Tag Archives: Jens Larsen

3 Great Ways To Use Arpeggios In A Solo

Arpeggios are one of the building blocks you need to have in your vocabulary. But using Arpeggios in a solo can be very difficult. They can be hard to use in a way that sounds like a natural melody and not an exercise.

One way you can learn that is to check out how master jazz guitarists like Wes Montgomery and Pat Martino use arpeggios in their playing. Take over some of their great ideas and start using similar concepts in your own jazz licks and solos.

In this video, I am going to show analyze some great arpeggio phrases and talk about how you can use them in your own playing.

Content:

0:00 Intro – Arpeggios and Jazz Vocabulary

0:35 Example #1

0:37 Wes Montgomery – Great Arpeggio Polyrhythm idea

1:47 Example #1 Slow

1:52 Example #2

2:07 Pat Martino’s take on this rhythmical idea

3:02 Example #2 Slow

3:09 Putting this into your playing #1

3:29 Putting this into your playing #2

4:12 Example #3

4:14 Pat Martino’s Power Arpeggio Pickup

5:08 A Great Chromatic Idea

5:25 Example #3

5:49 Putting this into your playing #3

6:07 Putting this into your playing #4

6:41 How To Practice This and What To Focus on

7:27 Example #4

7:38 Wes’ Amazing Sense Of Melody

8:29 Example #4 Slow

8:46 Making Long Phrases like Wes!

9:27 Putting this into your playing #4

9:33 Like The Video? Check out My Patreon Page!

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

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How To Understand The Style of Jazz Solos

The Style of a Jazz Solo is about how the notes are used in melodies and against the chords.

John Coltrane and Lester Young are mostly playing the same notes, and they are more similar than different. Yet if you listen to Jazz, they are worlds apart.

In this video, I am going to take a phrase from Lester Young, Charlie Parker, John Coltrane, and Joe Henderson and then compare how they improvise in their solos.

This will give you a clear picture of why these styles sound so different and also some ideas on what and how to work on your own playing to sound the way you want to.

I am curious what you guys think!

Content:

0:00 Intro

0:12 4 Solos From Different Styles

0:27 Working on knowing different Styles of phrasing and improvising

0:41 #1 Lester Young – All Of Me

0:52 Analysing Lester – Melodies on top of the chords

2:15 Example #1 Slow

2:37 #2 Charlie Parker – Anthropology

2:41 Bebop – Forward motion and Harmony

3:50 Example #2 Slow

4:00 #3 John Coltrane – Take The Coltrane

4:08  Painting on a Chord Progression  – Abstraction on a Blues

5:36 Example #3 Slow

5:54 #4 Joe Henderson – Solid

6:07 Hardbop – New Melodies and Old Blues

7:38 Example #4 Slow

7:56 What Do You Think Is The Difference between the Styles

8:20 Like The Video? Check out my Patreon Page

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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

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John Scofield – Some of the Greatest Double Time Lines I Know

John Scofield is one of my favorite jazz-guitarists. In fact, he gets away with using an effect I don’t like and I still love his playing!

This video is on probably my favorite John Scofield solo: Milestones of the Joe Henderson album So Near, So Far (which is anyway a fantastic album).

Milestones is a very difficult chord progression to solo on, but John Scofield really nails it with a lot of different approaches, pentatonics, and reharmonizations.

Content:

0:00 Intro – John Scofield on So Near, So far.

0:20 Milestones with Joe Henderson

1:06 Example #1

1:08 Super-imposed pentatonic double stops

2:17 Example #1 Slow

2:22 Example #2

2:29 Melodic statements with chords in the bridge

3:50 The Basic Melody used

4:11 Using Legato to mix bebop and pentatonics

5:31 Example #2 Slow

5:43 Example #3

5:50 Sco’s approach to double-time lines

6:45 Repeated ideas Scorfield vs Metheny

7:14 Signature Pentatonic Melody and Using different techniques for sound

8:01 Example #3 Slow

8:11 Example #4

8:16 Contrast: Melodic vs Angular (how to keep it interesting..)

9:11 Example #4 slow

9:18 Example #5

9:20 Intervallic double time ideas

10:21 Example #6

10:26 Like the video? Check out my Patreon Page

Check out one of my other lessons on John Scofield:

I have done a few other videos analyzing Scofields playing that you can check out through these links. One is on a medium Bb Jazz blues, the other is on his solo on the changes of There Will Never Be Another You.

John Scofield On A Blues This Is Why He Is Great

John Scofield – How To Mix Bebop And Pentatonics

The Musings for Miles Album

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

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

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This Is How You Should Use Scale Exercises

If you want to play jazz and want to learn how to play jazz solos then you are probably also practicing scales and working on scale exercises.

In this lesson, I am going to go over a few scale exercises that you probably already know or at least should check out and then I am going to talk about how to connect them to chords and really use them to make music.

It is very important that you don’t just work on moving your fingers with exercises, you should always try to practice the things you need when you are playing.

Getting Started – Basic Scale Exercises

So first I am going to go over a few exercises and then I am going to relate this to a little simple music theory and show you how you can turn that into something you can make music with.

Let’s look at some of the fundamental things you check out in a scale, just playing the scale and playing thirds.

Lets take a Cmaj7 chord and this C major scale.

You want to play these two exercises because they are going to help you develop the technique to play the things that you can use in lines. Of course, you can use both 3rd intervals and scale runs in solos, but that is something I will save for another lesson.

The Mighty Triad – Powerful Melodic Structures

For most of this lesson, I am going to focus on how to practice and use triads because they are both flexible and powerful tools in soloing. But the process is really the same for all sorts of arpeggios.

There are a few great ways to practice triad arpeggios in the scales. First here is a basic version: play Diatonic Triads

But you can also give it more of a jazz sound already at the exercise level by adding leading notes both ascending

and descending:

Now we can start working on making some really great sounding licks with these exercises, but first, we need to figure out which triads will work over a Cmaj7.

Music Theory (just a little..)

Now, we have 7 triads in the scale. They don’t all sound that great on the chord, so first we need to find some that work.

The only note that sounds funny on the Cmaj7 is an F. I don’t like calling it an avoid note, but if we are looking for triads then that is not the greatest one to use.

We have all these triads: C, Dm, Em, F, G, Am, Bdim,

C: C E G
Dm: D F A
Em: E G B
F: F A C
G: G B D
Am: A C E
Bdim: B D F

If we remove the triads that contain an F then we get these 4 triads C, Em, G, Am

These fit!

C: C E G (1, 3, 5)
Em: E G B (3, 5, 7)
G: G B D (5, 7, 9)
Am: A C E (13(6), 1, 3)

Now we can start making lines with these exercises and then I will show you another exercise that is great for creating solid melodies

Making Lines with the triads

The first example is using an Em triad and adding a leading note to the 5th:

Another way to work with the Em triad is to play the triad as a triplet to change up the rhythm:

You can also chain together triads as I am doing here with G major and Em triads:

Another Great Exercise

Since the triads work so well in licks it is also possible to change the order of the notes. Until now it was always 1 3 5 or 5 3 1 but if you practice other patterns you can really get some great melodies as well.

Here is a simple pattern that starts on the third: 3 1 5 pattern example

If I make some licks with this pattern then you get something like this:

Arpeggios and Pentatonics!

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You can also download the PDF of my examples here:

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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Why You Want To Think in Functional Harmony

Functional Harmony is a great tool if you want to understand how chord progressions flow and use that information to help you improvise better solos and spell out the harmony.

To me, Music theory is something that I can use to tell me how chords sound and how they move in the jazz standards and tonal songs that I play.

This video discusses why this approach to understanding music is very useful for playing Jazz.

If you have seen any of my videos or maybe also some my Instagram posts were on analyzing chord progressions and small melodic fragments then you’ve seen me reduce the progression for the melodies down to Simple functions so a row with several chords I will often reduce to one or two maybe three functions. It is a way to understand how the progression works.

Content:

0:00 Intro – How I use Music Theory

0:38 Music Theory describes how music sounds and works

0:54 #1 Chords Grouped By Sound

1:15 Diatonic Major Chords and Their Function

2:04 Chords with the same function – Tonic and Subdominant

2:41 Minor Subdominant Chords – A shortlist

3:34 Exchanging Subdominant Chords

4:11 12tone and a good breakdown of Tonal Harmony

4:30 #2 It Helps You Think Ahead and Play More Logical Melodies

5:21 #3 Which Chords Are Important and Which To Ignore

5:54 Reducing a Turnaround

6:34 The II V trap (watch out 😉 )

7:35 #4 Easier To Solo

8:28 IV IVm I examples

9:40 Same Lick – Different IV IVm Chord Progressions

10:13 #5 More Options over each Chord

10:50 Embellishing and interchanging progressions

11:44 Line using embellished progression

11:57 #6 Hearing Functions instead of Chords

12:35 How Do You Think About Chords and Harmony?

12:54 Like the video? Check out my Patreon Page

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

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How to Use Chromatic Ideas in Jazz Licks The Right Way

Chromaticism is a huge part of Jazz. In this video, I am going to take a look at some great examples of chromatic jazz licks or phrases from Charlie Parker, Pat Metheny, Doug Raney, Pat Martino, and George Benson. All the examples are great ideas when it comes to chromatic phrases and also quite different takes on how to work with it.

I am sure you can get some great ideas from this, I know that I did.

Content:

0:00 Intro

0:19 Jazz licks from Charlie Parker, George Benson, Pat Metheny, Doug Raney, and Pat Martino

0:33 Charlie Parker Lick – #1 Connecting Jazz Chord Tones

1:50 Lick # 1 Slow

1:54 Pat Martino – #2a Chromaticism with a Pedal Point

2:35 #2b Chromatic Enclosure

3:04 Exercise for Chromatic Enclosures

3:23 Lick #2 Slow

3:27 George Benson – #3 Pentatonic Chromaticism

4:53 Lick #3 Slow

4:59 Doug Raney – #4 Bebop Chromaticism

5:41 Creating lines from a skeleton with added chromatic phrases

6:15 Lick #4 Slow

6:31 Pat Metheny #5 Outside Chromatic Notes

7:00 Bebop Ala Metheny

8:20 Lick from Solar with Parallel Thirds

8:43 Lick #5 Slow

8:49 Like the video? Check out my Patreon Page!

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

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How To Practice Jazz – Advice From Bill Evans

It is always interesting to check out how the people we look up to learned and practice to achieve the skills that we admire. Bill Evans is both a fantastic jazz musician and also a very interesting example of this because he is also very analytical and philosophical.

In this video, I am taking a look at some quotes from him on practicing and learning. How he sees himself and his perspectives and priorities with learning and practicing.

Content:

0:00 Intro – Learning from the people we admire

0:24 Bill Evans – Perspectives and Practice Priorities

0:42 “Knowing The Problem is 90% of solving it”

0:55 How this ties in with having lessons

1:55 The right piece of information at the right time!

2:24 “1 Tune for 24 hours or 24 tunes for an hour”

2:48 When Do you know a Song?

3:30 Besides learning songs: Make it A Part of your system

3:55 “I Don’t Consider Myself Talented”

4:45 Explore and stay motivated

5:36 “Don’t take their motivation away”

6:06 Keep improving and developing

6:57 The Essence of Jazz – Being Personal

8:04 Is there only room for Copycats?

8:12 Do you have a great quote on Practicing or Learning?

8:20 Like the video? Check out My Patreon Page!

Check out some more material on Bill Evans!

My Other Video On Bill Evans: Bill Evans – How To Get Your Rhythms To The Next Level

The Complete Interview: https://www.youtube.com/watch?v=2zufMaufJZo

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Sonny Rollins – Things You Need To Know About Jazz Blues

Sonny Rollins needs no introduction in Jazz. He is one of the most influential Tenor players that we have with an amazing and long career. In this Sonny Rollins lesson, I am taking a look at some of the great phrases from the Jazz Blues Tenor Madness. We can learn a lot from his very musical and natural approach to both blues and reharmonization in this solo.

When I was studying at the conservatory we referred to Tenor Madness as the dictionary, because it has so many important lines and chord changes that you want to know for your own Jazz Blues vocabulary.

Check out my analysis of John Coltrane’s solo on Take The Coltrane. The beginning of Modal playing: This Is Not Bebop, But It Is A Great Coltrane Solo

Content:

0:00 Intro – Sonny Rollins

0:25 Tenor Madness with John Coltrane

0:56 Example #1

1:14 Changing the Chords – Intuitive and Decision driven

2:10 Is it Chi-Chi changes?

2:44 Altered but not altered scale

3:19 A Motif across the Chords

4:24 Eaxmple #1 Slow

4:45 Reharmonizing Bars 5-9

5:07 Example #2

5:30 A Musical Reharmonization with two voices

6:50 Example #2 Slow

6:59 Example #3

7:09 Parallel Minor Chords (Like Parker and Coltrane)

8:04 Is that a Wrong note, Mr Rollins?

8:55 Example #3 slow

9:10 Blues phrases that are not Dominant chords

10:09 Example #4

10:14 Bb Triad + Chromaticism

11:44 Example #4 Slow

11:56 Examples #5 and #6

12:10 Using Bbmaj7 on the Blues

12:36 Examples #5 and #6 – Slow

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

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The First 10 Jazz Standards You Need To Know

I say it all the time: Learn Jazz – Make Music, and to do that you need to know some songs, so in this video, I am going to go over 10 jazz standards that you want in your repertoire and are great places to start learning jazz. This is In terms of playing changes and knowing all the chords and scale but also about the form that you want to know which is going to make it easier to learn more complicated standards.

When talking about the songs I will try to reference great versions of them, and also talk about whether this song may be a good place to start for you if you are looking for songs to learn.

If you already know a lot of songs and have some other suggestions for this list then let me know about that in the comments to this video. Sharing information like that is really useful for everybody checking it out! I’ll talk about the first standards I learned later in the video, none of those are on the list.

Get started learning some of these standards: Learn Easy Jazz Standards

For example Blue Bossa or Autumn Leaves

If you want to check out some of the important progressions that make up Jazz Standards then check out this video: Chord Progressions as Building Blocks

Want to learn how to analyze standards? Then see how I do that in this playlist of videos on Jazz Standards and music theory: How To Analyze Jazz Standards

Content:

0:00 Intro – Learn Jazz Make – Music!

0:24 10 Typical Standards and Forms

0:36 The Form Of Songs is Important!

0:56 Where are you coming from?

1:12 Something missing?

1:37 #1 Take The A train

2:04 AABA forms

2:52 #2 Cantaloupe Island – Modal Jazz

4:03 #3 Blues

5:28 #4 Satin Doll

6:12 The Ellington Bridge

6:23 #5 Blue Bossa

6:54 #6 Autumn Leaves

7:25 #7 Perdido – Rhythm Changes Bridge

8:02 No Rhythm Changes?

8:15 The First 3 Standards I learned

8:57 #8 Summertime – Four On Six

9:27 How To Use the list

10:00 Did I leave out a Song?

10:05 #9 Solar – Not by Miles Davis

11:23 #10 All Of Me – ABAC Form

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

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Herbie Hancock – This is What Modal Jazz Really is

When You think about Modal Jazz then usually you think about playing on one chord or vamp using the same sound all the time. That is not how Herbie Hancock approaches it in this solo on the Wayne Shorter song Witchhunt off the Speak No Evil album. This Herbie Hancock Lesson breaks down a lot of great surprising rhythms and melodies, moving in and out of the tonality, and adding some Atonal Chromatic ideas as well.

To me, this is one of the greatest Herbie Solos I know, and also a fantastic example of how to play medium swing and play some fantastic rhythmical ideas.

Content:

0:00 Intro

0:09 The Ultimate Modal Solo

0:40 Speak No Evil – 1964

1:14 Four & More + My Funny Valentine

1:20 Example #1

1:32 Shifting Sus4 motifs

2:02 Breaking Down the melodies

2:12 Quartal Arpeggios and Modal Jazz

3:19 Example #1 Slow

3:33 Build up of the phrases

3:56 Witchhunt Analysis – a Minor Blues

4:36 Example #2

4:42 Slow Progressions – Modal

5:22 Super-imposed Altered dom7th

6:23 Example #2 Slow

6:30 Example #3

6:37 Chromatic Melodies – Leading notes

7:10 Chromatic Melodies – Atonal ideas

8:21 Example #3 Slow

8:43 Example #4

8:50 Back to Jazz! Tonal Minor

9:12 Medium Swing? The most difficult tempo in Jazz?

10:14 Example #4 Slow

10:25 Like The Video? Check out My Patreon Page!

Check out one of my other Herbie Hancock Lessons:

The amount of notes and colors that you can add to chords on the piano is always making guitar players jealous. But in this Herbie Hancock Guitar Lesson, I am going to take the Herbie Hancock Voicing for an m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors.

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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

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.