JAZZ ROCK LICKS #1 The first part of this line is constructed with 4 note arpeggios diatonic to the key of Eb Major (Abmaj, Dm7B5, Ebmaj). Notice the use of chromaticism which connects positions smoothly. Bb7, Fm7 |----------------------6-11-8--------|-------------------------------------| |--------------------8--------9-8----|-8-11-10-8-9------8-6----------------| |----------------5-8--------------10-|----------------8-----8-6---8---6-7--| |--------------6---------------------|-------------10-----------8---8------| |------3-6-5-8-----------------------|-------------------------------------| |--3-4-------------------------------|-------------------------------------| |-------------------------------------|------------------------------------- |-------------------------------------|------------------------------------- |-----------------6-7-8-9-10-7-8-10-8-|-7----------------------------------- |-8-----------5-8---------------------|---10-8-7-6---10-9-8----------------- |---8-6---5-8-------------------------|------------8--------10------11-9-8-- |-------8-----------------------------|------------------------11-8--------- ------|---------| ------|---------| ------|---------| ------|-----8---| ------|---------| --11--|-10------| #2 This phrase comes from the B melodic minor scale (E Lydian b7, Bb altered). The Bb note is uses throughout his phrase, which is the b5 of E. This phrase should be played using Hammer-Ons and Pull-Offs as well as alternate picking. Try this line over Bm7 and E7. |-12-9-10----9--------------------------|-----------------------------------| |---------11---12----11-9-------7-------|-----------------------------------| |-----------------11------9-7-9---7-6-9-|-7-----6---------------------------| |---------------------------------------|---8-6---------8-6-----6-4---------| |---------------------------------------|---------8-9-7-----9-7-----5-4-----| |---------------------------------------|-------------------------------7-6-| #3 This line is a continuation of the last riff. Trying to connect ideas and phrases together really helps in understanding the fretboard. It also helps build technique and gives you a larger vocabulary of ideas. Try this line over Bm7 and E7. |-12-9-10----9--------------------------|---------------------6-9-7----7---| |---------11---12----11-9-------7-------|-----------------7-9--------9-----| |-----------------11------9-7-9---7-6-9-|-7---7-----6-7-9----------9-------| |---------------------------------------|---8---8-9------------------------| |---------------------------------------|----------------------------------| |---------------------------------------|----------------------------------| |-6-9-7---6-----------------------|---------------------------------|------| |-------7---9---7-5-----5---------|---------------------------------|------| |-------------7-------6---7-6-4---|-3-6---3-----------------------6-|--3---| |-------------------8-----------6-|-----4---6-----6-4---------4-7---|------| |---------------------------------|-----------4-7-----7-6-4-5-------|------| |---------------------------------|---------------------------------|------| #4 This line outlines the Eb major Pentatonic scale. Since the major Pentatonic scale has no seventh, it can be used over major seventh and dominant seventh chords. Cm7, Ebmaj7 |-----------------------3-----6---|---8--| |-----------------4-------3-4---6-|-8----| |-----------3---3---3-5-----------|------| |-----1---3---5-------------------|------| |---1---3-------------------------|------| |-3-------------------------------|------| #5 This is a more modern sounding line utilizing 4th interval shapes. This line requires alternate picking to sound smooth and even. Notice the entire line is played in 7th position. Am7, D7 |----------------10-7----------------|----------------------8------10-8----| |-----------8-10------7---10-7-------|-6-7----------------8-----10------8--| |---------7-------------9------7---9-|-----7---9------9-7-----9------------| |-------7------------------------9---|-------9---7-10----------------------| |----10------------------------------|-------------------------------------| |-10---------------------------------|-------------------------------------| |--------------------------------------|-------| |---10-8------7------------------------|-------| |-7------7------9------7---------------|-------| |----------10-----10-7---9------7------|-------| |--------------------------10-7---9----|-------| |-----------------------------------10-|-8-----| #6 Fourth intervals and arpeggio shapes make up this line. Notice the 4th and 5th group of 16th notes which outline Bm7 and Amaj. |--------------10-9------7----------|--------------------------------------| |-------8---10------10-8---10-7-----|--------------------------------------| |-----7---9---------------------7---|-9-6----------------------------------| |---7-----------------------------9-|-----7---------9----------------------| |-7---------------------------------|-------7-10-12---10-9-----------------| |-----------------------------------|----------------------12--------------| #7 Chromaticism is the main part of this phrase. Notice the A triads in bars 7 and 8. |------|-12-----11--------10--|----7-8-9----6-7---|------------------------| |-12---|-----12------12-------|----------10-----8-|-7---10-9-8-7-----------| |------|----------------------|-------------------|---9----------9-7-------| |------|----------------------|-------------------|------------------------| |------|----------------------|-------------------|------------------------| |------|----------------------|-------------------|------------------------| |-----------------|-----------------|-----------------|--------------------| |-----6---5---4---|-3---------------|-----------------|--------------------| |-6-7---7---6---5-|---6-5-4-3-------|-----------------|--------------------| |-----------------|-----------5-4---|-2---------------|-------5-4-----7----| |-----------------|---------------5-|---5-2-3-4-2-----|---2-5-----4-7------| |-----------------|-----------------|-------------5-4-|-3------------------| |-----------------|---5-4---3----------| |-------7-5-------|-------5------------| |---4-7-----7-4-5-|-6---------4--------| |-5---------------|--------------------| |-----------------|--------------------| |-----------------|--------------------| #8 F7 |------8-10------|-13-----------------------------------|------------------| |-9/10-----------|-------9------------------------------|------------------| |------------10--|----10---10-8-------------------------|------------------| |----------------|--------------10-9-8-6-7-8-9/10---6-7-|------------------| |----------------|--------------------------------8-----|8---------8-------| |----------------|--------------------------------------|--8-6---5---------| #9 A7 |------|-8-9-10-11-12-9-10h12p10-9-------------------|---------------------- |-10---|---------------------------12-10-9-8---12-11-|-10------------------- |------|-------------------------------------9-------|----11------12-10-9--- |------|---------------------------------------------|-------12-9----------- |------|---------------------------------------------|---------------------- |------|---------------------------------------------|---------------------- ---------------------|-----------------------| ---------7-----------|-----------------------| ----8------8-9-6-----|-7---5-6---------------| -12---10---------5---|---7-----7---4-5-------| -------------------9-|-----------7-----------| ---------------------|-----------------------| #10 This line is over a II V I progression in the key of C major. Over the Dm7 chord an Fmaj7 arpeggio is used (diatonic substitute). Over the G7 chord an F melodic minor scale is used to create an altered sound. (G7b9#9). Dm7, G7 Cmaj7 |---------8-12-8-10-8-7------------------|---------------------------------| |------10---------------10-8-7-6-8-6-5---|-----8-6---------5-----5---------| |-9-10---------------------------------7-|---------5-----------5---7-5-----| |----------------------------------------|-5-6-------6-5-----6---------6---| |----------------------------------------|---------------8---------------8-| |----------------------------------------|---------------------------------| #11 This line sounds best in a blues or jazz context. Experiment with different fingerings to keep in one position. A7 |-----------14---14-----------------------12--|---12------------------------ |-------12--13---12------12---------------13--|---13------------------------ |-11-14---------------14----12-11-----11------|-------14-12----------------- |----------------------------------14---------|-------------14-13----12----- |---------------------------------------------|-------------------14----14-- |---------------------------------------------|----------------------------- -------------------|----------------------------| -------------------|-------7--------5-----------| -----14---------12-|----------------------------| --11----11-10-9----|-9-8-7---7-6-5--------------| -------------------|----------------------------| -------------------|----------------------------| #12 This is an etude built from the C Harmonic minor scale. It goes through all 5 fingering patterns using triads (G and Ab) and 4 note arpeggios diatonic to the key. Break this line apart and learn it in 4 bar phrases. G7(alt), Cm7 Dm7b5 G7(alt) |------------------------4-3-------|---------------------------------------| |--4-----4-3---------3-6-----6-4-3-|---------------------------------------| |------5-----5-2-3-4---------------|-5-2-3-4-------------------------------| |----6-----------------------------|-----------3-6-3-5---3-----------------| |----------------------------------|---------5---------5---5-6---2-5-------| |----------------------------------|---------------------------3-----------| Cm7 |-----------------------------------|--------------------------------------| |-------------------------3-6-4-3---|--------------------------------------| |-------4--------5------4---------5-|-4------------------------------------| |-----5------3-6------5-------------|---6-5--------------------------------| |-3-6------5--------6---------------|-------6-5---8-5-6---5-----5-6-8------| |-----------------------------------|-----------8-------7---7-8------------| Dm7b5 G7(alt) |--------------------------------------|-7-8-7------------------------------| |-----------------------------8-9-8----|-------9-8--------8-9-8-------------| |------7-10-8---7------7-8-10-------10-|-----------10-8---------10-8--------| |----9--------9---9-10-----------------|----------------9------------9-8----| |-10-----------------------------------|---------------------------------11-| |--------------------------------------|------------------------------------| Cm7 |--------------------------------------------|------------------------------ |--------------------------------------------|------------------------------ |------7-10-8-----------------12-13----------|----------13-12--------------- |----9--------10---------9-12-------13-10----|----12-15-------13-12----15--- |-10-------------11-9-10------------------13-|-14-------------------15------ |--------------------------------------------|------------------------------ Dm7b5 -------------------------|----13-14-15-13-------13-11-------11-10----------| ----------12-15-12-13-15-|-16-------------16-15----------13-------13-10-11-| -------12----------------|----------------------------13-------------------| -12-13-------------------|-------------------------------------------------| -------------------------|-------------------------------------------------| -------------------------|-------------------------------------------------| G7(alt) Cm7 |----10-8----7-10---7--------------------|----------------------------------| |-12------10------8---9------9-8------8--|----------------------------------| |-----------------------7-10--------8----|-10-8-7---------------------------| |--------------------------------10------|--------10-9-6-5-----------------6| |----------------------------------------|-----------------6-5---------5-8--| |----------------------------------------|---------------------8-5-6-7------| |----------| |----------| |----------| |--5-------| |----------| |----------| #13 This phrase is made up of chromaticism, octaves and sixth (6th) interval shapes. Try playing this legato as well as picking every note. Am7, D7 |------|---------------------------------|---------------------------------| |------|-------------------3-------5-----|-8---7-6-5-----------------------| |------|-------4-2-----------------------|-----------8-7-6-5---------------| |------|---2-5-----5-2-3-4---4-3-2---2/5-|---5---------------6-5-----------| |-5-4--|-3-------------------------------|-----------------------8-7-6-5-4-| |------|---------------------------------|---------------------------------| -------| -------| -------| -------| --3----| -------| #14 This is a chromatic idea that is great for connecting positions. It starts in the tenth (10th) position and ends in the fifth (5th) position. Cm7, F7 |-13-12-11-13-10-11-10-------10-------------------|------------------------- |----------------------13-12----13-12-11-13-10-11-|-10---------------------- |-------------------------------------------------|----12-9-8-10-7-8-7------ |-------------------------------------------------|--------------------10-9- |-------------------------------------------------|------------------------- |-------------------------------------------------|------------------------- -------------|----------------------------------|--------------------------| -------------|----------------------------------|--------------------------| -7-10-9-8-10-|----------------------------------|--------------------------| -------------|-7-8-7----------------------------|--------------------------| -------------|-------10-8-7-6-8-5-6-5-----5-----|--------------------------| -------------|------------------------8-7---8-7-|-6--8--5------------------| #15 This line hints at the B Melodic minor scale (E lydian, Bb Altered). It also uses a lot of chromatic passages and 4 note arpeggios diatonic to the key of A major. Experiment phrasing this line different ways. Bm7, E7 |-----7-9-10-6-9-7------------------------|---------------------------------| |---9--------------10-9-7-------10-10-7---|---------------------------------| |-9-----------------------9-8-7---------7-|-6---9-6-7-----6-7---------------| |-----------------------------------------|---9---------7-----8-7-----------| |-----------------------------------------|-----------9-----------10-9-8-7-6| |-----------------------------------------|---------------------------------| |-----------------------------------|-----------------7--------------------| |-----------------------------------|-------5-6-7/9-9---10-7---------------| |-----------------------6-6-7-6-3-6-|-4-6-7------------------7-6-----------| |-----4-------------4-7-------------|----------------------------8---------| |-5-7---5-4---7-4-5-----------------|--------------------------------------| |-----------7-----------------------|--------------------------------------| #16 This is a traditional bebop phrase that also works well over a II V I (Bm7b5, E7#9, Am7) in A minor. Am7, D7 |-7-10-9-7-8-------7-10-6-9-5-------|-----------------4-7-5----------------| |-----------------------------5---8-|-5-------------5-------5--------------| |------------9-8-9--------------7---|---5-4---7-4-5-----------5-4----------| |-----------------------------------|-------7----------------------7-------| |-----------------------------------|--------------------------------------| |-----------------------------------|--------------------------------------| #17 This line is built from 4 note diatonic arpeggios from the key of Bb major. The arpeggios in the 1st bar are Gm7 and Ebmaj7. In bar 2 they are: Ebmaj7, Dm7, Cm7, and Bbmaj7. The last bar is a chromatic passage which resolves on the root of the Cm7 chord. Cm7, F7 |-------------------------------6-|-10--------8-----------------------------| |-----------------------6-----8---|----11-8-----10------10-8------10--------| |---------------------7---7-8-----|---------8------10-7------8-------10-7---| |-------3-----5-8-5-8-------------|----------------------------10---------8-| |-----5---5-6---------------------|-----------------------------------------| |-3-6-----------------------------|-----------------------------------------| |----8---------------------------------| |-10---11-10-9-8--------------8--------| |----------------11-10-9-8-10---8-7----| |-----------------------------------10-| |--------------------------------------| |--------------------------------------| #18 This is a short phrase built from using target notes. Target notes are notes used to approach chord tones by a half or whole step above or below. E7, Emaj7 |-----9-|-7----------------------------------| |-8-9---|--------10-9------------------------| |-------|----8-9----------11-9---------------| |-------|-------------8-9-------------11-7---| |-------|----------------------10-11---------| |-------|------------------------------------| #19 This line sounds good played with a legato type feel. Notice the chromaticism and the four note arpeggios (Dm9 and Am7). Dm7, G7 |-------------------------------------------------|------------------------- |-10-13-10-11-12-11-10----------------10-13-10-13-|-10---------------------- |----------------------13-12-11-10-12-------------|----10-9----12-9-------10 |-------------------------------------------------|---------12------10------ |-------------------------------------------------|--------------------12--- |-------------------------------------------------|------------------------- --------------------|-----------| --------------------|-----------| --------------------|-----------| -12-10----9-12------|-----------| -------12------10-9-|---8-------| --------------------|-----------| #20 This phrase can be used over a static Cm7 chord or a II V I progression in Cm (Dm7b5, G7altered, Cm7). This line mixes the Harmonic minor and the C Blues scale. Cm7 |---------------------------------------------|----------------------------- |-13-12-11-13-10-------10-9-------9-8---------|-------------------8-11-8---- |-------------------11---------10-----11-10-9-|-8---7------7-8-10--------11- |----------------13---------12----------------|---9---9-10------------------ |---------------------------------------------|----------------------------- |---------------------------------------------|----------------------------- ------------|------------------------------------|-------------------------| ------------|------------------------------------|-------------------------| -10-8----10-|-8-7--------------------------------|-------------------------| ------10----|-----10-8-9-----5-6-8-6-5-----------|-------------------------| ------------|------------5-8-----------8-6---5---|-------------------------| ------------|------------------------------7---7-|-8-----------------------| #21 This lick is built from using 2 major triads a whole step apart. Notice the half step approach before the actual triad is played. The triads in this line are G major and F major. G7, Dm7 |------|-------------------------------8-12-|--10---| |------|---------------------8------10------|-------| |------|-------------5-----7---9-10---------|-------| |------|-----5-----7---8-9------------------|-------| |------|---5---7-8--------------------------|-------| |--6---|-7----------------------------------|-------| #22 This etude is a combination of short melodic phrases. It should be broken apart and learned in sections. See how many lines you can find in this etude Bm7, E7 |-------|-12h14p12-10----------------------------------------|-------------- |-12-14-|-------------14-13-12-11----------------------------|-------------- |-------|-------------------------14-12----------14----12-13-|-------------- |-------|-------------------------------14-12-------14-------|-14----------- |-------|-------------------------------------14-------------|----14-12----- |-------|----------------------------------------------------|----------14-- ----------------------------------|----------------------------------------- -------------------14-12----------|----------------------------------------- -------------12/13-------------14-|-13-----11-9----------------------------- -------11-14-------------13-14----|----8-9------------11-9------------------ -11-14----------------------------|-------------10-11------12-9-10-11-9----- ----------------------------------|-------------------------------------12-- ----|---------------------------------------|------------------------------- ----|---------------------------------------|-----------------------7-----7- ----|---------------------------------------|-------6-4---------4-7---6-7--- ----|---------11-9-------9-7------7-6-------|---4-7-----7-4-5-6------------- ----|----9-12---------11--------9-----9-7-6-|-5----------------------------- -11-|-10-----------12--------10-------------|------------------------------- -5-|-9-8-7-6---------------------9-12-10----|----9-8---7-------------------- ---|---------10-7-----------7-10---------11-|-10-----9---10-7-8-9-7-------7- ---|--------------7-6---9-7-----------------|-----------------------9-8-7--- ---|------------------9---------------------|------------------------------- ---|----------------------------------------|------------------------------- ---|----------------------------------------|------------------------------- ----9-|-6-----6-9-----9-6-----6-2--------| -10---|-----7-------9-------6-----3------| ------|---7-------7-------4---------3----| ------|-------------------------------4--| ------|----------------------------------| ------|----------------------------------| #23 This line is over a II V I progression in the key of Bb major (Cm7, F7 Bbmaj7). The phrasing and sliding in this line is very important. Also, be sure to play it with a 'swing' feel. Cm7 F7 |----------------------------------------|-10/13-12-11-10-------------------| |-10-11-8---------------------------8-11-|----------------13-11-10----------| |---------7-10-8------7------7-8-10------|-------------------------12-10----| |----------------9------9-10-------------|-------------------------------13-| |------------------10--------------------|----------------------------------| |----------------------------------------|----------------------------------| Bbmaj7 ----| ----| ----| -12-| ----| ----| #24 This etude is a combination of Diminished and Melodic minor ideas. Notice the triad shapes in the first line (F, B). Also, notice there are a lot of 4 note arpeggio shapes diatonic to C Melodic minor. |--------------------8-------7-------------|-13-14-13-11-10----------------- |-----------------10---9---7---------10-13-|----------------13-12-10-9----12 |-10-----------10--------8-----10-11-------|---------------------------11--- |----10-8---10-----------------------------|-------------------------------- |---------8--------------------------------|-------------------------------- |------------------------------------------|-------------------------------- --------------|--------------7-10-11-8-------10-7-----|-8-------8-7-10-8---- -10-9---------|------------8-----------10---------8---|------10----------8-- ------11-10-8-|-7-10-9-7-8----------------10--------8-|---10---------------- --------------|---------------------------------------|--------------------- --------------|---------------------------------------|--------------------- --------------|---------------------------------------|--------------------- -7----------------|-----------------------------6---|-4-5------------------- ---10---8-6-----6-|-----------------------6-7-8---8-|-----6----------------- ------8-------7---|-8-7-5---4-7-6-4-5-7-8-----------|-------5-4---3---1-2--- ------------9-----|-------7-------------------------|-----------5---4-----3- ------------------|---------------------------------|----------------------- ------------------|---------------------------------|----------------------- -----------|------| -----------|------| -----------|------| -----------|---3--| -3-2---1---|-0----| -----3---3-|------| Play these licks in all keys and, if possible, in different octaves Add effects like: Hammer-ons, Pull-offs, slurs and bends Experiment with the lines over chords different from the ones suggested Work the lines, in whole or in part, into your playing right away.