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Guitar Practice Week 9 and 10: Pat Metheny

James Etude and 2 Kurt Rosenwinkel Licks

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For this instalment of the Recital Guitar Practice Series I have included the last two weeks because I have been
primarily been working on the same transcription, so I’ve included extra examples to make up for last week’s
entry. This week features a cool triadic etude over the bridge over Pat Metheny James tune.
First Name
One tune that I have been working on for my major jazz guitar recital is Segment by Charlie Parker. It’s one of his
lesser known tunes, and I’ve only found two jazz guitar recordings off it; one from Kurt Rosenwinkel and other
from Jimmy Bruno.

To become a better chord player and soloist I have been working on improvising and comping with triads over * = required eld
Pat Metheny’s composition ‘James’.

To read the previous entries from this series click here. Subscribe

Check out the video below to listen to Kurt’s version of Segment which I have been transcribing.
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Kurt Licks

Although I have been working on Kurt’s entire solo over ‘Segment’ I thought I’d share a couple of licks that I
enjoyed and have got the most from so far for you to check out in your own practice sessions.

The rst lick is from Kurt’s solo break and uses a cool chromatic enclosure technique where each chord tone
note is approached from a semi-tone or fret below, see the example below.
To learn more about enclosing notes, check out this article I wrote on using enclosures over a blues progression.

  30 Days to Better Jazz Guitar


Bebop Guitar

Blues Guitar

Guitar Practice

Improvisation Techniques

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Kurt uses this technique on over a two Bb minor triads across the guitar neck. I am not quite sure about this Jazz Guitar Chords
ngering yet so feel free to change it.
Jazz Guitar Licks
Also notice that Kurt’s last solo lick refers back to this lick at the end of his solo.
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Approaching chordal tones from a semi tone or fret below is a classic jazz technique and should be part of every Uncategorized
jazz guitarist’s bebop vocabulary.

Try applying this technique to the other different chord types. You can also experiment with approach each note
from asemi-tone or fret above too. Here’s the last lick that I’ve been working on from Kurt’s solo.

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For my minor jazz guitar recital at the Leeds College of Music I am working on a Pat Metheny Project where I’ll over 4 Polyrhythm Workout
be playing and learning his compositions.
Guitar Practice Week 4: Learning
One tune that I’ve been working on for a few weeks is ‘James’. Perhaps the trickiest part of this tune to improvise New Tunes and Evaluating My
and comp over is the bridge, so I’ve been working on a few different ways to play over it.
Own Playing
The rst way I’ve been practicing outlining these changes is using a technique that my great guitar teacher
Jamie Taylor showed me which voice leading triads together. Guitar Practice Week 5: Triadic
Workout and Pat Metheny Lick
To practice triads over the B section I limited myself to connecting the triads on string sets 123, 234, and 345
rst then mixed them all together. Guitar Practice Week 6: One Scale
Exercise Every Guitarist Should
The example below shows how I did this. If you play straight eighth notes the etudes have a very classical sound
to them. Know

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The Most From A Lick and a Cool
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Warm Up Exercise

Guitar Practice Week 9 and 10: Pat

Metheny James Etude and 2 Kurt
Rosenwinkel Licks

Voice leading the triads on the same string set sometimes causes some tricky ngerings, and although you
might not play like this in a performane situation, this limitation forced me to nd some cool ways of voicing
some of them that I wouldn’t have thought of.

Notice the effective voice leading creating in the root movement over the rst three chords. The idea of using
roots like this reminded me of common rhythm changes lick I sometimes use

I hope that you have enjoyed reading about some of the highlights of my last two weeks practice sessions. The
tunes for both the major and minor projects are coming along and I am starting to hear and feel bene ts in my
guitar playing.

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