Tag Archives: jazz licks

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

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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!

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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

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The Most Important Ways To Study Jazz Licks

What do you learn from Jazz Licks, and why should you practice them? That is what this video is about!

How do you study licks? What can you learn and How do you not waste time on them? These are important things to figure out, especially if you are teaching yourself.

Whenever you are studying and practicing something from a book or a video like mine, then the examples of how the topic is applied is most often in the form of Jazz Licks, short musical phrases that demonstrate how a scale, rhythm or arpeggio sounds when used in a solo. You even have books that are only licks and no other information.

Other useful videos on working with licks

Bebop Soloing – The Licks You Need To Check Out

How To Study Jazz Licks The Right Way

Are You Wasting Valuable Time Practicing Jazz Licks Like This?

Content of the video

0:00 Intro

1:10 Don’t Waste Your Time

2:00 How To Play That Lick In My Solos

2:52 Example 1

3:44 Variation on Example 1

4:47 Example 2

5:53 Variation on Example 2

6:03 How To Apply A Specific, Arpeggio, Scale, Rhythm on a Chord Progression

8:18 How To Phrase Melodies in Jazz.

9:47 How Jazz Melodies Sound and How to Play Them

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How To Sound Like Jazz – It Is All Phrasing

You want to learn Jazz, and everybody is saying: Learn Bebop scales and altered chords, upper-structure triad pairs. All these fancy things, and you can do great things with that, but in the end, it is not that which makes it sound like jazz. It is the phrasing, it is how you play it.

In this video, I am going to go over some examples of fairly simple things that do sound like Jazz and talk about how you start sounding like that what to work and what to practice.

Jazz Phrasing – What To Listen For

To give you an idea about what I mean here are a few very simple II V I licks in C major, just using the notes of the scale, no chromaticism or alterations everything is just in C.

Then I am going to analyze that and give you two great ways to work on improving your phrasing.

What is important is to start hearing about a line like this is that the notes are note played with the same volume or intensity. Jazz lines are not just a row of notes that are either on or off like this PLAY same note equal dynamic

If I played the line like without accents and dynamics it would sound boring and not like Jazz at all.

So I add some accents to the line. In this line, I have accents on the 1, 2& and on the 2& in bar 2. This is shown below:

The first note naturally gets an accent, but within the line then the interesting accents that make it sound like Jazz are on a note that is off the beat and higher than the following note.

Notice how I am using legato to give one-note and accent and make the following softer, this is a very common way to use legato for phrasing.

Accent on a note that is off the beat and higher than the following note.

Here we have accents on 1&, 3& and 2& in bar 2 as shown here below:

Again I am just using the scale and the diatonic arpeggios, so it is clearly more about how you play the lines and how the melodies are constructed than what notes you are playing.

The Dorian #4 Bebop scale will not automatically make you sound like Bebop.

How To Learn Jazz Phrasing

Now you have an idea about what is happening and how to get what you play to sound better.

But if you really want to sound better then you need to get this way of playing into your system so that it becomes automatic, something that is a little more difficult.

There are two exercises that you can work on that will really help this the first one is a great way to learn some repertoire as well. I also have a WebStore lesson dedicated to this that you can check out here: Jazz-Blues – 4 Easy Jazz Phrasing Etudes

One way to really dig into phrasing is to learn bebop themes and really try to analyze them and figure out how to phrase them. This way of working is a bit technical or theoretical and you need to work on it for some time and with a few tunes to get it to work in your playing., but it can be a great way to start hearing better phrasing and you can also reference different recordings of the bebop theme to get a sense of how people phrase the lines.

An analysis of Charlie Parkers Au Privave is shown here below with possible accent notes circled:

Of course, playing along with a recording and really nailing the phrasing is also a great exercise.

It could open up a completely new way to hear the melodies.

Transcribing

The other way to work on this is by learning solos by ear. For me, this was the most important takeaway from transcribing and still is. If you learn a solo and can play along with the recording then you really start hearing the phrasing and it is going to be a lot easier to get that sound out into your playing.

Learning solos by ear can seem really difficult compared to the previous exercise, but the advantage over working from a piece of written out music is that you have to listen a lot to a recording, really try to hear how it sounds and then reproduce that so the process is much closer to how you hopefully will end up using the phrasing and therefore it is much more effective as a way of learning.

Even if this was the only thing you would learn from learning a solo by ear and playing it with the recording, then phrasing is so important that it is more than enough reason to start doing this. I think that is obvious from the first part of this video.

What solos have you checked out by ear, do you have recommendations for good easy solos to learn? Maybe especially because of the phrasing. Leave a comment on this video!

A really important part of improving your phrasing is to hear what you sound like and see how it matches what you want to sound like. The only real way to do this is to record yourself. This is a great tool for learning and especially self-teaching. If you want some solid tips and advice on how to work with this then check out this video on that topic.

I have other videos on phrasing and how to interpret jazz lines like these. I find myself much more hearing drums when I am hearing how a line is supposed to sound.

Practicing Jazz Phrasing with Easy Etudes

Jazz-Blues – 4 Easy Jazz Phrasing Etudes

Other Lessons on Phrasing

Jazz Phrasing – This is what you want to know

Bebop Soloing – The Licks You Need To Check Out

Jazz & Bebop Phrasing – C Blues

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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How to write Jazz Licks – What You Want to Know

One of the best ways to practice Jazz and to learn to play better solos is to work on writing jazz licks. When you are composing licks you are working on how you can use the material that you can practice and really figuring out how to get it to sound great in a solo.

This video takes you through working on this in steps or levels and talks about important techniques you can use to make what you write sound better.

In this video, I am going to break down 6 levels that you can work on writing licks and discuss:

  • How you get started writing jazz licks
  • What does it mean to have a lick that follows the changes
  • How do you incorporate Arpeggios and chromatic melodies
  • What makes it sound like Jazz
  • How to get more surprising melodies in there.

Content:

0:00 Intro

0:18 Writing Licks and Solos as a way of practicing

0:33 Scary White Papers with empty lines

0:48 Level 1 – The Scale and Connecting to the changes

2:11 Why it is good to keep it simple

2:41 Bebop Scales – it is a bit too systematic

3:11 Level 2 – Arpeggios of the chords 

4:17 Level 3 – Arpeggios as Frames for lines

6:00 Level 4 – Arpeggios from the 3rd and Chromaticism 

6:20 Arpeggios from the 3rd 

8:19 Different way to use chromaticism 

9:11 Level 5 – Octave Displacement 

9:20 Rhythm and Joe Pass etudes

10:21 Explaining Octave Displacement on an Arpeggio 

12:15 Level 6 – Suspending Chord Tones

12:37 Chromatic enclosure as a suspension 

14:46 Like the video? Check out my Patreon Page!

How To Make Jazz Licks More Exciting

The main vocabulary in Jazz is 8th note lines and is what makes up in most bebop inspired jazz licks. It can be a little tricky to sound good with solos like that because even if you play the right notes, use the arpeggios and follow the changes the line can sound boring and square.

In this video, I am going to give you a way to change things up and show you how to create more exciting jazz licks that take you to the next level as an improviser. Starting from a Charlie Parker lick and then developing the concept.

It’s really about how you think about it when you try to come up with new lines, and something you can easily add to your playing.

Start with a Boring Jazz Lick

Just to have something to compare to. Here is a really boring jazz line:

Everything is on the beat and heavy, and it is moving in a very predictable way.

How Charlie Parker uses Rhythms

What I am going to talk about in this video is about using groups of notes in your solo lines. Charlie Parker does this all the time.

The two things that make the Parker line stand out are the triplet Gm7 arpeggio and the chromatic phrases that follow.

In this video I am going to focus on the last part of this: Having odd-note groupings in your jazz licks.

I talk about the triplet arpeggios in this lesson: The Most Important Scale Exercise In Jazz

Using 8th note groupings in Jazz Licks

The interesting rhythm is that the meter is 4/4 but the melody is shifting on top because it is groups of 3 8th notes.

Split the bar in 3’s and 2’s

How do you work with this. Let’s take a bar of 8th notes and then we can group them together in groups of 3 and 2 notes.

The obvious one is 3 3 2

If you try to use that in a line then you come up with a phrase like this:

It doesn’t really matter how you make the melodies, but it is easier to get it to work with descending melodies as I do in example 3.

Making Melodies with odd note groupings

A good fit for a 3 note grouping is a triad.

If I use the triad from the 3rd and the root on the Gm7 I can make something like this:

Conclusion – It is really just about making melodies that we naturally want to not emphasize the heavy beats,1 and 3, all the time.

3-2-3 Grouping

Of course, you don’t have to use 3,3,2 you can also use 3,2,3:

Taking it further: Across the barline

You can also make ideas that move over several bars, so for example move groups of 3 notes over two bars

We have 16 8th notes, so that is 5 3 note groupings and then we can resolve on the last 8th.

A Great Melodic idea: Repetition

And you don’t have to change the grouping, it also works really well with repeating the pattern on each chord, in fact, that can work as a very clear way to play a different kind of line if the rest of your solo is more forward-moving bop lines.

And finally: 5-note groupings

Now that you are working with phrases over two bars you can also start to use groupings with more notes like 5 note groupings.

Here’s an example of that:

Taking These Concepts to a Jazz Standard

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Did You Do This With Your Favourite Jazz Lick?

You probably have licks that you play all the time, I think most of us have and of course that is a part of having a style (Pat Metheny or Pat Martino Lick?) But not to get stuck with the same phrases too much it is very important to make variations and open up those phrases.

In this video, I am going over 4 ways you can make new licks from the ones you already know. Something that will also help you get better at writing your own licks and come up with great phrases.

The Lick!

So to have something to talk about we need something to work with. Let’s use this II V I lick

This is, of course, a little long and most of the time I work with ideas that are a lot shorter, but it is a good example to demonstrate some techniques that will give you a lot more vocabulary.

#1 Transpose it to Another Chord

This is always useful to do, if you have an idea that works well on one chord then it probably works well on other chords too.

The first part of this line is really close to a maj7 chord and we can use that directly on Cmaj7 and make a similar type of melody from the rest.

Usually, I wouldn’t move the last part, but here it fits so nicely and it is good to mess around with that as an exercise for your melodic and theoretical skills as well.

You can turn it into a Dm7 phrase as well. Notice that I am not strict about preserving the last part. It is more important to make something that sounds good and is playable.

#2 Invert The Melodies

The goal here is to make a new melody by changing the direction of some of it, so if it is an ascending scale or arpeggio run then you can make it a descending version instead.

The first part is difficult to move around and get to sound good, but the arpeggio works really well. In fact, you can do that and play the rest an octave lower.

#3 Octave Displacement

Another way to turn things around is to use Octave Displacement. The idea with octave displacement is to keep the direction of the melody but move it an octave.

You can see in the example below how that works:

And it can be used on the example as shown in example 7:

Using this on the Dm7 part of the line would give you something like this. Turning around the Fmaj7 is very close to what you hear George Benson and Grant Green. Here is a Grant Green example:

You can do the same with the dominant part of the lick and get something like this:

#4 Diatonic Transposition

Another thing that can work really well is to move a part of the line a diatonic 3rd up or down. In this case that happens to work completely if you do so, but that is actually a coincidence.

If you want more ideas for licks you can start working on and get some ideas for more licks then check out this playlist with videos that are on licks with a certain type of chord or arpeggio.

Putting Licks to use in music

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10 Great Chromatic Ideas in Jazz Licks (Easy to Weird)

One of the things that really got me into Jazz was the sound of the chromatic jazz licks. This is such a huge part of the Jazz sound, especially from Bebop and beyond.

In this video, I am going to show you 10 examples of some great sounding Jazz licks with lots of chromaticism used in different ways: Passing notes, Enclosures, Shifting Patterns, Chromatic interval melodies, and more Atonal or completely far-out ideas.

The examples are borrowing from people like Charlie Parker, Doug Raney, Pat Metheny, and Herbie Hancock.

Content:

0:00 Intro – Jazz and Chromatic melodies go together!

0:28 Simple II V I – From Passing Notes to Chromatic or Atonal Ideas

0:50 Example 1 – Passing Notes

1:05 Example 1 Analysis

1:12 Example 2 – Basic Enclosures and Octave Displacement

1:27 Example 2 Analysis

1:35 Example 3 – 4-Note Enclosures and Bebop Chord Tone Enclosure

1:50 Example 3 Analysis

2:00 Example 4 – Arpeggio Leading notes and Shifting 3rd intervals

2:14 Example 4 Analysis

2:24 Example 5 – Borrowing from Melodic Minor and Longer Runs

2:38 Example 5 Analysis

2:47 Example 6 – Dissonant Enclosure and Chromatic Turns

3:01 Example 6 Analysis

3:10 Example 7 – Side-Slip reharmonization

3:26 Example 7 Analysis

3:35 Example 8 – Shifting 3-note phrase

3:49 Example 8 Analysis

3:58 Example 9 – Chromatic 3rd melody

4:14 Example 9 Analysis

4:22 Example 10 – Chromatic or Atonal 4th melody

4:38 Example 10 Analysis

4:46 Like The Video? Check out My Patreon Page!

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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.

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10 Easy Jazz Licks – How To Sound Like Jazz

This video is going to give you 10 examples of jazz licks and techniques so that you can get some basic material to sound more like jazz.

I am keeping it really simple so everything is on a Cmaj7 chord and in one position, but you still learn some solid rhythmical and chromatic ideas that you can use in your own playing and turn into your own jazz licks. The examples are in a position of the C major scale that you probably already know and the material is easy to move to other chords along the way.

Build your Jazz Guitar Skills!

If you want to further your Jazz Skills and get started with playing Jazz guitar then consider checking out:

How to start soloing over a II V I with arpeggios

The Most Important Scale Exercise In Jazz

10 Easy Jazz Licks – Content

0:00 Intro

0:28 Example 1 – Cmaj7 Arpeggio – Sliding Grace note

0:43 Example 1 Slow + Analysis

0:55 Example 2 – Chromatic Enclosure

1:12 Example 2 Slow + Analysis

1:26 Example 3 – Octave Displacement and double stop

1:41 Example 3 Slow + Analysis

1:54 Example 4 – Blues sound on a Cmaj7

2:09 Example 4 Slow + Analysis

2:21 Example 5 – Arpeggio From The 3rd, Arpeggios in triplets

2:27 Example 5 Slow + Analysis

2:50 Example 6 -Triplet Arpeggios ending in Blues

3:05 Example 6 Slow + Analysis

3:17 Example 7 – Em Pentatonic and beautiful Quartal Arpeggios

3:33 Example 7 Slow + Analysis

3:44 Example 8 – Chromatic Enclosures and Coltrane Patterns

3:59 Example 8 Slow + Analysis

4:10 Example 9 – Double Chromatic Approach

4:25 Example 9 Slow + Analysis

4:36 Example 10 – Chromatic Triplets and Double-stops

4:52 Example 10 Slow + Analysis

5:03 Like the video? Check out my Patreon Page!

Build Your Jazz Skills on a Jazz Standard

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!

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.