start on the root and then play the arpeggio, but after the root, you move everything down an octave which gives you a beautiful skip from the root down to the 3rd and a natural way back up through the arpeggio.

Parker, Grant Green, and George Benson do this all the time in their solos. (examples?)

And you can make so many great lines with this melody as well by adding some simple scale melodies

Or some chromatic enclosures:

In fact, the topic of octave displacement is maybe worth an entire video? Let me know in the comments if you are interested in a video on that.

Bebop is a form of composition

The most important goal with studying this or any Jazz stuff, is to be melodic, to play strong Bebop lines that really flow and avoid having strange fragments next to each other that don’t make any sense.

As you can tell, I think you will learn more about making strong bebop lines by practicing to compose lines, and that is simply because composing lines is like improvising them, except you can go back and figure out how to make the line sound even better.

In that way, you are really working on building your vocabulary of strong lines and you are also practicing putting them together in the perfect way.

By working on constructing lines and you are giving your imagination and ears time to really listen to the sound of what you are practicing and you are making sure that you can fit the different pieces together in lines with it suddenly changing because you are skipping and playing something that does not sound melodic.

#3 David Baker Lick

This phrase is probably most famous from David Baker’s books on Bebop and a symbol of people studying bebop, but it is of course also a common and useful phrase to have in your vocabulary.

This is a phrase for a V or a II chord, so I have decided to write it out as a G7 lick, not on Cmaj7.

This lick is a construction of some chromaticism and a nice interval skip that sounds very melodic. The first part is moving from the G to the F with a Gb inbetween and then it skips up to an A and down a 4th to end with E and D.

This lick is a great building block both on the G7 and on the Dm7. If you use it on the Dm7 then you get something like this:

The line starts with an Fmaj7 arpeggio, the arpeggio from the 3rd of Dm7, and then a scale run with a leading note from the Dm into the G7 and then essentially just playing the lick and adding an E that then naturally sounds like a resolution to Cmaj7.

It also works really well on the Dm7.

The first part is just the David Baker lick, followed by an enclosure to take us to the 3rd of G7. Here I play the entire Bø arpeggio and run down the scale using a chromatic passing note to resolve smoothly to the 3rd of Cmaj7.

Why I don’t Like Bebop Scales

I often get asked to make lessons on Bebop scales, and while I don’t think anybody died from checking out some Bebop scales, I do think that the way people are asked to practice and use them is really just helping them play very predictable step-wise lines that are also very boring, and to me, that is the opposite of what I think is great about Bebop and everything you don’t want to learn.

You want to learn to play great surprising lines with melodic twists and turns and practicing to play chord tones on the beat and leading notes on off beats is not what that is about. I still suspect that there was more money made with Bebop scales than there were with Bebop.

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Triplets Can Make Your Jazz Solo Sound Amazing

You are always working on playing better solos, making your lines more interesting and finding the right arpeggios or scales. But Jazz is also about rhythm, and it is actually more important to work on playing more interesting rhythms in your solos. Using triplets is a great way to improve your vocabulary and not sounding like an 8th note robot with no dynamics or expression.

In this video, I am going to show you 4 ways that you can easily add 8th note triplets to your jazz lines and make them sound a lot more interesting.

Chromatic Triplets

Let’s get to it. The first place to use triplets is pretty easy to play because you can put it on one string most of the time. When you check out these examples you will also hear that these are really a core part of the Bebop Language

Chromatic enclosures add tension or dissonance that is then resolved quickly, and the combination of this with 8th note triplets is a very nice way to add some energy and momentum to a line. Here I am first using it on the Dm7 with one triplet and two 8th notes to target the F on beat 3. You can find this with Joe Pass and Charlie Parker (Pictures?)

A shorter variation is used on the Cmaj7.

This double triplet chromatic melody is one you will find often with Charlie Parker in his solos on Anthropology or Now’s the time. (Pictures?)

To practice phrases like this you could see the phrase as being a way to connect a minor 3rd with half steps, E to G.

You can then also make one for a major 3rd that starts with a whole step not a half step.

This way you can play the pattern through an Fmaj7 arpeggio like this:

The next thing to check out is how you can create some great sounding arpeggio lines with triplets

Bebop Arpeggios

Playing the Gm7 arpeggio as a triplet with a leading note is something you will find pretty much everywhere, and certainly, something that should be a part of your playing.

You could see the triplet as a way of giving emphasis to the top note, consider that a target note of the arpeggio.

Another way to use the triplets with arpeggios is what you will hear in this Wes Montgomery inspired line again the point is to target the first note after the triplet:

In this example, I also use Honeysuckle rose arpeggio played as a triplet on the Fmaj7.

The best way to practice the arpeggios like this and get them into your playing is to take them through the scale in an exercise like this:

Next I am going to show you a way to transform “normal” 8th note phrases to phrases with triplets

Triplet Transformations as 8th note variations

Here you could play this as “normal” 8th notes like this:

But you can easily hear how the first version is more exciting, and really this is just about mapping 4 8th notes on to a the rhythm with triplets

ILLUSTRATION

Another variation of this principle could be this:

Here the rhythm is this (ILLUSTRATION) and you could make other variations yourself.

Let’s look at how to use triplets for polyrhythms

Groupings and Polyrhythm

Usually, we feel triplets as groups of 3 notes like this:

EXPLAINER OVERLAY

But triplets can also be seen as the bar split into 12 notes and you can group them into 3 groups of 4 notes which sounds like this:

And this shifts on top of the quarter note pulse in a very nice way that you can also use in a solo like this:

Here you have 4-note groupings on the G7alt

Another way to use this on an entire II V I, but then playing a slightly less obvious rhythm would be this:

Here I am using a rhythm which is 3 notes and the last is a quarter note triplet.

Practicing Playing These Rhythms

When it comes to these triplet rhythms both the transformations and the polyrhythms then it can be really useful to work on playing these by working on soloing on Afro Cuban 12/8 grooves which are based on the triplets and will help you get comfortable playing them.

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