Learning jazz licks is a great way to have a hands-on experience with the jazz language. Jazz licksโespecially ones taken from or inspired by the jazz greatsโhelp you think like a great jazz improviser.
This article will put you in the pilot seat and help you to start thinking about harmony and melody like a jazz musician. Weโll explore 50 jazz licks you can use over common jazz chord progressions.
Some of these licks are inspired by the jazz licks of the great jazz masters. Other useful licks will utilize important aspects of jazz language, such as targeting important chord tones, playing extensions, and alterations.
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Table of Contents
Why Learn Jazz Licks?
When learning a language, you often memorize phrases that help you express basic ideas and questions. โWhere is the train station?โ or โWhat is your name?โ
You might not know the meaning and function of every word in the sentence, but you know what the phrase means as a whole and can use it to start speaking with others functionally.
Learning the jazz language works in the same way.
Licks are like sentences improvisers use to express musical ideas. They are the building blocks of jazz language.
If you learn these licks and transpose them into all twelve keys, youโll practice the jazz language in many different contexts and have 20 musical phrases you can use on a gig or at a jam session.
Then, eventually, youโll adapt and evolve these licks to better fit your own unique voice when you take improvised solos.
That’s why you should learn jazz licks!
Elements of Jazz Language
Before diving headfirst into these licks, letโs talk a bit about the elements of jazz vocabulary. Though every player has a unique voice, some aspects of jazz language are fairly universal.
Apart from scales, the following jazz licks will be mainly comprised of the following elements:
- chord outlines
- chromatic passing tones
- enclosure figures
- chromatic approach tones
Chord Outlines
Chord outlines are precisely what they sound likeโthey outline the basic chord tones present in the harmony of the moment. These are your basic triad and seventh-chord arpeggios with occasional extensions and alterations.
Here is a line that outlines a D-9 chord:
If you are curious about what the numbers beneath the notes represent, I’ll explain more later. However, you might infer that they represent scale degrees or chord tones based on the particular harmony.
Chromatic Passing Tones
Chromatic passing tones are notes added to a scale or line to ensure that a chord tone falls on a strong beat. Chromatic passing tones are built into bebop scales and are a key part of any true bebop phrase.
Using chromatic passing tones, the soloist can keep D-7 chord tones on strong beats:
Enclosure Figures
This jazz device encloses or surrounds a target note, usually a chord tone. The enclosing notes can be chromatic or diatonic (meaning one or more of these notes can come from the scale, but they donโt have to).
Here, the Ab and F# enclose the G, which comes in on beat 1 of the second measure:
Chromatic Approach Tones
Chromatic approach tones are another common feature of jazz language. As the name suggests, chromatic approach tones are often used to start a phrase (though they donโt have to be). The chromatic approach tone is often placed on the upbeat, so the target note falls on a strong beat.
Here, the phrase starts on an upbeat and leads chromatically to the root of the D-7 chord.
Want to explore jazz language in greater detail? Check out this article on jazz language.
Understanding the Numbers Beneath the Notes
Let’s review some tips for interpreting the numbers beneath the notes in each jazz lick.
Basic chord tones (1, 3, 5, and 7) are given underneath the staff. Youโll also see notes in parentheses. These represent the chord extensions and alterations that jazz musicians use to create tension or extend the harmony.
What To Expect:
- Youโll see chord tones within the octave: 1, 3, 5, 6, and 7
- And youโll see chord extensions and alterations in parentheses: (b9), (9), (#9), (11), (#11), (b13), (13)
- You may also see other alterations like (m3), (b5), (#5), or (M7), which indicate alterations within an octave of the root. โMโ is used for major, and โmโ is used for minor. These refer to the musical interval away from the chord’s root.
- As each chord changes, the numbers reset to the chord’s root in the chord progression.
Check out this article to learn more about musical intervals.
Do These Jazz Licks Work on Any Instrument?
Yes, these jazz licks will work on any instrument! These licks will still work if you play a Bb or an Eb instrument! You’ll need to transpose them to fit your instrument, but the licks are still solid, whether you are a jazz guitarist or a saxophone player.
It’s important to consider that different instruments articulate ideas and phrases differently. For example, the physical mechanics of arpeggios on jazz guitar are quite different than the mechanics of arpeggios on a piano or double bass.
Certain licks will be easier for sax players than for guitar players and vice versa. Don’t get discouragedโremember why it’s important to learn licks in the first place and trust the process!
Easy ii-V-I and ii-V-I-VI Jazz Licks
Letโs start with a few ii-V-I. ii-V-I-VI, and I-VI-ii-V jazz licks. We will provide all licks in concert C. However, itโs up to you to take these licks through all keys!
Listen to the audio recordings when learning these licks and see if you can transcribe the lick yourself. Use the notation to check your work.
“Short” Jazz Licks
I’m using “short” jazz licks to refer to jazz licks whose ii-Vs are in one measure. The harmonic rhythm is two chords per measure.
1. Short ii-V-I Jazz Lick
This jazz lick uses a chromatic passing tone and chord outlines.
2. Short ii-V-I Jazz Lick
This jazz lick uses chord outlines and two enclosure figures.
3. Short ii-V-I Jazz Lick
This jazz lick uses chromatic passing tones and chord outlines.
4. Short ii-V-I Jazz Lick
This lick uses major scale modes, chord outlines, and altered chord extensions on the V chord.
Learn more about the major scale modes here!
5. Short ii-V-I Jazz Lick
This lick uses the Dorian minor scale, features the whole tone scale on the V chord, and features chord outlines.
Check out this article for more on the Dorian minor scale.
6. Short ii-V-I Jazz Lick
This lick features an enclosure figure and chromatic passing tones.
7. Short ii-V-I Jazz Lick
This lick features an enclosure figure, chord outlines, altered chord extensions over the dominant chord, and chromatic passing tones.
Learn more about altered chord extensions here!
8. Short ii-V-I Jazz Lick
This lick exhibits chromatic passing tones, chord outlines, and altered chord extensions.
9. Short I-VI-ii-V-I Jazz Lick
This jazz lick uses chromatic approach tones and chord outlines.
10. Short ii-V-I-VI-ii-V-I Jazz Lick
This lick uses chord outlines and major scale modes.
11. Minor iiรธ-V-i Jazz Lick
This minor jazz lick utilizes chord outlines.
12. Short Minor iiรธ-V-i Jazz Lick
This jazz lick uses chord outlines and chromatic passing tones.
“Long” Jazz Licks
I’m using “long” jazz licks to refer to jazz licks where each chord lasts one measure. The harmonic rhythm is one chord per measure.
13. Long ii-V-I Jazz Lick
This lick uses chord outlines, chromatic passing tones, and enclosures.
14. Long ii-V-I Jazz Lick
This lick uses chord outlines and chromatic passing tones.
15. Long ii-V-I Jazz Lick
This lick uses chord outlines.
16. Long ii-V-I Jazz Lick
This lick uses chromatic passing tones and imposes major triads over the dominant chord to hit altered chord extensions (Ab then Db).
17. Long ii-V-I Jazz Lick
This lick uses chromatic passing tones and quartal arpeggios over the ii and V chords.
18. Long ii-V-I Jazz Lick
This lick uses chord outlines and contains a repeated contour of the line between the ii chord and the V chord.
19. Long ii-V-I-VI Jazz Lick
This lick uses chromatic passing tones and chord outlines.
20. Long ii-V-I-VI Jazz Lick
This lick uses chord outlines and altered chord extensions.
21. Long ii-V-I-VI Jazz Lick
This lick uses chord outlines and chromatic passing tones.
22. Long Minor iiรธ-V-i Jazz Lick
This lick uses chord outlines and altered chord extensions.
23. Long Minor iiรธ-V- i Jazz Lick
This long minor ii-V-i jazz lick has five enclosure figures in it!
24. Long Minor iiรธ-V-i Jazz Lick
This lick uses a cool diminished pattern over the dominant chord, chord outlines, and an enclosure figure.
Learn more about diminished scales here!
BEFORE YOU CONTINUE...
If you struggle to play amazing jazz solos and want to learn the secret strategies the pros are using to improvise, our free guide will get you on the right track.
Jazz Licks Inspired By Jazz Greats
image source: Wikimedia Commons
Now that weโve played a few basic ii-V-I and ii-V-I-VI licks letโs explore how some of jazz musicโs heavy hitters would approach these progressions. The recorded solos of those listed heavily inspired the following licks.
To learn more about famous jazz musicians, check out this article on the 50 most famous jazz musicians.
25. Short ii-V-I Jazz Lick in the Style of John Coltrane
image source: Wikimedia Commons
This short ii-V-I jazz lick uses intervallic leaps and chord outlines.
26. Lady Bird Turnaround Lick Back to the I. (John Coltrane “Giant Steps” Lick)
This โGiant Stepsโ lick can be imposed over turnarounds that lead back to the I. It is made from mostly chord outlines. Check out our article on improvising over Giant Steps changes.
27. Short Minor iiรธ-V-i Jazz Lick in the Style of Miles Davis
image source: Wikimedia Commons
This shorter minor iiรธ-V-i lick uses chromatic passing tones and chord outlines.
28. Long ii-V-I-vi Jazz Lick in the Style of Miles Davis
This lick uses chord outlines, chromatic approach tones, chromatic passing tones, and enclosure figures!
29. iiรธ-V-I Jazz Lick in the Style of Miles Davis (Resolves to Major I)
This crazy lick is full of enclosure figures and chromatic passing tones.
30. Long ii-V-I Jazz Lick in the Style of Charlie Parker
image source: Wikimedia Commons
This lick sounds cool because it imposes an F-7 chord over the G7. This gives you many altered extensions. This lick is also mostly made of chord outlines.
31. Long ii-V-I Jazz Lick in the Style of Charlie Parker
This lick uses three characteristics of jazz language we discussed above: chord outlines, enclosure figures, and Checkchromatic passing tones.
32. Long iii-VI-ii-V Jazz Lick in the Style of Sonny Rollins
image source: Wikimedia Commons
This lick uses chord outlines, chromatic passing pones, and enclosure figures.
33. Long ii-V-I-VI Jazz Lick in the Style of Chet Baker
image source: Wikimedia Commons
This lick is an example of classic bebop vocabulary and frequently uses chromatic passing tones.
34. Long ii-V-I Jazz Lick in the Style of Chet Baker
This simple lick uses chord outlines to create a beautiful, melodic line.
35. Long ii-V-I Line in the Style of Kenny Burrell
This lick uses chromatic passing tones, chord outlines, and chromatic approach tones.
36. Rhythm Changes Lick in the Style of Larry McKenna
This lick is mainly made of chord outlines and features an enclosure.
37. Short ii-V-I Jazz Lick in the Style of Dizzy Gillespie
This lick uses chromatic passing tones, enclosure figures, and chord outlines.
38. Short Minor iiรธ-V-i Jazz Lick in the Style of Clifford Brown
image source: Wikimedia Commons
This lick utilizes chord outlines and chromatic passing tones.
39. Long ii-V-I Jazz Lick in the Style of Clifford Brown
This jazz lick uses chord outlines, chromatic passing tones, and enclosure figures.
39. Long Minor iiรธ-V-i Jazz Lick in the Style of Dexter Gordon
This jazz lick uses chord outlines and chromatic passing tones.
Learn more about Dexter Gordon, Charlie Parker, John Coltrane, Sonny Rollins, and other famous saxophone players here!
40. Short Minor iiรธ-V-i Jazz Lick in the Style of Grant Green
This jazz lick uses chord outlines and an enclosure figure.
41. Short Major ii-V-I Lick in the Style of Grant Green
This lick uses chord outlines and rhythmic motifs.
42. Long ii-V-I-VI Jazz Lick in the Style of Wes Montgomery
image source: Wikimedia Commons
This lick uses chord outlines, chromatic passing tones, and rhythmic syncopation.
Learn more about Grant Green, Kenny Burrell Wes Montgomery, and other jazz guitar players here!
Blues Licks
Now, letโs spend some time on blues licks. The blues is a vital component of jazz; therefore, many players will infuse their licks with motifs characteristic of the blues.
The most characteristic feature of the blues is the fluidity of the 3rd. Blues music is microtonal by nature. The โblue noteโ is between a major third and a minor third. So, many players will opt for one or the other (or both) when improvising.
43. Blues Lick Over a C7 Chord
This blues lick uses the bebop dominant scale and plays with the blue note.
44. Blues Lick Over a C7 Chord
This lick uses chromatic passing tones and imposes a minor pentatonic over the dominant.
Learn more about how to use the minor pentatonic scale here!
45. Minor Blues Lick Over a C-7 Chord
This lick uses chromatic passing tones and the minor pentatonic scale.
46. 16th-Note Minor Blues Lick Over a C-7 Chord
This 16th-note minor blues lick uses chromatic approach tones, chromatic passing tones, and the minor blues scale.
47. Minor Pentatonic Blues Lick in the Style of Kurt Rosenwinkel
This whole lick is built from the minor blues scale. For more on the minor blues scale, check out our post on Blues Scales.
48. Jazz-Blues Lick for the Opening Four Bars of the Blues
The last three licks can be glued together to play over a chorus of the blues. Here is the first one:
49. Jazz-Blues Lick for the Next Four Bars of the Blues
50. Jazz-Blues Lick for the Last Four Bars of the Blues
Piecing Blues Licks Together Over a Twelve-Bar Blues Form
You get a full blues solo when you piece together licks 18, 19, and 20! Take this solo through all 12 keys.
Learn more about blues chord progressions here!
Transcribe Jazz Licks, Then Write Your Own!
image source: Wikimedia Commons
According to his biography, renowned saxophonist Michael Brecker wrote and practiced one blues solo every day for a year. Among many of his incredible practice routines, that act contributed to his prowess as a jazz improviser.
Composing and improvisation share a special relationship. When we improvise, we are composing on the spot. There is hardly any time to think, plan, or edit when we are in the middle of a solo.
However, by listening to and transcribing the jazz solos of musicians we admire and then composing our own jazz licks and solos, we are strengthening that improvisational neural pathway in our brains.
Composing jazz solos is like improvising outside of time. We can change what doesnโt work and keep what we like. Then, by practicing these composed solos as etudes, we are priming our brains for when itโs our turn to solo on the gig.
To master jazz improvisation, you should practice writing your own jazz licks! Check out this podcast episode on 9 chord progressions you need to know and write licks over them using the devices we discussed above.
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