"The Lick" is considered as the most famous phrase in jazz music (and also in other styles). It has been played so many times, by so many players, in so many tunes that it has become a cliche.
Although there are a significant number of common jazz lines, this one is surely the most popular, an essential part of the Bebop language.
This guitar lesson with tabs, charts and theory explains what is "The Lick", how it is built and how to apply it in different harmonic contexts.
One of the most daunting shifts for any guitarist can be entering the world of jazz guitar. We’ve all read jazz tutorials and watched videos by those in the know and it’s a vast world full of new theoretical and practical concepts.
Most guitar players get into playing through rock/blues and find jazz later on their ability spectrum. If you understand blues, you can start to make some small changes which will add a jazz dynamic to your playing. In this lesson we will cover some of those small changes you can integrate into your playing today.
Building Your Jazz Blues Repertoire
A big part of learning jazz guitar means building his own repertoire of pieces. Here is a list of 10 jazz blues songs every beginning guitarist should know.
This short list covers a range of jazz blues chord progressions and their different variations (form, tonality, Harmonic structure) with a brief analysis and also represents the most played jazz blues tunes at jam sessions.
Jazz guitar improvisation on the jazz standard "There will never be another you" (64 bars)
The first thing to do before starting exploring the twelve different scales shown in this lesson is to understand how to build a basic dominant 7th chord and what its role is.
What's a dominant 7 chord?
A Dominant 7th chords is made up of a root / tonic (1), a major third (3), a perfect fifth (5) and minor seventh (b7). It is one of the most versatile chords. It is considered as a major chord because of the 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 perfect fifth (or a chord up a perfect fourth).
C dominant 7th chord C E G Bb Intervals 1 3 5 b7 Related Arpeggio 1 3 5 b7