Bebop Guitar Vocabulary - Enclosures

Bebop Guitar Vocabulary - Enclosures - MattWarnockGuitar.com

19/04/2012 14:03

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StumbleUpon Take Your Playing to the Next Level. 30 Days to Better Jazz Guitar Ebook Get Your Copy Today One of the most often asked questions I get in lessons and workshops is, “How do I sound more like Bebop?” There is no one answer to this question, but there are several things you can do to increase your Bebop vocabulary, such as learning Bebop Scale Patterns, Bebop Arpeggio Patterns, and maybe most fundamentally when learning how to play jazz guitar, learning Enclosures on the guitar. Enclosures are groups of three notes, one note above, one note below and then our “target” note. For example, if you wanted to enclose the tonic of a C7 chord, C, you could play Db-B-C, or D-B-C, or B-Db-C, or Bb-Db-C, or any other combination of chromatic and diatonic notes above and below the target note. These different enclosures are laid out below over a C7 chord at first, and then expanded into longer licks and finally a solo over an F Blues. The first enclosure that we’ll take a look at uses a chromatic note above followed by a diatonic note below, enclosing each note in the C7 arpeggio. You can also mix it up by playing diatonic below and chromatic above, the reverse of what’s written here, as a variation. If you are going to apply these techniques to scales, try only enclosing the chord tones found within the scale for now, before moving on to the other non-arpeggio notes in the scale. For example, if you were soloing over an F7 chord and you were using the F Dominant Bebop Scale, you could enclose F, A, C and Eb, the notes of the F7 chord. Example 1: Chromatic Above – Diatonic Below http://www.mattwarnockguitar.com/bulding-bebop-vocabulary-enclosures

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Now we’ll reverse the first example and enclose each note of the C7 arpeggio with a diatonic note above followed by a chromatic note below. Again, feel free to reverse this, or any Enclosure, so you play chromatic below followed by diatonic above the target note. Example 2: Diatonic Above – Chromatic Below

We can also team up two chromatic notes to enclose our chord tones. This example, pairing one chromatic note above and one chromatic note below our target note is the most common enclosure used in jazz. Many great players such as Pat Martino, Jake Langley, Pat Metheny and others have used this technique countless times in their soloing. So, if you only learn and apply one type of enclosure, this is it. Example 3: Chromatic Above – Chromatic Below

We’ll finish up our enclosure examples with one diatonic note above and one diatonic note below. This one isn’t as strong as the others since there are no “outside” chromatic notes that highlight the target note, but you can still use them effectively in your soloing nonetheless. Example 4: Diatonic Above – Diatonic Below

With the four types of enclosures under our fingers and in our ears on a static arpeggio, and hopefully under a few of your favorite scales as you’ve experimented with these techniques further, here are four different http://www.mattwarnockguitar.com/bulding-bebop-vocabulary-enclosures

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licks using enclosures of different kinds, both within arpeggios and scales. After you’ve learned one of these licks, take it to the other 11 keys, and then apply it to a tune you’re working on. As with any lick, this idea is not dogma, feel free to change the rhythms, alter the notes, take notes away, add notes, mix in other licks you know. Make the ideas your own. Example 5: Licks with Enclosures

To finish up this lesson I’ve written out a sample solo using enclosures over a Blues in F. I’ve used a lot of the licks from the previous example, in the new key, and added a few new ones for good measure. After you’ve got your fingers and ears wrapped around these 12 bars, try coming up with your own solo using enclosures. Write it out, edit it, memorize it, play it with a play-along, then start to improvise with it, and with other http://www.mattwarnockguitar.com/bulding-bebop-vocabulary-enclosures

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enclosure applications. Enclosures are a fundamental tool in any jazz improviser’s palette, so take your time learning them, it’ll definitely be worth it in the long run. Example 6: Blues Solo with Enclosures

Do you have a favorite way to practice or apply enclosures to your playing? If so, please share them in the comments section below. Matt Warnock Guitar on Facebook Are you on Facebook? If so, follow the Matt Warnock Guitar Page and enjoy these great benefits: Monthly giveaways of free ebooks, skype lessons and more Access to exclusive video lessons that aren't found anywhere else on the web http://www.mattwarnockguitar.com/bulding-bebop-vocabulary-enclosures

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Be the first to get the latest articles from my site Be able to ask me questions about jazz and jazz guitar and get in-depth and prompt responses Participate in the weekly Reader Question Article discussion Connect to other jazz guitarists in an interactive way Click to visit the Matt Warnock Guitar Page on Facebook and give it a like while you're there! Check Out Related Jazz Guitar Lessons 21 Bebop Scale Patterns for Guitar Bebop Guitar Vocabulary: Adding Chromatics to Basic Arpeggios 2 Responses to "Bebop Guitar Vocabulary: Enclosures" Howard Brown says: Reply Good lesson, Matt! This is a great way to increase your bebop vocabulary. wiz June 10, 2011 at 12:37 pm rick bourne says: Reply enclosures really make the cake tasty July 18, 2011 at 5:13 pm Leave a Reply Name *: Mail *: won't be published Website

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Bebop Guitar Vocabulary - Enclosures

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