Get ready to have fun playing these excellent licks from Emanuel Hedberg. Once again the talented guitarist enjoys mixing his two favorite styles of music jazz and blues. It’s practice time!
This picture is just an extract of the whole score. Download the Guitar Pro file above to get the full transcription of the song played in the video.
The first note should be played with the thumb, a bit like Hendrix. It’s true that the barre technique is not often used for playing jazz chords.
Musical Instruments Graphic Template.jazz, Blues, Rock`n`roll Ba Stock Vector
Note that if you prefer to decipher chords with diagrams, open the score in Guitar Pro and click on one of the notes of the chord and press A on your keyboard.
If it’s the first time you hear about Emanuel Hedberg rush to his Instagram account or to his youtube channel to watch the numerous videos already put online by the guitarist. You will not be disappointed!
Check out our first article about Emanuel and learn one another one of his Jazz Blues, this time in another tonality: Ab.
The Story Behind America's Trailblazers Of Blues Music
Emanuel Hedberg is a successful Instagrammer from Sweden. His videos are recognizable by the very original camera angles as well as by the high quality of the guitarist’s playing. After taking 10 years of guitar lessons in Sweden, Emanuel studied music and audio engineering at the University. Angus Young, Kirk Hammet, Kurt Cobain and Robben Ford are the guitarists who have made the biggest impact on him as a musician and guitar player. And many others like Larry Carlton, John Scofield, Matt Schofield, Pat Metheny…
Thomas Duflos has been teaching guitar and bass for over 10 years. He is now in charge of communication and marketing at Arobas Music. Sharing his passion for guitar and music is one of his main interests. In his free time, Thomas is also a composer and drummer of the band The Foxy Raccoons.Jazz Blues is surprisingly simple. The Lines are a lot simpler than you might think and probably stuff you already know, you just need to learn how to get it to sound right, and that is also easier than you might think!
Let me show you some amazing examples from what are probably also your favorite Jazz artists, they all play unbelievable Jazz blues solos and also give you some ways to make your own solid Jazz blues licks.
Jimmy's Jazz & Blues Club Features 2x Blues Music Award Winner & 8x Blues Music Award Nominated Guitarist, Singer & Songwriter Selwyn Birchwood On Friday April 28 At 7:30 P.m
The sound of Jazz Blues is different than the sound of Jazz, the lines are related to Bebop lines, but they are different in quite a few ways, and that is probably what I like about them. Of course, the same is true if you compare Jazz Blues to what you might consider “straight blues playing” like this
In this video, I want to take a look at what that difference is, because if you know that then you also have an easier time getting the sound right in your playing.
The first aspect of Jazz Blues is actually not as much about note choice or rhythm, it is about something that is at the core of the Blues sound. Try to listen to this part of George Benson’s solo on Bille’s Bounce. Notice how he is not just weaving through the changes, he is doing something else.
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The scale that he is using here is often also a bit misunderstood, calling it Dorian is, I think, a bit misleading, but I will return to that part of it later. What you probably noticed is that he is repeating phrases, and he is also playing fairly short phrases. Obviously, motivic development is a massive part of most excellent jazz musicians’ toolbox, but here it is also related to Blues since the form of a 12-bar traditional Blues is about repeating and developing a motif through the form (Blues Progression diagram with phrases) In this case, the motif is a pretty simple descending melody and Benson is also moving the motif around rhythmically a bit, which is less common with blues but it is still clearly connected to Blues.
One thing that you want to be able to do is to play short phrases and find ways to repeat them through the form.
If you start to listen to it then you will hear this all over the place in the solos of Wes Montgomery, George Benson, and Charlie Parker, in fact, you will see quite a few examples of it in this video. Let’s look at some rhythms
What Should I Be Working On?
Another thing that is different from more straight Jazz or Bebop is how many notes you are playing and what rhythms. Again George Benson is a great example, so I’ll start with him and then move on to Wes. Check out how this phrase sounds amazing but certainly isn’t a Bebop line:
There are several reasons that this isn’t a Bebop line, but mostly the fact that he is playing quarter notes more than 8th notes is a big part of it.
Having simpler and more grounded rhythms is in fact also a part of the Blues sound where Bebop uses more syncopated rhythms in accents in longer lines.
Free Tab] Now's The Time To Play Jazz And Blues On Guitar
Like Benson, Wes can do amazing things with this, and you want to notice that both the previous 2 and this next example are really only the same notes over the Blues, which is also important to learn. You could reduce it to a scale, but that might really help you as much as you think. You can also hear some of the other things I already talked about
As you probably noticed then, Wes is also repeating a phrase and developing it, just like George Benson was in the first example.
And I think sometimes people forget that if you want to be able to play phrases and rhythms like this then you need to work on that. If you only practice playing 8th note lines through changes all the time, then you won’t get there. A part of the Jazz Blues sound with both Wes and Benson examples here, and this is true for these examples but also quite common in general in the solos I have checked out, is that the phrases seem to emphasize two notes: the 6th of the key, in F major which is a D, and the Ab, the minor 3rd.
Standards For Transitioning From Blues/rock To Jazz Guitar
If you look at the Wes motif then it has the D as the outer note and the Ab is the other note that stands out:
Of course, that is not going to be true for all phrases, but it comes back more often than you might think, and it can be fun to mess around with. Let’s go a bit deeper with the note choices and figure out if there is a “Jazz Blues Scale”.
You may remember that I said these first 3 examples could be seen as using the same scale. To me, they don’t immediately sound like it though, so maybe it is a bit of a stretch, but check this out:
Practicing Jazz/swing Groove (c Jam Blues)
So all of the examples would be covered by the Major blues scale, and that is an important building block, but something that I find myself saying more and more often to people, and which seems more and more true every time I think about it:
If I am trying to understand a phrase and learn from it then the answer is almost never a scale. It is not just a set of notes that makes something music. We are all using mostly the same notes, There are Amazing Bebop phrases – and – very Boring Heavy Metal scale sequences that use the same major scale.
But at the same time, the major blues scale is a very useful resource to explore and is probably used a lot more than you’d expect in Jazz Blues, also in some pretty creative ways when it comes to double stops which you will see later in the video.
Jazz Blues 2 Choruses Walking Bass And Comping For Guitar
Like any style of music, there isn’t a single approach that describes everything that is possible, which is probably also better because if it was a formula like that then the music would probably be boring. Still, there are some things you can do that work really well and are used often.
Notice how Parker uses motifs, or maybe riffs is a better word for it, and also how he gets from the I to the IV chord in this example from Now’s The Time:
And then he changes it to Fm when the song moves to Bb7 to spell out that chord change and still connect the phrases.
Blues Guitarist Royalty Free Images, Stock Photos & Pictures
In thiscase, Parker doesn’t use the major pentatonic scale, a better description is probably that he is adding notes around an F major triad, and there are some really great and fairly famous lines of his that follow that recipe, like this one from the opening of the Now’s The Time solos.
But you can also go more for more of a major pentatonic phrase like this Wes line from his solo on Fried Pies, and notice how Wes is really relying on slides as a part of his phrasing, you could say that he uses those instead of bends in the
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