• • • Although the bebop era lasted less than a decade, it has had a lasting influence on subsequent generations of jazz improvisers. Players such as Charlie Parker, Dizzy Gillespie, Clifford Brown, Bud Powell, and others brought fresh levels of excitement to their extended solos, ushering in a new era of jazz improvisation. While many guitarists fall in love with the bebop sound, learning how to play in the bebop style can seem intimidating, but it doesn’t have to be. By studying classic jazz guitar licks, and the concepts that are used to build those lines, you’ll be able to bring a bebop vibe to your own jazz solos. In this lesson, you’ll learn 25 bebop licks, as well as the important concepts behind each lick, so that you can build your vocabulary and expand your theory knowledge at the same time.

50 Jazz Blues Licks: #20 George Benson. 50 Jazz Blues Licks is an exclusive series of video guitar lessons by David Hamburger covering the jazz blues styles of historically great guitarists like Geoge Benson, Kenny Burrell, Joe Pass, and many others. A new lick will be released each week, so be sure to subscribe and check back often! Barney Kessel Jazz Guitar Licks. Barney Kessel is known as a bebop guitar player. Born in 1923 he started his career by playing in big bands, like the one of Artie Shaw for example. In 1952 he toured with the Oscar Peterson Trio. During the 1960s he became one of the busiest studio musicians in LA.

Common jazz rhythmic devices such as syncopation, swung eighth notes, triplets, and motifs are used in each lick to create musical variety, and all of the audio examples are recorded at medium to slow tempos for study purposes. DOWNLOAD PDF Jazz Guitar Licks Practice Tips Before you dive into these classic jazz guitar licks, here are some exercises you can use to internalize each lick and add it to your next jazz guitar solo in an accurate and musical fashion. • Practice each lick slowly with a metronome. While working slow at first is essential, many jazz and tunes are played at fast tempos, so begin to increase the speed of each lick when you can play it cleanly at a slow tempo. • Play each lick in all 12 keys. • Learn each lick in at least two different positions on the neck.

• Apply each lick and idea into a musical situation such as a jam or a gig as soon as possible. • Use backing tracks so that your ears learn how these jazz-guitar licks sound in a musical context. • Construct your own licks using the same techniques. • Apply rhythmic displacement to each lick.

• Improvise and create your own lines using fragments from each lick. • Sing each lick while playing the chords on the guitar. Bebop Lick 1 – ii V I in C Major The is the most popular progression in bebop and jazz in general. Because of its popularity, it’s important that you are able to navigate these changes well. The following 4 licks start with the same minor bebop pattern, with variations on the G7 in the second bar. This gives you some examples of what you can play over the dominant chord in a ii V I. Variation #1 This first variation uses that target the 5 and 3 of G7.

Listen & Play Along. Bebop Lick 9 – Dizzy Gillespie In this Dizzy Gillespie inspired lick, you’ll see a delayed resolution over the Imaj7 chord in the third bar of the phrase. Indiana jones movie pack torrent.

The F7 chord (specifically F7b9), is played over the first beat of the third bar, before resolving to the Bbmaj7 chord on the second beat of that bar. As well, notice the Cm triad that outlines the first half of the first bar. Though arpeggios are mostly used in jazz to outline chords, swing and bebop era players often used the 1-3-5 triad to outline the underlying chord. When working on soloing over bebop changes, don’t forget to spend some time on triads, they’ll come in handy as you use them over bebop tunes.

Listen & Play Along. Bebop Lick 10 – John Coltrane A short ii V I lick, this phrase comes from, and uses diatonic notes in the bebop style. When playing over bebop tunes, you don’t always have to use chromatic notes to outline the changes. Sometimes a carefully played diatonic run, such as this, is exactly what the tune needs at that moment in time. Having a handful of diatonic lines in your vocabulary will ensure you’re able to mix them in comfortably with the chromatic lines in your repertoire.