Easy methods to Apply Jazz Guitar Licks

When studying find out how to play jazz guitar, it’s significance to review the good gamers which have come earlier than you.

Probably the greatest methods to deliver your favourite participant’s sound into your solos is to be taught jazz guitar licks by these masters.

However, whereas it’s vital to be taught traces, you don’t need to change into a “lick participant” by merely reciting traces in your solos.

Due to this, it’s vital to interrupt down every lick that you just be taught, analyze it, and construct workouts from the ideas you uncover in that lick.

On this part, you take a look at 5 steps to take when studying any lick to make sure that you not solely memorize the road, however perceive the ideas behind the road.

This lets you create your individual memorable traces that sound within the type of your favourite jazz guitarists.

And also you keep away from turning into a “lick participant” alongside the best way.

Step 1 – Study Jazz Guitar Licks

The very first thing to do when studying jazz guitar licks, is to get the lick in your ears and beneath your fingers.

To start, right here’s the pattern jazz lick. Begin by listening to this ii V I lick in the important thing of C main.

Click on to listen to studying jazz licks 1 To start, listed below are a number of workouts to memorize and internalize any jazz guitar lick, comparable to this instance.

• Apply in a single key at completely different tempos.
• Sing the lick whereas taking part in the chords.
• Play it in 12 keys at completely different tempos.
• Study the lick in a number of octaves.
• Experiment with including slides, hammers, and pull-offs.
• Solo over a backing observe and use the lick as a lot as doable.
• Solo in 12 keys and use the lick as a lot as you’ll be able to.
• Differ the lick in your solos, change rhythms, add notes, take notes away, and so forth.

As you’ll be able to see, for those who simply be taught the lick off the web page there isn’t a lot to do apart from memorize it.

However. For those who search for alternative ways to be taught, observe, and apply the lick, you derive hours of observe from a single line.

Step 2 – Analyze Jazz Guitar Licks

The following factor you do is analyze the musical materials getting used to construct the lick. Ideas that you just’re looking for are:

• Arpeggios
• Scales
• Modes
• Chord subs
• Three to 9 arpeggios
• Pentatonic Scales
• Chromatic Notes
• Vary
• Modifications in Octave
• Chords used if relevant

Right here’s an evaluation of the instance lick you realized within the earlier a part of this lesson.

Discover that every observe is analyzed, making certain you perceive how each observe matches into the lick from a theoretical standpoint. Listed here are these gadgets defined in a bit extra element to know why they’re labelled as they’re on this lick.

• Fmaj7 is getting used as a Three to 9 arpeggio over Dm7.
• There’s a basic bebop chromatic lick on the finish of bar 1.
• Bm7b5 is a Three to 9 arpeggio over G7.
• Enclosures are including pressure-launch to bar 2 and 3.
• The Honeysuckle Rose bebop lick utilized in bar 3.
• D getting used to create a Cmaj7#11 sound in bar 4.

Now that you’ve the lick beneath you fingers, and analyzed the ideas, derive musical ideas to construct workouts within the woodshed.

Step 3 – Extract Ideas From Evaluation

Now that you just recognized the constructing blocks of the lick, comparable to which arpeggios, bebop patterns, and scales are used, you’ll be able to transfer ahead with these concepts.

Firstly, it’s essential perceive these ideas in an effort to deliver them into your taking part in.

This may be robust for those who’re new to jazz guitar.

However, to not fear.

To start with, it’s adequate to know which you can play Fmaj7 over Dm7, for instance, even for those who don’t know why that works.

Over time, with extra lick examine, you construct your idea chops to know that this can be a Three to 9 arpeggio, and not only a cool-sounding line.

For now, right here’s how every idea within the pattern lick are defined from a idea standpoint, which you should use to construct workouts in your guitar observe routine.

Three to 9 Arpeggios

The very first thing you take a look at are the 2 arpeggios used over Dm7 and G7, Fmaj7 and Bm7b5.

When analyzing these two arpeggios, discover that they each begin on the third of every chord.

In addition they function the three-5-7-9 of every underlying chord, Dm7 and G7. So, right here’s your first idea.

“When taking part in over any chord, you should use an arpeggio that outlines the three-5-7-9 of that chord.”

Listed here are these two arpeggio written out after extracting them from the lick.

Click on to listen to studying jazz licks 2 Additionally discover that the Fmaj7 arpeggios is performed within the interval order 7-1-3-5 within the lick.

You can too make a degree to include that into the workouts you do with the three to 9 arpeggio idea.

Bebop Licks

There are two frequent bebop licks on this phrase.

The primary is the D-C-A-A#-B line within the bar 1.

Then the second is the D-Db-C-E-G-B lick within the third and fourth bar.

When trying to discover methods of organizing these licks, it’s useful to search for the fingering used in an effort to play this lick in different musical conditions.

For the primary bebop lick, in bar 1, that lick lands on a 1-3-Four fingering on the 4th string, across the notes A-B-C.

You possibly can see how that traces up on the fretboard after breaking down the lick.

Click on to listen to studying jazz licks 3 Subsequently, you’d provide you with the idea:

“When you’ve gotten a 1-3-Four fingering on a given string, you’ll be able to apply this lick when musically applicable.”

For the second bebop lick, it happens when there’s a 1-2-Four fingering on the third string, B-C-D on this case.

Right here’s that sample written all as eighth notes, no rests as within the line, to make it simpler to extract into different musical conditions.

Click on to listen to studying jazz licks 4 Once more, this might help you derive a tenet for making use of this lick to different conditions.

This idea is:

“When you’ve gotten a 1-2-Four fingering on a given string, you’ll be able to apply this lick when musically applicable.”

Since taking part in bebop traces comparable to these can sound pressured, it’s extra musical to interrupt down bigger licks into these smaller phrases.

By utilizing smaller phrases in your solos, you keep the bebop language, however gained’t fear about sounding unmusical when taking part in longer traces.

Enclosures

Subsequent, you take a look at the enclosures that happen over the G7 and Cmaj7 chords.

Enclosures are the place you play one fret above, one fret beneath, and then the diatonic observe. From right here, you develop an idea on find out how to apply this method to different musical conditions.

Since this lick makes use of enclosures on each chord and scale tones, you’d derive the idea:

“When taking part in over chord modifications, you should use enclosures with each chord and scale tones when applicable.”

Since enclosures are extraordinarily frequent in jazz, it’s one that you’d remember to delve into additional in your research.

Superimposed Triad

The final idea you discover on this lick is the D triad being performed over the Cmaj7 chord.

Right here, the sound being produced by this idea is a Lydian sound, maj7#11, because the F# within the D triad is the #11 of Cmaj7.

The rule of thumb from this a part of the lick is:

“When bringing a Lydian sound into your traces, play a serious triad from the ninth of the underlying maj7 chord.”

Right here’s how you’d work out a D triad fingering subsequent to completely different Cmaj7 chord voicings that you just already use in your taking part in.

Click on to listen to studying jazz licks 5 Once more, for the reason that Lydian sound is frequent, ensure to construct workouts and improvise with this idea to permit this idea to return out naturally in your solos.

Step 4 – Create Workouts For Every Idea

After you realized a lick, analyzed it, and damaged down it’s musical ideas, you’ll be able to create workouts that deliver these ideas into your observe routine.

Listed here are workouts which you can derive from the ideas talked about above.

Arpeggio Scales

The primary train is predicated on the 7-1-3-5 arpeggio used to open the road over Dm7.

Probably the greatest methods observe arpeggios is thru arpeggio scales, and so you’re taking the above arpeggio fingering, 7-1-3-5, and apply it to the diatonic arpeggios in a key.

Right here’s an instance of how t0 work on this arpeggio in the important thing of C main on the center three strings.

From right here, you’re taking this train to different string units and keys in your research.

Click on to listen to studying jazz licks 6 Training arpeggio scales is a good way to be taught any arpeggio.

As properly, it makes you consider the notes and chords in the important thing, as you’ll be able to’t use conventional “field-patterns” when operating these arps up the neck.

After engaged on this concept from a technical perspective, placed on a ii V I backing observe and solo utilizing solely the arpeggio shapes from the above train.

Then, take the identical train and solo over ii V I’s in all 12 keys.

Lastly, solo over blues tunes and jazz requirements utilizing solely this arpeggio fingering to take it additional in your observe routine.

Bebop Licks By Scales

When engaged on the bebop licks this instance phrase, you’ll be able to extract these licks and run them by scales.

Right here’s an instance of an train you might do over a G7 chord, utilizing the G Mixolydian Scale as the premise for this train.

To start out the sample, play an ascending two-octave G7 arpeggio, then run down the dimensions from there.

As you’re operating down the dimensions, wherever there’s a 134 fingering sample, apply the bebop lick that you extracted earlier.

On this case, there’s a 134 fingering on the 2nd and third strings.

Right here’s how that appears on paper.

Click on to listen to studying jazz licks 7 Right here’s an instance of the 124 lick being utilized to a D Dorian scale to create a technical train within the woodshed.

Once more, with this lick you ascend the arpeggio and then descend the dimensions.

As you descend the dimensions, apply the lick every time you discover a 124 fingering.

On this instance, there are 124 fingerings on the 2nd and third strings.

Right here’s how that observe sample seems like on paper.

Click on to listen to studying jazz licks 8 After operating this train over G7 at numerous tempos, observe it in 12 keys.

Then, take it to different scales you’re engaged on within the woodshed, comparable to altered, melodic minor, and so forth.

From there, placed on a backing observe, first over one chord, then over a ii V I, and full tunes to deliver these bebop scale patterns into your soloing in an actual-time state of affairs.

Enclosures By Arpeggios

The final instance you take a look at applies enclosures to a technical and then improvisational train.

To start, take an arpeggio such because the Cmaj7 arp you see beneath, and play an enclosure on each observe of that arpeggio.

Do that ascending and descending with the arpeggio, however for area the descending model is written within the instance beneath.

Click on to listen to studying jazz licks 9 As soon as you’re employed enclosures over Cmaj7, take them different keys.

Then, take them to different arpeggios comparable to seventh, m7 and m7b5 arps in your research.

From there, placed on quite a lot of backing tracks and use enclosures over arpeggios in your soloing observe routine.

As you’ll be able to see, you’ll be able to derive numerous hours of workouts from simply this one 4-bar phrase.

When studying licks, that is a very powerful a part of the educational course of.

Breaking down concepts and creating workouts permits you to create your individual licks on this type on the spot in a jam or gigging state of affairs.

Step 5 – Write Lines and Solos Primarily based on These Ideas

The very last thing you do when digging into a brand new lick is write your individual licks and solos utilizing the ideas from the lick you simply realized.

Creating a terrific solo on stage is rather a lot like composing a bit of music in actual time.

So, in an effort to practice your arms, ears and mind to carry out a memorable solo, you’ll be able to observe composing solos.

Right here’s a step-by-step information on find out how to method writing out traces and solos to transcend memorizing them in your research.

• Write out a one-refrain solo utilizing the fabric from a lick you realized.
• Memorize the solo at quite a lot of tempos.
• Play the solo together with a backing observe precisely as written.
• When prepared, alter the rhythms and notes within the written refrain.
• Slowly transfer away from the written refrain as you transition right into a non-memorized refrain of soloing.

Numerous instances when studying traces, you memorize a lick and then throw it into your solos whenever you obtained to a jam session.

However, for those who dig deep into every lick you be taught, you add vocabulary to your solos and derive weeks or months of working towards.

Now that you understand how to work any jazz guitar licks you examine, time to maneuver on and try the lots of of jazz licks on this lesson.

John Abercrombie Licks

Recognized for his fashionable method, John Abercrombie is a groundbreaking guitarist who has developed a private sound to the style through the years.

Utilizing stable-physique guitars, results pedals, and his thumb to pluck the notes, Abercrombie’s type is sparse, energetic, and distinctive.

From an improviser’s standpoint, Abercrombie’s use of the pentatonic scale, triads, patterns, and a horizontal method to the fretboard are price absorbing into your vocabulary.

On this part, you examine 5 John Abercrombie licks that cope with these attribute sounds, and extra.

Have enjoyable with these fashionable jazz guitar licks. Even for those who’re not a fan of recent jazz, these licks open up your fretboard, and offer you new sounds to discover in any type of jazz soloing.

John Abercrombie Lick 1

The primary John Abercrombie lick is predicated on the D Dorian scale, performed over a Dm7 chord.

Right here, the road strikes up the identical strings quite than in place, extra horizontal than vertical.

This sort of horizontal taking part in is attribute of Abercrombie’s soloing and method to fretboard group.

Although it’s a diatonic line, no juicy chromatic notes, the sample and motion up the neck will deliver that Abercrombie vibe into your taking part in.

Click on to listen to john abercrombie licks 1

John Abercrombie Lick 2

Right here’s a static Fmaj7 lick that makes use of the F main pentatonic scale, principally.

In true Abercrombie trend, the primary a part of the lick is a pentatonic scale sample performed in triplets.

From there, the final a part of the road accommodates two notes exterior of that scale, the 7^th and 4^th of Fmaj7.

By mixing in these two notes, Abercrombie brings a way of freshness to the sample-based mostly line.

This helps the road sound musical, quite than merely a finger sample run up and down the dimensions.

Click on to listen to john abercrombie licks 2

John Abercrombie Lick 3

Aside from being a extremely expert modal participant, Abercrombie additionally creates refined phrases over modifications along with his personal distinctive type.

On this line, over the primary 4 bars of an F blues, there’s a chromatic sample transferring up the fretboard within the second bar.

This sort of sample, and horizontal taking part in, is attribute of Abercrombie’s soloing vocabulary.

As properly, there are chromatic method notes outlining a C7 arpeggio in bar 3. Right here, the C7 is a sub over the F7, making a V7-I7 sound in bars 3 and Four of the blues development.

Click on to listen to john abercrombie licks 3

John Abercrombie Lick 4

Right here’s a minor 251 lick in a typical Abercrombie type.

There’s an enclosure in bar one of many line, outlining the #9 of the E7alt chord in bar 2 of the phrase.

As properly, there are Three altered notes over that very same chord, b9, #9, b13, giving the E7alt chord a real altered sound.

From there, the road resolves with a simple 1-b3-5-b7 arpeggio over Am7.

Click on to listen to john abercrombie licks 4

John Abercrombie Lick 5

The ultimate John Abercrombie lick makes use of principally diatonic triads, climbing up the fretboard, to stipulate a serious 251 chord development in C main.

The triads used are:

• C – I
• D – II7
• Dm – ii
• G – V
• Am – vi
• Bdim – viidim

All of which come from the important thing of C main, excluding D, however every creates completely different chord colours when utilized to the development.

On this case, the D triad is making a Cmaj7#11, or Lydian mode, sound over that chord.

Utilizing triads like this isn’t distinctive to Abercrombie’s soloing language.

However, it’s one thing that’s present in lots of his traces and solos.

When coupled with the horizontal method to the neck, this line brings out an Abercrombie 251 vibe that’s price studying and utilizing in your individual solos.

Sheryl Bailey Licks

One of many strongest fashionable bebop guitarists on the scene right now, Sheryl Bailey brings a contemporary method to the style.

With an abundance of unique compositions and a powerful command of the bebop language, Sheryl has change into one of many leaders within the fashionable bop style.

On this part, you examine the ideas that make Sheryl’s taking part in stand out amongst her friends.

You be taught enclosures, arpeggios, blues licks, chromatic ii V subs, m3rd planning, and far more.

All crammed into 5 licks.

For those who’re not accustomed to Sheryl’s taking part in, take a minute and pay attention to some of her tracks.

Then, come again and get a few of these basic jazz guitar licks beneath your fingers.

Sheryl Bailey Lick 1

This primary Sheryl Bailey lick outlines a Dm7 chord, with a wholesome dose of enclosures thrown in for good measure.

The lick makes use of enclosures, fret above-fret beneath-scale observe, over the Root, 2^nd, b3rd, and 5^th of Dm7.

On the finish of the road, the final enclosure resolves as much as the foundation.

It is a nice instance of enclosures in motion over a m7 chord with a powerful decision.

Click on to listen to sheryl bailey licks 1

Sheryl Bailey Lick 2

One of many issues that makes Sheryl’s taking part in stand out is her command of the blues.

On this lick, you see a basic Bailey line based mostly on the F blues scale, used over F7.

There’s nothing fancy about this lick, however good Blues solos are by no means actually fancy.

This line will get the job carried out; it’s melodic, and enjoyable to play.

Test it out and add this Sheryl Bailey lick to your subsequent jazz blues solo.

Click on to listen to sheryl bailey licks 2

Sheryl Bailey Lick 3

Right here, you see a vital bebop approach, and one which Sheryl makes use of usually in her taking part in.

The opening motive is repeated up a minor 3^rd interval, earlier than resolving right down to the Fmaj7 chord on the finish of the road.

Enjoying a line, then repeating that line up a m3rd earlier than resolving it’s nice technique to create pressure and decision in your traces.

Give it a strive, with this line, and with any riff as you create a bebop pressure in your solos.

Click on to listen to sheryl bailey licks 3

Sheryl Bailey Lick 4

On this lengthy, 251 lick in C main, you’ll see a half-step ii-V sub getting used over the primary two bars of the road.

That is one other frequent jazz improvisation approach, and one which Sheryl has whole command over in her solos.

The idea is that you just play a brief ii V within the first bar, a half step above the underlying ii V.

From there, you play the identical lick, however within the tonic key, and then resolve right down to the Imaj7 chord from there.

You are able to do this with any quick riff, simply play it a half step larger than the important thing you’re in.

Then, play it within the diatonic key and resolve from there.

Click on to listen to sheryl bailey licks 4

Sheryl Bailey Lick 5

On this remaining Sheryl Bailey lick, you see an instance of the dominant bebop Scale getting used over a ii V development.

As properly, there’s a Bbmaj7 arpeggio used to sound a Gm9 chord over the C7 within the second half of the primary bar.

That is known as the “minor conversion” idea.

To sum it up, it signifies that whenever you see a V7 chord, you employ notes from the iim7 chord to “minorize” that V7 chord.

This method was utilized by Wes Montgomery, and is a favourite of George Benson, Sheryl Bailey, and many different jazz guitarists.

George Benson Licks

There are few gamers which have captured the eye of jazz guitar followers in the best way George Benson has over his profession.

Although he’s moved extra into the graceful jazz realm over the second half of his profession, Benson has all the time maintained a excessive degree of bebop in his recordings.

A grasp of constructing depth in his solos, and possessing a powerful command of the bebop language, Benson is commonly listed as one of many prime jazz guitarists of any era.

On this part, you look into the bluesy and bebop sides of Benson’s soloing.

As properly, you examine his energetic, double-time traces, and chord soloing phrases as you dig into the ideas which have made Benson one of many best jazzers to ever play guitar.

George Benson Lick 1

This primary George Benson lick is considered one of his finest blues licks on file. It’s such a easy line, however whenever you get it beneath your fingers, you get the sense of movement that this line creates.

There’s nothing exterior on this line, however the Bbmaj9 arpeggio within the first bar outlines a Gm11 chord.

As properly, the Ab-C over the C7 comes from the F Blues scale, borrowing from the tonic blues sound.

From there, the road finishes on the tonic, good and easy but extremely efficient.

Click on to listen to George Benson Lick 1

George Benson Lick 2

On this turnaround lick, each observe comes from the F main blues scale.

We regularly affiliate Benson’s taking part in with the minor blues traces that he creates.

However, he’s additionally a grasp of blending within the main blues scale into his soloing traces, and this can be a nice instance of that scale in motion.

Click on to listen to George Benson Lick 2

George Benson Lick 3

In addition to utilizing extra conventional ideas, Benson additionally brings a contemporary sound to his guitar solos.

On this George Benson lick, triads are used to create a way of pressure and launch over an F7 chord.

The primary bar makes use of diatonic triads, Eb and F, over F7.

From there, the Gb and B+ triads are used to create pressure, which is then resolved into the G on the finish of the road.

Click on to listen to George Benson Lick 3

George Benson Lick 4

A brief ii V I lick, this line makes use of a basic chromatic run over C7 and Fmaj7.

This line is constructed from an thought Charlie Parker performed in his Billie’s Bounce solo.

The chromatic notes join the 2nd to the third and the 4th to the fifth of the underlying Fmaj7 chord. On this phrase, the Fmaj7 is anticipated a bit because the Fmaj7 chromatic lick begins over C7, then resolves over Fmaj7.

Click on to listen to George Benson Lick 4

George Benson Lick 5

Right here’s one other basic Benson blues lick, constructed by repeated the primary bar up a 4th to match the Bb7 chord in bar 2.

Enjoying a lick on the I7 chord, the repeating that lick on the IV7 chord, is an ordinary blues soloing idea, and one you’ll be able to discover by yourself additional.

As properly, discover the vary of this line, which is all performed above the 12th fret.

For those who discover it too troublesome to play that top up the fretboard, you’ll be able to all the time transpose this line down and octave and play it that means in your solos.

Click on to listen to George Benson Lick 5

George Benson Lick 6

You now discover a number of double-time George Benson licks, comparable to this ii V I line in G main.

Right here, the road is constructed by repeating a 3-observe motive in 4/Four time.

When doing so, you create a syncopated really feel that doesn’t resolve till the tip of the road.

Watch out when taking part in traces like this, as counting will be robust.

Go sluggish, take your time, and use a metronome till you’re able to jam it alongside to a backing observe.

Click on to listen to George Benson Lick 6

George Benson Lick 7

The following double time Benson lick makes use of syncopated rhythms, quick rests and eighth notes combined with 16th notes, to create curiosity within the line.

Generally you end up all the time operating 16th notes when soloing in a double-time really feel.

However, nice gamers comparable to Benson combine in different rhythms and rests to their sooner traces.

This helps to interrupt up the road, stopping it from turning into boring or predictable within the course of.

Click on to listen to George Benson Lick 7

George Benson Lick 8

The ultimate double-time Benson lick options quite a lot of fascinating gadgets to take a look at.

The primary is the B-F#-B sample in bar one, which is then performed down a fret and again once more.

When doing so, taking part in a fret away and again once more, you’re utilizing an idea known as sidestepping.

Sidestepping creates a slippery feeling in your traces, however it’s important to ensure to resolve it comparable to Benson does right here.

As properly, in bar two there are a selection of chromatic notes, creating pressure over the V7 chord earlier than resolving to the Gmaj7 on the finish of the road.

Click on to listen to George Benson Lick 8

George Benson Lick 9

No examine of George Benson’s licks could be full with out a few chord soloing traces.

On this first line, you see a number of basic Benson chord shapes used over a G7 chord. The chord names are written beneath that can assist you see every chord, and the way it pertains to the underlying change.

Try the Am11-D7alt-G9 chords in bar two.

Right here, Benson is placing ii-V-I development right into a static chord, G7. It is a frequent technique to create pressure when taking part in over static chords comparable to this one.

Click on to listen to George Benson Lick 9

George Benson Lick 10

The following lick options sidestepping over the second and third bars of the road.

Right here, there are chromatic chords above and beneath the diatonic chord, C7.

As all the time, when making an attempt this type of exterior soloing line ensure to resolve it again to the underlying chord.

There’s a positive line between exterior and fallacious, ensure to search out that line in your chord solos.

Click on to listen to George Benson Lick 10

George Benson Lick 11

This remaining George Benson lick is a chord-soloing line over a G7 change.

There are a selection of diatonic chords used, Dm7-Em11 for instance. As properly, there’s sidestepping in bar two, this time above the given chord.

Lastly, there’s a D7alt-G9 on the finish of the lick, which is analogous to the sub you noticed within the first Benson chord lick.

This lick has a bit of little bit of the whole lot that makes George Benson such a world-class improvisor.

Ed Bickert Licks

Rising up in a small city in Manitoba, Ed Bickert grew to change into on of probably the most completed guitarists in Canadian historical past.

A staple of each the gigging and studio scene, Bickert grew to become recognized for his superior harmonic idea and laid-again swing really feel.

Although some listeners examine his type to that of Jim Corridor, us Canadians desire to consider Jim as being the American Ed Bickert.

Although he is probably not as properly often called Wes or Pat Metheny, Bickert’s recordings are legendary amongst followers of the style, and undoubtedly price testing. On this part, you dig into Ed’s single observe and chord soloing vocabulary.

This expands your soloing chops, and expose you to considered one of Canada’s, and the world’s, best jazz guitarists.

Ed Bickert Lick 1

On this first Ed Bickert lick, there are two chord subs, the Bebop scale, and a b9 over the C7 chord, all in a 3-bar phrase.

Typical of Bickert’s taking part in typically, there are chord subs getting used to create harmonic colours over the Gm7 chord.

Right here, there’s a Dm7 used to stipulate the 5-b7-9-11 intervals over Gm7.

As properly, there’s a Bbmaj7 over that very same Gm7 chord, outlining the intervals b3-5-b7-9.

From there, the triplet on beat Three of the primary bar makes use of the C bebop scale to create pressure and launch at that second within the line.

The final merchandise to look out for is the b9 over the C7 chord, which creates some extra pressure that’s then resolved into the Imaj7 chord within the final bar.

Click on to listen to ed bickert lick 1

Ed Bickert Lick 2

The following Bickert lick is performed over a turnaround development in the important thing of Bb.

There’s nothing overly sophisticated about this lick. However, the repeated notes are attribute of Ed’s taking part in, and are present in lots of his recorded solos.

Although repeating notes aren’t all the time your best option, within the arms of a participant lick Ed; these notes change into the very best a part of the road.

Click on to listen to ed bickert lick 2

Ed Bickert Lick 3

No examine of Ed Bickert’s taking part in could be full with out wanting into his chord soloing traces.

This turnaround chord lick makes use of some large stretches, which Ed liked to make use of in his taking part in.

For those who can’t make the stretches within the first and third chord shapes, you’ll be able to take out the bottom notes to make these shapes simpler in your arms.

Click on to listen to ed bickert lick 3

Ed Bickert Lick 4

Right here, you’ll be utilizing considered one of Ed’s favourite chord approaches, open strings.

Although they’re frequent in blues, rock, and pop, open strings are used a lot much less usually in jazz guitar chords.

Ed is a participant who loved utilizing open strings in his chord soloing and comping, giving his concord a definite sound in comparison with lots of his friends.

As properly, you see the Fmaj7 chord getting used over the Dm7 chord, which is a Three to 9 rootless chord form.

Click on to listen to ed bickert lick 4

Ed Bickert Lick 5

To complete your examine of Ed Bickert licks, right here’s a chord line that makes use of quite a lot of subs that Ed liked to make use of in his solos.

The primary bar accommodates a backcycling phrase, B7-E7-A7, which then resolves to the D9 by the Eb9 chromatic method chord.

Backcycling is whenever you play chords which are a V7 of the following chord within the development, or subs as is the case right here.

• B7 is the V7 of E7
• E7 is the V7 of A7
• A7 is the V7 of D7, resolved by Eb9

As properly, Eb9 is the tritone sub of A7, so there’s a tritone sub used there that leads A7 to D9 within the lick.

As you’ll be able to see, simply within the first 6 beats there are loads of subs occurring.

That is typical of Ed’s taking part in, and exhibits the command he had over chord subs and fashionable jazz concord.

Lenny Breau Licks

Although he had a troubled private life, Lenny Breau has change into often called one of the vital completed guitarists of the final century.

Growing a private method to the instrument, and taking influences from pianists, classical, Indian, and Flamenco musicians, Lenny’s type was all his personal.

Past a private type, Lenny helped to redefine how guitarists performed chords, chord melodies, and chord solos in a jazz context.

His use of piano-type comping strategies, and superior fingerstyle ideas, introduced a heightened sense of harmonic management to his taking part in.

Comfy in a gaggle, duo, and solo guitar setting, Lenny left this world very younger, however left us with a wealth of music to get pleasure from for years to return.

Lenny Breau Lick 1

This primary Lenny Breau lick is a straightforward thought, but accommodates considered one of Lenny’s favourite single-observe strategies, descending 3rds.

You possibly can see this method used within the final half of the bar, the place the notes step down from beat Three of bar 2, right down to the final observe, D.

As Lenny exhibits, working 3rds by scales isn’t solely a terrific chops builder, it supplies inspiration to your solos as properly.

Click on to listen to lenny breau lick 1

Lenny Breau Lick 2

In addition to utilizing 3rds in his solos, Lenny was a fan of triplet rhythms, which you’ll be able to see on this subsequent Lenny Breau lick.

Right here, you define a brief minor ii V I in C, utilizing triplets on every beat of the bar.

As properly, take a look at the Ab-F-F#-G line that connects G7alt to Cm7. It is a basic bebop line, and one you’ll be able to extract and use in your taking part in in comparable, and different, musical conditions.

Click on to listen to lenny breau lick 2

Lenny Breau Lick 3

The following Lenny single-observe lick makes use of double time, 16^th notes, within the basic Lenny type.

There’s a repeated riff, first heard in bar 1, which is transposed to suit the Em7-A7alt chords in bar 2.

Repeating riffs like this over descending chord progressions is one thing that Lenny usually utilized in his solos.

As properly, there’s a wholesome dose of bebop vocabulary on this line.

Although Lenny is understood for his fashionable jazz, classical, and Flamenco influences, he additionally possessed a powerful command of the bebop language in his taking part in.

Click on to listen to lenny breau lick 3

Lenny Breau Lick 4

On this subsequent lick, you see one of many ideas that makes Lenny’s taking part in so distinctive and private sounding, piano-type comping.

This line is constructed utilizing 3rds and 7ths, or 3^rd and 6^th over Dmaj7, beneath a transferring melody line.

In an identical method to pianists, Lenny used 3rds and 7ths because the low notes for his chords, and used these information tones to solidify the concord beneath his chord-soloing traces.

Although they’re simply two notes, 3rds and 7ths are extremely efficient when utilized in a chord line comparable to this.

For those who’re new to Lenny’s chord soloing traces, go sluggish with this one.

It take time to get beneath your fingers. However.

When you get it down, each Lenny type chord line might be a lot simpler to be taught and apply after this preliminary lick.

Click on to listen to lenny breau lick 4

Lenny Breau Lick 5

This remaining Lenny Breau lick makes use of 3rds and 7ths beneath a melody line, although this time these notes are separated from the melody through the phrase.

This sort of comping between phrases makes one guitar sound like two, and was a giant cause that Lenny turned so many heads when he first hit the scene.

Once more, it’s troublesome to get these shapes into your taking part in, so take your time, use a metronome if wanted, and constructed the tempo over time with this lick.

Kenny Burrell Licks

Making an enormous splash on the scene along with his album Midnight Blue, Kenny Burrell has been a staple of the jazz scene for over 50 years.

With a celebrated catalogue of recordings as each a sideman and bandleader, Burrell has made a reputation for himself as one of the vital dependable jazz guitarists of his period.

Recognized for his bluesy taking part in, Burrell additionally possesses a deep information of bebop vocabulary, which you see within the licks beneath.

For those who’re new to Burrell’s taking part in, try his album Midnight Blue, particularly his tune “Chitlins Con Carne,” as each are a terrific introduction to jazz guitar.

Kenny Burrell Lick 1

On this first Kenny Burrell lick, you dig into some important Blues sounds over an A7 chord. Kenny is named top-of-the-line blues jazz guitarists, and for good cause.

Although this line is straightforward in its development, the slippery, bluesy really feel it brings to your solos makes a giant completely different when going for a jazzy sound in your traces.

There aren’t any slur markings within the lick, as every participant is completely different in how they select to play these sorts of traces.

So, be happy to experiment with including slides, hammers, and pull-offs when studying this line on the fretboard.

Click on to listen to kenny burrell lick 1

Kenny Burrell Lick 2

One other sound that Burrell likes to discover in his solos is the Phrygian dominant scale.

This scale is the 5^th mode of the harmonic minor scale, and it’s used to create a 7(b9,b13) sound over dominant chords in your solos.

Right here, Phrygian dominant is getting used to paint the Dm7b5-G7alt chords within the first bar of this quick ii V I phrase.

When taking part in over ii V chords, you’ll be able to play the ii, the V, or each. On this case, you be taught an instance of a V chord being the main target of the ii V development.

Click on to listen to kenny burrell lick 2

Kenny Burrell Lick 3

On this Kenny Burrell lick, you take a look at a repeated sample that’s based mostly on the pedal tone C.

Performed over a turnaround chord development in F main, this line makes use of a C as the two^nd observe of each 4-observe group.

As properly, there’s a G7 chord getting used as a sub for the iim7 chord in bar 2.

When soloing over ii V chords, you should use II7 V7 as an alternative as a typical jazz sub. This creates a V7/V to V7 development, including a bit extra pressure to your line as you’ll be able to hear on this phrase.

Click on to listen to kenny burrell lick 3

Kenny Burrell Lick 4

Right here’s a basic Burrell type lick that mixes chords and single notes over a C7 chord.

Transferring between chords and traces is one thing that Burrell likes to do in his solos, and it’s change into a calling card of types in his profession.

Whereas different gamers use chords of their solos, Burrell’s use of them to punctuate phrases, imitating a pianist, has a private contact all it’s personal.

After studying this line, placed on a backing observe and insert some chords between your traces to take this idea additional in your research.

Click on to listen to kenny burrell lick 4

Kenny Burrell Lick 5

To complete your examine of Kenny Burrell licks, you be taught a double time line over a ii V I development.

Although Kenny is understood for his melodic, bluesy traces, he’s additionally a obtained a deep vocabulary of double time traces comparable to this one.

Try the second bar, the place there’s a tritone sub getting used over the C7 chord.

Once more, this can be a staple of Kenny’s taking part in, as utilizing the tritone sub is a technique to create pressure over dominant chords comparable to this one.

Take your time with this lick, use a metronome, and construct up velocity as you be taught this double time Burrell line.

Charlie Christian Licks

There’s not a lot to say about Charlie Christian that hasn’t already been stated.

The daddy of jazz guitar, Christian revolutionized the style along with his single-observe solos and adaptation of horn traces onto the guitar.

With an limitless stream of concepts flowing from his fingers, Christian’s prolonged dwell solos have change into legendary.

Although restricted by the know-how of the time to shorter explorations, his recorded solos additionally supply a deep look into the thoughts of considered one of jazz’s best improvisers.

On this part, you dig into Charlie Christian single-observe, double-time, and chord traces as you delve into the taking part in type of the primary jazz guitar hero.

Charlie Christian Lick 1

On this C7 lick, you see Christian Christian’s use of blues notes and triads to construct a line.

Although triads are sometimes handed over in jazz in favor of extra colourful arpeggios, they’ll go a good distance in the suitable state of affairs.

This lick is an instance of how triads will be an efficient soloing gadget, even when performed from the foundation of the underlying chord.

As properly, there are two blues notes, the b3 (D#/Eb) and the b5 (F#) used to create a bluesy really feel over the C7 chord.

Click on to listen to charlie christian lick 1

Charlie Christian Lick 2

Right here’s a triplet based mostly Charlie Christian lick over a ii V I in G main.

In addition to that includes triplets, there’s a chromatic passing observe on the primary beat of the lick, Ab, connecting the A and G notes.

Lastly, try the b9, Eb, used over the D7 chord within the second half of the primary bar.

Although he didn’t go too far exterior the chord modifications in his taking part in, Christian usually used pressure notes over dominant chords to create curiosity in his solos.

This lick is an instance of how a rigorously positioned pressure observe can create vitality in a line, with out having to overdo it with chromatic notes within the solo.

Click on to listen to charlie christian lick 2

Charlie Christian Lick 3

Probably the greatest elements of Charlie Christian’s soloing is his skill to create memorable melody traces in his phrases.

Right here’s an instance of a melodic phrase that makes use of diatonic notes, however sticks within the head of the listener after the solo.

When studying find out how to play jazz guitar, many gamers need to stretch out and use a ton of modes, chromatic notes, and chord subs.

However, a properly-constructed melodic line will usually join extra with an viewers than a hip, exterior line.

That is an instance of that idea in motion.

Click on to listen to charlie christian lick 3

Charlie Christian Lick 4

Although recognized extra for his single-observe solos, Christian may additionally create participating chord soloing traces in his taking part in.

Right here’s an instance of a Christian chord soloing line that makes use of method chords to construct pressure and launch over an Em7 chord.

Every triad, C#m-F#m-Em, is approached by a triad one half-step above, Dm-Gm-Fm.

Once more, that is an instance of how triads will be an efficient soloing gadget in a jazz setting.

Click on to listen to charlie christian lick 4

Charlie Christian Lick 5

The ultimate Charlie Christian lick on this part is a double time line over a ii V I in G main.

Once more, although extra recognized for his 8^th-note phrases and melodic runs, Christian may additionally let free and play efficient 16^th-note phrases in his solos.

Take your time when studying this lick, use a metronome, and slowly construct the tempo as you’re employed it out in your research.

Herb Ellis Licks

Recognized for his bluesy, quick-paced, and thrilling jazz-guitar solos, Herb Ellis has change into often called one of many best guitarists of his era.

Having studied music on the College of North Texas, Ellis had a deep understanding of concord and melody that may be heard in his traces and solos.

On this part, you examine quite a lot of attribute Herb Ellis ideas over quite a lot of chord progressions.

By finding out his use of voice main, double stops, triplets, chromatic notes, and bluesy concepts, you deliver a Herb Ellis vibe to your individual solos.

Herb Ellis Licks 1

To start, right here’s a cool-sounding Herb Ellis ii V I lick in the important thing of Bb. There may be an F bebop scale getting used to begin the road, F-E-Eb, which is a typical sub over a iim7 chord.

As properly, there are information tones transferring between the chords, b7-3, as you play by the road. Information tones help you transfer easily from one chord to the following, as you’ll be able to hear on this line.

Lastly, try the F7alt sounds getting used to create pressure over F7. This pressure is then launched over the Bbmaj7 chord within the subsequent bar.

Click on to listen to herb ellis lick 1

Herb Ellis Licks 2

Herb not solely performed memorable single-line solos, however he additionally introduced quite a lot of double-cease concepts into his taking part in.

On this C7 line, you see double stops used within the first half of the lick.

When taking part in double stops, you should use your choose, or choose and fingers to play these notes. Generally one thing so simple as double stops will be the distinction between a line sounding predictable and a line sounding contemporary and hip.

Herb knew find out how to use double stops to deliver a way of hipness to his traces.

Click on to listen to herb ellis lick 2

Herb Ellis Licks 3

On this ii V I lick in G, there’s a G main bebop scale getting used to create pressure on the finish of the D7 and begin of the Gmaj7 chord.

As properly, there’s a b3 passing tone that creates a bluesy sound over the Gmaj7 chord on the finish of the road. Discover the triplets getting used on this line.

Herb used quite a lot of triplets comparable to these in his solos, however he didn’t chain triplets collectively as different gamers do.

As a substitute, he inserted them within the center or starting of traces to interrupt up 8^th-note runs in his solos.

Click on to listen to herb ellis lick 3

Herb Ellis Licks 4

Right here, you be taught a minor ii V I lick within the type of Herb Ellis.

Once more, there’s a triplet within the second bar, utilizing the identical intervals as the primary lick on this part.

Utilizing a triplet from the b9 to #9 to the b9 once more is a attribute sound of Herb’s taking part in, in addition to being a typical bebop approach.

Although it’s a small thought, it’s price exploring additional in your taking part in as numerous jazz soloists use this sound of their taking part in.

Click on to listen to herb ellis lick 4

Herb Ellis licks 5

On this double-time Herb Ellis lick, you see quite a lot of attribute sounds over this two-bar lick.

There are passing tones (P.T.) within the first half of bar one, in addition to C7alt sounds used over the second half of that bar.

Discover the Caug triad used over C7alt. Gamers comparable to Herb and others from his period would usually use triads in conditions comparable to this.

Although triads might sound easy in comparison with modes and bigger arpeggios, in the suitable arms they’re an efficient soloing instrument.

Lastly, there’s a voice-main run that leads the C7, b7, to the Fmaj7, 3, in a attribute Herb Ellis trend.

Tal Farlow Licks

Although his profession was comparatively quick, he retired in 1958 to work as an indication painter, Tal Farlow is taken into account one of many best jazz guitarists to ever dwell.

Fortunately for followers of his taking part in, Farlow did make a comeback later in his life, however even with a brief profession span, his recorded output is wealthy with materials so that you can examine.

With large arms, gaining him the nickname “Octopus,” Farlow was in a position to play chords and single-observe runs that different gamers couldn’t attain.

On this part, you examine licks that includes massive stretches, double-time concepts, voice main, and different attribute parts present in Tal Farlow’s solos.

Tal Farlow Licks 1

To start, right here’s a typical Tal Farlow ii V I lick that makes use of a variety and a number of leaps in its development.

As a result of Tal had massive arms, lots of his chords and single-observe traces contained broad stretches and large leaps.

This gained’t be an issue for most individuals at a sluggish or medium tempo.

However, when taking part in such a line at a quick clip, these stretches change into tougher to navigate.

Take your time with this line and experiment with a number of completely different fingerings to see what works finest for you.

Click on to listen to tal farlow licks 1

Tal Farlow Licks 2

The following Tal Farlow lick makes use of double stops to create a bluesy sound over an Fmaj7 chord.

Tal liked to make use of double stops in his solos, particularly blues-impressed runs comparable to this.

You should use your choose and fingers, or choose for those who mute non-performed strings, when taking part in double stops.

Discover the facility chords, excellent 5ths, used on the finish of the road.

Although you don’t use them a lot in jazz, gamers comparable to Ed Bickert, Tal Farlow, and Johnny Smith explored excellent 5^th intervals comparable to these of their taking part in.

Click on to listen to tal farlow licks 2

Tal Farlow Licks 3

Digging right into a minor ii V I Tal Farlow lick, you see some rhythmic concepts used to create curiosity within the second half of the road.

Although it could seem to be a small thought, breaking apart your traces with rests, as you’ll be able to see right here, could make a giant distinction within the success of your solos.

Ensure that to play the rests within the second bar; don’t maintain the notes, truly cease them from ringing.

Usually instances, guitarists will be responsible of holding notes quite than resting, as you don’t must breathe like horn gamers do.

Enjoying the rests brings out the syncopated factor of the road, making it swing tougher on the similar time.

Click on to listen to tal farlow licks 3

Tal Farlow Licks 4

Right here’s a Tal Farlow double-time lick that you should use over a minor ii V I chord development.

Discover the melodic concept that begins the Am7 bar, which is attribute of Tal’s taking part in. As properly, you’ll see the b6, F, used over Am7.

Although dorian and melodic minor are generally utilized in jazz over m7 chords, Aeolian can be typically used, as you’ll be able to see right here.

Click on to listen to tal farlow licks 4

Tal Farlow Licks 5

The ultimate Tal Farlow lick is performed over the primary 4 bars of a Bb rhythm modifications.

There are a number of massive leaps on this line, in typical Farlow type.

As properly, the C melodic minor scale is used to create some pressure over the Cm7 and F7 chords on the finish of the road.

Utilizing Melodic Minor from the iim7 chord in a ii V is a typical bebop approach, and one it is best to discover additional in your research.

Grant Inexperienced Licks

With a novel tone, bluesy sound, and robust bebop vocabulary, Grant Inexperienced helped to outline the Blue Observe guitar sound within the 1960s.

As properly, he was an innovator within the jazz funk style as he moved into that realm later in his profession.

It doesn’t matter what style he was taking part in in, one factor was sure; Grant would deliver his finest to every recording and jam session.

On this part, you be taught quite a lot of main and minor ii V I Grant Inexperienced licks in numerous keys.

Grant Inexperienced Lick 1

On this first Grant Inexperienced lick, you be taught a brief ii-V-I in the important thing of C.

There’s a triplet chromatic run in the beginning of the road, in typical Grant type. As properly, discover the B-D-F-Ab arpeggio, Bdim7, used as a Three to 9 arpeggio over G7 on this key.

Although it’s a easy lick at first look, it’s a repertoire of quick, cool sounding vocabulary that made Grant’s taking part in so efficient in any state of affairs.

Click on to listen to grant inexperienced lick 1

Grant Inexperienced Lick 2

On this quick ii-V-I Grant Inexperienced lick, there’s one other triplet rhythm close to the beginning of the road, once more a rhythm Grant appreciated to make use of to start his licks.

From there, you’ve gotten a blues line, together with the #Four passing tone, to complete the road over Cmaj7.

Including in blues notes over maj7 chords, such because the F# over Cmaj7 on this lick, is attribute of Grant’s taking part in type.

It’s a small thought, however including blues notes to maj7 chords brings a cool, bluesy sound to your taking part in exterior of the jazz blues kind.

Click on to listen to grant inexperienced lick 2

Grant Inexperienced Lick 3

Right here’s an extended ii V I lick in the important thing of Bbmaj7 that makes use of a number of altered notes to create pressure over the F7 chord.

This pressure creates a bebop sound over the V7 chord, earlier than being resolved into the Bbmaj7 a bar later.

You possibly can all the time add pressure notes comparable to these over main key V7 chords; you simply have to resolve them within the type of Grant’s line beneath.

Click on to listen to grant inexperienced lick 3

Grant Inexperienced Lick 4

Grant was a grasp of melodic traces, as you’ve seen up so far.

However, he was additionally extremely expert with weaving longer, 8^th-note based mostly runs in his solos. Right here’s a Grant Inexperienced ii V I that runs straight 8^th notes, no rests, with a number of 16ths thrown in for good measure.

With an extended line comparable to this, use a metronome to verify your rhythms are even.

Then, slowly construct up the tempo as you improve the velocity with this Grant Inexperienced bebop lick in your research.

Click on to listen to grant inexperienced lick 4

Grant Inexperienced Lick 5

The ultimate Grant Inexperienced lick on this part is an extended ii V I in A minor.

There’s an fascinating second within the second bar, E7alt, the place the pure 9 is used to begin the bar, however the b9 in used to complete the bar.

Although it’s over E7alt, the F# is a part of an method observe sample that runs A-F#-G-G#.

So, consider that observe as approaching G# quite than as a pure 9^th over an altered chord, which wouldn’t be the very best observe selection on this occasion.

Jim Corridor Licks

Some of the standard and properly-liked jazz guitarists of his era, Jim Corridor introduced a cool, laid-again sensibility to the instrument.

His taking part in was melodic, but stuffed with vitality, and he was in a position to play in solo, duo, combo, and massive-ensembles with ease.

Aside from his private tone, Jim’s taking part in had a sound all it’s personal.

On this part, you examine 5 Jim Corridor licks that discover his use of scales, blues notes, chords, and different melodic gadgets.

Jim Corridor Lick 1

On this first Jim Corridor guitar lick, you see the E altered scale getting used over the V7alt chord in a minor ii V I.

In typical Jim Corridor trend, the altered scale merely runs straight up from the b7 to b7, although it sounds nice over the chord development.

With the suitable really feel and assault, you can also make even a straight scale sound good in a line. Jim’s music is filled with moments like this, easy approaches which have large results on the music.

Click on to listen to jim corridor licks 1

Jim Corridor Lick 2

One of many essential causes that Jim Corridor’s music is so liked by followers is his skill to create melodies on the fly in his solos.

Not solely are they melodies, however they stick in your head and are singable, even after the solo is over.

On this Jim Corridor line, you play a memorable rhythmic and melodic lick that outlines a ii V I in D main.

The one melodic gadget within the line is the b3, blues observe, getting used over the Dmaj7 within the fourth bar.

Click on to listen to jim corridor licks 2

Jim Corridor Lick 3

In addition to taking part in melodic traces, Jim was additionally in a position to create vitality and depth in his solos with double-time traces.

Although he used them much less usually than a few of his contemporaries, Jim’s double-time traces had been an efficient a part of his soloing repertoire.

On this phrase, you be taught a diatonic line over a ii V I in G main, performed all in 16^th notes.

Go sluggish with this lick, work it with a metronome, and construct the tempo up over time as you get this line beneath your fingers.

Click on to listen to jim corridor licks 3

Jim Corridor Lick 4

No examine of Jim Corridor’s taking part in could be full with out wanting into his chord work.

On this Jim Corridor lick, you be taught a brief ii-V-I chord soloing line in C main.

The beginning of the road makes use of a G9sus chord over Dm7.

You can too consider this chord as Dm7/G, which is similar chord form you’d use to play Maiden Voyage by Herbie Hancock, only a completely different key.

There’s a G7alt chord creating pressure over the G7 chord, which additionally accommodates a triad pair, Eb-Db, resulting in Cmaj7.

For those who ever have a 7^th chord, you’ll be able to play main triads from the b5 and #5 of that 7^th chord to create an altered sound.

Click on to listen to jim corridor licks 4

Jim Corridor Lick 5

The ultimate Jim Corridor lick is a minor ii V I, mixing single notes and a chord alongside the best way.

On this lick, the E7alt is anticipated by two beats, because the G# alerts that chord half means by the primary bar.

When soloing over chord modifications, you create a way of pressure by anticipating the following chord in your traces.

Then, when the following chord is performed, it resolves that pressure because the chord catches as much as your traces.

Jim used this method to create curiosity in his solos, and it’s price testing in your individual taking part in.

Boogaloo Joe Jones Licks

One of many names that has come up time and once more in my conversations with gamers these days is Boogaloo Joe Jones, who was a incredible jazz funk guitarist.

With the power to take a number of memorable concepts and stretch them out into entire solos, Boogaloo was a grasp of grabbing the listener’s ear and holding on to their consideration.

On this part, you be taught 5 licks impressed by the taking part in of Boogaloo Joe Jones which you can be taught, observe, and apply to your individual jazz guitar solos.

Boogaloo Joe Jones Lick 1

Followers of Pat Martino might be accustomed to this sample, as this and comparable licks are additionally present in lots of Pat’s solos.

The road is constructed by taking part in the Blues observe, B, main into the 5^th and b7th of the underlying chord, F7, making a bluesy, repetitive lick that you should use to construct vitality.

Be happy to repeat this lick for greater than 2 bars, as Boogaloo and Pat each do, in an effort to create longer spans of vitality in your traces.

Click on to listen to boogaloo joe jones licks 1

Boogaloo Joe Jones Lick 2

Right here’s one other typical Boogaloo Joe Jones lick which you can hear in lots of his solos.

The lick is predicated on the F triad, F-A-C, with notes from the F minor blues scale added in, G#(Ab)-A#(Bb)-B, to create a chromatic vibe.

You possibly can repeat this lick once more and once more, including in slight alterations to the rhythm and including extra notes in the beginning and finish of this lick to play it in an identical type to Boogaloo.

Click on to listen to boogaloo joe jones licks 2

Boogaloo Joe Jones Lick 3

The following Boogaloo Joe Jones lick is predicated on the F minor pentatonic scale, and used over an F7 chord to create a bluesy really feel because the Ab acts because the blues observe over that chord.

Play with this lick as you deliver it into your soloing by altering the rhythms of the Ab-C double cease.

As properly, deliver in additional notes beneath that double cease in an effort to carry that Boogaloo vibe into your solos with this lick.

Click on to listen to boogaloo joe jones licks 3

Boogaloo Joe Jones Lick 4

Right here’s a cool, A minor blues scale lick that may be utilized to any chord that holds the minor Blues scale, so A7, Am7, Amaj7, and so forth., making it a really versatile lick.

This lick can be nice to have in your vocabulary as a result of it really works at a sluggish tempo, for that sultry, blues really feel, in addition to in sooner tunes, the place it could deliver a cool groove to your traces.

Click on to listen to boogaloo joe jones licks 4

Boogaloo Joe Jones Lick 5

The ultimate Boogaloo Joe Jones lick is a minor pentatonic scale sample that makes use of a combined 16^th and 8^th-note rhythm.

Since this lick makes use of the minor pentatonic scale, you should use it over Am7, A7, Amaj7, or an A blues, anywhere the place you’d usually apply an A minor pentatonic scale to your solos.

Barney Kessel Licks

Born in Oklahoma, Barney Kessel grew to become often called one of many prime studio guitarists of his era.

Moreover recording with prime jazz musicians, in addition to main bands of his personal, he performed on basic recordings with the Monkees, The Seaside Boys, and others.

As a member of the well-known “Wrecking Crew,” Kessel helped form the L.A. studio scene within the 1960s. From a jazz perspective, Kessel’s taking part in is energetic, stuffed with bebop vocabulary, and possess a novel tone and assault.

All of those make Barney one of the vital outstanding and properly-liked guitarists of his era.

Barney Kessel Lick 1

The primary Barney Kessel lick is a G7 line that makes use of a Dm9 arpeggio because the give attention to the phrase.

This method known as the “minor conversion” idea.

It sounds tough, however primarily when you’ve got a V7 chord, you play the iim7 chord from the identical key as an alternative.

On this case, G7 is the V7 of C main, and Dm7 is the iim7 in that very same key.

Kessel then makes use of the Dm9 sound to create a minor high quality on this 7^th-chord lick. Click on to listen to barney kessel lick 1

Barney Kessel Lick 2

In one other dominant Barney Kessel lick, you see enclosures, Dm9, bebop, and blues notes utilized in a 4-bar phrase.

Using the G bebop scale on this occasion creates pressure within the third bar of the road.

That pressure is then resolved within the fourth bar, with a blues observe, A#(Bb) thrown in for good measure.

Click on to listen to barney kessel lick 2

Barney Kessel Lick 3

Right here, you see earlier Kessel ideas utilized to a ii V I chord development in C main.

There’s an enclosure in the beginning of the road, adopted by Dm7 getting used as a minor conversion over G7.

Although this isn’t probably the most tense line, it does create a heat, G7sus sound over G7, which helps deliver curiosity to the ii V I development.

Click on to listen to barney kessel lick 3

Barney Kessel Lick 4

Right here’s a basic Barney Kessel lick with a bluesy line outlining the E7 in bar two.

The E7 phrase comes from the underlying father or mother key of A serious. Right here, there’s a C and D#, each blues notes, adopted by the C#,D, and E notes, all in the important thing of A serious.

From there, the road ends with an Amaj7 arpeggio, G#-A-C#-A-C#.

Utilizing tonic blues traces like this can be a nice technique to create curiosity over a ii V I development.

Click on to listen to barney kessel lick 4

Barney Kessel Lick 5

Within the final Barney Kessel lick, you’ll be taught an extended, 8^th-note based mostly ii V I in the important thing of D main.

On this line, a C#dim7 is used to create a Three to b9 arpeggio over A7, a typical jazz sub over 7^th chords. A

s properly, there’s a combination of ascending and descending traces, in addition to leaps and steps on this lick.

Mixing leaps and steps, in addition to altering route, is one thing Kessel used to create curiosity in his improvised solos.

Pat Martino Licks

Recognized for his blistering traces, excessive-vitality solos, and ingenious method to fashionable bebop guitar, Pat Martino is likely one of the greatest names within the historical past of the style.

Born Pat Azzara, Martino moved to New York on the tender age of 15, and shortly took the scene by storm.

Mid means by his profession, Martino had an operation to take away a mind tumor, inflicting him to must relearn to play guitar from scratch.

Not solely did Martino rise to the highest of the jazz guitar world as soon as, however he did it twice in his lifetime.

Not a simple feat for anybody to attain.

On this part, you be taught 5 basic Pat Martino licks that dig into the soloing idea of 1 the best jazz guitarists of all time.

Pat Martino Lick 1

This primary Pat Martino lick makes use of bluesy double stops from the F main blues scale over an F7 chord.

Though not within the notation, to make it simpler to learn, you’ll be able to play the A within the double cease as an Ab, 9^th fret quite than 10^th, then bend that observe as much as A from there.

You can too play the A and C as is, then “push” them up a couple of quarter-tone or much less to deliver a little bit of that Martino “growl” into your blues traces.

Click on to listen to pat martino lick 1

Pat Martino Lick 2

Right here’s a brief, ii V I lick in D minor that makes use of the A Phrygian dominant scale over the primary bar of the road.

As properly, there’s a attribute triplet line that runs from the b3 to 4, by the three, in bar 2.

This triplet will be picked, or slurred, relying on how slippery you need that a part of the phrase to sound.

Click on to listen to pat martino lick 2

Pat Martino Lick 3

No examine of Pat Martino’s taking part in type could be full with out taking a look at a repeated lick.

This line makes use of the blues observe, b3, main into the three^rd and then the foundation of the underlying key of C main.

Although this line is performed over a 4-bar phrase, to get the Martino type beneath your fingers, you’ll be able to repeat the three-observe sample so long as you need.

For those who take heed to Martino frequently, you hear examples of him utilizing this sample for entire choruses, particularly in dwell conditions.

Click on to listen to pat martino lick 3

Pat Martino Lick 4

Right here’s a double time Pat Martino lick which you can be taught and use over a brief ii V I chord development.

When doing so, you’ll be able to choose each observe in a typical Pat Martino double-time type.

Or, if you wish to add your individual taste to the road, be happy to make use of slurs when applicable.

Discover the G augmented triad used to stipulate a G7#5 sound over the second half of the primary bar.

Triads are a good way to deliver out 7alt sounds in a line comparable to this one.

Lastly, there are two Bb’s over the Dm7 chord that create a little bit of pressure, hinting at D Aeolian, in that part.

Click on to listen to pat martino lick 4

Pat Martino Lick 5

On this lengthy Pat Martino lick, you’ll be utilizing a typical descending-ascending Martino line to stipulate a turnaround chord development.

Sliding into the primary observe, G, offers you a attribute Martino sound in the beginning of the road.

As properly, discover the Edim7 arpeggio within the final 4 notes of the road, outlining a Three to b9 over C7b9.

Pat Metheny Licks

There are few gamers on any instrument who’ve have as prolific careers as Pat Metheny.

With an enormous catalogue of recordings, and lots of of unique songs, the phrase Metheny is commonly synonymous with jazz for a lot of listeners.

Whereas many followers know him from his writing and taking part in with the Pat Metheny Group, Pat’s small-group recordings are among the finest within the jazz idiom.

On this part, you be taught 5 basic Pat Metheny licks that discover his exterior, energetic, and extremely inventive method to jazz improvisation.

Pat Metheny Lick 1

The primary Pat Metheny lick makes use of a sidestepping method to creating pressure over a C7 chord.

By taking part in B7 within the second bar, Pat is creating pressure over that line, which is then resolved to the third measure.

When soloing over modifications, you’ll be able to play a chord one half step beneath or above the chord you’re on to create pressure.

You simply must remember to resolve that pressure by bringing your line again to the underlying chord modifications.

Click on to listen to pat metheny lick 1

Pat Metheny Lick 2

One of many ideas that Metheny makes use of usually in his solos are triads.

On this lick, you see Ab and Eb triads used to create pressure over the ii V chords.

From there, there’s a Dm triad used as a decision level over the Ima7 chord.

Experimenting with non-diatonic triads comparable to these will assist deliver a Metheny, and fashionable jazz, vibe to your solos.

Click on to listen to pat metheny lick 2

Pat Metheny Lick 3

On this Pat Metheny ii V I lick, you’ll see chromatic 3rds getting used to create pressure over the ii V, that’s resolved within the second bar.

As properly, there’s an Ab triad that steps exterior over the Cmaj7 chord, earlier than resolving to the 9^th on the finish of the road.

Pat loves to make use of descending chromatic 3rds in his solos, and it’s a method you should use to deliver a Metheny vibe to your traces.

Click on to listen to pat metheny lick 3

Pat Metheny Lick 4

One of many ways in which Metheny creates vitality and ahead movement in his solos is with repeated melodic patterns.

On this double time lick, you employ a repeated melodic sample to maneuver up and down the neck chromatically.

After creating a considerable amount of pressure, you resolve to the tonic chord on the finish of the phrase.

Click on to listen to pat metheny lick 4

Pat Metheny Lick 5

Aside from melodic gadgets, one of many gadgets that Metheny makes use of is choosing patterns to create curiosity in his traces.

On this Pat Metheny lick, you employ a slurred-picked sample that creates a fluid, slippery sound over a ii V development.

For those who get pleasure from this choosing sample, take it out of this lick and apply it to any scales you’re engaged on to inject it additional into your taking part in.

Wes Montgomery Licks

There’s not a lot to say about Wes Montgomery that hasn’t already been stated.

The person was a genius of jazz guitar, one of the vital influential musicians of his era, and somebody who modified the face of jazz endlessly.

His skill to create seemingly limitless streams of energetic, refined traces, then activate a dime and nail a blues run, made him enjoyable and satisfying for all jazz followers to take heed to.

As properly, his use of a 3 tiered method to soloing, single notes-octaves-chords, was distinctive on the time, making him stand out towards his friends.

On this part, you examine single observe, octave, and chord soloing traces from the deep catalogue of Wes’ recordings.

Wes Montgomery Lick 1

The primary Wes Montgomery lick is constructed by making use of the G blues scale to a G7 chord.

You possibly can hear how Wes “jazzes” up this blues lick through the use of slides, a repetitive method to melody and a slight variation on the very best observe of every part to make the dimensions firmly sound like jazz.

Wes had a powerful command of the blues, and it’s one thing that every one nice jazz improvisers discover of their taking part in.

Click on to listen to Wes Montgomery Licks 1

Wes Montgomery Lick 2

In addition to utilizing the minor blues scale to create bluesy-sounding traces, Wes additionally used the key blues scale to his traces.

Right here’s an instance of the key blues scale over a ii V I development in the important thing of F main.

By sliding from the b3 to the three on this line, you’ll be able to keep a serious sounding phrase, whereas including a little bit of blues on the similar time.

This method is one thing Wes was very keen on in his soloing concepts.

Click on to listen to Wes Montgomery Lick 2

Wes Montgomery Lick 3

The following method you take a look at is making use of blues notes to arpeggios.

On this instance, you’ll be able to hear how the key third, B, is then changed by the blues observe Bb in bar 2.

Later, the 2 are mixed, Bb-B, as you combine on this observe to a G7 arpeggio phrase.

Including blues notes to arpeggios is a good way to deliver a blues really feel to your phrases within the type of Wes Montgomery.

You additionally straight define the chord modifications on the similar time.

Click on to listen to Wes Montgomery Lick 3

Wes Montgomery Lick 4

Right here’s an instance of a Charlie Parker lick, marked lick within the music, that Wes usually utilized in his personal solos.

Regardless that he was one of many best improvisers in jazz historical past, Wes nonetheless studied different nice gamers to construct his vocabulary.

It is a lesson we are able to all be taught from within the observe room.

Click on to listen to Wes Montgomery Licks 4

Wes Montgomery Lick 5

No examine of Wes’ soloing ideas could be full with out taking a look at a number of octave licks.

On this first octave lick, there’s loads of area that break up the road into smaller chunks, versus the straight eighth-notes which are attribute of Wes’ single-observe traces.

By breaking longer traces up into smaller teams, Wes was in a position to maintain the listener guessing as to what was coming subsequent in his octave solos.

When first making an attempt to solo in a Wes octave type, depart as a lot area as doable in an effort to give your self time to listen to the following line in your solo.

This additionally eases you into the technical facet of taking part in octaves on the guitar on the similar time.

Click on to listen to Wes Montgomery Licks 5.

Wes Montgomery Lick 6

On this ii V I Wes octave lick, there’s a blues scale within the final bar which is idiomatic of Wes Montgomery’s method to soloing

Although he used chord substitution, chromatic notes, bebop phrases and different superior ideas in his taking part in, one fixed was the blues scale.

For those who’re new to octaves, beginning with the blues scale is a good way to get these concepts beneath your fingers.

This units you as much as discover extra advanced octave phrases that use arpeggios and longer scales.

Although it’s only a descending blues scale, the usage of the bluesy notes on the finish of this phrase offers the lick a Wes taste that brings the diatonic nature of the primary half of the lick to a detailed.

Click on to listen to Wes Montgomery Licks 6.

Wes Montgomery Lick 7

The final of the ii V I Wes octave licks focuses on a rhythmic motive that’s run by the diatonic key of the ii V I, G main.

Wes was a giant fan of taking part in rhythmic motives, and usually utilized them to his chord soloing, single observe, and octave soloing phrases.

As studying jazz guitar rhythms is a vital ability for any participant to develop, make up your individual rhythmic motives comparable to this and improvise with them over a tune.

With the ability to solo with a rhythmic thought beneath you melodic and harmonic concepts is a good way to attach your traces over longer sections of an improvised solo.

Click on to listen to Wes Montgomery Licks 7.

Wes Montgomery Lick 8

After figuring out single-observe and octave licks, you’re prepared to review Wes Montgomery chord traces.

On this first ii V I line, there are three secondary dominant chords getting used that lead you to the following chord within the development.

The primary, B7b9, leads you to Em7.

The second, E7b9, leads you to A7.

Then, the third, A7b9, leads you to Dmaj7.

Wes liked to make use of 7b9 chords this fashion, within the form of dim7 chords, to create pressure and decision in his chord traces.

Click on to listen to wes montgomery lick 8

Wes Montgomery Lick 9

The following line makes use of a diatonic sub, C#m7 over Bm7, in addition to an E7b9 sub that creates pressure over the road within the first bar.

When chord soloing, you should use shapes from the underlying key, such because the C#m7 from the important thing of A serious on this lick.

It is a nice technique to deliver colour to your traces, with out having to achieve for extra advanced chord subs in your phrases.

Click on to listen to wes montgomery lick 9

Wes Montgomery Lick 10

There are two secondary dominant chords on this final Wes Montgomery chord lick, C7b9 to Fm7, and G7b9 to Cm7.

As properly, there’s an Am7b5 getting used to stipulate a Cm6 chord sound over Cm7.

That very same Am7b5 can be the three to 9 chord for F7, because it performs double obligation within the Wes ii V sequence.

Joe Move Licks

Joe Move was a grasp of each side of jazz guitar taking part in, together with solo guitar, duo guitar with vocals, chord soloing, single-line taking part in, and after all chord melody.

When studying find out how to solo as a jazz guitarist, there are few gamers which you can examine who’ve extra command of the bebop vocabulary than Joe Move.

On this part, you examine two sides of Joe’s taking part in, single-observe traces and chord soloing traces.

The chord soloing traces can be utilized to play in a solo, duo, or combo setting, so be happy to experiment with them in several musical conditions.

Although Joe’s taking part in can sound prefer it’s too troublesome to review, by breaking down his concepts into smaller chunks, you’ll be able to be taught the constructing blocks and soloing ideas of this nice participant.

Joe Move Licks 1

This primary lick impressed by Joe Move’ soloing ideas, options three pressure notes over the V7 and Imaj7 chord within the phrase.

Discover the b9 and #9 notes used to create pressure over the V7 chord.

As properly, there’s a #11 pressure observe over Cmaj7, which suggests a Lydian sound over that chord.

Joe Move was a grasp of integrating pressure notes into his traces, in addition to resolving these notes correctly.

So, traces comparable to this are a good way to introduce that Joe Move “pressure-decision” sound into your individual taking part in.

Click on to listen to Joe Move Licks 1

Joe Move Licks 2

One other idea that Joe liked to make use of in his traces is making use of a tritone sub to the V7 chord.

On this phrase, you’ll be able to see a Db7#11 chord getting used as a tritone sub over the V7 chord, earlier than resolving that pressure to the Imaj7 chord.

After you be taught this lick, placed on a ii-V-I backing observe, and substitute the V7 with a bII7#11 line in an effort to take this idea into your individual solos.

Click on to listen to Joe Move Licks 2

Joe Move Licks 3

The following phrase begins with a 16^th-note run, typical of Joe’s arpeggio traces, and contains two vital bebop ideas.

There’s an enclosure on the finish of the second bar, fret above-fret beneath-goal observe.

The second idea is a typical bebop scale sample that you should use from the two^nd observe of any main scale, on this case utilizing the notes D-C-B-C.

Due to how the key scale is constructed, you may also play this sample from the 5^th or ninth of the key scale.

Generally you don’t want so as to add chromatic notes to deliver a jazzy sound to your solos.

A properly-positioned diatonic sample can go a good distance when used on the proper second in your traces.

Click on to listen to Joe Move Licks 3

Joe Move Licks 4

Some of the participating part of Joe’s single-observe solos was his use of double-time phrases to create vitality.

On this ii V I line, you employ 16th-notes to stipulate every chord as you run up and then down the fretboard.

There may be additionally a triplet over the Em7 chord, which could take a while to work out in your research.

Go sluggish, use a metronome, and construct up the tempo from there when studying this lick on guitar.

Click on to listen to Joe Move Lick 4

Joe Move Licks 5

To complete your examine of Joe Move’ single observe licks, right here’s a minor ii V I in the important thing of A minor.

In typical Joe Move trend, the road begins with a triplet from the 4-b5-Four of the iim7b5 chord.

From there, the altered scale is used to stipulate the E7alt chord in bar two.

Then, the road resolves to the Im7 chord, with an Am6/9 sound in that part of the lick.

Click on to listen to Joe Move Lick 5

Joe Move Licks 6

You’re now going to review one of the vital standard sides of Joe’s taking part in, chord soloing.

This primary Joe Move chord lick contains a descending iim7 line that resolves to the V7 chord.

In typical trend, Joe makes use of a Bb7 to create a half-step decision to the A7 chord, including within the pressure that his taking part in is understood for.

The primary three chords have some leaps between them, so take it sluggish when first studying this line.

Make it possible for it sounds clean, and that every chord is linked to the following with none “hiccups” in between.

Click on to listen to Joe Move Lick 6

Joe Move Licks 7

Right here’s a basic Joe Move chord lick to review in your observe routine.

The phrase within the first half of the primary bar is quintessential Joe, and one which he used rather a lot in his chord solos.

It’s an thought that matches properly into the bigger scheme of this phrase, and can be price extracting and studying in different contexts.

A observe concerning the fingering of the primary Gm7 voicing that happens on the second beat of the primary bar.

Many guitarists prefer to play that chord with 4 fingers, 1-4-2-3, but it surely’s a lot simpler, with some observe, to play this concept with solely three fingers, 1-3-2-2.

Baring with the second finger is difficult, and takes some observe to get down, however is price it in the long term.

From there, the primary bar is repeated up Three frets, creating pressure over the V7 chord, earlier than resolving right down to the Fmaj7 chord on the finish of the road.

Click on to listen to Joe Move Lick 7

Joe Move Licks 8

This phrase may be very typical of Joe’s chord soloing.

It options an ascending group of three-observe chords on the iim7, shapes that may be present in nearly each Joe Move chord solo.

These chords then resolve with a descending chromatic melody line on the V7, resulting in the Imaj7 chord in bar two.

The chords within the first two beats are pairs of triads, Bb and C, which is a typical sound that’s present in loads of well-known gamers’ solos.

As properly, the primary C7 voicing is a C13 with no root, voiced as an Em11b5 chord.

That is additionally a sub that Joe and many different gamers like to make use of of their comping and chord soloing.

Click on to listen to Joe Move Lick 8

Joe Move Licks 9

One other basic Joe Move chord sound is double-stops.

This run is constructed off of a sequence of 6ths operating down a C9 arpeggio. Right here’s the place Joe differs from loads of different jazz guitarists relating to double-stops.

Usually, cats would run up or down a scale utilizing double-stops, usually 3rds or 6ths.

However, in Joe’s case, he likes to additionally run down arpeggios utilizing two-observe harmonizations.

This line is difficult to get down, particularly at a fast velocity.

However, after you have it beneath your fingers, it provides a pleasant contact to your dominant chords, particularly within the context of a bluesy phrase.

Click on to listen to Joe Move Lick 9

Joe Move Licks 10

Although the primary 5 licks on this part had been pretty diatonic, Joe liked to make use of chromaticism in his chord solos.

This development is a ii-V-I from a Blues in Bb, although when you play the primary chord you notice that he’s utilizing a sub over the Cm7, on this case a C7. The C7 capabilities as a V7/V7, and is a favourite for a lot of nice jazz guitarists.

As properly, within the second bar Joe switches to a Cm7 chord for the primary two chords, then jumps to a Gb7 from a Gm7, which resolves to an F7, earlier than lastly making his technique to the Bb7 chord in bar three.

This sort of chromatic method, transferring from Cm7-Gm7-Gb7-F7, is one thing Joe used rather a lot and is a vital sound for any jazz guitarist who’s trying to dig deeper into Joe’s taking part in.

Jimmy Raney Licks

Jimmy Raney is a bebop guitar legend, and a real grasp of bebop type soloing on the guitar.

Due to his mastery of the style, he’s an unlimited useful resource for examine when engaged on creating your jazz guitar soloing chops, and particularly bebop vocabulary.

Having changed Tal Farlow within the Crimson Norvo group, Jimmy went on to change into on of probably the most influential jazz guitarists of his era.

Although he suffered from a situation that precipitated him to step by step change into virtually deaf in each ears, that didn’t cease him from taking part in for his whole life.

On this part, you be taught 5 Jimmy Raney licks that dig into enclosures, octave displacement, modes, and different attribute Jimmy Raney sounds.

Jimmy Raney Lick 1

The primary phrase is a 3-bar ii-V-I development in the important thing of D main, which options a few basic bebop strategies.

In bar one, discover the D#, which is the maj7 over Em7.

Utilizing the maj7 towards a m7 chord to create pressure, is a bebop approach that Jimmy utilized in his traces.

The second merchandise to note is the Phrygian dominant scale in bar two.

The Phrygian dominant scale is used to deliver a b9 pressure observe to the V7 chord on this lick.

Click on to listen to Jimmy Raney Licks 1

Jimmy Raney Lick 2

The second phrase is a reasonably simple quick, two bar, ii-V-I development in the important thing of G main.

It is a stable phrase to be taught when engaged on outlining quick ii-V-I’s, the place the chords transfer by shortly and the place it’s exhausting to easily run scales or arpeggios over the modifications.

Aside from the diatonic scale, G main, getting used, there’s a basic bebop phrase on the finish of the primary bar.

This lick leads into bar two, E-G-E-F-F#, and you’ll be able to observe it additional as you deliver this bebop phrase into your solos.

Click on to listen to Jimmy Raney Licks 2

Jimmy Raney Lick 3

On this quick, minor ii-V-I phrase in the important thing of Gm, you see voice-main used to stipulate the primary two chords within the development.

The voice main right here makes use of the b7 of Am7b5 to maneuver to the three^rd of D7alt, G-F#.

As properly, there’s an octave skip from F#-F# in bar 2. When soloing over ii-V progressions, highlighting the motion from the b7 of the ii chord to the three^rd of the V7 chord is a good way to sound the modifications in your traces.

As properly, octave displacement, is one thing that you should use to “reset” your line, with the intention to proceed your thought with out operating out of room on the neck in a single route.

Click on to listen to Jimmy Raney Licks 3

Jimmy Raney Lick 4

Right here’s a 4-bar Jimmy Raney maj7 lick that you should use to boost your longer Imaj7 concepts.

You can too break this lick aside to create smaller traces from every bar on this phrase and apply them to shorter, 1-2 bar, maj7 chords.

Discover in bar three that there are two passing notes, the F and Eb, creating a protracted, chromatic phrase from the maj7, F#, to the 5^th, D, over the chord. In any other case, this lick makes use of solely notes from the key scale.

Click on to listen to Jimmy Raney Licks 4

Jimmy Raney Lick 5

On this remaining Jimmy Raney lick, you discover an octave displacement in the beginning of the phrase, adopted by an enclosure in bar two.

Enclosures have numerous variations, however on this lick it’s constructed by taking part in one fret above, then one fret beneath, then your goal observe, on this case the foundation observe, E, of the V7 chord.

To be able to get a Jimmy Raney vibe in your solos, engaged on octave displacement is an efficient step in that route, as you’ve gotten seen it used twice in these 5 pattern licks.

Emily Remler Licks

Although she left this world too early, Emily Remler grew to become often called one of many prime jazz guitarists of her era throughout her lifetime.

With a powerful affect from Wes Montgomery in her soloing, Remler put her personal private stamp on the Wes sound as she developed as a participant.

Remler’s soloing was energetic, possessed a powerful sense of swing, and was chalk stuffed with bebop vocabulary.

On this part, you examine the soloing ideas of considered one of jazz’s best bebop gamers, Emily Remler.

Emily Remler Licks 1

On this first Emily Remler lick, you be taught a typical ii V I phrase in the important thing of G main.

Discover the primary 4 notes, G-B-A#-B. This leap down, then a decrease-neighbour observe, is a basic bebop approach.

It may be heard within the taking part in of Wes Montgomery, and after all in Emily’s taking part in.

You possibly can leap down to numerous intervals, however on this case you’re outlining the tonic chord, Gmaj7.

The A# is a blues observe, Bb, making a Bluesy sound over the ii V I .

Click on to listen to emily remler licks 1

Emily Remler Licks 2

Transferring right into a minor ii V I lick, right here’s a phrase that makes use of the A minor pentatonic scale to stipulate the iim7b5 chord.

The A7alt chord options typical altered 9^th intervals that then resolve right down to the Dm7 chord.

This phrase over A7alt is a really conventional bebop line which you can take out of this lick and add to different areas of your jazz soloing.

Click on to listen to emily remler licks 2

Emily Remler Licks 3

Right here’s a rhythmic based mostly line that’s typical of Remler’s soloing method.

There are a number of chord subs getting used, diatonic arpeggios and triads, as properly on this phrase.

Principally, the road is predicated on the triplet and 8^th-note sample which you can hear in bars two and three of the lick.

Although she had unimaginable chops, Remler all the time maintained a way of rhythmic focus and melodic improvement in her solos.

Click on to listen to emily remler licks 3

Emily Remler Licks 4

This arpeggio line is typical of Remler’s taking part in, but in addition that of saxophonist John Coltrane.

Utilizing a triplet rhythm, this sample climbs up the Em7 arpeggio earlier than you resolve with a blues lick within the third bar.

Once more, you’ll be able to usually create curiosity with a diatonic sample comparable to this one, not wanted to step exterior to be inventive in your solos.

For those who get pleasure from this sample, use it to observe any arpeggios you might be studying within the woodshed.

Click on to listen to emily remler licks 4

Emily Remler Licks 5

To complete, right here’s a double-time lick in a typical Emily Remler type.

There’s not loads of melodic materials that you just haven’t seen in different traces on this lesson, however the line nonetheless has a attribute Remler sound.

It is a large lesson to be taught.

Even for those who’re utilizing materials that different’s have performed, you’ll be able to nonetheless deliver a novel and private contact to that conventional materials.

Adam Rogers Licks

Adam Rogers is one a standout guitarist that has a really fashionable sound, but in addition a foothold within the jazz custom on the similar time.

Due to his understanding of each conventional and fashionable jazz concord, Adam is a superb participant to review when engaged on jazz guitar improvisation strategies.

Recognized for his work with Michael Brecker and Chris Potter, Adam has additionally launched memorable albums of his personal as a bandleader.

The Adam Rogers licks beneath make it easier to perceive the ideas that Adam makes use of in his taking part in, exploring fashionable jazz strategies on the similar time.

Adam Rogers ii V I Licks 1

On this first line, a brief ii V I in F main, you’ll be able to see considered one of Adam’s favorite modal colours, the 7alt Chord.

On this case, it’s getting used to stipulate the Gm7-C7, focussing on the half-step decision between Ab-G, E-Eb, Db-C and Bb-A in that part.

When put collectively, these notes add as much as the third Mode of the harmonic main scale.

If that’s a bit superior for you at this level in your improvement, consider it as transferring down by half-steps to chord tones, each diatonic just like the fifth (G) and root (C), or altered notes such because the #9 (Eb).

Enjoying the 7alt sound over each the ii and V is a good way to simplify your thought course of, whereas outlining the underlying key heart on the similar time.

Click on to listen to Adam Rogers Licks 1.

Adam Rogers Licks 2

On this lengthy Adam Rogers ii V I lick, the fascinating bit includes the chords being outlined over C7 within the second measure.

A giant fan of fascinating chord subs and superimpositions, Adam’s taking part in is filled with these kind of traces, the place one chord is used to create new colours over the given concord.

By taking part in Abmaj7 over C7, the road outlines the intervals b13-R-#9-5, or two diatonic notes and two notes from the 7alt sound.

As properly, the D7 chord that’s superimposed over the second half of that bar helps to deliver a Lydian dominant scale sound, 7#11, to the road.

Enjoying a 7^th arpeggio from the two^nd observe of a chord, comparable to D7 over C7, is a good way to deliver that 7#11 sound into your traces with out taking part in a scale-based mostly thought.

Click on to listen to Adam Rogers Licks 2.

Adam Rogers Licks 3

The following Adam Rogers impressed ii V I lick you’ll take a look at includes a cool sub over the Gm7, iim7, chord within the first bar of the phrase.

Right here, there’s a typical sub getting used to create pressure over Gm7 that then resolves to the C7 chord within the subsequent bar.

Enjoying bVI7 V7 Imaj7 as an alternative of iim7 V7 Imaj7 is a good way to deliver pressure to your ii V I traces, whereas correctly resolving these tensions on the similar time.

Click on to listen to Adam Rogers Licks 3.

Adam Rogers Licks 4

Adam possess unimaginable approach, which is showcased in his double-time licks.

Right here’s an instance of a double-time Adam Rogers lick that makes use of a number of chord subs over the iim7 chord.

Right here, there are A7 and Eb7 chords used to create pressure over the Am7 chord. That pressure then resolves into the D7 chord on the finish of the phrase.

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Adam Rogers Licks 5

In addition to taking part in exterior sounds, Adam can be a grasp at creating easy, melodic phrases.

These phrases add distinction to his extra exterior sounds, including context to the within and exterior sections of his solos.

Right here’s a typical Adam Rogers melodic line, constructed from a G main pentatonic scale.

For those who’re all the time taking part in exterior, then exterior will finally change into regular.

Utilizing melodic, inside traces comparable to these will assist maintain your exterior traces sounding exterior.

Kurt Rosenwinkel Licks

In all probability the largest identify in fashionable jazz guitar, Kurt Rosenwinkel has change into a dwelling legend on the instrument prior to now 20 years.

With a combination of requirements and unique compositions, Kurt has coated loads of floor throughout his recording profession.

Having developed an unique sound and found new improvisational instruments in his taking part in, Kurt’s solos are immediately recognizable as his personal.

On this part, you examine 5 licks that showcase the completely different ideas that Kurt likes to make use of in his jazz guitar solos.

Kurt Rosenwinkel Licks 1

On this first Kurt Rosenwinkel lick, you see how Kurt makes use of triads and triad pairs to create pressure and launch over a transferring chord development.

Discover the primary and third bars. Right here, there are main triads from the b5 and #5 of the underlying dominant chord.

When taking part in over 7^th chords, you’ll be able to create an altered scale sound by taking part in main triads from the b5 and #5 of that chord.

Although triads typically appear elementary, they’re used to stipulate modifications by each fashionable and conventional jazz guitarists of their solos.

Click on to listen to kurt rosenwinkel licks 1

Kurt Rosenwinkel Licks 2

One other means that Kurt makes use of triads in his solos is making use of diatonic triads with a rhythmic sample over chord progressions.

You possibly can see an instance of this within the following lick, over a Bm7 chord.

This lick makes use of diatonic triads from the B melodic minor scale.

Because the triads climb up the neck, they repeat a rhythmic sample that Kurt loves to make use of in his taking part in, and that Invoice Evans additionally utilized to his piano solos.

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Kurt Rosenwinkel Licks 3

One among Kurt’s favourite methods to create depth in his traces is to run a lick throughout a variety of the fretboard.

On this ii V I line, you see how Kurt would stretch throughout all six strings, and from the 7^th to the 17^th fret, masking 10^th frets in three bars.

Watch the fingerings on this lick, there are a selection that you should use, experiment and discover the one which works finest for you.

Click on to listen to kurt rosenwinkel licks 3

Kurt Rosenwinkel Licks 4

On this double-time Kurt Rosenwinkel lick, you see a typical scale-based mostly line over an Em7 chord. Discover that the Aeolian mode is used over this chord.

Although Dorian is commonly the go to selection for a lot of jazz guitarists over m7 chord, Kurt experiments with Dorian, Aeolian, melodic minor, and extra when soloing over minor chords.

Go sluggish with this lick, and as all the time use a metronome as you construct up the velocity with this scale sample.

Click on to listen to kurt rosenwinkel licks 4

Kurt Rosenwinkel Licks 5

Aside from being an completed single-observe participant, Kurt additionally makes use of loads of chords in his solos.

On this Kurt Rosenwinkel lick, you see how Kurt would use chords to interrupt up his single-observe traces.

With this method, you’re making a two-arms of a piano method to soloing.

That is the place you play single notes, proper hand, then play chords, left hand, on the guitar.

John Scofield Licks

Some of the well-known jazz guitarists of any era, John Scofield has change into recognized for his distinctive method to jazz funk guitar.

Although his jazz funk and fusion taking part in is well-known, Sco additionally has recorded quite a lot of basic bebop influenced tunes and information.

It’s this selection in his taking part in; from conventional to extremely fashionable and the whole lot in between, that makes Scofield a fan favourite on right now’s scene.

On this part, you examine quite a lot of attribute Scofield soloing ideas over frequent chord progressions.

John Scofield Licks 1

This primary John Scofield lick makes use of a Lydian dominant scale to stipulate an Ab7 chord.

As Sco performs over loads of vamp chord progressions, utilizing ideas comparable to 7#11 scales is a good way to create curiosity over a static chord.

Although it’s not probably the most exterior line, getting a number of Lydian dominant licks beneath your fingers make it easier to develop your vocabulary over 7^th chords.

Click on to listen to john scofield licks 1

John Scofield Licks 2

Transferring on, right here’s an instance of the Lydian scale getting used to paint a Cmaj7 chord with a Cmaj7#11 sound.

As properly, there’s a attribute blues observe in bar one, and an idiomatic bebop sample in bar two.

Although Sco is understood for his fashionable jazz and jazz funk taking part in, he additionally possesses a powerful bebop vocabulary in his solos.

Click on to listen to john scofield licks 2

John Scofield Licks 3

On this John Scofield lick, you be taught a protracted, diatonic run over a Dm7 chord.

Utilizing solely the Dorian scale, this line will be performed at medium to quick songs with 8^th notes.

Or, if you wish to use it over slower tempos, you’ll be able to play it as a double-time lick, altering the 8^th notes to 16^th notes within the course of.

Click on to listen to john scofield licks 3

John Scofield Licks 4

Aside from being a terrific vamp participant, Scofield can define ii V I’s with the very best of them.

On this line, you see a G7 chord getting used as a sub over the iim7 chord, Gm7.

It is a secondary dominant chord, because it capabilities because the V7/V7 on this development.

There’s additionally a #5 interval, D#, used to paint the G7 sub, and a C7alt sound within the second half of the second bar.

Utilizing pressure notes comparable to these is a technique Scofield creates curiosity in his ii V I traces and solos.

Click on to listen to john scofield licks 4

John Scofield Licks 5

On this remaining John Scofield lick, you see a Lydian dominant sound being utilized to a double-time C7 line.

In addition to utilizing the #11 interval, this line options the b3 blues observe.

Scofield is commonly considered a melodic participant, however he additionally has a ton of chops at his disposal.

Having chops and utilizing them sparingly is one thing that makes Scofield top-of-the-line within the enterprise.

Johnny Smith Licks

Not as properly often called a few of his extra well-known contemporaries, Johnny Smith is likely one of the most completed guitarists of the 20^th century.

From his work within the jazz world, to arranging for NBC, to debuting classical items with among the prime musicians in New York, Johnny construct a formidable profession at a younger age.

Although he left New York for a quieter life in Colorado on the peak of his profession, Johnny’s music continued to encourage generations of gamers that got here after him.

On this part, you be taught 5 basic Johnny Smith licks and the ideas he most well-liked to make use of in his improvised solos.

Johnny Smith Licks 1

On this first Johnny Smith lick, you’ll see the A7alt chord getting used to stipulate the ii-V chords in a D minor ii V I chord development.

When soloing over ii V modifications, you’ll be able to play the ii for each chords, the V for each chords, or define each chords in your solos.

One of many selections that Johnny Smith appreciated to make was utilizing the V7 chord over each modifications, comparable to you’ll be able to see right here.

Lastly, try the Dm7 run, which is a typical, lengthy-vary Johnny Smith line.

Click on to listen to johnny smith licks 1

Johnny Smith Licks 2

On this typical Johnny Smith lick, you employ triplets to solo over a Bm7 chord.

Discover the A#, main tone, within the first triplet, as that is used to guide into the foundation observe, ascending the Dorian scale from there.

As properly, there’s a G# passing observe within the second bar, beat 2, that’s used to interrupt up the diatonic nature of the road.

Click on to listen to johnny smith licks 2

Johnny Smith Licks 3

On this ii V I Johnny Smith lick, you see a Gm7-C7alt sub getting used over the C7 chord.

As was the case earlier on this part, you used the V7 to solo over the ii and V chords.

On this line, you employ the iim7 chord over the V7 chord within the first half of the second bar.

As properly, there’s a blues observe, b3, which kicks off the Fmaj7 chord within the final bar of the lick.

Click on to listen to johnny smith licks 3

Johnny Smith Licks 4

Right here, the V7 chord is used to solo over each the ii and V in a minor ii V I chord development.

As properly, the second bar options the A melodic minor scale, considered one of Johnny’s favourite m7 colours to make use of in his solos.

Utilizing the melodic minor over m7 chords will create pressure.

However, for those who resolve that pressure appropriately, as Johnny does, you’ll be able to deliver this colour into your solos with confidence.

Click on to listen to johnny smith licks 4

Johnny Smith Licks 5

On this remaining Johnny Smith lick, you see a basic bebop impressed line over the 7^th and Eight bars of an A blues development.

Discover the blues notes, b3 and b5, within the first bar, used to deliver a blues vibe to the road.

As properly, there are two enclosures over the F#7b9 chord.

Soloing over the VI7b9 chord in a jazz blues development will be robust to work out at first.

However, with time, and a number of basic traces like this, you’ll be able to nail that chord change in your solos.

Mike Stern Licks

From his early days with Miles Davis, by his time with Michael Brecker and onto the highest of the jazz guitar world, Mike Stern is likely one of the most recognizable names within the style.

With an unlimited library of bebop vocabulary, and whole command over the fusion style, Mike’s taking part in straddles the fence between the jazz custom and present traits.

On this part, you examine either side of Mike’s taking part in, conventional and fashionable, by 5 basic Mike Stern licks.

Mike Stern Licks 1

The primary Mike Stern lick is an instance of his deep bebop information as utilized to a minor ii V I development.

Moreover the altered notes in bar 2, there aren’t loads of exterior sounds occurring right here.

That is only a simple instance of the bebop facet of Mike’s taking part in.

Click on to listen to mike stern licks 1

Mike Stern Licks 2

On this Mike Stern ii V I lick, you see an A7alt sound getting used to paint the V7 chord.

Utilizing 7alt sounds over a serious key V7 chord is one thing that many jazz guitarists use of their solos, together with Mike.

As properly, there’s a #11 interval on the finish of the road.

Usually you move by #11 intervals in your traces, however Mike isn’t one to draw back from highlighting colour tones in his traces.

Click on to listen to mike stern licks 2

Mike Stern Licks 3

Transferring ahead, right here’s a typical Mike Stern lick that makes use of quite a lot of broad intervals over a ii V I in G main.

Take your time with this lick.

Although it’s solely written in 8^th notes, these broad leaps can wreak havoc in your choosing hand.

Use a metronome, go sluggish, and experiment with completely different fingerings and fretboard positions for this lick if wanted.

Click on to listen to mike stern licks 3

Mike Stern Licks 4

One among Mike’s favourite licks is to run up from the 6 to the foundation on the prime of a m7 arpeggio line.

You possibly can see an instance of this method right here, the place the Em triad is performed beneath the transferring melody line.

After you’re employed out this line, you’ll be able to velocity it up and play it with 16^th notes, in addition to apply it to the iim7 chord in a ii V I chord development.

Click on to listen to mike stern licks 4

Mike Stern Licks 5

The ultimate Mike Stern lick makes use of diatonic arpeggios from the E Melodic Minor scale to stipulate the ii and V chords in a ii V I in D.

Utilizing the E melodic minor scale over Em7 might be not new, however persevering with it over the V7 chord brings a Lydian dominant sound to your traces.

For those who’re soloing over a ii V, play a melodic minor scale from the iim7 chord over each modifications.

It is a typical bebop method to soloing over ii V chord modifications.

Click on to listen to mike stern licks 5

Mark Whitfield Licks

One of many lesser recognized, although extremely deserving, guitarists on this checklist, Mark Whitfield is likely one of the younger lions who introduced jazz into the ’90s and new millennium.

Extremely influenced by Benson and Montgomery, Whitfield’s time, vocabulary, and creativity made him one of many prime younger gamers of his era.

At a time when fashionable jazz was the place the scene was headed, Whitfield constructed a profession by taking part in bluesy, bebop based mostly tunes, with a command of the instrument that few of his friends possessed.

On this part, you be taught 5 licks within the type of this nice, fashionable bebop participant.

Mark Whitfield Licks 1

To start, right here’s a bluesy Mark Whitfield lick over a C7 chord that you should use in your jazz blues soloing, or to deliver a bluesy sound to the V7 chord in a ii-V-I development.

Discover the 2 blues notes used on this lick, F# (b5) and the Eb (b3).

These are generally present in Mark’s taking part in, and are a good way so as to add a blues sound to your Dominant 7^th soloing traces.

Click on to listen to mark whitfield licks 1

Mark Whitfield Licks 2

One of many rhythms that comes up in Mark’s taking part in are triplets.

This lick outlines a C7 chord, with many of the notes coming from the C7 arpeggio, with the 4^th, F, used to create motion between the three^rd and 5^th of the chord.

As properly, discover that when the three^rd seems, the observe E, it’s approached from beneath with the blues observe Eb sliding as much as the E.

That is one other technique to deliver a bluesy, Mark Whitfield vibe to your traces.

Click on to listen to mark whitfield licks 2

Mark Whitfield Licks 3

Whitfield additionally has a powerful management of the bebop language, which you’ll be able to see on this turnaround lick in C.

Right here, you will note the “Girl Chook” turnaround being subbed over the underlying turnaround.

The Girl Chook turnaround comes from the Tadd Dameron tune of the identical identify, and makes use of a tritone sub dominant 7^th chord for the VI7, iim7 and V7, within the unique modifications.

When doing this, you create a I7-bIII7-bVI7-bII7 development that creates pressure over the tune, earlier than resolving this pressure to the I7 chord on the finish of the road.

Click on to listen to mark whitfield licks 3

Mark Whitfield Licks 4

An identical bluesy lick to the final one, this lick makes use of a double cease in the beginning of the road, which is one thing that you just hear rather a lot in Mark’s taking part in.

Double stops are a good way so as to add a second texture to your solos, past single notes, in addition to deliver a bigger sound to your improvised traces and phrases.

Click on to listen to mark whitfield licks 4

Mark Whitfield Licks 5

To complete your examine of those idiomatic Mark Whitfield licks, here’s a ii-V-I turnaround that makes use of a bluesy sound in its development.

Discover the C main blues sound within the first bar, adopted by the C minor blues sound that seems within the second bar.

Mixing the key and minor blues scale is a good way to deliver a bluesy sound to your ii-V-I soloing traces and phrases.

Click on to listen to mark whitfield licks 5