jazz guitar lick
Wes Montgomery was an american guitar jazz player, considered as one of the greatest jazz guitarist of all time. He has influenced and influence again a lot of jazz guitarists. His playing is characterized by the use of his thumb instead of a pick with incredible dexterity. His guitar solos are gold mines for jazz guitar students.
He often approached his guitar solos by following the same chords progression in three ways and in the same order:
- In single note lines using arpeggios, scales and modes.
- By playing octaves.
- By playing block chords.
Wes Montgomery played almost exclusively on a Gibson L-5 CES plugged most of the time into Fender amps (super reverb, twin reverb, deluxe). He also played on Gibson L-7, Gibson L-4, Es-175, ES-125D.
You will find in this free jazz guitar lesson 10 easy dominant 7th jazz guitar licks with tabs transcribed from "West coast blues". They are all in the key of Bb and time signature is 3/4.
The dominant bebop scale /
When you want to improvise over a dominant 7th chord (and all extended dominant chords), playing the dominant bebop scale is a good alternative to the common tricks like the dominant 7th arpeggio, pentatonic scale or mixolydian mode. This is surely the most played of the bebop scales.
Unlike the mixolydian mode (also called "dominant scale") the dominant bebop scale is an octonic scale, it contains eight notes, in comparison to the dominant scale it has a major seventh (additional note) between the minor seventh and the root:
Dominant bebop scale formula :
Root, second, major third, fourth, fifth, sixth, minor seventh, major seventh.
Therefore the D dominant bebop scale contains the following notes : D-E-F#-G-A-B-C-C#. "C#" is the passing tone (major seventh) between the minor seventh "C" and the root "D".
The lick /
This lick starts with the minor seventh (C). You can notice the presence of the major seventh (C#) from the D bebop dominant scale on bar 2 and an additional passing tone (A#) on bar four.
You will find a F#m7b5 arpeggio at the end of the third measure (beat four) and the begining of the fourth (beat one). Also called "half diminished" this arpeggio is constructed with the four following notes ( F# - A - C - E ).
You can also play this lick over a Am7 chord or why not over a II - V chord progression : Am7 | % | D7 | % |
Here is a free lesson about a II | V jazz guitar line using a D minor seventh arpeggio and a G dominant 7th arpeggio.
- Bar 1 : Starting on the root (D) of the D dorian mode. After that you have to play : the b3 (F), the fifth (A), root again (D), b3 again (F), 9 (E), D again, b7 (C), once again the fifth (A) and a passing tone (A#). We can see that these notes are actually a D minor ninth arpeggio.
- Bar 2 : This measure contains notes from the G dominant 7th arpeggio (G-B-D-F) with a passing tone (b3) (A#) before playing the major third (B). Ending on the root (G).
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This lick is taken from the II-V-I jazz guitar licks RAR package including printable PDF eBook, 3 backing tracks and 10 MP3 files.
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