Jazz is one of those musical genres that many guitarists check out, but get stuck when it comes to knowing exactly how to sound jazzy in their own playing. If you’ve checked out jazz guitar before today, you’ve probably spent time learning countless modes, arpeggio shapes and other technical items on the fretboard. While learning how to play scales, chords, and arpeggios is important, learning is the most direct way to bring a jazz sound to your playing. In this lesson, you’ll study 8 essential jazz guitar licks that you can apply to your blues and rock solos when looking to bring a jazz vibe to your phrases. “8_Jazz_Licks-Matt_Warnock.gpx” (click on the image to download the Guitar Pro file ) If you’re new to jazz, start with the first lick and work your way down from there, as these licks start with the most “bluesy” and continue down to the more “ outside jazz” sounds from there.

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50 Essential Jazz Guitar Licks eBook with notation, tab and audio examples. Topics covered in 50 Essential Jazz Guitar Licks. Swing, blues, bebop, hard bop,. It comes with a free download of all Audio examples. Jazz Guitar Licks With No Scales – This Is Why Its Great. This entry was posted in Blog, Lesson and tagged guitar lessons, jazz chords, jazz guitar, jazz guitar arpeggio lesson, jazz.

Lastly, each lick is written in one key, or over one chord, so start in that key when first learning how to play these jazz licks on guitar. From there, you can transpose these licks to other keys and chords as you take these ideas further in your jazz guitar, and soloing in general, studies. If you have any questions about these licks, or the concepts behind any of these licks, post your thoughts in the comments section below and I’ll be glad to help out. Note: You need Guitar Pro 6 to view the musical examples. If you haven’t checked out GP6 yet, you can. The path of least resistance robert fritz pdf. Now, on to the jazzy licks! Jazz Lick 1 – “Jazzy Double Stops” This first lick uses double stops, two notes played together, to give a piano sound to the line.

Played over an A7 chord, you can also use this lick over any A major chord in your solos when you want to bring a jazz-blues sound to your lines. 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. Though it’s a short lick, and sounds pretty easy to play, getting it to sound smooth can take some time in the practice room. Spending time on the transitions between double stops will help bring a smooth flow to this lick, which is just as essential to the sound as the notes themselves. Jazz Licks 2 – “Classic Jazz Blues Sax” Jazz guitarists love to steal, I mean borrow, licks from other instruments, especially jazz saxophonists. This lick is one of the best examples of a sax line in the style of jazz great Hank Mobley that’s been adapted to sit cleanly on the fretboard. Built with the G blues scale, this line works great over G7 and G major chords, or any chord in a G blues song that you’re soloing over.

If you want to get a true sax sound with this line, give the second last note, Bb, a bit of a pull to imitate the “growl” jazz saxophonists get in their bluesy lines. Jazz Lick 3 – “Wes Montgomery Blues Scale” When people hear the words “jazz guitar”, the name that most comes to mind is Wes Montgomery.

Because he’s such a giant in the genre, no study of jazz guitar licks would be complete without digging in to at least one Wes Montgomery line. This B7 phrase, which can also be used over B major chords and any chord in a B blues, features Wes’ characteristic legato to create a slippery jazz blues lick. When learning this line, try to get the notes as legato, connected, as possible in order to sound as close to Wes as possible. 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.

Jazz Lick 4 – “Joe Pass Chromatic Blues” Another jazz guitarist that ranks among the best in the business is Joe Pass. 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. Written over a G7 chord, you can also play this line over G major chords in your solos. The line is built by combining the notes of the G triad, G, B, and D, with notes from the G minor blues scale, Bb, C, and C#.