Jazz Guitar Primer eBook - Terence Wright Guitar

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Jazz Guitar Primer E-Book ! ! !

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Table of Contents Preface ...................................................................................................................................................................... 3! First Jazz Guitar Chords.......................................................................................................................................... 5! First Jazz Guitar Chord Progressions.................................................................................................................. 18! Common Chord Extensions.................................................................................................................................. 21! Comping Rhythms ................................................................................................................................................. 32! Quarter Note Comping Rhythms.......................................................................................................................................32! The Charleston Comping Rhythm.....................................................................................................................................35! Bossa Nova Comping Rhythm ..........................................................................................................................................38! Single Octave Arpeggios ...................................................................................................................................... 40! Major 7 Arpeggios ...............................................................................................................................................................41! Dominant 7 Arpeggios ........................................................................................................................................................43! Minor 7 Arpeggios ...............................................................................................................................................................44! Minor 7b5 Arpeggios...........................................................................................................................................................45! Diminshed 7 Arpeggios ......................................................................................................................................................46! II – V – I Licks Using Single Octave Arpeggios ................................................................................................... 47! Quarter Note Arpeggios......................................................................................................................................................47! Eighth Note Arpeggios........................................................................................................................................................48! Lick #1...................................................................................................................................................................................49! Lick #2...................................................................................................................................................................................49! Lick #3...................................................................................................................................................................................50! VI – II – V – I Licks .................................................................................................................................................. 51! Lick #1...................................................................................................................................................................................51! Lick #2...................................................................................................................................................................................52! Lick #3...................................................................................................................................................................................52! Two Bar - Lick #1.................................................................................................................................................................53! Two Bar - Lick #2.................................................................................................................................................................53! Two Bar - Lick #3.................................................................................................................................................................54! How to Learn a Jazz Standard .............................................................................................................................. 55! Melody...................................................................................................................................................................................55! The Changes........................................................................................................................................................................58! Bass Notes ...........................................................................................................................................................................59! Arpeggios..............................................................................................................................................................................62! Comping................................................................................................................................................................................64! Thank You for subscribing and reading this E-book! ....................................................................................... 65!

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Preface! !

Preface !

Thank you for subscribing to the weekly newsletter. Rest assured that you will not receive any spam from me! You will only receive quality material, updates and opportunities to learn more about jazz guitar!

This e-book is designed to give you the knowledge to get started in jazz music. It covers a number of topics from common jazz chords to improvisation. Each chapter includes relevant sheet music, tabs, chord charts, and audiovisual examples, as required.

Before we get started, here are a few universal tips that will be reiterated throughout the book that you can apply to your practicing on a regular basis. The tips will ensure that you reach your jazz guitar goals as quickly and accurately as possible.

1) Take your time. Be patient with yourself. Each exercise you play should be your main focus for that moment. If you practice jazz guitar with a feeling of just trying to get through it, this feeling will resonate in your performance and playing outside of practice time. 2) Sing, sing, sing! If you can sing it, you know it. The best way to get to know jazz music and its intricate inner workings is to sing everything you can get your hands on. Start with the melody of the song, then sing the bass-line. If you haven’t had enough by then, sing the arpeggios to the song (and by saying ‘if you haven’t had enough’, what I am really saying is ‘definitely do this’).

3) Regular practice will give you better results. Try to make time for at least a bit of practice every day. Trust me that you will learn faster playing a little bit each day instead of getting all your practice in in one day. This is not to say that you can’t practice more on a day when you have more time, but trying to get in 15 minutes on a busy day is always better than nothing!

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Preface! !

Glossary of Jazz Terms •

Jazz standard: A jazz standard is a jazz song that was popular in its day, and is considered to be part of the standard repertoire for a jazz musician.

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Jazz chart: Chart is another way of saying sheet music. If someone asks for the chart for ‘All the Things You Are’, they are asking for the sheet music.

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Root note: The root note is the first note, and foundation of a root position chord. A C major chord has a root of C. In chord inversions, the root note appears in voices higher than the lowest voice.

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Chord extension: Chord extensions are any notes added to the basic structure of a triad or seventh chord.

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Head: This term refers to the form of the song. If a song is 32 bars long, playing through the head means playing through that 32 bar form. It can also be used when referring to the melody. If a musician says, ‘take the head out’, it is referring to returning to the melody of the song.

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First!Jazz!Guitar!Chords! !

First Jazz Guitar Chords Playing the right chords through jazz standards can be tricky without the right chord vocabulary. In this chapter, we will cover the first 10 jazz guitar chords that any player starting out in jazz should know. These chords will allow you to play efficiently and effectively through a vast number of jazz standards. The chords covered in this lesson will fall under two categories: Chords with the root on the E-string Chords with the root on the A-string Learning these chords on both the E and A-string makes shifting from chord to chord more efficient. In a jazz standard, it is common to have 2 to 4 chords per bar. Knowing your chords from both the E and A-string will make sure you are prepared.

Major seventh Chord The first chord we will take a look at is the major seventh chord. This is a very important chord, and is often the I in a II – V – I or VI – II – V – I progression. In a jazz chart, the major seventh chord is commonly notated as: C maj7 C △7 C M7

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In the two diagrams above, we have the same chord using two different sets of strings. The root note is indicated by the red ‘R’ on the chord charts. Using the root as a reference, you will be able to build a major 7 chord off of every note from both the E and A-string. The chord formula for the major seventh chord is: Root – 3 – 5 – 7 Using C major 7 as our major 7 chord, this translates to: C–E–G–B

The process for applying these shapes to your playing is as follows: 1) Identify the root of the chord (in this example, we will be using C maj7, therefore making our root C) 2) Decide whether you will build your major 7 chord from the E or A-string

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3) Build appropriate major 7 shape from selected string. C is the root for Cmaj7, therefore we have to find C on the selected string, and build the appropriate chord shape from the root note.

Example using C major 7 on the E-string and A-string

Example using G major 7 on the E-string and A-string

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Dominant 7 Chord Another very important chord to familiarize yourself with is the dominant 7 chord. This chord is often the V in a II – V – I or VI – II – V – I progression. In a jazz chart, the dominant 7 chord is commonly notated as: C7 Cdom7

In the two diagrams above, we have the same chord using two different sets of strings. The root note is indicated by the red ‘R’ on the chord charts. Using the root as a reference, you will be able to build a dominant 7 chord off of every note from both the E and A-string. The chord formula for the dominant 7 chord is: Root – 3 – 5 – b7

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Using C dominant 7 as an example, this translates to: C – E – G – Bb The process for applying these shapes to your playing is as follows: 1) Identify the root of the chord (in this example, we will be using C 7, therefore making our root C) 2) Decide whether you will build your dominant 7 chord from the E or A-string

3) Build appropriate dominant 7 shapes from the selected string. C is the root for C7, therefore we have to find C on the selected string, and build the appropriate chord shape from the root note.

Example using C dominant 7 on the E-string and A-string

Example using G dominant 7 on the E-string and A-string

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Minor 7 Chord The minor 7 chord often accompanies the dominant 7 chord in jazz tunes and progressions. The minor 7 chord shows up in many places in jazz harmony. It can be a VI or a II in a VI – II – V – I progression. It can even be a I in a minor II – V – I progression! In a jazz chart, the minor 7 chord is commonly notated as: Cmin7 Cm7 C_7

In the two diagrams above, we have the same chord using two different sets of strings. The root note is indicated by the red ‘R’ on the chord charts. Using the root as a reference, you will be able to build a minor 7 chord off of every note from both the E and A-string.

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The chord formula for the minor 7 chord is: Root – b3 – 5 – b7 Using C minor 7 as an example, this translates to: C – Eb – G – Bb The process for applying these shapes to your playing is as follows: 1) Identify the root of the chord (in this example, we will be using Cmin7, therefore making our root C) 2) Decide whether you will build your minor 7 chord from the E or A-string

3) Build the appropriate minor 7 shape from the selected string. C is the root for Cmin7, therefore we have to find C on the selected string, and build the appropriate chord shape from the root note.

Example using C minor 7 on the E-string and A-string

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Example using G minor 7 on the E-string and A-string

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Minor 7b5 Chord The minor 7b5 chord is another very important chord, which is most often the II in a minor II – V – I progression. The b5 in a minor 7b5 chord adds tension to the sound of the chord. It is usually followed by a dominant 7 or dominant 7#5 chord. In a jazz chart, the minor 7b5 chord is commonly notated as: Cmin7b5 Cø7

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In the two diagrams above, we have the same chord using two different sets of strings. The root note is indicated by the red ‘R’ on the chord charts. Using the root as a reference, you will be able to build a minor 7b5 chord off of every note from both the E and A-string.

The chord formula for a minor 7b5 chord is: Root – b3 – b5 – b7 Using Cmin7b5 as an example, this translates to: C – Eb – Gb – Bb

The process for applying these shapes to your playing is as follows: 1) Identify the root of the chord (in this example, we will be using Cmin7b5, therefore making our root C) 2) Decide whether you will build your minor 7b5 chord from the E or A-string

3) Build the appropriate minor 7b5 shape from the selected string. C is the root for Cmin7b5, therefore we have to find C on the selected string, and build the appropriate chord shape from the root note.

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Example using C minor 7b5 on the E-string and A-string

Example using G minor 7b5 on the E-string and A-string

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Diminished 7 Chord Finally, the diminished 7 chord is a very commonly used chord found in jazz harmony. It can be used in a variety of different ways to transition between chords. The diminished 7 chord is often treated as a substitute for a V chord, or as a chord substitution. In a jazz chart, the diminished 7 chord is commonly notated as: Cdim7 C°7

In the two diagrams above, we have the same chord using two different sets of strings. The root note is indicated by the red ‘R’ on the chord charts. Using the root as a reference, you will be able to build a diminished 7 chord off of every note from both the E and A-string.

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The chord formula for a diminished 7 chord is: Root – b3- b5 – bb7 Using C diminished 7 as an example, this translates to: C – Eb – Gb – Bbb The process for applying these shapes to your playing is as follows: 1) Identify the root of the chord (in this example, we will be using Cdim7, therefore making our root C) 2) Decide whether you will build your diminished 7 chord from the E or A-string

3) Build the appropriate minor 7b5 shape from the selected string. C is the root for Cdim7, therefore we have to find C on the selected string, and build the appropriate chord shape from the root note.

PLEASE NOTE: The diminished 7 chord contains a bb7. When notating the bb7 with a C diminished 7 chord, it is common to simply write A rather than Bbb. Making this notation adjustment allows for smoother reading from the musician’s perspective. Below are two examples of a C diminished 7 chord on both the E and A-string

Example using C diminished 7 on the E-string and A-string

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Example using G diminished 7 on the E-string and A-string

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First!Jazz!Guitar!Chord!Progressions! !

First Jazz Guitar Chord Progressions After familiarizing yourself with the previous chords, take a look at how they are applied to jazz chord progressions. This portion of the lesson will apply all the chords covered in the lesson to common jazz chord progressions. Because we covered each chord type on both the E and A-string, we will have two very economical approaches to: !

major II – V – I progressions

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minor II – V – I progressions

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VI – II – V – I progression using a diminished chord as a substitute for VI

Major II – V – I Progression The first examples cover two economical ways of playing a major II – V – I progression in the key of C.

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Minor II – V – I Progression The next two examples cover the minor II – V – I progression.

I – VI – II – V – I Progression These final examples combine a number of the chords used in this lesson. The diminished 7 chord is commonly used as a chord substitution. In this example C#

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diminished 7 is used as a chord substitution for A minor (or the VI chord) in the I – VI – II – V – I progression in the key of C.

After completing all of these examples, take your knowledge to the test and play through the jazz standard in the last chapter of this e-book! ! ! !

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Common!Chord!Extensions! !

Common Chord Extensions !

When playing through jazz standards, it is very likely that you have come across chords that are not notated as strictly seventh chords. In many cases these chords are seventh chords with chord extensions. This section of the e-book will cover the most common chord extensions in the jazz repertoire. The first chord extension we will examine is the 9 chord. The construction of this chord is identical to that of a seventh chord but with one additional note. ! ! !

How do Chord Extensions Work? !

In a major seventh chord, the chord formula is as follows: R–3–5–7 Using C major 7 as an example, this would give us: C–E–G–B To make this chord a nine chord, we simply go another third above the seventh and arrive at the 9th. The formula for a major 9 chord is: R–3–5–7–9 Using C major 9 as an example, the chord is spelled: C–E–G–B–D Notice how the D is referred to as a 9 rather than a 2, as it could also be seen as the 2nd note relative to C. It is common practice to refer to any chord tones after the seventh as 9 or higher.

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To explain this concept further, let’s take a look at a basic C major triad. A C major triad is spelled: C–E–G R–3–5 To turn a major triad into a seventh chord, add an additional chord tone a third higher than the fifth. This gives us: C–E–G–B R–3–5–7 We can then continue to stack another chord tone a third higher than the seventh to get our 9 chord. C–E–G–B–D R–3–5–7–9 This concept applies for both 11 and 13 chords. The additional chord tones are always stacked a third higher than the previously highest note. A major 11 chord (usually #11) stacks a chord tone a third higher than the 9 chord. C–E–G–B–D–F R – 3 – 5 – 7 – 9 – 11 A major 13 chord stacks a chord tone a third higher than the 11 chord. C–E–G–B–D–F–A R – 3 – 5 – 7 – 9 – 11 – 13 This type of harmony, continuously stacking thirds, is referred to as tertian harmony in music theory circles. Stacking 3rds ends with the 13 chord. This is because a third higher than the 13, which in a C major 13 is an A, takes us to a 15, which ends up being C again. Now let’s look at the most practical and useful voicings for these chords. ! ! !

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Common!Chord!Extensions! ! !

9 Chords

Major 9

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Example using C major 9

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Dominant 9

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Example using C dominant 9

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Minor 9

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Example using C minor 9 !

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11 Chords

Major #11

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Example using C major 7#11 !

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Dominant 11 !

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Example using C dominant 11 !

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Minor 11 !

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Common!Chord!Extensions! ! ! !

13 Chords

Major 13 ! !

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Example using C major 13 !

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Common!Chord!Extensions! ! ! !

Dominant 13 !

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Example using C dominant 13 !

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C Minor 13 !

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Comping!Rhythms! ! !

Comping Rhythms !

Having a solid chord vocabulary is only useful with a solid rhythmic sense. Without rhythm, we would have no jazz! Comping is what great jazz musicians have done over the years to help provide the rhythms that we now identify with jazz music. Comping is laying the foundation for the music. It is short for accompaniment. When you are comping for another musician or ensemble, you are accompanying them by providing the appropriate harmonies and rhythms. Being able to keep a steady groove and provide rhythmic variation from tune to tune, or even head to head, will allow you to excel in the genre of jazz. This portion of the ebook will provide you with the key rhythms and concepts to get you playing great jazz music.

Quarter Note Comping Rhythms The first and arguably most important rhythm that we will look at is the quarter note rhythm. This essential rhythm seems easy, but it can take years to develop a solid quarter note groove. Be patient and be sure to add this rhythm to your regular practice routine! The key to making this sound great is to make sure you are holding the quarter note for as long as possible. Each chord played on the quarter note should ring up to the very last moment before the next quarter note. There should be a short and deliberate pause just before the following quarter note. The pause can be produced through releasing the tension in your fretting hand for a brief moment.

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Comping!Rhythms! !

It is common for a guitarist to play this rhythm while letting each chord ring for only half the duration of the quarter note or less. Don’t fall into this trap, listen carefully and it will pay off! The seventh chords used in these examples follow a VI – II – V – I chord progression, one of the most common jazz chord progressions!

Beat 1 and 3

In many big band or ensemble scenarios a guitarist is often asked to provide strong comping on beats 1 and 3. The use of a metronome will help you nail down a really tight 1 and 3 comping pattern. Depending on the demands of the situation, you may need to let the quarter note ring for its entire duration, or just briefly.

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Comping!Rhythms! !

Beat 2 and 4

Beats 2 and 4 are very commonly used as comping patterns to strengthen the swinging feel of a tune. As with all the rhythms in this lesson, it is beneficial to practice with a metronome. Use this rhythm sparingly when in a duo situation. Without a solid feel for beat one, it is easy to lose the time.

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Comping!Rhythms! !

The Charleston Comping Rhythm The Charleston rhythm is an excellent example of a swinging comping rhythm. It works great in a duo situation where you need to leave space for the soloist but also provide a swinging accompanying rhythm. This rhythm is absolutely not limited to a duo performance. The Charleston is commonly found in everything from big band performances to solo guitar performances!

Video Example : https://www.youtube.com/watch?feature=player_embedded&v=8E9dN294B38

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Comping!Rhythms! !

Charleston Variation If we take the Charleston rhythm and displace it by an eighth note, we will get an unofficial variation of it. The rhythm itself starts on the ‘and’ of one as opposed to starting on beat one. This is a great rhythm to play when a bassist or drummer is present. Be careful when applying this rhythm to a duo situation because it does not provide a solid beat one. Without a solid idea of where ‘one’ is when comping in a duo situation, you run the risk of losing the time and feel.

Video Example: https://www.youtube.com/watch?feature=player_embedded&v=F9JMpyGmV-k

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Comping!Rhythms! !

Charleston Variation Finally, this Charleston variation uses the same rhythm as the Charleston itself, but it also includes a quarter note on beat four. The additional quarter note makes the rhythm a bit busier, but it can be just as swinging and effective as the Charleston in many performance situations.

Video Example: https://www.youtube.com/watch?feature=player_embedded&v=ZlUlCCVm0sw

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Comping!Rhythms! !

Bossa Nova Comping Rhythm Every well rounded jazz guitarist should have a repertoire of bossa nova tunes. This rhythm will get you through any bossa nova tune in 4/4 time sounding the part!

Video Example: https://www.youtube.com/watch?feature=player_embedded&v=cIe0ObY77tQ

Rootless Bossa Nova

After playing through the rhythm with full voicings of each chord, as in the previous example, try playing the same rhythm without the chord root. If you are playing a bossa nova tune with a bass player present, it is best not to step on each other’s toes. If you take out the root note (in this case also the lowest note) in each chord, you will blend nicely into an ensemble.

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Comping!Rhythms! !

Video Example: https://www.youtube.com/watch?feature=player_embedded&v=o_xj0xJfxGU

Solo Guitar Bossa Nova

Finally, if you are playing a bossa nova groove as a solo musician or in a duo situation, try this example out. The idea is to play the root of the chord on beat 1 and 3 to simulate the bass player while playing the rest of the chord with the bossa nova rhythm.

Video Example: https://www.youtube.com/watch?feature=player_embedded&v=y2G7evDM9PA

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Single!Octave!Arpeggios! !

Single Octave Arpeggios !

After building a chord vocabulary through the previous chapters, and developing key rhythmic comping patterns, it is now time to take a look at arpeggios. Arpeggios are composed of the same notes as their relative chords. The difference is in the way they are played. Arpeggios are played one note at a time, whereas chords are played with multiple notes at the same time. Arpeggios are the building blocks of a great solo. They give your solo context in a tune, as they are the notes in the chord you are soloing over. Melodies themselves often employ heavy arpeggio usage! In a seventh chord there are 4 notes: the root, third, fifth and seventh (each tone can be flattened or sharpened depending on the seventh chord quality). The arpeggios we will take a look at include all four of these notes. Eg:

Major 7 Arpeggio: 1–3–5–7 With C major 7: C–E–G–B

This chapter will give you the means to organize the notes in an arpeggio so that you can use them efficiently and access them at a moment’s notice. The chords covered are the same qualities covered in chapter one. They include:

Major 7 Dominant 7 Minor 7 Minor 7b5 Diminished 7

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Becoming intimately familiar with these chords will allow you to solo proficiently over the vast majority of jazz repertoire!

Let’s begin…

Major 7 Arpeggios

Covered in this chapter are all arpeggios beginning from the E, A, D, and G-strings. Also included below is an example of each arpeggio in the key of C. Be sure to play through and memorize every arpeggio shape. After playing through each arpeggio shape with C as the root note, try playing each arpeggio shape using other root notes (eg: E, G, Bb, F). Aim for proficiency with each arpeggio in all keys.

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Use the root note as a guide, just as you do with chords. The steps for playing an arpeggio are very similar to that of a chord:

1) Determine the arpeggio quality (in this example it is C major 7) 2) Decide what string you need to play your arpeggio from

3) Select appropriate arpeggio shape based on string selection 4) Play arpeggio shape beginning from the root note on the given string

5) Work towards being able to identify all chord tones in a given arpeggio In the example below, the arpeggios begin from the root note on each of the E, A, D, and G-strings, then proceed to form the rest of the arpeggio shape. The string the arpeggios begin from determines the shape that is used.

Example using C Major 7 !

Video Example http://youtu.be/vmJS5BSwu14 ! ! !

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Dominant 7 Arpeggios

Example using C Dominant 7

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Video Example http://youtu.be/n9v_Tv2F_Cw

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Minor 7 Arpeggios

Example using C minor 7

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Video Example http://youtu.be/WaZsMvVStpc

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Single!Octave!Arpeggios! ! !

Minor 7b5 Arpeggios !

Example using C minor 7b5! !

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Video Example http://youtu.be/bcM_Oj6Yz00 ! ! ! !

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Diminshed 7 Arpeggios !

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Example using C diminished 7 !

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Video Example http://youtu.be/EktpV6zXaHY ! ! ! ! !

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II!–!V!–!I!Licks!Using!Single!Octave!Arpeggios! !

II – V – I Licks Using Single Octave Arpeggios !

Once you are familiar with your arpeggios, incorporate them into your playing immediately. This chapter of the book will show you how to progress from playing arpeggios to creating licks. The II – V – I progression we will be soloing over is in the key of C. Our chords will therefore be:

II – Dmin7 V – G7 I – Cmaj7

We will be using the same arpeggio shapes for all examples. The arpeggio shapes we have chosen are all in the same general area of the guitar, in this case within frets 4 – 8. Be sure to click the exclusive YouTube links for audiovisual examples from my channel.

Quarter Note Arpeggios The first step to begin soloing with single octave arpeggios is simply to be able to play the arpeggios using quarter notes through the progression. The example below illustrates just that. The examples also specify which arpeggios you will be using. If you feel like you need to review your arpeggios, simply turn back to the previous chapter. All of the notes used in these examples will use notes exclusively from the arpeggios in the previous chapter.

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Video Example

http://youtu.be/mC66IcmNFEU !

Eighth Note Arpeggios Next, we can increase the number of notes we are playing per bar. Start by playing eighth notes through the entire example. The excerpt below illustrates an arpeggio pattern of just eighth notes. After mastering this, feel free to experiment with other eighth note patterns.

Video Example http://youtu.be/DyLiO2pvgmk

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Lick #1 To start creating music all we need is to add a little variation. This first lick is simply the previous eighth note exercise with a couple of notes removed. The excluded notes give the rhythm a syncopated feel. This is accomplished by not playing on beat one in every bar.

Video Example http://youtu.be/tMG0W4h0PxY!

Lick #2 In continuing with our theme of creating variation, this example includes syncopated eighth notes as well as quarter notes. The contour of the lick is also different from that of the previous eight note exercise.

Video Example http://youtu.be/D-OifYnn_xg

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Lick #3 In this last example, the lick has a very different overall contour. The line is very syncopated and jumps around more than the previous examples. Also included are triplet rhythms.

Video Example http://youtu.be/gsFh6OX2m1E

After completing these examples, try these exercises to further your soloing ability: 1) You will notice that in the previous chapter we had 4 arpeggios for each chord type. Try and work out the above licks using every arpeggio you have learned. 2) Experiment with the arpeggios. Come up with your own rhythmically diverse licks. Start by simply using the arpeggios included in the previous chapter and branch out from there. ! ! ! ! ! ! ! !

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VI!–!II!–!V!–!I!Licks! !

VI – II – V – I Licks !

Having an extensive vocabulary of licks and solo ideas to pull from is key to becoming a strong jazz guitar improviser. As a bonus chapter, I have included 6 licks which can be used over VI – II – V – I progressions. The VI – II – V – I progression is found extensively throughout the jazz repertoire. In this case, we will be playing a VI – II – V – I progression in the key of C. The chords would therefore be:

Amin7 (VI) – Dmin7 (II) – G7 (V) – Cmaj7 (I)

The first three licks cover the VI – II – V – I progression over 4 bars. Playing the progression over 4 bars gives us more time with each chord, and a longer lick.

Lick #1 This lick features syncopation as well as a number of strong chord tones. The chord tones are approached by step in most cases. A C# is used on the and of 2 in bar 3. This C# is part of an approach to the chord tone D which is part of the G7 chord ( G – B – D – F ).

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Video Example http://youtu.be/PCMTx1oBSR8

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Lick #2 Lick 2 also includes a great deal of syncopation. Syncopation is a defining feature of a great jazz solo. Having a number of syncopated licks available to play is invaluable. This line also features rhythmic variation with the inclusion of triplets in bars 1 and 2.

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Video Example https://youtu.be/Lqwu3mQZ04g! !

Lick #3 This lick features mainly chord tones from the VI – II – V – I progression. In bars 3 and 4, little suspensions occur by playing C on beat 2 in bar 3 (which resolves to a B, the chord 3rd) and an E on beat 2 in bar 4 (which resolves to F, the chord root).

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The next three licks are based on the same chord progression. The difference in the following licks is the length in bars. It is common in jazz to have two chords per bar. Keeping this in mind, we should be able to play over a given chord progression whether it be extended over 4 bars or compressed into 2.

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Video Example http://youtu.be/Lqwu3mQZ04g !

Two Bar - Lick #1 This lick features a triplet on beat 1 in bar 1. The first bar is slightly more dissonant sounding as chord extensions are approached rather then the basic seventh chord tones. The b13, and 11 are approached over the Amin7, and the 9 is approached over the Dmin7.

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Video Example ttp://youtu.be/TkCHn_m5ATY

Two Bar - Lick #2 This lick features a pick-up. The lick starts one beat before the first bar with a chromatic approach to the chord 3rd of Amin7. The lick continues with more chromatic approaches including: beat 3 in bar 1 the Gb approaching F (chord 3rd of Dmin7) and beat 1 of bar 2 where the D is approached by an Eb in the previous bar. !

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Video Example http://youtu.be/vV84bstw6h0 !

Two Bar - Lick #3 Finally, this lick features a bit of counterpoint. The illusion of two separate lines is created by playing a mostly chromatic descending line interspersed with a higher diatonically descending line seen on the off-beat of 1 and 3 in bar 1 (E and D respectively) and beat 3 in bar 2 ( C ).

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Video Example http://youtu.be/nFJoZtLin7Q !

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How!to!Learn!a!Jazz!Standard! !

How to Learn a Jazz Standard !

The last chapter in this book will cover the process of learning a jazz standard. There are a few very important steps to making sure that you never forget a single chord or note. All of the steps will be elaborated on with examples later in the chapter. They are as follows, in order of application:

1) Memorize and play melody i. Be able to sing melody 2) Memorize and play bass notes of the tune i. Be able to sing bass notes 3) Play the arpeggios of the chords in the song i. Be able to sing arpeggios 4) Using the quarter note rhythm, comp through the song. Once comfortable, apply other rhythms

Melody The melody is the most important part of learning jazz music on the guitar. Being able to play the melody well and knowing it intimately will show not only in your playing of the melody, but also in your improvisation. The melody of a song is what makes the song unique. Countless tunes in jazz and other genres recycle similar if not identical chord progressions. When you are humming along to your favorite tunes, it is the melody you are connecting with, and what ultimately others are connecting with as well. Using the melody as a basis for improvisation is an extremely powerful tool. It gives your solo context, and allows the listener to really feel like they are listening to the same song you began with rather than arpeggio or scale exercises. In order to use the melody as an effective tool, and know it inside out, there are a few very important steps we can take.

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Firstly, work on being able to sing the melody. You must internalize the melody. Being able to sing the melody will show you that you can create and own the music that you are learning without any external instruments or objects. By no means do you have to produce a professional level voice or vocal technique. Simply know the notes and sing them! On the guitar, there are numerous ways of playing a single melody or line. Being able to play the melody in every possible way on the guitar will give you total command over how you want the melody to sound, and aid you in your improvisation in whatever position of the guitar you find yourself in. Below is an excerpt based on the melody to Autumn Leaves. The full melody can be found through a number of different resources including the Real Book, or simply Google searches, and is not included in this e-book due to copyright restrictions. If possible, you can also listen to your favorite version of Autumn Leaves and try to transcribe it. In transcribing other artists’ renditions of a song, you will notice that each version is slightly different from the last, and gain perspective on how to phrase and embellish melodies. For the purpose of the exercises, the melody below will serve as the example. But make sure to apply each exercise to the entire melody once you have acquired it. Start by playing the melody in the first area of the guitar. This example is contained within the first five frets of the guitar.

Next, take the melody a bit higher on the guitar. This time we are playing the melody from frets 5 to 8.

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Finally, we can play the melody even higher on the guitar. This time, the melody is performed in the range of frets 9 to 13.

Each of the areas above are great starting points. In each area on the guitar, there are a number of ways to play a single melody. Try to come up with other places to play the melody, without shifting position too much.

Finally, we should learn how to play the melody on a single string. The melody below is performed on the B-string, but to be as thorough as possible, learn the melody on ALL strings. Being able to perform the melody this way will give you freedom on the neck to perform a variety of chord voicings and improvised lines.

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How!to!Learn!a!Jazz!Standard! ! !

The Changes In jazz music, the changes are what musicians refer to as the chords to a song. It is short for ‘the chord changes’. The chord changes are included in the chart below. They are based on the tune to Autumn Leaves. You will be using the chart below as a reference for the rest of the chapter on learning a jazz tune. The following sections will tell you how to approach memorizing and performing these changes. !

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Bass Notes !

The most important information in a tune, second to the melody, are the bass notes. The bass notes are the roots and foundation of all harmony for the tune. Over time, learning the bass notes to a song will give you a solid idea of the harmony of the tune without hearing a single chord. Not only do bass notes provide the harmonic foundation for any tune, but they create a melody in themselves. Knowing the bassline thoroughly is another way to ensure you never get lost in a tune.

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The example below shows how to begin playing through the tune with bass notes. Here is the approach to practicing the example below:

1) Start by playing each note while saying the note name of the note you are playing. Remember that what you are memorizing here is the root note of the chord as well as the bassline. 2) After completing the exercise on two strings as written below, try playing the root notes/bassline on a single string. Do this exercise on the low-E String and A string at the very minimum.

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Bass Notes Example

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Arpeggios After familiarizing yourself with the melody and bassline, the next priority in understanding and learning a tune are the arpeggios. The arpeggios break down the harmonic content of a tune into its smallest parts. Being familiar with each note in each chord through arpeggiation will give the player the ability to create harmonically accurate solos. When a soloist solos over a song and is able to mold his or her solo around the harmonic content of the tune, this is referred to as making the changes. The first step to being able to make the changes is to be able to play through the tune playing the appropriate arpeggios. On the next page is an example which outlines all of the arpeggios used in our example tune “Autumn Leaves”. Follow the steps below to get the most out of the exercise:

1) Start by playing through the example slowly. Say and play the notes of each arpeggio as you go. 2) Be able to play the entire example in time with a metronome, first slowly then increasing speed.

3) The arpeggios used in the example below are the arpeggios covered in the single octave arpeggios chapter in chapter 5. Try playing the arpeggios of the song beginning from one string. Do this for the following strings: a. b. c. d.

E-string A-string D-string G-string

4) Play the arpeggios through the whole song, staying in roughly one position on the guitar. Use these fret areas as a rough guideline: a. Play all arpeggios in the tune within the first 4 frets of the guitar b. Play all arpeggios in the tune within frets 5 – 8 c. Play all arpeggios in the tune within frets 9 – 12

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Arpeggios Example – Autumn Leaves

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Comping Finally, comping is a key part of learning and performing any song. Giving comping your full focus will allow you to build a steady groove, and overall rhythmic sense. Rhythm is widely seen as the most important element in music, so make sure you make time to practice keeping time! The first four bars of the tune have been used as examples for how you will play through the tune. The first example shows the extremely important quarter note comping rhythm. This rhythm demands that we play right on the quarter note, four times per bar.

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The second rhythm below is the ever important Charleston rhythm. To play this rhythm we play the chord on beat 1 and the ‘and’ of 2. If we wrote out the beats in each bar as numbers, the rhythm would look like this (the underlined beats are the beats you play the chord on): 1+2+3+4+ An example playing through the first four bars of Autumn Leaves is used below. Be sure to take this pattern through the entire tune!

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Thank You for subscribing and reading this E-book! I sincerely hope you enjoyed this primer into the world of jazz guitar. If you would like to stay updated with the latest free jazz guitar lessons, be sure to follow me on:

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If you are looking to further your jazz guitar playing with a real jazz guitar teacher, shoot me an e-mail on my contact page here, and we can arrange Skype lessons. You can learn more about Skype lessons at the link to the page below: !

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Happy Practicing!

Terence Wright

Jazz Guitar Primer eBook - Terence Wright Guitar

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