Morten Faerestrand COMPLETE JAZZ GUITAR
Everything you need - jazz guitar novice to pro - step by step
Video Lessons - Sheet music/tab - Audio practice tracks and backing tracks
Course description
LEVEL 1 (Jazz Novice)
For the jazz guitar novice who want to learn all the fundamental skills needed to play jazz, in an easy going and fun way. (Or for intermediate/advanced players who want to refresh or strengthen the basics)
1. Technique
2. Fretboard Knowledge
3. Scales
4. Arpeggios
5. Chords
LEVEL 2 (Jazz Intermediate)
For the intermediate/advanced player who knows the fundamentals pretty well, and want to expand their musical palette and strengthen their technique.
1. Developing Speed, And Groove Oriented Phrasing
2. Superimposing
3. Essential Jazz Vocabulary
4. Triads
5. Fluid Phrasing – Tasteful Sweeps
LEVEL 3 (Advanced and beyond)
Years and years of inspiration – in level 3 you’ll find a vast collection of musical ideas to learn from and get inspired by for years to come.
1. Advanced Soloing Concepts
2. Advanced Comping
3. Jazz Standards
4. Artist Studies
Includes:
Video Lessons
Sheet music/tab
Audio practice tracks and backing tracks
Guitar Pro files (Optional, in case you want to edit or transpose lessons)
Over 40GB of top quality lesson material, this course will give you inspiration for years and years to come, guaranteed!
COMPLETE COURSE CURRICULUM:
LEVEL 1
TECHNIQUE
Right Hand Position
Demonstration of different right hand picking positions.
Position Playing Versus Diagonal Playing
Introduction to how left hand positions are different on jazz guitar compared to the classical nylon string guitar approach.
Muting Unwanted Notes
Muting strings you don’t want ringing is an essential technique to master to have your playing sound clear, clean and professional.
Left Hand Vibrato
The basics of a good left hand vibrato technique, essential to make the guitar “sing”.
Thumb Technique
Using the right hand thumb instead of pick, Wes Montgomery/George Benson style.
Octaves Technique
Basic approach, and some nuances you may not be aware of when it comes to playing octaves like Wes Montgomery.
Natural Harmonics
Basic introduction to natural harmonics, and how to play them. Plus some very cool little “tricks” that you can do.
Artificial Harmonics
How to play artificial hamonics, and how to mix them with regular notes in chords.
Trills
Important lesson on phrasing, drilling one particular kind of trill, and work on time and rhythmic figures.
Left Hand Tapping
Also known as “hammer-ons from nowhere”. Important technique to play certain lines up to speed.
One Finger Chops
This is a technique that will help you in situations where it may be a challenge playing what you’re hearing because of the position you’re in.
Legato Staccato Independence
Simple exercises to enable you to play legato and staccato simultaneously, especially useful when you’re comping alone and play bass notes and chords simultaneously.
FRETBOARD KNOWLEDGE
Not knowing all the notes on the guitar neck is a very common problem for guitarists, but it doesn’t have to be for you! This course is your complete guide to finally really learn the name of all the notes on your guitar neck!
If you spend a few minutes a day working with these videos, you will know all the note names on the guitar neck COLD within a few weeks or months, depending on your current level! Knowing this will vastly improve your learning curve on the guitar, and your musicianship in general!
This course mainly consists of drills, there’s one drill on each video, and all in all close to 100 videos! (Don’t worry, each video is pretty short..) You move on from each drill only when you master it, and because of the simple system used, you probably will be amazed at how fast and easy you learn using these drills!
MODULE 1 – STRING BY STRING
1a
Circle of fifths on the 6th string
1b
Circle of fifths on the 5th string
1c
Circle of fifths on the 4th string
1d
Circle of fifths on the 3rd string
1e
Circle of fifths on the 2nd string
1f
Circle of fifths on the 1st string[/column-third-2]
MODULE 2 – BY POSITION
2a
Scale theory basics, and introduction to Section 2 drills
2b
12 major scales, strings 6-4
2c
Section 2 drill – strings 3-1
2d
12 major scales, strings 3-1
SCALES
THE PENTATONIC SCALE
The pentatonic scale is often among the first things students learn when starting to improvise, and so many seem to think that it’s a kind of a beginners aproach, while more “advanced” players are using modes, arpeggios, melodic minor etc.
Don’t make this mistake. The pentatonic scale is extremely important when playing jazz, don’t forget about it!
Pentatonics 1 – Position Playing
Introduction the the scale, and the traditional way of learning it on guitar.
Pentatonics 2 – 2+3 Concept
The 2+3, or diagonal approach. More musical and practical approach to pentatonics, cover the entire neck with only 2 different scale fingerings.
Pentatonics 3 – Root On Each String
Another important concept to be able to tie together any position of the pentatonic scale seamlessly.
MODES DRILLING
The object here is to drill you on how the different modes sound, and how that connects with what your fingers do. When mastered, you don’t have to think about it, your ear will guide you.
Modes Drilling 1
First scale – Ionian, and explanation of drills.
Modes Drilling 2
Mixolydian
Modes Drilling 3
Lydian
Modes Drilling 4
Aeolian
Modes Drilling 5
Dorian
Modes Drilling 6
Phrygian
Modes Drilling 7
Locrian
MELODIC MINOR DRILLING
As with the regular modes, doing these drills will teach you how the different degrees of melodic minor sound, and connect those sounds with your fingers, so eventually you don’t have to think about scales, your ears will guide you.
⭐️ Note: The explanations and theoretical concepts referred to in this course is at times very advanced, so if you’re sort of new or early intermediate to jazz, feel free to save this for later when you’re more experienced.
Melodic Minor Drilling 1
Melodic Minor, root position
Melodic Minor Drilling 2
The “Altered” Scale”
Melodic Minor Drilling 3
Mixolydian #4 (Lydian Dominant)
Melodic Minor Drilling 4
Locrian Nat9
Melodic Minor Drilling 5
Lydian #5
Melodic Minor Drilling 6
Mixolydian b6
Melodic Minor Drilling 7
Dorian b2
THE ARPEGGIOS DRILLING COURSE
IMPORTANT: The content in this course is absolutely essential to be able to follow any other lesson regarding jazz improvisation, and I strongly recommend that you learn it well, and repeat it often until you are absolutely confident with it. It will be well worth the time and effort spent.
ARPEGGIOS DRILLING 1
Maj 7 arpeggios from the root, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 2
Maj 7 arpeggios from the 7th, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 3
Minor 7 arpeggios from the root, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 4
Minor 7 arpeggios from the 7th, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 5
Dominant 7 arpeggios from the root, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 6
Dominant 7 arpeggios from the 7th, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 7
Minor 7 b5 (half diminished) arpeggios from the root, starting on strings 1, 2, 3 and 4.
ARPEGGIOS DRILLING 8
Minor 7 b5 (half diminished) arpeggios from the 7th, starting on strings 1, 2, 3 and 4.
EXTENDED ARPEGGIOS
7th arpeggios from all scale degrees
Include short arpeggios in your improvisations within one scale.
7th arpeggios with 11
2 octave arpeggios from all scale steps starting on the 5th string, both regular 7th arpeggios, and 7th arpeggios with the added 11 on top.
3 octave diminished
Ascending and descending diminished arpeggio, and discussion around the nature of the diminished tonality.
CHORDS
Playing jazz chords takes a completely different approach from playing the regular grips you learn when you start playing the guitar.
If you’re new to playing jazz chords, this section is incredibly important. You’ll see quickly why, as building jazz chords around the core (3rd and 7th) will instantly bring your focus against what are the important notes in the chord, what notes can be omitted or changed (!), as well as the importance of good voice leading when you comp.
By learning chords this way, you will soon be able to play any standards or jazz classics right of the sheet without needing to rehearse first, and also have several variations on any given chord, so your comping becomes less static.
JAZZ COMPING FOR BEGINNERS
This is where you begin learning to build jazz chords, and how the inner voices of your chords move from chord to chord.
Jazz Comping For Beginners 1
Introduction to the jazz way of playing chords, and the 7 core chords with root on 6th string.
Jazz Comping For Beginners 2
The 7 core chords with root on 5th string
Jazz Comping For Beginners 3
Basic comping rhythm, root on 6th string
Jazz Comping For Beginners 4
Basic comping rhythm, root on 5th string
Jazz Comping For Beginners 5
Jazz standard: All Of Me
Jazz Comping For Beginners 6
Jazz standard: I Could Write A Book
Jazz Comping For Beginners 7
Jazz standard: All The Things You Are
Jazz Comping For Beginners 8
Jazz standard: Just Friends
Jazz Comping For Beginners 9
Jazz standard: My Romance
Jazz Comping For Beginners 10
Jazz standard: Solar
CHORD EXTENSIONS
Here you learn how to add color and jazzy flavours to your core chords.
The 9 Chord
Adding the 9 to Major, Minor and Dominant chords.
The 11 Chord
Basic introduction to the 11 chord.
The 13 Chord
Major and Dominant 13 chords
Altered Dominant Chords
Bread and butter altered dominant chords, and some a bit more unusual
Half Altered Dominants
The most common half altered chord shapes.
Chords – From 11 to 13b9
This is a lesson in reharmonisation to create more movement in a chord sequence. There may also be some nice new chord voicings that you didn’t know.
Dom7 Inversions
Nice little exercise to teach you some dominant 7 chord grips that you may not have played before.
Maj 7 Colors
Colorful variations that you can play on Maj 7 chords
Dim Chord Shapes
The most common dim chord shapes, and some not so common.
TRITONE SUBS
This is a VERY important concept to understand in jazz.
Tritone Sub Introduction
Very Basic introduction to the tritone-sub.
Tritone Subs with 9-13 (Major 2-5-1)
Relationship between 9 and 13 in tritone subs
Tritone Subs with 9-13 (Minor 2-5-1)
Relationship between 9 and 13 in tritone subs, minor 2-5-1.
Half Altered Approach Chords
Very nice comping concept, easy to learn and use, really helps giving your comping a sophisticated touch. On this lesson used on a jazz blues in F.
LEVEL 2
Developing Speed And Groove Oriented Phrasing
Introduction to my concept of developing strong technique for soloing, while relating everything we play to the groove. This lesson is extremely important, as it will help you understand and experience how choosing the right picking patterns will make your playing sound balanced and in the groove.
Superimposing
Superimposing is an essential concept to understand in jazz, especially if you want to get that “outside” sound.
This is a 50 minute monster lesson, taking you all the way from the very basic idea of superimposing, and deep into some very cool applications of the concept. You’ll see how even the simplest ideas can be turned into something complex sounding and hip!
Understanding superimposing is essential to understanding jazz, regardless of it being the bluesy roots or modern and “outside” playing!
- 01:58: Chapter 1: What is superimposing
- 04:40: Chapter 2: Superimposing on a 2-5-1 progression
- 10:20: Chapter 3: Following the chords vs. superimposing
- 31:08: Chapter 5: «Inside» triad pairs
- 35:17: Chapter 6: «Outside» triad pairs
- 41:01: Chapter 7: Flashy licks
- 46:48: Chapter 8: What fits where
Essential Jazz Vocabulary
These are short melodic ideas that most jazz musicians know, and use. Learning a few of these will instantly give you a jazzy sound, and help balance your phrases.
Essential Jazz Vocabulary 1
3 simple melodic ideas that firmly establishes an altered tonality.
Essential Jazz Vocabulary 2
The Wes Montgomery arpeggio – A couple of melodic ideas using the diagonal approach that, among others, Wes Montgomery used a lot. There are ascending and descending arpeggio ideas, and a 8-note descending scale lick over the same neck areas.
Essential Jazz Vocabulary 3
2-string Maj7 arpeggios moving diagonally to create 3 octave runs, starting with the basic arpeggios, and developing them into cool melodic ideas using chromatics and superimposing.
Essential Jazz Vocabulary 4
Ascending triplet sweep.
Essential Jazz Vocabulary 5
Descending triplet sweep.
Essential Jazz Vocabulary 6
Chromatic flow, plus how to play on a bII7 – Im7 chord progression.
Essential Jazz Vocabulary 7
Using one melodic device to create both an altered tonality and a lydian dominant tonality.
Essential Jazz Vocabulary 8
3 JUICY jazz guitar improv tools: 1st part of this jazz line I took from WES MONTGOMERY. It’s a line he played in one of his solos that I always loved. 2nd part can be seen as SUPERIMPOSING one tonality on top of another, which is a concept I really dig. If you analyze it note buy note, there’s also the ambiguity of it being not quite altered, and not quite major. Also something I really dig, GEORGE BENSON comes to mind, particularly the early days. 3rd part is a regular arpeggio, made JUICY by simply approaching it with some CHROMATICS.
Triads
Once you learn the big arpeggios, it’s easy to forget about the triads. Don’t. You can create a lot of interesting ideas with triads, and for superimposing they are also great with their clear harmonic structure.
Parallel Major Triads
This is a really cool idea that sounds very sophisticated, but is really simple, and easy to play. It’s very typical for George Benson, which makes sense, since I stole the idea from him.
3 Triads Moving Chromatically
Here’s a pattern made up from 3 different triads that you can move chromatically either up or down.
Signature Triad Licks
In this lesson you’ll learn two triad patterns that I build on for one of my signature licks. It uses major, minor and sus4 triads, and goes back and forth between “inside” and “outside” sounds. In my obviously biased opinion, it’s a super cool idea!
FLUID PHRASING – TASTEFUL SWEEPS
Truly mastering the sweep picking technique can really help you get a fluid quality in your phrasing.
This course will take you from the very basics, with the mechanics of the technique discussed in great detail, to where you start to really integrate the technique in your playing, without even thinking about it
FLUID PHRASING – TASTEFUL SWEEPS Intro
• The objective of the course, what I hope you will accomplish.
• Advantages of learning the different sweeping techniques to play great jazz lines.
• Course description, the 5 modules in this course.
FLUID PHRASING – TASTEFUL SWEEPS 1
• What is sweeping
• Basic mechanics
• 4 string sweep
• Left/right hand coordination
• Similarities to playing pool
• From rest strokes to sweeps
• Right picking hand angles – side to side vs in and out
• Changing direction
• Playing clean
FLUID PHRASING – TASTEFUL SWEEPS 2
• 5 string sweep
• Moving the index finger fast within the sweep
• Muting unwanted strings with left hand
FLUID PHRASING – TASTEFUL SWEEPS 3
• 5 string sweep
• Adding a finger stretch
FLUID PHRASING – TASTEFUL SWEEPS 4
• 5 string sweep
• Rolling one finger over several strings
• Starting with a hammer-on
FLUID PHRASING – TASTEFUL SWEEPS 5
• 5 string sweep
• The human factor in jazz vs other music
FLUID PHRASING – TASTEFUL SWEEPS 6
• 6 string sweep – The big minor triad sweep
FLUID PHRASING – TASTEFUL SWEEPS 7
• 5 string sweep not following strict thirds pattern.
FLUID PHRASING – TASTEFUL SWEEPS 8
• Fast Turning And Locking With The Beat
• Much more controlled movements
• Lock in with the beat of the music
• Includes practice tracks
• How to practice with a metronome (Highly recommended!!)
FLUID PHRASING – TASTEFUL SWEEPS 9
• Fast Turning And Locking With The Beat
• 8th note triplet sweeps
• Further controlling the right hand movements
• Turn directions plus one more note
FLUID PHRASING – TASTEFUL SWEEPS 10
• Drills focusing only on locking in with the beat playing 8th notes.
• Keeps stretching and attacking this technique from different angles.
FLUID PHRASING – TASTEFUL SWEEPS 11
• Practice locking in playing triplets.
• Discussion on wether or not to pick everything in different situations.
FLUID PHRASING – TASTEFUL SWEEPS 12
• 3 String Fast Turn
• Very revealing exercise if you’re not in complete control over your movements.
• Obvious how right hand position and picking angle shifts between downstrokes and upstrokes.
FLUID PHRASING – TASTEFUL SWEEPS 13
• 4 String Fast Turn
• Same kind of exercise as the previous lesson, but on 4 strings, and one new arpeggio shape with pure 4ths.
FLUID PHRASING – TASTEFUL SWEEPS 14
• What is a half sweep
• Why is it essential to master
• The situations you will find yourself in where you need a half sweep
• 4 string descending pattern
FLUID PHRASING – TASTEFUL SWEEPS 15
• Same half sweep right hand pattern, on different strings and shapes.
FLUID PHRASING – TASTEFUL SWEEPS 16
• 4 string ascending pattern using half sweep technique.
• Figure out what works best for YOU.
FLUID PHRASING – TASTEFUL SWEEPS 17
• Same half sweep right hand pattern, on different strings and shapes.
FLUID PHRASING – TASTEFUL SWEEPS 18
• 3 string straight from descend to ascend, “turn on a dime”.
FLUID PHRASING – TASTEFUL SWEEPS 19
• Adding one note to the pattern to make it 4 notes across 3 strings.
• Practicing tip for speed.
FLUID PHRASING – TASTEFUL SWEEPS 20
• 4 string pattern that loops down and up, but can also be used as a sequenced element within other phrases.
FLUID PHRASING – TASTEFUL SWEEPS 21
• Ascending/descending scale
• “Rules” of economy picking
• The basic mechanics.
• Rest stroke becomes sweep
• Get DEEP into the strings with solid technique.
• Have great velocity power available
• Dynamic range
• Practice musically, even scales.
FLUID PHRASING – TASTEFUL SWEEPS 22
• Triplet based descending scale runs that you can use in your playing.
FLUID PHRASING – TASTEFUL SWEEPS 23
• Simple and usable ascending scale pattern.
FLUID PHRASING – TASTEFUL SWEEPS 24
• 2 String Descending Pentatonic Triplets
• Strong rhythmic statement
FLUID PHRASING – TASTEFUL SWEEPS 25
• Ascending Pentatonic Triplet Pattern from every scale degree.
• Both 2 and 3 string pattern.
FLUID PHRASING – TASTEFUL SWEEPS 26
• Example Lick 1: 2 triads “hidden” inside a musical line
• Expanding vocabulary
• How learning gets easier
• Which licks to “keep”
• Don’t give up to easy
• Musical taste / physique
• About adapting from other instruments
• What is a natural musical line
FLUID PHRASING – TASTEFUL SWEEPS 27
• Example Lick 2: Moving Triads
• Arpeggio based lick with a rhythmic variation
FLUID PHRASING – TASTEFUL SWEEPS 28
• Example lick 3: Scale Up 4ths Down
• Scale/chromatics/arpeggio on ascend
• 4ths pattern on descend
• How to easily make this idea sound “outside”
• Why does it work as an “outside” idea
FLUID PHRASING – TASTEFUL SWEEPS 29
• Example Lick 4: Pentatonic Descend
• Simple and clear pentatonic statement
• Half sweep and economy picking
• Importance of dynamics
FLUID PHRASING – TASTEFUL SWEEPS 30
• Example Lick 5: “Outside” Triads
• Another line that naturally combines scale movement, chromatics and arpeggios
• Hammer-ons vs picking tone
• Enclosure
• Final course conclusion
LEVEL 3
ADVANCED SOLOING CONCEPTS
In this section you’ll learn a lot of concepts and melodic ideas that you can personalize and use in your own improvisations.
Learning like this, from actual real-world musical examples, is very different from just learning a lot of theory and trying to think up a musical vocabulary from that.
It is not only infinitely more effective when developing as an improvisor, is’s also much more fun, and immediately very rewarding.
TRIAD PAIRS
This is a very cool concept that allows you to build lines using two different triads in different inversions.
Triad Pairs 1
In this lesson we’ll look at the concept of Triad Pairs, and a few different way to apply them to the guitar. It’s a nice idea that is used a lot in jazz, and it instantly sounds great when you play it.
Triad Pairs 2
Getting the triad pairs idea up to blistering speeds.
Triad Pairs 3
Several more triad pairs in the same key, and some big sweeps.
Triad Pairs 4
Triad pairs within the whole tone scale.
Triad Pairs 5
In this lesson we’re introducing triad pairs from the harmonic minor scale. There are a couple of melodic ideas here that are pretty easy to learn and use, even though the topic may be complex.
Triad Pairs 6
Some longer lines (up to 2 octaves+) using the triad pairs from the harmonic minor scale
Triad Pairs 7
Slightly outside, major on minor, sound by using triad pairs from E harmonic minor scale on C minor chord.
DUAL ARPEGGIOS
Two related arpeggios within one chord to make your arpeggios based soloing more interesting
Dual Arpeggios 1
Establish that dominant sound with these arpeggios, arpeggios from 7 and 3 on dominant chords.
Dual Arpeggios 2
Establishing a tonality with dual arpeggios, and using them to create an altered tonality with tritone subs.
Dual Arpeggios 3
Same formula as on the dominant chords on a minor 7 chord. (And the relative Maj7)
Dual Arpeggios 4
Dominant 7 from 5 and 9, a couple of new ways to play dominant 7 arpeggios.
TRIPPLE ARPEGGIOS
Connecting three different arpeggios within the same basic tonality
Tripple Arpeggios 1
Repeating pattern over three different arpeggios, with some nice chromatic colors.
Tripple Arpeggios 2
Repeating pattern over three different arpeggios, with some nice chromatic colors.
Tripple Arpeggios 3
Repeating pattern over three different arpeggios, with some nice chromatic colors.
CHORDS WITHIN CHORDS
Three-note shapes within chords to expand harmony and lead lines
Chords Within Chords 1
This is an approach making it easier to play solos based more on chord notes than scales, and it also opens up nice chord melody options.
Chords Within Chords 2
Expanding on a simple riff.
Chords Within Chords 3
Using the chords within chords to create an “outside” sound.
Chords Within Chords 4
Using the chords within chords approach to create an altered sus4 tonality.
Chords Within Chords 5
Sweet Comping Fills.
DIAGONAL DOMINANT PENTATONICS
Musical way of approaching dominant chords for soloing
Diagonal Dominant Pentatonics 1
Dominant pentatonic scale grouped in 2 and 3 notes per string so you cover entire scale using two strings. Practicing changing between two keys, Bb and Eb, to play on first 8 bars of a regular blues progression.
Diagonal Dominant Pentatonics 2
Dominant pentatonic scale with chromatic passing note added. Triplet run with 3 notes per string, ascending and descending in two different keys.
Diagonal Dominant Pentatonics 3
In this lesson you get two arpeggios to go along the diagonal scale, and a melodic structure using both the scale and arpeggio. Probably will take some time to master.
BLUE NOTE TENSION
Blue Note Tension 1
This lesson shows how you can take out the “blues note”, the b5, and use it in a different way than just a chromatic passing tone. It’s a simple idea, but very usable, and can be transferred to many other harmonic settings, by understanding the “vibe” of it.
Blue Note Tension 2
Expanding concept, learn melodic figure over 3 string groups.
Blue Note Tension 3
Concept developed even further, applied on a 12 bar blues.
DIAGONAL ALTERED
This is a MUSICAL course on a theoretical subject. Learn to get a “foot hold” on this confusing altered scale, and get some really great melodic devices that you can use and expand on in your soloing!
Diagonal Altered 1
Introduction to the concept, learn the basic one octave at the time approach to the altered scale.
Diagonal Altered 2
Get a lot of melodic ideas to get you started, using both arpeggios and scales. Also using the arpeggio up – scale down approach.
Diagonal Altered 3
More melodic ideas. Also learn how to spice up your playing on regular minor chords too, not just dominants, using the very same approach as to altered.
4ths AND sus4
Using 4th and sus4 patterns is really nice, and can often offer a more “open” or “modal” feel than regular third based arpeggios.
4th Licks
Saxophone-like lick, based on fourths, over a 2-5-1 progression on a 12/8 kind of groove.
Sus Triad Mini Sweep
Spin-off from the lesson on Chick Corea – “Bessie’s Blues”. We’re taking an element from that transcribed solo and use it to make an exercise, which should be fairly easy to use in your soloing.
Sus 4 Ideas
Moving around one simple sus4 shape to create both a nice “modal” feel, as well as a killer “outside” idea.
Diagonally Cascading Fourths
Different approaches to fourth arpeggios in the key of C mixolydian.
BASIC CHORD MELODY
Different approaches to harmonize your improvised solos.
Chord Melody Connecting With Dim Chords
How to harmonize melody notes played on the 1st string using inversions of the major 6 chord and diminished chords.
2+3 Pentatonic in Octaves
A Major Pentatonic scale in octaves (Wes Montgomery style), plus a nice comping idea.
Octaves plus 6ths
Another shade of “chord melody”
TRIPLET RUNS
The Triplet Run
You have got to know this run!
Ultimate Triplets 1
Bursts of energy as a variation to 8th note based lines. Arpeggio based idea.
Ultimate Triplets 2
The “Ultimate triplets” pattern starting on the 5th string.
ALTERED / LYDIAN DOMINANT
Arpeggios On Altered Chords
Here are some nice arpeggio shapes built from the altered tonality.
Scale Pattern On Altered Chords
Here’s a pretty “chopsy” pattern that uses the altered tonality.
Mixo #4 From 4th String
Basic walk-through of the Mixo #4 scale, and one cool melodic idea.
VOCAL-LIKE PHRASING
In this section we’ll focus on the nuances of vocal phrasing, to make the guitar “sing”.
Ingebjørg Bratland on “Markus”
Ingebjørg Bratland is a phenomenal Norwegian singer who sings in a traditional way on more contemporary music.
Justin Bieber on “What Do You Mean”
Check out the bluesy phrasing that Justin Bieber does on “What Do You Mean”. Also, one of my “signature” licks is an extension of one of these phrases.
FALSE FINGERING
False fingering is really a concept on saxophone, where you can play the same note with two different fingerings. Adapted to guitar, that means playing the same note on different strings, which will give some interesting sounds when used inside jazz phrases.
False Fingering 1
Lick using “false fingering”
False Fingering 2
2 licks using “false fingering”, and major 3rd tension on minor chords.
False Fingering 3
“False fingering” (saxophone concept) chromatic ideas leading to arpeggio ideas.
CHROMATICS
It’s a bit strange maybe to have a category named chromatics, seeing that there are chromatics all over jazz, and in just about every single the lessons on this site.. Still, here are some lessons specifically targeting the subject.
All Strings Scale Pattern With Chromatics
Pattern you can use to make a long line, or as part of other lines.
The Chromatic Scale
One way of playing the chromatic scale that really swings, using 6 notes on each string.
Chromatic Lick Targeting Major Triad
Melodic idea with chromatic tension that can be played “loosely”, and also very fast.
Chromatic Approach to Chord Tones
Simple enclosure idea using an F major triad as target notes, and cromatic note below – scale note above pattern. Very nice, and very musical idea.
6 Note Chromatic Approach
Here’s a chromatic pattern, and 3 ways to incorporate it in longer jazz lines.
Swingin’ chromatics
Linear movement simply using the cromatic scale, focusing mainly on rhythm and accent patterns.
DIMINISHED
Diminished Arpeggios and the Whole Half Scale
Arpeggios around A minor tonality, connecting the inversions using diminished arpeggios, and also using the whole/half scale to the corresponding V7 chord to form arpeggios.
7 Beat Half Whole Pattern
7 beat pattern using the half-whole scale. Because the pattern is 7 beats long, it alligns differently to the bar each time, so it sounds less like a pattern.
MISC
Random bits of inspiration
Pentatonics With M3 Tension
Simple melodic idea played in two different positions, using the minor pentatonic scale with a major 3rd tension . Works well as both a pretty much inside idea, with just one outside tension note, as well as completely outside.
Pentatonic Runs
Triplet based, fast tempo pentatonic pattern.
6 and 5 note Diagonal Dorian
Musical way of using the dorian mode.
Lydian #5
Concept of the scale, melodic ideas, arpeggio ideas.
Whole tone Scale and Chromatics
Some chromatic passing notes added to the scale, and exercise connecting it with two arpeggio based ideas.
Gypsy Style Licks
Some nice melodic ideas and licks to get you started with some typical gypsy-jazz vocabulary.
Bluesy Jazz Licks
Bluesy melodic ideas, using a simple trick to get a sophisticated jazzy touch.
Flashy Sax-Like Lick
Fun flashy legato idea that can be played freely over any tempo.
Whole Tone Scale 2+3
introduction to the whole tone scale, how to play it and ways to use it.
Bite-Sized Altered Runs
In this lesson we are practicing descending the altered scale from different tension notes of the V7 altered chord – the b13 and #9
Sweeping Triplet Approach
Small arpeggio ornament approaching target notes, using sweep picking. Very important and usable trick.
Bluesy Ellington
Here’s a melodic idea inspired by the bluesy style of early Duke Ellington.
Blues Scale Becomes Melodic Minor
Here’s a different approach to working with the melodic minor scale. You’ll see how to use two different altered scales on the same chord progression, and how they relate to the tonic.
ADVANCED COMPING
Advanced chords and comping concepts.
WALKING BASS
Legato Staccato finger independence 1
Basic drill for left hand finger independence, introduction to playing walking bass lines and chords at the same time.
Legato Staccato finger independence 2
Continuing left hand finger independence, introduction to playing walking bass lines and chords at the same time.
Legato Staccato finger independence 3
Introduction to playing walking bass lines and chords at the same time, first 8 bars of All the things you are.
Jazz Blues in Eb
One round of comping an Eb jazz blues with both bass line + chords simultaneously.
Alone Together 1
Comping the standard “Alone Together” alone in 1-3 feel, most basic version.
Alone Together 2
Comping the standard “Alone Together” alone in 1-3 feel, adding on a syncopated chord figure.
Alone Together 3
Several walking bass variations for the beginning minor 1-2-5 in “Alone Together”, playing chords and walking bass line at the same time.
Jaco Bass Line
Bass and chords at the same time – In this lesson you’ll learn a bass line in the style of Jaco Pastorius, and to play chords at the same time. This groove is applied to a 12 bar blues form.
COMPING IDEAS
Comping ideas for inspiration for when you’re comping with a rhythm section.
Comping “Alone Together” – A Section
First two A sections of Alone together.
Comping “Night And Day”
Example of comping “Night and Day” with a standard rhythm section.
JUICY DOMINANT CHORDS
Juicy Dominant Chords (That Aren’t Really Dominant Chords) 1
Exciting way of building V chords.
Juicy Dominant Chords (That Aren’t Really Dominant Chords) 2
Chord that can be moved in minor 3ds, but becomes different chord each place.
Juicy Dominant Chords (That Aren’t Really Dominant Chords) 3
A couple of new, juicy sounding chord shapes which can be used as dominant chords.
MIDDLE STRING TRIADS
Useful comping concept for styles other than jazz.
Middle Strings Chords 1
Soulful comping with major triads, key of G major
Middle Strings Chords 2
Soulful comping with major triads, key of C major
Middle Strings Chords 3
Soulful comping with major triads, key of F major
Middle Strings Chords 4
Mellow comping with minor triads, key of C minor
Middle Strings Chords 5
Mellow comping with minor triads, key of F minor
Middle Strings Chords 6
Mellow comping with minor triads, key of G minor
Middle Strings Chords 7a – Building Dominant Chords
Blending into a pop/c&w production, introducing dominant 7 chord forms
Middle Strings Chords 7b
Blending into a pop/c&w production, introducing dominant 7 chord forms. Key of G major.
Middle Strings Chords 8
Blending into a pop/c&w production, introducing dominant 7 chord forms. Key of C major.
Middle Strings Chords 9
Blending into a pop/c&w production, introducing dominant 7 chord forms. Key of Eb major
Middle Strings Chords 10
Major triads, dominant 7 and sus4 chords.
Middle Strings Chords 11
RnB chops, two note comping.
JAZZ STANDARDS
Studying the JAZZ STANDARDS is an essential part of learning the craft of playing jazz, and even most of the modern players have this as a large part of their foundation.
BLUES FOR ALICE
1-Bar Licks For “Blues For Alice”
Here are 4 licks on one-bar 2-5’s that works well over the fast modulations in “Blues For Alice”, and of course on any other tune with similar changes.
Soloing On “Blues For Alice”
One full chorus of example solo on Charlie Parker’s classic “Blues For Alice”, using among other things the 1-bar licks from the previous lesson, and other scale based and arpeggio based melodic devices.
DAYS OF WINE AND ROSES
Days Of Wine And Roses
Learn to solo on the famous jazz standard Days Of Wine And Roses using the Arpeggio Up – Scale Down concept.
I COULD WRITE A BOOK
I Could Write A Book
Arpeggio up/Scale down is a common concept, and a more musical way of learning to play on changes than just running up and down scales. In this lesson we’re working on the jazz standard I Could Write A Book.
BLUE IN GREEN
Soloing On “Blue In Green”
In this lesson you learn an etude on the chords of “Blue In Green”, made famous of Miles Davis. The etude is built mainly from arpeggios and scales, and is a more musical way to build a harmonic foundation for your soloing.
ALL OF YOU
All Of You
Analysis and melodic examples
AUTUMN LEAVES
Autumn Leaves
Solo transcription.
BEAUTIFUL LOVE
Beautiful Love
Basic keys and arpeggios for Beautiful Love. Also interesting connections between jazzy chords and the blues.
BLUE BOSSA
Blue Bossa
Alternate melody, and how to solo on Blue Bossa.
A CHILD IS BORN
A Child Is Born
How to solo on A Child Is Born, it may seem very tricky, but it can be simplified, the tonality is basically changing between major and minor.
SUMMERTIME
Summertime
How to play on Summertime with the reharm Wes Montgomery used to create 4 on 6.
GREEN DOLPHIN STREET
Green Dolphin Street 1
Soloing on “Green Dolphin Street”
Green Dolphin Street 2
Soloing on “Green Dolphin Street”
I LOVE YOU
I Love You 1
3 separate lessons to thoroughly go trough one of the coolest standards ever to improvise over – I Love You.
I Love You 2
3 separate lessons to thoroughly go trough one of the coolest standards ever to improvise over – I Love You.
I Love You 3
3 separate lessons to thoroughly go trough one of the coolest standards ever to improvise over – I Love You.
PEACE
Peace 1
Chord Melody on the beautiful jazz ballad Peace.
Peace 2
Arpeggio Study on the beautiful jazz ballad Peace.
DONNA LEE
Donna Lee
Super hip bebop licks taken from the master himself, Charlie Bird Parker, from his tune Donna Lee.
ARTIST STUDIES
By studying and analyzing the greatest improvisers on the planet, you will learn things that can not be learned any other way.
The real object of practicing these lessons is not to sound exactly like the artist you’re studying, but to expand your musical vocabulary, and your ability to absorb and execute musical ideas.
You will soon experience that once you get familiar with learning like this, it will get a lot easier! The things that are hard to begin with, like getting the rhythms and phrasing right, will get much easier, really fast, probably much faster than you would have thought.
Be advised – In music, like in any art, to be able to say anything relevant, we’re dependent of standing on the shoulders of those before us.
IMPORTANT:
Some of the analysis in this section is very advanced. If there are things you don’t understand, don’t worry too much about it! Actually learning to PLAY the musical examples is FAR more important than understanding all of the theory!! And vice versa – JUST understanding the theory will do you no good if you don’t actually learn to play the music.
Keep it simple:
1. Learn the melodic ideas.
2. See if you can use those ideas, or bits of them, in your own improvised soloing.
CLASSIC JAZZ GUITAR
PAT MARTINO
– There is a kind of “clarity” in the lines of Pat Martino that I think make them ideal for the jazz student. For scale based ideas, his playing is a deep well of inspiration, there is always something cool there – an unexpected note slightly outside the key, or a hip rhythmic element. Check out his debut record “El Hombre”. He was 22 when he made that (!!!)
Pat Martino on “Impressions”
Another eye-opener lesson (studying the lines of Pat Martino will do just that!). We’re picking a part four 8-bar chunks from Pat Martino’s solo on “Impressions” by John Coltrane. Incredibly useful jazz vocabulary that you can build on in your own playing.
Pat Martino on “Blue Bossa”
Classic jazz guitar vocabulary by Pat Martino, and scale options for “Blue Bossa”
Pat Martino Licks
4 licks in the style of Pat Martino.
JOE PASS
– The elegant playing of Joe Pass is some of the most talked about and studied in the jazz guitar world. Here are some really sweet examples that you can add to your musical vocabulary.
Joe Pass On “On A Clear Day” 1
One whole round of Joe Pass’ solo on “On A Clear Day”. This lesson will most likely be a jazz-guitar-eye-opener, as you’ll see how Joe Pass creates some fantastic lines, and great tonalities basically just by circling around one basic “position”.
Joe Pass On “On A Clear Day” 2
Here we play around with one of the melodic ideas from Joe Pass’ solo on “On A Clear Day” on a more modern sounding track. It’s easy to learn and use, and sounds sweet.
Joe Pass on “Joe’s Blues” 1
Nice, elegant bluesy jazz licks from Joe Pass’ solo on “Joe’s Blues”.
Joe Pass on “Joe’s Blues” 2
Lesson on Joe Pass’ chord solo work from his solo on “Joe’s Blues”, as well as some really nice single note lines.
GEORGE BENSON
– One of my absolute favorites, George Benson! Here you will find lessons highlighting both his straight ahead bluesy playing, the hot bebop playing, the chord soloing, and the funky fusion stuff. Everything so unmistakably BENSON!
George Benson Octaves + 5ths and 4ths
An early trademark of George Benson was to put a note in between the Wes Montgomery octaves, either a 4th or 5th. In this lesson you get a few cool ways of using this idea.
George Benson on “I Remember Wes”
In these 4 lessons we first look at what George Benson play on the actual recording (We go through the guitar part for the entire song), both melody, chord melody and soloing. Then we pick out selected parts from the solo, and look at how you can start using those ideas in your own soloing.
George Benson on “Clockwise”
Incredible bebop lines by George Benson on this 12 bar blues, both bluesy and outside.
George Benson on “Billies Bounce”
In these lessons we study a large chunk of George Benson’s legendary solo on “Billie’s Bounce”, and look closer on some of the most incredible licks there, and how to use them in our own soloing.
George Benson on “The Ghetto”
Here are a few examples of George Benson playing “inside”. Nice bluesy ideas that doesn’t create very much tonal tension, but still are solid melodic statements!
George Benson on “Weekend in L.A.”
In these lessons we look at the more funky side of Benson, with some his great “pocket” playing on “Weekend in L.A.” There’s also some great melodic ideas for 11 and dom7 chords, as well as some of the George Benson signature triplet runs.
George Benson On “From Now On”
Learn George Benson’s beautiful solo guitar instrumental “From Now On”.
KENNY BURRELL
The bluesy and strong melodic style of Kenny Burrell is really fun to explore, and in these lessons you’ll find some fantastic cool jazz-blues vocabulary that is instantly recognizable classic jazz guitar.
Kenny Burrell on “Midnight Blue”
Incredible bluesy jazz guitar ideas from Kenny Burrell from his solo on “Midnight Blue”!
Kenny Burrell on “Kenny’s Theme” 1
The beginning of Kenny’s solo on this song, and one of his phrases transposed to different chords and on different string groups so that it fits the entire 12 bar jazz blues form. Very useful jazz blues melodic idea – classic jazz guitar.
Kenny Burrell on “Kenny’s Theme” 2
12 bars of Kenny Burrell’s solo on “Kenny’s theme” transcribed.
Kenny Burrell on “Kenny’s Theme” 3
12 new bars of Kenny’s solo, the “shout chorus” on guitar. Fantastic soloing ideas with two part harmony throughout, and Kenny demonstrates what a true virtuoso he is.
JIM HALL
Jim Hall on “Alone Together”
3 great melodic devices played by Jim Hall on his solo on “Alone Together”.
WES MONTGOMERY
Wes Montgomery, the TITAN of jazz guitar, instantly recognizable for his sound, and a master at single-line solos, octave solos, and chord solos (More often than not in that order within the same solo).
Wes Montgomery on “Four on Six” 1
Wes Montgomery’s “Four on Six”, what scales to use, and some melodic ideas.
Wes Montgomery on “Four on Six” 2
First 10 bars of Wes Montgomery’s solo on “Four on Six”. 3 clear and usable ideas including use of double stops, arpeggios and a sequenced melodic idea using some very intricate rhythms.
Wes Montgomery on “Four on Six” 3
Next 8 bars of Wes’ solo on Four on Six. One lick using the whole tone scale, one altered line, and one line using a natural 6th tension.
Wes Montgomery On “Road Song” 1
The first bars from Wes’ solo on “Road Song”. Some fantastic melodic ideas, and an example on how simplifying the solo scales on complex changes can make really hip tonalities. Make sure to practice with the practice tracks to work on your phrasing.
Wes Montgomery On “Road Song” 2
The next bars from Wes’ solo on “Road Song” (Second A part). More fantastic melodic ideas, great idea for minor II – V – I (Altered), nice arpeggios, phrasing details, and great bluesy line. Make sure to practice with the practice tracks to work on your phrasing.
Wes Montgomery On “Road Song” 3
Incredible line from the B section of the song. Arpeggio idea approached by a half tone below, moving all over the place.
Wes Montgomery On “Airegin” 1
First 8 bars of Wes’ solo on Airegin, from the record “The incredible jazz guitar of Wes Montgomery”. Use of pentatonic blues scales from the root of each chord, as well as chromatic passing notes, and diminished scale on the dominant 7 chord.
Wes Montgomery On “Airegin” 2
Bars 9-20 of Wes’ solo on Airegin, from the record “The incredible jazz guitar of Wes Montgomery”. Rapidly modulating 2-5-1 changes, use of pentatonic blues scales from the 2 degree of the progressions, upper structure arpeggios, chromatic passing notes, and more.
Wes Montgomery On “Airegin” 3
Last part of the first chorus of Wes’ solo on Airegin, from the record “The incredible jazz guitar of Wes Montgomery”.
MODERN JAZZ GUITAR
PAT METHENY
Pat Metheny on “Third Wind” 1
First 8 bars of Pat Metheny’s solo on “Third Wind” from the live record “The Road to You”.
Pat Metheny on “Third Wind” 2
Next 4 bars from Pat Metheny’s solo on “Third Wind” from the live record “The Road to You”.
Pat Metheny on “Third Wind” 3 – The Solo Break
Pat Metheny’s classic solo break on “Third Wind” from the live record “The Road to You”.
Pat Metheny on “Bright Size Life”
One phrase from Pat Metheny’s solo on “Bright Size Life” from the “TRIO->LIVE” CD, spanning several positions. Also the corresponding pentatonic scales in all those positions.
Pat Metheny’s Tritone Sub Triads
Simple idea from Pat Metheny to create a cool tritone sub sound with triads.
Pat Metheny’s “Antonia”
Lesson on how to solo over the solo section to the tune “Antonia”, by Pat Metheny (From the “Secret Story” album).
MIKE STERN
Mike Stern On “Gossip”
Overview of tune structure, and two killer melodic ideas!
Mike Stern on “Gossip” 2
Fantastic melodic lines from Mike Stern on the B section of “Gossip”, using arpeggios, diminished, pentatonic and chromatic ideas.
Mike Stern on “Gossip” 3
More melodic lines from the B section of “Gossip”. Mike Stern’s signature “inside to outside” melodic ideas.
Mike Stern Hot Licks
One long line by Mike Stern, containing several cool little ideas using chromatics, and superimposing major on minor. Very nice and easy to use.
Mike Stern’s Whole Tone Chromatics
Very simple and super easy idea taken from Mike Stern to create a whole tone sound, and play it over a minor chord vamp.
JOHN SCOFIELD
John Scofield on “Groove Elation”
One round of John Scofield’s solo on “Groove Elation” (12 bar blues form). Learn a couple of his super-cool signature melodic devices, really easy to start using in your own soloing!
John Scofield on “Twang” 1
First 8 bars of John Scofield’s solo on “Twang”. Easy to play technically, but a real challenge to play with Sco’s feel and timing! A couple of very typical things in the quirky style of John Scofield.
John Scofield on “Twang” 2
3 snippets from John Scofield’s solo on “Twang”. More double stops, as well as a very cool single line with a lot of chromatic tension.
MORTEN FAERESTRAND
Bopfirmation Licks
Guitar friendly Charlie-Parker-like licks that you can use on 2-5’s.
The Outro-Video Solo Transcribed
I’ve had many requests to do a lesson on this solo, so here it finally is.
Solo Transcription: Stepping outside the blues box
Here’s a solo I did for a YouTube lesson transcribed.
Intro Solo from the Half Sweep Lesson
Transcribed solo from a lesson on “half-sweeps”
Blues Not
Original composition. How to play it, and how to solo on it.
SCOTT HENDERSON
Scott Henderson on “Got A Match”
Scott Henderson soloing on Chick Corea Electric band’s “Got A Match”
Scott Henderson on “Bofat” 1
Two very cool licks from Scott Henderson’s solo on “Bofat”.
Scott Henderson on “Bofat” 2
More soloing from Scott Henderson on “Bofat”, altered dominant to major triad, and minor blues licks with very cool color notes! Technically very challenging lesson.
Scott Henderson on “Bofat” 3
Bluesy, outside, and chromatic ideas from Scott Henderson on his solo on “Bofat”.
Scott Henderson on “Renegade” 1
First 8 bars of Scott Henderson’s solo on “Renegade” from the classic Tribal Tech album “Nomad”. Use of melodic minor, and outside tonalities.
Scott Henderson on “Renegade” 2
Next 8 bars of Scott Henderson’s solo on “Renegade”.
Scott Henderson on “Renegade” 3
Two very cool, and easy-to-use ideas from Scott Henderson’s solo on “Renegade”.
JEFF BECK
Jeff Beck on “Cause we’ve ended as lovers” 1
The basic melody and chords of Jeff Beck’s version of “Cause We’ve Ended As Lovers”
Jeff Beck on “Cause we’ve ended as lovers” 2
Discussion about Jeff Beck’s tone, and how to get a nice, fat lead tone with single coils.
Jeff Beck on “Cause we’ve ended as lovers” 3
Soloing options for the solo changes of Jeff Beck’s version of the song. Scales and arpeggios.
Jeff Beck on “Cause we’ve ended as lovers” 4
Here’s a few of Jeff Beck’s signature licks and tricks from the original recording of “Cause we’we ended as lovers”
LARRY CARLTON
Larry Carlton on “Room 335″
The hippest playing from Larry Carlton’s hit tune “Room 335”
ROBBEN FORD
Robben Ford On “Man In The Moon”
Here’s a technical run trough and harmonic analysis of 4 bars of Robben Ford’s solo on “Man In The Moon”. It’s a good example of the jazzy blues style of Robben Ford, where he’s playing real fluid and elegant lines, that has a slight touch of colorful jazz notes, while still being strongly rooted in the blues.
Robben Ford on “Revelation”
Cool jazzy blues licks by Robben Ford on the song “Revelation”.
LEARN FROM OTHER INSTRUMENTS
PIANO
KENNY KIRKLAND
Kenny Kirkland from “Bring On The Night” (Sting)
Study of Kenny Kirkland’s solo from the opening track to Sting’s double live CD “Bring On The Night”.
CHICK COREA
Chick Corea on “The Wish”
This lesson is from Chick Corea’s piano solo on “The Wish”. Triad ideas and chromatic approach ideas, as well as an altered scale run.
Chick Corea on “Matrix” 1
Some incredible lines from Chick Corea from his piano solo on “Matrix”, which is a fast blues in F.
Chick Corea on “Matrix” 2
More incredible lines from Chick Corea from his piano solo on “Matrix”
Chick Corea On “Matrix” 3
Spin-off from an earlier lesson on Chick Corea’s solo on “Matrix”. In this lesson one of his patterns is explored and expanded.
Chick Corea On “Bessie’s Blues” 1
Here’s a special two-hand trill (from piano) by Chick Corea, as well as some nice lines using blues scale, diminished half-whole, fourth voicing chords, and a very technically challengin (and rhytmically challenging!) chromatically moving idea.
Chick Corea On “Bessie’s Blues” 2
Chick Corea playing around with small arpeggios,scale based runs and chromatics. Clear Coltrane referances.
Chick Corea On “Got a Match” 1
Melodic idea from “Got a Match” adapted and applied to both major and minor II – V – I. Includes superimposing a major scale over the II chord and a lot of chromaticism.
Chick Corea On “Got a Match” 2
Soloing ideas from Chick Corea’s solo on “Got a Match”. Use of pentatonics, rhythmic displacement, outside playing, chromatisism and altered tonality.
SAXOPHONE
BOB BERG
Bob Berg on “The Wish” 1
Some incredible melodic content by Bob Berg played on “The Wish”, by Chick Corea, jumping from triad to triad, inside and outside, seamlessly integrating pentatonics and chromaticism.
Bob Berg on “The Wish” 2
Fantastic pentatonic ideas from Bob Berg.
MICHAEL BRECKER
Michael Brecker – Intensity Building 5 Note Pattern
Five note pattern adapted from one of Michael Breacker’s signature licks. Great for building tension, and for moving around chromatically.
KENNY GARRETT
Kenny Garrett on “Pursuance”
Several rounds of Kenny Garrett’s solo on “Pursuance”, some REALLY great melodic ideas.
BASS
TAL WILKENFIELD
Tal Wilkenfield on “Cause We’ve Ended As Lovers” 1
This is Tal Wilkenfield’s bass solo from a live performance with the Jeff Beck group, part 1.
Tal Wilkenfield on “Cause We’ve Ended As Lovers” 2
This is Tal Wilkenfield’s bass solo from a live performance with the Jeff Beck group, part 2.