The fingerings in the last bar begin to get tough so if you are finding them. This bebop exercise works particularly well as a warm up because it features a 4 th interval which can be tricky to apply all over the guitar neck. When I was writing these ideas I sat with my guitar and said to myself ‘ok what happens when I ascend 4 notes up an arpeggio and descend a bebop scale?’ Then I spent some time figuring out some lines. Bebop guitar etudes example 3 is a variation of the first exercise and the pattern is 3, R, 5, 7. Have patience and determination to learn and understand these lines before embarking on your own voyage of discovery. There is a reason I have written out the theory behind the construction of the lines it’s so you understand what’s happening technically to help develop your own voice. It is an important stage to learn and play the lines above with confidence as they’re a great place to start. How can you be creative with this important concept? I’ve given you one or two examples for each arpeggio tone but I expect you’re anxious to create your own lines and make your own playing unique and fluid. Figure and audio example 9e is an example from the b7 of the E minor: Ascend the arpeggio from b7 to b3, descend the bebop scale.Ĭhromatically approach the 5th of the A7 chord (E) Ascend the Bb diminished arpeggio to the 5th again and descend to the 5th of the D major 7 chord. To help you take the bebop scale from the technical side of your practice routine to the improvisational, here are 5 classic jazz guitar licks that use the bebop scale in various situations. Study figure and audio example 9b.įigure and audio example 9c is another example from the 3rd of E minor that hits the 3rd of A7 and a chromatic approach note pattern into the 3rd of the D Major: Figure and audio example 9d ascends from the 5th of E minor 7, ascend the arpeggio from the 5th to the 3rd, play the A on the top string and descend the bebop scale to the 5th of A7 (E) Here we play a chromatic approach note into the 3rd and descend via the b9 and bebop scale with a cool little chromatic jump to the 3rd of the D Major 7. We descend the Bb diminished arpeggio to the b9 of A7 and continue scalically down the bebop scale with a little bounce off to the 3rd of D Major. Next we begin on the b3 of the E minor (G) and ascend the arpeggio to the 5th (B) and descend the bebop scale again until we hit the b7 of A7. This is shown in figure and audio example 9a. Licks, scales, and chords should lead to more expressive creativity, not boredom.
Bebop licks guitar tab pdf#
20 II-V-I jazz guitar licks and audio files - PDF eBook. We ascend the Bb diminished arpeggio to the octave of the b7 (G) and we then descend the bebop scale to land on the major 7th of the D Major Chord (C#), finally jumping down to the A for a real bebop flavor.Ĥ easy jazz guitar licks with tabs - Bebop dominant scale lesson Minor licks Minor jazz guitar lick. We then descend 4 notes down the bebop scale to land on ‘G’ the b7 of A7. Once again we start our structured approach by ascending the E minor 7 arpeggio from the root to b7. This is a common sound and you can use it to write your own lines and licks. To do this we’re going to start by ascending arpeggios from each chord tone and then descending the bebop scale. It’s now time to combine the two devices for a musical, articulate sound. If you’re a Pat Martino fan, I don’t think you’ll find another breakdown demonstrating the essential key components of his lines as detailed as this one! Don’t miss this great opportunity to learn and incorporate into your playing, the main concepts used by one of the most influential players in jazz guitar history.We’ve done a lot of work with arpeggios and the bebop scale. As a matter of fact, you’ll find that the analysis of Pat’s “18 Licks” doubles as a masterclass in the use of enclosures! Among the most prominent concept featured in most of his phrases is the use of 2 and 3 note enclosures. This is due to the fact that a great majority of his solos have a double time feel (lots of busy 16th note based measures), as well as some very sophisticated twists and turns. I have to confess that transcribing and analyzing Pat’s amazing lines has taken me longer than doing so for the previous artists. And by popular request, this is my 4th lesson in the series, featuring 18 licks by the late great Pat Martino! So far I’ve featured and analyzed 18 licks by Charlie Parker, Wes Montgomery and Grant Green. If you’ve been keeping up with my videos, you’ve probably watched some of my 18 Bebop Licks lessons.