Posts Tagged ‘Licks’

Few Bebop licks

In Licks on October 6, 2015 at 12:38 pm

Though it lasted less than a decade, the bebop era has had a lasting influence on subsequent generations of jazz improvisers.players such as Charlie Parker, Dizzy Gillespie, Clifford Brown, Bud Powell, and others brought fresh levels of excitement to their extended solos, ushering in a new era of jazz improvisation.

While many guitarists fall in love with the bebop sound, learning how to play in the bebop style can seem intimidating, but it doesn’t have to be. By studying classic licks, and the concepts that are used to build those lines, you’ll be able to bring a bebop vibe to your own jazz solos.

In this lesson, you’ll learn 10 bebop licks, as well as the important concepts behind each lick, so that you can build your vocabulary and expand your theory knowledge at the same time.

Bebop Lick 1 – Charlie Parker

The first bebop lick is from the Charlie Parker songbook, and is one of the most popular jazz licks of all time. This lick is so famous that if you learn just one bebop lick, it’s this one.

The lick is played over the first four bars of a jazz blues chord progression, and features scale tones plus a few chromatic notes. These chromatic notes are known as blue notes (b3 and b5) and come from the blues scale, which gives the lick it’s bluesy vibe.

Bebop Licks 1

Bebop Lick 2 – Dizzy Gillespie

In this Dizzy Gillespie inspired lick, you’ll see a delayed resolution over the Imaj7 chord in the third bar of the phrase. The F7 chord (specifically F7b9), is played over the first beat of the third bar, before resolving to the Bbmaj7 chord on the second beat of that bar.

As well, notice the Cm triad that outlines the first half of the first bar.

Though arpeggios are mostly used in jazz to outline chords, swing and bebop era players often used the 1-3-5 triad to outline the underlying chord. When working on soloing over bebop changes, don’t forget to spend some time on triads, they’ll come in handy as you use them over bebop tunes.

Bebop Licks 2

Bebop Lick 3 – Clifford Brown

Here’s a lick from Clifford Brown that outlines a ii V I progression in the key of D major.

The repetitive triplet pattern in the first two bars is characteristic of Clifford’s playing, and the bebop era in general.

As well, notice the four notes played over Dmaj7, which when combined are a popular bebop pattern in their own right. Take that last phrase (G-E-F-F#), and practice applying it to other musical situations.

Bebop Licks 3

Bebop Lick 4 – Clifford Brown

Another Clifford Brown lick, here you’ll see the phrygian dominant scale being used to solo over the A7alt chord.

The scale actually begins in the second half of the first bar, on the note A, and uses the fifth mode of harmonic minor to create a typical bebop run over the next 6 beats. When soloing in the bebop style, the phrygian dominant scale is a first-choice sound when blowing over V7 and V7alt chords in your lines.

Bebop Licks 4

Bebop Lick 5 – John Coltrane

A short ii V I lick, this phrase comes from John Coltrane, and uses diatonic notes in the bebop style.

When playing over bebop tunes, you don’t always have to use chromatic notes to outline the changes. Sometimes a carefully played diatonic run, such as this, is exactly what the tune needs at that moment in time.

Having a handful of diatonic lines in your vocabulary will ensure you’re able to mix them in comfortably with the chromatic lines in your repertoire.

Bebop Licks 5

Bebop Lick 6 – ii V I

Another short ii V I lick, this line has been played by countless jazz musicians over the year. Because of it’s popularity, it’s another must-know bebop lick to add to your soloing vocabulary.

  • The lick starts with a leading tone (B), before running up the iim7 arpeggio.
  • Then, the line ends with the same four-note pattern that you saw at the end of the Clifford Brown line. Here, the lick starts on the root of the key (Bb) and the runs chromatically up to the 7th (A).

Bebop Licks 6

Bebop Lick 7 – minor ii V I

Here’s a classic minor ii V I bebop lick that uses an F#dim7 arpeggio over the D7alt chord.

When playing a dim7 arpeggio from the 3rd of any 7th chord, you’ll outline the 3-5-b7-b9 intervals of that chord. This is called a 3 to 9 arpeggio, an essential learning for any bebop guitarist.

Bebop Licks 7

Bebop Lick 8 – Joe Pass

In this Joe Pass style bebop lick, there’s a tritone sub being used to outline the V7 chord in bar two of the phrase.

When soloing over ii V I changes in a bebop style, you can use the progression ii bII7 I to bring a tritone-sub sound into your solos.

When doing so, you’ll create some added tension to the V7 chord in your lines, tension that you’ll resolve into the next bar of the lick. Letting tension hang can cause your line to sound like a mistake, but if you resolve that tension properly, tension such as this can be an effective improvisational tool.

Bebop Licks 8

Bebop Licks 9 – Charlie Parker

In this Charlie Parker bebop lick, you’re outlining a iii VI ii V I chord progression in the key of F major.

  • Notice the b9 being used to create tension over the D7 chord, which is a common bebop technique.
  • As well, the jump from the C to A over C7 is characteristic of the bebop sound.

Larger leaps can be found in the playing of Dizzy Gillespie, Charlie Parker, Clifford Brown, and other great bebop soloists, and it’s something you can add to your playing as well.

Bebop Licks 9

Bebop Lick 10 – Minor ii V I

This final bebop lick outlines a minor ii V I chord progression.

Again, there’s an F#dim7 arpeggio outlining the V7alt chord as well as a major 7 interval leading to the tonic in the second bar.

The major 7th, either in an arpeggio or from the melodic minor scale, was a popular note choice over minor chords in the bebop era. Because of this, adding the raised 7th to your minor soloing lines can help bring out a bebop sound in your playing.

Bebop Licks 10

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The Bebop Dominant Scale (more)

In Lessons, Licks, Theorie on September 4, 2012 at 10:04 am

The innovations of Charlie Parker and Dizzy Gillespie in the 1940s changed jazz forever. These two guys codified how the language should be spoken. This scale is one result of their efforts. This particular term for the scale was coined by David Baker, so I use it myself.

The Bebop Dominant Scale is basically a Mixolydian mode with an extra note — a natural 7th. Here is the basic C Mixolydian mode:

The Bebop Dominant has the extra natural 7th, like so:

This added note does two things: 1) Provides a smooth descending leading tone, 2) gives the scale 8 notes. Item 1 is immediately obvious. Item 2 is not apparent until you start soloing with the scale. What the 8 notes do is give you the ability to play chord tones on all downbeats. This is important; it is the most effective way to get long phrases. For example, check out this standard Mixolydian lick:

Notice how the last half starts to sound awkward. You don’t have chord tones on downbeats. Look at this bebop lick:

Do you hear it? It just wants to keep going. That’s how those guys like Parker, Gillespie, Adderley, etc. could get those endless lines. Even Pat Martino uses this technique. Remember this however: Use the added 7th ONLY when descending. Skip it when you ascend. And KEEP THE CHORDTONES ON DOWNBEATS! By the way, I highly recommend David Baker’s 3 volume set on how to play Bebop.

This little device can revolutionize your playing if you take time with it. It can change how you view improvisation. I am not kidding. The Bebop technique is one of the secrets of the masters. Take this one home and lock yourself in a room for a week. Experiment. Make your own licks. Create lines. Then, go get a gig!

Bebop lines over the Minor 7 Chord

Just as you can use them over their native Dominant 7 chord, Bebop scales can also be used over a Minor 7 chord whose root is a 4th below the root of the scale. In other words, anything that works over C7 will work over Gmin7. For your further practicing enjoyment, here are some minor licks in the Bebop style that I came across some years ago. They have a Pat Martino-ish sound to them. Enjoy!

Hope you liked those. You should transpose them in all keys so you can use them whenever the need arises.

Bebop scales over the min7b5 chord

This will be s short one, but the information will take a while for you to practice. This is a little technique that gives you more sounds over the half-diminished (or min7b5) chord. If you refer back to the earlier lessons you will notice how I have covered topics that all relate to each other. Here is another one. Up till now, the only scale choice I have discussed for this chord has been Locrian. It has been a useful chord, but it only takes you to the first level: the I chord (see lesson 2 for an explanation of this concept). This next scale takes you all the way to the level of the V – the most harmonically rich level.

Follw me here: The min7b5 is based on the vii of the major scale. Therefore, all scale choices within the major scale’s key should work pretty well. Let’s forget all but the V, or the mixolydian. A C mixolydian should work over the Emi7b5. (If that is confusing, just take a minute and think about it). Taken a step further, the C bebop dominant should be extremely effective over the Emi7b5 chord. With that in mind, go back to all the Bebop licks you worked out from my past lesson (you DID practice, didn’t you?), and use them over the corresponding mi7b5 chords!

If you’re stuck, here’s a way to think about it: Over a mi7b5 chord, use a Bebop Dominant scale whose root is a MAJOR 3RD below. Try it…and please let me know how it works!


Beyond Blues Diminished Capacity

In Blues, Lessons, Licks on September 3, 2012 at 3:02 pm
Pete Weise
I’ve always been a fan of Robben Ford, Larry Carlton, and more recently, Matt Schofield. Influenced by the jazz language, they will use more complex ideas but don’t sound brainy doing it.

I’ve always been a fan of Robben Ford, Larry Carlton, and more recently, Matt Schofield. Influenced by the jazz language, they will use more complex ideas but don’t sound brainy doing it. Also, what they’re playing is just as important as where they’re playing it. More commonly used by jazz players, the half-whole diminished scale and diminished 7th arpeggio are right at home in a blues setting, and we’ll be discussing ways to use them over a 12-bar blues.

In Fig. 1, the first measure is the A Mixolydian mode (1–2–3–4–5–6–b7), the scale typically used over dominant 7th chords. In the second measure, our diminished scale starts on A and is built with alternating half-step and whole-step intervals, creating scale tones 1–b9–#9–3–#11–5–13–b7. When using this scale over an A7 chord, you not only get the basic chord tones (1–3–5–b7) and the 13th, you also have a few chord alterations (b9, #9, and #11) that will create some musical tension. The rule of thumb is to play a half-whole diminished scale from the root of your dominant 7th chord. I’ve included both scales so you can hear the difference between the insideness of the Mixolydian mode and the altered sound of the diminished scale. The fingering I’m using for the diminished scale is not as common as some, but it’s eerily similar to the A Mixolydian mode. Practicing both scales back to back will help you to see where the altered tones lie on the fretboard.

In addition to scale-based lines, diminished arpeggios will also create some tension and inject a little angularity to your solo. There are two diminished 7th arpeggios that you can get from the A half-whole diminished scale: Adim7 (A–C–D#–F# or 1–#9–#11–13) and Bbdim7 (Bb–C#–E–G or b9–3–5–b7). The Bb arpeggio fits the A7 chord better because it contains more chord tones than the first.

The first half of Fig. 2 is the A7 arpeggio followed by the Bb diminished 7th arpeggio. The rule of thumb here is to start the diminished arpeggio a half-step above the root of your dominant 7th. Again, both arpeggios are included so you can hear the difference in their sound.

Musical Disclaimer: It’s not that you couldn’t use the Adim7 arpeggio, just be aware that it will sound more “outside” than the Bbdim7. Altered scales and arpeggios are important for creating the musical tension you so desire. But remember, musically resolving your temporary tonal excursion is just as important, if not more. Plan it out! Aim for chord tones in the following measure or jump back into the tried-and-true minor pentatonic scale. Otherwise, prepare yourself for the “don’t taze me bro” type of reaction you’ll get from your bandmates.

We’re going to apply the half-whole diminished scale to a standard 12-bar blues in the key of A, as shown in Fig. 3. Harmonically, it’s pretty straightforward using only A7 (I), D7 (IV), and E7 (V). Because each chord is a dominant 7th, you could use a half-whole diminished scale in every measure if you wanted, but that would be all tension and no release. So, where are you going to use the diminished scale? You want to use it at places where there is a V–I chord progression (measures four and five, measures 12 and one), or any time you go back to the I chord (measures six and seven, measures 10 and 11).

We tackle the first place in the form where the diminished scale can be used (measures three through five) in Fig. 4. You might be thinking “A7 to D7 isn’t a V–I chord progression,” and it isn’t. In the key of A, that is. Pretend for a minute that you are in the key of D where V–I is now A7 to D. This theoretical slight of hand is referred to as a secondary dominant and temporarily makes A7 the “new” V chord. Your solo will have some forward motion by adding tension to the end of the first phrase. It will sound like you’re modulating to a new key, but you’re actually setting up the release of tension when you get to D7. This lick starts with the A minor pentatonic in measure three, uses a Pat Martino-style phrase from the A half-whole diminished scale in measure four, and resolves to F#, the third of D7 on the downbeat of measure five.

We capitalize on the move back to the I chord in Fig. 5. With a nod to Wes Montgomery, this D half-whole (D–Eb–F–F#–G#–A–B–C) diminished run in measure six is actually one measure long, but is displaced by one count. By starting this lick on beat 2, you delay the resolution and create a little more tension—subtle, but noticeable. The actual resolution happens with the half-step bend to C# on beat 2 of measure seven. The A minor blues scale is used to begin and end the entire line, flanking your diminished sensibilities with some meat-and-potatoes guitar playing.

The last phrase of a blues is where all the action is. From bluesy pentatonic licks to fusion-infused diminished lines, there are many tools at your disposal. Fig. 6 starts with an A Dorian (A–B–C–D–E–F#–G) flavor by using a half-step bend to C natural and an F# in measure nine. You could use the E half-whole diminished scale (E–F–G–Ab–Bb–B–C#–D) in this measure if you’re looking to ratchet up the tension from the beginning! Measures 10 and 11 is another “return to the I chord” situation, using an Eb diminished 7th arpeggio pattern over D7 that resolves to A minor pentatonic material, reminiscent of Robben Ford or Matt Schofield. The end of this phrase uses the E half-whole diminished scale, leaving out the 13 and #11, but emphasizing the b9 and #9, as well as chord tones of E7. Also, the line starts at the very end of measure 11—half a beat early—and resolves on beat 4 of measure 12. Things don’t always have to line up with the bar lines. Starting and ending your phrases before (or after) they’re supposed to is a very hip and effective way to create tension.

These are just a few ways to use the half-whole diminished scale and diminished arpeggios over a blues. Drag out your looper, try them at different spots, and let your ear decide. Incorporate other fingerings, experiment with scale and arpeggio combinations, and remember to work out resolutions to your lines. You’re probably only a half-step away from resolution.

Pete Weise has a B.M. and M.M. in Jazz Studies from the University of North Texas, is an Associate Professor of Jazz Guitar at Collin College, faculty of the National Guitar Workshop, and teaches privately at the Guitar Sanctuary and the Fine Arts Academy at FBC Keller. He leads his own jazz fusion quartet and is a freelance guitarist in Denton/Dallas, Texas. Visit for more information.

Read more:

(pdf and sound tracks here)

Blues Basics: 10 Essential Ways to Get Through the Blues

In Blues, Lessons, Licks on September 3, 2012 at 2:45 pm

from Mike Pachelli

A good barometer of a guitarist’s musicality is the way he plays the blues. His influences and musical vocabulary are all exposed when you hear him solo over some 12-bar changes. The way he substitutes chords and scales reflects his ability to comprehend and infuse other musical possibilities and styles. In this lesson, we will look at 10 essential phrases that you can intertwine into your current vocabulary for the next blues jam session. In order to keep things easy to understand, all the examples are in the key of G—but make sure to learn how to visualize patterns and transpose them to other keys.

One of the first scales a guitarist learns is the minor pentatonic (1–b3–4–5–b7). It’s nearly impossible to develop an authentic-sounding blues vocabulary without becoming very familiar with this scale. Check out the fingering in Fig. 1. Learn it. Love it.

The two most common bends in the minor pentatonic scale start on the 4 (going to the b5 or “blue note”) and the b7 (bending up to the root). In Fig. 2 you can see a short phrase that can be used over measures five through eight in a typical blues progression.

The great Michael Bloomfield was one of the first guitarists I heard to bend the 5th degree of the scale (D) up to the sixth (E). The phrase in Fig. 3 starts off with a Bloomfield-approved bend before moving down to a bend that resolves the b3 (Bb) to the natural 3 (B).

Another Bloomfield trick was using a minor scale over a dominant blues. In measure nine of a typical blues form, you can set up a IIm-V7 sound by using A Dorian (A–B–C–D–E–F#–G) as shown in Fig. 4. We target the b7 and 6 in Fig. 5. Make sure to add a little snap on that quarter-step bend before resolving to the root on beat three.


When I was on the road with organist Jack McDuff, he was adamant about using a VI7 chord in the eighth measure of a 12-bar blues. This gives the progression some tension before heading into the final four measures of the form. Not only was the chord a dominant 7, but it was also altered—usually with a #9. Try the phrase in Fig. 6 in measures seven and eight next time you’re faced with an altered-dominant chord.

Another scale that works great over an altered VI7 chord is the super Locrian scale (R–b2–b3–b4–b5–b6–b7). There are a few ways to think about this. You can either go by the formula based off the major scale, as shown here, or visualize it as the seventh mode of a melodic minor scale. For our purposes (E7#9), that would be F melodic minor. You can see a quick and easy fingering for this scale in Fig. 7 and a lick that demonstrates this tense sound in Fig. 8. This sound works great over the V7 chords in a minor IIm-V7 progression as well.


Alto saxophonist Charlie Parker was a master of twisting in and out of chord changes. Many of his original melodies or “heads” are extremely valuable for understanding how he approached blues progressions. In Fig. 9 we can see how he would play over a minor IIm-V7 progression. Plug this into measure eight to really turn some heads and lead into the IIm chord in measure nine.

We finally hit the turnaround in Fig. 10. The phrase starts out with the A Dorian mode we looked at earlier before we get to a C/D chord. This type of chord is called a slash chord. A slash chord consists of a basic triad (the left side) along with a bass note (the right side). Our chord here is a C major triad (C–E–G) over a D bass note. This creates a D9sus-type of sound before resolving to G.

In Fig. 11 we use contrary motion to create a familiar-sounding ending. Contrary motion is when you have two musical lines moving in opposite directions. Check out how the lines split and move away from each other to open up the harmony. Work out the fingerings before tackling this at faster tempos.

There’s an entire universe of chord, scale, and lick possibilities for a 12-bar blues. You have to keep true to the genre of blues you’re playing (don’t use bebop lines in a Muddy Waters song) but it’s good to have a large musical vocabulary so you can choose your notes and be a more interesting improviser.

Mike Pachelli has performed with many eclectic blues, jazz, and rock musicians including Brother Jack McDuff, Albert King, Michael Sembello, Jeanne Mas, and Phil Keaggy. Pachelli has released 16 albums, authored instructional books and DVDs, and is the recipient of 10 gold/platinum RIAA awards. For more information, visit

Read more:

(Pdf and Sound tracks here)  and printed doc

50 Jazz-Blues Licks – #43 Hank & I – Guitar Lesson – David Hamburger

In Blues, Licks on September 1, 2012 at 10:09 pm

Robben Ford – Back to the Blues – II

In Blues, Chords on August 8, 2012 at 11:47 pm

Bopland Guitar related materials

In Chords, Licks, Scales on August 6, 2012 at 4:11 pm

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.

Guitar Pattern

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 ).

Lick 1

Lick 2

Lick 3

All the best

Welcome BeBop!

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.

Lick 1:

Lick 2:

The last two ones (3 and 4) are kind of Wes Montgomery licks.

Lick 3:

Lick 4:

Another lick in the style of Kurt Rosenwinkel as played on: All the Way to Rajasthan on the album Heartcore

Hey cool!

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.

G Mixolidian

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)

Jazz Vocabulary

How high The Moon

Clifford Brown

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

Giant Steps


3-6-2-5-1 Cmaj

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

C Blues

C Blues

A few licks for 2 5 1 (6) in C major




Rhythm Changes

Just a Gmin lick

for print: Bopland Guitar related materials

Bebop E scales & 3 nice licks

In Licks, Scales on July 12, 2012 at 10:33 am

Gamme E Bebop

Gamme B mineure Bebop




document for print: Bebop E scales & 3 nice licks

VI-II-V-I Guitar voicings

In Licks on December 9, 2010 at 6:00 pm

printed copy here:   6-2-5-1 guitar voicings

Do you like Bebop’s licks? Try BopLand!

In Jazz, Licks on December 9, 2010 at 12:05 am