Added: 4 years ago
From: beefcakejcc
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  • Nice, mellow stuff.

  • backing track sounds like black magic woman..?

  • he blinks a lot!

  • this vid is a prime example of unintentional comedy

  • 0:42 is where he starts!

  • Nice work.

  • where is the tab? too fast o.O

  • The tab for Lick#3 te high e note is 17th fret, not 16th

  • This is kind queer "esque".

  • So if i'm right Bebop is just major with a flat 7?

  • @Sproeikoei the dominant bebop scale does have the flat 7, but it also has the natural 7. it is constructed that way so that chord tones fall on the downbeats when improvising. For instance, the bebop scale over a C7 is spelled C D E F G A Bb B C. Try playing it going down the scale to hear it in action.

  • @976PAIN

    Yeh indeed (Sorry should have said "including").

    Alright thanks!

  • @976PAIN but B isn't a chord tone of C7, although I can see what you're saying about falling on the down beats (for resolutions sake, I guess?). Probably one of those the more you know the less you know type deals, yeah?

  • B dorian mode w/bebop and E mixo w/bebop. these are the ii and V chords in Amajor

  • hi adam sandler

  • what scale is this actually ? is it mixo ?

  • @slowhand633 E mixoionian. Or just the E dominant bebop scale. It's mixolydian with an added major 7th.

  • Nice licks man... Thanks

  • adam sandler on guitar..

  • I study classic music, and I'm wondering... Isn't C# minor the relative of E major..?

    Why does he use E major and B minor, but it still sounds great? Please feel free to enlighten my poor jazz thoery.

    Simon

  • @MetalSimon94 Yes C# minor is the relative of E Major. However, B is the dominant note of E major, so that may be why. Also, there are several minors you can use in a scale, not just the relative.

  • @OpinionMan101 Ahhh, thanks man, as you can see, I'm just a young student :P

  • @MetalSimon94 If you also notice carefully, it's basically a I-IV groove with the root being a minor chord. However, since the IV is major the parent mode is dorian. This specific minor bebop scale is based off the dorian mode with a chromatic passing note between b3 and 4. Also if you look even closer, the two bebop scales he uses are modes off each other - so of course both are going to work over the chord changes.

  • isn't this a dorian scale?

    What are the actual notes of the scale?

    B C# D

    E F# G# A

  • @GaryNull i think is the mixolidian

  • @GaryNull i think is the mixolidian, the first one at least

  • @GaryNull yeah the 2nd scale he shows is just like dorian with a major 3rd added as well. The 1st scale he shows is an ionian scale with a sharp 5th added. what i think is weird is the 2nd position of the major bebop scale is different than the minor bebop scale

  • I am not clear on what you mean by the bebop scale. It Sounds like a major scale peppered with passing tones to me. Bebop players were certainly likely to play such licks, but then so were the swing players, and even the dixieland players that came before them. In fact, I am a bit perplexed about the idea that any scale could be the property of a musical style. That was nice playing, though.

  • I prefer the Richter Scale in Attack mode.

  • I tried these scales and it made my scalp burn. The next morning I had a mullet.

  • Kenny Powers plays guitar.

  • I'm glad you gave up lousy acting in order to pursue a career of a guitarist, Adam Sandler.

  • Hi, my name is Peter Vogl.

  • The first "standard" bebop lick,''has a B flat note in it, at 1:40? Neither the E bebop scale, or the B min bebop scale has the b flat note in them when shows how to play both scales slow..All three licks too me, are B minor bebop looking..

  • here some fast jazzguitar for you!! great man!!!!!!!!!

  • nice Mullet! lol

  • nice!!!!!!!!!!!!!!!

  • i personally dont think that bebop scales are of any use. chromaticism is something that cant be taught through scales.

  • Bm bebop scale? You're actually playing a Bmix with an added low third. I'm not from a english speaking country, so I'm not sure if I'm using the right musical therms, but I'm pretty sure that's no B minor scale.

  • Hey Beefcake, just wanted you to know the 3rd lick starts on an upbeat and you have it starting on the down beat written out. Not a big deal, but might confuse some people. Actually, so does the second example.

  • Adam sandler plays guitar pretty well.

  • this guy could be a hand model. nice fingers man

  • so a bebop scale is the mixolydian scale and you add a flat to the root

    so E mix adds an Eb to the scale

    correct

    thanks

  • @lookylooky2006

    An easier way to think of it might be - as in this case on an E dominate chord, simply play an 8-note E major scale with both the flat 7 and major 7 tones.

  • Great, thanks!

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  • OUTSTANDING, this gives me some more range with my blues, great job, thanks

  • Thanks for sharing these great licks - I particularly liked the Clint Strong line, and would never have thought of sliding my second finger down the B string on C# C B to set up the other fingers just right for the next section - a brilliantly elegant move!!

  • The tab says the 3rd note of the 3rd lick is on the 16th fret but I'm pretty sure it's the 17th.

  • thanks for the licks dude

  • my question is about the Bflat note you hit in the first lick - I notice both the scales you teach are a B natural? Thanks for an explanation...

  • @enlighten42 That's just a chromatic approach to the root note. Also belongs in the minor harmonic, but I believe that to be beside the point.

  • man that song sucks! but the licks are sick!

  • awesome!!! licks 2 and 3 were fucking great, it will defenitely increase my jazz vocabulary

  • Peter, these are couple of great, easy to play licks to put into the old arsenal! Easy to see and transpose all around. Thanks for sharing some cool stuff. I get used playing the same old shit. It's fun to see how other players think. Kudos to you for making it fun and easy to see and understand!!

  • does this dude ever change his shirt?

  • @mesabow he does when he talks he has a red shirt on, and when he plays a grey shirt,, guess he just loves playing in his grey shirt,,

  • @mesabow He actually changes his shirt AND his guitar between licks - how often have YOU managed that? :-)

  • You really make bebop sound easy. I really like licks 2&3.

    MLP

  • Lots and lots to muck around with here thank you thank you thank you!!

  • nice chops man. i espsically love lick 2

  • Hey Peter thanks so much for this brilliant

    lesson. I'm a lefty, just starting out on the jazz road but can still follow it!

    Truly inspirational!

  • thanks...great video. where did u study?

  • You are an amazing teacher...I cannot believe how easy you made it. I hope you can make a living as an online teacher because I have listened to hundreds of these videos and yours is the best.

  • That was a great video. Good teaching. Now I can try playing such licks. Thanks a lot.

  • Hi how do I get COPY OF THE CD AND WRITTEN MUSIC FOR THESE LESSONS. Thanks.

  • follow the link in the more info section.

  • great video, great mullet

  • lol

    reminds me of emilio esteves

  • @funkapheliac i love this....a trailer trash hillbilly with a billy bob haircut...teaching me SANTANA.......you dont get much better than that partdner...yee hawwww..!

  • @funkapheliac mullets are the fucking shit you little nerd, there has to be a way to express to the world that I am fucking number one. It's not easy being on top, i'm not expecting your bitch ass to comprehend that. The mullet chose me, i'm sick and fucking tired of all these worthless dickfags hurting the mullet rep. Kenny fucking Powers, I'm out. Get me paid bitch! SUPERSTAR!

  • @5borosk8

    that sounded SO sarcastic that holy shit. ;D also, you sound like a rapper.

  • These are some great licks! Anyone notice the different guitar/shirt when the actual playing is happening?

  • Excellent licks. Thanks for posting this teaching video, Pete.

  • Great bebop licks! take a listen to mine on There Will Never Be Another You, and let me know what you think

  • Totally cool, thanks for teaching us that. Vogl is my candidate too.

  • since when did adam sandler teach jazz

  • lol

  • Comment removed

  • nice licks

    thanks for the lesson

  • good job!

  • cool licks, the timing in the last 2 is a bit off, but still very very cool stuff!

  • everyone's taking what i said and interpreting them in a different way than what i meant. i probably just worded it badly, plus i come off as a jerk cause i was in a nasty, confrontational mood lol.

    anyway, i just think as a jazz player you should learn the theory and truly improvise, as in basing it off scale and chord tones without using something you thought of/learned earlier. i know people will disagree and my views really aren't as different as they seem, i just don't know how to say it.

  • learning other peoples licks helps me when I think through how im approaching an improvisation. When you improvise you don't just think of scales and chords and how your going to run the neck. Lots of times learning licks makes me think wow I never thought of going that direction before. I learn licks to free my thinking and not as a lick arsenal i can pull at any time. (maybe what u mean?)

  • mmh .....learning jazz theory? sound awesome! iv been trying to learn some but its hard to find a good teacher, do u know where can i learn some theory by myself?

  • The internet is a WONDERFUL place to start getting into anything, and music theory is no exception. Just start googling "beginning music theory" or something similar and I can guarantee you'll start coming across some good information. The more advanced material you're looking for though, the harder it's going to be to find.

  • cool thx men

  • I love this guy, this video was very appealing. His licks were awesome, very soft spoken man. Thanks for the video!

  • this is a horrible lesson.

    teaching "licks" is a bad approach.

    before long all jazz players are gonna sound the same cause they have no soul and just play strings of premade licks.

    furthermore this track has nothing to do with bebop just cause it's "jazzy" sixteenth note runs.

  • By learning other people's lick you build up a repertoire which you are free to embellish and change. But most importantly, it gives you some insight into how to construct your own licks over various changes.

  • oh, i won't argue with that. you're completely right.

    it's just that every young guitar player i see these days is so into licks and whatnot, so they have no creativity or musicality.

  • Really? I recently graduated and everyone my age and below was emphasizing speed rather than licks. Speed was what killed my high school jazz band. =/

  • doug604 man but i think if u learn the prefab things that fit under ur fingers nicely then u can join them break them reshape them mold them play through them in any mathematical pattern u think ur mind can manipulate on time on the spot and then suddenly inbetween there u can play what u feel for a moment and , : my space dot come ffwd slsh greenvisionn

  • speed kills anything. i'm anti-speed too haha. i just think that you should be able to play something completely on the spot and have it sound like a lick, only without any premeditation.

  • what should everyone just play scales and sound like they are practicing?

  • When did I say that?

  • sorry i as saying that to the guy above you. I completely agree with your statement. sorry.

  • he's using bebop scales/theory to construct solos over m7 vamps for beginners. his playing is bebop in every sense of the term. he's just using harmonically simple vamps. you have to teach beginners something that will get them interested, not just show them shapes.

  • i didn't say his playing isn't bebop, i said the track isn't. and it isn't. it's pretty much a funk backing track with semi-bebop lines over it.

    the whole "lick" thing just sickens me because do you think any real bebop players learned to play by licks? no, they learned to play by an understanding of the music and picking things up from others rather than blatantly taking lines from instructional videos.

  • Of course they learned to play by licks. All jazz players develop a EXPANSIVE vocabulary of ii-V licks to shit out over changes. In bebop you usually get huge sequences of ii-V's like; Bm7-E7-Am7-D7-Gm7-C7-Fmaj. These guys have licks they can play over any ii-V or any chord type, depending on function and that's what they do...

    They learned their licks by listening to the greats, like Charlie Parker. After you develop an understanding and basis, you can then effectively create your own lick.

  • You say this like I've never heard of Charlie Parker or ii-V changes ;p

    But my main problem with this type videos is that it teaches players to do just what you said: "shit out over changes."

    I have yet to meet a young guitar player who values musicality and feeling over shitting out meaningless licks quickly.

    Which is basically what I was trying and failing to get at earlier.

  • Then they're shitty guitar players. I don't think that has anything to do with the licks they learned, they just can't effectively apply them.

  • I suppose, yeah.

    I'm just sad that guitar in jazz, to me, feels more like a gimmick than a instrument that actually belongs in it whenever I hear anyone my age (high school) play it.

  • Yeah doug sorry but this is how anyone learns. If you don't learn to "shit out licks" and learn from the theory behind it first, your still essentially making up your own licks. Which is a reflection of what you listen to, any beginner has influences. If you didn't want to sound like your influences, then how could they have influenced your playing? Every jazz musician learns by learning licks first, be it learning theory then how the licks fit into it or vice versa

  • Uhm yeah, I never learned licks because I don't believe you're playing what you feel if you play a prefab thing that falls under the fingers nicely.

    I guess I don't count as anyone though.

  • let's hear some of your music then, i bet it's awesome!!

  • Because you don't pull licks doesn't mean you don't play licks. Every musician will subconsciously dissect and absorb they music they listen to. Thus making it evident in their playing. If you don't agree with this then either you don't listen to music, which would put you at the extreme beginner, or are trying to sound like an original thinker. Bullshit.

  • jesus christ dude i'm just talking about people who actually steals licks and plays them exactly as they are. obviously people absorb licks from music, i just think it's better when they don't spit it back out exactly as it was.

  • The essence of musical innovation comes first from direct reproduction. Once that has been reached, and by that I mean once I copy someone's lick exactly, improvement and improv can be applied. Besides, if something sounds good to me, why can't I copy it and play it for myself? That not stealing, that's jamming for jamming's sake.

  • Great,essential and very pratic for the advanced begginers like me ,good lesson thankz

  • The first lick sounds like a Pat Martino Lick

  • these lines would work well in either the context of an E mixolydian, or a b dorian groove. this example sounds more like dorian

  • What keys are those fkn licks in

  • did you pay attention at all?

  • Do you know how to not be an asshole?

  • woohoo! the thing can actually speak!

  • Lol, im excited to see your videos. Lemme know when they're up, noob.

  • you really like me, don't you?

  • tasty licks

  • this guy has the best and most understandable jazz lessons on you tube,great job brother,killer licks too!wow

  • he does but his hair is crazy

  • The notes and tab on the website contain an error for the 3rd note of the 3rd lick. It should show an A - 17th fret. See video at 2:34.  That being said, these are some fine sounding licks. Thanks for the post!

  • why is he wearing different things

  • and playing a different guitar

  • thats a healthy mullett

  • that backing track is not really bebop at all, is it?

  • Under a diferent perspective I think there are 3 way to play bebop using ionic maj #5 scale(major bebop), using mixolydian #5 (dominant bebop) and using aeolian #5 (minor bebop)

  • ma perchè quando suona ha la camicia grigia?si va a cambiare?

  • Thank you for the lesson.

  • nice , thank's

  • Good man, but very funny too..: when u speak the guitar is black and u'r dressing a red shirt, BUT while playing the example..the guitar is different and ur shirt became grey! Wow.. u're a magician!

  • true-haha

  • And your point?

  • his point is, hes more interseted in superficial crap than the lesson.

  • thanks really

  • i'm trying to get more into this bebop/jazz guitar style, anyone have any suggestion on who to listen to?

  • codythunder

    there so many impressing jazzmen... but perhaps you want to listen to jim hall, to chet baker, to charlie parker to benny goodman, to miles davis (of course)

    and listen to the jazz-guitar heroes of today! f.e. john scofield, pat metheny, mike stern, scott henderson (tribaltech)

  • coltrane would be good to listen to. transfer sa x lines to guitar and your set. plus earlier recordings of nat king cole.

  • definitely check out wes montgomery

  • clint strong! he is the only guy that i've heard using those kinds of licks in a country song, that's why i loves merle haggard and the strangers so much. this is the best guitar lesson that i've found. .thank you so much!!

  • robben ford, larry carlton, brent mason, geroge benson, maybe even allan holdsworth,

  • i mean george benson, type o*!!

  • try robert conti

  • oh man thanks alot for the response....you rule fusion...will you always be here to answer some more of my questions lol

  • Where does the 2nd note from the first lick come from? It's not in either of the scales he showed us?

  • it´s a typical way to sound "jazzy". You dribble around your target-note. you play "around" it from 2 sides:

    1. diatonic (means within the scale)from above

    2.chromatic (half tone step) from below

    so, if you got the note B, then you might play

    C# (diat.from above)

    A# (chrom.from below)

    B (your target)

    try this with a complete arpeggio, and you´ll find one simple but effective way to sound jazzy.

    sry for my english

  • SORRY : diatonic from above must be C, not C#

  • it´s a typical way to sound "jazzy". You dribble around your target-note. you play "around" it from 2 sides:

    1. diatonic (means within the scale)from above

    2.chromatic (half tone step) from below

    so, if you got the note B, then you might play

    C# (diat.from above)

    A# (chrom.from below)

    B (your target)

    try this with a complete arpeggio, and you´ll find one simple but effective way to sound jazzy.

    sry for my english

  • thanks, that was some helpful information!

  • but inspirates to do otherwise

  • Is the first lick just straight picking with no slides...and does he pick every note?

  • yes it is

  • tks Pete !U are a fine teacher !

  • this is superb tuition, but i was wondering how/why use 2 different bebop scales over the same chord seqence.

    is that E and B bebop are the same just startinng from different notes

  • awesome.

  • ABSOLUTELY GREAT

  • I'm not playing guitar, but hey, it's fun watching anyway! Looks so easy when you do it ;-)

  • how can i get the jam track, anyone??

  • Search for "let's jam blues rock" in google.  It should be the first site that pops up. Or if you click on the link in the info section, that page will have a link to the Let's Jam cd.

  • u want money huh?

  • excellent licks! so informative! very nice, jazzy clean tones from solidbody guitars. what a great, sparkling tone on lick 3. thanks for posting.

  • peter, you are great! i use these licks all the time.

  • Mullet

  • what kind of amp r u using?

  • hi peter, thank you so much for sharing your lessons with us. interesting way to expand the musical scope!

  • love the hair peter haha. i spend more time with these videos than w/ my friends. vogl for president.

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