Tag Archives: Jens Larsen

Jonathan Kreisberg – Strong and Creative Arpeggio Ideas

In this Jonathan Kreisberg Lesson I am going to discuss some of the techniques he uses especially when it comes to creating interesting melodies with large intervals and constructing Arpeggios. Jonathan Kreisberg uses a lot of traditional material but is always good at giving his own twist to the ideas, so he will develop a lot of personal material but it is coming out of a strong knowledge of tradition. This is of course also possible because of his incredible technique and strong rhythm, that all comes together in great solos.

One of the great Players to emerge on the Jazz Scene is Jonathan Kreisberg. His work with Ari Hoenig, Lonnie Smith and other jazz greats is very much music that you need to be aware of!

Hope you like it!

Very Early Guitar Solo – Fake Fake Fake B – Excerpt from a Jam

Here’s a part of a jam session with two friends. We are playing Bill Evans’ fantastic Jazz Waltz: Very Early – Guitar solo and then out theme..

As you can tell by the ending this is a jam session and not a rehearsal or a real band, but I really liked how it sounded and thought the ending was funny.

Top Dog Live Solo – Jens Larsen

Here’s a short excerpt from my solo on Top Dog.

The clip is from a concert during a Traeben tour two years ago. I am always having fun playing with these guys!

Traeben:

Haye Jellema – Drums

Olaf Meijer – Doublebass

Søren Ballegaard – Sax

Jens Larsen – Guitar Top Dog (J.Larsen)

How To Use The Augmented Triad In A Jazz Blues Solo

The augmented triad is a great and very distinct sound to add to your playing. In this video I am going show you a solo on a 12 bar blues where I am using this triad on most of the chords. I am going to analyze it and talk about where I am using it and what kind of sound the augmented triad adds to the chords.

Having many sounds and ideas is really important to create solos that don’t always sound the same and using the augmented triad is a great way to do that. You will find that a lot of players like Kurt Rosenwinkel and Sonny Rollins often use this triad in their playing.

The Augmented Triad

The augmented triad is a major triad with a raised 5th, so if you look at a Bb augemented triad:

Bb major: Bb D F,

Bb augmented: Bb D F#

Augmented triad symmetry

The triad is a stack of major thirds: Bb-D and D-F#. F#-Bb would be another major third. This is really useful because symmetrical arpeggios can easily be transposed and will be have the same fingering along the neck.

If you want to practice the Bb augmented triads then these two positions will already get you pretty far.

Augmented Triads in the Diatonic Triads

Since the main example in this lesson is a blues chorus in the key of Bb, then it probably makes the most sense to use Bb lydian b7 or F melodic minor as an example of a scale that contains an augmented triad.

Here is an overview of the diatonic triads in F melodic minor:

Fm,Gm,Abaug,Bb,C,Ddim,Edim

7 ways to use an Augmented Triad – The Bb Blues Example

The example below is a one chorus blues solo where I use the augmented triad in different ways through out the chorus.

The first two bars are just there to state the changes and the blues. playing clear lines.

The line in bars 3-4 starts with a triad pair with an augmented triad. The sound is a Bb7(#11) or Bb lydian b7. The triad pair I am using is Abaug and Bb triads. The triad pairs with the augmented triads are really colorful and a great sound on a dom7th chord.

In bar 4 I am changing the chord to an altered dominant. This means using B melodic minor, which contains the D augmented triad. Here it is used in the 1st inversion.

The next example of an augmented triad is in bar 6 on the Ab7 chord. Here the scale sound is Eb minor melodic and the triad used is a Gb augmented triad. 

The G7alt pointing towards the Cm7 in bar 9 also makes use of an augmented triad. Here it is a B augmented triad out of the G altered or Ab melodic minor.

A little Dorian Hack

Even though the Cm7 in the II V I in Bb does not really have a scale with an augmented triad you can still use one in the way that I am doing here. The idea is to use the G augmented triad as a sort of leading note structure, almost like a G7. 

The F7alt has an A augmented triad, diatonic to F altered or Gb melodic minor. Here I am playing it from the F.

Whole-tone scale

The final turnaround is here a bar of Bb7 followed by a bar of F7. The F7 is in this case an F7 from the whole tone scale. The entire lick in bar 12 is based on moving  triads up in whole steps. The triads are displaced a bit to make them sound a little more interesting.

If you want more ideas for soloing on a Bb jazz blues then check out this lesson:

Bb Jazz Blues Lesson 1

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How to Use augmented triads in a jazz blues solo

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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Every Arpeggio in the Known Universe

This video is an overview of different types of arpeggios and how they sound. The Arpeggios are demonstrated in 7 different licks to give you an idea about how they could be used.

Are you an Arpeggio master? Do you know all the different types of arpeggios and how to use them in your playing? The Arpeggio is a very important tool when it comes to jazz and jazz guitar.

Demonstrating arpeggios in a musical context

This video is going over a lot of different types of arpeggios. Showing how you might using them in different licks. Applying the arpeggios in a musical context is a much stronger way to apply them in my opinion.

Table of Contents

0:00 Intro – Are you an arpeggio master?

0:22 Did I miss one? 0:43 Example 1 – Basic Arpeggios

1:14 Example 2 – Diatonic arpeggios and the “from the 3rd rule”

2:05 Example 3 – Harmonic minor?

3:24 Example 4 – Not always 4 notes and a little Melodic minor

4:16 The triads we forget to check out

4:34 Example 5 – Not always 3rd based

5:41 Example 6 – Larger intervals like the Police!

6:45 The Magic Arpeggio!

7:38 Example 7 – Three notes but not a triad

8:42 Another great sound from Melodic minor

9:22 What did I forget?

9:35 Like this video? Check out my Patreon Page.

 

3 Charlie Parker II V I Licks How To Play Them On Guitar

If you want to learn how to play jazz then it is probably a good idea to check out how Jazz Giants play like some Charlie Parker II V I licks!

Learning Bebop and Charlie Parker

A thing I never get tired of checking out is Charlie Parker and Bebop in general. I guess I still find it fascinating how the lines are so good and the material they are created with is really quite basic.

In this video I am going to go over 3 II V I licks. I will focus on how Charlie Parker is great at having surprising turns and leaps in his lines so they don’t sound like running up and down scales and he also still manages to get them to sound like real melodies instead of abstract interval exercises. He also often gets away with melodies that move across the bar line.

Hope you like it!

Learning from a Master improviser

These licks are clear examples of Parkers musical or melodic language and are really a great place to get some more ideas on how to come up with great lines. I especially find the way he uses displacement of different parts of the lines to open up the sound of his solo fascinating.

 

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This Is How You Should Practice Every Scale Exercise

Most great Guitar Players mix a lot of different techniques when they are playing, and if that is the end goal then the scale exercises you do should also contain that element!

In this lesson I am going to go over some ways to take simple exercises and use them to combine legato, alternate picking and sweeping or economy picking.

Technique and Scale Exercises are for sound

For me it is in the end much more about having techniques so that I can play the music that I want to play and get it to sound right and having a flexible technique in terms of legato and picking is very useful for this.

Technique is there to help me play the Music that I want to play with The Phrasing and Sound I want to hear!

The exercises in this video is My take on how this works it is important to remember that the best solution is for you to 

Find YOUR way of combining different techniques
incorporate it into your practice routine and playing

Basic Scale Exercise and a few options

Example 1 is a C major scale in the 8th position played with a 3NPS fingering.

In the video I play it with alternate picking:

You can do this mixing with legato as well. Let’s do that like this: Down Up Hammer-on:

and of course you can also do Down Hammer-on UP:

 Technique priorities – what to choose

The way I think about this is no that it has to sound the same, different techniques sound slightly different and when I play I am going to use the technique that is playable or easy AND that sounds the best.

The goal is to use the different sounds and dynamics of the technique in our phrasing

So it doesn’t have to sound the same!

Actually you make choices on this already with the exercises.

Here’s the scale in 3rds with alternate picking:

And you can try to add as much legato as possible by doing this:

But somehow it’s nice to have one more picked note to get it to sound a little more natural:


With all of these exercises I am choosing the approach and techniques that I like and that fits to me, but of course this is different from person to person so you might find that other combinations work better for you. The important thing is to make sure you can play it in time and that you get the phrasing or sound that you like.

Adding Economy picking to the mix

Of course you can also work with sweeping or economy picking, When playing arpeggios this becomes very practical. For example with diatonic triads.

And we can combine all of it in an exercise like this with triads up one down the next 

It is up to your imagination and you get to challenge yourself and develop your ability to mix

 

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Get the PDF!

You can also download the PDF of my examples here:

This Is How You Should Practice Every Scale Exercise – PDF

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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3 Important Things To Learn From Other Styles

When You Practice different styles you learn skills that you can take use it to strengthen the way you play jazz. This video gives some examples of that! Of course this works if jazz is not your main genre as well. A lot of musicians check out jazz to learn more about playing over harmony.

Learn Jazz Guitar skills by studying other Styles

For me using other genres as a way of developing skills has been extremely useful. So I want to talk about what I have learned from playing other styles and hopefully you guys can also share some good ideas as well if there are skills you have picked up from other genres.

Table of Contents

0:00 Intro

0:36 Skills I have trained using other Styles of Music

1:14 Funk/Soul Strumming – What you Learn

2:33 Grooves, Sounds and Dynamics from Rock and Pop

3:55 Arpeggiating, incomplete chords and Using Effects

4:44 Samba and Bossanova – 2 Important lessons

4:51 Locking in with a groove

5:06 Example of a groove

5:29 Relating your solo to a Specific Rhythmical Pattern

6:05 Example of soloing

6:39 What Did you learn from other styles? Share some good tips!

7:06 Like the video? Check out my Patreon Page

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This Is Not Bebop, But It Is A Great Coltrane Solo

It is not surprising that a Coltrane solo isn’t bebop, but it is interesting to figure out why that is the case. Understanding what types of licks or melodies are typical for a style of music is a really good description of what is going on.

The solo that I am talking about in this video is John Coltrane’s solo on the F blues – Take the Coltrane off the Coltrane/Ellington album from 1963.

In the video I am presenting an analysis of the solo with a focus on the melodies, there placement and function in the form and not only the notes that are being used. I find that it takes a more detailed view to understand a solo than just what scales are being used.

Let me know what you think?

A few thoughts on this Coltrane solo Analysis

As always music is not an exact science so this solo has a lot of traits that are really not bebop sounding but it still contains examples of normal bop lines and chromatic passing notes etc. So clearly Coltrane is rooted in that tradition even if he is moving away from it.

I am going to talk about this using three examples from the solo but it can be a good idea to check out the whole solo. There are a lot of transcriptions online so you can easily find that and listen to the solo.

Some of the things that are different are about the choice of sounds, but in my opinion it is more about how the sounds are used and the melodies than what scale. I am curious what you think?

Melodies without direction and not playing blues

What is interesting about this first part of the solo: He doesn’t play the 3rd of the chord at all for the first 8 bars, that is very different from bebop where everything is tied much more closely to the chord. Here the melodic statement is very strong and fairly long but it is intentionally vague. If you play the melody it could fit on a Cm blues just as easily as a F blues which is not really going to be the case for a Parker or Stitt solo. There is a Wes solo that does this as well and Wes would often sit heavily on the “II” sound on a V chord.

The 2nd 4 bars is a development of the first 4 but then moving with the chords, still not playing the 3rd of the chords.

So this is really about what note he isn’t playing and it becomes even more clear when we don’t have the piano comping.

Unresolving Tensions and Angular melodies

This example illustrates how the approach is much more modal. Coltrane is very often playing melodies that fit the chord but are not really functional and moving forward towards the next chord.

This is clear in the first bars where there is first an angular statement just using an F7 arpeggio. In fact using the 2nd inversion F major triad which Coltrane seems obsessed with in this solo.

A great example of how the emphasis is on sound rather than function is the Altered dominant in bars 3 and 4 of this example. Here there is a clear altered or tritone sound and the b5 is really at the center of the line, but the line is not resolved. It stops before changing and the statement on the Bb7 is unrelated to the altered line.

The last part of this example is demonstrating how the chords are interpreted. The statement on the Bb7 is turned into a motief that is moved down in half steps to give us an Am7 Abm7 Gm7 progression.

Another thing that shows how this is less functional is that the final II V is replaced with C7 Bb7 in the song taking away the main cadence of the Jazz Blues.

Super-imposed Pentatonic Scales

Coltrane doesn’t really use normal blues phrasing a lot in this solo and here he does use Fm pentatonic in a way that is really typical for everybody who came after him. I think it is important to notice that using Fm pentatonic on a Blues in F is something that is quite rare with the bop guys. Pentatonic scales are not really a part of bebop in the way they are used as a sound here.
The blues phrases of Joe Pass and Charlie Parker are quite different and much more a mix of major and minor.

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Get the PDF!

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Why Coltrane is not bebop

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 Solo On bIII Diminished Chords – 3 Jazz Standards & 3 Licks

In this video I am going to show you 3 examples of how to solo over a bIII diminished chords. I am going to use 3 jazz standard, explain what scale to use and give you an example of a line. The lesson will talk about not only what to play but also how to craft a line on diminished chords because you need to know more than just what to play.

The bIII diminsihed chord is often causing panic in jazz solos. I have made some other videos on how to figure out the scales and arpeggios for this chord, and I thought that maybe it would be useful to just take some real examples from real songs. A big part of my philosophy is to learn things from songs and this is a great example.

This video will show you 3 songs where you encounter the bIII diminished chord, what scale you need to improvise over it and an example of a line that works over this song.

Learning Jazz Standards – Learning from real music

A huge part of how I learned to play jazz was by studying songs and really figuring out how to play and understand the chords. The fact that you really use the things you learn and can take your knowledge and experiences from one song to the next really helps with building your abilities as an improvisor.

Example 1 – Songs is you

The first example is from the Jerome Kern standard The Song is You.

Song is you is in the key of C major. The bIII dim chord is Eb dim, and the scale I am using to improvise over it is the harmonic minor scale from the 3rd of the key: E harmonic minor.

Key: C major
bIII dim: Ebdim
Scale: E harmonic minor

In this case the melody is really just using the dim arpeggio, and the construction of the line is a motif that develops over the Cmaj7, Ebdim and Dm7 chord.

The lick is using a Cdim triad and using the Eb to target the 9th(E) of Dm7. Targeting the extensions on the Dm7 is really useful because we can pretend to resolve the Ebdim licks as if they are a B7(b9) resolving to Em.

EXAMPLE 2 – Someday my Prince will come

A very common (and great song) is Someday my Prince Will come. Here the bIII dim chord comes along twice in the second 8 bars.


The song is in Bb major, so the bIII dim is Dbdim and the scale is D harmonic minor.

Key: Bb major
bIII dim: Dbdim
Scale: D harmonic minor

Again the idea for making the melody on the dim chord is to use the line on the Bb major as a motif and develop that to fit on the dim chord.

A great Diminished chord melodic trick

One way that works really well to create melodies when moving from a tonic chord like a I or a III chord to a a bIII dim chord is to use voice-leading. This is how I am developing a motief in the above example. The  tonic line is a Bb6 arpeggio and then I can voice-lead that to a Db dim by changing the D and the F to Db and E:

Bb6: Bb D F G

Db dim: Bb Db E G 

notice that I am using the inversion to make the voice-leading clear. 

EXAMPLE 3 – It Could Happen to You

One of my favorite songs! Technically you could argue that this is a #II (or secondary dominant) diminished, but the scale choice is the same and it is nice to have a bit of variation in the examples.

The song is in Eb major, it is a Gb dim chord and the harmonic minor scale from the 3rd is G harmonic minor.

Key: Eb major
bIII dim: Gbdim
Scale: G harmonic minor

The line on the Dim chord is using the b6 which does give it some D7(b9) like sound. The melody is coming out of a motif developement from the Fm7. It is using the same melodic movement in the beginning of the bar before moving to the arpeggio and resolving to the Eb/G chord.

Get you dim chord game further

This lesson shows some practical examples and hopefully you can get some ideas that you can use to make your own licks and get into your playing.

If you want to check out a solo where I also solo over a bIII diminished chord then check out this lesson. 

All The Things You Are – Getting Started Soloing

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Get the PDF!

You can also download the PDF of my examples here:

bIII Diminished – 3 Standards & 3 jazz licks

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.