The Beginner's Guide To Jazz Guitar Beginners
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Contents
Chapter 1 - Jazz Guitar Chords ........................................................................... 8
17 Essential Jazz Guitar Chords For Beginners ................................................... 9
How to Transpose Guitar Chords ...................................................................... 13
Your First Jazz Chord Progression ...................................................................... 15
Essential Jazz Comping Rhythms ........................................................................ 18
Autumn Leaves Comping Study ......................................................................... 24
Chapter 2 - Playing Jazz Standards .................................................................. 29
10 Beginner Jazz Standards ................................................................................ 29
Autumn Leaves Melody ....................................................................................... 40
Autumn Leaves Chord Melody ........................................................................... 43
Chapter 3 - Jazz Guitar Arpeggios .................................................................... 48
Arpeggios, What Are They and How Do They Work? ....................................... 48
The Minor Arpeggio ............................................................................................. 51
The Dominant Arpeggio ...................................................................................... 56
The Major Arpeggio ............................................................................................. 57
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Combining The 3 Basic Arpeggio Shapes .......................................................... 60
Arpeggio Charts .................................................................................................... 64
Arpeggios of the C Major Scale........................................................................... 71
Spicing It Up - Approach Notes........................................................................... 74
Spicing It Up: Enclosures ..................................................................................... 76
Autumn Leaves Arpeggio Study ......................................................................... 78
Chapter 4 - Jazz Guitar Scales .......................................................................... 83
The Major Blues Scale ......................................................................................... 83
The Natural Minor Scale ...................................................................................... 85
Harmonic Minor Scale ......................................................................................... 87
Melodic Minor Scale ............................................................................................. 89
Autumn Leaves Scale Solo .................................................................................. 92
Chapter 5 - Jazz Guitar Licks ............................................................................ 96
10 Classic Bebop Licks ......................................................................................... 97
Jazz Blues Licks ................................................................................................... 109
Charlie Christian Licks ....................................................................................... 115
Joe Pass Licks ..................................................................................................... 123
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Kenny Burrell Licks ............................................................................................. 131
Pat Metheny Licks .............................................................................................. 137
Wes Montgomery Licks ..................................................................................... 143
II V I Licks ....................................................................................................... 144
Minor Lick ...................................................................................................... 148
Dominant Lick ............................................................................................... 149
Octave Licks .................................................................................................. 150
Chord Licks .................................................................................................... 151
Wes Style Blues Solo .................................................................................... 153
Chapter 6 - Jazz Blues ..................................................................................... 157
Blues Chord Progressions & Variations........................................................... 158
Basic Blues .................................................................................................... 159
1930’s Blues Changes .................................................................................. 162
Count Basie Blues ........................................................................................ 164
Bebop Blues .................................................................................................. 167
Tritone Substitution Blues ........................................................................... 169
Bird Blues ...................................................................................................... 172
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Jazz Blues Guitar Chords: Comping Exercise for a Blues in G ...................... 175
Wes Montgomery Blues Solo ............................................................................ 179
Kenny Burrell Minor Blues Solo........................................................................ 185
Joe Pass Blues ..................................................................................................... 188
Appendix - The Roman Numeral System ..................................................... 192
Further Resources .......................................................................................... 194
The JGO Forum .................................................................................................... 194
The JGO Blog ........................................................................................................ 195
The JGO eBook Store .......................................................................................... 196
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Foreword
Welcome to The Beginner’s Guide to Jazz Guitar, great
to have you here!
Learning how to play jazz guitar means working on tunes,
learning vocabulary, and studying techniques such as
chords, scales and arpeggios.
It also means working on time, groove, rhythm, ear training,
and other essential performance skills.
While these skills and techniques are essential to learning to
play jazz guitar, they can be intimidating or overwhelming
to study on your own.
This is where The Beginner’s Guide to Jazz Guitar comes in...
This book is designed to introduce you to all of the essential
elements needed to learn to play over your favorite jazz
standards with condence.
So, enjoy this material, explore the various elements that make up jazz guitar
performance, and have fun with these exercises in the woodshed!
Cheers,
Dirk & Matt
About the audio in this eBook: if you are connected to the internet while working
in your ebook, all you have to do is click the link of each audio example to play it. If
you are not connected, you’ll have to download the audio les rst here.
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Chapter 1 - Jazz Guitar Chords
The most important element of learning and playing jazz guitar is
comping – playing chords behind melodies and soloists in a group
setting.
While soloing is what most of us want to spend our time on in the
practice room, on the bandstand guitarists spend the majority of the
time playing chords. Because of this, it’s essential to study jazz chords,
progressions, and comping phrases in the woodshed.
Having a strong command of chords and comping allows you to fully participate
on any jam or gig as a jazz guitarist.
The material in this chapter sets you on that pathway in the practice room. By
studying this material, you build a harmonic foundation that brings authentic jazz
comping skills and vocabulary to your playing.
So, grab your guitar, turn up your favorite amp, and dig into these essential jazz
chords and harmonic concepts.
“I don’t know that many chords. I’d be loaded if I knew that many. But that’s not my aim.
My aim is to move from one vein to the other without any trouble. The biggest thing
to me is keeping a feeling, regardless what you play. So many cats lose their feeling at
various times, not through the whole tune, but at various times, and it causes them to
have to build up and drop down, and you can feel it.” - Wes Montgomery
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17 Essential Jazz Guitar Chords For Beginners
The 17 chord shapes shown on the following pages are essential
knowledge for every beginning jazz guitarist to get started. The chords
you’ll learn here are maj7, dominant 7, minor 7, half diminished 7 and
diminished 7.
A red dot represents the root (aka 1 or bass note) of the chord. The root is
the note that gives the chord the rst part of its name (C or A for example). On
this chart, all bass notes are C. By moving the chord shapes up or down the
guitar neck you get other chords of the same type (you’ll learn how a bit further,
in the chapter about transposing chords).
The numbers ( ) inside the note markers are chord tones. These chord
tones give the chord the second part of its name (maj7 or min7 for example). If
this is new to you, you should make it easier on yourself and learn basic chord
theory.
Notice how each chord only changes one note to the next. This can help you
memorize the chords, and relate them to one another. For example: Maj7
and 7th only have one note dierence, as well as 7th and m7:
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Chords with the Root on String 6
The following 5 chords have their bass note on the lowest string (the low E string).
The strings marked with an x are not played. The bass note is played with the
thumb of the right hand, the other chord tones are simultaneously played with
ngers 1, 2 and 3 (index, middle nger and ring nger).
Learn to play these 5 chords so that all chord tones ring freely. Further in this
chapter you’ll learn how you can practice these chords further.
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Chords with the Root on String 5
The following chords have their bass note on the 5th string (the A string).
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Chords with the Root on String 4
The following chords are chords with the root on the 4th string (the D string).
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How to Transpose Guitar Chords
Learning chord shapes is one part of jazz comping, the other is begin able to play
those shapes in any key. When doing so, you don’t have to learn new chords, you
just have to recognize where the root of the chord is and move it to the note you
need.
To begin, here are two Cmaj7 chord shapes with the root highlighted in red.
Whatever fret that red note is on is the root of the chord you’re playing.
Play these two chord shapes and focus on seeing that root note as the name of
the chord you’re on. You can even say the root and/or chord name as you play it,
such as “C” or “Cmaj7”.
This sets you up to transpose chords in the next example:
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You can now take those Cmaj7 chords and play them in dierent keys. In this
example we’ll transpose the Cmaj7 to Dmaj7 by moving the chord shape of the
Cmaj7 2 frets higher:
In the next example we’ll transpose the second voicing of the Cmaj7 to Bmaj7 by
moving the chord shape of the Cmaj7 1 fret lower:
After you can transpose these chords, repeat the exercise with 7th, m7b5, and
any other jazz chords you’re studying.
Remember: the red note (in this case the lowest note), tells you what the
name of the chord is when played on the guitar.
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Your First Jazz Chord Progression
With chords under your ngers, you’re ready to learn your rst jazz chord
progression: ii V I vi (if you’re not sure what these Roman numerals mean, click
here to learn more about them in the appendix of this ebook).
These chords, or variations of these chords, are found in countless jazz standards
and are essential knowledge for anyone learning jazz guitar.
The progression is taken from the major scale, where four of the seven chords
are extracted and arranged to form this progression.
Here are the chords in the key of C major, with the ii V I vi chords in bold so you
can see where they lay in the key.
Audio Example 1
Click here to play audio example 1
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To build the ii V I vi chord progression, you take those highlighted chords from
the previous example and play this in them in the following order:
Audio Example 2
Click here to play audio example 2
Work these shapes with a plain rhythm at rst, and then add in rhythms as you
move to the next section in this chapter.
For a further challenge, transpose these chords to other keys. Here are four
keys/progressions to get you started. Can you play these shapes?
• Am7 – D7 – Gmaj7 – Em7
• Em7 – A7 – Dmaj7 – Bm7
• Cm7 – F7 – Bbmaj7 – Gm7
• Gm7 – C7 – Fmaj7 – Dm7
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Here are the same chords, but moved to another position on the fretboard.
After you can play these shapes, move between this and the previous example as
you take these essential chords around the fretboard.
Audio Example 3
Click here to play audio example 3
“Sometimes you have to play a long time to be able to play like yourself.” - Miles Davis
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Essential Jazz Comping Rhythms
Now that you know a jazz chord progression, you can study some classic jazz
rhythms with those same chords.
The rst rhythm (steady quarter notes
aka four to the bar), is often called the
Freddie Green rhythm, named after
Count Basie’s guitarist. When playing this
rhythm, accenting the 2nd and 4th notes
of each bar gives you a swing feel that
emulates Green’s driving pulse.
Audio Example 4
Click here to play audio example 4
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The second rhythm places chords on beats 1 and 3 of each bar, as you remove
chords from beats 2 and 4 of the previous rhythm example.
Go slow, count, and make sure you cut the chords o so they don’t ring over on
beats 2 and 4, which is important to maintaining the swing feel with this rhythm.
Audio Example 5
Click here to play audio example 5
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You now explore a syncopated rhythm by playing chords on the & of 1 and 3 in
each bar.
Syncopation is a musical term which refers to playing on the up-beat.
The up-beat occurs between down-beats. If you count:
1 & 2 & 3 & 4 &
The numbers are the down-beats and the ‘&’s’ are on the up-beats.
Though it sounds cool, it’s hard to play syncopated rhythms and not rush the
time. Because of this, work with a metronome and go slow until you’re ready to
speed this pattern.
Audio Example 7
Click here to play audio example 7
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The next rhythm places chords on the & of 2 and 4 in each bar. This technique is
called “anticipation,” and is an essential jazz rhythmic concept.
Anticipation is placing the chord from the next bar on the & of 4 in the bar
you’re on (such as the G7 on the & of 4 in bar 1).
Audio Example 8
Click here to play audio example 8
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The nal rhythm is called the Charleston, as it’s named after the famous dance
from the early 1900s.
In this rhythm, you play a chord on beat one of each bar, followed by a chord on
the & of 2 in each bar.
Count as you learn this rhythm and work with a slow metronome until it’s
comfortable.
Audio Example 9
Click here to play audio example 9
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Autumn Leaves Comping Study
To nalize this chapter about chords, you’ll learn a chord study that uses shapes
and rhythms from this section.
Go slow, learn each four-bar phrase one at a time, and then put everything
together from there as you learn the whole tune.
After you can play these chords and rhythms, change the rhythms, as you expand
this exercise in the woodshed.
Here’s a backing track that you can use to practice this chord study.
Backing Track 1
Click here to play backing track 1
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The Easy Guide To Jazz Guitar Chords eBook
Now you have learned the basics of jazz guitar chords. If you want to
progress and learn more abouthow chords are used in jazz, check out
ourstep-by-stepeBook The Easy Guide to Jazz Guitar Chords.
Jazz guitarists love to play chords. They sound cool on the instrument, are full of
colorful extensions, and it’s most of what you do when playing in a jazz combo.
Covering every essential jazz guitar chord type, in both technical and musical
situations, the material in this eBook will take you from day 1 of jazz guitar to
comping over standards in no time.
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When you buy The Easy Guide to Jazz Guitar Chords, you get:
• 330 pages of text, musical examples, and backing tracks for ecient at
home study.
• 226 audio examples with guitar tabs/notation or chord diagrams.
• Practical, musical examples for each chord concept presented in the book.
• 28 Slow and fast backing tracks for each chord progression and standard
studied in the eBook.
• A chord dictionary with bonus harmonic exercises to take your chord playing
to the next level.
• Picking hand variations and exercises to develop both hands in the practice
room.
Click Here to download your copy of The Easy Guide to Jazz Guitar Chords.
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Chapter 2 - Playing Jazz Standards
Besides learning techniques like scales, chords, and arpeggios, learning
jazz standards is essential for every jazz guitarist. These are the songs
that you use to communicate with other musicians, and they get you
playing music rather than just concepts.
To begin this section, we’ll listen to 10 beginner standards. After that you’ll learn
how to play the melody and chord melody to Autumn Leaves.
10 Beginner Jazz Standards
To begin, here are 10 essential tunes for beginning jazz guitarists to know.
When learning these songs, you want to learn the melody, chords, and soloing, so
you can function in a jam situation.
Don’t worry about learning all 10 at once, it’s better to have one that you can jam
with other people, rather than have parts of several tunes under your ngers.
Lastly, you can learn these songs from a Real Book, but make sure to listen to
recorded versions by famous jazz musicians of these same songs.
This introduces these songs and their interpretation to your ears, making it
easier to learn when you take the chords, melody, and soloing to the fretboard.
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Birks’ Works (Dizzy Gillespie)
Built with an AAB melodic structure, Birks’ Works is one of the most played and
easily recognizable minor blues tunes in the jazz repertoire. Written and originally
recorded by Dizzy Gillespie, this tune can be played in any key on any given gig or
jam session, as it has an easily transposable melody.
As with any minor blues head, the turnaround for Birks’ Works has a few common
variations that you will run into on a jam session. These variations include bVI-V-I,
ii-V-I, or even biii-bVI/ii V/I.
Whichever variations you encounter, one thing’s for sure, Birks’ Works is an
essential minor blues tune for any jazz guitarist to learn and call on jam sessions.
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Mr. P.C. (John Coltrane)
Named after Coltrane’s bassist Paul Chambers, Mr. P.C. is a commonly called jam
session and gig minor blues tune in the key of C minor, at least normally. Because
the tune is a ri based tune, where the original lick is rst played in the tonic key
and then over the ivm7 chord, Mr. P.C. is often called in dierent keys.
Though the progression is straightforward, and the melody isn’t too dicult to get
under your ngers, the tempo is usually a challenge with this tune. Often played
at 200 or more bpm, even reaching close to 300 by some players, this tune can
challenge your chops and focus as you burn over a fast-paced minor blues tune.
Make sure to memorize these melodies, even just one if that’s all you have time for
right now, so that you can recall that melody on the spot in a jam session.
Because each melody ts over a minor jazz blues form, start by listening to each tune
and then start with the one that attracts your attention the most.
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All Blues (Miles Davis)
You know that learning the blues is important to learn jazz, but it’s also important to
learn a blues with a twist, such as the Miles Davis tune All Blues.
This tune features an interesting chord progression, with the bVII7 chord used in the
last turnaround.
As well, All Blues is played in 6/8 time (sometimes written in 3/4 or 6/4 time depending
on the lead sheet).
Because of this, make sure you jam along with the original recording to ensure that
you’re lining up the groove correctly with the intended rhythmic feel.
All Blues is a tough blues tune to play, but it’s a fun challenge that will entertain you
and enrich your playing over a non-standard blues form.
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Summertime (George Gershwin)
One of the most popular jazz songs of all time, Summertime has a memorable
melody that many players have heard prior to studying jazz.
It also acts as a nice introduction to common minor key progressions, such as ii V I in
minor and the ii V I to the ivm7 chord, both found in this tune.
You also work on mixing tonic minor and major sounds in the second half of the tune,
another common jazz harmonic technique.
Lastly, for beginner jazz guitarists, you can use the minor pentatonic or minor blues
scale to solo over this entire progression. This makes it a great “bridge” tune for those
coming from a rock and blues background and who are now studying jazz in their
practice routine.
Click here to learn a chord study over Summertime
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Maiden Voyage (Herbie Hancock)
As you work on changing keys in your playing (a tough step for any beginner jazz
guitarist), Maiden Voyage is a great tune to work on.
It also contains a fun and challenging rhythmic pattern to get down, and 7sus
chords or slash chords (depending on the lead sheet you use).
Either way, the chords are modal in nature, and move around to four dierent
keys as you navigate this 32-bar form.
A fun study in modal jazz, Dorian modes, rhythmic control, and key changes that
challenges you in the woodshed and adds to your jam session set list.
Click here to learn a chord study over Maiden Voyage
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Watermelon Man (Herbie Hancock)
A 16-bar blues, Watermelon Man will challenge your ability to keep track of the
progression as you solo over a I-IV-V progression.
For an added challenge in the woodshed, learn the piano ri that Herbie made
famous with this song.
Piano ris don’t always sit well on guitar, but this line sits nicely on the guitar, and
allows you to jam the tune with an authentic sound in jam sessions.
The chords are fairly easy to navigate, compared to other jazz tunes in the
repertoire, but the form and groove are engaging and challenging for beginners.
Click here to learn a chord melody version of Watermelon Man
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Take The A Train (Billy Strayhorn)
Besides being a classic vocal and instrumental jazz track, Take the A Train
introduces you to essential chords and soloing concepts on guitar.
There’s the II7 chord (D7 in the key of C major), that appears in the rst half of
each A section, and the bridge moves to the IV chord.
Both of these harmonic concepts are found in countless other tunes, so learning
A Train sets you up to nail other tunes in your playing as well.
The melody is mostly based on chord tones and arpeggio shapes, providing you
ideas tied to the melody when it comes time to solo.
It’s also played at a wide variety of tempos, providing unique challenges as you
explore various grooves and bpm’s with this tune in the woodshed.
Click here to learn a chord study over Take the A Train
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Satin Doll (Duke Ellington/Billy Strayhorn)
One of the most popular jam session tunes, Satin Doll provides ii V progressions
to navigate when soloing over these fun changes.
Moving in non-traditional ways, these ii V progressions move quickly so require
a solid knowledge of ii V material to outline the progression.
As well as challenging your soloing chops, this tune is ripe for a chord melody
arrangement as the melody sits well on the fretboard below chord shapes.
If you’re looking for inspiration, the Wes Montgomery version of this song is
essential listening for any jazz guitarist.
Click here to learn a chord melody version of Satin Doll
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Blue Bossa (Kenny Dorham)
The only bossa tune on this list, Blue Bossa introduces you to Brazilian jazz
comping and rhythmic concepts on guitar.
As well, there’s a tricky key change in the middle of the tune, where it shifts from
Cm to Db major, then back again for the nal four bars.
Because it’s a bossa groove, you need to spend time on syncopation in both your
soloing and comping.
Working on syncopation in your chords and lines not only prepares you to jam
this tune, it prepares you for many other jazz jam situations as well.
Although Blue Bossa wasn’t written by a Brazilian, but it’s one of the most
commonly jammed bossa tunes in the jazz catalogue. Therefore it’s an essential
tune to have under your ngers.
Click here to learn the chords of Blue Bossa
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Autumn Leaves (Joseph Kosma)
A denite must-know standard, Autumn Leaves is one of the most commonly
called tunes at jazz jam sessions.
It can be played in Em or Gm, and therefore is an introduction to tunes that are
commonly played in more than one key, forcing you to learn it in both keys.
There are also major ii V I’s and minor ii V I’s to navigate in your comping and
soloing, and the melody line is ripe for a chord melody arrangement.
Besides all of this technique material, Autumn Leaves is just a fun tune to play.
It’s challenging, can be played at many dierent tempos, and sounds great in
many ensemble settings.
Because of this, Autumn Leaves should be one of the rst jazz songs that you
learn and study in the practice room.
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Autumn Leaves Melody
To get you started with these songs, here is the melody to Autumn Leaves.
Learn the melody as written, playing it along with the audio example.
From there, play it along with the backing track and you work on memorizing
this important jazz standard.
Backing Track 2
Click here to play backing track 2
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Autumn Leaves Chord Melody
To nish your intro to jazz standards, here’s an easy chord melody for Autumn
Leaves.
Go slow with this arrangement, as it takes to get under your ngers.
The melody has been moved to mostly the top 2 strings, compared to the whole
fretboard in the single-note example. This is to accommodate the chords played
below the melody line in this arrangement.
Backing Track 3
Click here to play backing track 3
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46
The Easy Guide To Chord Melody eBook
Do you listen to players such as Joe Pass, George Benson, and Barney
Kessel and wonder how they get that smooth, sophisticated sound
with their chord melodies and chord solos? Learn how to get that
sound with our step-by-stepeBook The Easy Guide to Chord Melody.
Joe Pass once said:
“Guitarists should be able to pick up the guitar and play music on it for an hour,
without a rhythm section or anything.”
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Playing bass, chords and melody at the same time (aka chord melody) is not
an easy thing to do. It sounds easy enough when you hear Joe Pass or Barney
Kessel do it, but getting that smooth sound doesn’t come by itself...
Learning how to play chord melody requires a step-by-step plan and that’s
where The Easy Guide to Chord Melody comes in.
When you buy The Easy Guide to Chord Melody, you get:
• 7 chapters (356 pages) that break down essential chord melody and chord
soloing concepts.
• Over 300 musical examples in TAB, audio, diagrams, photos, and notation.
• 14 backing tracks, so you can apply each concept to a musical situation
• Chord melody arrangements from beginner to advanced levels
• Chord soloing studies for beginner, intermediate, and advanced players.
• Comping studies for duo, trio, and solo jazz guitar.
Click Here to download your copy of The Easy Guide to Jazz Guitar Arpeggios.
48
Chapter 3 - Jazz Guitar Arpeggios
In this section of the eBook you’ll learn how to play arpeggios, how
to use arpeggios to improvise over chord changes and jazz standards,
as well as the music theory involved. Just like scales, arpeggios are
an essential building block of the jazz player’s vocabulary and give
your solos that instant “jazzy” avor (if done right). That’s why
understanding, practicing and mastering arpeggios is a necessity for
all jazz guitarists.
Arpeggios, What Are They and How Do They Work?
Here is thedenitionof the wordarpeggio:
An arpeggio is a broken chord, where the notes of the chord are played in
succession instead of simultaneously.
Arpeggios are used inall genresof music, such as jazz, blues and rock. In jazz
(and metal) arpeggios are used dierently compared to other genres of music.
Inpop and classical musicfor example, an arpeggio on guitar is usually used
foraccompaniment. Instead of playing or strumming the notes of a chord
simultaneously, the individual notes of the chord are played in succession by
applying a nger picking pattern, usually on acoustic guitar.
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Here’s an example of how anAm arpeggiocan be used in pop music. The base of
this arpeggio is a basic Am chord shape and the notes of the chord are not muted
after they are played, but ring together.
In jazz (and blues, metal, etc), arpeggios are used for soloing instead of
accompaniment. In contrast to arpeggios used in other genres of music, the
notes of a jazz guitar arpeggio are usually played with a plectrum (unless you play
ngerstyle) and muted after they are played, so they don’t ring together. Another
contrast is that these arpeggios are not based on a chord shape.
Here’s an example of how an Am arpeggio would be played in jazz:
In this tutorial we will be focusing on thejazz-type of arpeggios.
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What Are Arpeggios Used For?
Arpeggios are a great tool to improvise over chord progressions and jazz
standards:
• Playing the chord tones in your guitar solo will outline the harmony of the tune.
This gives your improvisation a sense of direction, making it moreinterestingto
listen to.
• Arpeggios make it easier to improvise a nice voice leading, making your solos
moremelodic.
• You can use arpeggios to add color and complexity to your solos by using
substitutions.
How To Start Using Arpeggios
Now, which arpeggios should you learn?
Every jazz guitarists needs to know how to play the arpeggios of all chord
types in all positions of the guitar neck.
This may not seem a simple task, but with a good practice routine, you will be able
toplay all arpeggios without thinkingin a relative short period of time.
So, before learning how to use arpeggios in guitar solos, let’s get started by
learningthe basic positions.
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Basic Shapes: Minor, Dominant and Major
We’re going to learn thebasic arpeggio shapes (aka grips)by looking at the most
common chord progression in jazz, the 2 5 1 (II V I).
In this example we’ll be working with a2 5 1 progression in the key of G major:
To play over this kind of chord progression, you need 3 types of arpeggios: minor,
dominant and major.
The Minor Arpeggio
These are the notes of the Am7 chord:
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Here is the guitar arpeggioshape for the Am7 chord:
red dotsrepresent the root or 1 of the guitar chord. The letter inside the box
is the note name.
black dotsrepresent the other chord notes.
Am7 Arpeggio Exercise #1:practice the A minor arpeggio as notated on the tabs
below (until it ows naturally):
Audio Example 13
Click here to play audio example 13
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Here are 2 arpeggio patterns that are a little more technically advanced,
practicing these is optional, but a good exercise to get the arpeggio shapes under
your ngers. I’ve written out these patterns for Am7 only, but you can use the
same pattern on all arpeggios, including the dominant and major arpeggios that
follow.
Am7 Arpeggio Pattern #1: This rst pattern plays the arpeggio in 5th and 4th
intervals, achieved by skipping notes:
Audio Example 15
Click here to play audio example 15
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Movable Shapes
One thing you need to know: just like chords, all arpeggio shapes are
movable. If you know the arpeggio for Am7 you can use that same ‘shape’ to
nd the arpeggios for other minor chords.
For example: let’s say you want to nd the arpeggio for Gm7. All we have to
do is slide the Am7 arpeggio shape 2 frets down. Instead of starting on the
5th fret (in case of Am7), we start on the 3rd fret for Gm7. You move the root
of the arpeggio and play the shape from there, like this:
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Combining The 3 Basic Arpeggio Shapes
We know the basic positions for the arpeggios, now we’re going tocombinethem
so the arpeggios follow the 251 chord progression.
Exercise #1 - Ascending
The rst thing we’ll practice is playing the arpeggiosascending, starting from the
root. This exercise is not very musical and you will never use them like this for
improvisation, but it’s a necessary step in learning how to play arpeggios.
Audio Example 21
Click here to play audio example 21
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Exercise #2 - Descending
Next, we’ll play the arpeggiosdescending:
Audio Example 22
Click here to play audio example 22
Exercise #3 - Alternating
The next step isalternating the arpeggios. We do this by playing the rst arpeggio
(Am7) for 1 bar and then switch to the nearest note of the second arpeggio (D7) in
the second bar. The same happens when we switch to the third arpeggio (Gmaj7).
Audio Example 23
Click here to play audio example 23
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Exercise #4 - Alternating Variation
Let’s have a look at another alternating example, starting from a dierent
location of the guitar neck. Instead of starting the Am7 arpeggio on the low
E-string, we will start it on the high E-string:
Audio Example 24
Click here to play audio example 24
When you’ve got these basic arpeggio shapes under your ngers, the following
(important) step is tostart improvisingusing these shapes. Practicing arpeggios
starting from the root in streams of 1/8 notes is an important step in the learning
process, but not very musical. Once you got this step under your ngers, it’s
important to get creative so you don’t end up sounding like a robot on stage...
Arpeggios can be started on any note and played in any order. You can
mix notes, skip notes and use any rhythm you can think of. Be creative!
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Arpeggio Lick #1
Here’s an example, using the same arpeggio shapes over the same 251 chord
progression, but with a variety in rhythm and note order:
Audio Example 25
Click here to play audio example 25
Now start toimprovise yourself, using only the basic shapes you learned so far.
Use the backing track to make sure you make the arpeggio change at the right
time.
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Arpeggio Charts
So far in this tutorial we worked with arpeggio shapes that have theirroot on the
E-string (Am7 and Gmaj7)oron the A-string (D7). There are of course a lot of
other positions these arpeggios can be played in.
The following charts in the list below are an overview of arpeggio positions for
the most common chord types.
The big diagram shows all the notes of the arpeggio over the entire neck.
Thesmaller diagramsbeneath show the individual arpeggio grips.
All 22 grips below need to be memorized and practiced so you can play
them uently and without hesitation...
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Major Arpeggios (Gmaj7)
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C A G E D
Those of you familiar with the CAGED system, will recognize that the 5 Gmaj7
arpeggio shapes above correspond with the 5 basic chord shapes (C A G E D):
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Minor Arpeggios (Am7)
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Dominant Arpeggios (D7)
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Half-Diminished Arpeggios (Bm7b5)
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Spicing It Up - Approach Notes
Arpeggios relate directly to the chord you’re soloing over, but they can sound a
bit plain, as they oer nothing new to that chord. To help you avoid this in your
solos, you’ll have a look at some commonchromatic techniquesover arpeggios.
The rst arpeggio concept is called approach notes, where you approach
any note in an arpeggio by one fret below. When doing so, you create a
tension and release sound in your lines.
The only rule is that youcan’t resolve to the chromatic notes. So, if you play an
approach note, you then have to play a chord tone afterwards.
Here’s an example of this technique in action, as you approach each note in
anAm7 arpeggiofrom a fret below. The approach notes are in blue so you can
easily see them on the fretboard. After you’ve worked this exercise over Am7,
take it to other keys and arpeggio types in your solos:
Audio Example 28
Click here to play audio example 28
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Here’s thereverseof the previous exercise as you now descend an Am7 arpeggio
with approach notes.
Audio Example 29
Click here to play audio example 29
Here’s a lick that uses arpeggios and approach notes as you bring this concept to
amusicalsituation. Learn this lick in the given key, then take it to other keys if
you can. From there, write out a few licks of your own over this progression.
Audio Example 30
Click here to play audio example 30
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Spicing It Up: Enclosures
The next bebop technique uses two chromatic notes for each arpeggio note, as
youencirclechord tones in your lines.
When playing enclosures, you play one fret above, then one fret below,
then the chord tone.
There are a number of enclosures that you can use in your solos, but this is the
best one to start with as it’s the most commonly used.
Here’s an example of an enclosure as applied at anAm7 arpeggio, ascending a
two-octave version of that arpeggio. Work this exercise with a metronome in as
many keys as you can, and then take it to other arpeggio shapes.
Audio Example 31
Click here to play audio example 31
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The next exercise reverses the previous one, as you now descend an Am7
arpeggio with enclosures.
Audio Example 32
Click here to play audio example 32
Here’s a lick that uses arpeggio enclosures over a ii V I vi progression in G
major. After you learn this lick, write out 2-3 of your own that use arpeggios and
enclosures in its construction.
Audio Example 33
Click here to play audio example 33
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Autumn Leaves Arpeggio Study
To complete our arpeggio tutorial, we will learn how to use arpeggios in a song.
To get you started applying arpeggios over chord changes, here is asoloover
Autumn Leaves that uses arpeggios and concepts from this section.
Work the soloone phrase at a timeuntil you can put everything together to form
the solo as a whole. From there, you can play it along with the audio example, as
well as solo over the backing track as you create your own arpeggio solos over
this tune.
Audio Example 34 Backing Track 2
Click here to play audio example 34 Click here to play backing track 2
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The Easy Guide To Jazz Guitar Arpeggios eBook
Now you have learned the basics of arpeggios. If you want to progress
and learn more abouthow to use arpeggiosin your soloing, check out
ourstep-by-stepeBook,The Easy Guide to Jazz Guitar Arpeggios.
A big part of learning how to play jazz guitar is learning to “play the changes”.
While learning scales is one avenue to explore playing changes, the most direct
way to outline any chord in your soloing is to use arpeggios in your lines.
The Easy Guide to Jazz Guitar Arpeggios is a step-by-step approach that
teaches you the ngerings, knowledge, exercises, and common phrases you
need to condently solo over any set of jazz chord changes.
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When you buy The Easy Guide to Jazz Guitar Arpeggios, you get:
• 15 Chapters (182 pages) of must-know jazz arpeggio concepts and applications,
explained step-by-step.
• Easy to follow concepts with hundreds of fretboard diagrams and tab/
notation examples.
• Over 100 audio examples and backing tracks.
• Sample solos over common jazz tunes to amp up your studies.
• Practice pointers to help you get the most out of your time in the practice
room.
• Everything you need to master jazz guitar arpeggios.
Click Here to download your copy of The Easy Guide to Jazz Guitar Arpeggios.
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Chapter 4 - Jazz Guitar Scales
Moving on to another essential soloing technique: scales. The scales
we’ll be looking at are going to be applied to Autumn leaves, and
therefore are the scales needed to solo over the changes to this tune.
These aren’t all the scales you need to be a great jazz guitarist, but
they are part of a foundation needed to move to the next level in your
solos.
Start by working each scale on it’s own, then learn the sample solo at the end of
this section to take these scales to a musical situation over Autumn Leaves.
The Major Blues Scale
The rst scale is used to solo over the rst four bars of Autumn Leaves, Am7-D7-
Gmaj7-Cmaj7, as all chords are in the key of G major.
This scale has six notes, and is built with the following interval pattern:
The b3 is the “blue” note in this scale, as it gives the scale its bluesy sound.
You can use this scale to solo over any progression in a major key, such as Autumn
Leaves, or over individual 7th and maj7 chords. Because there is not 7th in this
scale, it can be applied to both G7 and Gmaj7 chords. Pretty cool right?
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After you have one or both of these ngerings down, put on this backing track
and solo over this Gmaj7 chord with the G major blues scale.
This gets the sound of this scale into your solos in a musical situation.
Backing Track 4
Click here to play backing track 4
The Natural Minor Scale
The next scale is used to solo over the F#m7b5 chord in Autumn Leaves.
Because minor ii V I’s (like F#m7b5-B7alt-Em7 in Autumn Leaves), use
dierent scales over each of the 3 chords, it’s best to keep them to one root
note. To do this, you play three scales with the same E root over those three
chords, beginning with E natural minor over F#m7b5.
This scale is the 6th mode of the major scale, and is also called the Aeolian mode:
Click here to learn more about Guitar Modes
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After you have one or both of these ngerings down, put on this backing track
and solo over this F#m7b5 chord with the E natural minor scale.
This gets the sound of this scale into your solos in a musical situation.
Backing Track 5
Click here to play backing track 5
The Harmonic Minor Scale
When soloing over the V7alt chord (the B7alt chord in Autumn Leaves) in a minor
ii V I, you use the tonic harmonic minor scale.
Here are the notes of the harmonic minor scale. Note that the only dierence
with the natural minor scale is the natural 7 instead of a at 7:
When playing the E harmonic minor scal over B7alt, you create a V7(b9,b13)
sound:
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After you have one or both of these ngerings down, put on this backing track
and solo over this B7alt chord with the E harmonic minor scale.
This gets the sound of this scale into your solos in a musical situation.
Backing Track 6
Click here to play backing track 6
The Melodic Minor Scale
The nal scale is used to solo over the Im7 chord in a minor ii V I, melodic minor.
This scale has a raised 7th interval, which creates tension over m7 chords in your
solos:
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After you have one or both of these ngerings down, put on this backing track
and solo over this Em7 chord with the E melodic minor scale.
This gets the sound of this scale into your solos in a musical situation.
Backing Track 7
Click here to play backing track 7
Autumn Leaves Scale Solo
To get you started with applying scales to a soloing situation, here is a solo over
Autumn Leaves that uses scales from this section.
Work the solo one phrase at a time until you can put everything together to
form the solo as a whole.
From there, you can play it along with the audio example, as well as solo over the
backing track as you create your own scale solos over this tune.
Backing Track 8
Click here to play backing track 8
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Chapter 5 - Jazz Guitar Licks
One of the fastest ways to bring a jazz sound to your solos is to study
vocabulary, which means licks, lines, and phrases from famous
recordings. While working on vocabulary is essential learning for any
jazz guitarist, playing licks note-for-note in your solos can get you
labeled as a “line player.”
This is someone who learns licks as played and then parrots them in
their solos back to back. Not a sound you should be going for in your
solos...
But, while you want to avoid being a line player, you need to have jazz vocabulary
at the heart of your solos to bring an authentic jazz sound to your playing.
To do this, you learn lines, break them down into concepts, and then use those
concepts to build exercises and further vocabulary in your playing.
This chapter shows you how to do that...
Each lick is presented as a whole, but the concepts within these licks are broken
down so you understand how each line is built.
From there, you can take those concepts and use them to build your own lines
when soloing over jazz tunes on the bandstand.
Make sure to work each lick in this section as well as dig into the concepts behind
each lick to get the most out of the material in this chapter.
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10 Classic Bebop Licks
Though it lasted less than a decade, the bebop era has had a lasting inuence
on subsequent generations of jazz improvisers. Players such as Charlie Parker,
Dizzy Gillespie, Cliord 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 studyingclassic
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 section, you’ll learn 10 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.
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Bebop Lick 1 - Charlie Parker
The rst bebop lick is from the Charlie Parker songbook, and is one of the mostpopular
jazz licksof all time. This lick is so famous that if you learn just one bebop lick, it’s
this one.
The lick is played over the rst four bars of a jazz blues chord progression, and
features scale tones plus a few chromatic notes. These chromatic notes are known
as blue notes (b3 and b5) and come from theblues scale, which gives the lick it’s
bluesy vibe.
Audio Example 40
Click here to play audio example 40
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Bebop Lick 2 - Dizzy Gillespie
In thisDizzy Gillespieinspired lick, you’ll see a delayed resolution over the Imaj7
chord in the third bar of the phrase. The F7 chord (specically F7b9), is played
over the rst beat of the third bar, before resolving to the Bbmaj7 chord on the
second beat of that bar.
As well, notice theCm triadthat outlines the rst half of the rst bar.
Thougharpeggiosare mostly used in jazz to outline chords,swing and bebopera
players often used the 1-3-5 triad to outline the underlying chord. When working
on soloing overbebop changes, don’t forget to spend some time on triads, they’ll
come in handy as you use them over bebop tunes.
Audio Example 41
Click here to play audio example 41
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Bebop Lick 3 - Cliord Brown
Here’s a lick fromCliord Brownthat outlines aii V I progressionin the key of D
major.
The repetitivetriplet patternin the rst two bars is characteristic of Cliord’s
playing, and the bebop era in general.
As well, notice the four notes played over Dmaj7, which when combined are a
popularbebop patternin their own right. Take that last phrase (G-E-F-F#), and
practice applying it to other musical situations.
Audio Example 42
Click here to play audio example 42
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Bebop Lick 4 - Cliord Brown
Another Cliord Brown lick, here you’ll see the phrygian dominant scale being
used to solo over the A7alt chord.
The scale actually begins in the second half of the rst bar, on the note A, and
uses thefth mode of harmonic minorto create a typical bebop run over the
next 6 beats. When soloing in the bebop style, the phrygian dominant scale is a
rst-choice sound when improvising over V7 andV7alt chordsin your lines.
Audio Example 43
Click here to play audio example 43
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Bebop Lick 5 - John Coltrane
A short ii V I lick, this phrase comes fromJohn Coltrane, and usesdiatonic notesin
the bebop style.
When playing overbebop tunes, you don’t always have to use chromatic notes to
outline the changes. Sometimes a carefully playeddiatonic 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 thechromatic linesin your repertoire.
Audio Example 44
Click here to play audio example 44
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Bebop Lick 6 - ii V I
Another shortii V I lick, this line has been played by countless jazz musicians
over the year. Because of it’s popularity, it’s another must-know bebop lick to add
to your soloingvocabulary.
The lick starts with aleading tone(B), before running up the iim7 arpeggio.
Then, the line ends with the samefour-note patternthat you saw at the end of
the Cliord Brown line. Here, the lick starts on the root of the key (Bb) and the
runs chromatically up to the 7th (A).
Audio Example 45
Click here to play audio example 45
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Bebop Lick 7 - minor ii V I
Here’s a classic minor ii V I bebop lick that uses anF#dim7 arpeggioover the
D7alt chord.
When playing a dim7 arpeggio from the 3rd of any 7th chord, you’ll outline the
3-5-b7-b9 intervals of that chord:
This is called a3 to 9 arpeggio, an essential learning for any bebop guitarist.
Audio Example 46
Click here to play audio example 46
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Bebop Lick 8 - Joe Pass
In this bebop lick in the style of Joe Pass, there’s a tritone substitution being used
to outline the V7 chord in bar two of the phrase.
When soloing over ii V I changes, you can use the progression ii bII7 I to bring a
tritone substitution sound into your solos.
The basic application of a tritone sub is to take any 7th chord you see and
play another 7th chord that occurs a tritone (#4 aka b5) away from that
initial chord.
For example: playing F#7 over C7. The reason that this sub works is that 7th
chords with a bass note a tritone apart share the same 3rd and 7th:
As you can see:
• The 3rd of C7 (E) is the same as the b7 of F#7 (E).
• The b7 of C7 (Bb) is the same as the 3rd of F#7 (A#=Bb).
This is glue that holds the two tritone sub chords together.
Tritone subs create added tensionto the V7 chord in your lines, tension that
you’ll resolve into the next bar of the lick. Letting tension hang can cause your
line to sound like a mistake, but if you resolve that tension properly, this can be
an eective improvisational tool.
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Bebop Licks 9 - Charlie Parker
In thisCharlie Parker lick, you’re outlining a iii VI ii V I chord progression in the key
of F major.
• Notice the b9 being used to create tension over the D7 chord, which is a
commonbebop technique.
• As well, the jump from theC to A over C7is characteristic of the bebop
sound. Larger leapscan be found in the playing of Dizzy Gillespie, Charlie
Parker, Cliord Brown, and other great bebop soloists, and it’s something
you can add to your playing as well.
Audio Example 48
Click here to play audio example 48
108
Bebop Lick 10 - Minor ii V I
This nal bebop lick outlines aminor ii V Ichord progression.
Again, there’s anF#dim7 arpeggiooutlining the V7alt chord as well as amajor 7
intervalleading to the tonic in the second bar.
The major 7th, either in an arpeggio or from the melodic minor scale, was a
popular note choice over minor chords in the bebop era. Because of this, adding
theraised 7thto your minor soloing lines can help bring out a bebop sound in
your playing.
Audio Example 49
Click here to play audio example 49
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Jazz Blues Licks
Learning to play jazz guitar means learning how to tackle the jazz blues form,
jazz blues phrases and bringing a bit of bluesy avor to your improvisations over
standard tunes as well.
While you may be familiar with how to apply the blues scale and get a blues
sound in your rock and blues solos, bringing outthe bluesy side of jazz might
seem a bit tougher, as jazz guitarists often branch out beyond the minor blues
scale in their jazz blues soloing ideas.
In this lesson, you’ll learn5 dierent ways to bring out a bluesy soundplaying
over dominant 7th chords. Each of these techniques can then be worked further
in the woodshed and applied to a variety of musical situations.
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Jazz Blues Lick 1
The rst jazz blues lick in this lesson uses theA Minor Blues Scaleto create an
ascending and then descending line over an A7 chord.
Used in rock and blues, the minor pentatonic scale is also a staple of the jazz
guitar sound, we just use it withless bendsand with a bit of jazz avor added to
it. This lick will give you a taste of how jazz guitarists use this common scale to
create jazz blues licks and solos on guitar.
Audio Example 50
Click here to play audio example 50
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Jazz Blues Lick 2
We also use the major blues scale to create bluesy phrases over jazz chord
progressions.
This lick uses the A major blues scale to create a line over an A7 chord, with the
b7 (G) thrown in at the top for good measure. Notice theslides and slursin this
lick, which can be just as important when getting a jazz sound over the blues as
the notes themselves.
Audio Example 51
Click here to play audio example 51
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Jazz Blues Lick 3
Besides playing single-note soloing ideas in a jazz blues context, you can also
expand your soloing by exploringdouble stops.
A double stop means playing 2 notes at once.
This phrase is built from theA mixolydian mode, the mode most associated with
the dominant 7th chord sound, and uses double stops on top of an A pedal. This
technique, playing double stops on top of a root note, is common practice and so
is worth exploring further.
Audio Example 52
Click here to play audio example 52
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Jazz Blues Lick 4
If you are a fan ofWes Montgomery, George Benson or Kenny Burrell, then you
are probably familiar with theirlegendary chord solosin the jazz blues style.
This jazz blues lick exploresadding notes on top of the 3rd and 7th of each
chordin order to build a smooth and funky sounding chord lick. The toughest
part of this lick is to get the notes on top of the chords to ring over the lower notes
for their full duration, so take your time and work each bar separately before
bringing them all together.
Audio Example 53
Click here to play audio example 53
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Jazz Blues Lick 5
Here’s an example of amodern jazz approachto the jazz blues sound. Using a
technique calledside stepping.
This lick is built by playing the A minor pentatonic in bar one, the Bb minor
pentatonic in bar two, before resolving back to the A minor pentatonic in bar
three.
Playing between two minor pentatonic scalesover a 7th chord, a 1/2 step
apart, is a fun and cool way to bring a modern vibe to your jazz blues solos. If you
are a fan of modern jazz, you should take this approach further in your practicing
as it is a key component to the modern jazz vocabulary.
Audio Example 54
Click here to play audio example 54
115
Charlie Christian Licks
Charlie Christian was the rst successful electric guitarist and although he
played in swing bands mostly, he was very much inuenced bybebopplayers.
He was a student ofEddie Durham- a jazz guitarist whoinvented the amplied
guitar - and was one of the rst guitarist who played amplied. Electric guitar
opened up a range of possibilities because guitarists could concentrate on other
things besides volume.
Unfortunately Charlie Christian died at the early age of 25 after contracting
tuberculosis.
Recommended listening:Charlie Christian: the Genius of the Electric Guitar
Biography:Charlie Christian Biography
Gear:Charlie Christian’s Guitar Gear
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Charlie Christian Lick 1
This typical Charlie Christian lick is played over A7. The rst 4 notes form aC#m7b5
chord shape, a common substitute for the A7 chord. It gives us the 3, 5, b7 and
9 of A7:
Licks like these are nice to play on a B section of arhythm changes.
Audio Example 55
Click here to play audio example 55
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Charlie Christian Lick 2
In this classic Christian sounding lick, the major blues scale is being used to
outline an A7 chord, producing a bluesy, swing-sounding lick.
Using the major blues scale (the major pentatonic scale with an added b3) is
a great way to bring a Christian and swing sound to your lines, so feel free to
explore this idea further as you take it past the context of this single lick in your
practice routine.
Audio Example 56
Click here to play audio example 56
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Charlie Christian Lick 3
Here you see anenclosureover the 3rd of the underlying A7 chord, where D and
C and being used to enclose the note C. This type of tension and release line (aka
enclosure) is something that can be found in many of Charlie’s and other solos
from the Swing era.
Enclosures have been used by just about every great jazz soloistover the
past 80 or so years, and so it is an important concept to have under your ngers
and in your ears as you advance your jazz guitar skills.
Audio Example 57
Click here to play audio example 57
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Charlie Christian Lick 4
This Charlie Christian inspired lick looks at the use of alower neighbor tonein
the rst bar to highlight the large leap between the 9th (A) and the 13th (E) of the
G7 chord.
By landing on a chromatic note after a leap, before resolving it to a chord tone on
the next note, you can bring a strong focus to both the leap and the resolution
point in your lines, something that Charlie and other swing musicians liked to do
in their solos.
Audio Example 58
Click here to play audio example 58
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Charlie Christian Lick 5
This Charlie Christian lick uses an idiomatic ri that runs from the b3 to the 3
to the 5th of the underlying chord, in this case G7 and Cmaj7. Mixing theblue
note(b3) with the diatonic 3rd and 5th of any chord is something that Charlie and
many other Swing artists like to do in their soloing lines and phrases.
There is no bigger name injazz guitarthan Charlie Christian, and if you study the
licks of only one player, Charlie’s are it.
Audio Example 59
Click here to play audio example 59
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How to Play in the Style of Charlie Christian eBook
Because of his electrifying solos, innovative performances, and
groundbreaking concepts, Charlie Christian is one of the most popular
guitarists to study when learning jazz guitar. In this eBook, you’ll
break down and learn the concepts behind Christian’s solos, dozens
of lines in his playing style, and full solos over Christian’s favorite jazz
standards:How to Play in the Style of Charlie Christian.
By working on the material in this eBook, you’ll not only get classic Christian lines
under your ngers, you’ll understand the concepts behind his playing, so you
can apply those ideas to any musical situation.comping over standards in no time.
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When you buy How to Play in the Style of Charlie Christian, you get:
• Detailed explanation of Charlie’s favorite soloing concepts laid out in easy
to follow and understand language.
• More than 100 musical examples with audio, tab and notation to make it
easy to learn Christian’s go to soloing concepts and techniques.
• Backing tracks, so you can practice the material in a real life manner.
• Tips on how to practice and take each Charlie Christian soloing concept
further in the practice room.
• Enough concepts and material to keep any guitarist busy for months, or
even years.
Click Here to download your copy of How to Play Like Charlie Christian.
123
Joe Pass Licks
Joe Pass started playing guitar when he was 9 and he was already playing at
weddings when he was 14. In his 20’s he moved to New York, where he could
listen to some of the best jazz musicians of that time.
Joe Pass got captured by the sound ofbebop, but unfortunately he also picked up
a habit well known to jazz musicians of that time : heroin.
The next decade was wasted for Joe Pass, spending time in jails, until he entered
Synanon, a drug rehabilitation center. In the center he formed a band with
other patients and recorded the albumSounds of Synanon, which was very well
received by the jazz critics.
After 3 years in the center he was cured of his addiction and he could move on
with his musical career. He started playing in Los Angeles and got involved in
the studio scene. In 1973 he recorded Virtuoso an album that made him famous
forsolo jazz guitar playing.
Joe Pass died from cancer in 1994.
Recommended listening:Guitar Virtuoso
Gear: Joe Pass’ Guitar Gear
Lesson: Joe Pass Chords
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Joe Pass Lick 1
In this lick, a Db diminished scale is played over the C7 chord. To create a
diminished scale, alternate between whole steps and half steps from the root on.
Here are the notes of the Db diminished scale and how it sounds over C7:
The diminished scale is a symmetrical scale, what means that it comes back
every minor third: Db diminished is the same as E diminished is the same as G
diminished is the same as Bb diminished.
A great way to create tension on the dominant chord: play a diminished
scale that is a half step higher compared to the root of the dominant
chord.
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Joe Pass Lick 3
A nice ii V I lick starting with apatternand then going to aBbm7 arpeggioover
the Db7 (sounds like Db13).
Audio Example 62
Click here to play audio example 62
“Wes Montogmery was the last guitar innovator, there hasn’t been anything really new
since then. To me there have only been three real innovators on the guitar - Wes, Charlie
Christian and Django Reinhardt.” - Joe Pass
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Joe Pass Lick 4
In this Joe Pass inspiredchord lick, you can hear many of the idiomatic sounds
that make up many of Joe’s solo guitar licks and phrases.
For this lick, try breaking it down into the mini phrases that make up each bar, that
way you will be able to extract these ideas and use them in dierent combinations
when coming up with your own solo jazz guitar lines.
Audio Example 63
Click here to play audio example 63
128
Joe Pass Lick 5
The last lick that we’ll look at uses afavorite rhythmfrom Joe’s solo guitar work,
you can hear a similar idea during his version ofHave You Met Miss Jones. The
idea is that you break up the chord into the bass note and the top 3 notes of the
shape, alternating back and forth until you get to the chromatic approach notes
in the last two 8th notes of each bar. Try accenting the chords only, not the bass
notes, to bring an added Joe sound to the mix with this line.
Joe Pass was a true legend and probably thebest all around jazz guitaristwho
ever lived. Learning his lines can help you get into the ears, hands and thought
process of this legendary player.
Audio Example 64
Click here to play audio example 64
129
Anatomy of a Lick - Essential Jazz Lines
One of the most important aspects of a successful practice routine
is studying classic jazz lines and phrases. While learning licks will
get those lines under your ngers, many books fall at but stopping
there with their explanation of jazz phrases.
To get the most out of your jazz vocabulary study, you need to
understand not only what notes are being played, but why they
sound the way they do.
The Essential Jazz Lines book series teaches you just that, classic
licks and every concept used to build those lines on the guitar:
Anatomy of a Lick - Essential Jazz Guitar Lines
130
When you buy Anatomy of a Lick - Essential Jazz Lines, you get:
• 6 eBooks in PDF format (250 pages in total)
Volume 1 - Joe Pass Blues
Volume 2 - Wes Montgomery ii V I
Volume 3 - Barney Kessel Bebop
Volume 4 - Pat Martino Minor ii V i
Volume 5 - George Benson Modal
Volume 6 - Pat Metheny Outside
• All material presented in tab, notation, and audio.
• Backing tracks for easy and engaging study.
• Easy to follow theory for each concept.
• Practice guides on how to learn and apply each lick.
• More than enough material to keep you practicing for months.
Click Here to download your copy of How to Play Like Wes Montgomery.
131
Kenny Burrell Licks
Kenny Burrell has been a high in demand guitarist during all his career (he
wasDuke Ellington’s favorite guitar player). Some of the jazz giants he played
with :Dizzy Gillespie,Sonny Rollins,Quincy Jones,John Coltrane,Jimmy Smith,Stan
Getz,Billie Holiday, ...
His most famous record isMidnight Bluewith the Latin avored hit Chitlins Con
Carne, later covered by blues giant Stevie Ray Vaughan.
If you are a fan of jazz blues,Bebop linesand solid groove, then Kenny Burrell is
the right player for you.
Recommended listening:Midnight Blue
137
Pat Metheny Licks
Pat Metheny’s versatility is almost beyond compare to other musicians. It seems
like he masters every style and succeeds in blending styles in a natural and elegant
way.
His musical diversity shows if you have a look at some of the people he played
with: from Steve Reich to Ornette Coleman to Jim Hall to David Bowie to Noa to
Herbie Hancock to ...
Pat Metheny manages to combine virtuosity with accessibility, resulting in music
that is pleasing for 2 kinds of audiences, hence his popularity.
Recommended Listening: Beyond the Missouri Sky
Gear: Pat Metheny’s Guitars, Amps & Eects
138
Pat Metheny Lick 1
This typical Pat Metheny lick contains a number of3rd intervals, both diatonic
and chromatic.
Pat is a fan of playingchromatic thirds, both ascending and descending, which
you can see at the end of the lick in this example.
If you are looking to get aMetheny vibeinto your solos, try taking those last few
chromatic 3rds out of this lick and apply them to other musical situations in your
playing.
Audio Example 70
Click here to play audio example 70
139
Pat Metheny Lick 2
One of the elements of Pat’s playing that stands out is his uid,legato playing,
which you can see and hear in the next example.
Though many of us associate three-note-per-string scales with Rock and Metal,
Pat translates thesescale shapesto the jazz idiom as he uses to hammer-ons per
string to build a highly uid line over a Dm7 chord.
If you like this approach, go back and work on three-note-per-string scales and
add as many slurs per string as you can in order to digest this side of Pat’s
soloing vocabulary.
Audio Example 71
Click here to play audio example 71
140
Pat Metheny Lick 3
Here you are stepping outside and usingnon-diatonic triads to build tension
over a maj7 chord, in this case Cmaj7.
Notice how there are some diatonic notes in each triad, and some tension-
building notes, which eventually resolve to the note A, the 6th, on the last note
of the line.
Experimenting with non-diatonic triads over maj7 chords is tricky to get right, but
it’s something you can work on in order to get that “tension-release” sound into
your playing that makes Pat’s soloing so interesting from a melodic standpoint.
Audio Example 72
Click here to play audio example 72
141
Pat Metheny Lick 4
This phrase uses string crossing to build a semi-legato line that mixeshammers
with plucked notesin a cool sounding and eective manner.
This technique can be a bit tricky to get under your ngers at rst, so go slow,use
a metronomeand really nail that string crossing before raising the tempo and
getting the whole phrase up to speed.
Audio Example 73
Click here to play audio example 73
142
Pat Metheny Lick 5
The nal lick is a minor ii-V-I in C that uses a G triad over G7alt, as well as themelodic
minor scaleover Cm7.
Sometimes something as simple as a root-triad is the best way to go in your
soloing, so don’t forget to check out these simple appraoches as well as the
more complext concepts in your studies.
Audio Example 74
Click here to play audio example 74
If you are a fan of Pat Metheny’s playing style, then studying and applying these
ve classic Metheny phrases to your playing is a great way to dig into the thought
process of one of thegreatest improvisersin jazz history.
143
Wes Montgomery Licks
There is no doubt that Wes Montgomery was one ofthe most legendary players
of all time. In fact, when you say the words “jazz guitar,” many people immediately
associate the genre with “The Thumb”, as he was aectionately known.
Beginning his career by learning and performingnote-by-note transcriptions
of Charlie Christian solos, Wes quickly moved on to become one of the most
inuential guitarists from his, or any, era. His inuence can be heard in the playing
of great guitarists such asPat Martino, George Benson, Pat MethenyandEmily Remler,
just to name a few. You would be hard pressed to nd any jazz guitarist that
wasn’t inuenced by Wes’ playing at one point or another in their development.
Since Wes was such a powerhouse in the jazz guitar world, it is a good idea to
spend some timestudying his licks, phrases, and improvisational concepts,
which is what this lesson is designed to do. So, grab your favorite axe (an L-5 if
you have one handy) and begin exploring these commonly used phrases and
improvisational concepts taken from the playing of one of the greatest jazzers of
all time, Wes Montgomery.
Recommended listening:Smokin’ at the Half Note (live)
Gear: Wes Montgomery’s Guitar Gear
144
Wes Montgomery - II V I Licks
The rst lick starts with a series of arpeggio’s. The rst 4 notes make a Dm7
arpeggio, followed by a Cmaj7 arpeggio, then again a Dm7. The Cmaj7 arpeggio
in the rst bar contains all the tensions of Dm7 plus the b7: C (b7), E(9), G (11), B
(13). The Last bar is build around a C triad arpeggio.
Audio Example 75
Click here to play audio example 75
145
The next lick is played over a ii V I in G major. The second half of the rst bar
consists of a chromatic line that is alsoused a lot by Pat Metheny, outlining a
D7b9.
Audio Example 76
Click here to play audio example 76
This next lick has anice voice leadingbetween the b7 of D7 and 3rd of Gmaj7.
Audio Example 77
Click here to play audio example 77
146
This one’sa blues cliche, though in the hands of a master like Wes any cliche
sounded good.
Audio Example 78
Click here to play audio example 78
This lick over a ii V I in C major has a nice chromatic linein the second bar,
delayed by the Dm arpeggio.
Audio Example 79
Click here to play audio example 79
147
This one speaks for itself:
Audio Example 80
Click here to play audio example 80
“The man who has meant the most to me in recent years is Wes Montgomery. I’d heard
him talked about a lot quite a while ago, and then he made his rst record... He really
impressed me. Since Charlie Christian, the only completely original soloist is Wes.”
- Freddie Green
150
Wes Montgomery - Octave Licks
This rst octave lick is a bluesy line over an A7 chord, mixing the major 3rd (C#)
with the blue note (C) to get thatclassic Wes sound.
Audio Example 84
Click here to play audio example 84
Another approach Wes liked to use with octaves was torun a rhythm across a ii
V I phrase, which you can hear and see in the next example.
Audio Example 85
Click here to play audio example 85
151
“Playing octaves was just a coincidence. I used to have headaches every time I played
octaves, because it was extra strain, but the minute I’d quit I’d be all right. But now I
don’t have headaches when I play octaves.” - Wes Montgomery
Wes Montgomery - Chord Licks
This rst Wes chord lick uses a number ofBb7 inversions (including 9ths), as well
as a chromatic approach chord to nish the lick in typical Wes style.
Audio Example 86
Click here to play audio example 86
153
Wes Style Blues Solo
To help you take these licks from the technical side of your practice routine to the
musical, here is a samplesolo over a Bb Bluesthat uses licks from this lesson in
its construction.
Here is abacking trackthat you can use to practice this solo, as well as all the
licks in this lesson, as you take these ideas further.
Backing Track 9
Click here to play backing track 9
155
How to Play in the Style of Wes Montgomery
Wes Montgomery is considered by many guitar players to be
thegreatest jazz guitarist ever. He is also often cited as the most
inuential jazz guitarist since Charlie Christian and
inspired countless guitarists to pick up the instrument.
Now, you too can be inspired by Wes Montgomery’s playing as you
learn how to play lines, octaves, chords and tunes in the style of
“The Thumb”: How to Play in the Style of Wes Montgomery
156
When you buy How to Play in the Style of Wes Montgomery, you get:
• 5 Chapters (196 pages) packed with essential Wes Montgomery lines, chords,
octaves and theoretical concepts.
• Easy to understand, detailed explanations of each concept in the book so
players of any level of experience can learn from this material.
• 158 audio examples to get these concepts in your ears and ngers.
• All examples in tab and notation for easy comprehension of the material.
• Backing tracks to help you apply this material to your own solos and comping.
• Enough studying material to keep you busy for years.
• All for less than the price of one private guitar lesson!
Click Here to download your copy of How to Play Like Wes Montgomery.
157
Chapter 6 - Jazz Blues
The blues originated in the USA and evolved from African, European
and Latin inuences. Blues had a very big inuence on jazz and
nowadays every jazz musician has some blues in his repertoire.
The blues is found in the solos of every great jazz guitarist, its
harmony is the basis for countless comping patterns, and the blues
form is a favorite of jazz composers. Because of this, studying jazz
blues is essential for any guitarist exploring jazz.
Speaking of jams, jazz blues is the most commonly called type of tune in jazz
jam sessions, at least the ones I’ve been at.
So, having a strong understanding of the progression, harmony, form, and
soloing concepts of jazz blues prepares you to nail that tune at your next jam
session.
Besides all of this, playing jazz blues is just plain fun.
It’s a challenging form and progression, but one that leads to hours of
enjoyment in the woodshed as you explore this popular musical form.
Check out the material in this section, it’ll prepare you to jam on a jazz blues
tune with condence and authenticity the next time its called on a gig or jam
session.
158
Blues Chord Progressions & Variations
We all know the chord progression for a typical blues, but there are so many
variations that it’s hard to know them all. There are manymany dierent sets
of blues progressions, going from the basic original blues to more modern
variations like the changes played by Charlie Parker. The foundation however
stays the 12 bar blues with a set of 3 chord changes.
Blues Characteristics
Before we dive into the theory behind each of the6 jazz blues progressionsin
this lesson, here are some characteristicsofthe blues:
• Most blues chord progressions are12 barslong, although there are also 8, 14,
16, 24 or more bar blues changes. There are many dierent 12 bar blues forms
though.
• The tonic chord of a blues is adominant 7 chord, a fact that doesn’t t very well
in traditional music theory.
• The blues is not only about chord changes and scales, but is also about
a certainsound, afeeling. Responsible for that sound are theblue
notes:alowered 3rd noteand alowered 5th note.
• The 3 basic chords of a blues are all dominant 7 chords.
Now that you’ve looked atsome blues background, let’s take them to the fretboard
in the next section.
In the audio les and written examples below you will hear and see common
comping patterns over each of these 12-bar progressions. To keep things
practical, the chord voicings on the chart are written as you would see them on a
lead sheet, G7, Dm7, Cmaj7 etc.
159
But, as in any jazz comping situation, those chords can be embellished with 9ths,
13ths, 6ths, and other color tones. So, if you hear or see a G13 chord and it’s
written as G7, that’s a common approach to comping over lead sheet jazz-blues
chord changes, and it is something you can explore further.
Basic Blues
To begin, let’s take a look at how the basic blues changes look from a chord
name standpoint:
Let’s move on to looking at these chords from a lead sheet standpoint. Notice
how these changes use only three chords, the I7, IV7 and V7 chords. Because of
this, they are often referred to asI-IV-V blues chordchanges.
160
Listen to anexampleof these changes in the audio le below. If you already have
a few 7th chords under your ngers, then try jamming along with the changes
over the backing track, or on your own at rst if you need some practice to get
the tempo worked out.
Audio Example 89
Click here to play audio example 89
161
To help you get started with taking these chords onto the fretboard, here is
achord studyyou can learn and apply to your own playing over the basic blues
changes. To keep things simple, this study is written in a basic ri style, where a
short chord ri is played over each change in the progression.
Audio Example 90
Click here to play audio example 90
162
1930’s Blues Changes
Moving on to the next blues form, you will now add aIV7 chord in bar 2of the
blues, as well as a II7-V7 turnaround in the last four bars. Here is how those
chords look in thekey of F:
Because there is a quick move to the IV7 chord and back to the tonic in the
rst three bars, this chord progression is often referred to as aquick change
bluesprogression.
Audio Example 91
Click here to play audio example 91
163
Now that you have your head around these quick-change chords, here is a chord
study written out over a quick-changeblues in Fprogression. Start by learning
the chordson your own slowly, then play along with the given audio, and nally
take them to a backing track on your own.
Audio Example 92
Click here to play audio example 92
164
Count Basie Blues
One of the innovationsCount Basiebrought to the blues, or at least popularized,
is the use of the #IVdim7 chord in bars two and 6 of a jazz blues progression.
You will also see in the examples below that there is a iim7-V7/IV in bar 4 of the
tune, as well as aVI7b9 chord in bar 8, both now commonly used ideas that were
popularized by the Basie Band.
Here is how those changes look in thekey of F:
Notice that the II7 chord from the previous section is now a iim7 chord, constructing
aii-V progressionin bars 9 and 10 of the blues, another commonly used change
in the modern jazz world.
167
Bebop Blues
Getting into the bebop era with these changes, you will notice a ii-V of the iim7
chord in bar 8, as well as aiii-VI-ii-V progressionin the last bar of the tune, which
showcases the bebopper’s love of ii-V’s and fast moving changes.
Here is how thebebop blueschanges look in the key of F:
To get these changes into your ears, here is an audio example and lead sheet
for the bebop blues that you can check out, and use tobegin practicingthese
important blues changes.
Audio Example 95
Click here to play audio example 95
169
Tritone Substitution Blues
You can also apply tritone substitutions to various bars in the jazz blues
progression, as you can see in the following examples:
• Bar 6: the Bb7 is replaced with atritone ii-V (Bm7-E7).
• Bar 6 and 7: there arefour descending 7th chordsin bars 7 and 8, with the E7 and
Eb7 being used to connect F7 and D7b9 chromatically.
• Bar 10: there is atritoneapproach chord added to the Am7, Bb7 in place of E7
(the V7 of Am7).
170
To get this chord substitution under your ngers and into your ears, here is a lead
sheet and audio example for theBlues in Fusing the tritone subs and chromatic
7th chords mentioned above.
Audio Example 97
Click here to play audio example 97
Next is as one-chorus chord study you can learn to take these changes directly to
your playing in ajazz blues context.
To help hear the eect thetritone subs have on a blues progression,try playing the
previous bebop blues changes once, the chord study if you can, followed by this
chord study. Often timeshearing the dierencebetween chord progressions
will be the key element when learning a new jazz blues chord progression.
172
Bird Blues
The last blues progression we’ll look into is named after Charlie Parker, called
Bird blues, and is found in one of most famous compositionsBlues for Alice.
Reecting the bebop love of ii-V’s, this progression is full of various ii-V progressions
in a number of dierent keys.
A Bird blues starts and ends with anFmaj7 chord, which is odd for a blues
progression.
Here is how those changes look in thekey of F:
176
177
178
Here’s a backing track you can use to practice:
Backing Track 10
Click here to play backing track 10
The chords are pretty straighforward, some remarks though:
• Bar 5-6: there’s some contrary motion going on here. The bass goes from c to c#
(upward motion), while the d of C9 goes to the c# (downward motion) of C#°7.
Contrary motion in voice leading sounds nice.
• Bar 8: B°7 is the same chord as E7(b9), so the voice leading goes from #9 to b9 to
the 5 of Am7.
• Bar 10: Sus chords are a nice way to delay and bring extra motion to dominant
chords.
• Bar 11: G13/F is the 3rd inversion of G13, a very useful voicing.
• Bar 11-12: the rst 3 chords are on the beat, while the last 2 chords are o the
beat. This brings a feeling of forward motion to the comping.
• Bar 14: this is a common Em7b5 voicing (=C9), followed by a E°7 (=C#°7).
• Bar 16: some chromatic slides going on here.
• Bar 21-22: a Wes Montgomery style chord lick.
• Bar 25: the turnaround is repeated twice as a coda.
• Bar 30: the bass note g is played by tapping the note on the fret board with the
index nger of the right hand.
To learn how to comp over a jazz blues, check out our eBooks Introduction
to Jazz Blues Guitar Volume 1 & 2
179
Jazz Blues - Wes Montgomery Blues Solo
Next you will learn to play a jazz guitar solo in the style of Wes Montgomery. The
solo is over a jazz blues in F and is full of classic Wes licks and ideas that you can
apply to your own playing.
Here’s the video:
Audio only:
Audio Example 102
Click here to play audio example 102
181
182
The rst 8 bars use the F minor pentatonic scale, mixed with the major 3rd (bar
3). Mixing b3 and 3 is often used by jazz musicians to create a bluesy sound. One
way to do this is mixing the F minor blues scale with the F Mixolydian scale. The
blue colored notes in the F minor blues scale are “blue notes” (used in bar 6).
183
In bar 12, a Gm9 arpeggio is used. You could also use a Bbmaj7 arpeggio to
achieve the same sound:
Bar 16 uses the B Lydian Dominant scale (= F Altered scale). B7 is the tritone
substitute of F7 and creates an altered sound over F.
185
Jazz Blues - Kenny Burrell Minor Blues Solo
In this section you’ll be playing a Kenny Burrell inspired solo over a minor blues.
The blues forms we looked at until now are all of the major kind. As the name
implies, minor blues forms are in the minor key and have a dierent chord
progression compared to the major blues. The details of the minor blues are
beyond the scope of this eBook. To learn all the ne details of the minor blues,
check out our eBook Introduction to Jazz Blues Guitar Volume 2.
One of the albums that many guitarists check out when rst exploring the jazz
genre is Kenny Burrell’s Midnight Blue record. As well, since it was covered by
Stevie Ray Vaughan, a lot of players are drawn to the classic tune “Chitlins Con
Carne.”
When learning how to play in the style of Kenny Burrell, especially like a tune
such as Chitlins, one of the key elements to explore is mixing chords and single-
lines during each phrase of an improvised chorus, which you can hear during the
melody section of Chitlins especially.
To help you get that cool-sounding Kenny Burrell chord/single-note sound in your
jazz guitar soloing ideas, this lesson will explore a sample solo written out of an
A minor blues chord progression that is inspired by Kenny’s playing on Midnight
Blue and “Chitlins Con Carne.”
The single notes in the solo are all based on the A minor blues scale, and the
chords used are typical, three-note shapes that many jazz guitarists use in this
type of soloing/comping situation, including Kenny.
So, grab your axe and let’s dig into some smooth sounding cool jazz in the style
of Kenny Burrell.
186
Kenny Burrell Minor Blues Backing Track
Here is a short backing track that you can use to practice the solo in this lesson,
as well as work on improvising over the minor blues chord progression in the
woodshed.
Backing Track 12
Click here to play backing track 12
Practicing This Solo
Learning a solo from memory is a great way to digest the material in that
improvisation, but there are also other exercises that you can use to continue
your study of this material. Here are 3 ways that you can continue your study of
this Kenny Burrell Minor Blues Solo:
1. Play the solo with a backing track over the rst chorus. During the second
chorus you improvise the single lines but keep the chords as is. Continue this
alteration throughout the backing track.
2. Write out your own Kenny Burrell inspired solo over an A minor blues
progression, using the blues scale for the single notes, and small, three-note
chords for the comping sections of the solo.
3. Practice singing an improvised single-line where you see the single-notes in
the solo above, then comp the chords on the guitar where they land. This is a
great way to connect your ears and voice to your fretboard while working on a
minor blues at the same time.
190
Introduction to Jazz Blues Guitar Volume 1 & 2
With the Jazz Blues Guitar Volume 1 and 2 eBooks, you get
everything you need to take you from day 1 of jazz blues study all
the way to an advanced level of performance.
If you want to take your jazz blues comping and soloing to the
next level, or just raise your overall jazz guitar game, then these
two eBooks are just what you need:Introduction to Jazz Blues Guitar
Volume 1 & 2.
191
When you buy Introduction to Jazz Blues Guitar, you get:
• Two full eBooks with over 450 pages of learning material.
• More than 280 audio examples for easy home study.
• Over 80 backing tracks to jam along to in your practice room.
• Printable PDF le for each book, ability to view book on your computer,
tablet, and phone with one purchase.
• Much more...
Click Here to download your copy of Introduction to Jazz Blues Guitar.
192
Appendix
The Roman Numeral System
When talking about chord function in jazz we use Roman Numerals to label
each chord in a given key. We do this to dierentiate chord numbers from scale
numbers (which are written with Arabic numerals such as 1, 2 and 3).
The symbols used are from I to VII. Here is an how all of the Roman Numerals for
the chords in a major scale would be written:
• Capital Roman Numerals (Imaj7, IVmaj7, V7): are used to indicate Major and
Dominant chords.
• Small Roman Numerals (iim7, iiim7, vim7, viim7b5): are used to indicate
Minor and Diminished/Half-Diminished chords.
The good thing about the Roman numeral system is that we can talk and write
about chord progressions,regardless of any key. We can talk for example about
a I vi ii V:
195
The Jazz Guitar Blog: the JGO blog is the place where we publish our new
lessons (usually on a weekly basis).
Here’s a top 15 of the most popular posts:
1. Popular Jazz Guitars
2. Popular Jazz Guitar Amps
3. Playing Chord Melody Jazz Guitar
4. Bluesy Melody: Full Count (Chuck D’Aloia)
5. 5 Jazzy Pentatonic Scale Patterns
6. Georgia on my Mind Guitar Chords
7. Summertime Guitar Chord Study
8. Misty Comping Study
9. 5 Essential ii V I Jazz Guitar Licks
10. Shell Jazz Guitar Chords (For Beginners)
11. Take The A Train Chord Study
12. Gypsy Jazz Guitar - Rhythm & Chord Progressions
13. Gypsy Jazz Guitar - Introduction to Arpeggios & Picking
14. Chord Melody Made Easy
15. Misty Arpeggio Study
196
The Jazz Guitar eBook Store: the JGO eBook Store is the place where you’ll
nd all our eBooks in one place.
Click here to visit the eBook Store...
Here’s a list with all our eBooks:
1. Introduction to Jazz Blues Guitar Volume 1
2. Introduction to Jazz Blues Guitar Volume 2
3. The Easy Guide to Jazz Guitar Arpeggios
4. The Easy Guide to Jazz Guitar Chords
5. The Easy Guide to Chord Melody
6. How to Play in the Style of Wes Montgomery
7. How to Play in the Style of Charlie Christian
8. Anatomy of a Lick - Essential Jazz Guitar Lines
9. 30 Days to Better Jazz Guitar
10. The Jazz Guitar Practice Guide
11. Modern Time - Guide to Jazz Guitar Rhythm
12. Jazz Guitar Premium Volume 1 (10 Lessons)
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