jazz guitar patterns
When you want to master the jazz language, one of the first thing to do is to learn scales and modes. Memorize the fingerings on the fretboard. Memorize their names, their compositions. Make the difference between a major, a minor, an augmented or a diminished scale. How many tones in this one, how many half-tones in this other one. Knowing which scales work with which chords. In the long run the practice of scales can be confusing and seems a never ending. Here are some tricks and tips to work out on scales while developing your musical ear, your guitar technique and your theoretical knowledges.
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.
In this free jazz guitar lesson below you will find 5 dominant diminished jazz guitar patterns with tabs and analysis using the half-whole diminished scale and some diminished seventh arpeggios. These licks are taken from the latest printable eBook PDF "25 dominant diminished jazz guitar patterns".
The Half-whole diminished scale (also known as "dominant diminished scale") is a symmetric scale, it contains eight notes and it's constructed using a repeat pattern of half and whole steps. This scale is usually played over dominant chords like G7, G7b5, G13, G7#9, G7b9, G7b5b9, G7b5#9). This should not be confused with the fully diminished scale also named "whole-half diminished scale" which is constructed using a repeat pattern of whole and half steps and used to play over diminished seventh chords.
As you can see in the example below, the G half-whole diminished scale is made up of eight notes and creates extentions b9, #9, #11 and 13.
Diminished seventh arpeggios are made up of four notes : a root, a minor third (b3), a diminished fifth (b5) and a diminished seventh (bb7). They are basically played over diminished seventh chords but they can be played over dominant (b9) chords a semitone lower.
Here is a comparison between the G7b9 chord and the Ab diminished 7th arpeggio :
- G7b9 chord is made up of : G-B-D-F-Ab
- Ab diminished 7th arpeggio is made up of : Ab-B-D-F
The notes of a diminished arpeggio are identical to the notes of a dominant b9 chord a semitone lower.
A diminished 7th arpeggio is built of minor thirds intervals, it is symmetrical. A minor third interval is made up of 3 semitones (3 frets on a guitar), so you can move any diminished 7th arpeggios positions up or down three frets and you will still find the same notes.
It means that you can play 4 diminished 7th arpeggios over a G7b9 chord :
- Ab diminished 7th arpeggio.
- B diminished 7th arpeggio.
- D diminished 7th arpeggio.
- F diminished 7th arpeggio.
Here is the fouth part of the bebop scales section. This is about the locrian bebop scale. This scale has the same notes as the locrian mode including a passing tone (5) between the flat five (b5) and the minor sixth (b6). It is commonly played over half diminished (m7b5) chords (in a minor 2-5-1 sequence for example)
You will find guitar fretboard diagrams and a minor II-V-I lick using the locrian bebop scale in the locrian bebop scale page.
Related lessons /
Here is the third part of the bebop scales section. It's about the major bebop scale. This scale has the same notes as the major scale (ionian mode) incuding a passing tone (#5) between the fifth and the sixth, indeed there is eight notes in it.
Here are some guitar fretboard diagrams to master this scale. You will also find an example lick in the same page.
Hi there, here is a new page about the dominant bebop scale widely used in jazz music. It 's an octotonic scale (eight notes), it has the same notes as the mixolydian mode including a passing tone (major seventh) between the minor seventh (b7) and the root.
Before learning the bebop dominant scale it is recommanded to master the mixolydian mode, here are some guitar diagrams and suggested fingerings about the mixolydian scale.
The bebop dominant scale is commonly played over dominant 7th chords. You will find here some guitar fetboard diagrams and suggested fingerings about this bebop scale and some free licks with MP3 files at the end of the page.
Thanks for sharing and promote this website.
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