Jazz Guitar Primer

E-Book

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

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
havent had enough by then, sing the arpeggios to the song (and by saying if you
havent 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 cant
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!

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.

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.

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.

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

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.

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

First Jazz Guitar Chords

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:
CEGB

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

First Jazz Guitar Chords

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

First Jazz Guitar Chords

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

First Jazz Guitar Chords

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

First Jazz Guitar Chords

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.

10

First Jazz Guitar Chords

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

11

First Jazz Guitar Chords

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

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
C7

12

First Jazz Guitar Chords

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.

13

First Jazz Guitar Chords

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

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

14

First Jazz Guitar Chords

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
C7

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.

15

First Jazz Guitar Chords

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 musicians 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

16

First Jazz Guitar Chords

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

17

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

minor II V I progressions

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.

18

First Jazz Guitar Chord Progressions

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#

19

First Jazz Guitar Chord Progressions

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!

20

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:

R357
Using C major 7 as an example, this would give us:
CEGB
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:
R3579
Using C major 9 as an example, the chord is spelled:
CEGBD
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.

21

Common Chord Extensions

To explain this concept further, lets take a look at a basic C major triad. A C major triad
is spelled:
CEG
R35
To turn a major triad into a seventh chord, add an additional chord tone a third higher
than the fifth. This gives us:
CEGB
R357
We can then continue to stack another chord tone a third higher than the seventh to get
our 9 chord.
CEGBD
R3579
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.
CEGBDF
R 3 5 7 9 11
A major 13 chord stacks a chord tone a third higher than the 11 chord.
CEGBDFA
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 lets look at the most practical and useful voicings for these chords.

22

Common Chord Extensions

9 Chords

Major 9

Example using C major 9

23

Common Chord Extensions

Dominant 9

Example using C dominant 9

24

Common Chord Extensions

Minor 9

Example using C minor 9

25

Common Chord Extensions

11 Chords

Major #11

Example using C major 7#11

26

Common Chord Extensions

Dominant 11

Example using C dominant 11

27

Common Chord Extensions

Minor 11

Example using C minor 11

28

Common Chord Extensions

13 Chords

Major 13

Example using C major 13

29

Common Chord Extensions

Dominant 13

Example using C dominant 13

30

Common Chord Extensions

C Minor 13

Example using C minor 13

31

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.

32

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. Dont 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.

33

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.

34

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

35

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

36

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

37

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 others 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.

38

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

39

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:
1357
With C major 7:
CEGB

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 moments notice. The chords covered are
the same qualities covered in chapter one. They include:

Major 7
Dominant 7
Minor 7
Minor 7b5
Diminished 7

40

Single Octave Arpeggios

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

Lets 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.

41

Single Octave Arpeggios

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

42

Single Octave Arpeggios

Dominant 7 Arpeggios

Example using C Dominant 7

Video Example
http://youtu.be/n9v_Tv2F_Cw

43

Single Octave Arpeggios

Minor 7 Arpeggios

Example using C minor 7

Video Example
http://youtu.be/WaZsMvVStpc

44

Single Octave Arpeggios

Minor 7b5 Arpeggios

Example using C minor 7b5

Video Example
http://youtu.be/bcM_Oj6Yz00

45

Single Octave Arpeggios

Diminshed 7 Arpeggios

Example using C diminished 7

Video Example
http://youtu.be/EktpV6zXaHY

46

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.

47

II V I Licks Using Single Octave Arpeggios

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

48

II V I Licks Using Single Octave Arpeggios

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

49

II V I Licks Using Single Octave Arpeggios

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.

50

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 ).

Video Example
http://youtu.be/PCMTx1oBSR8

51

VI II V I Licks

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.

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).

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.

52

VI II V I Licks

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.

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.

53

VI II V I Licks

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 ).

Video Example
http://youtu.be/nFJoZtLin7Q

54

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.

55

How to Learn a Jazz Standard

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.

56

How to Learn a Jazz Standard

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.

57

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.

58

How to Learn a Jazz Standard

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.

59

How to Learn a Jazz Standard

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.

Bass Notes Example

60

How to Learn a Jazz Standard

61

How to Learn a Jazz Standard

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

62

How to Learn a Jazz Standard

Arpeggios Example Autumn Leaves

63

How to Learn a Jazz Standard

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.

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!

64

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:

Facebook
Youtube
Twitter

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:

Skype Lessons

Happy Practicing!

Terence Wright