Cool bop licks

[JCat]

I picked up a couple of phrases/licks from a recorded guitar solo. Just a few bars, a few seconds, was enough to catch my attention. So I studied the licks; play, rewind, play rewind...you know the drill. In this case the tempo is fast, so I used the DAW to slow it down to capture the phrases note by note.

These are be-bop inspired lines. -Do you recognize them? Charlie Parker perhaps?
(Key A minor)

These licks are fascinating, because I don't think the player performing the solo improvised these lines in the very moment. I bet they are rehearsed and memorized parts of his tool-box or maybe parts written or borrowed specifically for the recorded solo, overdubbing perhaps.

The reason I come to this conclusion, is that the licks are "non-guitaristic" (aka "horn like") and somewhat awkward from the perspective of the fretboard and convenient finger setting arrangements. Which makes them even more interesting. There are many different ways these licks can be fretted. When going for speed, the finger settings may turn out even more non-intuitive. The pitch and fretboard access in the high register is another parameter as well as distance between frets in the low register (when played an octave down or in another key).

-How would you approach these licks? Do you think in terms of arpeggios, scales or patterns? What finger settings come natural, most convenient, to you?

[christianm77]

The question I would ask, I think, would be what processes would you use in working with an developing this material beyond just using them as licks?

I would adopt whatever analysis seems appropriate. Analysis itself is a creative act - the way I analyse something might not be the same as someone else.

Take the first phrase.

For instance, the intervallic figure in bar 2 of the first lick seems to characterise the sound of that moment somewhat, with lower neighbour tones into chord tones of Gm7/C7 while the bar after seems more of an arpeggio figure (Fmaj7), moving into a diatonic enclosure.

Rhythmic analysis too. The phrase resolves in forward motion towards the C - and then with the classic 'bebop' figure.

The phrase is pretty diatonic. Your enharmony is ... unhelpful here.

Phrase structure. Three act structure.
Exposition (Gm) --> Rising Action (chromaticism) --> Resolution (two notes)

That's a few directions one could explore.

[JCat]

Even though I believe I understand most of what you said, I don't think that's what I have in mind.
There was a time, when there was no Jazz theory. Players traded phrases, using ears and copying. I took classes at an early age, but learned to play by listening and copying stuff, note by note. That's how I developed my Blues language for example. And that's still my approach whenever I get tired of myself.

The reason I hear these licks is that they are somewhat unusual for a guitar player, I think. Even though the be-bop language is very familiar, these particular lines, from my fretboard perspective, are not. I could play be-bop all night long without arriving there, because the figures are not internalized. Fingers won't go to places they haven't been before.

Like for example in the 2nd lick; The last 4 notes of bar 2 break the symmetry.

Honestly, I don't think any guitar player would play like that by sheer intuition in standard tuning. But since I understand that we're all different, approaching from different directions, maybe it's just me. When played on a saxophone, the ergonomics and symmetry would be completely different.

I hereby confess; Yes! muscle memory is part of my playing. I don't think I could improvise anything without muscle memory, even though I understand it's also something that confines and restricts my playing. When practicing scales, arpeggios and licks I develop muscle memory and ears. I need muscle memory to use my ears.

[Vladan]

Is that from Jazz tune? I fee it more like HM virtuoso stuff, Steve Vai, or something.

[christianm77]

Even though I believe I understand most of what you said, I don't think that's what I have in mind.
There was a time, when there was no Jazz theory. Players traded phrases, using ears and copying. I took classes at an early age, but learned to play by listening and copying stuff, note by note. That's how I developed my Blues language for example. And that's still my approach whenever I get tired of myself.

The reason I hear these licks is that they are somewhat unusual for a guitar player, I think. Even though the be-bop language is very familiar, these particular lines, from my fretboard perspective, are not. I could play be-bop all night long without arriving there, because the figures are not internalized. Fingers won't go to places they haven't been before.

Like for example in the 2nd lick; The last 4 notes of bar 2 break the symmetry.

Honestly, I don't think any guitar player would play like that by sheer intuition in standard tuning. But since I understand that we're all different, approaching from different directions, maybe it's just me. When played on a saxophone, the ergonomics and symmetry would be completely different.

I hereby confess; Yes! muscle memory is part of my playing. I don't think I could improvise anything without muscle memory, even though I understand it's also something that confines and restricts my playing. When practicing scales, arpeggios and licks I develop muscle memory and ears. I need muscle memory to use my ears.

I dunno really. I think I've just done it a lot, and after a while it seems less weird.

Anything seems weird if you haven't done it much. Remember learning to drive a car?

Transcribe more! Your ears lead your fingers more than you might think.

[JCat]

Is that from Jazz tune? I fee it more like HM virtuoso stuff, Steve Vai, or something.

The licks are played with swing/triplet feel, at a fast pace. They sound very be-bop to me even though the tune itself belongs in another jazz-genre. Solo performed on a guitar with good fret access.

Maybe we can talk about the tune later, it does have some interesting improvisation features, but separate from the topic.

I'm hoping to get some view points on finger setting arrangements. -How would you fret this, and why?

[christianm77]

The licks are played with swing/triplet feel, at a fast pace. They sound very be-bop to me even though the tune itself belongs in another jazz-genre. Solo performed on a guitar with good fret access.

Maybe we can talk about the tune later, it does have some interesting improvisation features, but separate from the topic.

I'm hoping to get some view points on finger setting arrangements. -How would you fret this, and why?

OK. I can play bop.

Can I ask - did you work out the phrase on the instrument or did you write it down first?

[Vladan]

- 1st lick I'd play in 15th moving to 14th, or in 10th with index strech for C# and moving to 9th.
- Because it's easy that way.
- It could happen to me to stumble on simillar while noodling, or chasing chords.
- I can not play fast, not even one same note on one string.

[JCat]

- 1st lick I'd play in 15th moving to 14th, or in 10th with index strech for C# and moving to 9th.
- Because it's easy that way.
- It could happen to me to stumble on simillar while noodling, or chasing chords.
- I can not play fast, not even one same note on one string.

Great, maybe you could provide a tab?

[JCat]

OK. I can play bop.

Can I ask - did you work out the phrase on the instrument or did you write it down first?

I worked it out with the guitar in my lap, at reduced tempo. Then I tried a number of different finger arrangements, to find a structure that would come natural to me in some context, like a familiar arpeggio or a scale. (This is usually the easiest way for me to understand how someone came up with a lick or a riff. The moment I get the picture, it's easy to nail the tones and the sound.)

I've settled on a couple of figures that work for me when playing a cut away guitar.
I still don't think a guitarist would come up with this in the moment of a solo without first having a tool box of internalized licks...

[Jonah]

(Key A minor)

mmm... sure?

[christianm77]

I worked it out with the guitar in my lap, at reduced tempo. Then I tried a number of different finger arrangements, to find a structure that would come natural to me in some context, like a familiar arpeggio or a scale. (This is usually the easiest way for me to understand how someone came up with a lick or a riff. The moment I get the picture, it's easy to nail the tones and the sound.)

I've settled on a couple of figures that work for me when playing a cut away guitar.
I still don't think a guitarist would come up with this in the moment of a solo without first having a tool box of internalized licks...

This is the process that has worked best for me. I've just done it a LOT?

That's how you pick up licks. But licks can be varied and developed.

Barry Harris is good for constructing bebop language. But nowt wrong with licks. You have to start somewhere.

[Vladan]

Great, maybe you could provide a tab?

[Vladan]

Great, maybe you could provide a tab?

There's about only one way to do it in positions, as I described.
15th to 14th no stretches, or
10th with one stretch to 9th.

Index finger defines position.

[JCat]

mmm... sure?

Some people would probably prefer to call it C-major.

[JCat]

Ok, here's my tab. It works for me but I'll have to internalize it to re-use these licks when improvising:

[christianm77]

Part of thing about fingerings is it really depends on the person.

How you set up your left hand, how you pick etc.

My fingerings might be totally useless to you unless you share my right hand mechanics.

But I would say - don't be afraid to slide and hammer.

[Jonah]

Some people would probably prefer to call it C-major.

And some just F-major

[JCat]

And some just F-major

Yeah, but there's more to it, this is just a part. The F plays a role though; The tune is basically a three-part song structure, ABABC. The A-part is A-minor, the B part starts with the chord C/F, and the C-part is what you're looking at.

It's a nice case for an impro study; simple, yet complex depending on what you like to do with it.

[GuyBoden]

I'm liking this short cool Coltrane type lick with a bit of chromaticism.

Using the Coltrane 1-2-3-5 pattern, C-D-E-G, over a C Major 7th chord.

I've repeated the lick so you get the idea.