Tag Archives: jazz rhythm exercises

3 Important Exercises for Jazz Guitar Beginners To Get Started

You need many skills if you want to play Jazz, and some of them can be hard to find good exercises for, or even realize that you need to work on them. In this video, I am going to go over 3 Easy exercises that will help you play better solos and develop skills that are difficult to fix by just practicing scales, arpeggios, or chords.

#1 Playing Changes – A Little Easier

Hope you are having a great day playing some Jazz! This video should help you develop your melodies, your rhythm and your phrasing.

This is something you get hit by very hard the first few times you try to improvise over a jazz standard. I know I certainly did, thinking that it must be impossible to follow the chords that move so fast! When you try to play a solo, chords are flying at you left and right and it seems like you have to be a math genius or a computer to figure out what to play and where to play it.

But improvising over chord changes is a part of Jazz and you want to be able to not only follow the chords but also play melodies that make sense.

This first exercise makes that a lot easier, and mastering this and the next exercise will already make you sound really good when you solo.

Let’s use a bit of the Standard How High The Moon:

The chords are:

The Trick is to do the “calculations” beforehand because eventually, you can get by without having to solve crazy equations whenever you see a chord progression, that is mostly a matter of experience. If you practice like this then you build that skill and it becomes something you can quite easily get into your playing (B-roll on top: complex equation overlay on How High The Moon)

I am not going to cover how you find chord tones, diatonic arpeggios and how to analyze chord progressions in this video. I want to focus on how you practice soloing, but if you want to dig into that then check out the playlist I link to in the description with videos that help you get started with that:


Of course, you want to play something on the chord progression that makes sense and has a natural flow. The best way to do that is to play phrases that begin on one chord and end on the chord change.

So in the song, when you move from Gmaj7 to Gm7 then the chords sound like this:

and a clear line going from Gmaj7 to Gm7 could sound like this:

So you play towards a very clear note in the next chord often a chord tone, and you can hear how it gives you a natural-sounding melody and also makes the change of chord very clear.

With How High The Moon:

Essentially this is two bars of G major, the key of the piece followed by a II V I in F major.

The simple thing you can do is to target the 3rd of the chord, but you should also check how well the 5th might work because that is a very strong melodic note, the 7th is for solos often not a very strong target note. If you play like this then that could give you:

So when you want to develop this skill then take the chord progression and

1 – Find target notes (especially 3rd and 5th)

2 – Make sure Target Notes are in the same area of the neck

3 – Practice playing short phrases to hit each target note

To develop this keep it simple, in one position and one target note at a time. If you develop a skill like this you can expand on it later.

You also want to give yourself time to think ahead, so just stop on the target note and think about making a melody to the next target note. Later you can open this up and become much freer and also not only play to target notes on beats one and three.

This approach is one of the best ways to develop a natural flow when you improvise over changes and learning to think ahead is incredibly important for so many things in Music, not just playing solos over chord changes.

Working like this you can end up with some very heavy phrasing that doesn’t really sound like Jazz which is why you want to check out the next exercise.

#2 The Most Important Part Of Jazz

The most important ingredient in Jazz is rhythm, but it can be difficult to develop mainly because you forget it when you focus on the chord changes and that can really ruin how you sound.

In general, a great way to develop a skill is to reduce your freedom with other things so that you are forced to focus on training and developing that skill.

When it comes to rhythm, then a very useful exercise is to limit your note choice so that you only have two notes and have to focus on being creative with rhythm to get what you play to work, and if you try this exercise then you will probably be surprised how much you can learn. Let’s check out an example and then talk about what you need to focus on to really develop your rhythm.

You Stepped Out Of A Dream

When you set up this exercise for yourself:

1 – Try to choose notes that are mostly chord tones and close to each other across chords so that you have an easier time connecting.

2 – Explore how to use a lot of off-beats especially ending phrases on an off-beat

(this is the sound of bebop phrasing and will help your solos sound 10x better)

3 – Try to play melodies with quarter notes

You always focus on learning to play 8th note lines and forget how great it can sound to play quarter-note rhythms

#3 Passing Notes – Grown Up Jazz Licks

When you can already play a solo over the harmony and you are beginning to use some more interesting rhythms

Maybe cut in: “I mean that you are working on exercise one and two from this video…”

Then you can start working on making the melodies more surprising and more complicated, and you do that by playing a lot of wrong notes and then resolving them to some right notes.

Obviously, this is a HUGE topic, but an easy way to get started is to do two really simple things:

1 Add a chromatic note before the start of a phrase like an arpeggio

2 Add a chromatic note between two notes in the scale.

And if you if put that to use over Ladybird then that sounds like this:

In the beginning, you want to resolve to chord tones and have the resolution on the beat, as you see here where:

The first Cmaj7 bar starts with adding a chromatic passing note between D and C, and later between A and G

on the Fm7 I am adding a chromatic leading note before the Fm7 and making the arpeggio an 8th note triplet which is a great Bebop sound.

The Bb7 has a passing note between the C and the Bb, and transitions back to the Cmaj7 by moving up from the 5 to the G on Cmaj7

Get the PDF and GuitarPro on Patreon:

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


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.



3 Ways To Play More Interesting Rhythms In Your Solos

Learning to play solos where the rhythm really sounds like Jazz is difficult and it is probably the most important part of Jazz. Jazz Rhythm is a language that you need to develop.

What you want to focus on is practicing things that help you hear phrases that have those rhythms in them. They have to be in your ear and in your system if you want them to come out into your playing.


0:00 Intro – Jazz Rhythm – Hearing Phrases with great rhythms

0:30 #1 Themes and Melodies

0:45 Internalizing melodies = internalizing rhythms

1:34 Using Theme Rhythms in Solos – Tenor Madness

2:04 The other elusive skill for Jazz Playing

2:18 Rhythmical Target Notes

2:33 The Different Kinds of Target Notes

2:53 Example: 4& as Rhythmical Target on a Turnaround

3:40 #3 Rhythmical Displacement

4:13 Example Motif from Bernie’s Tune

5:20 More than just the notes

5:40 Like the video? Check out my Patreon Page

How to Improve your vocabulary of Jazz Rhythms

We don’t often talk about is how rhythm is actually also a melody, and how to work on your vocabulary for jazz rhythm. But,of course, a very important part of playing jazz is interesting and great rhythms.

In this video, I am going to go over some great examples of rhythms used in a jazz solo taken from Chet Baker, Kenny Burrel, and Jim Hall. I also discuss how you might want to work on improving this part of your own playing.


0:00 Intro – Adding New Rhythms To Your Solos

0:14 Getting Inspirations from Kenny Burrell Jim Hall and Chet Baker

0:32 Example #1

0:39 Kenny Burrell – Mastering Medium Swing

1:06 How To Use Simple (but great 8th Note Rhythms)

1:24 Example #1 Slow

1:34 How To Use The Material

1:57 Example Lick #1

2:14 Example Lick #2

2:22 Ideas with more of a concept

2:40 Example #2

2:46 Chet Baker – Strong Rhythm and Simple Notes

3:02 Analyzing the line

3:58 Example Lick #3

4:26 Example Lick #4

4:52 Example #3 

4:59 Jim Hall – Rhythmical Diversity and Strong Melodies

5:36 Motif and a Scale Sequence

5:59 Example #3 Slow

6:07 Getting More Out of the Pattern and understanding why it is great!

6:30 Example Lick #5

6:40 Like the video? Check out my Patreon Page!

Check out more lessons on Jim Hall

Here are a few more Lessons I did on Jim Hall and his fantastic playing that always contains a strong and interesting rhythmical concept as well as beautiful melodies.

Jim Hall – Ingredients Of The Best Solos

Jim Hall on Autumn Leaves – Can it get any better?

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.

Jazz Rhythm – The Most Important Aspect of Jazz

Learning jazz is often mostly about playing 8th note lines, but if you listen to amazing musicians like Charlie Parker then you can hear that he doesn’t only play dense 8th note lines. He also plays very interesting rhythms. So we need to learn to hear rhythms like that.

In this video, I am going to go over an exercise that you can apply to the songs that you play and help develop your ability to play much more interesting solos with more inspired rhythmical ideas.

Developing Rhythmical ideas

The exercise I am using in this lesson is reducing the amount of notes that you use and in that open up to give more attention to the rhythm.

To have a progression to work on I am using the A-part of Take the A-train which is fairly simple. You can, of course, choose any song you like, but make sure that you choose one with not too many chords. Try to also pick one that you know very well.

The chords of the A-train A-part is shown here below:

The Three Notes

Let’s first find three notes for the chords. I am treating the II V as one chord.

If you can see figure out where I got the three notes from then leave a comment on this post 🙂

Rhythm #1

The first rhythm is shown here below. The note on the 4th beat helps it drive it forward. The 2& also helps a lot with adding some “jazz feel” to the rhythm.

First play the rhythm with just one note to get it into your system.

Applying Rhythm #1 to The Chord Progression

A way to improvise through the progression with the 3 notes could look or sound like this. When you work with the rhythm try to keep improvising until it becomes really easy to improvise. That way you have really internalized the rhythm and it is more likely to show up in your playing.

Rhythm #2

This rhythm is actually just a basic syncopation, but at the same time also a very important rhythm to be familiar with in Jazz.

Using Rhythm #2 in a Jazz Solo

As you can see I am starting to mix up the rhythms so that I am not only using one rhythm. In many ways I am using the rhythms to help create a sense of Call-Response in the solo.

Rhythm #3

More complicated rhythms work as well. This one is a lot less clear and can also help you develop your ability to feel off beats more precisely.

Rhythm #3 – Mixing it all up

This 8 bar examples uses Rhythm #3 but I am also mixing it up quite a bit with the previous rhythms. I think this also illustrates how much variation is available like this using more interesting rhythms and a smaller set of notes.

Bebop Phrasing Lesson

Get a free E-book

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


Get the PDF!

You can also download the PDF of my examples here: