Bebop Licks Guitar Pdf Lesson

Jazz Solos For Guitar: REH Pro Licks Book/CD Pack By Les hl00695656 bebop licks for guitar - midi Click the button below to add the Bebop Licks for Guitar Bebop Licks for Guitar REH HL00695656 Jazz. How do I get each lesson as a PDF download to print. 3 Must Know Bebop Guitar Licks. Les Wise - Bebop Licks For Guitar.pdf. 12 jazz guitar scales to play over dominant 7th chords - PDF eBook. This free printable eBook PDF contains 12 scales charts with analysis to apply over dominant 7th chords. By studying classic jazz guitar 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 25 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. Preview - PDF About this lesson Sheets you can give to your beginner students, covering some of the most basic terms and topics that every guitar students needs to know. This page contains bebop scale guitar tab, fingerboard diagrams, notation and information. Using these you’ll be able to play all of the forms of this useful scale – all over the neck. Learn how to play more scales at our main scale page: Guitar Scales. Download your copy of our printable guitar scales pdf ebook: Guitar Scales Chart Book.

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Although the bebop era lasted less than a decade, it 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 jazz guitar 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 25 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.

Common jazz rhythmic devices such as syncopation, swung eighth notes, triplets, and motifs are used in each lick to create musical variety, and all of the audio examples are recorded at medium to slow tempos for study purposes.

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Jazz Guitar Licks Practice Tips

Before you dive into these classic jazz guitar licks, here are some exercises you can use to internalize each lick and add it to your next jazz guitar solo in an accurate and musical fashion.

• Practice each lick slowly with a metronome. While working slow at first is essential, many jazz and bebop tunes are played at fast tempos, so begin to increase the speed of each lick when you can play it cleanly at a slow tempo.
• Play each lick in all 12 keys.
• Learn each lick in at least two different positions on the neck.
• Apply each lick and idea into a musical situation such as a jam or a gig as soon as possible.
• Use backing tracks so that your ears learn how these jazz-guitar licks sound in a musical context.
• Construct your own licks using the same techniques.
• Apply rhythmic displacement to each lick.
• Improvise and create your own lines using fragments from each lick.
• Sing each lick while playing the chords on the guitar.

Bebop Lick 1 – ii V I in C Major

The 2-5-1 chord progression is the most popular progression in bebop and jazz in general. Because of its popularity, it’s important that you are able to navigate these changes well.

The following 4 licks start with the same minor bebop pattern, with variations on the G7 in the second bar. This gives you some examples of what you can play over the dominant chord in a ii V I.

Variation #1

This first variation uses chromatic approach notes that target the 5 and 3 of G7.

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Variation #2

In the second variation, notes of Abm (add 9) are used over G7. This is a common bebop substitution for dominant chords.

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Variation #3

Here, the second bar starts with a chromatic run, followed by a Dm7 arpeggio.

Not playing the V (G7), but staying on the ii (Dm7) is something that occurs often in bebop. This is called minorization, a concept frequently used by Charlie Parker, Pat Martino, and Wes Montgomery.

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Variation #4

In this last variation, the dominant phrase is formed around a G7(b13) chord shape.

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Bebop Lick 2 – ii V I in C Major

This jazz guitar licks starts on the D melodic minor scale, and continues with a Dm7 arpeggio on the G7. This is the same minorization concept we saw earlier.

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Bebop Lick 3 – ii V I in C Major

The next 2 jazz guitar licks start with a simple Dm7 arpeggio pattern that is typical for bebop.

Variation #1

This first variation uses an Abm (add 9) arpeggio in the second bar.

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Variation #2

Instead of the Abm (add 9) arpeggio, this lick uses a Dbmaj7 arpeggio in the second bar, which results in a Gsus4 altered sound.

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Bebop Lick 5 – ii V I in C Major

This lick is formed around an Ab diminished pattern.

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Bebop Lick 6 – ii V I in C Major

Like the previous example, this lick is based around an Abdim arpeggio.

Playing a diminished arpeggio that is 1 half note higher than the root of the dominant chord is a popular choice in bebop.

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Bebop Lick 7 – ii V I in C Major

This bebop lick starts with a simple Dorian mode run and continues with a phrase around the notes of Abm (add 9).

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Bebop Lick 8 – ii V I in C Major

Lick 8 starts with a Dm (add 9) run, before it goes to the G altered scale in the second bar.

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Bebop Lick 9 – 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.

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Bebop Lick 10 – 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.

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Bebop Lick 11 – Short ii V I in Bb Major

Another short ii V I lick, this line has been played by countless jazz musicians over the year. Because of its 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 a four-note pattern. Here, the lick starts on the root of the key (Bb) and the runs chromatically up to the 7th (A).

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Bebop Lick 12 – 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 of 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.

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Bebop Lick 13 – 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.

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Bebop Lick 14 – 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 its bluesy vibe.

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Bebop Lick 15 – Clifford Brown

Another Clifford Brown lick, here you’ll see the Phrygian dominant scale is 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 the first-choice sound when improvising over V7 chords.

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Bebop Lick 16 – ii V I in D Minor

No essential jazz guitar licks article would be complete without including a line that uses the dominant 7b9 sound.

The b9 lends itself particularly well to the V7 chord in a minor ii-V, and a dominant 7b9 is a great way to define the chord while capturing this classic sound.

A 3 to b9 arpeggio is used over the dominant 7^th chord in the second bar.

Bebop Lick 17 – ii V I in G Minor

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.

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Bebop Lick 18 – ii V I in G Minor

In the next lick, 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.

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Bebop Lick 19 – I vi ii V in Bb Major

One of the most common jazz chord progressions is Rhythm Changes.

This jazz guitar lick demonstrates how ascending four-note patterns can be used to navigate through the 1-6-2-5 harmony.

Bebop Lick 20 – I vi ii V in C Major

Bebop lick 20 is one of the most common played phrases in bebop (besides “The Lick”).

It features a 3 to b9 jump (on A7 and G7), a typical bebop thing.

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Bebop Lick 21 – Charlie Parker

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

• Notice the b9 is 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.

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Bebop Lick 22 – Tal Farlow

This first bebop lick in the style of Tal Farlow uses a number of chromatic notes to outline the ii-V-I underlying chord changes. Tal loved to use chromatic notes in his lines, so working out phrases such as this will go a long way when working Tal’s sound into your lines and solos.

• In bar 1, you see the G-Gb-F-E grouping which comes from the G bebop scale, anticipating the G7 by two beats before it arrives in the second bar.
• There is a Bdim7 arpeggio in bar 2 (B-D-F-Ab), outlining a G7b9 sound. This leads to another set of chromatic notes from Ab to E, the 3rd of Cmaj7.

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Bebop Lick 23 – Tal Farlow

Some things to notice in this ii V I lick:

• This phrase uses the melodic minor sound, by playing an Fmaj7#5 arpeggio (F-A-C#-E) over Dm7.
• There is a nice chromatic approach to the 3rd of G7 at the start of the second bar (A-A#-B) which uses chromaticism to lead the listener to the chord that is coming next.
• Lastly, there is a G altered scale (7th mode of melodic minor scale) being used to create tension over G7 that is later resolved to the Cmaj7 chord in bar 3 of the lick.

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Bebop Lick 24 – Tal Farlow

This phrase uses a repeated rhythmic pattern, as well as plenty of chromaticism.

If you run chromatic notes through non-stop 8th notes, the tension from those notes can lose its effect. Using rhythmic motives such as in this lick can help break up your lines, putting more focus on the chromatic notes that create interest in the phrase.

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Bebop Lick 25 – Tal Farlow

In this short minor ii-V-i phrase, you can hear an enclosure being used around the 3rd of A7alt (Bb-C-C#), as well as the D melodic minor scale being hinted at with the C#-D motion in the last part of the phrase.

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Bebop Lick 26 – Tal Farlow

In this minor ii-V-i phrase, you can hear:

• An Am7 arpeggio being used to outline the A7alt chord, as the note C produces a 7#9 sound over that chord.
• There is a 3 to 9 arpeggio over the Dm7 chord (F A C E), highlighting the 9th of that chord.

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Now that you have worked on these lines on their own, practice applying them to your soloing when playing over jazz progressions and jazz standards.

More Jazz Guitar Licks

1. Jazz Guitar Licks Index – Licks From Over 40 Great Jazz Musicians

Bebop is one of the most exciting, engaging, and popular jazz styles, and has captivated guitarists for decades. Though you may dig the bebop sound and want to learn to play it on guitar, it’s easy to be overwhelmed and not know where to start in your practicing. To help you explore bebop sounds in your playing, without the stress, this lesson teaches you the essential first steps in beginning bebop guitar.

In the early 1940s, a new jazz style emerged from the displeasure some jazz musicians had with the commercialism of swing music.

Musicians like saxophonist Charlie Parker, trumpet player Dizzy Gillespie, pianist Thelonious Monk, and other young jazz players reacted against the big dance bands by playing a kind of music characterized by advanced harmonies, frantic tempos, rhythmic intricacies and long improvisations. They were more interested in developing the technical aspects of music and increasing its aesthetic qualities, rather than enlarging their audience and wallets.

There is much to be learned out of bebop today. Every jazz musician should be familiar with its language and techniques. This tutorial will help you to start learning bebop, we’ll have look at the concepts, vocabulary, scales, and techniques that are typical for this popular jazz style.

Go slow with the exercises below, have fun with them, and enjoy your bebop guitar journey.

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What You Will Learn In This Bebop Lesson

1. The Arpeggio Up, Scale Down Concept
2. Chromatic Notes
3. Bebop Scales
4. Bebop Vocabulary

Bebop Tunes & Guitar Players

Before you dive into learning how to play bebop guitar, here are 10 tunes to get the bebop sound into your ears.

Listening to a style of jazz is just as, or more important than learning material on the guitar.

If you wanted to learn a language but didn’t know what that language sounded like, it’d be tough to learn. It’s the same with learning a musical language such as bebop.

As you work on bebop concepts, spend time each day listening to bebop in order to understand the sounds you’re aiming for in your practicing and performing.

• Anthropology
• Bebop
• Bouncing With Bud
• Confirmation
• Donna Lee
• Groovin’ High
• Hot House
• In Walked Bud
• Scrapple from the Apple
• Yardbird Suite
• Blues For Alice

Here are some bebop guitar players for you to check out:

• Jimmy Raney
• Herb Ellis
• Tal Farlow

Playing The Chord Changes

Before bebop, improvisations were based on the melody of a tune. A bebop improvisation is based on the harmony of a tune with little or no reference to the original melody. A bebop improviser should be able to outline a tune’s harmony in his solos. When you listen to a bebop improvisation and you would take away the accompaniment, you can still hear the chords of the standard in the improvised lines.

A way of doing this is by putting emphasis on the chord tones. To be able to do this you should know your chord arpeggios very well in all positions on the neck. Another thing that can help you outline the harmony is voice leading.

Arpeggio Up Scale Down

One of the most overlooked concepts in bebop is playing arpeggios up and scales down.

You don’t always play arpeggios up and scales down, but this is an important and easy way to begin studying bebop on guitar.

To help you get this sound into your ears and under your fingers, here are three examples of arpeggios up and scales down to explore.

Minor

The first exercise uses a Dm7 arpeggio up and D Dorian mode down.

Work this pattern in a few keys first, then take it to other positions before adding it to your solos over m7 chords in tunes and progressions you’re studying.

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Dominant

The next example lays out a G7 arpeggio up and G Mixolydian mode down.

Practice this pattern in a number of keys before taking it to other positions and adding it to your solos over jazz tunes.

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Major

Here’s a Cmaj7 arpeggio up and scale down to get you started with this sound in your playing.

Work this concept over other maj7 arpeggio and scale positions, then take it to other keys when comfortable.

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ii V I

Here’s a sample line to get you started with applying the arpeggio up and scale down-concept to your solos:

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Chromatic Notes

One of the most important concepts in bebop is tension and release, especially with the use of chromatic notes to achieve this sound.

While chromatic notes are an important bebop sound, you can’t achieve a solid line by randomly adding chromatic notes into your scales and arpeggios.

Instead, it’s the use of organized chromatic notes that helps build the bebop sound in your solos.

In this section, you learn about three essential chromatic notes and how to use them to create a bebop flavor in your solos.

Passing Notes

The first chromatic note you learn is the passing note, where you add a chromatic note between two diatonic notes in your playing.

Here’s an example of a passing note added between the 2^nd and 3^rd notes of the C major scale.

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Approach Notes

The next chromatic note is the approach note, where you play one fret below a chord or scale note and resolve into the diatonic note from there.

You can also us approach notes from a fret above scale or chord tones, but it doesn’t always work as well as below. For this reason, start with the approach note below before exploring approach notes from above in your playing.

Here’s an example of a Cmaj7 arpeggio with an approach note into the 5^th of each octave in this shape.

Practice adding approach notes to other chord tones as you expand this sound in your playing.

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Enclosures

The next chromatic concept uses two chromatic notes to build what’s called an enclosure.

There are a number of enclosures to explore, but the best place to start is chromatic above, chromatic below, then resolving to a diatonic note from there.

Here’s a Cmaj7 arpeggio with an enclosure around the 3^rd in each octave of the shape.

Take it to other arpeggios and positions when comfortable, and add it to your jazz guitar solos to bring it to a musical situation.

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Chromatic Notes Combined

Here’s a line that uses all three chromatic notes from this section.

Start by learning the line in C major, and then take it to other keys in your practice routine.

Add this line to your solos to bring it to a musical situation. Then, when you’re ready, write your own lines that use these chromatic notes.

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Bebop Scales

One of the most common ways to bring a bebop sound into your playing is using the bebop scale over minor 7, dominant 7, and major 7 chords.

These scales are all built by adding one passing note to a common mode, Dorian, Mixolydian, and Ionian.

Because of this, they help organize chromatic notes in your scale lines as you bring an extra chromatic note into each of these scales.

In this section, you learn two fingerings for each scale as well as a sample line that uses all three bebop scales.

Start by working each scale one at a time and adding it to your soloing repertoire over chords and progressions.

From there, mix two and then all three bebop scales into your solos as you take these ideas further into your playing.

The Minor Bebop Scale

The first bebop scale is used to solo over minor chords, and is built by adding a major 7 passing note to the Dorian mode.

Minor bebop scale = Dorian mode + major 7

You sometimes see the minor bebop scale with a major 3^rd passing tone added, but this creates a scale that has the same notes as the dominant bebop scale.

To help keep these sounds separate in your solos, you learn the major 7 passing note version in this lesson.

Start by learning one shape at a time and adding them to your soloing practice over one-chord vamps and simple tunes.

Use the major 7 as a passing note, don’t sit on it in your solos.

Over time you can linger on that note, but in the beginning, it’s more important to get it into your ears as a passing note before moving on to more advanced applications of this scale.

Here are the diagrams for the D minor bebop scale in 2 positions. The major 7 passing tone is blue, root notes are red. Start by playing the scale from the root

The Dominant Bebop Scale

The next bebop scale is used over dominant 7 chords and is built by adding a major 7^th passing note to the Mixolydian scale.

Dominant bebop scale = Mixolydian mode + major 7

Because this scale is the most popular of the 3 bebop scales in this section, you often see this scale called simply the bebop scale. To differentiate it from the other scales you can also call it the dominant bebop scale.

Here are two fingerings to help get this scale under your fingers. When you have one shape down, use it to solo over backing tracks as you integrate this scale into your soloing lines and phrases.

The Major Bebop Scale

The major bebop scale is used to improvise over major chords and is built by adding a #5 to the major scale.

Major bebop scale = Ionian mode + #5

When doing so, you create a passing note between 5 and 6 (5-#5-6), and 6 and 5 (6-#5-5).

Again, as you add this scale to your soloing, use the #5 as a passing note. Don’t sit or rest on it too long in the beginning.

Over time your ears will become accustomed to this passing note and you can spend more time on it in your lines. But, in the beginning, it’s best to pass through it from one scale note to another to avoid any awkward sounding phrases in your solos.

The Bebop Scale over a ii V I

To finish your introduction to bebop scales, here’s a line that uses bebop scales over every chord in a major ii V I progression.

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The Harmonic Minor Scale

Another scale that is often used in bebop is the harmonic minor scale, usually over minor ii V Is. You can play the harmonic minor scale of the I over all chords in this progression.

For example: over a ii V I in C minor (Dm7b5, G7, Cm7), play the C harmonic minor scale.

Over the I this scale results in the minor/major 7 sound. Over the G7, you get a b9b13 sound:

Here is the fingering for the C harmonic minor scale:

And here are 2 example licks:

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Bebop Vocabulary

As well as learning concepts when studying bebop, it’s also important to learn vocabulary from this style of jazz.

In this section, you learn four classic jazz guitar licks that are used over and over by bebop soloists in their improvisations. Learn each of these phrases, as well as the theory behind them, and then add them to your own solos.

You don’t want to recite these phrases forever in your playing. But, learning them is a great way to begin incorporating the bebop language into your solos.

Then, over time, you can alter and personalize these lines to make them your own as you adapt them to your bebop soloing style.

Bebop Motif 1

The first bebop line is one you find in Charlie Parker’s playing, as well as many other bebop musicians.

It’s built by approaching the iim7 arpeggio with a half step (the C# in the line below) and then ending on the notes C-A-A#-B. The A# is a passing note between A and B.

As well the C is the b7 of Dm7 and the B is the 3^rd of G7, so you use solid voice leading here as you target those guide tones in the line.

Work this phrase over Dm7-G7 to begin. Then take it to other keys and other positions as you bring this line into different musical situations.

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Bebop Motif 2

Here’s a classic line based on the opening melody to Honeysuckle Rose, and one that’s been used by every bebop musician at some point in their careers.

This line is built by playing down the bebop scale over a iim7 or V7 chord, then playing up a triad and resolving to the 6^th of that chord.

You can see this over Dm7 and G7 in the examples below.

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Bebop Motif 3

The next phrase uses the D melodic minor scale over the G7 chord, creating a G7#11 sound in the process.

When played over G7, D melodic minor creates the Lydian dominant mode, which you may have read about in your studies:

Melodic minor and Lydian dominant are both essential bebop sounds, and therefore are worth studying further in your playing.

The easiest way to apply these sounds to your solos is to use them over ii V progressions.

Whenever you have a iim7-V7 progression, play melodic minor from the iim7 chord over both to hit those sounds.

This means that if you have Am7-D7, you play A melodic minor over both chords to create the AmMaj7 and D7#11 sounds in your lines.

The raised 7^th over a m7 chord and #11 over a 7^th chord creates tension, so it takes time for these sound to become normal to your ears. Because of this, start exploring those sounds sooner than later in your playing so that these sounds will come out naturally in your playing.

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Bebop Motif 4

The final bebop vocabulary line is a variation of the previous lick, where here you mix up the order of the first four notes.

Work this line on its own, then when ready mix this phrase with the previous line to hear how they compare and contrast in your playing.

As was the case with the previous line, you play D melodic minor over the first bar of the line. This creates a DmMaj7 sound over the Dm7 in this instance, as the raised 7^th from D melodic minor lands on the Dm7 chord in this line.

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Scrapple From the Apple Solo

Now that you have checked out essential bebop techniques, you learn a solo over the Charlie Parker tune Scrapple from the Apple.

Most of the ideas in this solo are based on Parker’s improvisation and use the concepts you studies earlier in this lesson.

Start by learning one phrase at a time (2-4 bars). Then, glue those phrases together until you can play the whole solo as one.

Work the solo along with the audio example and then take it to the backing track on your own when you’re ready.

Lastly, pull out your favorite lines and phrases and work them in different keys before adding them to your solos over other jazz tunes.

Have fun with this solo as you summarize all of the ideas from this lesson over a famous bebop tune.

Backing Track

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