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    Must Know Jazz Licks

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    chrisbluescat7522
    Fender Club

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    Must Know Jazz Licks

    Uploaded by

    chrisbluescat7522
    4K views2 pages
    Fender Club

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    Fender Club

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    4K views2 pages

    Must Know Jazz Licks

    Uploaded by

    chrisbluescat7522
    Fender Club

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    FENDER PLAYERS CLUB MUST-KNOW JAZZ LICKS

    From the book:


    101 Must Know Jazz Licks
    by Wolf Marshall

    HL 695433. Book/CD &16.95 (US).

    Read More...

    Hard Bop and Cool Jazz


    Hard bop and cool jazz started out as subsidiary branches of bop. Both grew as a response to the growing
    complexities of bebop. Hard bop evolved in the early 1950s and is distinguished by equally fast burning
    bebop tempos, but with simpler melodies, a pronounced rhythm ’n’ blues and funk influence and catchier
    rhythms. Cool jazz (sometimes called “West Coast jazz”) appeared somewhat earlier: Most cite Miles Davis’s
    auspicious 1950 record Birth of the Cool as a definitive starting point. Like hard bop, cool jazz was
    characterized as a simplification of the earlier bebop style, but favored slower tempos and a quieter, more
    relaxed execution and, perhaps, a more cerebral approach to improvising. Both hard bop and cool jazz were
    influential throughout the 1950s. Guitarists associated with cool jazz include Jim Hall, Billy Bauer, and Johnny
    Smith. Wes Montgomery is universally acknowledged as the quintessential hard bop guitarist. Other
    significant hard bop players are Grant Green, Kenny Burrell, Howard Roberts, and Joe Pass.

    I played these licks with a 1956 Gibson ES-175D with P-90 pickups. The guitar was strung with medium-heavy
    gauge strings and the neck pickup was used exclusively. The amplifier was one of the great all-time jazz
    combos, a Fender ’65 Twin Reverb® with two 12-inch speakers. The bright switch was not engaged, and the
    tone controls were set to produce a warm but clean sound with an emphasis on the midrange.

    #1 AUDIO CLIP

    Basic Tonality: C Major


    Moderate Swing
    Cmaj7 LT LT
    LN LT LT LT LT

    C arp LT
    * 7 8
    7 8 7 8
    7 8 9 8 9 8 9 8 9
    7 9 10 9 10 9 10 7 10 7 10 10 7
    10
    * Decorated C arpeggio
    #2 AUDIO CLIP

    Basic Tonality: C Major


    Moderately Fast Swing
    Dm TF TF TF TF TF

    Dm7 arp CD
    LT SEQ IMIT
    *
    6 4 5 10 7 8 12 9 10 12 10 9
    8 5 6 10
    5 9 6 7 10 9 8 7
    5 7 12
    4 5 7 8
    * Decorated Em7 arpeggio

    #3 AUDIO CLIP

    Basic Tonality: B Minor


    Moderately
    Bm C m7 5 F 7 Bm
    TF TF

    NH Dmaj9 arp RM
    * CD
    9 12 9 11 9 10 12 10 9 9
    10 12 11
    11 12 10 11 9 6 7
    8 11 8 9 11 12
    9 11 9 9
    * Decorated chromatic descent

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