A double stop is a technique where you play 2 notes at once. Here’s another example of that same concept, Ebmaj7 over F7. Notice that it contains the root, b3rd, 4th, b5th, 5th and b7th degrees of an A major scale. In this first dominant 7 lick, you’ll see how Christian liked to use the Am7b5 arpeggio to outline an F9 … Blue Notes are a drop of pitch of the 3, 5 and 7 of a major scale. This first phrase is built from the A Mixolydian mode, the mode most associated with the dominant 7th chord sound, and uses double stops on top of an A pedal. This lick uses the A major blues scale to create a line over an A7 chord, with the b7 (G) thrown in at the top for good measure. Here is a Bbmaj6 arpeggio to memorize and begin to solo with, perhaps over a static Bb7 vamp to begin and then over a full blues progression once you have that under your fingers. In this section, we’ll have a look at how Wes handles playing over dominant chords. Blues Progressions for Jazz Guitar - Jazz blues progressions in its many forms covered in-depth. Wes Montgomery Licks. Christopher will show you how to modify a basic 12 bar blues into a jazzy sounding piece of music. The chord voicing used over the F7 part is an F13. By lowering the 3rd of the Bbmaj6 arpeggio you get a Bbm6 arpeggio. Parker Blues: Soloing Over Chord Changes. Note that if you prefer to decipher chords with diagrams, open the score in Guitar Pro and click on one of the notes of the chord and press A on your keyboard. We also use the major blues scale to create bluesy phrases. Emanuel’s blues in A is a good example. The first bar uses the C Mixolydian scale, which has a natural 3. From there, put on the backing track and jam the study along with the bass and drums on the track. R 3 7 Swing Groove. Jazz Blues Guitar [Easy solo licks] October 6, 2020. Dominant bebop scale = Mixolydian scale + natural 7. Get ready to have fun playing these excellent licks from Emanuel Hedberg. 26. Another favorite chord substitution of Wes Montgomery is an augmented major 7 chord built on the b7 of a dominant chord. The solo is over a jazz blues in F and is full of classic Wes licks and ideas that you can apply to your own playing. In bar 12, a gm9 arpeggio is used. Wes Montgomery is without any doubt the most influential jazz guitarist ever, and it is easy to hear why. Left-Hand Muting. You can also use a Bbmaj7 arpeggio to achieve the same sound. Share on Pinterest. It’s true that the barre technique is not often used for playing jazz chords. After logging in you can close it and return to this page. Download the Guitar Pro file above to get the full transcription of the song played in the video. With the right tools you’ll be able to get a grip on fresh melodic and harmonic approaches for chord changes and transitions. Start by practicing each four-bar phrase at once, then combine them to play the study as a whole. 39. The first part of this lick is a real blues cliche. Your email address will not be published. By the way – GP 7.5 is a cool tool – but there is a big difference between the the video-sound and the GP-sound and I ask myself why? Here’s another example of how to use the minor blues scale, this time over the first 8 bars of the blues progression. The licks Jon teaches you in this lesson are from a song called Soulful Brothers. The note groupings in this run cross between strings, each triplet contains one note on … All Things Jazz Blues: Tunes There is a seemingly endless well of songs that use the blues form in a similarly endless variety of approaches, forms, and harmony. This picture is just an extract of the whole score. Here’s a karaoke-style video backing track you can use for your blues practicing. The first pattern, FIGURE 1, is a full-blown A blues scale in 5th position. The examples are in the key of E. These licks are some of the coolest you’ll find in jazz blues guitar lessons. All of the licks that we’ll look at here will be presented in the context of an A major blues. When using the maj6 and m6 jazz blues soloing concept in this way, you can add in notes from the surrounding blues scale in order to spice things up, and break up the arpeggiated nature of the exercise. 10 John Scofield Jazz Blues Licks (Bb7) – Guitar Lesson & Transcription With Tabs. The first part of this lick is a real blues cliche. We'll cover chromatic approaches, secondary dominant chords, shell voicings. Following up on Gerd’s comment I have always found it very hard to get realistic guitar sounds from GP, in particular mellow jazz tones. Because of this, many guitarists avoid studying chord soloing, as they don’t feel ready. It’s practice time! If you like the sound of this style, check out players like Wes Montgomery, George Benson, Larry Carlton, and Robben Ford. Download The Beginner's Guide to Jazz Guitarand start playing today! Jazz Blues. Next, we’ll have a look at a typical jazz blues solo over a blues in Bb. To begin, let’s look at a common fingering for the maj6 arpeggio, which you can then use to outline the I7 chord over any blues progression that you are soloing on. Each of these techniques can be applied to a variety of musical situations. practice licks guitar 6. practice licks guitar 7. practice licks guitar 8. practice licks guitar 9. pratice licks guitar 10. practice licks guitar 11. Mixing b3 and 3 is often used by jazz musicians to create a bluesy sound. @Gerd, The tension of the b3 of the scale against the natural 3 of the chord creates the typical blues sound. B minor Blues ("Thrill") Soloing. Hundreds and hundreds of licks for double bass and electric bass guitar in standard notation. This jazz blues lick uses the A minor blues scale to create an ascending and then descending line over an A7 chord. Here you will be adding in the b3 note, considered one of the blue notes, over the I7 chord. To help you get started in applying this jazz guitar soloing concept to a tune, here is a sample solo using simple maj6 and min6 licks to outline the I7 and IV7 chord over a Bb jazz blues progression. Next we'll play the chords as arpeggios in order an important aspect of jazz blues guitar: "playing the changes". This technique, playing double stops on top of a root note, is common practice and is worth exploring further. Jazz Blues Guitar Licks And Solos By Dirk Laukens Learn how to bring out the bluesy side of jazz by studying the blues concepts of Wes Montgomery, Herb Ellis and more (16 licks and 4 solos). It’s practice time! In this first lick, you are playing phrase A over the Bb7 chord, then repeating this same phrase over the IV7 chord but with the m6 arpeggio added in. But it does interfere with the level of personal enjoyment I get. Notice the slides and slurs in this lick, which can be just as important when getting a jazz sound over the blues as the notes themselves. Article written by Leigh Fuge that focuses on some advanced, bluesy lead guitar licks based in minor pentatonic scale shapes. Do you want to learn how to play jazz blues step-by-step? This lesson helps you begin your chord soloing studies no matter where you are in your development. You will find in these lessons the most important scales and modes that any jazz guitar player need to know such as diatonic scales, melodic minor, harmonic minor, harmonic major, melodic minor, symmetic, pentatonic scales, bebop scales, blues scales. The chord window will bring up a diagram with the fingerings as well as many inversions of the chord. The second bar is coming more from the mixolydian sound but then using slides to keep the bluesy feel. Here is the music notation and backing track: The first 8 bars use the F minor pentatonic scale, mixed with the major 3rd (bar 3). December 21, 2020 by admin 0 Comments. The following lick over F7 uses the F dominant bebop scale, a common choice in jazz to play over dominant chords. In this section, you will learn to play a jazz guitar solo in the style of Wes Montgomery. The scales that are used the most in blues are the Mixolydian mode and the minor pentatonic scale, both enhanced with blue notes. This lick starts exactly like lick 1 but ends with a pull off rather than a bend. “Jazz_Blues_in_A.gp”(click on the picture to download the Guitar Pro 7 file). All licks are adjusted to bass guitar range. 43. While you may be familiar with how to apply the blues scale and get a blues sound in your rock and blues solos, bringing out the bluesy side of jazz may seem a bit tougher. Learning the chord voicing used over the blues - jazz blues etudes interesting inspiring! 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