(upbeat jazz guitar)
- Hi everybody, my name is Jens Larsen.
When you're working on a musical language like bebop,
it's important that you check out
some of the licks that are contained in that style
and try to figure out what are the components,
what are the musical concepts that are being used
and then try to incorporate those into your own playing.
In this video, I'm gonna give you
three bebop jazz licks,
and then I'm gonna analyze them and give you
some exercises to help you play them,
and then I'm gonna take the different components
that are contained in those licks and then
I'm gonna make two more licks so that you can
see how you can work on improvising lines
that sound more like bebop.
If you wanna learn more about jazz guitar,
about improvising over chord changes,
arpeggios, and scales, then subscribe to my channel.
If you don't want to miss anything,
then click the little bell notification icon
next to the subscribe button.
This video isn't sponsored by Disney,
even if I am sporting this
very attractive Daisy Duck band-aid.
I had a small incident yesterday
when I was cutting some watermelon.
Maybe it's Herbie Hancock getting back at me
for stealing all his chord voicings.
The examples that I'm using in this video
are all D7, resolving to G major,
and I think bebop, as a language,
is really something that's focused on the dominant chord,
so it makes more sense to use a progression like that,
but in fact, you can use these as ii-V-I licks as well.
(upbeat jazz guitar)
The first example uses some really common bebop trademarks.
One of them is to use small scale runs and 16th notes
to add some rhythmical variation to your lines.
So, in the first half of the first bar, we get this part.
(upbeat jazz guitar)
And this idea of just using this, and I wanna execute
that on guitar like this most of the time.
So using legato is just better for the phrasing, I find.
If you wanna make an exercise to get better at playing
these kinda things, you can actually do this through
a scale position, especially if you're playing
three notes per string, then you'll get something like this.
(upbeat jazz guitar)
And that's really easy to practice, you can try it through
a few positions, you don't need to spend, really, at all,
time on it, as long as your pull offs
are sorta up to it, so...
(upbeat jazz guitar)
Then that'll probably work quite well.
After the 16th note trill, so...
(upbeat jazz guitar)
We're coming out on the A,
and now I want to go to the third,
or the dominant, so the F#, and then that's
on the one, on the next bar, and I do that with
a chromatic enclosure, so... (upbeat jazz guitar)
Like this, and from here, I'm just playing the arpeggio,
so the D7 arpeggio, but what I'm doing is that
I'm using octave displacement.
This is something that's done quite often in bebop,
I have another video where I talk about this
in a bit more detail, but the idea is quite simple,
if you're playing an arpeggio, you can at any point
move the rest of the arpeggio an octave in any direction.
So, in this case, the arpeggio originally would have been...
(upbeat jazz guitar)
Like this, just descending from the third.
But instead, I'm going up, I'm moving the D
up an octave, and then I'm skipping from the F#
up to the D. (upbeat jazz guitar)
And then playing from there, and here I then do another
thing that's also quite common for bebop,
is to use the augmented triad on the dominant
to pull towards the one chord, and since I'm coming out
on the A here, I can go to this Bb,
which is, go to flat 13, and then play the augmented triad.
And then resolve that to the 9 of G major.
(upbeat jazz guitar)
The second example is starting on the C,
so the 7th or the D7, and then going up to D,
and from here, is descending in a triplet
down the Em7 arpeggio.
And then skipping up to A, and running down the scale.
And then we get a trill on the root in the b9.
Down to the 5th.
And then a leading note for the 3rd.
And then from the 3rd, I'm skipping up to the b9 again.
And then down the scale, I'm resolving to a B,
so this last part is, again, using the same
octave displacement right here, because if had done this,
this whole phrase... (upbeat jazz guitar)
Before it resolved to the B, it's actually coming
out of D harmonic minor, so it's like
a minor dominant, in fact. (upbeat jazz guitar)
And that would've been... (upbeat jazz guitar)
But then we displaced that octave.
And in the beginning, we had this triplet
movement with the arpeggio, so I'm playing a scale note,
then going up one step in the scale,
and then I'm playing down, sweeping down
to play the rest of the arpeggio.
(upbeat jazz guitar)
And you can turn that, you can practice that
and turn that into a scale exercise, like this.
(upbeat jazz guitar)
Another thing that can be useful to you guys,
because it's used quite a lot, is this trill,
so in the line I'm using this one.
But you can also just do that through the scale,
just to get used to it, and practice your legato
technique for that, and that could be something like this.
(upbeat jazz guitar)
Playing the diatonic 7th course as triplets
is something that's very typical for bebop,
and that's also how I'm starting the third example.
So I'm using the F# half diminished arpeggio
on the D7, because that's the arpeggio from the 3rd.
I'm starting with the leading note, so that's an F.
And then I'm, of course, going up to the F#
and playing the arpeggio as a triplet.
Ending up on the 9, which is, of course, an E
on the D7, and from here I have a small chromatic run.
I'm back on the E, and then I'm reaching down
to take the C, and sliding down to the G,
and then I have this small sort of a C major line.
Going to the b9 of the D7, so the Eb.
And then, again, using octave displacement,
I play this diminished arpeggio which is then,
the diminished arpeggio found on the third
of D7 in G harmonic minor, which is an F# diminished.
And then I'm ending with this sort of typical bebop phrase,
where I'm resolving to the B and then ending on the one and.
To help your work, I'm playing arpeggios like this,
I have this small exercise in this position.
(upbeat jazz guitar)
So what I'm doing here is just, I'm playing,
for each string, I find an arpeggio, and then I'm playing
the same type of arpeggio, because the difficult
part is probably to play, sort of, the one note per string
figure that we have here.
(upbeat jazz guitar)
So first, an F#, half diminished.
Then a C major 7.
Then a G major 7.
And then a D7.
Now let's see if we can make some new lines using
some of the ideas that was covered in the first three licks.
If we take this last idea with playing the arpeggios
as triplets with a leading note, and then use that
on a D7, then that could be something like this.
(upbeat jazz guitar)
And now that I'm here, I can use the idea that I talked
about in the first example, where I'm using sort of this
16 note scale run, so now I have...
(upbeat jazz guitar)
And then we can, of course, just go down the scale.
(upbeat jazz guitar)
And now, I can go to the F#, and then play
the same idea that I did in the second line, so...
But then up here.
And then resolve to the G.
So now we have... (upbeat jazz guitar)
For the next example, we can start with the trill idea,
so if I start here, that could be something like...
(upbeat jazz guitar)
And then a small scale run.
And then an Am7 arpeggio.
And, as I had in the third example,
the F# half diminished arpeggio.
And that could resolve up to the D,
and then add a small tag by going from D to A.
And then we have this line. (upbeat jazz guitar)
So the idea is here, of course, that you're trying
to identify the small building blocks of the lick,
and then try to get those into your playing,
so that can be the 16 note trill, like...
(upbeat jazz guitar)
And then play that another place in the scale.
(upbeat jazz guitar)
Or the other trill, which was a 16 note triplet, so...
(upbeat jazz guitar)
Or we can do the arpeggio played with a triplet.
(upbeat jazz guitar)
So, all these building blocks you can use to create
your own lines that sound more like bebop.
If you want to check out more stuff on just how many
music theory, chord voicings, and stuff like that,
and this is the first time you've seen one of my videos,
then subscribe to my channel.
I have a new lesson coming out every Thursday,
and I've been doing this for quite some time,
so there's already a lot of stuff
to check out on my channel.
If you wanna help me keep making all these videos,
then check out my Patreon page, I have a small community
on Patreon that help me and support me financially
so I find the time and also find the money to keep
on making all these videos, and I'm very grateful
for all the support that they're giving me.
That's about it for this week, thank you for watching,
and untill next week.
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