US. $12.95 ERRY LANE MUSIC COMP N O-S7Sb0-278-4 id Set Ne Yor 16 WiNon-Harmonie 721-760 Fusion/Funk Progression #1 osu 761-768 (diatonic) 769-780 (chromatic) Fusion/Funk Progression #2 781-784 (diatonic) "785-800 (chromatic) Licks over Standard-Type Progressions “Hear Polyphony". 801-805 (diatonic) 806-810 (chromatic) “Two Weeks Notice” ss vouonB11-815 (diatonic) 816-820 (chromatic) “Autumn Left se v821-825 (diatonic) 826-830 (chromatic) 831-835 (diatonic) 1836-840 (chromatic) 5841-845 (diatonic) “You are all the Things" “Loudly, asin the Moming Alarm Clock’ ‘846-850 (chromatic) “Bobby end Foe” so. vse 851-855 (diatonic) . 856-860 (chromatic) “How Inflexible” 861-865 (diatonic) '866-870 (chromatic) “Lunar”. 871-875 (diatonic) 876-880 (chromatic) £881-885 (diatonic) ‘886-890 (chromatic) “Some Days I Mince a Plum”. “Blues in F. {891-895 (diatonic) 1896-900 (chromatic) “New Bossa” 901-905 (diatonic) 906-910 (chromatic) “Purple Porpoise Path” vs .-911-915 (diatonic) 916-920 (chromatic) «921-925 (diatonic) 926.930 (chromatic) “Take the Third Plane”, “Skip Steps” 931-935 (diatonic) ‘936-940 (chromatic) “Is there Greater Love?” .. 941-945 (diatonic) ‘946-950 (chromatic) “Shaman” 951-955 (diatonic) {956-960 (chromatic) “Dickenson” sermon . .961-965 (diatonic) ‘966.970 (chromatic) “Bootprints” ee 971-975 (diatonic) 976-980 (chromatic) 981-985 (tonic) ‘986.990 (chromatic) “You Stepped on a Dream’ os 991-995 (diatonic) ‘996-1001 (chromatic) “Night under Anesthesi p 83 84 86 7 90 91 91 92 92 93 93 95 95 96 96 7 7 98 98, 100 00 101 101 102 102 103 103 104 104 105 105 105 106 107 108, 109 109 10 110INDEX Essential Licks Major ™ Minor 7 a Dominant 7 eva iV iiVALVL EVV. iVLEV... Dorian.. Lydian, Phrygian ‘Aeolian. 1 with Coltrane Substitutions. Stylistic Licks Swing Progression #1 Swing Progression #2... Bebop Progression #1... Bebop Progression #2 Hard Bop Progression # Hard Bop Progression #2., Post Bop Progression #1. Post Bop Progression #2 s1-15 (diatonic) 16-40 (chromatic) sou l-$5 (diatonic) ‘56-80 (chromatic) -81-95 (diatonic) ‘95-120 (chromatic) 1121-145 (diatonic) 146-220 (chromatic) 221-240 (diatonic) 241-300 (chromatic) 301-315 (diatonic) 316-340 (chromatic) 341-355 (diatonic) ‘356-380 (chromatic) [381-395 (diatonic) 396-420 (chromatic) -421-435 (diatonic) 4436-460 (chromatic) 1861-465 (diatonic) ‘466-480 (chromatic) snwA81-485 (diatonic) "486-500 (chromatic) ‘501-505 (diatonic) ‘506-520 (chromatic) ‘521-525 (diatonic) '526-540 (chromatic) 41-545 (diatonic) ‘546-560 (chromatic) -561-567 (diatonic) ‘568-580 (chromatic) 581-586 (diatonic) ‘587-600 (chromatic) 601-606 (diatonic) ‘607-620 (chromatic) {621-626 (diatonic) {621-640 (chromatic) {641-644 (diatonic) (645-660 (chromatic) {661-664 (diatonic) (665-680 (chromatic) 681-684 (diatonic) {685-700 (chromatic) 701-704 (diatonic) "705-720 (chromatic) 6 7 10 ul 4 15 18 20 28 30 36 37 40 4a 44 45 48 49 32 32 34 54 56 36 38 58 60 60Cai? Dbmaj7 Bbm7 991 cma? Dbmaj7 992 Crmaj7? Dbmaj7 993 Cmaj7 Dbmaj7 994 995 996 997 998 999981 982 983 984 985 986 987 988 989a Fm? 977 cmt ee t_, = = 979 $5 fe cr Fat? € SSS = = pore — ——. — 1 980 = SS ees — _ _ SSS =971 972 973 974 co Fat 975maj? Ant Dm? a om? 961 maj Am? Dm ar Gm7 962 963 964 965 cmaj7 Amt Dm a Gm? Cmaj7 Am? Dm? a Gm 970951 952 953 954 955 956 957 958 959 960 Bbmaj7 Bbmaj7 Bbmaj7 Bbmaj7 Bbmaj7 Bbmaj7 Fn? Fr Fa? Fm? Fn? 7 Fa? Fm? Bb7 Bb? Bb7 BB7 BT BT Ebmaj7 Ebmaj7 Ebmaj7 105941 Bbmaj? ET as7 a co 942 Bbmaj7 Eb7 AbT a co 943 Bbmaj7 Bb7 Abr or co bag oa ar or o 945 946 bina Be an a o 947 sina be a @ 2 948 : 949 950931 932 933 934 935 936 937 938 939 940 Gmaj? BST Ebmaj7 Am7 Bm? DT Gmnaj? BT Ebmaj7 Dr Bmaj7 DT Bmaj? DT Gmaj? Bb Gmaj7? 7 Bb7 Eb mai? Ebmaj7 Am? Dr D7 Bmaj7? D7 Bmaj7 D7 Bmaj7 DT Gmaj7—BbT Gmaj? BST Gms? BMT Ebmaj? Ebmaj? Eomaj7 Am? DT Gmaj7 Gmaj7 Bmaj7 D7 Bb7 Ebmaj? Am? DT Bm? D7 maj? Gmaj7 Bb7 Am? D7 Gmaj? Boe 103921 922 923 Cmaj7 br Dm? 924 925 926 927 maj br 928 929 93014 SSS === = bpm pm—gse 9 o = = z SSS Ses = maj? cu = Dec > a — 912 o == ae = == ee = 913 914 915 Cmaj7 cm bic 916 Cmaj7 cm pic 917 918 919 920cm Fa Dubs S 901 902 903 cm Fm? Dmibs 904 905 906 907 908 909 910 Ses Pelee eee eee ated894 895 896 897 898 899Bhmaj7 br Ebmaj? or m7 ——o tet 881 co eal == Bhai? br Ebi or cm 882 Bbmaj7 br Ebmaj? or _—_ 883 ——— Bhai? br Ebmaj? or cut 884 Bbmaj7 br Ebmaj? or cmt 885 886 or cm? be pote 887 SS Bimaj7 br Ebmait or cnt 888 Bbmaj7 DI Ebmaj? a cm? 889 Bbmaj7 890 eee871 872 cmos Gm a 873 cmsi9 Gm? ca 874 SSeS === = = = SS 875 2S ees === 876 Se 877 ieee a SS 878 879 880861 862 863 © 864 865 866 867 868851 853 854 855 856 857 858 859 860 Ebm Bb7 Eom? ABT Dbmaj7 G7 Fm? Eom BBE Dbmsj? G37 Fin? 7 + Py to ¢: fe oP =: —— 2 f Ebm BAT Ein? AKT bmi? GH7 For Ebm Ebm Ebm Ebm BT Bom? Ab7 Bb7 ba? AMT Dbmaj7 Bb: 7 Ebm? Ab? bal? or os Bb? Ebm? ABT Dbmaj7 Dbmaj? Gb7 Fra? a7 Fa? Fm? EB? Fm? ET Ebm Bb? EbmT —Ab7 Dbmaj7 oH Ebm Bb? Eb? ABT Dbmaj7 oh Fm? B7 Fm? + BMS 95841 842 843 844 845 846 847 848 849 850 Dm7b5 cm Dmibs aFat Bom? Bb7 Abmaj7 831 832 Fm7 Bom? ‘ET Abmaj7 Dbmaj7 833 Fat Bb BT Abmaj7 834 Fut Bbm? EMT Abmai7? 835 Fmt Bb? BT Abmai? Domai? 836 Fat Bb? BHT bai? Domi? 837 Fo Bint eT Abmai? Dbmaj? 838 Fat Bhat ET Aba? Dbmaj7 839 Fm? Bbm? 7 Abmaj7 Dbmaj? 840821 822 823 824 825 826 827 828 829 V g30 Bbmaj? Ebmaj7 Ebmaj? AmTbs Ebmaj7 gderere AmTbS cm7 Fy Bbmaj7 Ebmaj7 Am7bS cf fie = ae cmt Fy Bbmal7 Ebmaj? Atos Bbmaj? a Ebmaj7 Bhmaj? Ebmaj7 Am765 cmt Fr Bbmait Ebmaj7 SSS Se Sette = : poe ae gee Fie me Sj Ca y ——— ~Bi z EI ma 91co ae : rams 801 @eiee ey 6 ‘ g02 @eeteetts eae cmt Fo? Bb Ebmal? Co Panis 803 "804 cmt Po? BT Ebmgi? o rans I 805 SS ee = | cat Fo? BST Bal? cr Fnss tebe me: 806 cnt Fur Bb? Ebmai? “ ——— SS five 807 ===: Ps = cmt Fo? BT Ebmaj7 808 oe = Set ivi tg hae * 809 810797 798 799 800a 791 ee = ke 2 be - Le —2- = petite tee tt === 5 o 792 793 794 795 re785 786 787 788 789 7902 o N = ——— == == SE === 782 & fap Pt ot ft # te Ha 784 = = = atetes 2 —— Efes4 Steet =775 776 777 778 779768 769 770 771 772 773761 762 763 764 765 766 767eee 750 751 752 753 754 755 756 757 758 759 760 eate # 22 ete [tO pig 5 080 —— = = G == SS ee729 730 731 732 733 734 . 735 736 737 738 739m7 718 719 720 721 722 723 724 725 726 727 728sae ann 707 708 Bbmaj7#11 Am7 709 = Bbmaj7#11 Am7 710 f = Bbmaj7#11 Am 711 Bbmaj7#11 Am? 1% Pe ) 712 bona st by 713 bhatt nat oe ae 4 == == SS eS hm ant 715 716 Bbmaj7#11 Am be697 698 699 or 700 GES 1 (ae he SS Bbmaj7#11 Am? 702 E 73 aS SSS SSS SS —= 704 te Dea 705 == Bbmaj7411 706 gserraperitewo © oO 686 Dm? ™ ~o o 688 aS seo ——— See oS 689 SES 690 694 w QD o678 679 680 681 682 683 684671 672 673 674 675 676 cm 2 a p= == E= <= = 3 Z = = cm 2 , wt =cn ob on 661 @ Se a Se cn 62 663 664 665 666 667 668 669 670Ebmai? 656 weet — 3 a ca cmb amths br om? ——————— a = —=— & ER += SSS 5 —— Ebmaj? G7 abl G7 cm Cm/Bb eS AmvbS DT Gm 657 cm ‘crvB> AmT65 Dr Gm?651 652 653 654 655 cm cmiB> AmTbS D7 Gm n641 642 643 644 645 646 647 648 649 650 Grd oo Tie Gmt Gm Fa pe gee aFmaj7 DI Gm? cr Am? DT Gm? oct Fmaj7 631 Fmaj? D7 Gm? oc? Am? DT Gm? Fmaj7 632 633 Fai? D? Gm? Am? DT Gm? cr Fmaj7 634 Fog? 7 Gm? a Am DI Gm a 635 Pm? DT Gm? eT Am? D7 Gm? cr Fai? 636 Fai? D7 Gm o Am? br Gm? a 637 @& cer at 638 ea 639 640 6Fai? Dm Gm a Am? D7 Gm? a 621 Fai? Dm? Gm? cr Am? DT Gm? or Fini? 622 Fai Dm? = Gm a Am? DT om a 623 BM i - Fmaj7 Dm Gm? a Am? Dr Gm o 624 Fmaj? Dm? Gm? o Am? 7 Gm? ca 625 Fj? Dm? Gm co Am? br Gm a Fj? Dm Gm? Am? DT Gm? cr Fmaj7 627 Fmaj? Dm? = Gm? CT Am? D7 Gm? cT maj? 628 629 Fai? Dm. cnt ocr Am? DT Gar a Fai? 630611 612 613 614 Gmaj7 Gm? a Fmaj7 615 616 617 618 Gmaj7 Gm cr Fenaj7 619 #oeneae Gmaj? Gm? o Fmaj7 620 (SS pe a eeeol Gnajr on? o Fajr 601 ex Gnajr on? cr Fa 602 Gmay? on cr Fri? 603 5 i Gmaj7 m7 oa 604 Gmaj7 Gm cr Fai? 605 ; 606 opifie att po tt ee = te Phe = 607 6 Se ee 608 609 610 oeAm7 591 592 594 66 os 66 Bm? E7 Am 595 596 597 598 Bm? 7 Am? 599 G6 os G6 Bm? ET Am7 600 65581 582 583 584 585 586 587 588 589 5901 eS g 575 cs be? Dm? ar 576 577 578 579 580cs Bb°7 Dm? a7 6 561 6 Ebe7 Dm? ar 562 cs be7 Dm? or 563 os Eb°7 Dm? or 564 © be? Dm? or cs 565 os Bbe7 Dm? or 566 © EbeT Dm? a 567 © Ebo7 Dm7 Gr 568 569 cs Bb°7 Dm a © 570Dm? 7 Abmaj7 BT Emaj7 or cmaj7 551 552 Dm? ‘Eb7 Abmaj7 ‘BT Emaj? a ‘Cmaj? 553 554 a br mag? cost Cn 556 557 Sj Dm BT Abmaj? BT Emi? G7 Cai 558Dm? Eb? Abmaj? BT Emaj? a 541 Dm? Eb7 Abmaj7 BT Emaj7 a Cmsj7 be? BY Abang may? cos 543 be? Agate 544 545 ber Br Amare gh ca 546 547 Dm? EBT Abmaj? BI Emaj? G7 Cmaj?"531 532 533 534 535 536 537 538 539 540521 522 523 524 525 & 3 526 & o 2 ae oF ER Bae We tae be 527 528 529 530511 512 513 514 515 516 517 518 519 520501 | 502 503 504 505 506 507 508Cmaj741 491 Sas as Cmaj7411 493 om n 495 AE SG Erin ht Ee oe et siete forge tet Cmajr#t 496 Caja === 497 oI SaaS Crain tt 498 Cmaj7#11 agg Peeeereie ewe Cmaj7#11 500 #tietite tt Ener t tee teres $485 486 487 488 489 490 Cmaj7#11 Cmaj7#1 Cmmaj7#11 Cmaj7#11 coum _ =a ¢ aS Sat aS Cmajrt1 Petite tp SE SSS cmaj7#11 maj7411 ee471 472 473 474 475 476 cat a7 dette SS eres eeeis* od cnt 479 gszzsinne Pe te ee 8 & See = SS ae == ont 479 peters she Oe 9 9 ne og — Sve wiley oa cm Dep PL tee Rhee so the, where? oo, 2be so 480 @ See eer ere461 462 463 464 465 466 467 468 469 470 ee gesneaesee arsee ser Sse SE~~ cm ar Dabs a te Ette tt ees be 451 452 453 cm aT Dm7bs or cm 454 cm Ar DmTbs a cm 455 456 457 458 459 cm ar Dm7bs oa cm 460441 442 443 cm ar Dmbs a 444 445 cm ar mos a cm 446 cm a Dm7bs a cm cm ro Dmrbs a cm 448 449 450431 432 433 434 435 436 437 438 439 440 cm ar Dmibs a Cm oe ee i = SS on eee cm ar Dmbs Gr cm cm ro DmTb5 a cm cm ar Dmbs or cm AT Dm7bs a cm cm AT Dmbs a cm 49cm ar mis an cm 421 (ease er =; & SSS = x cn ‘ beaks or a? rt etas: Ser eee ears 422 € Se ps Cm 423 € 424 #3te 6 om ie bails o cm 425 re 426 427 428 ~ ~ fa we 0 Pee Dmibs {iE 430Comair a7 ati } Cmaj? ar be { fe the 2 SaaS 1413 417 418 419 cmaj7 Ad 420maj? 401 @ ES Cmaj7 Ar Dm? . or Cmaj7 AT Dm? or may? 404 405 406 407 408 409 410 GassetAT a Cmaj7 396 397 398 399 cna ep bat or ci 400 Gees SSS SSSen, Sat 308 Gee cmaj7 ar Dm? or =. _ ——— es far te SS Saree EES a 389 Sa naj? a Dn? o _ — . 390 GT eS ES SoS aa %---A onnis 371 SS 6 372 373 374 onnss o ca ” 375 376 pests a 377 tees putts or cna a 378 Ge =< banks a cm 379 Dmibs 360 @uneSeeiees364 365 366 367 368 369 370 ee351 352 353 354 355 356 357 358 359 360 Dm7bs mis or cm? ar Dm7bs or cmt ar Dm7b5 a cmt AT Dm7bs Dmbs or m7 al Dmibs a cm ro Dm7bs Dmbs or cmt ar DmTbs or cm? AT Dm7bs a cmt AT= \ 343 Dm7bs 341 6 342 344 345 346 Dubs a ar cm cm cm Ar ar Dmibs Dmb5 Dmb5 Daws g or cn teetittie, ~ 5 effet - fo 7 et333 334 335 336 337 338 339 340321 322 ‘ 323 324 325 326 ona a coat yn 327 ; = 328 bn? a msi a 5 pactae: 7S SSA == 329 SS SS eS oma o cos » on? 330 @==— eee tet 6 Eee =311 312 313 314 318 319 Dm? or Cmmaj? ar01 02 03 304 305 306 307 308 309 310 Dm? a maj? ar1 296 297 298 299 300 Dmibs a cm Dmibs Dmvbs Dmibs Dmnbs281 282 Dabs a cm, ‘2 283 ce enon retest 284 & ee 285 Dmtbs a cm 286 287 Dm7bs ar cm 288 cm pea te Po pt = 289 290275 276 277 278 279 280 Dmbs Dm7bs Dmbs Dm7bs Dmibs Dm7bs Dmtbs or co a or cm cmDmb5 ar cm \ ars a on pmibs a cm Se251 252 253 Dmbs a cm 254 255 Dmtbs or cm 256 257 258 259 260241 242 243 244 245 246 247 248 249 250 miss or cm Dm7bs a cm Dm7ss a cm Dm7bs ar cm Dmbs a cm231 232 233 234 235 236 237 238 239 240 Dmbs DmTb5 Dm7bs Dm7bs Dmibs DmTbs Dm7b5 Dmibs a a a ar or or a or cm cm cm cm om| ontis a cot \ 221 = = : = — a — / \ 222 SSS as SS A i y Darbs a cm 1 223 5 1 \ i \ 1 Dass a cm | 24 == | J 2 ——n _ 225 #8 So I = 1 Dm7b5 ar Cm? | 1 26 == —— I Dm7b5, Gi Cm? | ,eitee 7 _ _ ; 1 207 ¢& = Sete I Darks o cm | 228 rh ese SSS SS = | | Darks o om \ + fr 229 é S56 eee \ bans « — | 230 (ea Seams SS \211 212 213 214 215 Dm? a Cmaj7 216 217 218 Dm? a Cmaj7 219 220204 205 206 207 208 209 210 Ts mee me eee ee ee ee a a a ee ee ee ee191 192 193 194 Dm? a maj? 195 Dm? a maj? 196 197 Dm? or Cmaj7 198 199 Dm? or cmaj7 200181 | 182 183 184 185 186 187 188 189 190 Dm? Dm? Gr a cmaj7 Cmaj7 Cmaj7171 172 173 174 175 176 177 178 179 180161 162 163 164 165 166 167 Dm or mir 4 168 4H By Dat or nai? | 169 i fh ont or om j 170151 152 153 154 155 156 157 158 159 160 ar Cai144 142 143 144 145 146 147 148 149 a cimaj? maj Cmaj7131 132 Dm? or maj? 133 134 135 136 137 138 Dm? ar Cmaj? 139 Dm? or maj 140121 eS 122 = 123 = 124 125 126 Dm7 oT ‘Cmaj7 127 128 129 190 @wytteee115 116 12001 Geese rrp rte tte tee sine ES Ly pete teens 102 Gari ete © 103 2 2 104 % oe Se SS Sas = 105 106 107 108 109 oy91 92 93 94 95 96 97 98 99 100 a81 ' 82 \ as 84 85 86 87 88 89 90 aS71 72 73 “14 75 76 77 78 79 8064 65 66 67 68 69 70 a51 52 53 54 55 56 57 58 59 60ee ee 7 = oe cm = = ai) 47 49 5031 32 33 34 35 36 37 38 39 40 maj? ae - veer ee Coa? 24 2, ate tere —* ae = Se terete SS & nie Cmmaj7 ‘cai Cmaj721 22 23 24 25 26 27 28 29 30 nha ote peste toe os = = SS cmaj7 SSS : SS ~ SS maj Cmaj7 cout ee SSS fetes 7 —_— = = SSS a es SS12 13 14 15 16 17 18 19 20 maj?Cai 10PROGRE “1 Hear Polyphony”... “Two Weeks Notice” “Autumn Left” “You are all the Things”... . “Loudly, as in the Morning Alarm Clock” “Bobby and Joel” “How Inflexible”, “Lunar” . “Some Days I Mince a Plum” “Blues in F”. “New Bossa’... “Purple Porpoise Path”... “Take the Third Plane”... “Skip Steps”. “Is there Greater Love’ “Shaman”. “Dickenson”... “Bootprints” 107 “Night under Anesthesia” 109 “You Stepped on a Dream”... . sevneel 10Major 7 ncn 6 Minor 7*.. 10 Dominant 7*.. 14 VL i-Vi... -VIVI... i-VG-VI E-VLii-v. i-VI-V, Dorian . Lydian Phrygian... Acolian, ii-V-I with Coltrane Substitutions... Swing Progression #1. 62 ‘Swing Progression #2 64 Bebop Progression #1 66 Bebop Progression #2.... 68 Hard Bop Progression #1... a) Hard Bop Progression #2....usnsnnnnnsnn sennnneeT Post Bop Progression #.... oT Post Bop Progression #2... - sense TT ‘Non-Harmonic... oT Fusion/Funk Progression #1... 83 Fusion/Funk Progression #2 86How TO USE THIS Book “This book is not meant to be read through from cover to cover. Its recommended that you devose 8 aan reraed amount of time and study 1 mastering major and miner i-V-I's: These progressions ae he Cane building blocks for numerous jazz standards. Do not feel the need to master each individual Ik ease re ones that you ike and focus you attention on them, coneenate on what is immediately vausble to you, Once you have comfortably eared one of the licks, transpose ito all ofthe remaining eve eps Tiy to find diferent ways for he lick to begin or end and experiment with differen PhrasingS and aniculations 1001 Jas Licks is writen with the des of giving you sme insight into the melodie vocabulary of zz ind broaden your awareness of the harmonic possibilities available. All of tis is in hope of helping Yoo to cultivate your own, unique sense of melody and harmony. Have funt Acknowledgments {would like to thank my editors, Arthur Rotfeld an Toby Wine, for their vision, profound knowledge, ta patience, Additional tanks go out to Nick Trauwein and Cherry Lane autor Joe Chaurpakor Finally, a very special thanks go to my friends and family for their unyielding suppor. About the Author Tack Shneidman i «guitars, composer, and arranger who lives and works inthe New York Metropolitan aaa reat audied with Ron Carter, Mike Longo, and Rob Schwimmer, guitarists Gene Bertonci’ and Ken Wessell and Pulitzer Prize winning composer David del Tredici, Jack plays with a variety of jazz combos on the New York elub scene and around the worldINTRODUCTION ‘The jazz lick is one of the most important tools of improvisation. In addition to a thorough knowledge of chords and scales, all the great jazz players have a large vocabulary of these short melodic phrases, which ‘they incorporate in their improvised solos. The jazz player uses licks the same way we use simple or ‘common phrases in speech. In shor, licks are basic musical statements an improviser calls upon to meet the musical demands of the moment, With this huge book in your hand, you might be asking yourself, "Where do I start?” Well, it's helpful to ‘notice that this book is divided into three main sections: Essential Licks, Siylistic Licks, and Licks over Standard-Type Progressions. Essential Licks (licks 1-560) is comprised of licks that are played over either a single chord, a standard harmonic progression, ora particular mode. All the licks aze writen in the key of C. tn the case of licks ‘that are based on modes, the key signature ofthe parent seale is given. For example, all C Dorian licks have the key signature of B> major, because C Dorian isthe mode built on the second scale degree of the BS major scale. C Lydian, to name another example, is bull on the fourth degree ofthe G major scale therefore it will bear the key signature of G major. ‘Sylistic Licks (licks 561-800) is based on the idiomatic traits of different era in jazz history, For example, the licks from the swing era resemble the work of master tenor saxophonists Lester Young, Coleman ‘Hawkins, as well as the great guitarist Charlie Christian, The lick from the bebop era are based on the styles of saxophonists Charlie Parker, Soany Stitt, and Sonny Rollins, the pianist Bud Powell, and trumpeters Dizzy Gillespie and Clifford Brown. Some of the players representative ofthe hard bop era include pianists Horace Silver and Bobby Timmons, tenor saxophonists Hank Mobley and Dexter Gordon, and trumpeters Kenny Dotham and Blue Mitchell. The licks in the post bop section pay homage to the harmonically advanced sounds of tenor saxophonists John Coltrane and Joe Henderson, pianists MeCoy ‘Tyner and Herbie Hancock, and trumpeters Freddie Hubbard and Woody Shaw. All of the harmonic ‘progressions that are uilized in this section are standard progressions. The remainder of this section (non- harmonic, and fusion/funk licks) demonstrates some ofthe intervalic and harmonie concepts of today's _Breatest contemporary jazz musicians. These include saxophonists Dave Liebman, Michael Brecker, and Kenny Garrett, guitarist John Scofield, and pianist Chick Corea Licks over Standard-Type Progressions (licks 801-1001) is comprised of licks played over the opening four bars of twenty standard-type tunes, These phrases feature a wide variety of harmonic progressions, some different time signatures (8 and 4), and some material that has Brazilian or Afvo-Cuban flavor (New Bossa.” and “Night under Anesthesia.” respectively) All the licks inthis book have chord symbols above them given in their most basic form (only the root land the chord quality are named). Some of these licks are very advanced and include a liberal usage of cchromaticism, substitute scales and modes, implied passing chords, and entie cycles of substitute hharmonies. Don't let this intimidate you; the logic and expressive options they offer will become clearer With time and a little patent study, 41001 Jazz Licks A Complete Jazz Vocabulary for the Improvising Musician by Jack Shneidman ~ sci oi beh