Jack Zucker's technique / lessons thread

[jzucker]

Wes Montgomery Naptown blues Solo - first 3 choruses

This is one you have to learn. Preview, with notation!

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#bebop #bebopguitar #beboplicks
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[jzucker]

Norwegian Wood for solo guitar with notation/tablature


This is an original arragement of mine, done in the style of ECM/Pat Metheny/John Abercrombie

#sologuitar #solojazzguitar #beatles
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#gibson175

[pilotony]

Very nice. Thanks for posting Jack.

[jzucker]

Very nice. Thanks for posting Jack.

thanks so much for listening and taking the time to comment!

[jzucker]

Coltrane inspired 2-5-1 lick in the key of C (Dm7-G7-CMaj7)


This is a really cool 2-5-1 (Dm7-G7-C) lick in the key of C.


It utilizes a coltrane-style dorian with chromatics in between the scale tones but over the G7, it superimposes Abm7, Abdim7 and Fmin7. You can hear these sounds in the '57-'59 period of coltrane's playing - for example on the Lush Life album.

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#gibson175

[jzucker]

12 position, George Benson inspired 2-5-1 lick in G


This is a harmonically and rhythmically simple 2-5-1 lick in the key of G. It's a double time lick though I wrote it out in 8th notes for simplicity.


It uses a lot of George Benson chromatic devices including the 3rd finger position shifting, the 3rd finger slide and the G Maj7 Hexatonic scale which is (decending)


F# E D B A G (maj7, 6, 5, 3, 2, 1)


Try the lick over Am7(Am13) too. It works!


This is the kind of lick you hear all over the Body Talk period of his playing.

#georgebenson #sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#gibson175

[medblues]

Very nice ! Thanks !

[jzucker]

Very nice ! Thanks !

thanks for listening and commenting!

[jzucker]

Pat Martino Inspired 2-5-1-6 (Am7-D7-GMaj7-E7) Lick in the key of G


Please do me a solid and go up to my youtube, like comment and subscribe!


This is a really cool lick making use of Pat's approach to directional picking when it comes to arpeggios. The entire pattern is based off of a protypical Pat Martino arpeggiated sequence using directional/economy picking. He took the idea from Wes and it's also something that John Coltrane did a lot.

https://www.youtube.com/shorts/dGxeP619-xM

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#jazzguitarlessons #guitarlessons
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#gibsonBarneyKessel

[jzucker]

George Benson inspired, 10 fret 2-5-1 in G with position shifting chromatics!Please do me a solid and go up to my youtube, like comment and subscribe!Very cool and simple lick that uses the George Benson technique of shifting positions with a single finger. It's pretty easy to play and is an exciting sound. You'll recognize this from the White Rabbit and Body Talk records along with the records he made with Jimmy Smith, but he uses it all over the place!

[jzucker]

Diatonic 4ths in the style of McCoy Tyner + 2-5-1-6 example


This is a simplied version of the 4th chord lessons. I take a set of diatonic 4ths on one set of strings, move it up diatonically through all the chords in the key, and then demonstrate a simple 2-5-1-6 (Dm7 G7 Cmaj7 A7) example. The introduction demonstrates what this sounds like with a rhythm section.


Please do me a favor and click on the youtube link and watch it from there, like and subscribe!

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#mccoytyner #4thchords #quartalharmony
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#jazzguitarchords #jazzguitarlessons #jazzharmony #guitarchords #chords #pickupjazz

[jzucker]

if this stuff is useful to you, or if you have suggestions, please comment. Sometimes it feels like a vacuum here!

[jzucker]

thanks @geoff23 one person likes it!

Tension & resolution 8 position 2-5-1 in G using altered dominants and swept arpeggios. Sweeping is not just for metal!


Am11, Ebmin9/Maj7 and Bmin9#5 arpeggios give an exotic sound without a lot of effort


Another simple line demonstrating tension and release. Starting out with the Am11 (inside) and then the Ebmin (dissonant) and then back to BMin#5 (inside), sounds very pretty .

#jazzguitar #chordmelody #modernjazzguitar
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#jazzguitarchords #jazzguitarlessons #jazzharmony #guitarchords #pickupjazz #sweeppicking #jazzsweeping

[jzucker]

More Tension/Resolution over 2-5-1 in G (Am7-D7-GMaj7) using augmented chord.


Jazz is about tension and release. In this lick, we play a vanilla sounding (inside) dorian lick over the Am7 but over the D7, we add tension by playing an augmented triad using a combination of legato and sweep picking and ending up in resolution with the 9th of the GMaj7 chord/key.


More Tension/Resolution over 2-5-1 in G (Am7-D7-GMaj7) using augmented chord. - YouTube




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##guitaristsofinstagram #jazzguitaristsofinstagram
#jazzguitarchords #jazzguitarlessons #jazzharmony #guitarchords #pickupjazz #augmentedchord

[joelf]

if this stuff is useful to you, or if you have suggestions, please comment. Sometimes it feels like a vacuum here

All your stuff is useful, and I bow to your grasp and hard work.

Application is key. Being primarily a melodist I have to think through how I might expand the harmonic vocab and chops area w/o losing my melodic focus. I just don't hear, for example, suddenly running an arpeggio that's not a development of the phrase that preceded or will follow it. That's a limitation on my end, I'm sure.

If I could figure out how to graft all this cool stuff you post onto what I already do, to enlarge it, that would be mighty fine. So I'm the guy asking for suggestions now...

[joelf]

Diatonic 4ths in the style of McCoy Tyner + 2-5-1-6 example


This is a simplied version of the 4th chord lessons. I take a set of diatonic 4ths on one set of strings, move it up diatonically through all the chords in the key, and then demonstrate a simple 2-5-1-6 (Dm7 G7 Cmaj7 A7) example. The introduction demonstrates what this sounds like with a rhythm section.


Please do me a favor and click on the youtube link and watch it from there, like and subscribe!

#jazzguitar #modernjazzguitar
#mccoytyner #4thchords #quartalharmony
#guitaristsofinstagram #jazzguitaristsofinstagram
#jazzguitarchords #jazzguitarlessons #jazzharmony #guitarchords #chords #pickupjazz

Very nice, Jack---and you're getting a beautiful tone on top of it...

[jzucker]

All your stuff is useful, and I bow to your grasp and hard work.

Application is key. Being primarily a melodist I have to think through how I might expand the harmonic vocab and chops area w/o losing my melodic focus. I just don't hear, for example, suddenly running an arpeggio that's not a development of the phrase that preceded or will follow it. That's a limitation on my end, I'm sure.

If I could figure out how to graft all this cool stuff you post onto what I already do, to enlarge it, that would be mighty fine. So I'm the guy asking for suggestions now...

it's kind of hard to convey that on a forum but the best way is to practice playing over 2-5-1 progressions and to force yourself to learn the lines in multiple positions. Dissect the lines so that you can split the parts up that work over a min7 chord and a 7 chord and a maj7 chord. Learn them in all positions, all string combinations, keys etc. And then do some practice sessions where you force yourself to use them along with the lines you already play. It also helps to play positionally as I teach in this exercise...

[joelf]

it's kind of hard to convey that on a forum but the best way is to practice playing over 2-5-1 progressions and to force yourself to learn the lines in multiple positions. Dissect the lines so that you can split the parts up that work over a min7 chord and a 7 chord and a maj7 chord. Learn them in all positions, all string combinations, keys etc. And then do some practice sessions where you force yourself to use them along with the lines you already play. It also helps to play positionally as I teach in this exercise...

Thanks. I like the smoothness of execution and utility in unfamiliar positions. Kudos.

For me, though, I'm not feeling II Vs any more. They tend to box in the harmonic and melodic openness I prefer, like using pedals more a la Chris Anderson---more harmonic options and especially less 'crowding'. I also wouldn't tend to play exclusive 8th note passages, preferring to mix it up and use space---daylight between the notes and chords.

But maybe that's a good reason to apply what you demonstrate as a discipline and pathway to getting out of the comfort zone. Control and endurance with 8ths is also a weakness I need to undo. Jimmy Raney used to caution me to 'work against your best qualities'.

I'll look into it, and thanks again...

[jzucker]

Basic Gm Pat Martino line and 5 chords to use it over


This is a basic Pat Martino line over Gm7. Typical in that he uses melodic minor and natural minor combined. 5 chords this can be used over are:


Gm9
A7#5#9
F#7#5#9
C13
Bbmaj7


These are all based on the C13 and C#Dim chord which is a C7b9. The Dim chord is symetrical and so you can derive C13 A13 and F#13 (minor 3rds descending over this). You can also use Eb7 but it's not as pleasing to my ears with this particular line.


For more details on why this works, check out my youtube, patreon or hit me up for private lessons.

#patmartino #sheetsofsound
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#GibsonL4CES

[jzucker]

George Benson - double time triplets over minor 2-5-1-6 in G minor


This is a short lesson utilizing what I call double time triplets ala george benson. Not technically double time since they are 3 notes to the beat instead of 4 but useful to get additional rhythmic density over a set of chord changes.


Normally, when benson does this he does *NOT* play a typically triplet style line. He plays 16th note lines and phrases but alters them to fit the chord changes. Because of this, it has somewhat of a metric modulation feel to it.


I am going to do a longer lesson this this subect later. Make sure you check out the previous demonstration I did on this technique. The link is at the end of this video.

#georgebenson #sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezBenson #triplets

[jzucker]

George Benson/Charlie Parker - diminished approach to playing over Maj7 chords


Merry Christmas, Happy Hanukkah, Happy Holidays!


This is a quick lesson/riff showing you a charlie parker harmonic example of playing Ebdim7 over an Ebmaj7 chord but played in the style of George Benson's approach to the fingerboard including his patented slide technique.


You can use this riff as-is as a candenza or extract pieces of it to use as part of your own library and catalog of riffs.


STEAL AND BORROW FROM EVERYONE!

#georgebenson #charlieparker #sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezBenson #triplets

[jzucker]

Pat Metheny / Scofield style quintuplet arpeggios in the key of G.


I borrowed the phrasing from Metheny and Scofield for these. They are 2 string diatonic arpeggios. In this lesson, i play them backwards (5-3-1) but you should practice them 1-3-5 as well. One of the things which makes it unique is that I slur the first 2 notes giving it that metheny/sco kind of feel.

#PatMetheny #johnscofield #sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezBenson #triplets

[jzucker]

Frank Gambale inspired 2-5-1 lick in the key of G (Gm7 C7 FMaj7), diminished, lydian


This uses an essential sweep picking technique of 4th + octave arpeggios played with sweep picking of down, down, down, up.


The lick is cool and uses half/whole diminished arpeggios over the C7 and 4ths plus lydian over the FMaj7.

#FrankGambale #sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezBenson #quartalharmony #diminishedscale

[joelf]

Hi Jack: Suggestion, and maybe you've already done this---in which case please disregard:

It might be helpful to the folks you want to reach and have apply all these juicy tidbits to post entire solos that use them, maybe combined. Even just 1 chorus. Then let it sink in and get in ears and under fingers and do the analysis afterwards.

That way folks can have a whole they can cull parts from, or cop the entirety, get the big picture. (And also put it through the prism of their own concepts for a personalized application.)

What do you think?

And BTW nice santa hat!!

[pamosmusic]

Hi Jack: Suggestion, and maybe you've already done this---in which case please disregard:

It might be helpful to the folks you want to reach and have apply all these juicy tidbits to post entire solos that use them, maybe combined. Even just 1 chorus. Then let it sink in and get in ears and under fingers and do the analysis afterwards.

That way folks can have a whole they can cull parts from, or cop the entirety, get the big picture. (And also put it through the prism of their own concepts for a personalized application.)

What do you think?

And BTW nice santa hat!!

Or alternatively … I would love to see how some of these ideas show up in your own practice. I’ve been digging into the little swept diatonic triads from your first book and, when I go to practice something like that, I’m usually trying to get it off the page (other keys, other subdivisions, other inversions, etc). I think it’d be cool to see you extrapolate some of these ideas out into some practice routine ideas. It’d be a longer video, but the person out there actually learning a Pat Martino Monster Lick at tempo probably doesn’t mind a seven minute video here and there.