C7

C7
C7
C7
C7
4
4
4
4
&
BeBop Style Lines (with chromatics)

&

&

&

&

f
f f b
f
f
f #
f
f
f
f
f
f n
f f b
f f b
F

4 7 6 4 5
6 7
4 5 7
5 8 12 11 10 9 8

f
f
f b f n
f
f n
f b f n
f
f
f b f n
f n
f
f b f n
f
f
f b f n f
f b f n
f b f n f b
f f b
f
7 8 9 10
8 10 11 12
9 10 11 12
9 10 11 12
9 10 11 12
8 9 10 11 12 11 10 9 8
f #
f n f b
f
f
f n
f
f
f
f n f b
f
f n
f n
f #
f
f f b
f n
f b f n
f
f
f n f b
f
f
f f b
f

7 10 9 7 8
10 9 7
10 9 8
7
7
10 9
7
10 9 8 6 7
10 8 7 6
5 8
7 6
7

f n
f b f n
f
f f b
f
f
f f b
f
f b
f
f
f
f b f n
f
f n
f
f
f b f n
f F
8 9 10
8
10 9 8
10
8 7
10 8
10
10
10
8 9
10
10 8
10
6 7
8 8
f
f
f b
f
f b f n
f b
f
f
f
f
f
f b
f
f b
f
f
f n
f
f b
f
f b
f f b
f
f
f
f b f n f b
f
f n
f b
f

8 10 11
8 9 10
8
10
7
8 10
7 8 10
8
10
5 6
5 8
7 8 7 6 5
8 5 6 7 6 5
8 6
5

BeBop Style Lines

These lines are quite reminiscent of the sort of melodic ideas that jazz guitarists like Pat
Martino might play and are very much in the Hard Bop idiom.

The accompanying audio file (embedded within the .PDF file) has the lines played via
MIDI at a fairly challenging tempo but I would highly recommend playing the lines at a
much slower tempo to begin with.

The lines incorporate a good deal of chromatic embellishment and at first may seem
somewhat unusual sounding if you havent tackled ideas like this before, but in time they
will feel quite normal as part of your improvisational vocabulary.

Most jazz players incorporate a degree of chromatic embellishment within their playing
and this helps considerably in avoiding lines which sound like pure scales and arpeggios
and therefore a little bland.

The TAB fingerings are just supplied as a guide for how you might finger the ideas and
are not in any way definitive fingerings. You may well wish to explore a number of
different fingerings until you find something that is comfortable for YOU.

I would highly recommend playing these ideas with alternate picking starting either with a
downstroke or an upstroke with your pick and then strictly alternating thereafter. This will
ensure a consistent tone and attack.

The lines are illustrated over static chords in the musical examples, but could be played
over other single chords or indeed over more than one chord in a sequence.
Experimentation is the key here and you may indeed find quite a few new and interesting
applications for them.

You may also note that the lines are all written out in semiquavers, which is purely for the
sake of learning them. Again, I would highly recommend breaking the lines up
rhythmically once you have memorised them as this will ultimately make them sound
more personal to you and less like a lick.

Future lessons will explore additional applications of these types of lines but for the
moment I would suggest working with them as additions to your current vocabulary.

Hope you enjoy playing and learning these lines,

Best Wishes

Pete