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.
The first thing to know before starting exploring the twelve different scales shown in this lesson is how to build a basic dominant 7th chord and what its role is.
Dominant 7th chords are made up of a root / tonic (1), a major third (3), a perfect fifth (5) and minor seventh (b7). It is the most versatile of any chord. It is considered as a major chord because of its major third (3), indeed the 3rd tell us if the chord is minor or major. The minor seventh (b7) indicates whether the sound wants to move or not (resolve) to another chord. Usually dominant chords tend to resolve to a chord down a prefect fifth (or a chord up a perfect fourth).
|C dominant 7th chord||C||E||G||Bb|
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.
A new printable PDF eBook dedicated to soul jazz guitar licks is now available for download.
Soul jazz (sometimes called "jazz-funk) is a form of jazz commonly associated with hard bop. It has strong influences from blues, rhythm & blues and gospel. You can also go listen to Lou Donaldson, Big John Patton, Jimmy "Hammond" Smith, to soak up this style.
All these licks are two bars licks in the key of Bb7 and inspired by great guitarists as Grant Green, Melvin sparks, Wes Montgomery or Kenny Burrell. They are essentially built with notes from the minor, major pentatonic and minor blues scale.
As usual each lick is analysed and accompanied by a quality audio file. A backing track is also included in the package.
Why all these licks are in the same key ?
To simplify learning, it's easier to memorize them, then you can make the connection between each lick to built longer guitar solos. Once you have learnt these licks, the aim is to play them in different keys, add notes and fret hand techniques (bends, hammer-on, pull-off, slides) vary the rhythm...
Package details :
- 1 printable PDF eBook with 25 soul jazz guitar licks in Bb7 with tabs, scales charts, guitar fretboard diagrams (5 boxes for each scales) and analysis.
- 1 soul jazz backing track (Quality mp3 audio file).
- 25 soul jazz guitar licks audio files (Quality mp3 audio files).
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.
All theses licks are two-measure licks. Most of them are from the D dorian mode (the second mode of the C major scale). They can be played over a D minor seventh chords (also m6, m9, m6/9, m11), over C major II-V-I chord progression or even over G7 chords.
In this E-book you will learn how to play jazz guitar lines over a D minor chord using the dorian mode, some arpeggio (minor, major, ninth, eleventh, dominant seventh,half-diminished), pentatonic scales, blues scale and harmonic minor scale.
- Jazz guitar chord voicings - II-V-I progression - 5 Exercises
- New eBook available | 50 exercises for jazz guitar | II-V-I voicings
- Minor pentatonic scales and II-Valt-I sequence - 5 jazz guitar licks
- New video - Jazz guitar comping rhythm lesson & chord study.
- Sookie sookie - Grant Green - Transcription
- III VI II V sequence - 5 Jazz guitar licks - Jazz lesson
- Jazz up basic guitar chords - Jazz guitar lesson for beginners
- Tritone chord substitution - Jazz guitar lesson
- Stella by Starlight - Jazz guitar chord melody lesson
- What's a half-diminished chord (m7b5) ?
- List of intervals - Music theory
- Extended major 7th chords | Guitar diagrams & voicings | Cmaj9, Cmaj#11, Cmaj13
- Diatonic chord substitution - Jazz theory and harmony lesson
- 5 tritone substitution jazz guitar licks PDF ebook - Pay what you want
- Guitar walking bass lesson and improvisation with tabs | Bb blues jazz progression