Tag Archives: jazz licks with tabs

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.

Get the PDF and GuitarPro on Patreon:

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

https://www.patreon.com/posts/simple-way-to-on-55908272

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 7500+ 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 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.

Get the PDF and GuitarPro on Patreon:

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

https://www.patreon.com/posts/47359810

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 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.