Tag Archives: jazz scales

How To Make Music From Exercises And Practice Effectively

Getting from just practicing a scale or an arpeggio to the point where you can actually use it in music is quite difficult, and something that a lot of people struggle with. You want to set up your jazz guitar practice in a way that will actually help you get your exercises into your playing as something that makes your solos and improvisations better. That is what this video will teach you! In this video, I am going to go over a 3 step plan to show you how you can approach this and make sure that what you practice also makes it into your playing, and I am also going to discuss what types of exercises I think are practical and what you might better not waste your time on.

 

The Most Important Scale Exercise in Jazz

Let’s start with an exercise that you always want to work on anyway: Diatonic 7th chords. In the Key of C major, that would be this exercise: This is a great exercise that will help you connect chords to a scale and technique to the chords of a song. I have another video going into this exercise in detail which I will link to in the description so I won’t really dig into it here. There are a few practical things to get right if you are practicing something because you want to use it in your solos.

  • Don’t make the exercise too long or complicated
  • Make sure that it is something that you have a place to use
  • Don’t make it so difficult that you have to spend a year learning to play it.

#1 Don’t make the exercise too long or complicated

If you practice Triad pairs with chromatic enclosures on each triad then that is something you can only use on a piece with one chord for a really long time, and you have to think about whether that is really efficient for you.

#2 Make sure that it is something that you have a place to use

Practicing Quartal arpeggios in Melodic minor is not useful if you don’t play over chords using that sound.

#3 Don’t make it so difficult that you have to spend a year learning to play it.

If you have never practice arpeggios then don’t start with playing them with leading notes and as 8th note triplets, just start with playing arpeggios which are probably anyway more flexible.

Taking the exercise to a song or chord progression

I always find it surprising how few people play exercises on songs. It is such a great way to just get your scales or arpeggios into the context where you need them, and also to check if you have everything covered for the song you want to use it on. For this video, I am not going to use an entire song, I am just going to use  a basic turnaround in C Cut in – In the video I am using a very short chord progression, but it is really useful to have songs that you know really well to explore things on, and if you check then that is also something that a lot of players do. They have standards that they return to when practicing things to become comfortable and experiment with new material. Cmaj7 A7(b9) Dm7 G7(b9) In this progression, I am using the C major scale for Cmaj7 and Dm7, and I am using D harmonic minor and C harmonic minor for A7 and G7. And to add something new to our vocabulary then I am going to use the arpeggio from the 3rd of the chord. This is just to flex the music theory and fretboard knowledge a little. The Arpeggios we need: Em7 C#dim Fmaj7 Bdim   Played through the progression in a very basic way:   And to find some more material you can do the lower octave as well, even if that is not really there  for the Fmaj7 arpeggio: And of course, you can also combine the two and make an exercise that fills up the bar: For an exercise like this to be useful, you need to be able to play it easily and think about the next thing you have to play. It has to be in time and you can’t get away with stopping to think. At the same time, it doesn’t have to be super fast, a medium or slow medium tempo will work as long as it feels easy to play. Sometimes I hear students say that it is difficult to learn on a whole song, but if you want to use it in your solos then this is actually a fairly easy thing to learn.

Making music

Now we can play it on the progression and also hear how it sounds on the song, the next step is to start improvising and start to make melodies. The first thing to do is probably just to spend some time improvising with just the arpeggios. Then you can start to add the other things you use in your solos and really make the arpeggios a part of your material. In some cases, it may be useful to first compose or improvise in rubato to get the user to making melodies that mix arpeggios and use chromatic leading notes. Doing exercises like this is may seem like something you do when you want to learn arpeggios, but actually it is a great way to explore new vocabulary and really challenge your fretboard overview, things that you really want to keep developing in your playing all the time.

Take this to Jazz Standards and use it in Music

Jazz Standards – Easy Solo Boost

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This Is A Better Strategy For Jazz Guitar

Most jazz guitar lessons will tell you that you need to know your scales all over the neck, you need to know all the arpeggios and all the chords, understand all the theory. But what nobody seems to talk about is what order you should learn this in, and does learning jazz guitar mean that you first have to learn 3-5 scales in 7 positions with 7 diatonic arpeggios each?

Content:

0:00 Intro – Can you play Jazz without 2 years of scale practice?

0:34 How Most of us get into Jazz (me included)

1:16 Wes Montgomery Practicing Scales

1:36 Jazz is not a skill

1:56 Where does it go Wrong?

3:32 What Are You missing?

4:14 How To Fix It

4:46 A more simple approach

5:32 How It Works on a Song

5:58 Quick Analysis of the Chord Progression

7:07 The Scales we need

8:02 Making it a short compact amount of material to practice in 5-10 minutes,

8:45 Like the video? Check out my Patreon page.

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Jazz Scales – What Do You Need To Know And Why

If you want to play jazz you probably figured out that you need to play the scale that fits the chord or the song when you improvise. We don’t need jazz scales but we do need scales.

But just knowing what scale and maybe a single position of it is not really helping you come up with better things in your solos.

You need to learn and practice things within the scale that will help you have material to play that sounds good in a solo.

Sometimes it seems that most people forget that about practicing scales…

Other useful Lessons on Scale Practice

The Most Important Scale Exercise In Jazz

How to practice your scales and why – Positions

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Content:

0:00 Intro – Jazz and Scales

0:32 Playing the Scale

0:49 Positions and beyond

1:48  Make sure you know the notes

2:48 Diatonic 7th chords

3:34 A Step-wise method for learning the Arpeggios

4:08 Using Arpeggios in Solos

4:47 Example using arpeggios in a Lick

5:33 Triads (are also great in Jazz)

6:07 Example using triads in a Jazz Lick

6:50 Triad Patterns 315 and 513 

7:32 Which scales to learn?

7:55 Chromaticism and Turning licks into scale exercises

8:31 Exercise adding chromaticism to diatonic structures

8:43 Developing a Peter Bernstein Lick into an exercise

9:32 Like the video? Check out my Patreon Page!

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5 Scale Exercises That Are Great In Solos

Practicing scale exercises is something that we do to gain flexibility and an overview of the guitar. But another thing you should also consider is that the things you practice in a Jazz scale exercise should also not be too far from what you actually need when you solo.
Setting your scale practice up so that it is helping you develop vocabulary is very useful and very efficient.

In this video, I will show you 5 exercises that are scale exercises but that you can also use as great building blocks for jazz licks. When you check out these concepts you should also start to be able to make your own scale exercises that help you play better solos using the things you want to play in your solos.

Other videos on Scale Exercises and using them

How to practice your scales and why – Positions

The Most Important Scale Exercise In Jazz

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You can download the PDF on my Patreon Page: 5 Scale Exercises

Content:

0:00 Intro – Exercises for Flexibility, Technique and…

0:30 Scale Exercises that are building blocks for Jazz Solos

0:51 The Scale and How I Play it

1:15 #1 The Bebop Arpeggio

2:04 Lick using Exercise #1

2:33 #2 Triads with Enclosures

3:31 Lick using Exercise #2

4:09 #3 Chaining Arpeggios Like Kurt Rosenwinkel

4:49 Along the Neck

5:25 Lick using Exercise #3

6:13 #4 Barry Harris’ Chromatic Rule

6:59 The Rules

7:29 Lick using Exercise #4

8:09 #5 Parker and Benson’s Arpeggio with Chromatic Tail

9:14 Lick using Exercise #5

10:05 Like The Video? Check out my Patreon Page

5 Quick Tips When You Are Stuck In A Jazz Solo

We all get stuck in solos, even though you know the song, the chord or the scale. You still don’t know what to play. This video will give you some jazz guitar tips that you can use to get past this.

The 5 tricks are about looking at things differently or taking a step back and finding more options, but working on them will make you a better jazz improviser and improve how you make music.

More tips on improving your Jazz Guitar Solos

The Scale is NOT That Important – This is!

More Melodic Guitar Solos – Three Critical Techniques without Arpeggios and Scales

Content:

0:00 Intro

0:42  You Know The Song, but still..

1:51 #1 Play The Melody  

2:59 #2 Play The Chord

3:43 #3 What Do You Hear? Nothing? Then Play That! (Jim Hall!!)

4:54 #4 What Did You Play Right Before

5:34 How This Sounds on A Song

7:36 #5 Check Available Triads, Arpeggios, Pentatonics

7:52 Share your list

8:12 A Part of My List

9:10 Like The Video? Check out my Patreon Page

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What Makes This Sound So Good and How To Play Like That

One thing that we probably all love is the sound of great jazz phrasing in a solo. In this video, I am going to take a look at a great example from George Benson and talk about why these jazz phrases sound great. In that process, I will also go over some ways to turn the lick into exercises and use those to make your own licks that have great phrasing.

I also explain how jazz phrasing sometimes clashes with some of the other skills we teach for jazz improvisation and how to work around that.

The George Benson Solo Example

Here is a transcription of the phrases from the Benson solo that I am using

I am going to use the 2nd line as an example.

#1 Why does it sound great?

I have talked about what makes jazz phrasing great in other videos, and there are many things that come together to make a jazz solo great, but one thing that is a huge factor is how the line lets us give some notes an accent.

Let’s focus on the last part of the example and get a little scientific by slowing it down. You can hear that in the video.

When you listen to the slow version you can hear the accents on the high notes that are not on the beat:

I am sure you already have an idea about this, and one way to access this is to sing bop lines in terms of phrasing, that really helps you realize that you probably hear it and you just need to figure out how to get it on to your instrument.

But two of these examples are similar in a way and you can practice getting that into your lines quite easily.

#2 What Should You Practice

If we look at this fragment (D# to E in bar 2) then what happens here is Benson is playing a blues phrase, but the effect is really just a leading note resolving upwards and then a lower not.

If we apply this idea to an arpeggio then you would have an exercise like this:

And at the end of our example, Benson does something similar with this arpeggio, one way to look at that is as a way of playing a 1st inversion Cmaj7 arpeggio. If you take that through a scale then you have this:

#3 How Do We Play Licks that Sound Like That?

Usually when you start playing Jazz then you have a really hard time playing logical melodies that follow the changes. And one of the first things you learn, or at least should learn, is that if you play chord tones as target notes on the heavy beats of the bar then you connect with the phrase.

This might sound like this:

Where I am playing an F on beat one and an A on beat 3, but the line doesn’t really give us a nice flow with some accents. As my old teacher used to say: “It doesn’t make me want to dance”

But with the exercises, you can start putting together your own lines and in that way getting it into your playing.

Here I am using the exercise from EX2 on the Dm7 (play that) and leaving a little more space to go from G7 to C

Another one could be something like this:

Develop your phrasing

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The Scale is NOT That Important – This is!

This isn’t really a jazz scale lesson. A lot of teaching and a lot of online discussions are about what scales to use on what chords, and of course it is important and also the topic of one of my most viewed videos: 3 Scales To Play Jazz

But in this video, I am going to talk about how we may be overemphasizing the scales and not thinking about what we really need and give you some examples of how a lot of the artists we admire may not be thinking in scales or modes that much, and what we should think about instead.

Focus on the song not the scales

When you are improvising you are playing lines that need to match the underlying chord sequence and relate to it. The scale you use will contain the chord, but sometimes it is not that important what else is in there.

First I am going to talk about how a lick or a solo follows the changes and then about how that makes some of the notes in the scale a lot less important.

Content:

0:00 Intro

0:11 Jazz Scales are not everything

0:30 Follow the examples of great players

0:43 How Solos Relate to the Chords

0:58 Example #1 – A lick that spells out the sound of a Gm7 chord

1:30 Why and how is it related to the chord

2:02 Example #2 – A Lick that uses the Gm7 with other chords

2:27 Hear the harmony without any backing

2:46 Splitting the Scale in Chord Tones and Extensions

3:14 Example #3 – Chord tones vs Extensions

3:48 Example #4 – Gm7 line that is thinking Chord Tones and leading notes, not just a Scale

4:17 Examples of Licks that are constructed only thinking chord tones and not the scale

4:31 George Benson Example and Analysis

5:02 How Pat Metheny suggest you work on this

5:39 Focus on the Chords and make strong melodies don’t worry too much about scales

6:06 What is important about a scale?6:19 Like The Video? Check out My Patreon Page!

How To Explore Scales in a useful way

If you want to see how you should approach scales in a way that you can use in music then check out this lesson:

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3 Scale exercises You Need To Know And Use

Any scale exercise is a melody. When you practice scale exercises you are practicing playing a lot of similar melodies that you want to have in your ears and in your fingers so you can use them when you improvise Jazz Solos. In Jazz, Scale exercises are a part of building vocabulary.

This video covers some great melodic structures that you can practice as scale exercises and add to your vocabulary. I find that them extremely useful and you will also hear them being used in a lot of especially more modern jazz solos by people ranging from Michael Brecker via Peter Bernstein to Kurt Rosenwinkel.

Content:

0:00 Intro

0:32 Practice the things you need when You solo

0:50 Modern Jazz that’s 60 years old.

1:03 #1 Sus4 Triads

1:25 The Sound Of Rosenwinkel, Brecker and Mark Turner

1:32 Example Lick with Sus4 triads

1:49 Exercises

2:41 String-set Practice

3:34 #2 Quartal Arpeggios – Modal Jazz Sounds

3:52 Chords with Quartal Structures

4:08 Kurt’s solo on I’ll Remember April

4:34 3-Part Quartal Voicings and Sus Triads

5:12 Exercises with Quartal Arpeggios

5:58 Example Lick with Quartal Arpeggios – Chromatic Shifting

6:25 #3 Shell-Voicings – Mike Moreno and Pat Metheny

7:21 Exercises for Shell-voicings

8:15 Applying Shell-voicings

8:37 Example with Shell-voicings

8:41 Bonus: From Shells to open upper-structure triads

9:18 Spreat Triad Example

9:21 Arpeggios = Melodies

9:52 Like the video? Check out My Patreon Page 

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The Most Important Scale Exercise In Jazz

You probably already practice arpeggios, but chances are you can do it as a better Scale exercise than what you are doing now, and that is what I want to talk about in this video. Jazz Scale Exercises should be about giving you the material you can use in your solos and help you know and play the different arpeggios and melodies found in the scale.

When you improvise in Jazz then the lines or melodies that you play are related to the chords you are playing over and the solo follows the chord progression it is played over. One easy way to do this is to use the arpeggios of each chord.

You can use the arpeggio of the chord you are playing over, but in fact, there are more options than this and the exercise in this lesson will help you tie all of that together in one exercise.

Practicing Arpeggios in the Scale

The reason why it makes a lot of sense to practice diatonic arpeggios in a scale position is quite simple.

When you improvise a solo you are not only playing scales and then only arpeggios. The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available.

Here is a C major scale in the 8th position

Playing the diatonic one-octave arpeggios through this scale position would give you this exercise:

Know the Scale!

Often when you learn Guitar in the beginning you rely mostly on the visual aspect of the instrument. Scales, Chords and Arpeggios are shapes that you can see on the fretboard.

This works really well for learning and remembering, but make sure that you also know what notes you are playing and what notes are in those chords and arpeggios. It will become very useful along the way.

For the exercises here above, it is a very good idea if you also play them while saying the notes or saying the names of the chord that you are arpeggiating. This will teach you the fretboard and the music theory on another level and also really attach it to what you play.

Using the arpeggios in your solos

It is not enough to just practice the scale exercise and then hope that your solos will suddenly magically include the arpeggios.

To show you how you can make some basic licks mixing scales and arpeggios here are a few ideas using a Cmaj7 arpeggio and chord.

The first one starts with the Cmaj arpeggio and then continues with a scale melody.

In the second example You can see how it is possible to mix scale notes into the arpeggio and also add a little chromaticism to more of a bebop sound.

Bebop Arpeggios!

This is a great variation on the exercise that also is really setting you up to play some bebop lines. Here you play the arpeggio as a triplet and insert a chromatic leading note in front of the root. This creates some energy and motion that then really brings out the target note that is the 7th of the arpeggio.

This exercise for the scale looks like this:

Make some Bebop Licks!

Using this way of playing arpeggios can be used in licks like this.

The first lick is using the Cmaj7 arpeggio in the lower octave and combining it with an intervallic melody in the2nd half of the bar.

The 2nd example is using the higher octave and adding a chromatic run between D and C before ending on G.

The Arpeggio from the 3rd

Until now I have only been talking about what how to use the basic Cmaj7 arpeggio over a Cmaj7 chord, but you can use more arpeggios.

The way to understand this is quite simple. You can use other arpeggios that contain notes that work well on the chord. The Arpeggio from the 3rd of a chord is usually a great option:

Cmaj7: C E G B – Em7: E G B D

So the two arpeggios share E G B and the Em7 is only adding the D on top of the Cmaj7 which is the 9th and a good note to add in there.

A few ways of playing an Em7 arpeggio in this position is shown here below:

Jazz Licks with an Em7 arpeggio on a Cmaj7 chord

You can use the Em7 arpeggio like this.

The first example is a basic “bebop Em7 arpeggio” that continues with a more modern sounding Quartal arpeggio from B.

The 2nd example is again focusing more on adding some chromatic ideas. Here the first half of the bar is a chromatic enclosure that is leading us to the first note of the Em7 arpeggio.

Putting all of this into a II V I lick

To give you and idea about how easy this is to generalize to a progression I have added this final example.

Take a look at the lick and see how I am using Fmaj7 on Dm7. Both Bø and G7 on the G7 and also both Em7 and Cmaj7 arpeggios on the Cmaj7.

It is easier than you think!

Use this approach in a Song!

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When Do You Know A Scale?

If you play Jazz Guitar then you will often be confronted with learning and practicing scales. The major scale, pentatonic scale or a jazz scale like melodic minor.

A big part of the vocabulary and the material that you use when you are improvising is linked to scales in some form or other and it is common to practice scales on a daily basis.
But of course, you want to also make sure that you can actually make music with it and think a little bit about how and what you practice

Content:

0:00 Intro

0:23 Jazz and Scales – What you Need and How to Learn It

1:00 #1 Learn To Play The Scale

1:07 Start with a Scale Position

1:47 How To Play The Scale – what is important

2:26 Connecting Positions

2:52 Next Level After Positions

3:26 #2 Music Theory

3:40 Learn The Notes(!)

4:14 The Basic Things You Need To Know

4:50 Finding the material available with Music Theory

6:08 #3 Making Music With The Scale

6:11 It’s not all exercises

7:23 Cmaj7 in G major example

8:14 Cmaj7(#11) identifying triads that are good upper-structures9:00 Like the video? Check out my Patreon Page

How To Learn and Practice Scales for Jazz Guitar

How do you practice and learn scales for Jazz Guitar? These videos go over different approaches and practice strategies with exercises for scale practice.

When you learn a scale on guitar because you want to use it to play jazz guitar and improvise then there are many things you need to know and some things that can make your practice more efficient. These videos will give you ideas on how to work on this and build a scale practice routine or strategy that fits your way of working.

You can check out more information over this topic in this playlist:

How To Learn and Practice Scales for Jazz Guitar

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