This PDF method contains 11 guitar lessons with chord studies, tabs, standard notation, analysis & audio files about the main blues progressions used in jazz music. 25 Altered Jazz Guitar Lines This PDF eBook method contains 25 altered jazz guitar licks with tabs, patterns, scale charts and audio files to master, apply and develop the altered. The Tabs/pdf's are always above the performance or lesson video's. Some advice: please open the videodescription of my video's; there's always interesting info there. If you like the free TABS and videolessons on this page, please consider donating via Paypal using the button below.

Jamming with and interacting with other musicians in a performance context is one of the best ways to get better at playing. This holds especially true for bebop and other forms of jazz. Tuning into the rhythm section helps you get better at comping. And, taking your turn as a soloist can be a catalyst for improving your lead playing skills.

In her course, Trading Solos: Bebop, Sheryl Bailey will jam with you over five commonly played bebop progressions. You’ll take turns comping for Sheryl, and then she will open the floor for you to take a solo while she comps for you.

Here are four video bebop guitar soloing lessons from the course. For The cull course, check out Sheryl Bailey’s Trading Solos: Bebop on TrueFire!

Bebop Guitar Lesson – Track 1 – Overview

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“Say What?” is based on the modal jazz staple by Miles Davis, “So What”. This is certainly an important situation to know how to navigate, a static, modal groove. How can you make the comping interesting from chorus to chorus? How can you develop hip melodic lines, that go beyond running scales? That’s what I’m here to share with you!

Bebop Guitar Lesson – Track 1 – Comping Approaches Demo

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Grooving in the pocket and keeping it simple is the key on this modal tune. I like to use “open sounding” voicings in 4ths to keep the harmony open for the soloist and creating an open vibe. Locking into the rhythmic pattern gives space for the bass and drums to fill in the spaces to make the groove deeper. As I move to the next couple choruses, I add more color to my voicings and let the bass player cover the roots. In the last chorus, I explore creating movement on the static harmony by making them into II-7 V7’s.

Bebop Guitar Lesson – Track 1 – Three Licks Ideas

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The secret to making this simple chord progression sound slick is in the comping rhythms: Locking in with the rhythm section to really be a section, strong together to support the soloist. In the first chorus, I just lock in with the R.S., using an open sounding min7/11 voicing.

In the 2nd chorus, I lock in with a syncopated rhythm, keep it in the pocket and steady to make the groove heavier. Also, I imply a II-7 V7 progression on the static Dorian sound: This is commonly used by bebop players to create harmonic motion: “waves on top of stillness”

On the last chorus of comping, I use the II-7 V7 sound, but share some variations in the voicings by adding 9’s and 13’s, to sweeten the sound. The licks I’ve shared with you follow the concept of creating a II-7 V7 line over the static Dorian: Lick #1 uses the G7 bebop scale combined with a Dmin7 arp. Lick #2 outlines a Bmin7b5 over the Dmin7 – that equals a dim6 sound! Lick #3 outlines an Fmaj7 arpeggio against the Dmin7 – that equals Dmin7/9. So, the trick is to imply harmony against a static modal jam.

Bebop Guitar Lesson – Let’s Trade Solos – Track 1

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Let’s jam! I’ll start things off with a solo, and then it’s your turn to take lead while I play rhythm. Listen for the comping techniques and soloing licks we talked about, and then try them out yourself. https://renewspice.amebaownd.com/posts/16852709. Don’t forget to back me up while I’m soloing!

Digging these free bebop guitar soloing lessons? Check out Sheryl Bailey’s full course, Trading Solos: Bebop.

Would you like to learn how to build your own bebop licks? Great! You’ve come to the right place.

In today’s lesson video you’re going to learn an easy formula you can use to build your own bebop licks over any type of chord.

Yes, there are 1000’s of different jazz pattens and bebop licks every jazz musician should eventually master. But, in today’s lesson we’ll just cover a great starter one that every aspiring jazz musician needs to know.

Easy Bebop Licks Construction Tutorial Video

To get started take 3 minutes and watch this video where I show you a common pattern that will help you get started building your own bebop licks.

Then, from there scroll down for some very important additional tips to help you build your jazz improvisation skills to the next level.

Chromatics And Building Bebop Licks

In the video above I demonstrated a concept called a chromatic enclosure pattern.

Essentially that’s just a fancy term for saying that we use chromatism to target chord tones in our improvisation. This concept of targeting chord tones and resolving properly is a critical element of many great bebop licks.

When you look at the improvisations of many famous bebop musicians you’ll see that targeting chord tones on strong beats is a huge part of their improvisational style.

I’m talking about famous players like Charlie Parker, Bud Powell, Sonny Stitt, Barry Harris, Al Haig, Sonny Rollins, and Dizzy Gillespie.

You’ll even hear this technique being used at times by players like Oscar Peterson, Bill Evans, and Herbie Hancock and in the compositions of Monk.

Bebop Licks Pdf

If you want to be a better jazz improviser you need to get good at enclosure patterns. So, how do you do that?

How Chord Tones Can Be Used In Jazz Improv

Alright lets break down the concepts I demonstrate in the video even further. Let’s say that you’re just soloing over like a Dm7 chord.

Well here are our chord tones right. Root, third, fifth, seventh, D, F, A, C.

You can build your lines to feature mostly chord tones. This in itself is pretty simple and not too sophisticated.

Bebop Licks For Guitar Pdf

But, to bring more of that sweet jazz flavor in you’ll essentially play two chromatic notes down into your chord tones.And when you get these chromatic enclosures down in your playing this is where the fun really begins.

If you’re targeting the root of a Dm7 this is the note D. You’ll play E and then Eb right before.
If you’re targeting the 3rd of Dm7 then it’s the note F. You’ll play G and Gb right before.
If you’re targeting the 5th of Dm7 then it’s the note A. You’ll play B and Bb right before.
If you’re targeting the 7th of Dm7 then it’s the note C. You’ll play D and Db right before.

One thing to keep in mind is that you shouldn’t just use the chromatics on any random beat.

It will sound best if you resolve onto the chord tone on a strong beat. https://renewspice.amebaownd.com/posts/17181150. This means if you’re in 4/4 time that you should mostly resolve on beats 1, 2, 3, or 4.

When, you go deeper into the great bebop licks of the jazz masters you start to truly understand the critical role of rhythm in jazz improvisation.

In fact, if you want to see detailed blueprints of how the best jazz licks are truly constructed then check out this step by step system right here.

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Bebop Licks Guitar Pdf Lesson