So, let me start a thread where everyone is welcome to put chords he or she likes to play on a guitar. The only requirement is that they should sound at least a little jazzy. I’ll start with a very basic thing – C major chords fingering, which is known only too well to many of our visitors.
First is C major chord itself, that can be picked up as follows.
That’s just a quick reminder of 5 positions any chord can be played in. And of course it’s not of a great value, until Cmaj chord is substituted with something more nifty. Below are some variations of the examples above that can be used for backing:
So friends, to continue I put some more stuff for Dm7 chords. Most of them are with the root at the bottom, so it’s implicitly assumed that the guitar can be the only backing instrument.
Below are some dominant chords. All of them can be played over G7 yet not all of them will sound equally good for a particular melody. So they are to be used with care The very general rule would be to pick altered dominant 7th chords for minor chord progressions and non-altered for resolving to major chords. There are tons of exceptions to it so let your taste be your guide in all situations
Now some 2-5-1-6 voicings. All of the examples below fit | Dm7 G7 | Cmaj A7 | progression. The first one is trivial and should never be used
I still don’t feel I have summarized those chords the way I should, so if anyone has suggestions how to structure a material of this kind, don’t hesitate to say it.
Cmaj coda comping
Cool | A7 | Dm7 | guitar voicings
These are the ones I love to play over V-II in Dm
Days of Wine & Roses guitar voicings
Guitar voicings for the Days of Wine and Roses by Henry Mancini:
Very Very Long A Minor Lick
Licks of this kind form a base for any improvisation. Learn it well, then forget (like Bird used to say) and you’ll find some freedom for any Am tune
Analysis of bebop lick
The internal structure of phrases in the bebop is very complicated , аnd for the creation of this style required no less than phenomenal ear and the memory of Charlie Parker – in order to support these sounds are still rang in his head along with the rest linking notes.
Here’s the lick linked:
and below is the explanation of what’s going on there:
One of the most mysterious things about Bird is how such an undisciplined person could play such a wonderful music that is so well structured.
Hello to everyone,
i would like to start this thread about Guitar Patterns from great guitarist (old or modern). This time i suggest 3 patterns: the first two are from Kurt Rosenwinkel, the last one (Lick 3) it’s mine variation on the Lick 2( descending ).
All the best
My guitar teacher is basically a Kurt Rosenwinkel Jr. He’s always trying to instill these types of patterns in my head. Maybe I’ll get to impress him next time. Thanks for putting these patterns out there!
This lick is by Joe Pass. I transcribed it about 7 years ago and yet can not remember the record, but I’m pretty sure the notes are correct.
On a guitar it sounds one octave lower.
These are two licks from the great John Coltrane. Sure, he was not a guitar player but i really enjoy his work so much.
The last two ones (3 and 4) are kind of Wes Montgomery licks.
Another lick in the style of Kurt Rosenwinkel as played on: All the Way to Rajasthan on the album Heartcore
Sometimes it could be useful to slow the tempo down which can be done with “tempo N” directive. E.g.
lick tempo 100
| Fm7 r4 e-16 gb16 bb16 c16 eb16 d16 c16 g16 c16 eb16 f16 a16
| g16 c-16 r8 r4 r2 |
will generate the same lick with 100 quarters per minute beat rate.
lick tempo | Fm7 r4 e-16 gb16 bb16 c16 eb16 d16 c16 g16 c16 eb16 f16 a16|g16 c-16 r8 r4 r2|
Undefined control sequence tempo in bar #0.
I’m also a little bit skeptic about g flat and e natural over Fm7 chord. Couldn’t Kurt make a mistake? I would suggest something like the following:
Thanks for the hint __aux,
i will surely use that : ). Especially with the Coltrane patterns that are always so fast.
Is it possible to choose the instrument to play the lick?
Maybe with a instrument=guitar, for example?
I must be sincere, i have not totally read the bopland manual: )
All the best. BeBop If someone did a mistake probabilly was not Kurt : ) The first note must be an F but the first Gb is correct:
By the way, the lick must use some pull off and hammer on too.
This idea is by Bill Evans,
This is another Rosenwinkel’s triad lick ( from How Deep is the Ocean – Intuit ):
The following are two licks from Mick Goodrick.
Lydian b7 ( D Melodic Minor )
This one is a Jerry Bergonzi pattern as played by Mike Stern, on G7alt going to C
This lick is borrowed from Charlie Parker’s style:
This is a really famous pentatonic pattern.
Yeah, sounds very familiar indeed This one is taken from ‘How High the Moon’ in G maj, but damn I can’t name the record. Probably one of Art Blakey’s Jazz Messangers albums.
This is a diminished lick on a Gm chord from the great John Coltrane
Loved the lick. Shouldn’t there be Gm7-5 chord instead of Gm?
The lick came from an improvisation on Moment’s Notice, the sequence of chord is the following:
|Am % % %|Gm % % %|F % Gm %|.
The lick starts on the first Gm and resolves on the 11 of the last Gm (C), if i am not wrong. Maybe it works nicely also on Gm7b5, not tried yet.
I was just a bit confused about d flat that appeared more than once in that lick. That sounds OK when played very fast but for slow tempos it becomes a little dissonant to my ear… Anyway I guess Train knew what he was doing
This lick is for “All of Me” by Gerald Marks and Seymour Simons played in Ab, (inspired by Charlie Parker)
How high The Moon
Tune Up, Sonny Stitt
It Don’t Mean a Thing, Charlie Parker?
On the Sunny Side of The Street
II V I C minor
The Days of Wine and Roses
Lullaby of Birdland
Take the “A” Train
Someday My Prince Will Come
2-5-1-6 in Bb major
2-5-1-6 in Bb major
This one was suggested by FatJeff:
II V I in Eb major
II V I in Eb major
II V I in Eb major
A few licks for 2 5 1 (6) in C major
Just a Gmin lick
for print: Bopland Guitar related materials