Loading the player...

Lewis Turner - The Art of Jazz Soloing Part 3 - Major II V I Licks Using Arpeggios

Lesson Notes

** As featured in issue 44 **

Some players love learning licks whilst others shy away from it. Personally I fall somewhere in between, I don’t have a large arsenal of licks, but I have done my fair share of transcribing in the past and have always found it hugely rewarding and learn plenty from the process. I think that is the key, if you don’t want to be a “licks” player then you have to go deeper than just getting the lick under your fingers. Learn how it was constructed, try to figure out the thought process behind it; what is the underlying harmony? What key is it in? Are there any substitutions? Where is it being played on the neck? Etc. etc. You then need to make it your own, play it in different keys, styles, rhythms, over different harmony, this not only gets it into your muscle memory better, but will make it sound less forced when you do use it, because it becomes a natural part of YOUR playing. I think in Jazz more than any other style people are craving licks to sound “Jazz”. I have lost count of the amount of times I've heard “Dude you got TABs for that...?” Inside I'm screaming “Figure it out for yourself!” Of course learning a bunch of licks won't make you sound Jazz alone, you have to delve into all the things mentioned above and more.

We have been looking at Major II V I progression that features so much in Jazz. So far we have looked at arpeggio shapes and exercises around the progression, now we are going to turn these exercises and shapes into musical lines, with some licks I have written using only arpeggios. There are five licks each corresponding with the position on the neck where we have been learning the arpeggio shapes. Please be sure to check out the video to see and hear them in context. You will also find TAB/notation plus a backing track attached to try the licks and your own ideas.

Lick #1

All these licks use a swung rhythm (which we will go into more detail in future lessons), but for now if you are unsure then do a little research via listing to classic Jazz albums to hear this style. If you are already familiar with it, now is the time to try not to over swing your lines but make them a little straighter, again really listen to your favourite Jazz players and you will notice that they actually play pretty straight, anyway like I say more on that in the future. This is a typical 8th note line in the 2-5th fret area, making liberal use of 4th intervals and lading on the 5th of the Gmaj7 chord to sound a little hipper than the obvious root.

Lick #2

5th - 8th fret. Again a straight 8th rhythm throughout but the D7 line is pretty tricky thanks to the wider intervals used, the Maj 7 line does conclude on the root this time but it’s a real short note.

Lick #3

8th - 10th fret. A slight change up rhythmically here with each new phrase starting on the off beat, the first two bars act as a call and response , and the final two bars finish it all with a longer run back up resolving on the 5th of the chord

Lick #4

10th - 13th fret. Once again a different rhythm here making use of 8th note triplets, these can be tricky to feel against a swung rhythm, if you find it hard refer to the video to hear how it should sound. It’s also good to remember that a swung rhythm starts of life as a triplet, then the middle one is removed to get that swing feel. Notice the root and 3rd played together to finish the line.

Lick #5

13th - 15th fret. It's all going on here for the final one! Broken up rhythms, octave shapes and a tricky 16th note run to finish it all. Aim to play the final 16th note run using a straight rhythm this will sound way hipper than a cheesy swung 16th line!

I have written the analysis above as separate licks just to make it clearer, but the TAB and the way I recorded it is all played as one piece to try and make it sound a bit more musical, rather than here is lick 1 now lick 2 etc. Its good practice for linking lines and areas of the fretboard together if you can play them all together as one solo.

Learn the licks, try them to the track, but more importantly learn from them and make them your own by using all the techniques I mentioned at the start. Next month we move onto minor II V I's, good luck!


Up Next

Lewis Turner - The Art of Jazz Soloing: Part 1: Arpeggios Are King!

Lewis Turner gives you the lowdown on using arpeggios to create more authentic sounding jazz ...

Lewis Turner - The Art of Jazz Soloing Part 2: Major II V I

The secrets of how to play authentic jazz guitar solos are covered by Lewis Turner ...

Lewis Turner - The Art of Jazz Soloing Part 3 - Major II V I Licks Using Arpeggios

Lewis Turner teaches you how to play easy jazz guitar licks using arpeggios over the ...

Lewis Turner - The Art of Jazz Soloing Part 4: Minor II V I

Lewis Turner teaches you how improvise & play jazz guitar solos over the minor II ...

Lewis Turner The Art of Jazz Soloing Part 5: Minor II V I Licks Using Arpeggios

Make your jazz guitar solos and licks sound instantly more authentic using arpeggios in your ...

Lewis Turner - The Art of Jazz Soloing Part 7: Modal Approach Over Fast Major II V I

Lewis Turner presents another great jazz guitar soloing lesson helping you create fast jazz guitar ...

Lewis Turner - The Art of Jazz Soloing Part 8: Modal Approach Over Fast Minor II V I

Lewis Turner covers improvisation ideas for playing jazz guitar solos over fast minor II-V-I chord ...

Lewis Turner - The Art Of Jazz Soloing Part 9: Key Centre V Arpeggio Based Solo

Lewis Turner gives your jazz guitar solos a head start and teaches you how to ...

Lewis Turner - The Art Of Jazz Soloing Part 10: Applying Learned Concepts To Improvising

Lewis Turner demonstrates how to apply the jazz guitar improvisation concepts you have learned so ...

Lewis Turner The Art Of Jazz Soloing Part 11: Static Dominants

Want to know how to play impressive jazz guitar solos over those long static dominant ...

Lewis Turner - The Art Of Jazz Soloing Part 12: Functioning Dominants

Lewis Turner takes you through this jazz guitar lesson covering how to improvise and play ...

Lewis Turner - The Art Of Jazz Soloing Part 13: Minor Vamp

Keep your jazz guitar solos sounding fresh, even over single minor chord vamps with these ...

You May Like

Nick Jennison - Creating Drums On Acoustic Guitar

In this percussive acoustic guitar techniques lesson, Nick Jennison shows you how to emulate drums ...

Nick Jennison - An Introduction To Slide Guitar

Get started with slide guitar playing in this beginners guide to slide guitar with Nick ...

Nick Jennsion - Extended Range Secrets Part 1

Nick Jennison steps into the world of extended range guitars with this exclusive 7 string ...

Sam Bell - Extended Range Secrets Part 2: Seven String Guitar Approaches

Sam Bell continues our series of 7 string metal guitar lessons, stepping into the world ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 1

Play more interesting pentatonic guitar licks and runs with the power of scale sequences. Danny ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 2

Uncover some game changing pentatonic sequences and guitar licks with the help of Danny Gill ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 3

Rejuvenate your pentatonic guitar soloing with these great guitar exercises, sequences and routines in this ...

Sam Bell Rhythm Guitar Concepts Part 1: Internal Time Keeping

Learn how to play rhythm guitar in time and improve your time keeping in this ...

Sam Bell Rhythm Guitar Concepts Part 2: Feeling 8th Notes

Play rhythm guitar with better timing in this guitar lesson with Sam Bell. Learn how ...

Sam Bell Rhythm Guitar Concepts Part 3: Feeling 16th Notes

This rhythm guitar lesson with Sam Bell focuses on the building blocks of good rhythm ...

Sam Bell Rhythm Guitar Concepts Part 4: Tonal Aspects Of Chord Voicings

Sam Bell teaches you how to play the famous “Motown Skank” style of rhythm guitar ...

Sam Bell Rhythm Guitar Concepts Part 5: Utilising Chord Fragments, Using Thirds and Articulation

This Sam Bell rhythm guitar lesson shows you how to use the guitar chord shapes ...

Sam Bell Rhythm Guitar Concepts Part 7: Spread Triads

Sam Bell gives you an insight into modern guitar chord voicings using spread triads to ...

Sam Bell Rhythm Guitar Concepts Part 8: Using Triads To Create Melodic Movement Within A Part

Add a sense of melody and movement to your rhythm guitar parts using triads. In ...

Sam Bell Rhythm Guitar Concepts Part 9: Chordal Tapping Extensions

Learn how to play the fundamentals of chordal tapping guitar techniques with this great guitar ...

Sam Bell Rhythm Guitar Concepts Part 11: Using Simple Syncopated Rhythm Parts In Arrangements

In this rhythm guitar lesson, Sam Bell shows you how to create space within your ...

Dan Le Gresley - A Songwriters Guide To Bass Part 1: Tracking Bass Parts

Session musician, Songwriter and one-quarter of the UK soul outfit The Milk, Daniel Le Gresley ...

Dan Le Gresley - A Songwriters Guide To Bass Part 2: Groove

Learn how to add groove to your bass guitar lines whilst adding bass to your ...

Nick Jennison - Crosspicking & Hybrid Picking Workout

Nick Jennison takes you through the modern acoustic guitar techniques of crosspicking and hybrid in ...

Giorgio Serci - Creative Fingerstyle Guitar Inspirational Pieces Part 1: ‘Peppin’ Blues

Giorgio Serci teaches this Peppino D’Agostino style solo acoustic guitar piece in this essential fingerstyle ...

1 2 3 18
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram