Guitar jazz lick

Once you get it down, every Lenny style chord line will be much easier to learn and apply after this initial lick. This modern jazz guitar licks article finishes off where it started; with a triad pairs lick that uses the Kurt Rosenwinkel rhythm pattern. Not only are they melodies, but they stick in your head and are singable, even after the solo is over. As the triads climb up the neck, they repeat a rhythmic pattern that Kurt loves to use in his playing, and that Bill Evans also applied to his piano solos. Because this lick uses similar interval and rhythmic patterns, it is quite easy to adapt on the fly, either by starting on different beats or by making the lick longer. If you want to take this jazz guitar lick further in your studies, you can repeat this line to create a four-bar phrase, which is something Wes enjoyed doing in his solos. This lick is reminiscent of the chromatic runs that Joe used when soloing over 7th chords and major chords when he wanted to bring a bluesy sound to his lines.
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Dorian Licks – Example 1

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How Jazz Guitar Licks Can Keep You Out of Trouble

The final Boogaloo Joe Jones lick is a minor pentatonic scale pattern that uses a mixed 16 th and 8 th -note rhythm. Rock Foundations Alternate Picking. In this Pat Metheny lick, you use a slurred-picked pattern that creates a fluid, slippery sound over a ii V progression. Playing bVI7 V7 Imaj7 instead of iim7 V7 Imaj7 is a great way to bring tension to your ii V I lines, while properly resolving these tensions at the same time. Try the Kindle edition and experience these great reading features:
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Jazz Blues Licks | Guitar4Free Music Learning Center

Triangles This one is a strange little fellow Sidestepping creates a slippery feeling in your lines, but you have to make sure to resolve it such as Benson does here. Follow this link to learn more Jazz guitar licks. The lick is constructed with notes from the A Mixolydian scale , as well as one blues note, the C on the 3rd beat of the second bar. Jazzy 7th Rolls This lick infuses some jazz flavour into a bluesy A7 arpeggio. A7 ————— ————— ————— ————— ————— —————.
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In this double-time Herb Ellis lick, you see a number of characteristic sounds over this two-bar lick. Though his jazz funk and fusion playing is well known, Sco also has recorded a number of classic bebop influenced tunes and records. Jazz guitarists love to steal, I mean borrow, licks from other instruments, especially jazz saxophonists. You can see an example of this approach here, where the Em triad is played under the moving melody line. From there, the first bar is repeated up 3 frets, creating tension over the V7 chord, before resolving down to the Fmaj7 chord at the end of the line. Using a triplet rhythm, this pattern climbs up the Em7 arpeggio before you resolve with a blues lick in the third bar. I use the Mesa Boogie V-Twin preamp on the clean channel connected directly to the sound card and I'm adding a little bit of reverb and compression in Pro Tools.
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