- [Jens] Hi everybody, my name is Jens Larsen.
The most important part of sounding like jazz
is probably to have some of the bebop language
or bebop phrasing in your playing.
In this video, I'm going to take a C7
in a fairly common position so
here on the neck.
And then I'm going to go over some examples of how you can
add some bebop phrasing, or some chromatic phrases
into playing this position.
Finding practical solutions and making sure that
whenever you're trying to learn something new,
you're connecting it with something
that you already have in your playing.
So, I would expect you would have this position for a C7
in your system.
It's gonna make it a lot easier for you to learn something
and add it to your playing.
And this is also pretty much how I work,
I take new things and try to attest them to the things
that I already know.
If you wanna learn more about jazz guitar,
improve the way that you solo,
or check out some new arpeggios or chord voicings,
then subscribe to my channel.
If you want to make sure not to miss anything,
then click the little bell notification icon
next to the subscribe button.
The examples that I'm going to cover in this video
are all found around this chord,
and you can probably easily connect this to this arpeggio.
(guitar plays)
Of course, around here you will also have a scale
and whether you want to call that a C7 scale
or an F major scale, it would be this scale.
(guitar plays)
In this first example, I'm adding a chromatic note
in between the D, so the ninth, here, D, and the root C.
So, I'm adding a D flat and the way I'm playing it
is that I'm actually playing the D and then the D flat,
picking both notes, and then pulling off down to the C.
Then I'm just continuing down the scale,
again with a pull off.
And then, ending the phrase with a C major triad.
So it's still really connected to the chord,
which is of course also important for bebop,
that we are really working with lines that are
coming out of the chords that we're playing now.
And then we have sort of the chromatical
flavor added in the beginning of the line.
You also want to notice that the way I'm ending the line
is on the one and.
So, that's also very typical and actually
that's how the genre was named
because it's called bebop.
(guitar plays)
In this example, I'm using a longer chromatic phrase
on the B string.
So the first part of it is really just sort of
a major pentatonic or a blues phrase.
And then on the B string, in this position,
we actually have three really strong notes for a C7.
Because we have the fifth, the thirteenth,
and the flat seventh.
So I'm using that and I'm playing a descending line
adding the flat thirteenth in here, so we have
this phrase, so.
And then again, ending with a C major triad.
(guitar plays)
This phrase is using two really strong bebop ideas.
The first one is pivoting arpeggios,
and that's the first thing that happens in the phrase.
So the line is kind of coming out of
an E half diminished arpeggio.
So the notes that we have are E, G, B flat, and D.
But I'm pivoting that arpeggio,
so I'm playing the E an octave higher,
and then skipping down to the third, the G,
and then playing this,
which is basically a G minor triad ascending.
So
And this is a very common phrase to use
with different kinds of arpeggios.
If you play it in major,
it's sometimes referred to as the honeysuckle rose phrase.
I have another video where
I'm analyzing part of a George Benson solo
where he's soloing on "All The Things You Are"
and he uses this quite a lot.
So it's also worth checking that out.
I'll link to that in a cont in this video
and of course also in the description.
The other thing that I'm doing
is that I'm adding a chromatic passing note
between the root and the seventh.
So we get this phrase.
And this is something that's really common
for a lot of different bebop pieces, bebop phrases.
And you wanna check that out and have that
in your playing for sure.
So what I'm doing here is I'm just playing that line
descending from C, skipping down to the G,
up to the A, and then just continuing up the scale.
(guitar plays)
In this phrase, I'm adding a chromatic approach
that's two notes long.
So of course I start on the fifth of the chord,
so the G, going down to the F,
and I'm skipping down to the D.
And I really wanna go to the E
but I'm skipping down to the D,
and then just moving up to the E chromatically, so.
From here I just add a small run that's really just
an E half diminished arpeggio.
And the reason why I'm using the E half diminished arpeggio
is that that's the arpeggio
that's found on the third of the chord.
And it's very often quite useful to use the arpeggio
that's found on the third,
so the diatonic arpeggio from the third of the chord.
And that's what I'm doing here so
And it's not just playing straight up and down the arpeggio,
I'm also making a short melody with it so
Skipping up to the seventh here,
and then ending the line on the root.
(guitar plays)
Encircling a chord tone with two notes
where one is diatonic and the other one is chromatic
is also a thing that's done very often in bebop.
And that's also what I'm doing here.
I'm aiming for the fifth, the G,
but I'm starting with, first, the diatonic note above, so A,
and then going down to the F sharp
which is chromatic and just below,
and then resolving it to the G.
Now from the G, I'm moving up, the G minor seventh,
so the diatonic arpeggio from the fifth of the chord,
which is then a G minor seventh arpeggio.
And from here, it moves into a pattern in C7.
So first, the third,
down to the root, up to the fifth,
and then down to the third again,
and then via the thirteenth, up to the flat seventh.
So you wanna notice here also that
most of the lines that I'm playing here
are really just starting with chord tones
and really following the chords and using structures
that are closely related to the chord,
which means the C7 itself,
or arpeggios, like the one from the third,
which is E half diminished,
or the one from the fifth, that's the G minor seventh.
This way of really connecting to the chord
is also an important part of playing jazz,
besides all the chromatic and rhythmical things
that are happening. If you want to check out
some more great bebop ideas or licks,
then check out this video on George Benson
where I analyze a phrase from
his solo on "All The Things You Are"
and talk about how he makes that phrase
and what it's constructed of.
If you want to learn more about jazz guitar,
then subscribe to my channel.
These are the kind of videos that I publish every week,
and of course if you want to help me keep making videos,
then check out my Patreon page.
That's about it for this week,
thank you for watching, and until next week.
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