Tag Archives: jazz solo guitar lesson

How To Play Outside – A Few Great Jazz Solo Secrets

This lesson will show you 5 different ways that you can play some beautiful outside things on a static m7 chord, not just what to play but also how to use it.

If you are soloing on a static chord then a great way to make your solo more interesting and surprising is to play something that really rubs against what the listener expects to hear.

But you can’t just play random notes, it still has to make sense and sound like a melody, and that is what you will learn with some different strategies in this video

#1 Half-step Below

The examples are all on a static minor 7 chord, and the first few examples use different chords on top of the harmony and then later I will cover some other strategies and how they sound.

A great place to start is by moving everything a half-step down, often referred to as side-slipping or side-stepping. This is easy to work with thinking wise and you can use the same position and material while still sounding great. First, let’s check out how that sounds, and then I will show you how to get the melodies to connect and make sense, both going into the outside section and also coming out of it. The backing is a static Cm7, so the side-slip will be a Bm7.

The first part of the solo is just using the Cm Dorian sound, just so that we have a sense of what home is, then I transition to Bm7 by using the parallel motion of the arpeggios, first I play Gm7 and Ebmaj7 arpeggios and then I use these as a motif to move down to a Dmaj7 arpeggio thinking Bm7. The solo really sits on the C# to create tension and then I go back to Cm7 by playing the Ebmaj7 arpeggio rounding it off with a blues phrase.

How and Why Superimposed Chords Work

So I am really treating it as a chord change and connecting across the chords with motivic development. In that way, the melody makes sense and is not random, I am using the same logic to make melodies with Bm7 as I do on Cm7 and it is practical that it is the same chord.

This is true for more of the examples in this video, but some can be used differently as well, like the next one.

The only thing you need to be careful with when you connect with motifs is that you don’t make the motifs too obvious, that sounds predictable and unnatural, but that is the same as when you use motifs in your solos on changes.

#2 Altered Dominant

You can also use altered dominant lines on top of the chord to make your solo sound more surprising. As you will hear, this creates tension and movement within the solo in a very natural way. For the Cm7 then the altered dominant is G7alt, and the G altered scale is the same set of notes as Ab melodic minor. There is a really big advantage to using the altered dominant for this and I will explain in a bit.

The advantage with G7 is that you are used to working on improvising lines that resolve to Cm, so it is a lot easier to make lines that resolve back into the sound of the chord because it is a connection you already know.

In this example, I first set up the Cm sound with some Dorian and Cm blues and then transition to the G altered scale and play a typical G7alt line using the diatonic arpeggios Fø and Bmaj7(#5). These are arpeggios I would normally use for that chord so you can use the material that you already know. The transition back is done by simply sliding down to resolve from Ab to a sustained G, ending with a Cm pentatonic phrase. If you are looking for more things to play on Altered dominants then I will link to a video on that in the description of this video.

Altered Dominant & Scale Melodies

For the altered dominant scale you can also get the melodies to work with more scale oriented melodies, which is a simpler way to make melodies and a nice addition to your playing:

Here I set up Cm quickly before moving into the G7alt line that is essentially just an ascending scale that then resolves back with the scale played in 3rds.

Next, let’s have a look at what is probably the most common outside suggestion you come across.

#3 Half-step above

Moving up a half-step is a common way to create some outside sounds, and similar to the first example, an easy way to get there and you can use the same material you are already playing. The example I am using here demonstrates another way to move smoothly into the outside part of the phrase: A Pivot note

The beginning of the example setting up the Cm7 is a little more extensive here, and with more rhythms. Moving up to Cm7 is done by using the Eb as a pivot note. A pivot note is a note that is in both chords, Cm7 and C#m7. It is the 3rd in Cm7 and the 9th on C#m7, and the melody starts out using it as the 3rd of Cm7, and then it turns into the top-note of a descending arpeggio on C#m7.

The solo goes back to the Cm7 by simply shifting down a 3-note scale fragment, so just C# D# E, first a basic version on C# and then a more embellished version on the Cm7.

Next, let’s have look at a completely different sound and approach to creating outside lines.

#4 Diminished Scale

There is a great trick to using C diminished as an outside sound on a Cm7 chord.

You have a connection with the Cm scale:

C D Eb F G A Bb C

C D Eb F F# Ab A B C

Because you have a lot of common notes, but you also have some “funny notes” like the F#, Ab, and the B.

Using  The Triads

The trick is that you can use the major triads of the diminished scale to improvise with and shift those around to create some strong and interesting melodies.

Scale:

C D Eb F F# Ab A B C

The 4 major triads:

D: D F# A

F: F A C

Ab: Ab C Eb

B: B Eb F#

in the scale, we have the 4 major triads: D, F Ab and B

All the triads contain very strong colorful notes on over Cm7 and since they are triads you can easily use them to create interesting melodies.

In example 4 I use the D, Ab and B triads together to create a melody which sounds like shifting colors on top of the Cm chord.

In this example the 4 triads don’t really “belong” in the sound of the chord, but we have another less common sound that can actually shift in and out of the chord sound in a similar way, that is the next thing to check out:

#5 Augmented Scale

The augmented scale is a 6-note scale:

Eb F# G Bb B D Eb

You can se it as either two augmented triads next to each other:

Eb augmented and D augmented

or, what is practical in this case, you can see it as 3 major triads in major 3rd distance:

Eb G Bb , G B D and B Eb F#

In this case, I am making a link to Cm7 by using the Eb major triad which is the upper structure of Cm7, and then create lines by mixing the 3 triads in different inversions:

In the example you hear how the line moves to the B major triad and then to the 2nd inversion G major triad, plays some more scale-based melodies before returning to Cm7 by resolving the F# to G.

Melodies like this are something you hear a lot in Michael Brecker solos.

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Stay Inspired In Your Practice – A Solid Jazz Solo Survival Guide

If you check out the solos by great Jazz players then you will probably find that they don’t really play other scales or notes than you do, simply because it is not about the notes you play, it is about what you play with them. So you don’t need new scales or arpeggios, you need to become better at making music with the ones you already know.

If you feel stuck and always playing the same things then this video will give you a straightforward way to deal with that and also a way to develop new things in your playing.

The Problem with Scales and Arpeggios

The problem is that you need to do more than just run up and down the scale to make the solo interesting, and it is difficult to be inspired with just an arpeggio and a scale.

So let’s say you are playing over a Dm7 chord in C major. You have the Dm7 arpeggio and also the scale that goes with it.

And you can make some solid lines with that as you can see here below:

But quickly things start to sound similar and it gets a bit boring and not so fun to play.

Checklist approach to inspiration

In this video, I am going to give you a checklist approach and show you how that can help you create a lot of new stuff, and also test and improve your abilities to create your own lines.

For all the chords you have to improvise over you have melodic tools or types of building blocks that you can use to create the melodies, and if you start thinking about it like that then you will help yourself come up with new and better material. And you can make that into a checklist and one of the first things you want to put on it would what I will cover next:

More Arpeggios

An obvious and practical place to start is to go a little beyond the basic arpeggio. So you can try other arpeggios or changing the rhythm of how you play the arpeggio

For example, turning it into a triplet works well for getting a Bebop sound:

but then try to see if you can use the one from the 3rd (play Fmaj7) and maybe play it as a triplet:

You could also see if the arpeggio from the 5th is an option, in this case, you have an Am7and then try to see if you can use that in a line:

The way you use this to add to your vocabulary is of course that if you can’t immediately use this in a line then you can sit down and work on composing a few examples and in that way start to get it into your playing and add to your vocabulary

But maybe you don’t feel like using arpeggios, then try using something else from the checklist:

Chromatic Melodies

Chromaticism is an important part of the Jazz sound, and there are many ways you can use this in your solos. Often a chromatic enclosure targeting a chord tone is a great idea:

Or some shorter enclosures and a few leading notes

The important thing is that if you feel stuck on a chord and you have this type of checklist it can help you come up with something to try, or prompt you to use this to create something new. This is not for stuff that you practice all variations of, it is for reminding you of things that you think sound great and that you want to use.

Let’s add another option that is a little less specific but really useful.

Bebop Tricks

This is hardly a very precise term, but for a list like this then the names don’t have to be theoretically correct, it is more important that it resonates with you, so if you think of Bebop tricks then that may be Parker inspired chromaticism *EXAMPLE

or it can be octave displacement.

It is about kick-starting your imagination after all.

Pentatonics

For a m7 chord then the pentatonic scale sounds like a pretty boring set of notes that you already have in the scale that you are using, but if you have some nice Pentatonic patterns then you can hear how it is a different sound that you can give to the things you play.

Maybe it will fit with what you are hearing, maybe it won’t, it could be that the Bebop inspiration is better here, but it is still useful to have on the list and it only takes a second to decide that it is not what you want.

What would you put on a list like this?

Since these concepts or tools that I am listing here are just general sounds that I use then maybe you have other ideas that you would like to add, leave a comment if you have a suggestion that I didn’t talk about since this can help spark a lot of useful ideas for others.

Outside

Another option that you can mess around with is to add some outside phrases in there, often a short side-slip or a super-imposed chord can be a great way to add some new sounds to this place in a song.

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The Two Reasons Triads Are Amazing For Jazz Solos

Usually, you connect Jazz with chords with a lot of extensions and alterations. But Triads are still an amazing resource that you can create beautiful lines with and something you definitely want to check out. In fact, you can use triads to add some things to your playing that are essential to Jazz and not just about what notes you play over a chord.

Of course, there are more than two things that are great about triads, but the two I talk about here are really useful for Jazz, but If you have other suggestions why triads are great and how you can use them then leave a comment.

Diatonic Triads – The Raw Material

Before you start using the triads then you should also have an overview of them and two things you can work on to have that overview would be to practice the diatonic triads in the scales:

and also check out the triads on string sets like this:

This is simple and basic stuff, you want to know diatonic triads and 7th chords for all scales that you need for soloing, and please start with major scales because you need that the most.

Triads Can Help Your Rhythm

First I want to show you how you can use triads to create more interesting rhythms in your lines. One problem that many students run into, and I know I did, is that when they figure out how to play changes, then everything starts to sound heavy and obvious when it should be light and swinging.

So you don’t want to sound like this

What is missing here is that the rhythm and the melodies are predictable and all move to and from the heavy beats

And instead, you want the accents to be on off-beats more syncopation and more surprising and a lot lighter. Since triads are 3 notes they are really good for having melodies that shift accents and make the solo dance more. Something like this:

So I am playing triads to create a pattern of 3 notes that shifts on top of the 4-4 meter and in that way sound a lot better.

And you can explore this in many ways, you can also add chromatic passing notes and not only use triads but still get a great effect:

Finding Triads

To come up with lines like this then it is useful to find the triads that sound great over a chord. Then you have some options to create the licks that sound great.

I am going to give you an easy way to explore that, before covering the other great triad trick you that is super useful for so many other things as well. There is a very easy way to do that by writing the scale out in 3rds.

So for Dm7, this is coming from the C major scale, which you can write in 3rds like this:

C E G B D F A C E G

The Dm7 chord is here: D F A C, and the triads we can use would be

Dm, F, Am, and C which you can see still contain some basic chord tones and also adds some beautiful extensions.

The G7 that you heard in the examples was coming from the C harmonic minor scale, so in fact, you are borrowing the dominant from minor to get some interesting notes, and also some really great sounding triad options:

So here you have the C harmonic minor scale written out in 3rds.

C Eb G B D F Ab C Eb G

The G7 is here! and then you have the triads G Bdim and Ddim, but Eb augmented works as well and you can make some really interesting melodies with them.

Writing out stuff like this is incredibly useful for your overview of the scales and will give you a ton of options to use in your solos.

Change The Chords!

The other thing that triads do really well is that you can get your melodies to make sense by playing the triads of a super-imposed progression and in that way create a sort of counterpoint to the original chord progression. Because you are playing something that works but also moves differently.

This is pretty easy, you can do this on a single chord like this:

Here I am playing a short walk up Cmaj7 Dm7 Em7 just using the basic triads and since Em sounds great on C major then the Dm triad just becomes a diatonic passing chord used in the melody that resolves back into the sound of the Cmaj7. But it really adds some movement instead of just playing up and down a Cmaj7 arpeggio.

More Chord Progressions

The same type of concept used on a II V I could give you something like this:

Here I am using triads from both C major and C harmonic minor, first walking up Dm and Em and then Fm and G from harmonic minor adding a Ddim before resolving. In this way, you have a line that shifts on top of the meter with 3-note groupings and also adds a different kind of movement in the chords.

Notice how using stepwise movement is a pretty easy and strong way to create these progressions.

This is a variation of the same idea, but now moving down from F to Dm and then using a D dim triad to get the G7(b9) sound.

If you really want to open up this type of thinking then you want to also add the triads in the altered scale, that gives you something like this:

Here the chord progression is F and Am on the Dm7 and then Abm and Db on the G7alt . You can hear how this also might work as chords:

And you sort of can turn the G7alt into a tritone II V using Abm7 Db7.

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A Simple Jazz Solo Skill You Want To Master

There is a skill that you can develop in your playing that will really help you play jazz solos, and this is not even that difficult to get started with all you need is a few arpeggios and a simple progression. This video will also show you how to practice more efficiently and not drown your practice sessions in just doing exercises.

An Easy Exercise on a Blues In F

One of the first exercises you should do if you want to get started playing Jazz is to outline a chord progression with one-octave arpeggios. Here is an easy version of that, and you can maybe even try to play along right away. After that, I will show you how to make that into a really strong solo developing rhythms, phrasing, and forward-motion, and I will also explain why I think this one of the most important things about being efficient with what you practice.

F Jazz Blues with arps

If this is still a bit tricky to play you can take the video back and try again or practice it later and return to really nail it, just because sometimes that really feels good.

Notice that you just need 5 one-octave arpeggios for this jazz blues and 4 of them are dominant arpeggios (show diagrams on screen)

F7:

Bb7:

D7:

Gm7:

C7:

Some Easy Music on a Blues In F

With this exercise, you can already start to make some music, and you want to, because that is why you practiced the arpeggios in the first place and it is not so difficult. I’ll play the example and then talk about how you go about playing like that.

F Jazz Blues

When you improvise like this then you are limited to four notes, and that can maybe seem difficult because you want to play bebop lines like

But with just the arpeggio you can start working on some things that are just as important as playing many notes: Phrasing and Rhythm and that is a much bigger part of Jazz in the end than long 8th note lines. Especially working on adding some interesting rhythms to your playing.

If you want some inspiration for this type of playing on guitar then Charlie Christian is worthwhile checking out.

What You Can Learn From Charlie Christian

When I was starting out playing Jazz then I was lucky in one way because one of the first things I had was a compilation album of Charlie Christian, I also had some Scofield and some Charlie Parker which I also loved, but at the time I could only figure out how to learn the Charlie Christian solos. Scofield was too weird and Parker was too fast and difficult to learn by ear. Charlie Christian’s style of playing is a lot less dense and with a lot of clear examples of great swinging rhythms which you want to learn. That is one HUGE reason to check out Charlie Christian and learn some stuff. Remember that Jim Hall heard one Charlie Christian Solo and from that decided to dedicate his life to playing Jazz music.

Check out another lesson on Charlie Christian: Charlie Christian Solo Analysis

Notice that I immediately start making music with the arpeggios that I am practicing, that is very important for everything you work on, I’ll return to that a little later.

Next, Let’s try adding some different types of phrasing, so you have some more sounds available and can change that up as well.

Some Easy Phrasing on a Jazz Blues In F

As you can tell this is really simple, you can add a lot more blues feeling and dynamics just by using some slides (example) and some (hammer-on/pull-off) and when you do that then you are really focusing on the music and how it sounds, it is not about technique or being flashy, you are trying to get it to sound great.

Another thing that is really a part of Jazz which you can also work on with this is to make the changes clear with strong natural flowing melodies, so that is something I’ll show you how to develop later as well.

Should You Practice All The Arpeggios?

What you can see here is that I am really working on getting as much music as possible out of these few arpeggios, and I think that is something to keep in mind, I at least need to remind myself very often, that you don’t always want to spend time first learning all inversions in all keys and all positions, on all string sets in all tempos, subdivisions and all tunings — phew

Maybe it is actually more efficient for your playing if you take a single position work on some simple and easy arpeggios and really get that to the place where you can make music with it. That is much more useful than getting lost in a sea of technical exercises because you actually get to make music with it and you can check out the next position some other day.

Nailing The Changes on a Blues In F

Now that you can play some interesting rhythms and add some phrasing to those lines, then it makes sense to also start to make the melodies longer so that you don’t end up just playing short isolated melodies for each chord which is hard to get to sound like a great solo.

There are a few ways you can do that and the first one you might have heard me talk about before is: Thinking ahead and playing towards target notes. When you do that with simple material like this then you are really working on digging into the harmony and figuring out how it moves and how you can improvise with that movement and connect a longer melody across chords.

The concept is simple: For each chord, you pick a target note and then you practice making melodies with your 4-note arpeggios that lead to the target note on the next chord. An example could sound something like this:

I took this part of the form because it has the most movement so that you can easily hear and understand what is going on.

An easy target note is often the 3rd of the chord simply because that is the most colorful note. This is also why you think about chords in two groups: major or minor depending on the 3rd.

As you can hear and see in the example, the solo really connects with the harmony moving from D7, Gm7 to C7 and because I am thinking ahead and playing towards a note then the melody has a natural flow and sounds much stronger.

With this technique you don’t only want to practice connecting everything and end up with one long line weaving through the entire form, there are other ways to play solid melodies, and one of them is really tied to Blues as a genre.

Blues Melodies But They Work in Jazz

Sometimes it seems that the advice nobody is giving is that you have to learn how to listen to yourself, and I don’t mean that you have to learn to listen to recordings of yourself, even though that is important too. I am talking about playing a phrase and then listening to how it sounded and using this to play the next phrase. When you are playing a solo then working like this is like having a conversation with yourself, and we usually refer to this way of making melodies as call-response.

This is an incredibly effective way to tie together phrases and pretty simple to do and is mostly about giving yourself time to listen and respond. An example of how that might sound could be this:

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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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3 Jazz Phrasing Problems You Need To Fix In Your Playing

You probably already figured out that knowing scales, arpeggios, and Jazz chords is not really enough to be able to play a great Jazz Solo.

It can be frustrating and seem like magic when you listen to great jazz phrases like Wes or George Benson but there are ways to work on this, and it is not magic, it is just a bit of work.

But you will sound better if you fix it!

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Content:

00:00 Intro

00:23 The First Thing You (Anyway) Should Start Doing

01:09 How Swing 8th Notes Sound

02:33 Make Your Phrases And Phrasing More Interesting

04:34 Overdrive/Distortion in Jazz – Here’s the problem

04:48 Don’t End On The Beat All The Time

05:53 Ending On Long Notes.

06:54 The Types of Practice That Helps Phrasing

07:30 More Exercises for Phrasing and Swing-feel

07:37 Like the video? Check out my Patreon page!

 

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The Most Effective Way To Improve Your Jazz Solos

A title like this is of course extreme, but I do really think that this way of working and improving your jazz solo is both underused and misunderstood, and that is a pity because it is very effective and in fact, it is also a part of The Jazz education tradition.

If you can practice in a way that makes you learn faster and sound better then what do you have to lose?

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Content: 

00:00 Intro

00:22 How To Really Learn A Lick

02:31 Composing Is About The Process!

04:32 Cornerstone of Barry Harris’ method

06:16 Hearing Strong Melodies

07:24 Analyze Licks with Your Ears

08:44 This Is Why You Should Study Bebop

09:03 Like the video? Check out my Patreon page!

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One Thing That Will Make Your Solos A Lot Better

There is a trap that you can fall into when it comes to practicing. Usually, we spend a lot of time learning songs and trying to hit the right notes in your jazz solo, but it can be very a huge problem if you only take your playing to that stage. That is not where the music is, there is a lot more that you need to develop to sound great when you are improvising, but most of it is fairly easy to improve if you are aware of it and focus on it in your practice routine, as you will see in this jazz guitar lesson.

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Content:

00:00 Intro

01:02 Metheny Practicing

03:07 Parker Thinks The Same

05:07 Practice Practice Practice

06:03 Telling Better Stories in Your Solos

06:30 Use Different Building Blocks

08:30 This video didn’t teach you anything

08:57 How to Connect Phrases 

10:09 Develop your skills

10:16 Like the video? Check out my Patreon Page

 

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A Great New Sound In Your Jazz Solo

Arpeggios and scales are often reduced to the notes they contain against a chord, but by doing that you throw away other information that is more important for the sound of your jazz solo, and this is something you want to be aware of and not miss.

It is a way to get so much more out of scales and even pentatonic scales that you already know because you can use them in a different way.

What is the difference?

If you listen to how quartal arpeggios sound on a II V I: 

Compared to a more traditional bop line:

Of course, you can mix the two as well, but I think this makes the difference quite clear.

There are a few ways to approach this, and I am going to go over both diatonic and pentatonic options using the II V I in G major: Am7 D7alt Gmaj7

The Scale and a Diatonic Arpeggio exercise

For the Am7 and Gmaj7, you can use the G major scale, and it is fairly easy to play a G major scale in diatonic quartal arpeggios:

The construction of a diatonic quartal arpeggio is really simple:

G A B C D E F# G A B C D

if you want to find the quartal arpeggio on B you just stack 4th intervals: B E A:

 

or for C: C F# B, but notice here that you get an augmented 4th between C and F#:

Using this on the Am7 chord

It is easy to make some lines using these arpeggios on Am7, especially if you avoid using the ones with the F# in there (for now anyway)

That gives us these:

Example using Quartal Arpeggios on Am7

Here I am using two quartal arpeggios on Am7, the one from B and the one from A. I actually continue with quartals on the D7 altered, but I am going to cover those a little later.  First, let’s try to come at this from a pentatonic scale instead of a major scale.

Am pentatonic scale and an important exercise

You all know the Am pentatonic scale:

And if you play this exercise in that scale:

A lot of these are quartal arpeggios (high light and explain) also the C and Am triads

Example using the Pentatonic scale

You can use this as a way to get to this sound in a lick like this

Quartal Arpeggios on an Altered Dominant

Now let’s look at how you can also use quartal harmony on an altered dominant:

Here I am using quartal harmony on all 3 chords and it is constructed so that I am moving two quartal arpeggios on each chord as a motif.

You can practice the quartal arpeggios in the Eb melodic minor

See this in use on a song:

Lady Bird – Arpeggios & Pentatonic Scales

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How To Make It Sound Like Jazz – Great Embellishments

In this lesson, I am going to show you some techniques and ways to play simple phrases that make them sound more like Jazz. There are some very common phrasing techniques in Jazz Guitar that are a huge part of the sound, and you can quite easily start adding them to your playing if you want to work on your Jazz phrasing.

I am going to go over how you might play them and also give you some good examples of how they can be added to a line.

In the lesson, I will show you how to get better sounding lines by adding them to a basic Cmaj7 arpeggio, and while I was preparing this video I was actually quite surprised about how they really give you a lot of sounds, especially some of the longer embellishments at the end of the video.

Slides (and the triplet trick)

The basic Cmaj7 arpeggio can be played as is shown below.

I am also going to play it with a leading note and then making it a triplet which is also a very bebop thing to do, which is shown in the following bar.

Adding a Slide to the top-note

One of the easiest ways to get this slightly boring arpeggio to have a little more life is to use slides, so you can slide into the top note, which serves as a sort of target for the arpeggio when you use the triplet.

Notice how I play the notes at the end of the phrases short most of the time, that is also a way to connect with the groove and make the lick sound better.

This is a big part of Wes Montgomery’s phrasing vocabulary like this from his solo on Unit 7. which is a Gm(11) arpeggio over a C7 chord

Delaying the target note

Chromatic passing notes are great for getting things to sound like Jazz, and this is a quite simple way to make that work on the Cmaj7 arpeggio. As I said before, the “target note” of the arpeggio is the B, and delaying this works really well:

Sometimes you will get told that chromatic leading notes have to be on the offbeat and resolve back on the beat. As you can hear in this example that is not true, but don’t take my word for it, ask Charlie Parker:

Above you can see how Parker uses a leading note on the beat. In bar 2, beat 4 and in bar 6, beat 3 and 4.

Turns

The names for embellishments like this are a little open, so sometimes what I am calling turns here are also called trills and slurs. It’s like chord symbols, just try to figure out what is meant and don’t worry about it.

For this video, a turn is more or less a short faster phrase with notes close to a target note. The examples will make it easier to understand what I mean.

There are a few ways you can add turns to this arpeggio.

Turn #1 – 16th note pull-off

The first variation is shown here below:

The easiest way to work on this is probably to play the scale with the turn on one string like this:

Turn #2 – 16th triplet – Mid Phrase

The 16th note triplet is also a good way to get into this. It should be executed with a quick hammer-on/pull-off and is a very common and very effective way to break things up.

Turn #3 – 16th triplet – Begin Phrase

Another way you can use this embellishment is at the beginning of a phrase.

That is what I am doing in the example below, think of it as a way of sending off the arpeggio. The line continues with a slide to the high B.

Joe Pass using “Double Turns”

To give you an example of how this is used by jazz artists, here is a lick from Joe Pass on a II V I in D major.

Pass uses the turns in the 2nd half of the A7 bar, and the last turn is used to introduce a b13 and create a little tension before resolving to Dmaj7.

Take It To a Song and Into Your Playing!

Take The A Train – Bebop Embellishments

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