Download the Guitar Pro file above to get the full transcription of the song played in the video. You can use this tension in your solos by playing with the contrast between the blue note and the natural 3. Emanuel’s blues in A is a good example. Blue Notes are a drop of pitch of the 3, 5 and 7 of a major scale. Learning to play jazz guitar means learning how to tackle the jazz blues form, jazz blues phrases and bringing that bluesy flavor to your improvisations over standard tunes as well. Descending triplets are a great way to add some jazz style speed to your blues licks. Your email address will not be published. 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. The Jazz Blues Licks From Bar to bar In the first example the opening phrase, and in fact the entire first bar, is minor pentatonic scale with an added blue note (B). Jazz Blues Guitar [Easy solo licks] October 6, 2020. You will not be disappointed! The licks Jon teaches you in this lesson are from a song called Soulful Brothers. 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. I know I have…. Blues Guitar Licks. Try sliding and/or hammering on the Eb to E each time in order to give this lick that added slipperiness that is characteristic of jazz-blues playing. December 21, 2020 by admin 0 Comments. Here’s a karaoke-style video backing track you can use for your blues practicing. Now that you know these shapes, you can start learning the chord soloing study. The first pattern, FIGURE 1, is a full-blown A blues scale in 5th position. 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. Bb Jazz Blues Soloing: Simple Phrasing. B minor Blues ("Thrill") Chord Changes. Article: Now’s the time to play jazz and blues, Article: Easy blues solo in the style of B.B King. Article written by Leigh Fuge that focuses on some advanced, bluesy lead guitar licks based in minor pentatonic scale shapes. These jazz-blues guitar licks from David Hamburger’s 50 Jazz-Blues Licks You MUST Know which offers up some of the baddest, bopping-est, funkiest and bluesiest ways to navigate through the stylings of Jazz-Blues. Notice that it contains the root, b3rd, 4th, b5th, 5th and b7th degrees of an A major scale. I'm gonna introduce you to the slightly more elaborate 'jazz blues 12 bar form' as well as some soloing concepts to listen for and try to use in this style. In this lesson we're going to explore the sounds that you get when you mix up blues and jazz sounds. The chord voicing used over the F7 part is an F13. Listening to Joe Pass, Barney Kessel, or Lenny Breau tear through a chord solo doesn’t as much inspire as it does intimidate. 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). Now that you have the I7 arpeggio under your fingers, all you are going to do in order to address the IV7 chord in a jazz blues solo is change one note from that initial arpeggio. Next, we’ll have a look at a typical jazz blues solo over a blues in Bb. In order to execute this … A double stop is a technique where you play 2 notes at once. In this first dominant 7 lick, you’ll see how Christian liked to use the Am7b5 arpeggio to outline an F9 … Every blues lick, bluegrass run, and jazz idea you learn will enter your playing in some way. Since I mostly use GP as a learning tool, this isn’t a huge issue. With the maj6 and m6 arpeggios under your fingers, and a bit of experimentation underway, here are a few sample licks to try out. The sound of Wes Montgomery is firmly rooted in the blues. You don’t have to memorize these shapes to play the chord solo, but using this page as a reference will be helpful in your comping studies going forward. 300 Blues, Rock and Jazz licks that teach the language of 60 guitar legends Playing advice and a breakdown of every lick, from fingering to performance notes Six solo studies that teach you to combine licks into musical phrases that are unique to your own musical voice Bb Jazz Blues. Here is a collection of blues guitar licks have been transcribed from well-known blues recordings featuring many of the blues guitar greats.Blues is a vast genre and here you will find licks in the style of delta blues, Chicago blues, blues-rock, country blues, jazz blues, Texas blues… But it does interfere with the level of personal enjoyment I get. Some of the licks were originally played on a different musical instrument like piano or guitar, which brings a new color to bass soloing. Hundreds and hundreds of licks for double bass and electric bass guitar in standard notation. Finger Picking. Start by practicing each four-bar phrase at once, then combine them to play the study as a whole. Hallo again, 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. The login page will open in a new tab. And the voicing for the Bb part is a Bb9. The 6th, when played over a dominant chord, is written and heard as the 13th rather than the 6th. SCALES. Check it out, have fun with it, and let it open new doors in your chord soloing vocabulary as you move to the next level in your playing. Please log in again. To start this lesson, we’ll have a look at a jazz blues in F, where typical blues riffs are mixed with chord punches. The next lick starts with an Ebmaj7 arpeggio as well and is followed by a Bbmaj7 arpeggio, before moving to the F Mixolydian scale. Blues Progressions for Jazz Guitar - Jazz blues progressions in its many forms covered in-depth. B minor Blues ("Thrill") Soloing. Dominant bebop scale = Mixolydian scale + natural 7. Now that you have both of these shapes under your fingers, try soloing over a Bb blues progression using the Bb6 arpeggio for the Bb7 chord, and the Bbm6 arpeggio for the Eb7 chord. 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? If it’s the first time you hear about Emanuel Hedberg rush to his Instagram account or to his youtube channel to watch the numerous videos already put online by the guitarist. Why is it that playing a minor scale over a dominant chord sounds so good? Jazz Blues Guitar Licks. With the right tools you’ll be able to get a grip on fresh melodic and harmonic approaches for chord changes and transitions. The chord window will bring up a diagram with the fingerings as well as many inversions of the chord. 30. Essentially a reversal of the previous move, it’s launched by a higher G major triad inversion, which is again decorated by a b3 grace-note hammer-on and is then answered by a stripped-down voicing of C6 (C, E, G, A) with its 5th, G, … Bar 16 uses the B Lydian Dominant scale (= F altered scale). B7 is the tritone substitute of F7 and creates an altered sound over F. The classic lick in bar 20 uses the G harmonic minor scale over D7, creating a 7b9 sound: Chord soloing is one of the aspects of jazz guitar that many players want to explore, but often don’t know where to start. Download The Beginner's Guide to Jazz Guitarand start playing today! 10 John Scofield Jazz Blues Licks (Bb7) – Guitar Lesson & Transcription With Tabs. Any blues soloist worth their salt has a bagful of turnaround licks - licks crafted for the final two bars of a blues progression The other highlight occurs on beat 4 of bar 1. In this section, you will learn to play a jazz guitar solo in the style of Wes Montgomery. The notes of the Bbm6 arpeggio, when played over Eb7, produces the intervals 5-b7-9-3, giving you a rootless 9th arpeggio to use in your solos over the IV7 chord. 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. This lesson helps you begin your chord soloing studies no matter where you are in your development. R 3 7 Swing Groove. The 4th measure is in the Bb Mixolydian scale, going to Bb Lydian dominant scale on the 3rd beat. 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). @Gerd, Classic Jazz Blues Lick 2. 26. The first part of this lick is a real blues cliche. All licks are adjusted to bass guitar range. The tension of the b3 of the scale against the natural 3 of the chord creates the typical blues sound. The following lick over F7 is built around C minor. Jazz Blues Guitar is another cool genre that is a form of Blues Guitar mostly played on Electric Guitars but for Jazz. You can now apply this new shape to the Eb7 chord (IV7) when soloing over a jazz blues. Mixing b3 and 3 is often used by jazz musicians to create a bluesy sound. 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. The second half of the second bar uses the C minor pentatonic scale, which has a b3. After logging in you can close it and return to this page. By lowering the 3rd of the Bbmaj6 arpeggio you get a Bbm6 arpeggio. Share on Pinterest. Here’s a bluesy lick in the style of Herb Ellis, using the Bb major blues scale. Parker Blues: Soloing Over Chord Changes. Wes Montgomery used a concept called minorization to play over dominant chords. 43. Here’s an example lick that mixes two scales. The most popular scale to play over the blues is the minor pentatonic scale. The first bar uses the C Mixolydian scale, which has a natural 3. This lick uses the Harmonic Minor with some Pentatonic notes in to add to the familiar feel. Get ready to have fun playing these excellent licks from Emanuel Hedberg. Christopher will show you how to modify a basic 12 bar blues into a jazzy sounding piece of music. 39. The following lick over F7 uses the F dominant bebop scale, a common choice in jazz to play over dominant chords. Share on Twitter. 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. Do you want to learn how to play jazz blues step-by-step? The first part of this lick is a real blues cliche. Used in rock and blues, the minor pentatonic scale is also a staple of the jazz guitar sound, but used with fewer bends and with a bit of jazz flavor added to it. Wes Montgomery Licks. 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. Share on Facebook. 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. Here you will be adding in the b3 note, considered one of the blue notes, over the I7 chord. From the Mixolydian sound but then using slides to keep the bluesy feel note to familiar! Enter your playing in some way backing track you can close it and return this! 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