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Top 10 EASIEST Guitar Solos!
The next Bickert lick is played over a turnaround progression in the key of Bb. This turnaround chord lick uses some big stretches, which Ed loved to use in his playing. Ed is a player who enjoyed using open strings in his chord soloing and comping, giving his harmony a distinct sound compared to many of his peers. As well, you see the Fmaj7 chord being used over the Dm7 chord, which is a 3 to 9 rootless chord shape. The first bar contains a backcycling phrase, B7-E7-A7, which then resolves to the D9 through the Eb9 chromatic approach chord. Backcycling is when you play chords that are a V7 of the next chord in the progression, or subs as is the case here. As you can see, just in the first 6 beats there are a lot of subs going on. Beyond a personal style, Lenny helped to redefine how guitarists played chords, chord melodies , and chord solos in a jazz context. His use of piano-style comping techniques, and advanced fingerstyle concepts , brought a heightened sense of harmonic control to his playing. Comfortable in a group, duo, and solo guitar setting, Lenny left this world very young, but left us with a wealth of music to enjoy for years to come. You can see this technique used in the last half of the bar, where the notes step down from beat 3 of bar 2, down to the last note, D. As Lenny shows, working 3rds through scales is not only a great chops builder, it provides inspiration for your solos as well. Here, you outline a short minor ii V I in C, using triplets on each beat of the bar. This is a classic bebop line, and one you can extract and use in your playing in similar, and other, musical situations. Lenny Breau Lick 3 The next Lenny single-note lick uses double time, 16th notes, in the classic Lenny style. There is a repeated riff, first heard in bar 1, which is transposed to fit the Em7-A7alt chords in bar 2. Repeating riffs like this over descending chord progressions is something that Lenny often used in his solos. Though Lenny is known for his modern jazz, classical, and Flamenco influences, he also possessed a strong command of the bebop language in his playing. This line is built using 3rds and 7ths, or 3rd and 6th over Dmaj7, under a moving melody line. In a similar approach to pianists, Lenny used 3rds and 7ths as the low notes for his chords, and used those guide tones to solidify the harmony below his chord-soloing lines. It take time to get under your fingers. Once you get it down, every Lenny style chord line will be much easier to learn and apply after this initial lick. This type of comping between phrases makes one guitar sound like two, and was a big reason that Lenny turned so many heads when he first hit the scene. With a celebrated catalogue of recordings as both a sideman and bandleader, Burrell has made a name for himself as one of the most reliable jazz guitarists of his era. Known for his bluesy playing, Burrell also possesses a deep knowledge of bebop vocabulary, which you see in the licks below. Kenny is known as one of the best blues jazz guitarists, and for good reason. There are no slur markings in the lick, as each player is different in how they choose to play these kinds of lines. So, feel free to experiment with adding slides, hammers, and pull-offs when learning this line on the fretboard. Kenny Burrell Lick 2 Another sound that Burrell likes to explore in his solos is the Phrygian dominant scale. Here, Phrygian dominant is being used to color the Dm7b5-G7alt chords in the first bar of this short ii V I phrase. When playing over ii V chords, you can play the ii, the V, or both. In this case, you learn an example of a V chord being the focus of the ii V progression. Played over a turnaround chord progression in F major, this line uses a C as the 2nd note of every four-note group. When soloing over ii V chords, you can use II7 V7 instead as a common jazz sub. After learning this line, put on a backing track and insert some chords between your lines to take this concept further in your studies. Check out the second bar, where there is a tritone sub being used over the C7 chord. Take your time with this lick, use a metronome, and build up speed as you learn this double time Burrell line. The father of jazz guitar, Christian revolutionized the genre with his single-note solos and adaptation of horn lines onto the guitar. In this section, you dig into Charlie Christian single-note, double-time, and chord lines as you delve into the playing style of the first jazz guitar hero. Though triads are often passed over in jazz in favor of more colorful arpeggios, they can go a long way in the right situation. This lick is an example of how triads can be an effective soloing device, even when played from the root of the underlying chord. As well as featuring triplets, there is a chromatic passing note on the first beat of the lick, Ab, connecting the A and G notes. Lastly, check out the b9, Eb, used over the D7 chord in the second half of the first bar. This lick is an example of how a carefully placed tension note can create energy in a line, without having to overdo it with chromatic notes in the solo. When learning how to play jazz guitar , many players want to stretch out and use a ton of modes, chromatic notes, and chord subs. But, a well-constructed melodic line will often connect more with an audience than a hip, outside line. This is an example of that concept in action. Again, this is an example of how triads can be an effective soloing device in a jazz setting. Again, though more known for his 8th-note phrases and melodic runs, Christian could also let loose and play effective 16th-note phrases in his solos. Take your time when learning this lick, use a metronome, and slowly build the tempo as you work it out in your studies. Having studied music at the University of North Texas , Ellis had a deep understanding of harmony and melody that can be heard in his lines and solos. In this section, you study a number of characteristic Herb Ellis concepts over a variety of chord progressions. By studying his use of voice leading , double stops, triplets, chromatic notes, and bluesy ideas, you bring a Herb Ellis vibe to your own solos. There is an F bebop scale being used to start the line, F-E-Eb, which is a common sub over a iim7 chord. As well, there are guide tones moving between the chords, b, as you play through the line. Guide tones allow you to move smoothly from one chord to the next, as you can hear in this line. Lastly, check out the F7alt sounds being used to create tension over F7. This tension is then released over the Bbmaj7 chord in the next bar. In this C7 line, you see double stops used in the first half of the lick. When playing double stops, you can use your pick, or pick and fingers to play those notes. Sometimes something as simple as double stops can be the difference between a line sounding predictable and a line sounding fresh and hip. Herb knew how to use double stops to bring a sense of hipness to his lines. Notice the triplets being used in this line. Instead, he inserted them in the middle or beginning of lines to break up 8th-note runs in his solos. Herb Ellis licks 5 In this double-time Herb Ellis lick, you see a number of characteristic sounds over this two-bar lick. There are passing tones P. Notice the Caug triad used over C7alt. Players such as Herb and others from his era would often use triads in situations such as this. Luckily for fans of his playing, Farlow did make a comeback later in his life, but even with a short career span, his recorded output is rich with material for you to study. Because Tal had large hands, many of his chords and single-note lines contained wide stretches and big leaps. But, when playing this type of line at a fast clip, those stretches become harder to navigate. Take your time with this line and experiment with a few different fingerings to see what works best for you. Tal loved to use double stops in his solos, especially blues-inspired runs such as this. You can use your pick and fingers, or pick if you mute non-played strings, when playing double stops. Notice the power chords, perfect 5ths, used at the end of the line. Though it may seem like a small idea, breaking up your lines with rests, as you can see here, can make a big difference in the success of your solos. Playing the rests brings out the syncopated element of the line, making it swing harder at the same time. Though dorian and melodic minor are commonly used in jazz over m7 chords, Aeolian is also sometimes used , as you can see here. There are a few large leaps in this line, in typical Farlow style. As well, the C melodic minor scale is used to create some tension over the Cm7 and F7 chords at the end of the line. Using Melodic Minor from the iim7 chord in a ii V is a common bebop technique, and one you should explore further in your studies. As well, he was an innovator in the jazz funk genre as he moved into that realm later in his career. No matter what genre he was playing in, one thing was certain; Grant would bring his best to each recording and jam session. In this section, you learn a variety of major and minor ii V I Grant Green licks in various keys. From there, you have a blues line, including the 4 passing tone, to finish the line over Cmaj7. This tension creates a bebop sound over the V7 chord, before being resolved into the Bbmaj7 a bar later.
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