Start by practicing each four-bar phrase at once, then combine them to play the study as a whole. I’m certain you will find these open position jazz blues etudes interesting and inspiring. Another chord substitution Wes Montgomery often used is a major 7 chord built on the b7 of a dominant chord. Next we'll play the chords as arpeggios in order an important aspect of jazz blues guitar: "playing the changes". Please log in again. 26. His lines have driving rhythm, interesting note choices and always a sense of melody and melodic development that has made him stand out from his peers for the past 60 or so years. 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. Copyright Jazz Guitar Online 2020 © All rights Reserved. Because the b3 of the pentatonic scale is a blue note to the dominant chord. Share on Pinterest. The chord voicing used over the F7 part is an F13. Here’s another example of that same concept, Ebmaj7 over F7. Finger Picking. Get ready to have fun playing these excellent licks from Emanuel Hedberg. From there, put on the backing track and jam the study along with the bass and drums on the track. 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. Before learning how to play this jazz blues chord solo, here are the shapes used in the study. practice licks guitar 6. practice licks guitar 7. practice licks guitar 8. practice licks guitar 9. pratice licks guitar 10. practice licks guitar 11. 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. Listening to Joe Pass, Barney Kessel, or Lenny Breau tear through a chord solo doesn’t as much inspire as it does intimidate. You can also use a Bbmaj7 arpeggio to achieve the same sound. Check out our Introduction to Jazz Blues Guitar Volume 1 and Introduction to Jazz Blues Guitar Volume 2, or buy them both in our bundle below. Article written by Leigh Fuge that focuses on some advanced, bluesy lead guitar licks based in minor pentatonic scale shapes. Most of the blues’ harmony consists of dominant 7th chords. We also use the major blues scale to create bluesy phrases. The first bar uses the C Mixolydian scale, which has a natural 3. The next lick is also built around C minor. December 21, 2020 by admin 0 Comments. Share on Twitter. Mixing b3 and 3 is often used by jazz musicians to create a bluesy sound. All licks are adjusted to bass guitar range. Here’s a karaoke-style video backing track you can use for your blues practicing. The next example over G7 uses the G minor blues scale. 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. All of the licks that we’ll look at here will be presented in the context of an A major blues. R 3 7 Swing Groove. Jazz Blues Guitar Lick #2 (See video at 1:35) Whereas the last lick had a major blues sound, lick #2 … Here’s a second lick over Bb7 to Eb7 chords as found in a Bb 12 bar blues. This picture is just an extract of the whole score. This technique, playing double stops on top of a root note, is common practice and is worth exploring further. The following jazz guitar licks are played over the first four bars of a jazz blues chord progression in F. Lick 42. The second bar is coming more from the mixolydian sound but then using slides to keep the bluesy feel. 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. F Jazz Blues to Parker Blues in F. 20. 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. The tension of the b3 of the scale against the natural 3 of the chord creates the typical blues sound. 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. You can now apply this new shape to the Eb7 chord (IV7) when soloing over a jazz blues. In this section, we’ll have a look at how Wes handles playing over dominant chords. 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. Do you want to learn how to play jazz blues step-by-step? It’s practice time! Jazz Blues Lick 3 – Mixolydian + Minor Pentatonic Scales, Jazz Blues Lick 8 – Blues Cliche Variation, Jazz Blues Lick 9 – Major Blues Scale (Herb Ellis), Jazz Blues Lick 10 – Major Blues Scale (Herb Ellis), Jazz Blues Lick 11 – Wes Montgomery Minorization, Jazz Blues Lick 16 – Eb Augmented Major 7, The Minor vs Major Blues Arpeggio Concept, Introduction to Jazz Blues Guitar Volume 1, Introduction to Jazz Blues Guitar Volume 2. 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. Share on Facebook. With the maj6 and m6 arpeggios under your fingers, and a bit of experimentation underway, here are a few sample licks to try out. Jon walks you through how to play jazz blues guitar in the style of Kenny Burrell by introducing some two string licks and some licks in thirds. In this first dominant 7 lick, you’ll see how Christian liked to use the Am7b5 arpeggio to outline an F9 … In this lesson, you will learn a couple of different ways to bring out a bluesy sound playing over dominant 7th chords. Jazz Blues Guitar [Easy solo licks] October 6, 2020. B minor Blues ("Thrill") Chord Changes. 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… Thanks. Have you been there? Another favorite chord substitution of Wes Montgomery is an augmented major 7 chord built on the b7 of a dominant chord. You will not be disappointed! The first part of this lick is a real blues cliche. But it does interfere with the level of personal enjoyment I get. This lesson helps you begin your chord soloing studies no matter where you are in your development. Emanuel’s blues in A is a good example. 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? Blue Notes are a drop of pitch of the 3, 5 and 7 of a major scale. You can use this tension in your solos by playing with the contrast between the blue note and the natural 3. A double stop is a technique where you play 2 notes at once. As the 13th is just an extract of the whole score the blues! Licks from Emanuel Hedberg `` Thrill '' ) chord changes get the full of! Measure is in the style of Herb Ellis, using the Bb major blues scale that playing a chord... To “ the lick ” ) of an a major 7 chord built on the 3rd of blues! 4Th, b5th, 5th and b7th degrees of an a major jazz blues guitar licks playing a minor-type chord on. 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