How To Play Great Jazz Licks Starting On Any Note (Part 1)

Posted on by freejazzlessons

In today’s free jazz improvisation lesson we’re going to take a look at some cool new jazz licks.

Now, this won’t be your normal everyday run of the mill type jazz lick lesson.  No, we’re going to approach this jazz improvisationlesson in a unique way.

We’re going to learn how to play a lick starting on any of the 12 notes of the chromatic scale.

With the power to start on any note in the chromatic scale you’re musical possibilites could be endless!  All notes then become “correct” if you know how use and resolve them properly.

New Lick Series Starting

Since this is such an important concept I’m actually going to turn this “start on any note” concept into a whole series.  This is lesson #1 in the series so make sure you catch every lick as we go forward.  These will definitely help your jazz solos!  I will teach you between 2-4 licks for each starting note.

We will start with playing over minor chords.  The first note that we’ll start on will be scale degree 1 or “the root” (If you need a good jazz piano voicing to use in your left hand while playing these licks check out this minor jazz piano chord lesson or this lesson on shell voicings.)

Each lick will lead smoothly into a dominant chord a 4th higher. This will be very useful as you’ll be able to use this over all your II-V-I’s (2-5-1). II-V-I of course is the most popular chord progression in jazz music.

(If you need good voicings to use in your left hand for the dominant chords be sure to check out this dominant chord lesson and also this II-V-I-VI monster jazz piano chords lesson.)

Now, onto our licks!

Jazz Lick #1 Starting On The Root

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Jazz Lick #2 Starting On The Root

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Jazz Lick #3 Starting On The Root

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Make sure you really sit down with these licks and try to digest them. There’s a lot of really nice bebop vocabulary on almost every beat.  Also, take them through several keys!

Be sure to check out the next lesson in the series (coming soon) where we will learn several licks that start on the 9th of minor chords.  Until then…happy practicing!

Update: Here’s the other articles in the series so far: jazz licks from the 9th, jazz licks from the 3rd, and jazz licks from the 11th.

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2 Famous Jazz Licks Starting On The 3rd

Posted on by freejazzlessons

In today’s free jazz lick lesson we’re going to explore a couple of very famous licks from legends Joe Pass and Harold Land.

If you want awesome bebop licks these guys are some of the best to learn from!

This is the 3rd article in our series “How To Play Great Jazz Licks Starting On Any Note“.  Today we will be focusing on licks starting on the 3rd. If you missed the first 2 you can read jazz licks from the root here and jazz licks from the 9th here. Update: Here is the fourth lesson as well licks from the 11th.

So, for our 3rd lesson I’ve notated 2 entirely new licks for you. (audio examples, notation, and lesson below.)

Ok, let’s learn some new jazz licks!

Joe Pass Jazz Lick

(click to expand this lick)

(click to listen)

Harold Land Jazz Lick

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(click to listen)

Tips For Learning These Specific Licks

1. Print out a copy of the licks for reference.

2. Play along with my performance of the licks until you get it to sit right in the rhythmic pocket.  Try to match my rhythmic feel and articulation perfectly.  Jazz is about rhythm and groove! Play it till it feels great.

3. Listen to lots of Joe Pass and Harold Land 

4. Make sure you apply these licks to real jazz songs. Don’t skip this step! Licks are meant to be played in context of jazz tunes. If you need some good standards to start learning then watch this Misty lesson or this Satin Doll lesson.

5. Misty and Satin Doll have lots of II-V-I’s (2-5-1) in there. So, do most jazz standards. That’s why we spend so much time learning jazz licks over this famous chord progression.   So, apply the licks above to your favorite jazz tunes.

4. If you need some chords to play in your left hand under these licks then you can check out this jazz chords lesson.

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How To Play Great Jazz Licks Starting On Any Note (Part 2)

Posted on by freejazzlessons

In today’s jazz lick lesson we’re going to learn 3 awesome licks that start on the 9th of a minor chord.

This is the second article in our “How To Play Jazz Licks Starting On Any Note Series”.

Armed with the ability to start your jazz improvisation on any note, you’re soloing will really become much more effective. This series will hopefully prevent you from running into a “dead end” or bad notes in your jazz improvisation.

You’ll know how to navigate smoothly from any of the 12 chromatic notes by the time we’re done. All notes will be correct!

If you missed the first lesson (dealing with licks starting on scale degree 1 of minor chords) you can check out the lesson right here jazz licks on the root.

Make sure you subscribe to the free jazz lessons mailing list (form on the left, right, and below this article) so you don’t miss a single lesson in the series.

Ok, on to our jazz licks!

Jazz Lick #1 Starting On The 9th

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Jazz Lick #2 Starting On The 9th

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 Jazz Lick #3 Starting On The 9th

Bonus: More Licks Starting On The 9th

1. Here’s a super sweet Bill Evans jazz lick that also starts on the 9th.

2. Also, check out this Bud Powell inspired lick. It also starts on the 9th. Both of these licks have full video lessons and a bunch of other jazz lesson information in them.  Enjoy!

Tips For Learning All These Licks

1. Print out a copy of these licks for reference.

2. Practice applying these licks over your favorite jazz tunes. Not sure what tunes to learn?  Start by reading this article on the best fake books to learn from. You also can check out some this learn jazz standards article.

3. Learn them in all 12 keys.  As we mentioned before II-V-I (2-5-1) is the most popular chord progression in jazz music.  If you understand how to play over II-V-I’s you’ll be able to navigate through most jazz standards.

4. Need some chords to play under these licks?  Check out this II-V-I jazz chords lesson.

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2 Powerful Licks Starting On the 11th

Posted on by freejazzlessons

Need more licks don’t you? Well, you’ve come to the right place.

In today’s free jazz lick lesson we’re going to explore a couple licks starting on the 11th of a minor chord.

I think you’re really going to enjoy this lesson for a few reasons!

Not only do I have notation of the licks but I also have audio recordings, a video demonstration, and analysis included in this lesson as well.

Most importantly, I had just gotten back from a gig when I shot this video. So, i’m wearing a suit as you will see below.

For those of you who are new to our community please just assume I always dress like this. 

Just as a quick reminder this is the 4th article in our “How To Play Great Jazz Licks Starting on Any Note series”.  You can find the rest of them here Jazz Licks starting on the root, Jazz Licks starting on the 9th, andJazz Licks starting on the 3rd.)

Ok on to our new jazz lesson! Here’s the first lick in video format.

Here is the notation of the jazz licks. Be sure to check out all the additional tips and analysis below!

(You can print out a .pdf file of these licks. Feel free to share this page as well! The only thing I ask is that you link back to the site in return.)

Here is an audio recording of the second lick.

Tips for Lick #1

1. For the first part of the lick I’m thinking modally when I’m playing over the Gminor7th.  I am playing up and down different arpeggios inside the dorian mode. (Check out this minor mode lesson for a much more in depth study of how to play and use the dorian mode.)

2. For the second bar of the V chord I use what’s called a tritone substitution.  Instead of playing a full bar of C7 I substitute it for the last 2 beats with a dominant chord a tritone away. (As a reminder a tritone is 6 half steps up).

This is a very common substitution in jazz harmony. (For example, I use it in this Misty Chords lesson as well.)

3. Need more info about the chords I play in the video? I have a whole lesson where I teach more about the left hand chords. Watch the shell voicing lesson to learn more.

Tips for Lick #2

1. This lick starts on an approach pattern. I start on the 11th but play two chromatic notes and target the 5th (the note D).

These types of approach patterns are all over jazz improvisation.They’re an integral part of the sound. They’re used to propel a line forward and keep it moving. 

Check out this Red Garland transcription lesson ,Charlie Parker lick, and even this sweet Wynton Kelly riff for more info on approach patterns.

2. I continue with a 4 note approach pattern targeting the 5th of C7 (the note G) on the 3rd beat.

I’m playing 2 chromatic notes below the G and then 2 chromatic notes above the G and then finally resolving to the G. Once again a different approach pattern and tons of forward motion!

4. I end the lick one again with….wait for it…wait for it….wait for it…..another approach pattern!  Go figure! In order to target the 5th of the Fmajor 7th chord (C) on beat 1 of play 2 chromatic notes below and lead up to it.

Listen to lick #2 and play it multiple times so you can start getting a feel for how to use this important approach pattern technique.

Final Thought

Please remember to try using these licks in all your favorite tunes. By themselves they are nice pieces of vocabulary but they become true expression when you can apply them organically to your own music 

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Barry Harris Rhythm Changes Transcription Lesson

Posted on by freejazzlessons

One of the best ways to really learn how to play jazz is to listen and study the playing of the masters.

So, in today’s free jazz lesson we’re going to do an in depth study of a Barry Harris solo.

Barry Harris took this solo on the tune “Moose the Mooche”. The chords to this tune are played over what’s called “a rhythm changes.”(transcription and free lesson below)

Essentially, the chords of this tune are the same chords as the George Gershwin song “I Got Rhythm.”

Many jazz songs have been written over this same chord progression. Tunes like Anthropology, Oleo, Cotton Tail, Straighten Up and Fly Right, and many others.

Since, this chord progression is so popular and is called all the time at jam sessions it’s a great idea to really learn how to play it well. So, let’s get started learning how to do that from Barry!

Here’s the recording of Barry playing it. He starts soloing at 34 seconds. 

Here is the notation of the rhythm changes solo. Be sure to check out all the additional tips and analysis below!

(click to expand and print)

(You can print out a .pdf file of this solo to study it more closely. Feel free to share this page/lesson as well! The only thing I ask is that you link back to the site in return.)

3 Things We Can Learn From This Barry Harris Transcription

Let’s now discuss some of the awesome things we can learn from this solo.  There are literally hundreds of cool things in this solo but we’ll just pick a few.

You can turn almost everything in this solo into an exercise or study. We will also talk about how to apply all these tools to your own music. Let’s get started!

1. Major Scale Can Be Your Friend If You Know How To Use It

Even though the chords to this tune are going by quick (every two beats) you don’t have to specifically hit every chord.  As you can see through the first 3 and a half measures Barry just uses simple major scale ideas from the Bb major scale.

How To Practice: Loop a I-VI-II-V-I (1-6-2-5-1) chord progression over and over practice playing simple riff ideas using the major scale. You can even copy a Barry Harris lick and use it yourself.

If you need some good chords to play while you’re soloing check out this lesson on piano chords.

2. Learn How To Start Your Phrases On Many Different Beats

Barry is truly a master at starting his jazz lines on different beats. He can take classic bebop licks that everybody plays and start them in unusual places. It makes his phrasing and playing sound so fresh. Specifically he varies the start of his phrases constantly.

How To Practice: First, find 4 or 5 phrases that you really like the sound of. Practice playing just the rhythms of these licks and put your own notes on top.

Playing jazz is just as much about playing good rhythms as it is about playing correct notes.  Great phrasing is part of great rhythm!

3. Approach Patterns Can Get Your Motor Running

Barry uses a lot of chromatic motion to really get his lines moving forward. We can figure out some of the ways Barry uses this concept and add it to our own particular brand of musical tricks  .

One particular technique Barry uses alot is something called an approach pattern. An Approach pattern is a series of chromatic notes that are either above, below, or circles a note of resolution.

When you play an an approach pattern instead of the normal expected note it delays the resolution of the line. This can really extend the length of your riff and licks and will also help you string together different musical ideas.

One example is measure 30 on the Ebmaj7 chord beat 1.  Your ear expects beat 1 to be an Eb but Barry delays the resolution by playing 1 note above (F) the note and one note below (D) the note. He eventually resolves it on beat 2.

How To Practice: Take this one note above, one note below, and then resolution concept and try to apply it to any of your favorite jazz standards. You can come up with ideas that target any chord tone.

First start with the root of every chord, then the 3rd’s, then target the 5th’s, etc. etc.

Examples of Approach Patterns

You can see and hear approach patterns being also being used in this Red Garland transcription and this Barry Harris Green Dolphin Street Transcription.

If you would like to see some more examples in licks you should definitely check out this Charlie Parker lick video lesson and thisWynton Kelly lick video lesson.

Your Next Steps To Improvement

We’ve only discussed a few of the jazz improvisation concepts Barry Harris plays on this solo. Regardless, you could just take a few of the ideas we’ve discussed and turn it into an incredible amount of licks and improvisational ideas.

When you study a master like Barry Harris there is just so much source material in his playing.

Remember to take your time when you study a jazz transcription. A well played solo is really a map and a guide for you.  If you really dig in and study it properly it can change your playing forever. Thanks for reading and enjoy!

Are there any transcriptions you’ve done that have really helped your playing? Please leave a comment below and share with the community.

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How To Solo Over the Jazz Standard All The Things You Are.

Posted on by freejazzlessons

Would you like to be able longer jazz licks? Do you feel like your licks sometimes sound like run on sentences?

How do you play those beautiful and long flowing lines that a lot of the great jazz masters play?

You know the ones that always sound good no matter how long they go?

Your Jazz Improvisation Solution

Well, today we are going to focus on a great way to get your jazz lines and phrases to flow better and sound more authentic.

We’re going to do this by talking specifically about a device called an approach pattern.

(Here are  some more video lick lessons that demonstrate this concept well Barry Harris Lick, Bebop Piano Lick Lesson , and Turnaround Lick Lesson)

Approach Patterns Explained

(recorded example below)

1. There are lots of ways to play approach patterns but the basic idea is that you have a “target note” or “goal note” that you would lead into by playing a few chromatic notes before hand in order to lead into it smoothly.

2. Using approach patterns really is a fantastic method of delaying your point of resolution.

When you delay your resolutions it give you the opportunity to play longer phrase lengths while still sounding musical.

3. Lets say for example if you are trying to land on the note “E” inside a Cmaj7 chord. You could play 2 chromatic notes below E to lead into….D and D#.

You could also play two chromatics above it to lead into as well…F#, F, and then resolve into the E.

4. I ended up taking a very quick improvised solo on the tune “All The Things You Are”.

I tried using approach patterns for you guys as much as possible so you can hear and see them.  (Transcription and recording of the solo below.)

click to expand

Here is a very quick recording that was made of the solo in the lesson. (audio ex. below) All The Things You Are Solo. Take a listen to the solo and try to hear some of the approach patterns I use.

(Tip: print out the solo or open in new browser window above so you can more easily study it).

Hear how they extend lines by delaying resolution notes and adding some really nice chromatic flavor to the solo?

Approach Pattern Examples

Throughout the tune I use approach patterns in almost every measure.  Here is just a few examples of many:

1. Measure 2 over the Bbmin7. On beat 1 I play Eb, D, and then finally resolve to my target point Db (which is the third of the chord) on beat 2.

2. Measure 3 to Measure 4. On beat 4 of measure 3 I play Bb, B to lead into C (the 3rd) of Abmaj7

3. Measure 9 to Measure 10. On beat 4 of measure 9 I play Eb, E to lead into the F (root) of the Fmin7 chord.

How To Practice Approach Patterns and Final Thoughts

1. Take one of your favorite jazz standards or a blues and practice targeting chord tones with any of the approach patterns from this solo.

I recommend starting with 2 chromatics below your resolution note.  Then, move on to others.

2. As you can see and hear, approach patterns can be started on different beats but for the most part they resolve eventually on the strong beats (1,2,3, or 4).

3. Practice starting your approach patterns on different beats.  This concept alone will bring a ton of variety to your solos and licks.

4. Remember to always play with a good swing feel.

5. If you want to learn more about jazz improvisation techniques and especially approach patterns then I recommend you check out my jazz piano dvd The Jazz Masters Method.

You’ll find over 2 hours of content in there teaching you the amazing art form of jazz improvisation.