Jazz Lick major 7th

type Chords

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CŒ„Š7

4

4

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Start point

02:05

Practice pattern using 8th notes, triplets and 16th notes

Jazz Lick For Major 7th chords #1 (L#25)

Scott Devine

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Tab adapted for 4 string bass

1 4 2 1 4 1 2 1 4 4 1 3 4 3 1 4 1

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8 12

10

9 12 9 10

9 12 16 12

14

15

9 12 10

12

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Major 7th Jazz Lick (L#25)

Your Action plan

1. All these 'jazz type' licks originate from the bebopera. Bearing this in mind, it's really important that youhave a good knowledge of the players that were atthe cutting edge of this style of music when it wasoriginally happening back in the 40's and 50's. I wantyou to make a study of this music. Choose at leastthree of the top bebop players (see list below) andthen choose one album from each of them to study.By study, I don't necessarily mean learn each of thesongs within the albums (but that would be great ifyou wanted to take it that far). I actually mean makea 'listening study' of each album. Listen to thedifferences in phrasing of each player, their timing,their pace, and their tone. Really get into each player.

I recommend studying one album per week.

Here's a list of top bebop musicians:

• Charlie Parker• Thelonius Monk• Coleman Hawkins• Lester Young• Bud Powell• Dizzie Gillespie• Clifford Brown

Copyright © 2013 Scott’s Bass Lessons

• Sonny Stitt• Cannonball Adderley• Dexter Gordon

2. The lick demonstrated within the tutorial should bepracticed and learned in all keys. Once you havedone that, make sure you can apply the lick whenimprovising.

Take a jazz standard such as 'All The Things You Are' and every time a major chord occurs try and apply the lick to that chord. It's important to note that you wouldn't do this in a live situation. This is purely an exercise to get the lick under your fingers so you can call upon it at any given time. Playing the same lick over and over in a live situation is not what we're aiming for.

3. Now repeat this, but this time every time you playthe lick you must alter it in someway. You could alterthe rhythmical phrasing, the articulations anddynamics, or you could even start with the lick butend the lick in a different way.

Here you are learning to use the lick as inspiration, it's giving you an idea, a starting point. You then take that starting point and take it in any direction you want. Ultimately this is how you will take your improvising to the next level and is what most players are doing 99% of the time. They have pre-learned melodies/licks that they can simply use as starting points for other improvised ideas. It's almost like having a road map when improvising.

Scott Devine