141 Jazz Guitar Licks

141 Jazz Guitar Licks –
Essential Lines and Patterns

PUBLISHED IN GUITAR LESSONS
Learning jazz guitar licks is essential for anyone studying the genre.
By working jazz guitar licks, you increase your fretboard knowledge and
build a strong connection to the jazz tradition at the same time.
While you may know that it’s important to practice jazz guitar licks,
finding the right lines to work on can be a daunting task.
In this lesson, you find 141 classic jazz guitar licks, from easy to difficult
and everything in between, to get under your fingers.
By working these licks, you expand your vocabulary, build technique,

and get into the minds of the greatest soloists in jazz history.
Note: To avoid any copyright issues, these licks are based on the playing
style of each guitarist. They are not direct transcriptions, but based on lines
from the over 250 transcriptions I’ve done over the past 20 years.
What Are Jazz Guitar Licks

Jazz guitar licks are known by many names. They can be called riffs,
licks, lines, phrases, motives, and motifs, just to name a few.
No matter what they’re called, their function remains the same. Jazz
guitar licks are short musical phrases used to outline popular chord
progressions.
That’s basically it.
Licks can be two beats, one bar, two bars, four bars, or longer. As well,
they can be jazz cliches, or they can be totally unique to that particular
moment.
They’re versatile, important, and very helpful when soloing over jazz
standards.
As you’ll be reminded in the next section, learning licks is important,
reciting jazz licks on a gig isn’t.
You want to digest the material behind the licks, but not merely quote
them in your solos.
Keep this in mind, as it’s the difference between being a “line player”
and having a strong grasp of the jazz tradition in your solos.
How to Practice Jazz Guitar Licks

When learning how to play jazz guitar, it’s importance to study the
great players that have come before you.
One of the best ways to bring your favorite player’s sound into your
solos is to learn jazz guitar licks by these masters.
But, while it’s important to learn lines, you don’t want to become a “lick
player” by simply reciting lines in your solos.
Because of this, it’s important to break down each lick that you learn,
analyze it, and build exercises from the concepts you discover in that
lick.
In this section, you look at five steps to take when learning any lick to
ensure that you not only memorize the line, but understand
the concepts behind the line.
This allows you to create your own memorable lines that sound in the
style of your favorite jazz guitarists.
And you avoid becoming a “lick player” along the way.
Step 1 – Learn Jazz Guitar Licks

The first thing to do when learning jazz guitar licks, is to get the lick in
your ears and under your fingers.
To begin, here’s the sample jazz lick. Start by listening to this ii V I lick in
the key of C major.
Click to hear learning jazz licks 1
To begin, here are a few exercises to memorize and internalize any jazz
guitar lick, such as this example.
• Practice in one key at different tempos.

• Sing the lick while playing the chords.
• Play it in 12 keys at different tempos.
• Learn the lick in one or more octaves.
• Experiment with adding slides, hammers, and pull-offs.
• Solo over a backing track and use the lick as much as possible.
• Solo in 12 keys and use the lick as much as you can.
• Vary the lick in your solos, change rhythms, add notes, take notes
away, etc.
As you can see, if you just learn the lick off the page there isn’t much to
do besides memorize it.
But. If you look for different ways to learn, practice, and apply the lick,
you derive hours of practice from a single line.
Step 2 – Analyze Jazz Guitar Licks

The next thing you do is analyze the musical material being used to
build the lick. Concepts that you’re looking out for are:
• Arpeggios
• Scales
• Modes
• Chord subs
• 3 to 9 arpeggios
• Pentatonic Scales
• Chromatic Notes
• Range
• Changes in Octave
• Chords used if applicable
Here’s an analysis of the example lick you learned in the previous part
of this lesson.
Notice that each note is analyzed, ensuring you understand how every
note fits into the lick from a theoretical standpoint.
Here are those items explained in a bit more detail to understand why
they’re labelled as they are in this lick.
• Fmaj7 is being used as a 3 to 9 arpeggio over Dm7.

• There is a classic bebop chromatic lick at the end of bar 1.
• Bm7b5 is a 3 to 9 arpeggio over G7.
• Enclosures are adding tension-release to bar 2 and 3.
• The Honeysuckle Rose bebop lick used in bar 3.
• D being used to create a Cmaj7#11 sound in bar 4.
Now that you have the lick under you fingers, and analyzed the
concepts, derive musical concepts to build exercises in the woodshed.
Step 3 – Extract Concepts From Analysis

Now that you identified the building blocks of the lick, such as
which arpeggios, bebop patterns, and scales are used, you can move
forward with these ideas.
Firstly, you need to understand these concepts in order to bring them

into your playing.
This can be tough if you’re new to jazz guitar.
But, not to worry.
In the beginning, it’s good enough to know that you can play Fmaj7
over Dm7, for example, even if you don’t know why that works.
Over time, with more lick study, you build your theory chops to
understand that this is a 3 to 9 arpeggio, and not just a cool-sounding
line.
For now, here’s how each concept in the sample lick are explained from
a theory standpoint, which you can use to build exercises in your guitar
practice routine.
3 to 9 Arpeggios
The first thing you look at are the two arpeggios used over Dm7 and
G7, Fmaj7 and Bm7b5.
When analyzing these two arpeggios, notice that they both start on the
3rd of each chord.
They also feature the 3-5-7-9 of each underlying chord, Dm7 and G7.
So, here’s your first concept.
“When playing over any chord, you can use an arpeggio that outlines the
3-5-7-9 of that chord.”
Here are those two arpeggio written out after extracting them from the
lick.
Also notice that the Fmaj7 arpeggios is played in the interval order 7-1-
3-5 in the lick.
You can also make a point to incorporate that into the exercises you do
with the 3 to 9 arpeggio concept.
Bebop Licks
There are two common bebop licks in this phrase.

The first is the D-C-A-A#-B line in the bar 1.
Then the second is the D-Db-C-E-G-B lick in the third and fourth bar.
When looking to find ways of organizing these licks, it’s beneficial to

look for the fingering used in order to play this lick in other musical
situations.
For the first bebop lick, in bar 1, that lick lands on a 1-3-4 fingering on
the 4th string, around the notes A-B-C.
You can see how that lines up on the fretboard after breaking down the
lick.
Therefore, you would come up with the concept:
“When you have a 1-3-4 fingering on a given string, you can apply this lick
when musically appropriate.”
For the second bebop lick, it occurs when there is a 1-2-4 fingering on
the 3rd string, B-C-D in this case.
Here’s that pattern written all as 8th notes, no rests as in the line, to
make it easier to extract into other musical situations.

Again, this would allow you to derive a guideline for applying this lick to
other situations.
This concept is:
“When you have a 1-2-4 fingering on a given string, you can apply this lick
when musically appropriate.”
Since playing bebop lines such as these can sound forced, it’s more
musical to break down larger licks into these smaller phrases.
By using smaller phrases in your solos, you maintain the bebop

language, but won’t worry about sounding unmusical when playing
longer lines.
Enclosures
Next, you look at the enclosures that occur over the G7 and Cmaj7
chords.
Enclosures are where you play one fret above, one fret below, and then
the diatonic note. From here, you develop a concept on how to apply
this technique to other musical situations.
Since this lick uses enclosures on both chord and scale tones, you
would derive the concept:
“When playing over chord changes, you can use enclosures with both
chord and scale tones when appropriate.”
Since enclosures are extremely common in jazz, it’s one that you would
be sure to delve into further in your studies.
Superimposed Triad
The last concept you explore in this lick is the D triad being played over
the Cmaj7 chord.
Here, the sound being produced by this concept is a Lydian sound,

maj7#11, as the F# in the D triad is the #11 of Cmaj7.
The guideline from this part of the lick is:
“When bringing a Lydian sound into your lines, play a major triad from the
9th of the underlying maj7 chord.”
Here’s how you would work out a D triad fingering next to different
Cmaj7 chord voicings that you already use in your playing.
Again, since the Lydian sound is common, make sure to build exercises
and improvise with this concept to allow this concept to come out
naturally in your solos.
Step 4 – Create Exercises For Each Concept

After you learned a lick, analyzed it, and broken down it’s musical
concepts, you can create exercises that bring these concepts into your
practice routine.
Here are exercises that you can derive from the concepts mentioned
above.
Arpeggio Scales
The first exercise is based on the 7-1-3-5 arpeggio used to open the
line over Dm7.
One of the best ways practice arpeggios is through arpeggio scales, and
so you take the above arpeggio fingering, 7-1-3-5, and apply it to the
diatonic arpeggios in a key.
Here’s an example of how t0 work on this arpeggio in the key of C

major on the middle three strings.
From here, you take this exercise to other string sets and keys in your
studies.
Practicing arpeggio scales is a great way to learn any arpeggio.
As well, it makes you think of the notes and chords in the key, as you
can’t use traditional “box-patterns” when running these arps up the
neck.
After working on this idea from a technical perspective, put on a ii V I

backing track and solo using only the arpeggio shapes from the above
exercise.
Then, take the same exercise and solo over ii V I’s in all 12 keys.
Lastly, solo over blues tunes and jazz standards using only this arpeggio
fingering to take it further in your practice routine.
Bebop Licks Through Scales
When working on the bebop licks this example phrase, you can extract
those licks and run them through scales.
Here’s an example of an exercise you could do over a G7 chord, using

the G Mixolydian Scale as the basis for this exercise.
To start the pattern, play an ascending two-octave G7 arpeggio, then

run down the scale from there.
As you’re running down the scale, wherever there’s a 134 fingering

pattern, apply the bebop lick that you extracted earlier.
In this case, there’s a 134 fingering on the 2nd and 3rd strings.
Here’s how that looks on paper.

Here’s an example of the 124 lick being applied to a D Dorian scale to

create a technical exercise in the woodshed.
Again, with this lick you ascend the arpeggio and then descend the
scale.
As you descend the scale, apply the lick each time you find a 124
fingering.
In this example, there are 124 fingerings on the 2nd and 3rd strings.
Here’s how that practice pattern looks like on paper.
After running this exercise over G7 at various tempos, practice it in 12

keys.
Then, take it to other scales you’re working on in the woodshed, such

as altered, melodic minor, etc.
From there, put on a backing track, first over one chord, then over a ii V
I, and full tunes to bring these bebop scale patterns into your soloing in
a real-time situation.
Enclosures Through Arpeggios
The last example you look at applies enclosures to a technical and then
improvisational exercise.
To begin, take an arpeggio such as the Cmaj7 arp you see below, and
play an enclosure on every note of that arpeggio.
Do this ascending and descending with the arpeggio, but for space
the descending version is written in the example below.
Once you work enclosures over Cmaj7, take them other keys.
Then, take them to other arpeggios such as 7th, m7 and m7b5 arps in
your studies.
From there, put on a variety of backing tracks and use enclosures over
arpeggios in your soloing practice routine.
As you can see, you can derive countless hours of exercises from just
this one four-bar phrase.
When learning licks, this is the most important part of the learning
process.
Breaking down ideas and creating exercises allows you to create your
own licks in this style on the spot in a jam or gigging situation.
Step 5 – Write Lines and Solos Based on These
Concepts
The last thing you do when digging into a new lick is write your own
licks and solos using the concepts from the lick you just learned.
Creating a great solo on stage is a lot like composing a piece of music in

real time.
So, in order to train your hands, ears and brain to perform a memorable
solo, you can practice composing solos.
Here’s a step-by-step guide on how to approach writing out lines and

solos to go beyond memorizing them in your studies.
• Write out a one-chorus solo using the material from a lick

you learned.
• Memorize the solo at a variety of tempos.
• Play the solo along with a backing track exactly as written.
• When ready, alter the rhythms and notes in the written chorus.
• Slowly move away from the written chorus as you transition into
a non-memorized chorus of soloing.
A lot of times when learning lines, you memorize a lick and then throw
it into your solos when you got to a jam session.
But, if you dig deep into each lick you learn, you add vocabulary to your
solos and derive weeks or months of practicing.
Now that you know how to work any jazz guitar licks you study, time to
move on and check out the hundreds of jazz licks in this lesson.
Have fun!
John Abercrombie Licks

Known for his modern approach, John Abercrombie is a
groundbreaking guitarist who has developed a personal sound to the
genre over the years.
Using solid-body guitars, effects pedals, and his thumb to pluck the
notes, Abercrombie’s style is sparse, energetic, and unique.
From an improviser’s standpoint, Abercrombie’s use of the pentatonic

scale, triads, patterns, and a horizontal approach to the fretboard are
worth absorbing into your vocabulary.
In this section, you study five John Abercrombie licks that deal with
those characteristic sounds, and more.
Have fun with these modern jazz guitar licks. Even if you’re not a fan of
modern jazz, these licks open up your fretboard, and give you new
sounds to explore in any style of jazz soloing.
John Abercrombie Lick 1

The first John Abercrombie lick is based on the D Dorian scale, played
over a Dm7 chord.
Here, the line moves up the same strings rather than in position, more
horizontal than vertical.
This type of horizontal playing is characteristic of Abercrombie’s soloing

and approach to fretboard organization.
Though it’s a diatonic line, no juicy chromatic notes, the pattern and
movement up the neck will bring that Abercrombie vibe into your
playing.
Click to hear john abercrombie licks 1

Here’s a static Fmaj7 lick that uses the F major pentatonic scale, mostly.
In true Abercrombie fashion, the first part of the lick is a pentatonic
scale pattern played in triplets.
From there, the last part of the line contains two notes outside of that
scale, the 7th and 4th of Fmaj7.
By mixing in these two notes, Abercrombie brings a sense of freshness

to the pattern-based line.
This helps the line sound musical, rather than simply a finger pattern
run up and down the scale.

Apart from being a highly skilled modal player, Abercrombie also
creates sophisticated phrases over changes with his own unique style.
In this line, over the first four bars of an F blues, there’s a chromatic
pattern moving up the fretboard in the second bar.
This type of pattern, and horizontal playing, is characteristic of

Abercrombie’s soloing vocabulary.
As well, there are chromatic approach notes outlining a C7 arpeggio in

bar 3. Here, the C7 is a sub over the F7, creating a V7-I7 sound in bars
3 and 4 of the blues progression.

Here’s a minor 251 lick in a typical Abercrombie style.
There’s an enclosure in bar one of the line, outlining the #9 of the E7alt
chord in bar 2 of the phrase.
As well, there are 3 altered notes over that same chord, b9, #9, b13,
giving the E7alt chord a true altered sound.
From there, the line resolves with a straightforward 1-b3-5-b7 arpeggio

over Am7.

The final John Abercrombie lick uses mostly diatonic triads, climbing up
the fretboard, to outline a major 251 chord progression in C major.
The triads used are:

• C–I
• D – II7
• Dm – ii
• G–V
• Am – vi
• Bdim – viidim
All of which come from the key of C major, with the exception of D, but
each creates different chord colors when applied to the progression.
In this case, the D triad is creating a Cmaj7#11, or Lydian mode, sound

over that chord.
Using triads like this is not unique to Abercrombie’s soloing language.
But, it’s something that’s found in many of his lines and solos.
When coupled with the horizontal approach to the neck, this line brings
out an Abercrombie 251 vibe that’s worth learning and using in your
own solos.
Sheryl Bailey Licks

One of the strongest modern bebop guitarists on the scene today,
Sheryl Bailey brings a fresh approach to the genre.
With an abundance of original compositions and a strong command of

the bebop language, Sheryl has become one of the leaders in the
modern bop genre.
In this section, you study the concepts that make Sheryl’s playing stand
out among her peers.
You learn enclosures, arpeggios, blues licks, chromatic ii V subs, m3rd

planning, and much more.
All crammed into 5 licks.
If you’re not familiar with Sheryl’s playing, take a minute and listen to a
few of her tracks.
Then, come back and get some of these classic jazz guitar licks under
your fingers.
Sheryl Bailey Lick 1

This first Sheryl Bailey lick outlines a Dm7 chord, with a healthy dose of
enclosures thrown in for good measure.
The lick uses enclosures, fret above-fret below-scale note, over the
Root, 2nd, b3rd, and 5th of Dm7.
At the end of the line, the last enclosure resolves up to the root.
This is a great example of enclosures in action over a m7 chord with a

strong resolution.
Click to hear sheryl bailey licks 1

One of the things that makes Sheryl’s playing stand out is her command
of the blues.
In this lick, you see a classic Bailey line based on the F blues scale, used
over F7.
There’s nothing fancy about this lick, but good Blues solos are never
really fancy.
This line gets the job done; it’s melodic, and fun to play.
Check it out and add this Sheryl Bailey lick to your next jazz blues solo.

Here, you see an essential bebop technique, and one that Sheryl uses
often in her playing.
The opening motive is repeated up a minor 3rd interval, before resolving

down to the Fmaj7 chord at the end of the line.
Playing a line, then repeating that line up a m3rd before resolving it is

great way to create tension and resolution in your lines.
Give it a try, with this line, and with any riff as you create a bebop
tension in your solos.

In this long, 251 lick in C major, you’ll see a half-step ii-V sub being
used over the first two bars of the line.
This is another common jazz improvisation technique, and one that

Sheryl has total command over in her solos.
The concept is that you play a short ii V in the first bar, a half step
above the underlying ii V.
From there, you play the same lick, but in the tonic key, and then
resolve down to the Imaj7 chord from there.
You can do this with any short riff, just play it a half step higher than
the key you’re in.
Then, play it in the diatonic key and resolve from there.

In this final Sheryl Bailey lick, you see an example of the dominant
bebop Scale being used over a ii V progression.
As well, there’s a Bbmaj7 arpeggio used to sound a Gm9 chord over the
C7 in the second half of the first bar.
This is called the “minor conversion” concept.
To sum it up, it means that when you see a V7 chord, you use notes
from the iim7 chord to “minorize” that V7 chord.
This technique was used by Wes Montgomery, and is a favorite of

George Benson, Sheryl Bailey, and many other jazz guitarists.
George Benson Licks

There are few players that have captured the attention of jazz guitar
fans in the way George Benson has over his career.
Though he’s moved more into the smooth jazz realm over the second
half of his career, Benson has always maintained a high level of bebop
in his recordings.
A master of building intensity in his solos, and possessing a strong

command of the bebop language, Benson is often listed as one of the
top jazz guitarists of any generation.
In this section, you look into the bluesy and bebop sides of Benson’s
soloing.
As well, you study his energetic, double-time lines, and chord soloing
phrases as you dig into the concepts that have made Benson one of the
greatest jazzers to ever play guitar.
George Benson Lick 1

This first George Benson lick is one of his best blues licks on record. It’s
such a simple line, but when you get it under your fingers, you get the
sense of flow that this line creates.
There’s nothing outside in this line, but the Bbmaj9 arpeggio in the first
bar outlines a Gm11 chord.
As well, the Ab-C over the C7 comes from the F Blues scale, borrowing
from the tonic blues sound.
From there, the line finishes on the tonic, nice and simple yet highly
effective.
Click to hear George Benson Lick 1

In this turnaround lick, every note comes from the F major blues scale.
We often associate Benson’s playing with the minor blues lines that he
creates.
But, he’s also a master of mixing in the major blues scale into his soloing
lines, and this is a great example of that scale in action.

As well as using more traditional concepts, Benson also brings a modern
sound to his guitar solos.
In this George Benson lick, triads are used to create a sense of tension
and release over an F7 chord.
The first bar uses diatonic triads, Eb and F, over F7.
From there, the Gb and B+ triads are used to create tension, which is
then resolved into the G at the end of the line.

A short ii V I lick, this line uses a classic chromatic run over C7 and
Fmaj7.
This line is built from an idea Charlie Parker played in his Billie’s Bounce
solo.
The chromatic notes connect the 2nd to the 3rd and the 4th to the 5th
of the underlying Fmaj7 chord. In this phrase, the Fmaj7 is anticipated a
bit as the Fmaj7 chromatic lick begins over C7, then resolves over
Fmaj7.

Here’s another classic Benson blues lick, built by repeated the first bar
up a 4th to match the Bb7 chord in bar 2.
Playing a lick on the I7 chord, the repeating that lick on the IV7 chord,
is a standard blues soloing concept, and one you can explore on your
own further.
As well, notice the range of this line, which is all played above the 12th
fret.
If you find it too difficult to play that high up the fretboard, you can
always transpose this line down and octave and play it that way in your
solos.

You now explore a few double-time George Benson licks, such as this ii
V I line in G major.
Here, the line is built by repeating a three-note motive in 4/4 time.
When doing so, you create a syncopated feel that doesn’t resolve until
the end of the line.
Be careful when playing lines like this, as counting can be tough.
Go slow, take your time, and use a metronome until you’re ready to jam
it along to a backing track.

The next double time Benson lick uses syncopated rhythms, short rests
and 8th notes mixed with 16th notes, to create interest in the line.
Sometimes you find yourself always running 16th notes when soloing in
a double-time feel.
But, great players such as Benson mix in other rhythms and rests to
their faster lines.
This helps to break up the line, preventing it from becoming boring or

predictable in the process.

The final double-time Benson lick features a number of interesting
items to check out.
The first is the B-F#-B pattern in bar one, which is then played down a
fret and back again.
When doing so, playing a fret away and back again, you’re using a
concept called sidestepping.
Sidestepping creates a slippery feeling in your lines, but you have to

make sure to resolve it such as Benson does here.
As well, in bar two there are a number of chromatic notes, creating

tension over the V7 chord before resolving to the Gmaj7 at the end of
the line.

No study of George Benson’s licks would be complete without a few
chord soloing lines.
In this first line, you see a few classic Benson chord shapes used over a
G7 chord. The chord names are written below to help you see each
chord, and how it relates to the underlying change.
Check out the Am11-D7alt-G9 chords in bar two.
Here, Benson is putting ii-V-I progression into a static chord, G7. This is
a common way to create tension when playing over static chords such
as this one.

The next lick features sidestepping over the second and third bars of
the line.
Here, there are chromatic chords above and below the diatonic chord,
C7.
As always, when attempting this sort of outside soloing line make sure
to resolve it back to the underlying chord.
There’s a fine line between outside and wrong, make sure to find that
line in your chord solos.

This final George Benson lick is a chord-soloing line over a G7 change.
There are a number of diatonic chords used, Dm7-Em11 for example.

As well, there’s sidestepping in bar two, this time above the given
chord.
Lastly, there’s a D7alt-G9 at the end of the lick, which is similar to the
sub you saw in the first Benson chord lick.
This lick has a little bit of everything that makes George Benson such a
world-class improvisor.
Ed Bickert Licks
Growing up in a small town in Manitoba, Ed Bickert grew to become on
of the most accomplished guitarists in Canadian history.
A staple of both the gigging and studio scene, Bickert became known
for his advanced harmonic concept and laid-back swing feel.
Though some listeners compare his style to that of Jim Hall, us

Canadians prefer to think of Jim as being the American Ed Bickert.
Though he may not be as well known as Wes or Pat Metheny, Bickert’s

recordings are legendary among fans of the genre, and definitely worth
checking out. In this section, you dig into Ed’s single note and chord
soloing vocabulary.
This expands your soloing chops, and expose you to one of Canada’s,
and the world’s, greatest jazz guitarists.
Ed Bickert Lick 1
In this first Ed Bickert lick, there are two chord subs, the Bebop scale,
and a b9 over the C7 chord, all in a three-bar phrase.
Typical of Bickert’s playing in general, there are chord subs being used
to create harmonic colors over the Gm7 chord.
Here, there’s a Dm7 used to outline the 5-b7-9-11 intervals over Gm7.
As well, there’s a Bbmaj7 over that same Gm7 chord, outlining the
intervals b3-5-b7-9.
From there, the triplet on beat 3 of the first bar uses the C bebop scale
to create tension and release at that moment in the line.
The last item to look out for is the b9 over the C7 chord, which creates
some more tension that’s then resolved into the Imaj7 chord in the last
bar.
Click to hear ed bickert lick 1
Ed Bickert Lick 2
The next Bickert lick is played over a turnaround progression in the key
of Bb.
There’s nothing overly complicated about this lick. But, the repeated
notes are characteristic of Ed’s playing, and are found in many of his
recorded solos.
Though repeating notes aren’t always the best choice, in the hands of a
player lick Ed; these notes become the best part of the line.
Ed Bickert Lick 3
No study of Ed Bickert’s playing would be complete without looking
into his chord soloing lines.
This turnaround chord lick uses some big stretches, which Ed loved to
use in his playing.
If you can’t make the stretches in the first and third chord shapes, you
can take out the lowest notes to make those shapes easier on your
hands.
Ed Bickert Lick 4
Here, you’ll be using one of Ed’s favorite chord approaches, open
strings.
Though they’re common in blues, rock, and pop, open strings are used
much less often in jazz guitar chords.
Ed is a player who enjoyed using open strings in his chord soloing and
comping, giving his harmony a distinct sound compared to many of his
peers.
As well, you see the Fmaj7 chord being used over the Dm7 chord,
which is a 3 to 9 rootless chord shape.
Ed Bickert Lick 5
To finish your study of Ed Bickert licks, here’s a chord line that uses a
number of subs that Ed loved to use in his solos.
The first bar contains a backcycling phrase, B7-E7-A7, which then

resolves to the D9 through the Eb9 chromatic approach chord.
Backcycling is when you play chords that are a V7 of the next chord in
the progression, or subs as is the case here.
• B7 is the V7 of E7
• E7 is the V7 of A7
• A7 is the V7 of D7, resolved through Eb9
As well, Eb9 is the tritone sub of A7, so there is a tritone sub used there
that leads A7 to D9 in the lick.
As you can see, just in the first 6 beats there are a lot of subs going on.
This is typical of Ed’s playing, and shows the command he had over
chord subs and modern jazz harmony.
Lenny Breau Licks

Though he had a troubled personal life, Lenny Breau has become
known as one of the most accomplished guitarists of the last century.
Developing a personal approach to the instrument, and taking

influences from pianists, classical, Indian, and Flamenco musicians,
Lenny’s style was all his own.
Beyond a personal style, Lenny helped to redefine how guitarists

played chords, chord melodies, and chord solos in a jazz context.
His use of piano-style comping techniques, and advanced fingerstyle

concepts, brought a heightened sense of harmonic control to his
playing.
Comfortable in a group, duo, and solo guitar setting, Lenny left this
world very young, but left us with a wealth of music to enjoy for years
to come.
Lenny Breau Lick 1

This first Lenny Breau lick is a simple idea, yet contains one of Lenny’s
favorite single-note techniques, descending 3rds.
You can see this technique used in the last half of the bar, where the
notes step down from beat 3 of bar 2, down to the last note, D.
As Lenny shows, working 3rds through scales is not only a great chops
builder, it provides inspiration for your solos as well.
Click to hear lenny breau lick 1
Lenny Breau Lick 2

As well as using 3rds in his solos, Lenny was a fan of triplet rhythms,
which you can see in this next Lenny Breau lick.
Here, you outline a short minor ii V I in C, using triplets on each beat of

the bar.
As well, look at the Ab-F-F#-G line that connects G7alt to Cm7. This is
a classic bebop line, and one you can extract and use in your playing in
similar, and other, musical situations.
Lenny Breau Lick 3

The next Lenny single-note lick uses double time, 16th notes, in the
classic Lenny style.
There is a repeated riff, first heard in bar 1, which is transposed to fit

the Em7-A7alt chords in bar 2.
Repeating riffs like this over descending chord progressions is
something that Lenny often used in his solos.
As well, there’s a healthy dose of bebop vocabulary in this line.
Though Lenny is known for his modern jazz, classical, and Flamenco
influences, he also possessed a strong command of the bebop language
in his playing.
Lenny Breau Lick 4

In this next lick, you see one of the concepts that makes Lenny’s
playing so unique and personal sounding, piano-style comping.
This line is built using 3rds and 7ths, or 3rd and 6th over Dmaj7, under a
moving melody line.
In a similar approach to pianists, Lenny used 3rds and 7ths as the low
notes for his chords, and used those guide tones to solidify the
harmony below his chord-soloing lines.
Though they’re just two notes, 3rds and 7ths are highly effective when
used in a chord line such as this.
If you’re new to Lenny’s chord soloing lines, go slow with this one.
It take time to get under your fingers. But.
Once you get it down, every Lenny style chord line will be much easier
to learn and apply after this initial lick.
Lenny Breau Lick 5

This final Lenny Breau lick uses 3rds and 7ths below a melody line,
though this time those notes are separated from the melody during the
phrase.
This type of comping between phrases makes one guitar sound like
two, and was a big reason that Lenny turned so many heads when he
first hit the scene.
Again, it’s difficult to get these shapes into your playing, so take your
time, use a metronome if needed, and built the tempo over time with
this lick.
Kenny Burrell Licks

Making a huge splash on the scene with his album Midnight Blue,
Kenny Burrell has been a staple of the jazz scene for over 50 years.
With a celebrated catalogue of recordings as both a sideman and

bandleader, Burrell has made a name for himself as one of the most
reliable jazz guitarists of his era.
Known for his bluesy playing, Burrell also possesses a deep knowledge
of bebop vocabulary, which you see in the licks below.
If you’re new to Burrell’s playing, check out his album Midnight Blue,
especially his tune “Chitlins Con Carne,” as both are a great introduction
to jazz guitar.
Kenny Burrell Lick 1

In this first Kenny Burrell lick, you dig into some essential Blues sounds
over an A7 chord. Kenny is known as one of the best blues jazz
guitarists, and for good reason.
Though this line is simple in its construction, the slippery, bluesy feel it
brings to your solos makes a big different when going for a jazzy sound
in your lines.
There are no slur markings in the lick, as each player is different in how
they choose to play these kinds of lines.
So, feel free to experiment with adding slides, hammers, and pull-offs
when learning this line on the fretboard.
Click to hear kenny burrell lick 1

Another sound that Burrell likes to explore in his solos is the Phrygian
dominant scale.
This scale is the 5th mode of the harmonic minor scale, and it’s used to
create a 7(b9,b13) sound over dominant chords in your solos.
Here, Phrygian dominant is being used to color the Dm7b5-G7alt

chords in the first bar of this short ii V I phrase.
When playing over ii V chords, you can play the ii, the V, or both. In this
case, you learn an example of a V chord being the focus of the ii V
progression.

In this Kenny Burrell lick, you look at a repeated pattern that is based
on the pedal tone C.
Played over a turnaround chord progression in F major, this line uses a

C as the 2nd note of every four-note group.
As well, there’s a G7 chord being used as a sub for the iim7 chord in bar
2.
When soloing over ii V chords, you can use II7 V7 instead as a common
jazz sub. This creates a V7/V to V7 progression, adding a bit more
tension to your line as you can hear in this phrase.

Here’s a classic Burrell style lick that mixes chords and single notes over
a C7 chord.
Moving between chords and lines is something that Burrell loves to do

in his solos, and it’s become a calling card of sorts in his career.
While other players use chords in their solos, Burrell’s use of them to
punctuate phrases, imitating a pianist, has a personal touch all it’s own.
After learning this line, put on a backing track and insert some chords
between your lines to take this concept further in your studies.

To finish your study of Kenny Burrell licks, you learn a double time line
over a ii V I progression.
Though Kenny is known for his melodic, bluesy lines, he’s also a got a
deep vocabulary of double time lines such as this one.
Check out the second bar, where there is a tritone sub being used over
the C7 chord.
Again, this is a staple of Kenny’s playing, as using the tritone sub is a

way to create tension over dominant chords such as this one.
Take your time with this lick, use a metronome, and build up speed as
you learn this double time Burrell line.
Charlie Christian Licks

There’s not much to say about Charlie Christian that hasn’t already
been said.
The father of jazz guitar, Christian revolutionized the genre with his
single-note solos and adaptation of horn lines onto the guitar.
With an endless stream of ideas flowing from his fingers, Christian’s

extended live solos have become legendary.
Though restricted by the technology of the time to shorter

explorations, his recorded solos also offer a deep look into the mind of
one of jazz’s greatest improvisers.
In this section, you dig into Charlie Christian single-note, double-time,

and chord lines as you delve into the playing style of the first jazz guitar
hero.
Charlie Christian Lick 1
In this C7 lick, you see Christian Christian’s use of blues notes and
triads to build a line.
Though triads are often passed over in jazz in favor of more colorful
arpeggios, they can go a long way in the right situation.
This lick is an example of how triads can be an effective soloing device,

even when played from the root of the underlying chord.
As well, there are two blues notes, the b3 (D#/Eb) and the b5 (F#) used
to create a bluesy feel over the C7 chord.
Click to hear charlie christian lick 1

Here’s a triplet based Charlie Christian lick over a ii V I in G major.
As well as featuring triplets, there is a chromatic passing note on the

first beat of the lick, Ab, connecting the A and G notes.
Lastly, check out the b9, Eb, used over the D7 chord in the second half
of the first bar.
Though he didn’t go too far outside the chord changes in his playing,
Christian often used tension notes over dominant chords to create
interest in his solos.
This lick is an example of how a carefully placed tension note can create
energy in a line, without having to overdo it with chromatic notes in the
solo.

One of the best parts of Charlie Christian’s soloing is his ability to
create memorable melody lines in his phrases.
Here’s an example of a melodic phrase that uses diatonic notes, but

sticks in the head of the listener after the solo.
When learning how to play jazz guitar, many players want to stretch
out and use a ton of modes, chromatic notes, and chord subs.
But, a well-constructed melodic line will often connect more with an

audience than a hip, outside line.
This is an example of that concept in action.

Though known more for his single-note solos, Christian could also
create engaging chord soloing lines in his playing.
Here’s an example of a Christian chord soloing line that uses approach
chords to build tension and release over an Em7 chord.
Each triad, C#m-F#m-Em, is approached by a triad one half-step above,

Dm-Gm-Fm.
Again, this is an example of how triads can be an effective soloing

device in a jazz setting.

The final Charlie Christian lick in this section is a double time line over a
ii V I in G major.
Again, though more known for his 8th-note phrases and melodic runs,
Christian could also let loose and play effective 16th-note phrases in his
solos.
Take your time when learning this lick, use a metronome, and slowly
build the tempo as you work it out in your studies.

Herb Ellis Licks
Known for his bluesy, fast-paced, and exciting jazz-guitar solos, Herb
Ellis has become known as one of the finest guitarists of his generation.
Having studied music at the University of North Texas, Ellis had a deep
understanding of harmony and melody that can be heard in his lines
and solos.
In this section, you study a number of characteristic Herb Ellis concepts

over a variety of chord progressions.
By studying his use of voice leading, double stops, triplets, chromatic

notes, and bluesy ideas, you bring a Herb Ellis vibe to your own solos.
Herb Ellis Licks 1

To begin, here’s a cool-sounding Herb Ellis ii V I lick in the key of Bb.
There is an F bebop scale being used to start the line, F-E-Eb, which is a
common sub over a iim7 chord.
As well, there are guide tones moving between the chords, b7-3, as you
play through the line. Guide tones allow you to move smoothly from
one chord to the next, as you can hear in this line.
Lastly, check out the F7alt sounds being used to create tension over F7.
This tension is then released over the Bbmaj7 chord in the next bar.
Click to hear herb ellis lick 1

Herb Ellis Licks 2
Herb not only played memorable single-line solos, but he also brought a
number of double-stop ideas into his playing.
In this C7 line, you see double stops used in the first half of the lick.
When playing double stops, you can use your pick, or pick and fingers
to play those notes. Sometimes something as simple as double stops
can be the difference between a line sounding predictable and a line
sounding fresh and hip.
Herb knew how to use double stops to bring a sense of hipness to his
lines.
Herb Ellis Licks 3

In this ii V I lick in G, there’s a G major bebop scale being used to create
tension at the end of the D7 and start of the Gmaj7 chord.
As well, there’s a b3 passing tone that creates a bluesy sound over the
Gmaj7 chord at the end of the line. Notice the triplets being used in this
line.
Herb used a number of triplets such as these in his solos, but he didn’t
chain triplets together as other players do.
Instead, he inserted them in the middle or beginning of lines to break

up 8th-note runs in his solos.
Herb Ellis Licks 4

Here, you learn a minor ii V I lick in the style of Herb Ellis.
Again, there’s a triplet in the second bar, using the same intervals as the
first lick in this section.
Using a triplet from the b9 to #9 to the b9 again is a characteristic

sound of Herb’s playing, as well as being a common bebop technique.
Though it’s a small idea, it’s worth exploring further in your playing as
countless jazz soloists use this sound in their playing.
Herb Ellis licks 5

In this double-time Herb Ellis lick, you see a number of characteristic
sounds over this two-bar lick.
There are passing tones (P.T.) in the first half of bar one, as well as
C7alt sounds used over the second half of that bar.
Notice the Caug triad used over C7alt. Players such as Herb and others
from his era would often use triads in situations such as this.
Though triads might seem simple compared to modes and larger

arpeggios, in the right hands they’re an effective soloing tool.
Lastly, there’s a voice-leading run that leads the C7, b7, to the Fmaj7, 3,
in a characteristic Herb Ellis fashion.
Tal Farlow Licks

Though his career was relatively short, he retired in 1958 to work as a
sign painter, Tal Farlow is considered one of the greatest jazz guitarists
to ever live.
Luckily for fans of his playing, Farlow did make a comeback later in his
life, but even with a short career span, his recorded output is rich with
material for you to study.
With huge hands, gaining him the nickname “Octopus,” Farlow was able
to play chords and single-note runs that other players couldn’t reach.
In this section, you study licks featuring large stretches, double-time

ideas, voice leading, and other characteristic elements found in Tal
Farlow’s solos.
Tal Farlow Licks 1

To begin, here’s a typical Tal Farlow ii V I lick that uses a wide range
and a few leaps in its construction.
Because Tal had large hands, many of his chords and single-note lines
contained wide stretches and big leaps.
This won’t be a problem for most people at a slow or medium tempo.
But, when playing this type of line at a fast clip, those stretches become
harder to navigate.
Take your time with this line and experiment with a few different
fingerings to see what works best for you.
Click to hear tal farlow licks 1
Tal Farlow Licks 2

The next Tal Farlow lick uses double stops to create a bluesy sound
over an Fmaj7 chord.
Tal loved to use double stops in his solos, especially blues-inspired runs
such as this.
You can use your pick and fingers, or pick if you mute non-played
strings, when playing double stops.
Notice the power chords, perfect 5ths, used at the end of the line.
Though you don’t use them much in jazz, players such as Ed Bickert, Tal
Farlow, and Johnny Smith explored perfect 5th intervals such as these in
their playing.
Tal Farlow Licks 3

Digging into a minor ii V I Tal Farlow lick, you see some rhythmic ideas
used to create interest in the second half of the line.
Though it may seem like a small idea, breaking up your lines with rests,
as you can see here, can make a big difference in the success of your
solos.
Make sure to play the rests in the second bar; don’t hold the notes,
actually stop them from ringing.
Often times, guitarists can be guilty of holding notes rather than

resting, as you don’t have to breathe like horn players do.
Playing the rests brings out the syncopated element of the line, making
it swing harder at the same time.

Tal Farlow Licks 4
Here’s a Tal Farlow double-time lick that you can use over a minor ii V I
chord progression.
Notice the melodic idea that starts the Am7 bar, which is characteristic
of Tal’s playing. As well, you’ll see the b6, F, used over Am7.
Though dorian and melodic minor are commonly used in jazz over m7
chords, Aeolian is also sometimes used, as you can see here.
Tal Farlow Licks 5

The final Tal Farlow lick is played over the first four bars of a Bb rhythm
changes.
There are a few large leaps in this line, in typical Farlow style.
As well, the C melodic minor scale is used to create some tension over
the Cm7 and F7 chords at the end of the line.
Using Melodic Minor from the iim7 chord in a ii V is a common bebop

technique, and one you should explore further in your studies.
Grant Green Licks

With a unique tone, bluesy sound, and strong bebop vocabulary, Grant
Green helped to define the Blue Note guitar sound in the 1960s.
As well, he was an innovator in the jazz funk genre as he moved into

that realm later in his career.
No matter what genre he was playing in, one thing was certain; Grant
would bring his best to each recording and jam session.
In this section, you learn a variety of major and minor ii V I Grant Green
licks in various keys.
Grant Green Lick 1

In this first Grant Green lick, you learn a short ii-V-I in the key of C.
There’s a triplet chromatic run at the start of the line, in typical Grant
style. As well, notice the B-D-F-Ab arpeggio, Bdim7, used as a 3 to 9
arpeggio over G7 in this key.
Though it’s a simple lick at first glance, it’s a repertoire of short, cool
sounding vocabulary that made Grant’s playing so effective in any
situation.
Click to hear grant green lick 1
Grant Green Lick 2

In this short ii-V-I Grant Green lick, there’s another triplet rhythm near
the start of the line, again a rhythm Grant liked to use to begin his licks.
From there, you have a blues line, including the #4 passing tone, to
finish the line over Cmaj7.
Adding in blues notes over maj7 chords, such as the F# over Cmaj7 in
this lick, is characteristic of Grant’s playing style.
It’s a small idea, but adding blues notes to maj7 chords brings a cool,
bluesy sound to your playing outside of the jazz blues form.
Grant Green Lick 3

Here’s a longer ii V I lick in the key of Bbmaj7 that uses a few altered
notes to create tension over the F7 chord.
This tension creates a bebop sound over the V7 chord, before being
resolved into the Bbmaj7 a bar later.
You can always add tension notes such as these over major key V7
chords; you just need to resolve them in the style of Grant’s line below.
Grant Green Lick 4

Grant was a master of melodic lines, as you’ve seen up to this point.
But, he was also highly skilled with weaving longer, 8th-note based runs
in his solos. Here’s a Grant Green ii V I that runs straight 8th notes, no
rests, with a few 16ths thrown in for good measure.
With a longer line such as this, use a metronome to make sure your
rhythms are even.
Then, slowly build up the tempo as you increase the speed with this
Grant Green bebop lick in your studies.
Grant Green Lick 5

The final Grant Green lick in this section is a longer ii V I in A minor.
There’s an interesting moment in the second bar, E7alt, where the
natural 9 is used to start the bar, but the b9 in used to finish the bar.
Though it’s over E7alt, the F# is part of an approach note pattern that
runs A-F#-G-G#.
So, think of that note as approaching G# rather than as a natural

9th over an altered chord, which wouldn’t be the best note choice in this
instance.
Jim Hall Licks

One of the most popular and well-loved jazz guitarists of his
generation, Jim Hall brought a cool, laid-back sensibility to the
instrument.
His playing was melodic, yet full of energy, and he was able to play in
solo, duo, combo, and large-ensembles with ease.
Apart from his personal tone, Jim’s playing had a sound all it’s own.
In this section, you study 5 Jim Hall licks that explore his use of scales,
blues notes, chords, and other melodic devices.
Jim Hall Lick 1

In this first Jim Hall guitar lick, you see the E altered scale being used
over the V7alt chord in a minor ii V I.
In typical Jim Hall fashion, the altered scale simply runs straight up from
the b7 to b7, though it sounds great over the chord progression.
With the right feel and attack, you can make even a straight scale
sound good in a line. Jim’s music is full of moments like this, simple
approaches that have big effects on the music.
Click to hear jim hall licks 1
Jim Hall Lick 2

One of the main reasons that Jim Hall’s music is so loved by fans is his
ability to create melodies on the fly in his solos.
Not only are they melodies, but they stick in your head and are
singable, even after the solo is over.
In this Jim Hall line, you play a memorable rhythmic and melodic lick
that outlines a ii V I in D major.
The only melodic device in the line is the b3, blues note, being used
over the Dmaj7 in the fourth bar.

Jim Hall Lick 3
As well as playing melodic lines, Jim was also able to create energy and
intensity in his solos with double-time lines.
Though he used them less often than some of his contemporaries, Jim’s
double-time lines were an effective part of his soloing repertoire.
In this phrase, you learn a diatonic line over a ii V I in G major, played all
in 16th notes.
Go slow with this lick, work it with a metronome, and build the tempo
up over time as you get this line under your fingers.
Jim Hall Lick 4

No study of Jim Hall’s playing would be complete without looking into
his chord work.
In this Jim Hall lick, you learn a short ii-V-I chord soloing line in C major.
The start of the line uses a G9sus chord over Dm7.
You can also think of this chord as Dm7/G, which is the same chord
shape you’d use to play Maiden Voyage by Herbie Hancock, just a
different key.
There is a G7alt chord creating tension over the G7 chord, which also
contains a triad pair, Eb-Db, leading to Cmaj7.
If you ever have a 7th chord, you can play major triads from the b5 and
#5 of that 7th chord to create an altered sound.
Jim Hall Lick 5

The final Jim Hall lick is a minor ii V I, mixing single notes and a chord
along the way.
In this lick, the E7alt is anticipated by two beats, as the G# signals that
chord half way through the first bar.
When soloing over chord changes, you create a sense of tension by

anticipating the next chord in your lines.
Then, when the next chord is played, it resolves that tension as the
chord catches up to your lines.
Jim used this technique to create interest in his solos, and it’s worth
checking out in your own playing.

Boogaloo Joe Jones Licks
One of the names that has come up time and again in my conversations
with players lately is Boogaloo Joe Jones, who was a fantastic jazz funk
guitarist.
With the ability to take a few memorable ideas and stretch them out
into whole solos, Boogaloo was a master of grabbing the listener’s ear
and holding on to their attention.
In this section, you learn five licks inspired by the playing of Boogaloo
Joe Jones that you can learn, practice, and apply to your own jazz guitar
solos.
Boogaloo Joe Jones Lick 1

Fans of Pat Martino will be familiar with this pattern, as this and similar
licks are also found in many of Pat’s solos.
The line is built by playing the Blues note, B, leading into the 5th and
b7th of the underlying chord, F7, creating a bluesy, repetitive lick that
you can use to build energy.
Feel free to repeat this lick for more than 2 bars, as Boogaloo and Pat
both do, in order to create longer spans of energy in your lines.
Click to hear boogaloo joe jones licks 1

Here’s another typical Boogaloo Joe Jones lick that you can hear in
many of his solos.
The lick is based on the F triad, F-A-C, with notes from the F minor
blues scale added in, G#(Ab)-A#(Bb)-B, to create a chromatic vibe.
You can repeat this lick again and again, adding in slight alterations to
the rhythm and adding more notes at the start and end of this lick to
play it in a similar style to Boogaloo.

The next Boogaloo Joe Jones lick is based on the F minor pentatonic
scale, and used over an F7 chord to create a bluesy feel as the Ab acts
as the blues note over that chord.
Play with this lick as you bring it into your soloing by altering the
rhythms of the Ab-C double stop.
As well, bring in more notes below that double stop in order to carry
that Boogaloo vibe into your solos with this lick.

Here’s a funky, A minor blues scale lick that can be applied to any chord
that holds the minor Blues scale, so A7, Am7, Amaj7, etc., making it a
very versatile lick.
This lick is also great to have in your vocabulary because it works at a

slow tempo, for that sultry, blues feel, as well as in faster tunes, where
it would bring a funky groove to your lines.

The final Boogaloo Joe Jones lick is a minor pentatonic scale pattern
that uses a mixed 16th and 8th-note rhythm.
Since this lick uses the minor pentatonic scale, you can use it over Am7,
A7, Amaj7, or an A blues, any place where you would normally apply an
A minor pentatonic scale to your solos.

Barney Kessel Licks
Born in Oklahoma, Barney Kessel became known as one of the top
studio guitarists of his generation.
Besides recording with top jazz musicians, as well as leading bands of

his own, he played on classic recordings with the Monkees, The Beach
Boys, and others.
As a member of the famous “Wrecking Crew,” Kessel helped shape the

L.A. studio scene in the 1960s. From a jazz perspective, Kessel’s playing
is energetic, full of bebop vocabulary, and possess a unique tone and
attack.
All of these make Barney one of the most prominent and well-loved
guitarists of his generation.
Barney Kessel Lick 1

The first Barney Kessel lick is a G7 line that uses a Dm9 arpeggio as the
focus on the phrase.
This approach is called the “minor conversion” concept.
It sounds tricky, but essentially if you have a V7 chord, you play the
iim7 chord from the same key instead.
In this case, G7 is the V7 of C major, and Dm7 is the iim7 in that same
key.
Kessel then uses the Dm9 sound to create a minor quality in this 7th-
chord lick. Click to hear barney kessel lick 1
In another dominant Barney Kessel lick, you see enclosures, Dm9,
bebop, and blues notes used in a four-bar phrase.
The use of the G bebop scale in this instance creates tension in the
third bar of the line.
That tension is then resolved in the fourth bar, with a blues note,
A#(Bb) thrown in for good measure.
Click to hear barney kessel lick 2

Here, you see previous Kessel concepts applied to a ii V I chord
progression in C major.
There’s an enclosure at the start of the line, followed by Dm7 being

used as a minor conversion over G7.
Though this isn’t the most tense line, it does create a warm, G7sus
sound over G7, which helps bring interest to the ii V I progression.

Here’s a classic Barney Kessel lick with a bluesy line outlining the E7 in
bar two.
The E7 phrase comes from the underlying parent key of A major. Here,
there is a C and D#, both blues notes, followed by the C#,D, and E
notes, all in the key of A major.
From there, the line ends with an Amaj7 arpeggio, G#-A-C#-A-C#.
Using tonic blues lines like this is a great way to create interest over a ii
V I progression.

In the last Barney Kessel lick, you’ll learn a longer, 8th-note based ii V I in
the key of D major.
In this line, a C#dim7 is used to create a 3 to b9 arpeggio over A7, a

common jazz sub over 7th chords. A
s well, there’s a mixture of ascending and descending lines, as well as

leaps and steps in this lick.
Mixing leaps and steps, as well as changing direction, is something

Kessel used to create interest in his improvised solos.
Pat Martino Licks

Known for his blistering lines, high-energy solos, and inventive
approach to modern bebop guitar, Pat Martino is one of the biggest
names in the history of the genre.
Born Pat Azzara, Martino moved to New York at the tender age of 15,
and quickly took the scene by storm.
Mid way through his career, Martino had an operation to remove a

brain tumor, causing him to have to relearn to play guitar from scratch.
Not only did Martino rise to the top of the jazz guitar world once, but
he did it twice in his lifetime.
Not an easy feat for anyone to achieve.
In this section, you learn five classic Pat Martino licks that dig into the
soloing concept of one the greatest jazz guitarists of all time.
Pat Martino Lick 1

This first Pat Martino lick uses bluesy double stops from the F major
blues scale over an F7 chord.
Although not in the notation, to make it easier to read, you can play the
A in the double stop as an Ab, 9th fret rather than 10th, then bend that
note up to A from there.
You can also play the A and C as is, then “push” them up about a
quarter-tone or less to bring a bit of that Martino “growl” into your
blues lines.
Click to hear pat martino lick 1
Pat Martino Lick 2

Here’s a short, ii V I lick in D minor that uses the A Phrygian dominant
scale over the first bar of the line.
As well, there’s a characteristic triplet line that runs from the b3 to 4,

through the 3, in bar 2.
This triplet can be picked, or slurred, depending on how slippery you

want that part of the phrase to sound.
Pat Martino Lick 3

No study of Pat Martino’s playing style would be complete without
looking at a repeated lick.
This line uses the blues note, b3, leading into the 3rd and then the root
of the underlying key of C major.
Though this line is played over a four-bar phrase, to get the Martino
style under your fingers, you can repeat the three-note pattern as long
as you want.
If you listen to Martino regularly, you hear examples of him using this
pattern for whole choruses, especially in live situations.
Pat Martino Lick 4

Here’s a double time Pat Martino lick that you can learn and use over a
short ii V I chord progression.
When doing so, you can pick every note in a typical Pat Martino
double-time style.
Or, if you want to add your own flavor to the line, feel free to use slurs
when appropriate.
Notice the G augmented triad used to outline a G7#5 sound over the
second half of the first bar.
Triads are a great way to bring out 7alt sounds in a line such as this one.
Lastly, there are two Bb’s over the Dm7 chord that create a bit of
tension, hinting at D Aeolian, in that section.
Pat Martino Lick 5

In this long Pat Martino lick, you’ll be using a typical descending-
ascending Martino line to outline a turnaround chord progression.
Sliding into the first note, G, will give you a characteristic Martino
sound at the start of the line.
As well, notice the Edim7 arpeggio in the last four notes of the line,
outlining a 3 to b9 over C7b9.
Pat Metheny Licks

There are few players on any instrument who’ve have as prolific careers
as Pat Metheny.
With a huge catalogue of recordings, and hundreds of original songs,

the word Metheny is often synonymous with jazz for many listeners.
While many fans know him from his writing and playing with the Pat
Metheny Group, Pat’s small-group recordings are some of the best in
the jazz idiom.
In this section, you learn five classic Pat Metheny licks that explore his
outside, energetic, and highly creative approach to jazz improvisation.
Pat Metheny Lick 1

The first Pat Metheny lick uses a sidestepping approach to creating
tension over a C7 chord.
By playing B7 in the second bar, Pat is creating tension over that line,
which is then resolved to the third measure.
When soloing over changes, you can play a chord one half step below
or above the chord you’re on to create tension.
You just have to be sure to resolve that tension by bringing your line
back to the underlying chord changes.
Click to hear pat metheny lick 1
Pat Metheny Lick 2

One of the concepts that Metheny uses often in his solos are triads.
In this lick, you see Ab and Eb triads used to create tension over the ii V
chords.
From there, there’s a Dm triad used as a resolution point over the Ima7
chord.
Experimenting with non-diatonic triads such as these will help bring a
Metheny, and modern jazz, vibe to your solos.
Pat Metheny Lick 3

In this Pat Metheny ii V I lick, you’ll see chromatic 3rds being used to
create tension over the ii V, that is resolved in the second bar.
As well, there’s an Ab triad that steps outside over the Cmaj7 chord,
before resolving to the 9th at the end of the line.
Pat loves to use descending chromatic 3rds in his solos, and it’s a
technique you can use to bring a Metheny vibe to your lines.
Pat Metheny Lick 4

One of the ways that Metheny creates energy and forward motion in
his solos is with repeated melodic patterns.
In this double time lick, you use a repeated melodic pattern to move up
and down the neck chromatically.
After creating a large amount of tension, you resolve to the tonic chord
at the end of the phrase.
Pat Metheny Lick 5

Apart from melodic devices, one of the items that Metheny uses is
picking patterns to create interest in his lines.
In this Pat Metheny lick, you use a slurred-picked pattern that creates a
fluid, slippery sound over a ii V progression.
If you enjoy this picking pattern, take it out of this lick and apply it to
any scales you’re working on to inject it further into your playing.
Wes Montgomery Licks

There’s not much to say about Wes Montgomery that hasn’t already
been said.
The man was a genius of jazz guitar, one of the most influential
musicians of his generation, and someone who changed the face of jazz
forever.
His ability to create seemingly endless streams of energetic,

sophisticated lines, then turn on a dime and nail a blues run, made him
fun and enjoyable for all jazz fans to listen to.
As well, his use of a three tiered approach to soloing, single notes-

octaves-chords, was unique at the time, making him stand out against
his peers.
In this section, you study single note, octave, and chord soloing lines
from the deep catalogue of Wes’ recordings.
Wes Montgomery Lick 1

The first Wes Montgomery lick is built by applying the G blues scale to
a G7 chord.
You can hear how Wes “jazzes” up this blues lick by using slides, a
repetitive approach to melody and a slight variation on the highest note
of each section to make the scale firmly sound like jazz.
Wes had a strong command of the blues, and it’s something that all
great jazz improvisers explore in their playing.
Click to hear Wes Montgomery Licks 1

As well as using the minor blues scale to create bluesy-sounding lines,
Wes also used the major blues scale to his lines.
Here’s an example of the major blues scale over a ii V I progression in
the key of F major.
By sliding from the b3 to the 3 in this line, you can maintain a major
sounding phrase, while adding a bit of blues at the same time.
This approach is something Wes was very fond of in his soloing ideas.
Click to hear Wes Montgomery Lick 2

The next approach you look at is applying blues notes to arpeggios.
In this example, you can hear how the major third, B, is then replaced
by the blues note Bb in bar 2.
Later, the two are combined, Bb-B, as you mix in this note to a G7
arpeggio phrase.
Adding blues notes to arpeggios is a great way to bring a blues feel to

your phrases in the style of Wes Montgomery.
You also directly outline the chord changes at the same time.
Click to hear Wes Montgomery Lick 3

Here’s an example of a Charlie Parker lick, marked lick in the music, that
Wes often used in his own solos.
Even though he was one of the greatest improvisers in jazz history,

Wes still studied other great players to build his vocabulary.
This is a lesson we can all learn from in the practice room.
Click to hear Wes Montgomery Licks 4

No study of Wes’ soloing concepts would be complete without looking
at a few octave licks.
In this first octave lick, there’s a lot of space that break up the line into
smaller chunks, as opposed to the straight 8th-notes that
are characteristic of Wes’ single-note lines.
By breaking longer lines up into smaller groups, Wes was able to keep
the listener guessing as to what was coming next in his octave solos.
When first attempting to solo in a Wes octave style, leave as much

space as possible in order to give yourself time to hear the next line in
your solo.
This also eases you into the technical side of playing octaves on the
guitar at the same time.
Click to hear Wes Montgomery Licks 5.

In this ii V I Wes octave lick, there’s a blues scale in the last bar which is
idiomatic of Wes Montgomery’s approach to soloing
Though he used chord substitution, chromatic notes, bebop phrases

and other advanced concepts in his playing, one constant was the blues
scale.
If you’re new to octaves, starting with the blues scale is a great way to
get these ideas under your fingers.
This sets you up to explore more complex octave phrases that use
arpeggios and longer scales.
Though it’s just a descending blues scale, the use of the bluesy notes at
the end of this phrase gives the lick a Wes flavor that brings the
diatonic nature of the first half of the lick to a close.

The last of the ii V I Wes octave licks focuses on a rhythmic motive
that’s run through the diatonic key of the ii V I, G major.
Wes was a big fan of playing rhythmic motives, and often applied
them to his chord soloing, single note, and octave soloing phrases.
As learning jazz guitar rhythms is an essential skill for any player to

develop, make up your own rhythmic motives such as this and
improvise with them over a tune.
Being able to solo with a rhythmic idea underneath you melodic and
harmonic ideas is a great way to connect your lines over longer sections
of an improvised solo.

After working out single-note and octave licks, you’re ready to study
Wes Montgomery chord lines.
In this first ii V I line, there are three secondary dominant chords being
used that lead you to the next chord in the progression.
The first, B7b9, leads you to Em7.
The second, E7b9, leads you to A7.
Then, the third, A7b9, leads you to Dmaj7.
Wes loved to use 7b9 chords this way, in the shape of dim7 chords, to
create tension and resolution in his chord lines.
Click to hear wes montgomery lick 8

The next line uses a diatonic sub, C#m7 over Bm7, as well as an E7b9
sub that creates tension over the line in the first bar.
When chord soloing, you can use shapes from the underlying key, such
as the C#m7 from the key of A major in this lick.
This is a great way to bring color to your lines, without having to reach
for more complex chord subs in your phrases.

There are two secondary dominant chords in this last Wes Montgomery
chord lick, C7b9 to Fm7, and G7b9 to Cm7.
As well, there’s an Am7b5 being used to outline a Cm6 chord sound

over Cm7.
That same Am7b5 is also the 3 to 9 chord for F7, as it plays double duty
in the Wes ii V sequence.
Joe Pass Licks

Joe Pass was a master of every aspect of jazz guitar playing, including
solo guitar, duo guitar with vocals, chord soloing, single-line playing,
and of course chord melody.
When learning how to solo as a jazz guitarist, there are few players that
you can study who have more command of the bebop vocabulary than
Joe Pass.
In this section, you study two sides of Joe’s playing, single-note lines
and chord soloing lines.
The chord soloing lines can be used to play in a solo, duo, or combo
setting, so feel free to experiment with them in different musical
situations.
Though Joe’s playing can sound like it’s too difficult to study, by
breaking down his ideas into smaller chunks, you can learn the building
blocks and soloing concepts of this great player.
Joe Pass Licks 1

This first lick inspired by Joe Pass’ soloing concepts, features three
tension notes over the V7 and Imaj7 chord in the phrase.
Notice the b9 and #9 notes used to create tension over the V7 chord.
As well, there’s a #11 tension note over Cmaj7, which implies a Lydian
sound over that chord.
Joe Pass was a master of integrating tension notes into his lines, as well
as resolving those notes properly.
So, lines such as this are a great way to introduce that Joe Pass
“tension-resolution” sound into your own playing.
Click to hear Joe Pass Licks 1
Joe Pass Licks 2

Another concept that Joe loved to use in his lines is applying a tritone
sub to the V7 chord.
In this phrase, you can see a Db7#11 chord being used as a tritone sub
over the V7 chord, before resolving that tension to the Imaj7 chord.
After you learn this lick, put on a ii-V-I backing track, and replace the
V7 with a bII7#11 line in order to take this concept into your own
solos.

Joe Pass Licks 3
The next phrase begins with a 16th-note run, typical of Joe’s arpeggio
lines, and includes two important bebop concepts.
There’s an enclosure at the end of the second bar, fret above-fret

below-target note.
The second concept is a typical bebop scale pattern that you can use
from the 2nd note of any major scale, in this case using the notes D-C-B-
C.
Because of how the major scale is built, you can also play this pattern
from the 5th or 9th of the major scale.
Sometimes you don’t need to add chromatic notes to bring a jazzy

sound to your solos.
A well-placed diatonic pattern can go a long way when used at the right
moment in your lines.
Joe Pass Licks 4

One of the most engaging section of Joe’s single-note solos was his use
of double-time phrases to create energy.
In this ii V I line, you use 16th-notes to outline each chord as you run
up and then down the fretboard.
There is also a triplet over the Em7 chord, which might take some time
to work out in your studies.
Go slow, use a metronome, and build up the tempo from there when
learning this lick on guitar.
Click to hear Joe Pass Lick 4
Joe Pass Licks 5

To finish your study of Joe Pass’ single note licks, here’s a minor ii V I in
the key of A minor.
In typical Joe Pass fashion, the line starts with a triplet from the 4-b5-4
of the iim7b5 chord.
From there, the altered scale is used to outline the E7alt chord in bar
two.
Then, the line resolves to the Im7 chord, with an Am6/9 sound in that
section of the lick.
Joe Pass Licks 6

You’re now going to study one of the most popular sides of Joe’s
playing, chord soloing.
This first Joe Pass chord lick features a descending iim7 line that
resolves to the V7 chord.
In typical fashion, Joe uses a Bb7 to create a half-step resolution to the

A7 chord, adding in the tension that his playing is known for.
The first three chords have some leaps between them, so take it slow
when first learning this line.
Make sure that it sounds smooth, and that each chord is connected to
the next without any “hiccups” in between.

Joe Pass Licks 7
Here’s a classic Joe Pass chord lick to study in your practice routine.
The phrase in the first half of the first bar is quintessential Joe, and one
that he used a lot in his chord solos.
It’s an idea that fits well into the larger scheme of this phrase, and is
also worth extracting and learning in other contexts.
A note about the fingering of the first Gm7 voicing that occurs on the
second beat of the first bar.
Many guitarists like to play that chord with four fingers, 1-4-2-3, but
it’s much easier, with some practice, to play this idea with only three
fingers, 1-3-2-2.
Baring with the second finger is tricky, and takes some practice to get
down, but is worth it in the long run.
From there, the first bar is repeated up 3 frets, creating tension over
the V7 chord, before resolving down to the Fmaj7 chord at the end of
the line.
Joe Pass Licks 8

This phrase is very typical of Joe’s chord soloing.
It features an ascending group of three-note chords on the iim7, shapes

that can be found in just about every Joe Pass chord solo.
These chords then resolve with a descending chromatic melody line on
the V7, leading to the Imaj7 chord in bar two.
The chords in the first two beats are pairs of triads, Bb and C, which is a
common sound that is found in a lot of famous players’ solos.
As well, the first C7 voicing is a C13 with no root, voiced as an Em11b5

chord.
This is also a sub that Joe and many other players like to use in their
comping and chord soloing.
Joe Pass Licks 9

Another classic Joe Pass chord sound is double-stops.
This run is built off of a series of 6ths running down a C9 arpeggio.

Here’s where Joe differs from a lot of other jazz guitarists when it
comes to double-stops.
Normally, cats would run up or down a scale using double-stops,

normally 3rds or 6ths.
But, in Joe’s case, he likes to also run down arpeggios using two-note
harmonizations.
This line is tricky to get down, especially at a quick speed.
But, once you have it under your fingers, it adds a nice touch to your
dominant chords, especially in the context of a bluesy phrase.
Joe Pass Licks 10

Though the first five licks in this section were fairly diatonic, Joe loved
to use chromaticism in his chord solos.
This progression is a ii-V-I from a Blues in Bb, though once you play the
first chord you realize that he’s using a sub over the Cm7, in this case a
C7. The C7 functions as a V7/V7, and is a favorite for many great jazz
guitarists.
As well, in the second bar Joe switches to a Cm7 chord for the first two
chords, then jumps to a Gb7 from a Gm7, which resolves to an F7,
before finally making his way to the Bb7 chord in bar three.
This type of chromatic approach, moving from Cm7-Gm7-Gb7-F7, is

something Joe used a lot and is an essential sound for any jazz guitarist
who is looking to dig deeper into Joe’s playing.

Jimmy Raney Licks
Jimmy Raney is a bebop guitar legend, and a true master of bebop style
soloing on the guitar.
Because of his mastery of the genre, he is a vast resource for study

when working on developing your jazz guitar soloing chops, and
especially bebop vocabulary.
Having replaced Tal Farlow in the Red Norvo group, Jimmy went on to
become on of the most influential jazz guitarists of his generation.
Though he suffered from a condition that caused him to gradually

become almost deaf in both ears, that didn’t stop him from playing for
his entire life.
In this section, you learn five Jimmy Raney licks that dig into
enclosures, octave displacement, modes, and other characteristic Jimmy
Raney sounds.
Jimmy Raney Lick 1

The first phrase is a 3-bar ii-V-I progression in the key of D major,
which features a couple of classic bebop techniques.
In bar one, notice the D#, which is the maj7 over Em7.
Using the maj7 against a m7 chord to create tension, is a bebop

technique that Jimmy used in his lines.
The second item to notice is the Phrygian dominant scale in bar two.
The Phrygian dominant scale is used to bring a b9 tension note to the

V7 chord in this lick.
Click to hear Jimmy Raney Licks 1
Jimmy Raney Lick 2

The second phrase is a fairly straightforward short, two bar, ii-V-I
progression in the key of G major.
This is a solid phrase to learn when working on outlining short ii-V-I’s,

where the chords move by quickly and where it’s hard to simply run
scales or arpeggios over the changes.
Apart from the diatonic scale, G major, being used, there’s a classic
bebop phrase at the end of the first bar.
This lick leads into bar two, E-G-E-F-F#, and you can practice it further
as you bring this bebop phrase into your solos.
Jimmy Raney Lick 3

In this short, minor ii-V-I phrase in the key of Gm, you see voice-
leading used to outline the first two chords in the progression.
The voice leading here uses the b7 of Am7b5 to move to the 3rd of
D7alt, G-F#.
As well, there’s an octave skip from F#-F# in bar 2. When soloing over
ii-V progressions, highlighting the movement from the b7 of the ii chord
to the 3rd of the V7 chord is a great way to sound the changes in your
lines.
As well, octave displacement, is something that you can use to “reset”

your line, so that you can continue your thought without running out of
room on the neck in one direction.
Jimmy Raney Lick 4

Here’s a four-bar Jimmy Raney maj7 lick that you can use to spice up
your longer Imaj7 ideas.
You can also break this lick apart to create smaller lines from each bar
in this phrase and apply them to shorter, 1-2 bar, maj7 chords.
Notice in bar three that there are two passing notes, the F and Eb,
creating a long, chromatic phrase from the maj7, F#, to the 5th, D, over
the chord. Otherwise, this lick uses only notes from the major scale.
Jimmy Raney Lick 5

In this final Jimmy Raney lick, you notice an octave displacement at the
start of the phrase, followed by an enclosure in bar two.
Enclosures have various variations, but in this lick it is built by playing

one fret above, then one fret below, then your target note, in this case
the root note, E, of the V7 chord.
In order to get a Jimmy Raney vibe in your solos, working on octave

displacement is a good step in that direction, as you have seen it used
twice in these five sample licks.
Emily Remler Licks

Though she left this world too early, Emily Remler became known as
one of the top jazz guitarists of her generation during her lifetime.
With a strong influence from Wes Montgomery in her soloing, Remler
put her own personal stamp on the Wes sound as she developed as a
player.
Remler’s soloing was energetic, possessed a strong sense of swing, and

was chalk full of bebop vocabulary.
In this section, you study the soloing concepts of one of jazz’s greatest
bebop players, Emily Remler.
Emily Remler Licks 1

In this first Emily Remler lick, you learn a typical ii V I phrase in the key
of G major.
Notice the first four notes, G-B-A#-B. This leap down, then a lower-
neighbour note, is a classic bebop technique.
It can be heard in the playing of Wes Montgomery, and of course in

Emily’s playing.
You can leap down to various intervals, but in this case you’re outlining
the tonic chord, Gmaj7.
The A# is a blues note, Bb, creating a Bluesy sound over the ii V I .
Click to hear emily remler licks 1

Moving into a minor ii V I lick, here’s a phrase that uses the A minor
pentatonic scale to outline the iim7b5 chord.
The A7alt chord features typical altered 9th intervals that then resolve
down to the Dm7 chord.
This phrase over A7alt is a very traditional bebop line that you can take
out of this lick and add to other areas of your jazz soloing.

Here’s a rhythmic based line that is typical of Remler’s soloing
approach.
There are a few chord subs being used, diatonic arpeggios and triads, as
well in this phrase.
Mostly, the line is based on the triplet and 8th-note pattern that you can
hear in bars two and three of the lick.
Though she had incredible chops, Remler always maintained a sense of

rhythmic focus and melodic development in her solos.

This arpeggio line is typical of Remler’s playing, but also that of
saxophonist John Coltrane.
Using a triplet rhythm, this pattern climbs up the Em7 arpeggio before
you resolve with a blues lick in the third bar.
Again, you can often create interest with a diatonic pattern such as this
one, not needed to step outside to be creative in your solos.
If you enjoy this pattern, use it to practice any arpeggios you are
learning in the woodshed.

To finish, here’s a double-time lick in a typical Emily Remler style.
There’s not a lot of melodic material that you haven’t seen in other lines
in this lesson, but the line still has a characteristic Remler sound.
This is a big lesson to learn.
Even if you’re using material that other’s have played, you can still bring
a unique and personal touch to that traditional material.
Adam Rogers Licks

Adam Rogers is one a standout guitarist that has a very modern sound,
but also a foothold in the jazz tradition at the same time.
Because of his understanding of both traditional and modern jazz

harmony, Adam is a great player to study when working on jazz guitar
improvisation techniques.
Known for his work with Michael Brecker and Chris Potter, Adam has
also released memorable albums of his own as a bandleader.
The Adam Rogers licks below help you understand the concepts that
Adam uses in his playing, exploring modern jazz techniques at the same
time.
Adam Rogers ii V I Licks 1

In this first line, a short ii V I in F major, you can see one of Adam’s
favourite modal colors, the 7alt Chord.
In this case, it’s being used to outline the Gm7-C7, focussing on the
half-step resolution between Ab-G, E-Eb, Db-C and Bb-A in that
section.
When put together, these notes add up to the 3rd Mode of

the harmonic major scale.
If that’s a bit advanced for you at this point in your development, think
of it as moving down by half-steps to chord tones, both diatonic like the
5th (G) and root (C), or altered notes such as the #9 (Eb).
Playing the 7alt sound over both the ii and V is a great way to simplify
your thought process, while outlining the underlying key center at the
same time.
Click to hear Adam Rogers Licks 1.
Adam Rogers Licks 2

In this long Adam Rogers ii V I lick, the interesting bit involves the
chords being outlined over C7 in the second measure.
A big fan of interesting chord subs and superimpositions, Adam’s

playing is full of these types of lines, where one chord is used to create
new colors over the given harmony.
By playing Abmaj7 over C7, the line outlines the intervals b13-R-#9-5,
or two diatonic notes and two notes from the 7alt sound.
As well, the D7 chord that is superimposed over the second half of that
bar helps to bring a Lydian dominant scale sound, 7#11, to the line.
Playing a 7th arpeggio from the 2nd note of a chord, such as D7 over C7,
is a great way to bring that 7#11 sound into your lines without playing
a scale-based idea.
Adam Rogers Licks 3

The next Adam Rogers inspired ii V I lick you’ll look at involves a cool
sub over the Gm7, iim7, chord in the first bar of the phrase.
Here, there’s a typical sub being used to create tension over Gm7 that
then resolves to the C7 chord in the next bar.
Playing bVI7 V7 Imaj7 instead of iim7 V7 Imaj7 is a great way to bring

tension to your ii V I lines, while properly resolving these tensions at
the same time.

Adam Rogers Licks 4
Adam possess incredible technique, which is showcased in his double-
time licks.
Here’s an example of a double-time Adam Rogers lick that uses a few

chord subs over the iim7 chord.
Here, there are A7 and Eb7 chords used to create tension over the
Am7 chord. That tension then resolves into the D7 chord at the end of
the phrase.
Click to hear adam rogers licks 4
Adam Rogers Licks 5

As well as playing outside sounds, Adam is also a master at creating
simple, melodic phrases.
These phrases add contrast to his more outside sounds, adding context
to the inside and outside sections of his solos.
Here’s a typical Adam Rogers melodic line, built from a G major

pentatonic scale.
If you’re always playing outside, then outside will eventually become

normal.
Using melodic, inside lines such as these will help keep your outside
lines sounding outside.
Click to hear adam rogers licks 5
Kurt Rosenwinkel Licks

Probably the biggest name in modern jazz guitar, Kurt Rosenwinkel has
become a living legend on the instrument in the past 20 years.
With a mixture of standards and original compositions, Kurt has

covered a lot of ground during his recording career.
Having developed an original sound and discovered new

improvisational tools in his playing, Kurt’s solos are instantly
recognizable as his own.
In this section, you study five licks that showcase the different
concepts that Kurt likes to use in his jazz guitar solos.
Kurt Rosenwinkel Licks 1

In this first Kurt Rosenwinkel lick, you see how Kurt uses triads and
triad pairs to create tension and release over a moving chord
progression.
Notice the first and third bars. Here, there are major triads from the b5
and #5 of the underlying dominant chord.
When playing over 7th chords, you can create an altered scale sound by
playing major triads from the b5 and #5 of that chord.
Though triads sometimes seem elementary, they are used to outline

changes by both modern and traditional jazz guitarists in their solos.
Click to hear kurt rosenwinkel licks 1

Another way that Kurt uses triads in his solos is applying diatonic triads
with a rhythmic pattern over chord progressions.
You can see an example of this in the following lick, over a Bm7 chord.
This lick uses diatonic triads from the B melodic minor scale.
As the triads climb up the neck, they repeat a rhythmic pattern that
Kurt loves to use in his playing, and that Bill Evans also applied to his
piano solos.

One of Kurt’s favorite ways to create intensity in his lines is to run a lick
across a wide range of the fretboard.
In this ii V I line, you see how Kurt would stretch across all six strings,
and from the 7th to the 17th fret, covering 10th frets in three bars.
Watch the fingerings on this lick, there are a number that you can use,
experiment and find the one that works best for you.

In this double-time Kurt Rosenwinkel lick, you see a typical scale-based
line over an Em7 chord. Notice that the Aeolian mode is used over this
chord.
Though Dorian is often the go to choice for many jazz guitarists over
m7 chord, Kurt experiments with Dorian, Aeolian, melodic minor, and
more when soloing over minor chords.
Go slow with this lick, and as always use a metronome as you build up
the speed with this scale pattern.

Apart from being an accomplished single-note player, Kurt also uses a
lot of chords in his solos.
In this Kurt Rosenwinkel lick, you see how Kurt would use chords to
break up his single-note lines.
With this approach, you’re creating a two-hands of a piano approach to

soloing.
This is where you play single notes, right hand, then play chords, left
hand, on the guitar.
John Scofield Licks

One of the most famous jazz guitarists of any generation, John Scofield
has become known for his unique approach to jazz funk guitar.
Though his jazz funk and fusion playing is well known, Sco also has
recorded a number of classic bebop influenced tunes and records.
It’s this variety in his playing; from traditional to ultra modern and
everything in between, that makes Scofield a fan favorite on today’s
scene.
In this section, you study a number of characteristic Scofield soloing

concepts over common chord progressions.
John Scofield Licks 1

This first John Scofield lick uses a Lydian dominant scale to outline an
Ab7 chord.
As Sco plays over a lot of vamp chord progressions, using concepts

such as 7#11 scales is a great way to create interest over a static chord.
Though it’s not the most outside line, getting a few Lydian dominant
licks under your fingers help you expand your vocabulary over
7th chords.
Click to hear john scofield licks 1

Moving on, here’s an example of the Lydian scale being used to color a
Cmaj7 chord with a Cmaj7#11 sound.
As well, there’s a characteristic blues note in bar one, and an idiomatic

bebop pattern in bar two.
Though Sco is known for his modern jazz and jazz funk playing, he also
possesses a strong bebop vocabulary in his solos.

In this John Scofield lick, you learn a long, diatonic run over a Dm7
chord.
Using only the Dorian scale, this line can be played at medium to fast
songs with 8th notes.
Or, if you want to use it over slower tempos, you can play it as a
double-time lick, changing the 8th notes to 16th notes in the process.

Apart from being a great vamp player, Scofield can outline ii V I’s with
the best of them.
In this line, you see a G7 chord being used as a sub over the iim7 chord,
Gm7.
This is a secondary dominant chord, as it functions as the V7/V7 in this

progression.
There’s also a #5 interval, D#, used to color the G7 sub, and a C7alt
sound in the second half of the second bar.
Using tension notes such as these is one way Scofield creates interest
in his ii V I lines and solos.

In this final John Scofield lick, you see a Lydian dominant sound being
applied to a double-time C7 line.
As well as using the #11 interval, this line features the b3 blues note.
Scofield is often thought of a melodic player, but he also has a ton of

chops at his disposal.
Having chops and using them sparingly is something that makes

Scofield one of the best in the business.
Johnny Smith Licks

Not as well known as some of his more famous contemporaries, Johnny
Smith is one of the most accomplished guitarists of the 20th century.
From his work in the jazz world, to arranging for NBC, to debuting
classical pieces with some of the top musicians in New York, Johnny
build a formidable career at a young age.
Though he left New York for a quieter life in Colorado at the peak of
his career, Johnny’s music continued to inspire generations of players
that came after him.
In this section, you learn five classic Johnny Smith licks and the
concepts he preferred to use in his improvised solos.
Johnny Smith Licks 1
In this first Johnny Smith lick, you’ll see the A7alt chord being used to
outline the ii-V chords in a D minor ii V I chord progression.
When soloing over ii V changes, you can play the ii for both chords, the
V for both chords, or outline both chords in your solos.
One of the choices that Johnny Smith liked to make was using the V7
chord over both changes, such as you can see here.
Lastly, check out the Dm7 run, which is a typical, long-range Johnny
Smith line.
Click to hear johnny smith licks 1

In this typical Johnny Smith lick, you use triplets to solo over a Bm7
chord.
Notice the A#, leading tone, in the first triplet, as this is used to lead
into the root note, ascending the Dorian scale from there.
As well, there’s a G# passing note in the second bar, beat 2, that’s used
to break up the diatonic nature of the line.

In this ii V I Johnny Smith lick, you see a Gm7-C7alt sub being used
over the C7 chord.
As was the case earlier in this section, you used the V7 to solo over the
ii and V chords.
In this line, you use the iim7 chord over the V7 chord in the first half of
the second bar.
As well, there’s a blues note, b3, which kicks off the Fmaj7 chord in the
last bar of the lick.

Here, the V7 chord is used to solo over both the ii and V in a minor ii V
I chord progression.
As well, the second bar features the A melodic minor scale, one of
Johnny’s favorite m7 colors to use in his solos.
Using the melodic minor over m7 chords will create tension.
But, if you resolve that tension appropriately, as Johnny does, you can
bring this color into your solos with confidence.

In this final Johnny Smith lick, you see a classic bebop inspired line over
the 7th and 8 bars of an A blues progression.
Notice the blues notes, b3 and b5, in the first bar, used to bring a blues
vibe to the line.
As well, there are two enclosures over the F#7b9 chord.
Soloing over the VI7b9 chord in a jazz blues progression can be tough
to work out at first.
But, with time, and a few classic lines like this, you can nail that chord
change in your solos.
Mike Stern Licks

From his early days with Miles Davis, through his time with Michael
Brecker and onto the top of the jazz guitar world, Mike Stern is one of
the most recognizable names in the genre.
With a vast library of bebop vocabulary, and total command over the
fusion genre, Mike’s playing straddles the fence between the jazz
tradition and current trends.
In this section, you study both sides of Mike’s playing, traditional and
modern, through 5 classic Mike Stern licks.
Mike Stern Licks 1

The first Mike Stern lick is an example of his deep bebop knowledge as
applied to a minor ii V I progression.
Besides the altered notes in bar 2, there aren’t a lot of outside sounds
going on here.
This is just a straightforward example of the bebop side of Mike’s

playing.
Click to hear mike stern licks 1
Mike Stern Licks 2

In this Mike Stern ii V I lick, you see an A7alt sound being used to color
the V7 chord.
Using 7alt sounds over a major key V7 chord is something that many
jazz guitarists use in their solos, including Mike.
As well, there’s a #11 interval at the end of the line.
Often you pass through #11 intervals in your lines, but Mike isn’t one
to shy away from highlighting color tones in his lines.
Mike Stern Licks 3

Moving forward, here’s a typical Mike Stern lick that uses a number of
wide intervals over a ii V I in G major.
Take your time with this lick.

Though it’s only written in 8th notes, those wide leaps can wreak havoc
on your picking hand.
Use a metronome, go slow, and experiment with different fingerings

and fretboard positions for this lick if needed.
Mike Stern Licks 4

One of Mike’s favorite licks is to run up from the 6 to the root at the
top of a m7 arpeggio line.
You can see an example of this approach here, where the Em triad is
played under the moving melody line.
After you work out this line, you can speed it up and play it with
16th notes, as well as apply it to the iim7 chord in a ii V I chord
progression.

Mike Stern Licks 5
The final Mike Stern lick uses diatonic arpeggios from the E Melodic
Minor scale to outline the ii and V chords in a ii V I in D.
Using the E melodic minor scale over Em7 is probably not new, but
continuing it over the V7 chord brings a Lydian dominant sound to your
lines.
If you’re soloing over a ii V, play a melodic minor scale from the iim7
chord over both changes.
This is a typical bebop approach to soloing over ii V chord changes.
Mark Whitfield Licks

One of the lesser known, though highly deserving, guitarists on this list,
Mark Whitfield is one of the young lions who brought jazz into the ’90s
and new millennium.
Highly influenced by Benson and Montgomery, Whitfield’s time,

vocabulary, and creativity made him one of the top young players of his
generation.
At a time when modern jazz was where the scene was headed,
Whitfield built a career by playing bluesy, bebop based tunes, with a
command of the instrument that few of his peers possessed.
In this section, you learn five licks in the style of this great, modern
bebop player.
Mark Whitfield Licks 1
To begin, here’s a bluesy Mark Whitfield lick over a C7 chord that you
can use in your jazz blues soloing, or to bring a bluesy sound to the V7
chord in a ii-V-I progression.
Notice the two blues notes used in this lick, F# (b5) and the Eb (b3).
These are commonly found in Mark’s playing, and are a great way to
add a blues sound to your Dominant 7th soloing lines.
Click to hear mark whitfield licks 1

One of the rhythms that comes up in Mark’s playing are triplets.
This lick outlines a C7 chord, with most of the notes coming from the
C7 arpeggio, with the 4th, F, used to create movement between the
3rd and 5th of the chord.
As well, notice that when the 3rd appears, the note E, it’s approached
from below with the blues note Eb sliding up to the E.
This is another way to bring a bluesy, Mark Whitfield vibe to your lines.

Whitfield also has a strong control of the bebop language, which you
can see in this turnaround lick in C.
Here, you will see the “Lady Bird” turnaround being subbed over the
underlying turnaround.
The Lady Bird turnaround comes from the Tadd Dameron tune of the
same name, and uses a tritone sub dominant 7th chord for the VI7, iim7
and V7, in the original changes.
When doing this, you create a I7-bIII7-bVI7-bII7 progression that

creates tension over the tune, before resolving this tension to the I7
chord at the end of the line.

A similar bluesy lick to the last one, this lick uses a double stop at the
beginning of the line, which is something that you hear a lot in Mark’s
playing.
Double stops are a great way to add a second texture to your solos,
beyond single notes, as well as bring a larger sound to your improvised
lines and phrases.

To finish your study of these idiomatic Mark Whitfield licks, here is a ii-
V-I turnaround that uses a bluesy sound in its construction.
Notice the C major blues sound in the first bar, followed by the C minor
blues sound that appears in the second bar.
Mixing the major and minor blues scale is a great way to bring a bluesy
sound to your ii-V-I soloing lines and phrases.

141 Jazz Guitar Licks

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141 Jazz Guitar Licks –

Essential Lines and Patterns

By working these licks, you expand your vocabulary, build technique,

What Are Jazz Guitar Licks

That’s basically it.

How to Practice Jazz Guitar Licks

And you avoid becoming a “lick player” along the way.

Step 1 – Learn Jazz Guitar Licks

• Practice in one key at different tempos.

Step 2 – Analyze Jazz Guitar Licks

• Fmaj7 is being used as a 3 to 9 arpeggio over Dm7.

Step 3 – Extract Concepts From Analysis

Firstly, you need to understand these concepts in order to bring them

This can be tough if you’re new to jazz guitar.

But, not to worry.

Click to hear learning jazz licks 2

There are two common bebop licks in this phrase.

When looking to find ways of organizing these licks, it’s beneficial to

Click to hear learning jazz licks 3

Therefore, you would come up with the concept:

Click to hear learning jazz licks 4

This concept is:

By using smaller phrases in your solos, you maintain the bebop

Here, the sound being produced by this concept is a Lydian sound,

The guideline from this part of the lick is:

Click to hear learning jazz licks 5

Step 4 – Create Exercises For Each Concept

Here’s an example of how t0 work on this arpeggio in the key of C

Practicing arpeggio scales is a great way to learn any arpeggio.

After working on this idea from a technical perspective, put on a ii V I

Bebop Licks Through Scales

Here’s an example of an exercise you could do over a G7 chord, using

To start the pattern, play an ascending two-octave G7 arpeggio, then

As you’re running down the scale, wherever there’s a 134 fingering

Here’s how that looks on paper.

Here’s an example of the 124 lick being applied to a D Dorian scale to

Here’s how that practice pattern looks like on paper.

Click to hear learning jazz licks 8

After running this exercise over G7 at various tempos, practice it in 12

Then, take it to other scales you’re working on in the woodshed, such

Click to hear learning jazz licks 9

Creating a great solo on stage is a lot like composing a piece of music in

Here’s a step-by-step guide on how to approach writing out lines and

• Write out a one-chorus solo using the material from a lick

John Abercrombie Licks

From an improviser’s standpoint, Abercrombie’s use of the pentatonic

John Abercrombie Lick 1

This type of horizontal playing is characteristic of Abercrombie’s soloing

Click to hear john abercrombie licks 1

John Abercrombie Lick 2

By mixing in these two notes, Abercrombie brings a sense of freshness

Click to hear john abercrombie licks 2

John Abercrombie Lick 3

This type of pattern, and horizontal playing, is characteristic of

As well, there are chromatic approach notes outlining a C7 arpeggio in

John Abercrombie Lick 4

From there, the line resolves with a straightforward 1-b3-5-b7 arpeggio

Click to hear john abercrombie licks 4

John Abercrombie Lick 5

The triads used are:

In this case, the D triad is creating a Cmaj7#11, or Lydian mode, sound

Using triads like this is not unique to Abercrombie’s soloing language.

Click to hear john abercrombie licks 5

Sheryl Bailey Licks