We’ve done a lot of work with arpeggios and the bebop scale. It’s now time to combine the two devices for a musical, articulate sound. To do this we’re going to start by ascending arpeggios from each chord tone and then descending the bebop scale. This is a common sound and you can use it to write your own lines and licks. Once again we start our structured approach by ascending the E minor 7 arpeggio from the root to b7. We then descend 4 notes down the bebop scale to land on ‘G’ the b7 of A7. We ascend the Bb diminished arpeggio to the octave of the b7 (G) and we then descend the bebop scale to land on the major 7th of the D Major Chord (C#), finally jumping down to the A for a real bebop flavor.
This is shown in figure and audio example 9a. Next we begin on the b3 of the E minor (G) and ascend the arpeggio to the 5th (B) and descend the bebop scale again until we hit the b7 of A7. We descend the Bb diminished arpeggio to the b9 of A7 and continue scalically down the bebop scale with a little bounce off to the 3rd of D Major.
Study figure and audio example 9b. Figure and audio example 9c is another example from the 3rd of E minor that hits the 3rd of A7 and a chromatic approach note pattern into the 3rd of the D Major: Figure and audio example 9d ascends from the 5th of E minor 7, ascend the arpeggio from the 5th to the 3rd, play the A on the top string and descend the bebop scale to the 5th of A7 (E) Here we play a chromatic approach note into the 3rd and descend via the b9 and bebop scale with a cool little chromatic jump to the 3rd of the D Major 7. Figure and audio example 9e is an example from the b7 of the E minor: Ascend the arpeggio from b7 to b3, descend the bebop scale. Chromatically approach the 5th of the A7 chord (E) Ascend the Bb diminished arpeggio to the 5th again and descend to the 5th of the D major 7 chord. I’ve given you one or two examples for each arpeggio tone but I expect you’re anxious to create your own lines and make your own playing unique and fluid. How can you be creative with this important concept? It is an important stage to learn and play the lines above with confidence as they’re a great place to start.
There is a reason I have written out the theory behind the construction of the lines; it’s so you understand what’s happening technically to help develop your own voice. Have patience and determination to learn and understand these lines before embarking on your own voyage of discovery. When I was writing these ideas I sat with my guitar and said to myself; ‘ok what happens when I ascend 4 notes up an arpeggio and descend a bebop scale?’ Then I spent some time figuring out some lines. I didn’t stick to this rule too hard as you’ll see if you really study the lines above. This was however my starting point and everything developed naturally from there. When you’re writing your own lines how about these ideas to get you going?
Ascend 3 notes up an arpeggio and descend the bebop scale. Ascend 4, ascend 5 etc. Skip intervals, instead of 1, b3, 5, b7, try 1, 5, b3, 7, figure and audio example 9f. Skip intervals 1 – 5 and then descend the bebop scale, figure and audio example 9g. Add in chromatic approach note patterns, figure and audio example 9h.
Begin on beat 2, beat 3 or beat 4 9F 9G 9H. Play a chromatic approach note on the off-beat before your first arpeggio tone, figure and audio example 9i There are so many possible combinations so for now just pick one idea at a time. If you like it write it down, there’s blank music paper at the back of this book to get you started and lots of free resources online for printing your own paper. Remember, there is no way to cram in every idea in every lick. Keep it simple for now and try to think of this lesson as a chance to internalize the sound of the bebop scale in conjunction with arpeggios.
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Checking out bebop jazz guitar licks is a huge part of learning a style of music like Bebop. This also means out how to incorporate what makes them Bebop Guitar them into your playing. This would be true both for phrasing and specific arpeggios, chromatic enclosures that are being used in Bebop. In this video I will go over 3 good examples of Bebop Jazz Licks, and then I will analyze them and talk about how they are constructed and what the building blocks of this type of jazz lick is.
The Bebop Dominant Since the bebop style is very focused on dom7th chords I have made examples of V I progression in the key of G major. It is of course also possible to use these on a II V I in G major. In general the people who play bebop and teach it (like Barry Harris) will focus more on the dominant than the II chord in a cadence. Bebop Jazz Guitar Lick #1 One of the really common Bebop phrasing ideas is to use 16th note scale runs in the middle of an 8th note line to create some variation. The first example here below has this in the middle of bar 1.
The easiest way and to play this and get it to sound good in terms of phrasing is to use pull offs towards the target note. Another very common device is using chromatic enclosures which what you see in the 2nd half of bar 1. The enclosure is used to target and emphasize the 3rd of D7 on the 1 of the 2nd bar. The first half of the 2nd bar is in fact just a D7 arpeggio, but the line is constructed by playing a descending D7 arpeggio and then displacing the last three notes an octave. This yields a very beautiful and melodic 6th interval between the F# and the D.
At the end of the line I included a D augmented triad that nicely resolves to the 9th(A) of Gmaj7. To practice playing the 16th note trills with legato you can take this exercise through a position of 3 notes per string major scale. I have only written out the first 3 string sets. Bebop Jazz Guitar Lick #2 This example contains two ideas that you will find in a lot of bebop lines. The first is playing a 7th arpeggio with a triplet, which is how the line starts.
In the line I am playing a descending Em7 arpeggio. From here the line skips back to A for a descending scale run. In the 2nd bar you’ll first hear a 16th note triplet trill between root and b9. This is again executed with legato. From here the line continues down the arpeggio.
Inserts a leading note a half step below the 3rd of D7 and uses another octave displacement before resolving to the 3rd(B) of G The triplet idea can be practiced in position as shown in the exercise here below. It’s an extremely good alternate picking exercise if you use that technique and will also work really well with sweeping (as I demonstrate in the video) To work on the trill (and work on your legato technique) you can do this exercise which is taking the trill idea from the line above through a G major scale position. Bebop Jazz Guitar Lick #3 The ascending 7th chord arpeggio with an added leading note is a very typical for bebop licks.
In this example I am using that on an F#m7(b5). F#m7(b5) is the arpeggio from the 3rd of D7 and a great arpeggio to use over a D7.
From the high E I add a chromatic leading note and make a short chromatic run before going to C on the 1 of bar 2. The 2nd bar is first a descending Cmaj7 arpeggio that then continues to the b9(Eb) on beat 3. From here the line uses octave displacement and continues with a line to resolve to the 3rd of G, and tagging it with a G.
Another trademark bebop move. To practice the arpeggios you can of course take them through the scale. There are several ways to do this, one of them is shown here below. Making new licks with the building blocks The main point of this lesson is of course that you can start making your own lines that sound more like bebop. To demonstrate how you might do that I have included two bebop licks that are constructed from the ideas that I used in the first three licks. Derived Bebop Lick #1 In this first line I start with the opening idea from Lick no 3, but now I am using it on a D7 arpeggio.
This is followed by a 16th note scale run fill as in the first example. In bar 2 I continue with a descending scale run. This leads into the 3rd of D7 where I use the same octave displacement idea that I used in Lick no 2, only now played an octave higher.
In this way we end up with the lick shown here below: Derived Bebop Lick #2 In the last lick I am starting with the 16th note trill idea from Lick no 1. This is followed by a scale run that leads into two arpeggios chained together, an Am7 and a F#m7(b5).
The line ends with the “bebop” ending that resolves to a D and then drops down to the 9th(A) I hope you can use these exercises and building blocks and the process to start incorporating some more bebop into your lines. Bebop is a very rich melodic language with a great amount of things you can use even in more modern bop based jazz guitar solos. Get a Free Ebook If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for. Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.
The dominant bebop scale is the most popular of the bebop scales, it is an octatonic scale (it contains eight notes). It is widely used in bebop music. This scale has the same notes as the including a major seventh, chromatic passing tone between the minor seventh ( b7) and the root (1). It is commonly played over dominant chords. For example, in the key of C major, G is the dominant, that means this scale can be played both over G7 and over Dm7 the second chord of the C major scale, very helpfull when you have to improvise over a II-V sequence. G Dominant bebop scale G A B C D E F F# Formula 1 2 3 4 5 6 b7 7 Intervals W W H W W H H H. This is the first dominant bebop fretboard guitar diagram and fingerings (suggested). To hear this scale correctly, it is recommended to play these patterns by starting with the lowest root (R) and to play them by ascending and descending movement. For example, to play the A dominant bebop scale starting on the lower root you must put your second finger on the sixth string at the fifth fret.
The fingering diagram on the right indicates that you have to put your third finger on the root, this is in case you would start from the minor seventh ( b7). Playing the corresponding chord after or before these patterns is a nice way to bring scales and chords together. Be sure to play these patterns in twelve keys.
This second pattern has its roots (R) on the fifth and the third string. For example, to play the D dominant bebop scale using these diagrams starting with the lowest root (R) you must put your first finger on the fifth string at the fifth fret. Like the previous pattern, the fingering diagram on the right indicates that you have to put your third finger on the root, this is in case you would start from the minor seventh ( b7).
Once again, be sure to play this pattern in twelve keys, ascending and descending. Here are some and a to practice.
Get the FREE Tab PDF here: Please subscribe to my channel for more jazz guitar lessons! =) Lesson Explanation: This jazz lick combines 2 different arpeggios: a) Amin7 - (A C E G) b) F(b9/13) - (F# A C E G B) and the D Mixo Bop OR D7 Bebop scale: D E F# G A B C C# D The idea is to play the arpeggio and when descending to play the bebop scale downwards starting on a chord tone on the downbeat. From this one concept, you can create many other lines.
Practice this line slowly first and then with the metronome, learn to play it faster and more fluid. Take your time. In addition to working on this line, try writing your own lines and licks to get more benefit from this lesson. If you're really up for a challenge, learn each line in as many positions as possible on the guitar and play it in different keys.
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Solo over the blues like your favorite players. Learn to comp and walk bass lines over blues tunes.
Break out of box patterns and “jazz up” your blues. Over 115 audio examples to make learning fun and easy. The Easy Guide to Jazz Guitar Arpeggios PDF eBook (printable) 182 pages guitar tabs, notation, audio & backing tracks Using arpeggios is the most direct way to get a jazz sound in your solos. The Easy Guide to Jazz Guitar Arpeggios is a step-by-step approach that teaches you the fingerings, knowledge, exercises, and common phrases, you need to confidently solo over any set of jazz chord changes. Must know arpeggio shapes for maj7, 7, m7, m7b5, dim7, and mMaj7.
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How to use arpeggios to solo over chords and common chord progressions. Exercises to build your knowledge of arpeggios in a technical and improvisational context. Over 100 audio examples and backing tracks.
How to Play Like Wes Montgomery PDF eBook (printable) 196 pages guitar tabs, notation, audio & backing tracks Wes Montgomery is considered by many guitar players to be the greatest jazz guitarist ever. With this ebook you too can be inspired by Wes Montgomery's playing as you learn how to play lines, octaves, chords and tunes in the style of 'The Thumb'. Learn classic Wes Blues lines and phrases. Study Wes' common scale and arpeggio choices.
Get Wes Montgomery's octave and chord soloing approach under your fingers. 158 audio examples to get these concepts in your ears and fingers. Our are the center of this website and cover a great variety of topics, for beginners as well as for the guitar pro.
All lessons are illustrated with guitar tabs, traditional notation and audio, some have video as well. Some lesson examples:. How to use guitar scales in jazz. Advanced use of the pentatonic scale. How to play bebop, latin, blues guitar & Rhythm Changes.
Arpeggios for Guitar. Guitar technique exercises to develop speed and dexterity. How to play jazz standards from the Real Book like Autumn Leaves, So What, Take Five. Video Guitar Lessons: Stella by Starlight, There Will Never Be Another You.
Guitar lessons for beginners: How to Read Guitar Tabs, The Major Scale, How to Improvise a Guitar Solo. The is a collection of guitar riffs, licks and patterns in the style of over 45 master jazz guitar players such as Pat Metheny, George Benson, Bill Frisell, Django Reinhardt, John McLaughlin, Stevie Ray Vaughan, Joe Pass, Al Di Meola, Mike Stern, Les Paul, John Scofield, Charlie Christian, Wes Montgomery, but also jazz greats such as Louis Armstrong, Miles Davis, Charlie Parker, Duke Ellington and John Coltrane. It's the ultimate guitar lick collection to use as an inspiration for your guitar solos. In our section, we grouped all the basic guitar chords that are needed to play jazz music. For every chord type there is a free printable guitar chord chart. You can also download the, a free ebook that groups all the basic jazz chords together with the music theory you need to know as a beginning jazz guitarist.
Other chord lessons:. Jazz Chord Progressions.
Blues Guitar Chords. How to Play Fingerstyle Walking Bass. Guitar Chord Inversions. Chord Substitutions. Comping studies on popular jazz standards. In the section you will learn how to get a jazz guitar sound and find answers to questions like:.
How do you choose amongst the range of available jazz guitars?. What guitar amp should you buy?.
How To Play Bebop Guitar
Do you need guitar effects?. Are Fender guitars any good for jazz?. What about guitar strings? Find out how your favorite guitar player gets his signature sound:. What kind of guitar amplifiers does Pat Metheny use?. What type of Gibson guitar did Wes Montgomery play?.
How does George Benson get his sound?. Did Charlie Christian use acoustic or electric guitars?
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