When learning how to play jazz guitar, it is essential to spend time studying, analyzing, and learning licks from great players such as Wes Montgomery, Joe Pass, and Charlie Christian. While learning classic licks, getting them under your fingers and working them in 12 keys is important, it’s equally important to understand the architecture of each lick so you can incorporate the concepts behind the lick in your own guitar solos.
An enclosure is the technique of approaching a target note (often a chord note) with notes above and below the target note. These approach notes can be diatonic or chromatic (or both).
Though it’s a simple technique, applying triads to your soloing ideas, sometimes it is the simplest concepts that produce the coolest results.
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This line has been used by countless jazz musicians over the years and is a phrase that is worth working in 12 keys.
Larry is a big fan of adding a legato sound to his playing with slurs, so working these techniques out can help you bring a Carlton vibe to your lines.
This major scale lick works over an F pedal bass note and is basically a simple 6th interval pattern transposed down the scale, a typical Jim Hall technique that also inspired Pat Metheny, who uses similar kind of ideas.
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In this section you’ll learn 5 jazz guitar licks that work well over dominant chords. Learn them in different keys and positions on the fretboard.
This first Dominant Lick blends the Mixolydian mode along with a blues note (the b3), used to bring a bluesy vibe to any 7th chord soloing phrase. If the Mixolydian scale is new to you, check out this lesson on guitar modes.
Notice the placement of the b3 (written as A# in this example, between notes A and B). It acts as a passing note and blue note at the same time.
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Here is a repetitive pattern that highlights the interval of a 6th between the 3rd and root of the G7 chord in the underlying progression.
Repeating a phrase in this fashion allows you to play the lick twice, once on the & of 1 and again on the & of 4, preventing the lick from sounding monotonous in your phrase.
Also, notice how one note is different in the second repetition of the lick, which also helps to prevent a sense of monotony in the line.
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We’ll now move on to one of the most common 7th chord devices in jazz, the dominant bebop scale, which is a Mixolydian scale plus an added major 7th interval.
Notice that there is also an Am triad near the end of the first bar that helps to reset the lick back to the D that was played right before the triad. Triads are a helpful way of running up a chord line to avoid sounding too scalular in your playing.
Moving on to an altered lick, this phrase uses the G altered scale to bring a sense of tension to this line, before resolving this tension to the tonic at the start of the second bar.
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When applying the altered scale to dominant chords, you will need to take care that you resolve those altered notes so that you don’t leave any tension hanging in your line.
Here is a classic 7alt line in the style of Pat Martino. Again, notice that the tension notes are resolved and not left hanging over the underlying chord change.
Here is a minor blues scale lick that is applied to an A7 chord. Using the minor blues scale over a 7th chord is a great way to bring a blues sound to your jazz lines.
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While this approach works well for bringing a bluesy sound to your jazz lines, you will want to be aware of how often you use the minor blues scale over a 7th chord in any given solo, as if you overdo it, you might end up leaning towards a rock/blues feel a bit too often.
Check out the guitar solos of Kenny Burrel, Wes Montgomery, and George Benson for classic examples of how these legendary players use the minor blues scale to create a bluesy vibe in their 7th-chord soloing ideas, without overdoing it at the same time.
Here is an example that uses double-stops taken from the Mixolydian mode which brings to mind the lines of jazz organists such as Jack McDuff and Lonnie Smith.
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Though there are no blue notes in this line, the use of double-stops against the tonic pedal note (A) creates a blues vibe.
This dominant phrase in the style of sax legend Charlie Parker, can also be found in the solos of Joe Pass and Pat Martino.
Built by combining the 1235 pattern with the b3, 4 and #4 intervals from the minor blues scale, this line mixes major and minor tonalities to create a classic jazz blues line in the style of the great players mentioned above.
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Here is a dominant lick on E7b9 that resolves to Am7. Over the E7, an Fdim7 arpeggio is played, creating the 7b9 sound.
This dominant lick in the style of Bireli Lagrene features large interval skips, slides between notes, and chromatic notes over the underlying G7 chord.
In this lick in the style of Herb Ellis, you’ll find the #4 used over C7 (F#) to create a turning and twisting type sound to the start of this line.
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From there, the lick runs typically Herb Ellis scale patterns until it finishes with a 2-note chord (the 3rd and 7th of the underlying C7 chord).
The Lydian dominant scale (the 4th mode of melodic minor scale) brings a 7#11 color to the underlying harmony, and here is a great example of how to address that #11 tension in a musical and proper fashion.
The lick uses a lot of different alterations, including #4, #5, and b9 intervals, as this line snakes its way up the fretboard over a D7 chord.
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Kurt Rosenwinkel is a master of long, snake-like lines that cover a lot of real estate on the fretboard, and this lick is an example of that side of Kurt’s improvisational style.
In this Lee Ritenour lick you will play 3-notes per string, syncopated rhythms in bar 2, and a blue note (b3) in the final measure of this G7 line.
This Bill Frisell lick uses a b9 interval over the V7 chord (G7), before resolving this chord to the Imaj7 chord (Cmaj7) at the end of this phrase.
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Mixing both the natural 9 (A) and the b9 (Ab) into one bar over a V7 chord is something that Bill often brings to his lines.
A short but fun lick, this phrase uses two of Emily Remler’s characteristic linear concepts to build a two-bar line over C7:
Here is a short A7 lick that features the major blues scale, which is a major pentatonic scale with an added b3 interval.
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Using the major blues scale over 7th chords is not only a characteristic of Larry’s soloing lines but of the fusion genre as a whole.
This is a melodic lick in the style of John Scofield over a V going to I minor and uses the C minor harmonic scale.
John Scofield uses a technique called double stops here. A double stop is when you play 2 notes at the same time and can be used to outline the harmony in your solos.
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Here is a slippery little G7#11 lick that uses the Lydian dominant scale, as well as a number of hammer-ons and pull-offs.
A lot of Scofield’s lines are full of slides and other slurs, especially from a weak beat to a strong beat. Having a strong control of these concepts will go a long way toward bringing a Scofield sound into your solos.
To begin, here is a minor ii V I lick in Am that uses the A natural minor scale to outline all three chords in the progression.
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When soloing in this fashion, you don’t get the Major 3rd of the V7 chord, but you do get three alterations needed for that chord (b9, #9, and b13).
Here, you will use the A harmonic minor scale to solo over the E7 chord (V7), in this minor ii V I progression.
This is a common scale choice over the V7 chord in a minor key, as it gives you the major 3rd interval, but also the b9 and b13 of that chord.
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Here is a common variation of the previous lick, which again uses the harmonic minor scale to solo over the V7 chord in the progression.
By adding chromatic notes into your lines, you can create a sense of tension and release over minor 7 chords, which is an important ingredient when learning how to bring a jazz sound to your improvised solos.
Another fun way to outline m7 chords is to play the major pentatonic scale from the 3rd of that chord, such as the C major pentatonic scale used over the Am7 chord in this example.
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Though the C major pentatonic and A minor pentatonic scale contain the same notes, by starting on the note C and thinking of the scale from that root, you will focus on non-root notes for the underlying chord. This is
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