You are on page 1of 5
On the cD SUIDE TO: JAZZ, 10 SMOOTH JAZZ LICKS Ath licks are played a title slower than performance speed with simple chord accompaniment to help you hear them In context. BYTES 1-3 Three examples to got Four rythm ‘camping’ examples = Demo track Farewey BYTES This oxcmple foatures a ‘you through the ‘tumaround? chord see page 68 for more information Gamish Paste a t2-bar using 2 bles ick o avoid cormlicaons sequence which brings you bac 10 tla chard secuone featuring WHEN ces wth werd chris! te beprning ofthe “2b The parties acs ed BYTE 4 Two options are aven here, chords come at you prety fast eo Fou ore-comping examples | improvisations inthe gen syle demonstraling how to sound ikea fs best to nave afew pro-earned ‘eal jzer when faced ith aC7 eke oid pene station compete 1-bar backing task to A7 change BYTE4 George Benson-style octave for Farewell Cornisi Pastie, over BYTE: Standard opening ick using BYTES The IV (O7-67-C) chord tun, withthe alion of rds which the lead and eamning ks ‘hones and double stops. ‘soquence is of aaat importance Sts between the octaves can bo payor a varios pins BYTE? Typical ick used o more a jazz sotng this Hokisessenilal__ BYTES Sax-styerpettve ho to fom the G chord tothe F chord and canbe trangposed toa Keys ae tension to sol. uta: Kt Morgan SAT Eo (cz) 5 A fino cape of i i doubt, go forthe chromatic approach’ to bogin our Dotilous omaoy arouzh this fuer 13 bar nequonee. Noto the double DESO) stopped phrase fn bar 2 thish works ever ether ef the feo chords, {0 tho sth fret or at the sth fot fora more biuoey eeu. Pen ‘Continuing on throug the 18 bar sequence, thie Hel ses a dined arpogiio to lead ino the chord whieh fllos (FO) SEE c7 ee = ke te 22 es = ——— ee z 4 18 10- a = USE 7 (Dm7 Djm7) St 8: oH HPP 10 0 ‘ere, land on the rd of the FO herd (a note ofA), somplataly ignore uh (i Jane mi, you aa do what yom want), hen wae DiwOE Lek 6 vor the Pédisn Notice again hore that re ead up om tho Br af tho C7 NOVEMBER 1995 ISSUE 49 Gon tracks 18-23 BLUFFER’ ee CTO Dém7 Em? C7 -Dm7, Cee 7 aaa Dm? Dim? Em7 tee pogios inna Diz ATES be {sa 18 bars tond to go ‘around the hese a et more tua the bles ‘seston, wit this enamge trom C7 down €© AY being the mont etiesblo the AT chowd, will the LICK 5 — Ono Of Tho Most Important Jazz Licks Evor Dm7 a7tste oe be 7 Sassy got plonutogy gustan triamdy ink ose over the Des, Iulaned by Oue OTe Bost Important diz Licks Ker on the Gainey lord. which should be howe of purely a a robile for getting you tiiend Uliawe tislatley wo bien wir tate works bot lV always Suni okay to me, soto tat Wo a nd Yo! ‘nee o the €. Uso this ee anytine 700s chang re ou ux major? empereios over the C7 Par "7 barre cnord toh shape’ barve cherd at the same noc position ox whenever you're ure how Lo get hack to he wey eho eee Ean c eros one of may own tricks for eapicg wits Uno turnaround chord teeyuset 1 utes alzal pt arya "up Wil the G7 chord whe ea TRS TET AT sqolte fon! of tirowing in thin G# aspeyeto Just beans Ch ned a straight face for thls exe c ne ‘Ovee again we late eke whieh tacts the ar (oC. dows a to ‘chramatie run to ond on the Sr ofthe 47, then dive rs tate enor) [ting the C major chord SSUE 4 NOVEMBER 1995, ant of my, fellow ny a te Dit of weindness over the G7, Maly you guessed the Sel! >> Ea 6: BLUFFER’S GUIDE TO: JAZZ CD TRACKS 18-23 2 ne) ee eee Pe @ 10—— 19109. SE aeegaey | 8 10: 1019-10} 912 ‘a—10—12 o-12 stole this eno from Biel Lagrone, who played i at an outrageous no, new the ek drction marks hn the tabu, a ees mee other sinlo-not rns HED sou yood ever any C major eked. (Canal, ae (Cr, €9 ets und also works oer the frst couple of ehord i any typed Ize 12 bar ehord soquenee (ox OF to 7), men = ‘Many s outopboniat can be beard weing and abuoing hie ona! ts great if ‘yom eat thin of anything beter to play, sino the ar Se treed Into Dpesteving tat the pra ts far more nterostcg tha 1 realy Is COMPING Just what is comping anyway? And why do I need to he able to do it if I'm going to bluff my way in Jazz? Read on... Jo, its nothing to do with competitions, nor ]Gomping is an abbreviation how abbreviation is such a long word? of “accompanying” and refers to the boring bits in between guitar solos. Unlike rhythm guitar work in most other fortis of music, in jars there are usually no set shythiic pattems to adhere to. Generally speaking, you should try to iosgine sshat a bi band hor seetion might do underneath someones solo, The rhythmic yom leave eno os aE ceomtent is left to the integrity ofthe player althongh ideally you should have your ears wide ‘open and sespond both to the soloist and the rest ofthe rythto section Another important point i need to play all five or six notes of each chord shape. By only playin Aaound freey, without feeling cluttered Ly the bucking, This is even more important when there a pianist in the band ody, weed i playel raythenie [groope of four against tne beat Tule works thre fats ghar (Gill agatont» 6 herd), for a more Blueey sea hat there's no ree oF fonr-note chords, i room for the improviser to fly NOVEMBER 1998 ISSUE 49