The final John Abercrombie lick uses mostly diatonic triads, climbing up the fretboard, to outline a major chord progression in C major. As well, his use of a three tiered approach to soloing, single notes-octaves-chords , was unique at the time, making him stand out against his peers. Then, when the next chord is played, it resolves that tension as the chord catches up to your lines. As well, you study his energetic, double-time lines, and chord soloing phrases as you dig into the concepts that have made Benson one of the greatest jazzers to ever play guitar.
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To begin, take an arpeggio such as the Cmaj7 arp you see below, and play an enclosure on every note of that arpeggio.
Measure Beat 1 Beat 2 Beat 3 Beat 4 1 b 4-bb7 b2-b bb2 2 1- 7-b7-b5 b4 b3- b Figure Martino demonstrates a nearly one octave skip in the first measure between beats 3 and 4 of melodic line 7 Figure Because of his understanding of both traditional and modern jazz harmony, Adam is a great player to study when working on jazz guitar improvisation techniques.
Beat-by-beat melodic analysis of melodic line 8.
Alternate picking should be used first then an economy technique may be experimented with. These include Natural minor bb6-b7Harmonic minor bbMelodic minor b and Dorian. After creating a large amount of tension, you resolve margino the tonic chord at the end of the phrase.
Jazz Guitar Licks - Essential Lines and Patterns
Though she had incredible chops, Remler ,artino maintained a sense of rhythmic focus and melodic development in her solos. Martino describes the above melodic pattern as being related to D minor and implies that all the subsequent melodic lines he plays will relate to D minor as well.
In this double-time Herb Ellis lick, you see a number of characteristic sounds over this two-bar lick. In this final John Scofield lick, you see a Lydian dominant sound being applied to a double-time C7 line. Beat-by-beat melodic analysis of melodic line 3.
In this section, you learn five classic Johnny Smith licks and the concepts martlno preferred to use in his improvised solos.
As lickx, his use of a three tiered approach to soloing, single notes-octaves-chordswas unique at the time, making him stand out against his peers. Ed lifks a player who enjoyed using open strings in his chord soloing and comping, giving his harmony a distinct sound compared to many of his peers. The father of jazz guitar, Christian revolutionized the genre with his single-note solos and adaptation of horn lines onto the guitar.
In this section, you dig into Charlie Christian single-note, double-time, and chord lines as you delve into the mrtino style of the first jazz guitar hero. The 2nd measure begins with a commonly used F major 7th arpeggio shape beginning on the leading tone 7th.
Even though he was one of the greatest improvisers in jazz history, Wes still studied other great players to build his vocabulary.
Figure 14 shows how the line retains the sonority of D minor due to the interspersion of the initial melodic line in measures 2 and 3 on beat 1.
Jamie Holroyd Guitar
While in the same octave as most of the previous patterns, melodic pattern 7 Figure 20 will have a very different timbre due to the smaller diameters of strings 2 and 1.
This line is unusual in this lesson as Martino only uses 2 truly chromatic notes on during beats 3 and 4 of the 1st measure. Not only did Martino rise to the mqrtino of the jazz guitar world once, but he did it twice in his lifetime. Jimmy Raney is a bebop guitar legend, and a true master of bebop style soloing on the guitar.
Beat-by-beat melodic analysis of melodic line 2. Beats 3 and 4 of measure 1 will show a familiar fingering pattern borrowed from the A minor pentatonic scale. While on the surface it may appear to be simplistic, this 6-note pattern contains more than just the first 4 notes of a Dorian scale. Though she left this world too early, Emily Remler became known as one of the top jazz guitarists of her generation during her lifetime.
In this Pat Metheny lick, you use a slurred-picked pattern that creates a fluid, slippery ilcks over a ii V progression.
141 Jazz Guitar Licks – Essential Lines and Patterns
The chord names are written below to help you see each chord, and how it relates to the underlying change. In this lick, the E7alt is anticipated by two beats, as the G signals that chord half way through the first bar.
Joe Pass was a master of every aspect of jazz guitar playing, including solo guitar, duo guitar with vocals, chord soloing, single-line playing, and of course chord melody.
The first Mike Stern lick is an example of his deep bebop knowledge as applied to a minor ii V I progression. This timbral difference is due to string diameter which affects the harmonic content of the note played. The analysis in Figure 28 will show that there is only one chromatic note used, the Eb between beats 1 and 2 of measure 2.