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  • How To Make 8th Note Lines More Exciting: Gm7 C7 Fmaj7

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    Romin Eaudées
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    The document provides examples of techniques to make 8th note jazz lines more interesting, including varying the rhythmic groupings of notes. Example 1 shows a basic line using all 8th notes. Examples 2-8 demonstrate lines using techniques like grouping notes in 3s and 2s, incorporating triads, and repeating melodic motifs over two bars. The goal is to avoid boring, repetitive lines by varying the rhythmic feel from bar to bar.

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    How-To-Make-Jazz-Licks-More-Exciting

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    The document provides examples of techniques to make 8th note jazz lines more interesting, including varying the rhythmic groupings of notes. Example 1 shows a basic line using all 8th notes. Examples 2-8 demonstrate lines using techniques like grouping notes in 3s and 2s, incorporating triads, and repeating melodic motifs over two bars. The goal is to avoid boring, repetitive lines by varying the rhythmic feel from bar to bar.

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    © All Rights Reserved
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    31 views2 pages

    How To Make 8th Note Lines More Exciting: Gm7 C7 Fmaj7

    Uploaded by

    Romin Eaudées
    The document provides examples of techniques to make 8th note jazz lines more interesting, including varying the rhythmic groupings of notes. Example 1 shows a basic line using all 8th notes. Examples 2-8 demonstrate lines using techniques like grouping notes in 3s and 2s, incorporating triads, and repeating melodic motifs over two bars. The goal is to avoid boring, repetitive lines by varying the rhythmic feel from bar to bar.

    Copyright:

    © All Rights Reserved
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    How To Make 8th Note Lines More Exciting

    www.jenslarsen.nl
    Standard tuning
     = 120
    Example 1 - Boring Jazz Line
    Gm7 C7     Fmaj7
       
                   
      
    
    8 10 9 8
    8 8 11 11 10 8 8 10
     8
    7 10 10 7 8 9 10
    10

    Example 2 - Charlie Parker - Un-boring Jazz Line


    Gm7
      
      

               
    3

     8
    7 10 7 8 9
    10
    6 7
    8 9 10
    9 10

    Example 3 - A line using 3 - 3 - 2 on the II Chord


    Gm7 C7 Fmaj7
      
               
      

    15 11 13 11 13 10 11 10 9 8 8
     12 12 10 9
    10 (10)

    Example 4 - A line using 3-3-2 with triads


    Gm7 C7 Fmaj7
      
    P

        
            
     
    P

    8 11 10 (10)
     10 7
    8
    7
    8 10 7 8
    7 10 7 9
    10

    1/2
    Example 5 - A line using 3-2-3 groupings
    Gm7 C7 Fmaj7
    P
       
             
       
    P

    11 10 11 10
     12 12 10
    12
    9 10 11 12 9
    10 8 7 (7)

    Example 6 - Two bar 3-note groupings with triads


    Gm7 C7alt  Fmaj7
       
                 

    6 8 10 9 11 10 (10)
     7
    8
    9
    10
    10
    12
    9
    11
    11
    13

    Example 7 - Two bar 3-note Grouping with more repetition


    Gm7 C7alt Fmaj7
             
                
    
    8 6 8 6 8 6 9 7 9 7 10 8 10 8
     7 7 7 8 8 9

    Example 8 - Two bar 5-note Grouping with repeated melody


    Gm7 C7alt Fmaj7
        
               
      

    11 10 11 10 11 9
     12 10
    12
    12 10
    12
    11 9
    11 10 (10)

    2/2

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