9/3/2019 Bebop Licks Guitar Pdf To Adam
When it comes to becoming a, it’s all about learning jazz language. Learning jazz language can happen in a lot of different ways. Listening to jazz, learning solos by ear, or learning jazz standards.But if you want some quick and helpful rewards for your time investment, learning licks is a great way to go.Licks are short musical phrases, usually played over the context of a chord or chord progression. You can learn them by ear from one of your favorite jazz musicians, from teaching resources, or even create your own.But if you’re not sure what chord progressions you should be learning licks over, look no further.
The 2-5-1 (or ii-V-I) chord progression is the most common in jazz repertoire.Therefore would it be a great idea to learn licks over 2-5-1 chord progressions? The most important thing you can do is learn them, and then practice them the right way.Speaking of practicing, make sure you’ve signed up to receive our free if you want to make sure you are working on the right things.
It will just take a minute to sign up, we’ll send it to you, and you can continue on.So in this lesson, I’m giving you 25 easy ii-V-I licks.My suggestion is to pick one or two of these licks and bring them into all 12 keys. Learning licks in all 12 keys is a great practice because it helps you:. Internalize the music better. Gain flexibility in keys you may be uncomfortable with.Let’s take a look at them. Play through each one, and try to get the feel for them.
If you find one you like in particular, hone in on that one.Hope you enjoy practicing these licks. The more jazz language you learn the easier improvising in jazz gets. You become familiar with the sounds and the chord progressions, and before you know it, it will become second nature.If you need more of the basics of improvising under your belt, check out our eBook which helps you become a great jazz improviser from the ground up.
The PDF!The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: Jazz Guitar Insiders Facebook GroupJoin 1500+ Other Jazz Guitarists ?Join us in the Facebook Jazz Guitar Group Community: you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts, and releases.This entry was posted in, and tagged, on. The most important part of sounding like jazz, whether you play in that genre or in another, is probably to have some Bebop as a part of your playing.This video is going to demonstrate 5 easy bebop licks on a C7 chord in a very position and quickly connect it to a scale and an arpeggio.
I will go over how you can add some bebop flavour and chromatic phrases to your playing in this position. Learning and adding to your vocabularyFinding practical and playable solutions is essential if you want to learn something like the jazz language and this video should give you some easy to apply examples and ideas. This is also how I work and have worked with learning new material. In this example I am using a longer chromatic run on the B string.
On this string we already have 3 strong C7 notes: 5,13 and b7.After a short bluesy phrase with those the lick is descending from b7 to 5 in halfsteps again reconnecting with the chord by playing a descending C major triad at the end. Pivot arpeggios and arpeggios from the 3rdThis example uses two really strong bebop concepts.
First this way of using an arpeggio inversion where I am using Em7b5 in first inversion but starting with the high note and then skipping down. If you want to check out how George Benson uses this I have that in a video here.The other example is adding a chromatic note between b7 and the root which is also extremely common. Get the PDF!You can also download the PDF of my examples here:If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.This entry was posted in, and tagged, on. How to Learn BebopOften when you work on learning bebop all your solos are just up and down scales and arpeggios.
Stitt has some beautiful ways to add variation both melodic and rhythm that I will try to explain in this lesson.On a side note it is also worthwhile checking out this album because Jim Hall is playing on it as well. Sonny Stitt Bebop Lick #1This first example is a clear example of how he isn’t only running up and down.
The first bar is really a descending melody with D, Bb, A, G and F. But he breaks up that movement by adding a lower chord tone: D.
This is similar to some of the ideas that George Benson used in the All The Things You Are line that I talked about in this video:On the C7 Sonny Stitt uses triplets as a variation for the 8th note lines. First a chromatic run from the 3rd(E) to the 5th(G) and then a descending C7 arpeggio.The line ends with a short scale run from A to F. Bebop lines and their constructionIf you have followed any of the classes of Barry Harris then you are probably familiar with the idea of writing lines like this where you have a scale run or an arpeggio and then you add embellishments to it in the form of extra notes, chromaticism etc. This way of thinking is a great way to describe the language which is why I use it here as well.If you want to play lines like this then it is very useful to work on construction them in this way and get the ideas into your ears in that way. From Bop to Bach: Forward motion and Target NotesIf you want to take a closer look at one of my solos with my analysis you can check out this lesson which also includes some thoughts on how to construct solo lines, but then using forward motion and target notes.
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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 DominantSince 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 #1One 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 #2This 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 GThe 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 #3The 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.
Trumpet Bebop Licks
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 blocksThe 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 #1In 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 #2In 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. Saitek calibration tool. Get a Free EbookIf 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.
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