Licks & Transcriptions
Learning licks from great jazz guitar players is a very important part to develop you jazz vocabulary. In this blog section you will find transcriptions with tabs of jazz guitar masters with typical lines, patterns and motifs to help you improve your guitar playing and increase your musical knowledge.
This blog article is related to the video tutorial published on JGL YouTube channel. It contains 10 II V7 jazz bebop guitar patterns with analysis and scale shapes. These lines come from the first chapter of David Baker's book "How To Play Bebop Vol.2 - Learning the bebop language". They correspond to the first ten exercises of the section named "The Use of The II V7 Progression in Bebop".
You 'll find in this lesson a quick analysis of each pattern with scale diagrams (Dorian, Dorian bebop, Mixolydian, dominant bebop, Mixolydian b13, altered, mixo-blues and half-whole diminished).
What's a Tritone Substitution?
The tritone substitution is one of the most common substitution found in jazz. The basic application of a tritone chord substitution is to take any 7th chord and play another 7th chord that has its root a tritone away from the original. This guitar lesson demonstrates how you can play scales and arpeggios starting from the b5 (a tritone away) of the V7 chord in a II V I chord progression. This way you will highlight altered tones as the b9 and the #11.
What's Octave Playing?
Octave playing is a big part of jazz guitar language, this technique has been popularized by guitarist Wes Montgomery one of the greatest improvisers and jazz genious of all times. Theoretically, the principle is quite easy to understand. You just have to play lines using two simultaneaous notes separated by twelve semitones. In practice, it is more difficult because of the fingerings. Indeed, you have to move two fingers at the same time while keeping the same hand position. This lesson provides guitar diagrams and easy guitar lines for a good mastery of this technique.
Octave playing technique involves playing the same note on two strings separate by one octave. An octave is 12 semitones higher than the root note. You will find in this blog post a new video from the YouTube Channel, containing 10 dominant octave licks with tabs and standard notation overlayed.
One note samba is a song composed by Antonio Carlos Jobim. The title refers to the main melody of the song, which consists of a serie of identical notes (F and Bb in this arrangement for guitar) with a syncopated rhythm typical of bossa nova and a number of chords typical of this genre.
49 Essential Jazz Guitar Licks With Tabs and Analysis
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Practicing jazz guitar licks is a very important aspect of jazz learning. Particularly when these licks are transcribed from improvisations of the greatest jazz musicians of all times (Cannonball Adderley, Barney Kessel, Sonny Rollins, Charlie Christian, Emily Remler, George Benson, Grant Green, Herb Ellis, Jim Hall, Jimmy Raney, Joe Pass, John Scofield, Kenny Burrell, Charlie Parker, Mike Stern and Wes Montgomery) who helped forge the history of jazz music.
This eBook available for download in a PDF format contains 49 effective jazz guitar phrases and patterns with TABS and notation applied to common jazz chord progressions . These patterns both for guitar teachers and students cover different styles from swing to blues, to hard-bop to bebop.
These essential jazz lines arranged for jazz guitarists from beginner to advanced come with easy-to-understand explanations of one of the greatest players improvisational techniques.
Learning these jazz transcriptions make it possible to understand the approach of the great names of jazz to different chord progressions found in many standards as turnarounds, minor and major II-V-I, blues progressions, modal playing.
This guitar lesson is about a very important concept used by many jazz improvisers named "Target notes" or "target tones" or "approach notes". It has to do with targeting chord tones by scale or chromatically. This technique opens the door to another essential type of targeting called "Enclosures" used to surround a chord tone both diatonically and chromatically from above and below. Understanding and applying "Targeting" will help you solos sound more jazzy and allow you to expand your harmonic knowledge.
Autumn leaves is one of the most popular non-American jazz standards on pick-up gigs and records. It is a must-know tune for any jazz guitarist and a great choice when you want to play both chords and melody on guitar. Indeed, the chord progression is not difficult to learn and easy to play. This blog article provides an easy chord melody arrangement to play the famous jazz tune on guitar. This lesson runs in three steps :
- Listening to instrumental and vocal versions.
- Playing basic chords (drop 2 and drop 3 voicings).
- Learning to play the melody.
- Playing the chord-melody arrangement.
Giant Steps is one of those tunes in jazz that sends a bolt of fear through a lot of young or even experienced jazz musicians. It certainly does that to me anyway! The fast harmonic rhythm and the seemingly distant relationships between the chords means it is a very daunting challenge.
However, there is a very cool and simple way of practicing navigating through these changes and it involves using 3 different pentatonic scales.
The music of Thelonious Monk is music which evokes many different emotions and ideas in a huge demographic of musicians and instrumentalists. With that in mind, the emotions and ideas evoked by legendary jazz guitarist, Peter Bernstein, in this showcase album range from childish playfulness, faithful to the source of the music, to coherent and thorough modern jazz playing in the upper echelons of technical and interactive ability.
It’s been noted previously in reviews, at the time of the album’s release, that a collection of Monk tunes by a guitarist is a rare occurrence that was a huge breath of fresh air to all those who knew about its existence. I’ve never heard such faithful music made with such individualism and taste without any sense imitation. This is most definitely Bernstein plays Monk and not the other way around.
When a jazz beginner starts to improvise over a II-V-I progression, he generally plays arpeggios corresponding to the chords of the sequence. In other words, he learns to play minor arpeggios over the minor chord (II), dominant 7th arpeggio over the 7th chord (V) and major arpeggio over the major 7 chord (I). This way the harmony is highlighted without taking risks. Then, comes the modes, the basic rules concerning modes is that to play dorian over the minor chord , mixolydian over the dominant and ionian over the major chord. In short, in the long-run there is nothing exciting. That's why there is a nice trick used by number of jazz players to add smoothness to a line over a dominant 7th chord. This is a little tip that makes all the difference, simply play the notes of a major 7th arpeggio over the V7 rooted on its b7 degree.
A new video has been uploaded on the YouTube channel. It is a Barry Galbraith comping study named "Like someone". This is the last study from the Barry Galbraith book "Jazz guitar comping series, vol #3" published by Jamey Aebersold. Most of the accompaniments studies (comps) in this book are designed to accompany a melody or an improvised solo with bass lines like a pianist would do. It is a very great book to practice jazz guitar comping.
A new video has been uploaded on the youtube channel. It is a jazz guitar transcription of the jazz standard "In a mellow tone" composed by Duke Ellington and performed by Kenny Burrell in 1990. Here is the Kenny Burrell version on which the transcription is based and the link to the album dedicated to Duke Ellington.
In this lesson we will see how to use the minor pentatonic scale over a II-Valt-I sequence. The principle is simple, it consists in playing three minor pentatonic scales spaced apart of 1 semitone one from the other. This way you will bring out interesting colors to your jazz lines.
- II chord: Play the minor pentatonic scale starting on the 5th degree of the II chord. This way you will highlight the fifth (5), the minor seventh (b7), the root (R), the ninth (9) and the eleventh (11) of the minor II chord. (Exemple for Cm7 play G- pentatonic).
- V chord : Play the minor pentatonic scale up a half step starting on the #9 of the V7alt chord (Ab-pentatonic over F7alt for example). Therefore, you will play the main altered tones of the V7alt namely #9, #11, b13, b7, b9.
- I chord : Play the minor pentatonic up a half step again starting on the 7th of the I maj7#11 (Example with A minor penta for Bbmaj7#11). Thus, giving the 7, 9, 3, #11 and the thirteenth of the I chord.
This lesson is about a 12-bar blues in the key of Bb included two guitar transcriptions with tabs : a guitar walking bass line for the accompaniment and a guitar improvisation to solo over.
Note that this study is based on a common blues jazz progression? but with a descending chromatic progression in bars 7 & 8 using three dominant 7th chords (Bb7, A7, Ab7) to approach G7 at the end of the bar 8.
Bb7 | Eb7 | Bb7 | % |
Eb7 | Edim7 | Bb7 A7 | Ab7 G7 |
C-7 | G7 | Bb7 G7 | C-7 F7 |