Linear Playing Through Jazz
Chord Progressions Part 1.
Okay, I wanna do a overall
look at linear playing through
jazz chord progression and
all the different things that
I've talked about, and
try to add a couple of things,
and, throw in a couple of
even just standard licks so
that you can have something to
really hang your hat on to.
We've talking quite a bit about arpeggios.
And we don't always use the arpeggio
in it's full form up and down,
it would sound like an exercise
if we were doing that.
But we do use segments of
arpeggios quite a bit.
You might just go 1-3-5, or
you might go 7-5-3 down.
There's all different kinds of
ways that you might wanna do it.
And a lot of times,
you'll hear jazz guys go.
You know, something like that.
And all that, that is,
is just a part of each triad of a chord
progression that was 3 6 actually 5 7 and
So, that's a very good thing
to use through a progression.
So let's say you're playing.
I always revert to all the things you are,
because it's such a great example.
Go through so
many chords in each part of the tune.
If I play just, you know,
through the first part of it.
So I went down the F minor arpeggio.
Just the triad, and then,
up the B flat minor.
I just used the third, and
I went down to the,
to the root and to the seven.
If I continued arpeggio on, on E flat.
It would be like that, so.
Right, that's something you know, little,
a little fragment, and
when it's connected it sounds like a line,
and you can hear the changes just by
the linear pattern that's created.
Reversing direction is
a very important thing,
too when you're using arpeggio fragments
or, or using arpeggios at all.
It might go up one and down another.
It gives it a really nice linear shape,
to a progression.
The progression there again is
3-5-7 of two, 2-5-1 in the A flat.
So I'm going up
the C minor our,
our pitch the entire thing
I went down the F7 one,
that's where you get the juicy
note out of the key.
And you can put some grease on that too.
Right, slide into that first note, and
it gives it a nice sound.
And so that, that was,
the rest of it was the,
B flat minor to the E flat 7,
And by reversing direction
mid-stream like that.
You get more of a line shape rather than
which sounds kind of like an exercise.
So, that's a very important concept.
The other thing that I use a lot, and
you don't want to overuse it, but it, it,
it makes things like when I say grease,
you know I'm adding a little grace note.
A little note sliding into another note.
A lot of times I don't pick it.
I just slide into it.
You can pick it to, but
it's more like a slide, right?
But the other thing that I use
a lot is called an appoggiatura.
That's an Italian word for
twirling a little bit.
So let's say,
I'm playing a B Flat major 7 chord,
and I'm gonna play
a descending major 7 arpeggio.
What I might do is take
the very first note.
And twirl it a little bit, between the,
the 7th and the one right above it.
It's a cool sound.
And again, it makes it more musical.
It makes it sound like even though it's
just an arpeggio, and you're spelling out
the notes in the chord, it gives it
a really nice musical, f, kinda flare.
And, the, a, appoggiatura,
the turn or the twirl that you,
that you might wanna add,
could be between any notes.
It doesn't have to be on the 7th to the 1.
I might do it between the 5th and
the 7th of a chord.
Like, let's say if it's B,
B flat minor 7th.
I'm hammering on.
And let's continue a lick.
I, I'll tell you,
There's a very kinda standard bebop lick.
I'm thinking the B flat
minor 7 arpeggio and
I'm in the
I'm in I'm in that first finger position
the 5th is with the first finger.
I hammer on with my pinky
Just do that a few times with me.
Grab your guitar and do it now.
And then what I did there at the end
I took the, the basic, the 7th and
the 1 of that chord, and
then resolved it to the 7th
degree going down to the one
on the A flat chord.
That's a little 2 5 lick.
It's kinda cool.
Let's do that slowly.
I neglected to mention there's another
appoggiatura there, between the 7th and
the one of B flat minor and
down to the 5th.
That is another example of that,
that kind of turn.
And when I'm playing through some changes.
You see right there.
I put a turn in there,
it really gives it a nice kind of
gliding feel to what you're playing.
So play around with that a little bit.
Try it in
For example, if I was going to play
If I'm just playing a descending.
B flat, A flat scale, for example.
I put a little turn on the first note,
it gives it a whole other color.
So that's the appoggiatura.
Now I would just like to show you some
standard be bop licks that,
that really come in handy sometimes.
You know, having a cliche or two, a lick
here and there in your back pocket so
that you can you know,
use them when you're playing through
progression is not a bad thing.
stolen my share of licks and
cliches from my favorite jazz improvisers.
Anyone from John Coltrane and Miles Davis
and Freddie Hubbard to Wes Montgomery,
Pat Martino, and, and anyone in between.
Everybody has their
little cache of licks and
if you find them please
share them with me.
I can always use some new ones.
Send me in some videos and
say hey I found this lick by so and so.
One of the really standard ones is you,
you're playing let's say a two five.
Let's say two five one in G.
Let's start out with what starts
on an A minor 7 arpeggio.
We're gonna start descending starting
on the 5th and go, 5, 3, 1, 7.
So we're starting somewhere and
going towards another ending.
And then when it changes to the D seven,
I'm just gonna play
go right to the third of that chord.
So it's going from the seventh
of the minor seven chord,
the two minor seven chord to the third of
the dominant seven chord in the two five.
Okay, now we
That's a little cadence right there.
So listen to that.
And I'm gonna play now
a kind of a diatonic
version of this like
Now what I did was
I jumped from the 3rd on the 5 chord,
up tot the 9th of that chord.
And then I walk down the scale
to the 3rd of the 1 chord.
And it really outlines the change
you can really hear
that movement, just by the line alone.
Now, let's say, I wanna start,
a step higher than that.
I wanna go three, five seven of two,
remember that five set move, too.
It's the sixth chord now turned
into a dominant chord, so
that it leads you to the two chord.
Remember that concept.
Three five seven and two, two five one,
So I'm gonna do a line similar
to that through the whole line.
Basically I did the same thing
a whole step above and then did it
where I originally done it on the two five
And again it really outlines the changes.
Resolve to the E seven.
Resolve to the D seven, and then a little,
nice little line, scale line going
down to the third of the one chord.
When you're doing this, you're targeting
notes that really stand out in each chord.
So when you go to the third.
You really hear that chord change happen.
And when you land on
the third of the one chord.
It sounds like a resting place,
like you've landed.
Now let's take that and make it a little
more fancy, a little more outta the key.
Put a little more chromatic stuff in it.
You remember when we were talking
about neighbor notes, right?
I told you you could just
have a neighbor note below,
Above and below.
I even said you could have
it two below and two above.
We did a whole play along exercise on
Well this next lick is going to
be exactly using that technique.
I'm going to combine a little arpeggio,
the same one we used before.
And then, to get to the beginning
of the next chord arpeggio,
which is the
right, the A minor.
So I start on B minor
and I did it exactly the same way that I
did it before.
The next one, it's gonna be
to connect them,
I'm gonna do a little chromatic
surrounding of the first note of the next
To get to the.
To the first note of the A minor 7,
I'm gonna surround it.
I start a half step above the first note.
A whole step below.
And then a chromatic step below.
And then I land on the note.
I'm gonna do that real slow.
And I'm going to do the same thing
when I land on the last
note on the G chord.
I'm, I'm gonna land on
the fifth this time.
So what to get to the fifth,
I'm gonna surround that one with the same
set of notes.
A half step above, whole step below, half
step below, and then finally to the note.
So I'm gonna do it real slow, watch
resolve to the E seven.
surround the note you're going to,
to begin the next phrase
and surround the last note
Sounds cool, right?
I'll play it real slow a couple times.
Play along with me.
You can really hear those changes
go by when you do that, right?
Play it even slower.
Grab your guitar and play it with me.
I love that.
I love the way that sounds.
So those are a couple of Bob licks
that you could start to work with.
You can then take that concept and
use it in different places on the guitar,
you can do it in different registers too.
For example, up the octave.
Then you could do it, down here.
There's really different
places you can find it.
So to sum up our talk about linear
playing through a chord progression.
Use every tool that you have available
to you to try to find the notes that
bring out the chord progression
that you're playing through.
Use your arpeggios.
Use your two C notes that you have added,
because you've analyzed it.
If there's a five,
seven chord leading to another chord
in the key, emphasize those notes.
Remember to do it slowly.
Take your time.
Really work through the progression to
look at maybe on a piece of paper or
make it yourself, a very slow play along,
of the chord changes.
Or even just a part of the chord changes.
And play through it over and over again.
As you do it,
please remember to try to do it in,
in all the different positions that,
that you know.
If you're gonna do.
If you're gonna do that lick.
Play it in different positions, you know.
So that you
force your fingers into different
areas of the guitar to work on it.
These are very important moments when
you're going to take what you've
learned technically and
put it into the practice of playing.
So please, remember to do videos,
send them in so that I can hear them and
I can help you improve.
Using lines to play
through a set of changes.
So that's a big part of jazz guitar.