Sale
Up to 70% Off!  
Up to 70% Off! See The Sale  
Your Current Savings
Bonus Discount {{memorialDay.bonusDiscount}}%
Watch the Turrentine-O online guitar lesson by David Hamburger from 50 Jazz-Blues Licks You MUST Know

To me, with any of these licks, it really helps to be able to visualize what chord shape you’re playing out of at any given time. If you can, then you can see when you’re playing chord tones (or notes of the arpeggio, if you prefer) of that chord, that is, the root, third, fifth, seventh or ninth, and so on.

Whatever isn’t a chord tone is probably a scale tone, filling in between two chord tones - for example, the 4th, played in passing between, say, the third and the fifth. And what isn’t a chord tone or a scale tone is, by definition, some kind of chromatic note, or a note that fills in between two scale tones (for example, like when you play the major seventh on a dominant chord to fill in between the root and the b7). And any chromatic tones that aren’t filling in between two scale tones are considered chromatic neighbor tones, or notes you can add in a half step above or below a chord or scale tone.

So, start with a picture of the chord shapes, and then keep the hierarchy in mind: chord tones, filled in by scale tones, filled in my chromatic tones. Once that starts making sense, you’re on your way to understanding how each lick relates to the chord progression itself.