Home > Licks > 25 Classic Bebop Licks For Guitar

25 CLASSIC BEBOP LICKS FOR GUITAR

written by Matt Warnock & Dirk Laukens

Although the bebop era lasted less than a decade, it has had a lasting influ
subsequent generations of jazz improvisers. Players such as Charlie Park
Gillespie, Clifford Brown, Bud Powell, and others brought fresh levels of excite
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 b
style can seem intimidating, but it doesn’t have to be. By studying classic jazz guitar
the concepts that are used to build those lines, you’ll be able to bring a bebop vibe t
own jazz solos.

In this lesson, you’ll learn 25 bebop licks, as well as the important concepts behind e
so that you can build your vocabulary and expand your theory knowledge at the sam

Common jazz rhythmic devices such as syncopation, swung eighth notes, triplets, an
are used in each lick to create musical variety, and all of the audio examples are reco
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 u
internalize each lick and add it to your next jazz guitar solo in an accurate and music
fashion.

Practice each lick slowly with a metronome. While working slow at first is essen
many jazz and bebop tunes are played at fast tempos, so begin to increase the
of each lick when you can play it cleanly at a slow tempo.

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 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
possible.

Use backing tracks so that your ears learn how these jazz-guitar licks sound in
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

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Because of its popularity, it’s important that you are able to navigate these changes

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

Variation #1

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

Listen & Play Along

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 Variation #2

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

Listen & Play Along

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Variation #3

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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 b
This is called minorization, a concept frequently used by Charlie Parker, Pat Martino
Wes Montgomery.

Dm7 Arpeggio D F A

Played over G7 5 b7 9

Listen & Play Along

! 0:00

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 Variation #4

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

Listen & Play Along

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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 a

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on the G7. This is the same minorization concept we saw earlier.

Listen & Play Along

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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 fo

Variation #1

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

Abm (add 9) arpeggio Ab Cb Eb

Played over G7 b9 3 b13

Listen & Play Along

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Variation #2

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

Dbmaj7 arpeggio Db F Ab

Played over G7 b5 b7 b9

Listen & Play Along

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BEBOP LICK 5 – II V I IN C MAJOR

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This lick is formed around an Ab diminished pattern.

Listen & Play Along

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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.

Abdim7 Arpeggio Ab Cb Eb

Played over G7 b9 3 b13

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

Listen & Play Along

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BEBOP LICK 7 – II V I IN C MAJOR

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

Listen & Play Along

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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

Listen & Play Along

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 ! 0:00

BEBOP LICK 9 – DIZZY GILLESPIE

In this Dizzy Gillespie inspired lick, you’ll see a delayed resolution over the Imaj7 ch
the third bar of the phrase. The F7 chord (specifically F7b9), is played over the first b
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 p
often used the 1-3-5 triad to outline the underlying chord. When working on soloing
bebop changes, don’t forget to spend some time on triads, they’ll come in handy as
them over bebop tunes.

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Listen & Play Along

! 0:00

BEBOP LICK 10 – JOHN COLTRANE

A short ii V I lick, this phrase comes from John Coltrane, and uses diatonic notes
bebop style.

When playing over bebop tunes, you don’t always have to use chromatic notes to o
changes. Sometimes a carefully played diatonic run, such as this, is exactly what the
needs at that moment in time.

Having a handful of diatonic lines in your vocabulary will ensure you’re able to mix th

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comfortably with the chromatic lines in your repertoire.

Listen & Play Along

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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 th
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

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 key (Bb) and the runs chromatically up to the 7th (A).

Listen & Play Along

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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 ma

The repetitive triplet pattern in the first two bars is characteristic of Clifford’s playin
the bebop era in general.

As well, notice the four notes played over Dmaj7, which when combined are a popul
bebop pattern in their own right. Take that last phrase (G-E-F-F#), and practice app

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other musical situations.

Listen & Play Along

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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 ch
bar two of the phrase.

When soloing over ii V I changes in a bebop style, you can use the progression ii bII7
bring a tritone-sub sound into your solos.

When doing so, you’ll create some added tension to the V7 chord in your lines, tens

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you’ll resolve into the next bar of the lick. Letting tension hang can cause your line to
like a mistake, but if you resolve that tension properly, tension such as this can be an
effective improvisational tool.

Listen & Play Along

! 0:00

BEBOP LICK 14 – CHARLIE PARKER

The first bebop lick is from the Charlie Parker songbook, and is one of the most
licks of all time. This lick is so famous that if you learn just one bebop lick, it’s this on

The lick is played over the first four bars of a jazz blues chord progression, and featu

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tones plus a few chromatic notes. These chromatic notes are known as blue notes (b
b5) and come from the blues scale, which gives the lick its bluesy vibe.

Listen & Play Along

! 0:00

BEBOP LICK 15 – CLIFFORD BROWN

Another Clifford Brown lick, here you’ll see the Phrygian dominant scale is used to
over the A7alt chord.

The scale actually begins in the second half of the first bar (on the note A) and uses t
mode of harmonic minor to create a typical bebop run over the next 6 beats. When
in the bebop style, the Phrygian dominant scale is the first-choice sound when impro

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over V7 chords.

Listen & Play Along

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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 u
dominant 7b9 sound.

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

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

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 ! 0:00

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 c

When playing a dim7 arpeggio from the 3rd of any 7th chord, you’ll outline the 3-5-b
intervals of that chord. This is called a 3 to 9 arpeggio, an essential learning for any
guitarist.

Listen & Play Along

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 ! 0:00

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 ma
interval leading to the tonic in the second bar. The major 7th, either in an arpeggio o
the melodic minor scale, was a popular note choice over minor chords in the bebop

Listen & Play Along

! 0:00

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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
through the 1-6-2-5 harmony.

! 0:00

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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 Lic

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

Listen & Play Along

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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 o
major.

Notice the b9 is used to create tension over the D7 chord, which is a common
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 B
and other great bebop soloists, and it’s something you can add to your playing as we

Listen & Play Along

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 ! 0:00

BEBOP LICK 22 – TAL FARLOW

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

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 lea
another set of chromatic notes from Ab to E, the 3rd of Cmaj7.

Listen & Play

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 ! 0:00

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
over Dm7.

There is a nice chromatic approach to the 3rd of G7 at the start of the second
A#-B) which uses chromaticism to lead the listener to the chord that is coming

Lastly, there is a G altered scale (7th mode of melodic minor scale) being used
tension over G7 that is later resolved to the Cmaj7 chord in bar 3 of the lick.

Listen & Play

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 ! 0:00

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 note
lose its effect. Using rhythmic motives such as in this lick can help break up your line
putting more focus on the chromatic notes that create interest in the phrase.

Listen & Play

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 ! 0:00

BEBOP LICK 25 – TAL FARLOW

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

Listen & Play

! 0:00

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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 produce
sound over that chord.

There is a 3 to 9 arpeggio over the Dm7 chord (F A C E), highlighting the 9th of
chord.

Listen & Play

! 0:00

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Now that you have worked on these lines on their own, practice applying them to yo
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

Miles Davis Licks

Django Reinhardt Licks

Wes Montgomery Licks

John Coltrane Licks

Charlie Christian Licks

George Benson Licks

Kenny Burrell Licks

Grant Green Licks

Pat Metheny Licks

Pat Martino Licks

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 Thelonious Monk Licks for Guitar

1 Classic Jazz Guitar Licks

2 Jazz Blues Licks

3 5 Paul Desmond Licks From The Take 5 Solo

4 5 Pat Metheny Licks From Two For The Road

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Jeremy Acton

Thank you for the great lesson.

On a side note, I see the list of great jazz players are all male. Was there no female jazz

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 in history who gave us something to learn from? Emily Remler comes to mind. Any othe
Please could we have a lesson on Emily’s playing if you think it is possible?

Reply to Jeremy Acton

Ted

I love these lessons and licks!!

Reply to Ted

Naime

Will add to my collection to study but too fast! Can’t hear the accents. I know some folk
the chord tones to help with the reading and beats. Great effort though.

Reply to Naime

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 Nachum Pereferkovich

Thanks for the examples! It would like to see a detailed melodic analysis of one of them

Reply to Nachum Pereferkovich

Jeff

Fantastic stuff. Where can I buy this in book form?

Reply to Jeff

noel

Love your lessons, I just wish the lines were longer.

Reply to noel

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 Reply to noel

Antonello Vanni

fantastic!

Reply to Antonello Vanni

TaSjazz

Creating these fantastic jazz guitar lessons must be time consuming…

How do you guys find time to practice and play and gig?

Reply to TaSjazz

Michael B

These are truly amazing! Great vocabulary and theory overview.

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 Time to get these into my fingers – and I play sax by the way!
RESPECT!!

Reply to Michael B

Lance

Great Lesson! Thank you very much Dirk and Co. Examples of jazz standards where the
relevant chord progressions occur will also be very helpful.

Reply to Lance

Mohammed

God bless you dirk all the way to HEAVEN FROM MOTHER AFRICA…..

Reply to Mohammed

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 tamm

Thanks for the lessons. Stops the learning feeling solo.

Reply to tamm

Tonymac

Thanks for all the posts, lots of useful ideas, and tips. Keep them coming.

Reply to Tonymac

Randy Katz

These are great, not unlike others, I find the ones that have less range you can play in m
positions and some of the small ones above span 3 octaves on my guitar. One of my m
issues is when I am running it through the cycle of fourths I am fine but then how does
remember all these phrases? Or should we judge ourselves by how many phrases we fo

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 0

Reply to Randy Katz

Anonymous

You have to go through all 3 processes, ingestion, digestion and excretion… What rema
with you after digestion is yours for the picking! What you lose by excretion…
well you should know what that is,…
Don’t forget to use soap, water and toilet tissue!

Reply to Anonymous

Zee

You can spend your whole lifetime trying to memorize licks, never succeed and always
like somebody else, or you can learn the few principles that are the foundation of bebo
the last case you are able to invent such phrases on the spot, and that’s where the fun
Licks (or listening to the masters) are great to discover small motifs you like and to
incorporate them in your thinking. I never learn licks to reproduce them literally.

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 Reply to Zee

john

great way to explain complexities of jazz

Reply to john

Pianissimo

GREAAAATTTTT!!!!Thank u!!!!

Reply to Pianissimo

Leandro Costa Dos Santos

Thank’u creat

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 0

Reply to Leandro Costa Dos Santos

Roland

Once again, very cool!

Reply to Roland

Ban

Great lessons and ideas !!!!

Thanks a lot for sharing all that precious stuff !

Reply to Ban

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 Paul

Buenísimo, Gracias!

Reply to Paul

fanie dick

What a nice Jazz guitar lessons ,Dirk you make us great jazz guitarists

Reply to fanie dick

rob

another great lesson Dirk !

Reply to rob

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 Reply to rob

Roy

I really enjoyed those licks, a nice way to start the day!

Reply to Roy

Bill Houlsby

Another great lesson, thanks Dirk !!!

Reply to Bill Houlsby

Johnrobsonmusic

Nice lesson!

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 0

Reply to Johnrobsonmusic

Ron

Love your lessons!

Reply to Ron

Ban

Great lessons and ideas !!!!

Thanks a lot for sharing all that precious stuff !

Reply to Ban

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