Bebop Licks Guitar Pdf Free
820 different languages and dialects are spoken in Papua New Guinea. Travel there might require a suitcase full of phrasebooks just to book a hotel and order a meal. Fortunately, the language of jazz improvisation has far fewer dialects but you still have to pick one and learn its vocabulary, grammar and phonology - aka licks, harmony and sonic qualities. Whatever style of jazz improvisation you aspire to master, bebop is an essential rite of passage and you’d be hard-pressed to find a better travel guide than Sheryl Bailey’s 50 Essential Bebop Guitar Licks You MUST Know.Top recording artist, educator, composer and monster jazz guitarist Sheryl Bailey dug wide and deep into the bebop soundscape to select the lines and approaches that comprise this essential vocabulary of bebop phrases.
You’ll learn lines inspired by bebop giants such as Charlie Parker, Joe Viola, Joe Pass, John Coltrane, Pat Martino, Sonny Stitt, Cannonball Adderley, Mike Stern, Dizzy Gillespie, Peter Bernstein and so many more.“Learning licks from your favorite bebop players is key to understanding the deeper harmonic nuances of the music. Organize your vocabulary of licks by harmonic situations and then plug them into your solos. In time, you’ll uncover the harmonic and rhythmic shapes behind the licks and they’ll become a part of your own musical language.
That’s when you’ll really start improvising.”As you work through these 50 essential lines, you’ll learn to apply the legendary “I’ve Got A Banana” lick, minor 7th line cliche, chromatic below/diatonic above approach, bebop scales, use of repetition, chord substitutions, chromaticism, displaced rhythms, the ‘micro-cosmic’ bebop line, arpeggios, tensions, tritone sub V7, symmetrical diminished, whole tone scale, augmented triads, 3-note melodic embellishments and many more bebop applications. All of the licks are presented over a rhythm track and then broken down note-by-note, technique-by-technique with a thorough explanation of the underlying harmony. Everything is tabbed and notated, plus you get all of the rhythm tracks to practice with by yourself.We can’t help you with phrasebooks for Papa New Guinea but if jazz improvisation is your destination, then your ticket is but a click away.
You should check out the licks but also try to isolate small phrases and make your own licks with them. That is how it really becomes a part of your vocabulary. 1 Inserting 2nd voice and using trillsIn the example below I am using two voices in the Dm7 line. The 1st voice is on beats 1 and 3 and in between are the counter-point melodies. This way of adding extra melodies is a great way to add surprising skips and have short changes of direction in the lines 2 Using a chromatic enclosure to resolveChromatic enclosures are a great way to create suspensions and movement in a line. In this line, the Dm7 line is first suspending the F with a 4-note enclosure. I am also using chromaticism to move from the G7 to Cmaj7.
3 Adding Arpeggios in Scale-runsInserting arpeggios in scale melodies is a good way to change things up. This is what is happening with the Am triad on the Dm7 chord.The G7 line is using a G augmented mixing it up with an Abm triad.
4 Arpeggio Patterns to get large intervalsUsing Arpeggios played in inversions and patterns is a great way to have melodies that are closely related to the harmony and add larger, more surprising, intervals.On the Dm7 I am using a 1531 pattern of the F major triad. The triad of the 3rd. The G7 line has a Bdim arpeggio, again the arpeggio from the 3rd.
5 Voice-leading ideas as great bebop lines.Many great bop lines are made from voice-leading concepts. This example is turning a Dm7 – DmMaj7, Dm7 Dm6 into a great super-imposed bop line.Notice how the Dm to DmMaj7 uses basic arpeggios and introduces a large range. 6 2-note enclosure and motivic chromaticismThe line on the Dm7 is starting with a 2-note enclosure. The G7 line is using the G augmented triad and adding octave-displacement.The last half of the G7 bar is a chromatic phrase that is moved and repeated on the Cmaj7 to develop the melody. 7 Moving phrases on the G7 chordAnother way to move phrases is illustrated on the G7 line in this example. The motif uses a maj7th interval that really makes it stand out.
8 Chromaticism and Maj7 inversionsChromaticism as a means to suspend the sound of the chord is a good way to keep the line moving forward and also a way to add an outside phrase to a line.The line below opens with a double-chromatic enclosure resolving back into the chord on beat 3. 9 Extended arpeggios in Bebop SoloingUsing 9th arpeggios is also a good option for bebop lines. The line here below is using a DM9 arpeggio and playing the last part of it as an 8th-note triplet.The G7 line is using a Bdim arpeggio and breaking up the 8ht note flow with a trill.
10 Triplet and embellishing dim arpeggiosThe Dm7 line is using the Fmaj7 arpeggio, again the arpeggio from the 3rd of the chord. This time it is played as an 8th note triplet.The entire line on the G7 is based around a pattern of a B (or Abdim) that is embellished with passing notes and played in an inversion.
Level up your Jazz Phrasing. The PDF!You can also download the PDF of my examples here:Email AddressFirst NameLast Name SubmitIf you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts, and releases.This entry was posted in, and tagged, on. Get the PDF!You can also download the PDF of my examples here:Email AddressFirst NameLast Name SubmitIf you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts, and releases.This entry was posted in, and tagged, on.
The PDF!The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: Jazz Guitar Insiders Facebook GroupJoin 1500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts, and releases.This entry was posted in, and tagged, on. Everybody can play a Cmaj7 arpeggio, but not everybody can do it like Charlie Parker.Knowing and using arpeggios is a part of jazz, but there are a lot of ways to create great melodies with them. In this video I am going to go over 5 ways that Charlie Parker uses arpeggios in his solos. If there is one place you want to learn this then it is probably the father of Bebop.An you do want to have some ideas that are not just running up and down the arpeggio or up the arpeggio down the scale which is exactly what this video can show you.We often forget that a the difficult part is not what notes to play over a chord, it is how t play them.
For me this is something that I have learned from transcribing and analyzing solos like I am doing in this video. How to learn from Charlie ParkerThis video is covering the 5 ways that Parker played arpeggios, taken from his solos and then I discuss how you can put that to use in your own playing with examples where I have made Jazz Licks using the same techniques with arpeggios. Content of the video:IntroIt’s about how you play the arpeggio not what notes are in it#1 The Bebop ArpeggioWhat is the Bebop Arpeggio and How To Practice itHow You can use The Bebop Arpeggio in your solos#2 Honeysuckle Rose ArpeggioTwo Ways to use the Honeysuckle Rose Arpeggio#3 Melodic Trail offUsing Melodic off in a II V I lick#4 Voice-Leading ArpeggiosHow To Use this principle in your own lines#5 Rhythmic DisplacementHow Charlie Parker sets up the Rhythmic ideaExplaining the Poly-rhythmLike the video? Check out my Patreon Page! Get a free E-bookIf you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter. Jazz Guitar Insiders Facebook GroupJoin 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: you have any questions, comments or suggestions for topics then please let me know.
Bebop Licks Guitar Pdf Free Online
Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.This entry was posted in, and tagged, on. If you want to learn how to play jazz then it is probably a good idea to check out how Jazz Giants play like some Charlie Parker II V I licks!
Learning Bebop and Charlie ParkerA thing I never get tired of checking out is Charlie Parker and Bebop in general. I guess I still find it fascinating how the lines are so good and the material they are created with is really quite basic.In this video I am going to go over 3 II V I licks.
I will focus on how Charlie Parker is great at having surprising turns and leaps in his lines so they don’t sound like running up and down scales and he also still manages to get them to sound like real melodies instead of abstract interval exercises. He also often gets away with melodies that move across the bar line.Hope you like it! The most important part of sounding like jazz, whether you play in that genre or in another, is probably to have some Bebop as a part of your playing.This video is going to demonstrate 5 easy bebop licks on a C7 chord in a very position and quickly connect it to a scale and an arpeggio. I will go over how you can add some bebop flavour and chromatic phrases to your playing in this position.
Learning and adding to your vocabularyFinding practical and playable solutions is essential if you want to learn something like the jazz language and this video should give you some easy to apply examples and ideas. This is also how I work and have worked with learning new material. In this example I am using a longer chromatic run on the B string.
On this string we already have 3 strong C7 notes: 5,13 and b7.After a short bluesy phrase with those the lick is descending from b7 to 5 in halfsteps again reconnecting with the chord by playing a descending C major triad at the end. Pivot arpeggios and arpeggios from the 3rdThis example uses two really strong bebop concepts. First this way of using an arpeggio inversion where I am using Em7b5 in first inversion but starting with the high note and then skipping down. If you want to check out how George Benson uses this I have that in a video here.The other example is adding a chromatic note between b7 and the root which is also extremely common. Get the PDF!You can also download the PDF of my examples here:If you have any questions, comments or suggestions for topics then please let me know.
Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.This entry was posted in, and tagged, on.
How to Learn BebopOften when you work on learning bebop all your solos are just up and down scales and arpeggios. Stitt has some beautiful ways to add variation both melodic and rhythm that I will try to explain in this lesson.On a side note it is also worthwhile checking out this album because Jim Hall is playing on it as well. Sonny Stitt Bebop Lick #1This first example is a clear example of how he isn’t only running up and down. The first bar is really a descending melody with D, Bb, A, G and F.
But he breaks up that movement by adding a lower chord tone: D. This is similar to some of the ideas that George Benson used in the All The Things You Are line that I talked about in this video:On the C7 Sonny Stitt uses triplets as a variation for the 8th note lines.
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First a chromatic run from the 3rd(E) to the 5th(G) and then a descending C7 arpeggio.The line ends with a short scale run from A to F. Bebop lines and their constructionIf you have followed any of the classes of Barry Harris then you are probably familiar with the idea of writing lines like this where you have a scale run or an arpeggio and then you add embellishments to it in the form of extra notes, chromaticism etc. This way of thinking is a great way to describe the language which is why I use it here as well.If you want to play lines like this then it is very useful to work on construction them in this way and get the ideas into your ears in that way. From Bop to Bach: Forward motion and Target NotesIf you want to take a closer look at one of my solos with my analysis you can check out this lesson which also includes some thoughts on how to construct solo lines, but then using forward motion and target notes. Checking out bebop jazz guitar licks is a huge part of learning a style of music like Bebop. This also means out how to incorporate what makes them Bebop Guitar them into your playing. This would be true both for phrasing and specific arpeggios, chromatic enclosures that are being used in Bebop.In this video, I will go over 3 good examples of Bebop Jazz Licks.
I will analyze them and discuss how they are constructed. In the process I also go over what the building blocks of this type of jazz lick is.
The Bebop DominantBebop is very focused on dom7th chords. Therefore I have made examples of V I progression in the key of G major. It is of course also possible to use these on a II V I in G major.In general the people who play bebop and teach it (like Barry Harris) will focus more on the dominant than the II chord in a cadence. Bebop Jazz Guitar Lick #1One of the really common Bebop phrasing ideas is to use 16th note scale runs in the middle of an 8th note line to create some variation. The first example here below has this in the middle of bar 1. The easiest way and to play this and get it to sound good in terms of phrasing is to use pull-offs towards the target note.Another very common device is using chromatic enclosures which what you see in the 2nd half of bar 1.
The enclosure targets and emphasize the 3rd of D7 on the 1 of the 2nd bar.The first half of the 2nd bar is in fact just a D7 arpeggio. The line is first a descending D7 arpeggio and then displacing the last three notes an octave.
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This yields a very beautiful and melodic 6th interval between the F# and the D.At the end of the line, I included a D augmented triad that nicely resolves to the 9th(A) of Gmaj7. In the 2nd bar, you’ll first hear a 16th note triplet trill between root and b9. This is again executed with legato. From here the line continues down the arpeggio. Inserts a leading note a half step below the 3rd of D7.
From there it uses another octave displacement before resolving to the 3rd(B) of GThe triplet idea can be practiced in position as shown in the exercise here below. It’s an extremely good alternate picking exercise if you use that technique. You should notice that it will also work really well with sweeping (as I demonstrate in the video). Bebop Jazz Guitar Lick #3The ascending 7th chord arpeggio with an added leading note is a very typical for bebop licks. In this example I am using that on an F#m7(b5).
F#m7(b5) is the arpeggio from the 3rd of D7 and a great arpeggio to use over a D7.From the high E I add a chromatic leading note and make a short chromatic run before going to C on the 1 of bar 2.The 2nd bar is first a descending Cmaj7 arpeggio that then continues to the b9(Eb) on beat 3. From here the line uses octave displacement and continues with a line to resolve to the 3rd of G, and tagging it with a G. Another trademark bebop move. Making new licks with the building blocksThe main point of this lesson is of course that you can start making your own lines that sound more like bebop. To demonstrate how you might do that I have included two bebop licks that use the ideas that I used in the first three licks.
Derived Bebop Lick #1In this first line I start with the opening idea from Lick no 3, but now I am using it on a D7 arpeggio. This is followed by a 16th note scale run fill as in the first example.In bar 2 I continue with a descending scale run. This leads into the 3rd of D7 where I use the same octave displacement idea that I used in Lick no 2, only now played an octave higher.In this way we end up with the lick shown here below. I hope you can use these exercises and building blocks and the process to start incorporating some more bebop into your lines.
Bebop is a very rich melodic language with a great amount of things you can use even in more modern bop based jazz guitar solos. Get a Free EbookIf you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:Email AddressFirst NameLast Name SubmitYou can also download the PDF of my examples here:If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.This entry was posted in, and tagged, on. Bebop is a fundamental part of all modern jazz. In this video I am going to go over three concepts that are used a lot in bebop solos. I will turn them into some simple exercises and finally demonstrate how you can put them together to make some solid bebop jazz licks.All the examples and exercises are in the key of G major, and the lines I will end up with are all going to be II V I licks in the key of G major.The exercises are not necessarily meant as something you need to learn to play really fast.
They are more aimed at things you can check out so that you get better at composing lines, explore the possibilities and develop your vocabulary. Concept 1: Triplet arpeggios with chromatic leading notesUsing 7th chord arpeggios to emphasise a note is a very common device in Bebop lines. One of the ways that you will see this used the most is to take a 7th chord arpeggio, play it with a leading note before the first note and the rest of the arpeggio as a triplet. This makes it a natural way of highlighting the 7th in the arpeggio.To practice playing this we can do this for each of the arpeggios in a scale. In example 1 I have written this out in a G major scale.
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