(jazzy guitar music)
- Hi everybody my name is Jens Larsen.
You probably know the feeling of writing a line
using all the right arpeggios the target notes,
it's moving forward and when you play it
it still doesn't really sound that great.
In fact it doesn't really sound like jazz at all.
At least is something that I remember having had
troubles with once in awhile when I was studying.
And there are actually some rules about what
makes a great jazz line and what
doesn't really work as a great jazz line.
So in this video I'm going to cover one rule that
you really need to check out for this.
I'm going to cover some examples of how you implement
that into your lines,
how you use that when you are writing something.
And I'm also going to go over an example of
Wes Montgomery because he really gets this right.
If you want to learn about jazz guitar,
improve the way that you solo,
check out some interesting arpeggios and chord versings,
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First I'm going to cover how to construct lines
that are easier to phrase well and get to sound good.
And then I'm going to talk a little bit about
How to get those into your playing through listening
other people and hearing it in your own playing.
I'm going to do that by covering a few bars
from a Wes Montgomery solo.
(jazz guitar)
This is really about how you phrase your 8th note lines
and especially it's about where you put the accents
in the 8th note lines.
And in this first example is actually an example of
a line that doesn't really work in that respect,
because here the harmony's clear it's clearly D minor G 7
C major 7 and we are hitting all the chord tones
in the right place but at the same time,
the line and the melody doesn't really pop.
We can't really put any nice accents,
because what we have here is phrasing wise is this.
Do da do da de da de da do da.
So do doo do do doo do.
Everything is on the beat everything is heavy.
It sounds more like Megadeth
than it sounds like Charlie Parker.
If you think about how Charlie Parker line sound
or how a Bebo line should sound then you're
probably coming up with something that's more
like (bebopping)
So I use sort of singing as a reference here
because I think very often even without thinking
about it if you start trying to improvise
some rhythm on top of a tempo then
you already have an idea about what it's supposed
to sound like.
And you just need to tap into that when you're
trying to come up with lines.
(jazzy notes)
In the example where our singing a phrase that
sounds more like bebop then if you slow it down
you can hear that the accents I'm doing.
So you can hear the line is really just a flow
of 8th notes and then some notes are popping out
and getting an accent.
And even when you can't hear what notes I'm singing,
that's just the main idea of what is happening.
And that's really what makes it sound like a bebop phrase.
So we need to figure out how to construct melodies
where we naturally can put those accents on the offbeat
within the bar.
Let's just take a look at a few examples.
I'm just going to do some examples on a C major 7
and then show you how you can easily add those tabs
for accents to your lines.
The rule that I am using here is actually quite simple.
Melodically what has to happen is that we want to have
a high note on the offbeat and that means that it has
to be high on the note that follows it.
And that's what I'm doing in this example as well.
I'm starting on the B going up to the C,
and then the next note after the C because I want to
give the C an accent
then the next note has to be lower,
so I'm going down to B.
And then continuing down the arpeggios.
This is really just a C major 7 arpeggio.
And then so I have an accent on the on hand right?
And then I can do a similar idea here where I skip
up to A and I give that an accent
and go down to the G and then further down
an A minor arpeggio.
So A minor 7 and then ending the line on the D.
Now we can do the same but then to try to get an accent
on the two end and then the four end,
instead of just on the one end and the three end.
And here I'm doing that by first playing
C major 7 arpeggio.
So then I want to create it so that I want to have
an accent on B so that means that the next note
I play after the B has to be lower.
And I'm putting off down to an A.
And that gives us that accent.
And notice that when I'm doing this and this is happening
throughout all these examples.
I'm staying in one position so it's only going to
be pull offs and hammer ons I can do.
But actually in this case because I'm moving down
it's only going to be pull offs.
You can also do this with slides,
but the idea is that I'm using legato to get the accent.
And I'm doing that by picking the note that needs an accent,
like the B here and the pulling off to the A,
because that's naturally going to make the A
a little bit softer and it's gonna help the B stand out.
So that's the accent on the B if I then continue
from the A I'll move up the scale and then up to E,
pulling off down to D so that gives the E an accent.
And then just finishing the line with this fragment
where I'm ending on the two end on the G.
And here I'm mixing another verse so first we get an accent
on the two end so we're really just starting on the G
and then I'm playing sort of the G major chord pattern,
pulling off from the high D down to a B on the third beat.
So there we get an accent.
And then I'm adding an accent on the three end as well,
by playing the A pulling off to the G.
So down to the E C
and then from E to D with a
pull off which gives me an accent on the one end.
And ending on the B.
And of course you can do the same with the
two for one like I am doing in this example.
So the first part is just an enclosure of the root
of the first chord D so E and C sharp down to the D,
then up the scale skipping up to C.
And then I can pull off to B on the G7 and that way
I'm creating an accent on the C.
And then moving up further through the G7 arpeggio
So D F G and here the G is not given an accent
because the next one is an F.
So then further down the scale skipping up to A,
and again A is a high note so it's higher than the
G that I'm resolving to and I can use a pull off for that.
Then ending on E.
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is that I have a community of people over on Patreon
that are supporting the channel
I am very grateful for their support,
and it's because of that that I keep on making all
these very specific jazz guitar and music theory videos.
So if you want to help me keep making videos,
then check out my Patreon page.
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(jazz guitar)
Besides knowing the rules and knowing how you can construct
phrases that sound good like this it's also important
that you start working on recognizing it in the music
that you listening to so that you just get it
into your ears and that way get into your system.
Because in the end you cannot think about phrasing when
you're trying to solo.
This has to be something that's really just in your system,
and that just comes out naturally,
and is already in the lines of your playing.
Otherwise if you have to think of it while you are
playing then you're probably not going to be able to
play anything that makes any sense.
So now I'm just going to take a look at this fragment from
a Wes Montgomery solo.
This is just the opening phrase of his solo on four and six
off the Smokin' at the Half Note album.
And he starts with really just sort of a blues phrase
like this sliding key of D up to and that's half notes
there's not accents involved in this.
That's also something that's kinda clear about especially
Wes's playing is that sometimes he'll play phrases
that are really sparse and then you don't have all the
8th notes and all the accents.
You don't have to worry too much about it.
At the same time the next phrase that he plays
is really clearly even though it is like G minor pentatonic.
or key minor blues.
It's clearly a line that has that accent because we get
an accent on the B but on the C,
and especially also he is using the pull offs so.
And then adding the D afterwards.
Then the next part is just a G minor 11 arpeggio.
The first part doesn't really have any accents.
After the eleven and then we just get this phrase
where we get the accent on the three end.
And if you listen to this and if you try to play along
with solos that you know
and in that way try to copy their phrasing
then it's gonna get a lot easier for you to get
this into your playing so one part of this is
understanding how it works and figuring out why
some of the lines that you are making doesn't work
and give you a way to fix it.
And the other part of this is really trying to imitate
solos and trying to recognize good phrasing in
the solos that you're listening to because once you
are aware of it you can start getting it into
your own playing but you need to be able to hear it
and you also need to notice it.
If you want to check out another video on the great
phrasing of Wes Montgomery and also how he is really
extraordinarily good at constructing melodies
within his solos then check out this video where I'm
analyzing a few lines from some later passages in
this solo on four on six.
If this is the first time you've seen one of my videos
and you want to learn more about jazz guitar,
then subscribe to my channel.
If you want to help me keep making videos then
check out my Patreon page.
That's about it for this time.
Thank you for watching and until next time.
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