#1
step 1 - post your favorite jazz licks

step 2 - maybe show some source recordings for different examples of its use. or maybe you just wrote it yourself (or so you think)

step 3 - ???

step 4 - profit!

maybe we can talk about the different ways it can be used (i.e. over different sets of changes)

for example, this is one from "tenderly":



the second and third measure is really the meat of it but i figured the first bar would give some context.

i think it also sounds good over a major ii-V in Eb (so you're resolving to the root instead of the third).

Bb7 Bo7 is just a chromatic sub for Dm7b5 G7b9. but i think over that progression it might sound too "tonic-y".

EDIT: i take that back. big picture you could see it as Fm7b5 being the upper extension of Dm7b5. and Bb7/Bo7 being a sub for G7b9 as a whole. so i think the lick could work off a minor ii-V. i was thinking about it the wrong way.

PRE-EMPTIVE STRIKE: "THE LICK" IS BANNED FROM DISCUSSION.
#DTWD
Last edited by primusfan at Mar 27, 2012,
#2
Nice. I would love to do this with Wes Montgomery's solo on D Natural Blues sometimes.

...modes and scales are still useless.


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#3
Quote by Xiaoxi
Nice. I would love to do this with Wes Montgomery's solo on D Natural Blues sometimes.

The guy is a genius, he really was. I've been transcribing that solo for a while now, nearly all of it is superimposed triads and 7th arpeggios to create extensions and altered tensions.
#4
Quote by mdc
The guy is a genius, he really was. I've been transcribing that solo for a while now, nearly all of it is superimposed triads and 7th arpeggios to create extensions and altered tensions.

Yeah, it's some guuud shit!!

I'd love to see your transcription.

...modes and scales are still useless.


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#5
Alright, I'll try and put it up here. Which'll probably involve this thread getting a huge bump at some point, lol.
#6
just to maybe show a more developed idea here ...



the first lick is the one from the solo. you can listen here.

the second four bars is taking the lick and jacking it up. more specifically, applying it to the rhythmic conventions of the lick i posted yesterday.

the third is using the lick as a bass line.

the fourth is putting the lick in context. while it was initially covering the change from a ii to a V, this has it making a V-i. just showing how the phrase can be displaced throughout the changes to give it a different feel or sound.
#DTWD
#9
My take on that lick:


...modes and scales are still useless.


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#12
ya tabs would be nice
When the power of Love overcomes the love of power the world will know peace. ~Jimi Hendrix
#13
how come them tabs have the numbers colored in leik black dots what are connected with line??
But boys will be boys and girls have those eyes
that'll cut you to ribbons, sometimes
and all you can do is just wait by the moon
and bleed if it's what she says you ought to do
#14
Quote by Hydra150
how come them tabs have the numbers colored in leik black dots what are connected with line??


ikr so friggin wierd

But in all seriousness, keep it as sheet music. If you want to start jazzing it up, its almost a requirement to be able to read sheet music quickly.

I'm going to start working through all the ones posted here, but I haven't had time what with papers and stuff.

Some really tasty licks in this song, and some of the individual ones aren't difficult to figure out by ear. Or you can get tabs for the harder ones, such as the crazy lick at 1:23.

http://www.youtube.com/watch?v=oEdl_a2vlXk
#15
how do you put those images from finale/sibelius into a post? I'd be very much interested in putting some licks up.
all the best.
(insert self-aggrandizing quote here)
#16
Quote by tehREALcaptain
how do you put those images from finale/sibelius into a post? I'd be very much interested in putting some licks up.


Dont know about how these guys did it but I would just press the 'Print Scrn' button on my keyboard, open Paint and paste the screenshot and then crop the image.
But boys will be boys and girls have those eyes
that'll cut you to ribbons, sometimes
and all you can do is just wait by the moon
and bleed if it's what she says you ought to do
#17
Quote by Life Is Brutal
Some really tasty licks in this song, and some of the individual ones aren't difficult to figure out by ear. Or you can get tabs for the harder ones, such as the crazy lick at 1:23.

http://www.youtube.com/watch?v=oEdl_a2vlXk

All the neighbour tones and note enclosures at 1:42 - 1:45 is what you want for this thread, rather than the infamous tapping lick.

Incidentally, that crazy lick is a Dmaj7 arpeggio, 4 nps, played across 3 octaves as a repeating pattern.
#19
Quote by tehREALcaptain
how do you put those images from finale/sibelius into a post? I'd be very much interested in putting some licks up.

On OSX:

cmd + shift + 3 = full screenshot
cmd + shift + 4 = selection screenshot

...modes and scales are still useless.


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#21
Quote by chronowarp
I think the best approach for developing a good repertoire of jazz licks is just to take apart heads (especially bop) and analyze what's happening.


+1
#DTWD
#22
Quote by Xiaoxi
Yeah, it's some guuud shit!!

I'd love to see your transcription.

Hey, here's my take on Wes's first pass over the chorus. Bars 7 - 9 is where all the superimposition happens.

Listening to the original, he really creates a lot of movement melodically. So melodic.

I can't figure out how to paste it in like you guys lol. So the pdf is here.

In bar 4 he implies a ii-V approach.

Bar 6 - H-W diminished over the IV chord.
Attachments:
D Natural Blues.pdf
Last edited by mdc at Apr 2, 2012,
#23
Eeek that score needs some serious cleanup lol.

There are definitely some mistakes regarding the rhythm and notes, but it's fairly accurate. The diminished run, which he does multiple times in this solo, is definitely one of the most important learning points. Think about why he uses it. He certainly wasn't thinking "And now I'm going to break out the octatonic." There is a much more organic reason if you look at it in context.

If you still like the challenge of transcribing this solo, revisit it and be even more careful. Alternatively, I can post my transcription up, which includes the next chorus.

...modes and scales are still useless.


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Last edited by Xiaoxi at Apr 2, 2012,
#24
Sure, I was eager to post it up here to see what you made of it, hence rushed it a little... not that I'm making excuses.

There were areas I was going to label where he'd sometimes play the 16th notes either straight or swung, but decided to leave that for the listener's interpretation... not that they'd use my transcription anyway!

Transcribing Wes certainly is a challenge, never the less, a great solo to pick.

What you were saying about him "not thinking", I whole heartedly agree. Pretty sure Wes just played, and left the thinking for the woodshed.

I'd like to hear your reasoning behind said run...

... and any tips on cleaning it up?
#25
I don't really have time to go over the analysis right now, but look at where that line is in relations to what comes before and after it. A lot of his approach is based on that kind of spatial sense. I might do a video explanation later on if I have time.

And in regards to the score, the spacings are chaotic...notes squished together, inaccurate space between the different rhythmic values, messy enharmonics, but I dunno if there's really anything you can do about it on Guitar Pro. But it's definitely something to be aware of, because these things create a lot of psychological confusion for someone trying to read.

Here's my take back from last summer. There are definitely a few mistakes, notation-wise (grace notes should be half-step below target) and transcription-wise, but a few spots are just very unclear, as you well know.


...modes and scales are still useless.


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Last edited by Xiaoxi at Apr 2, 2012,