An easy way to do this is to first bend the note on the G string and then play two additional notes on the B and E strings. Diatonic And Chromatic Enclosures - Mixed Enclosure Many jazz musicians use a mix of chromatic and diatonic approaches to target a note. Though triads sometimes seem elementary, they are used to outline changes by both modern and traditional jazz guitarists in their solos. Guitarists typically only think of adding vibrato to a single pitch when playing licks and melodies. The first is to work through each idea in sequence with a single isolated fretboard position. 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 5 th , D, over the chord. I will be very happy if I am succeeded as an guitar player and make my own music.
Nothing earth-shattering from a note perspective here; it's the articulation that counts. My first exposure to the pentatonic scale was when my friend explained it to me at summer camp. 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. Jimi Hendrix and Joe Walsh have used this idea. Click to hear Wes Montgomery Lick 2. 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. Click to hear boogaloo joe jones licks 2.
Not only are they melodies, but they stick in your head and are singable, even after the solo is over. When playing over 7 th chords, you can create an altered scale sound by playing major triads from the b5 and 5 of that chord. The phrase in the first half of the first bar is quintessential Joe, and one that he used a lot in his chord solos. So, after four days of practice, my vibrato on the other five strings sounds pretty good, but my vibrato on the highest-pitched string still needs a lot of work. 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.
By playing Abmaj7 over C7, the line outlines the intervals bR- , or two diatonic notes and two notes from the 7alt sound. Click to hear Wes Montgomery Licks 6. Image 26 of 51 This idea is based around a descending sequence of four. Image 33 of 51 The trick to this finger twister is to bend the first string at the 15th fret and allow your finger to push the second string at the same time, without sounding it. Although these double stop licks sound cool, there are several problems guitarists run into when applying them into their playing:. Enclosure of root using whole-step above to half-step below to half-step above. Here, Phrygian dominant is being used to color the Dm7b5-G7alt chords in the first bar of this short ii V I phrase.