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In this article, I’ll reveal the top 53 classic bebop jazz guitar riffs and licks to build your knowledge, vocab and passion for jazz guitar.
From the roots of bebop with artists such as Miles Davis, Charlie Parker, Dizzy Gillespie, Charlie Christian, and others who inspired melodies that changed jazz forever.
Learning jazz riffs and licks is an essential and exciting component of playing and improvising with jazz.
So get ready to ramp up your jazz theory, vocab, and experience by studying and practicing these awesome riffs and licks...
Let’s get into it…
My 5 top tips for jazz licks
If you’ve ever tried learning a jazz guitar solo before, you might’ve had the experience of feeling overwhelmed by the vast amount of information needed to understand it.
Of course, everyone knows learning to improvise is a key component of playing jazz.
But did you know that many of the top jazz musicians build their solos based on a collection of pre-learned licks?
It’s true!
Even your favorite jazz guitar player will craft their solos using a mixture of preworked jazz vocabulary (learned licks), and a healthy balance of exploring scales and arpeggios in the moment.
During my time studying jazz guitar at music school, learning licks was heavily encouraged by my professors and top players on the scene.
The benefits of learning licks include:
- Understanding how to put music theory into practice
- Learning how to think like the masters over chord changes
- Having a collection of useful melodies that can be used in lots of different playing situations.
- Gives you an initial motif or idea to build on for your next chorus
In this article, you’ll see 6 categories of jazz guitar riffs to learn.
Each of the 6 lick categories will teach you a specific concept that can be applied over different chords and in other improvisational contexts.
What is bebop?
You’ll also see mention of the word ‘bebop’ quite a lot in this article, let’s break it down for you.
Bebop describes the 1940-50s jazz era and also a specific style of jazz soloing.
Bebop characteristics were incredibly innovative and introduced soloing concepts such as:
- Chromaticism,
- Superimposing triads
- Enclosures
- Approach tones
The era also birthed brand new repertoire based on the foundation of old swing band tunes but with ‘bebop chord progressions’ featuring lots of additional harmonic movements.
Whenever you hear us mention something as a ‘bebop line’, we usually refer to licks similar to the complex soloing language of Bebop’s main innovators, Charlie Parker and trumpet player Dizzy Gillespie.
Make the most of these 53 exciting licks by internalizing the ideas using our awesome tips below:
- Singing the licks while you practice helps you hear melodic ideas before you play them.
- Spend time with the theory. If you understand the concept behind a lick you can start creating your own based on the same information.
- Visualize! Make sure you can see the scale, chord, or arpeggio shape on the fretboard.
- Practice slowly. Some of these licks are packed with information. Practicing them slowly with a metronome or the slowdown option on each lick will help you hands and ears adjust.
- Play the same lick in different keys. If you’ve just learned a mean blues lick in C, make sure you can play it in other keys too.
Major chord Licks
If you’ve just started learning how to play jazz guitar, knowing how to solo over a single major chord is a useful first step.
As you’ll learn in these upcoming licks, there are an infinite number of ways to solo over a single major chord.
Jim Hall and Kurt Rosenwinkel are two examples of jazz guitar masters who both use licks over major chords and yet sound incredibly different from one another when soloing.
Learning these major chord licks is a perfect starting point for understanding what to play over a static major chord.
Later on you’ll start to dig into licks in the style of some legendary jazz guitar players to see how the masters put their spin on it.
While the next few licks are perfect jazz guitar riffs for beginners, it’s worth having a basic understanding of the following musical ingredients before diving in:
- How to build the major scale
- Having an understanding of the 7 major scale modes
- Creating major and minor arpeggios
- Knowing how to form a dominant 7th and major 7th chord
Ready to take your first giant step?
#1 - Glow up arpeggio lick
What’s in this lick?
To get things started, we’ve curated a neat lick that introduces you to arpeggios.
Most of the best jazz riffs are created using arpeggios because they’re super effective for highlighting a specific chord in the progression.
Getting to grips with this easy jazz riff will stand you in good stead for learning more advanced bebop language later on down the line.
What chord is this lick based on?
This lick is based on an F major 7th chord and can be used over all major 7th chords.
Most of the time major 7th chords are the I and IV chords.
What scales are here?
This lick starts with a slide onto the 9th of the chord before descending down an F major 7th arpeggio.
This lick was built by forming an arpeggio using the 1-3-5-7 intervals from the F major scale.
Extra notes
As you practice this lick try to get comfortable playing arpeggios ascending and descending for maximum control when soloing over chords.
The technical challenge of this arpeggio is that there is a note per string.
Try to rake or ‘sweep’ your pick up the strings while letting your fretting hand take care of the arpeggio shape for a smoother travel across the strings.
#2 - Simple F7 blues lick
What’s in this lick?
Grant Green and Kenny Burrell used blues licks like this one in their playing all the time.
This lick is a cool jazz riff to get down and can be used in a huge number of contexts.
What chord is this lick based on?
This short line is perfect for applying over an F7 chord.
F7 is a dominant chord – typically the V chord in the context of the major scale.
In blues, the dominant chord is used in place of the I and IV to create an unresolved, bluesy character in the progression.
This F7 chord would be the I chord in an F blues progression.
What scales are here?
We’re glad you asked.
This lick uses the F Mixolydian mode to highlight the F7 chord.
The F Mixolydian scale is the 5th mode of the Bb major scale.
Extra notes
This lick is commonly heard in blues and jazz guitar phrases.
But truthfully, the blues can be injected almost anywhere in a chord progression
For extra flair, this line uses a Db note to approach D.
Db isn’t in the F mixolydian scale. Db is an approach note which is commonly used to add chromaticism to regular scales.
Approaching scale notes by a half step, is a fun way to throw some tension into a bluesy lick.
#3 - C7 intermediate blues lick
What’s in this lick?
Let’s step it up with this intermediate jazz lick.
Much like the F7 lick, this C7 lick is perfect for using over the I chord of a blues.
This lick uses two common jazz blues features:
- Triplet rhythmic groupings
- Repetition for added emphasis
- Bb augmented triad over C7 highlights C9#11
What chord is this lick based on?
At first glance, this lick is based on a regular C7 chord.
But when factoring in some of the notes in the phrase, this lick is implying a C13#11.
C13#11 would include R-3-5-b7-#11-13.
What scales are here?
- Taking every note into account, the entire phrase highlights a C13#11 arpeggio over the C7 chord.
- The notes of this lick can be found in the C lydian dominant scale: R-2-3-#4-5-6-b7
Extra notes
This lick takes a bit of practice to get comfortable at speed.
The trick to this one is learning how to rake down the strings with the pick. Some players call this sweep picking.
Another tip is to make sure your ring finger slides from the 12th to 13th fret – this makes the transition into the triplet grouping feel more natural.
#4 - C Major bebop scale lick
What’s in this lick?
Major I chords don't have to sound lame!
Luckily, there’s a dedicated bebop scale on hand to make tonic major 7 chords sound more interesting.
This line is a one-octave descent down the bebop scale and lands on the 6th of the chord for a mellow finish.
What chord is this lick based on?
This lick is designed to be played over a C major 7, or C major 6 chord.
What scales are here?
The major bebop scale is an 8-note scale that uses the regular major scale with an added b6 to create an even number of notes in the major scale.
The major bebop scale includes: R-2-3-4-5-b6-6-7
This scale puts the root, 3, 5, and 6 on the strong beats.
Think of the b6th note as a passing tone between the 5th and 6th.
Extra notes
- Historically, major I chords were most often played as major 6 chords, so this fits nicely with the bebop sound.
- The major bebop scale has 8 notes making it rhythmically even when playing up two or three octaves over a single chord.
- This means chord tones will always fall on the strong beats.
#5 - C Major 7th arpeggio lick
What’s in this lick?
Pretty neat sound right?
Due to the unconventional intervals heard in this major 7th lick, this is a modern jazz guitar phrase.
You might’ve noticed the changes in the direction of the melody too.
What chord is this lick based on?
This lick takes place over a C major 7th chord and highlights the extension notes of the scale also.
What scales are here?
Using only the C major scale, this line resembles how a piano player or saxophone player might improvise using wider intervals.
The extension notes are the 7th, 9th, 11th and 13th. These are usually heard an octave above the triad and are used to add a richer sound to the chord.
Extra notes
Once you’ve got the C major 7th arpeggio down, you can build similar phrases by including notes from the C major scale to mix it up.
#6 - C7 two octave lick
What’s in this lick?
If you’ve been learning jazz licks for a while, your ears will already recognize the sound of this two-octave arpeggio.
There are two arpeggios derived from the C Mixolydian scale that help highlight some of the harmonies within the scale.
They’re found in bar two where there is a Em7b5 and Gm7 arpeggio superimposed over the C7.
What chord is this lick based on?
This lick is to be played over a C7 chord.
What scales are here?
This phrase exclusively uses the C Mixolydian scale over the C7 chord.
The C mixolydian scale is built using: R-2-3-4-5-6-b7.
Extra notes
Based on the C7 Mixolydian scale, this lick is similar to what a saxophonist might play due to the large range jump which takes place in the opening two bars.
#7 - Dmaj7 ‘up and down’ lick
What’s in this lick?
One of the key elements when studying jazz guitar licks is to notice changes in the direction of a melody.
This lick is a clear example of how to ascend and descend a phrase evenly to give your solos a nice shape.
What chord is this lick based on?
This phrase can be used over a D major 7 chord or a B minor chord.
What scales are here?
Inside this lick, you’ll find a cozy D major pentatonic shape that the hands will find super comfortable to grab.
Extra notes
This pentatonic shape is a perfect line to memorize as it works over D major and B minor chords.
Pentatonic scales are as much a part of jazz guitar as they are in blues guitar playing styles.
#8 - Cm7 modern jazz lick
What’s in this lick?
Ready for your mind and hands to be stretched?
This Cm7 line is a modern jazz style phrase that incorporates fun with creativity by breaking up the regular note order found in the C dorian scale.
Inside you’ll find a mixture of triads from C dorian, unexpected interval jumps, and direction changes.
What chord is this lick based on?
This lick is to be used over Cm7, but it’s also possible to play over an Ebmaj7 chord.
What scales are here?
This entire line is built using the C dorian scale, the second mode of the major scale.
Starting with a C minor arpeggio falling into a Bb major triad, this lick shows you how far a single scale can be explored when its triads are used.
Extra notes
- Learning the triads found in the C dorian scale will help you understand this lick at a deeper level.
- Unlike more traditional bebop phrases that use consecutive scale notes, this lick is a strict dorian mode run that keeps the listener guessing.
#9 - C#7 Altered lick
What’s in this lick?
For your final major chord lick, let’s step up the theory.
When a regular dominant chord is paired with notes from outside of the scale it creates an altered dominant chord.
Altered dominant chords are all about creating tension before resolving back to the I chord.
What chord is this lick based on?
This lick is based on a C#7 chord.
Specifically, the notes from this lick imply a C#7alt chord.
What scales are here?
The C# altered scale is the main scale in this line.
Inside the scale you’ll find the intervals: R-b9-#9-3-#4-#5-b7
Extra notes
The C# altered scale is also known as the 7th mode of the D melodic minor scale.
There are only 4 altered notes. They are the b5th, #5th, b9th, and #9.
Major II-V-I Licks
Excellent job getting down the first 9 licks.
But jazz guitar improvisations go much further than soloing over a single chord.
That’s why the next set of licks addresses the major II-V-I progression (2-5-1 chord progression), the most important chord progression in jazz composition.
II-V-I’s are found in almost every jazz standard and form the harmonic basis of a song’s verses and choruses.
Knowing how to solo over a major II-V-I progression is one of the most useful skills that jazz musicians need to master.
For some jazzers, it’s helpful to see the progression in 3 separate sections:
- The II minor chord introduces a small bit of tension
- The V chord is where the maximum amount of tension should appear
- The I chord is where “home” is. Make sure to resolve all of the tension here.
#10 - Your first II-V-I in C
What’s in this lick?
You can hear this line ascending through a clear D minor arpeggio while continuing to ascend a G7 arpeggio before the eventual descent onto the 5th and 3rd of C major.
This lick uses arpeggios to highlight and daisy chain the chords found in the progression.
What chord is this lick based on?
This progression highlights a II-V-I major progression in C major.
What scales are here?
All 3 arpeggios in this line come from the C major scale.
Extra notes
- Licks like this highlight the importance of knowing triads and 7th arpeggios.
- Linking arpeggios together is a good practice point for fretboard mastery and hearing your way through a chord progression.
- Jazz chord progressions are usually built on the same music theory, so you’ll frequently see this order of chords.
#11 - The Autumn Leaves II-V
What’s in this lick?
Autumn Leaves is a jazz standard that all jazz improvisers should know and is commonly called at jam sessions.
This line has multiple features that make it interesting:
- The melody changing direction makes for interesting phrase architecture.
- The arpeggios outline the II and V chords while keeping a continuous ascending or descending direction.
- Phrases start on strong beats as seen in bars 1 and 2
- Mixed with phrases starting on weak beats for rhythmic interest in bar 3 over C major.
What chord is this lick based on?
Just like the last lick, this is based on a II-V-I in the key of C major.
What scales are here?
This is a diatonic line crafted using notes and related arpeggios of the C major scale.
Extra notes
There are so many great versions of this classic jazz song, but I recommend Barney Kessel’s incredible arrangement of Autumn Leaves as a starting point.
Autumn Leaves is constructed almost entirely of a single major II-V-I and a minor II-V-I.
#12 - The Autumn Leaves II-V part 2
What’s in this lick?
This phrase starts with a classic bebop melody over Dm7 that starts on the 3rd of the chord before jumping up to the b7th and falling down a rough Dm9 arpeggio.
The chromatic passing note at the end of bar 1 falls onto the b7th of G7 in bar 2 – making for good voice leading.
Here are some other features heard in the line:
- Continuous playing through the chord changes.
- Direction changes while outlining arpeggios.
- F major pentatonic scale used over G7 highlights the G7 extension notes: 7th, root, 9th, 11th and 13th.
What chord is this lick based on?
This line is based on a II-V-I in the key of C major.
What scales are here?
This line has been constructed mostly using the C major scale.
The passing note used at the end of the first bar is not from a specific scale but acts as a brief outside sound to fall chromatically onto the closest chord tone of G7.
Extra notes
Learning jazz licks like this is a great example of how to build interesting bebop melodies that use chromaticism to bridge the space between the scale notes and chord tones for the next chord in the progression.
Learning to play through the chord changes without pausing is one of the tougher challenges of jazz improvisation.
#13 - Bruno Major style II-V
What’s in this lick?
We’re stepping up the lick game once more with this next silky Bb major II-V.
Inside this lick you’ll find:
- Classic bebop chromatic phrases to create tension over the F7 chord.
- Mixing slides and trills to create a rhythmic feeling closer to what a bebop piano player might do.
- Sliding from scale notes onto scale tones to keep the melody a little vague.
What chord is this lick based on?
This lick has been plucked from a larger progression.
We’re only interested in the II-V-I in the middle, but the whole progression looks like this:
Vmaj - II - V7 - I - VII7
In Bb major this would be:
Fmaj7 - Cm7 - F7 - Bbmaj7 - A7
What scales are here?
Most of this line uses notes from the Bb major scale.
The chromatic phrase heard over F7 comes from the F bebop dominant scale.
Extra notes
- As this lick shows, sometimes II-V-I progressions live between much larger progressions.
- This is a more modern lick that makes use of 16th notes and a less conventional rhythmic phrasing than what would normally be found in bebop-style jazz guitar soloing.
#14 - Chromatic approach II-V-I
What’s in this lick?
This stank-face-inducing lick is a perfect example of how to use chromatic approach notes to jump from single lines into arpeggios seamlessly.
This is a must-know lick for learning how to play in the bebop style
- This lick uses 7th arpeggios and the daisy chaining technique of chromatic approach notes to flow into and out of rootless arpeggios as seen over the E7 chord.
- A closer look at the E7 lick shows an arpeggio that starts on the 3rd of the chord and hits the 5th, 7th, and 9th creating a more interesting harmonic option.
- The last resolution into A major shows a chromatic line that moves by step and resolves onto the 3rd of A major.
What chord is this lick based on?
This lick takes place over a II-V-I in A major.
What scales are here?
The A major scale and its related arpeggios is the main ingredient in this phrase.
Once again, the chromatic approach notes do not come from any specific scale but instead live next door to the A major scale as neighboring notes to briefly segue from.
Extra notes
Chromatic approaches are great for linking arpeggios together.
They’re also commonly used when landing on chord tones at the end of a phrase to give a feeling of tension and eventual resolution.
#15 Chromatic approach II-V-I part 2
What’s in this lick?
Just like the last lick, this A major phrase uses a mixture of arpeggios and approach notes to create an intriguing melody. This would be an apt example of a common bebop arpeggio.
But here’s the catch, over the second bar of the E7 you’ll hear altered notes (b9 and #9) against the dominant chord to provide the phrase with outside tension before resolving to A.
This line also has:
- Arpeggios starting from the 3rd of the chord, see the D major 7 arpeggio used over the Bm7 chord to simulate the 3rd, 5th, 7th, and 9th color notes.
- A perfect balance of ascending and descending phrases.
- Unlike Lick 14, this line resolves chromatically down onto the 3rd of A major.
What chord is this lick based on?
This phrase is based on a II-V-I in the key of A major.
What scales are here?
The A major scale is mostly in use here.
Keen an ear out for the E altered scale being used over the second half of the E7 in bar 4.
Extra notes
Altered scale usage is a strong and vibrant flavoring to use over the dominant chord to create tension.
But, it’s important to treat it with care and not overuse the outside sound.
Mixing altered notes with the arpeggios that outline the chord progression is a fun way to create some different sounding lines.
#16 - Chromatic approach II-V-I part 3
What’s in this lick?
Need a lick to impress your jazz guitar teacher? Here’s one for you.
Much like the last lick, this A major phrase uses the same theory but with a twist.. Literally.
The use of chromaticism and altered tension over the E7 chord is still the same, but the order of b9 and #9 notes is a little different here.
- Changing the order of notes in a chromatic enclosure is often nicknamed a “wraparound”.
What chord is this lick based on?
This phrase is based on a II-V-I in the key of A major.
What scales are here?
The A major scale is mostly in use here.
The E altered scale is used over the second half of the E7 in bar 4.
Extra notes
To create wraparounds on the fly you need to develop confidence in how to resolve altered tension notes onto a chord tone of the next chord.
#17 - When II becomes I
What’s in this lick?
This clever bebop device uses a minor arpeggio over the dominant chord to smoothen the transition back to the I chord.
Having a handle on this technique can help you breeze through II-V-I progressions.
- A Bm7 arpeggio is used over the E7 chord to highlight the 5th, 7th, 9th, and 11th of the E chord.
- It’s also far easier to resolve from the II onto the I as the arpeggios are side by side on the fretboard.
What chord is this lick based on?
This phrase takes place over a II-V-I in A major.
What scales are here?
The A major scale and its related arpeggios are the only ingredients.
Extra notes
- When a minor chord is used over a major chord, this is often called minorization.
- It usually works very well over a dominant chord but this same technique can be used over minor, major, and minor7b5 chords.
#18 - The Moon lick
What’s in this lick?
This lick comes from the II-V-I progression in Ab major heard in the jazz standard Fly Me to the Moon.
The secret sauce of this lick is that while it only uses the Ab major scale, there is a striking resemblance to the song’s original melody that uses sequences to build the melody.
- Sequences are repeated phrases or patterns that are heard descending or ascending through a scale.
- Think of it as recycling a good melody onto every note in the major scale.
- Using sequences to create your solo will usually help you incorporate direction changes in your melodic line designs.
What chord is this lick based on?
This lick is based on a II-V-I in Ab major
What scales are here?
Only the Ab major scale is used here.
Extra notes
It is common for jazz guitarists when soloing to ‘quote’ characteristics of the song’s melody in their solos.
Minor Chord Licks
You squeezed all of the major II-V juice we had, nice job!
As you look towards the challenge of soloing over minor chords, it’s important to know how to treat an individual minor chord before moving onto the progressions.
Minor chord progressions work a little differently than their major counterparts.
Here are some tips to help you explore these minor chord licks:
- You can use a variety of different minor scales to solo over an individual minor chord.
- Each has its own flavor and characteristics.
- Don’t neglect the minor pentatonic scales, they’re great to lean on in times of need.
#19 - Shifting position lick over Dm7
What’s in this lick?
Using the Dorian scale to play over a minor chord is a common way that jazzers like to begin their solos.
But this lick takes it to the next level by introducing some of the different kinds of arpeggios that live inside the lick.
It shifts positions starting from the 1st fret and rising up to the octave above the 12th fret.
What chord is this lick based on?
This lick is based on a static Dm7 chord.
What scales are here?
This lick exclusively uses the D dorian scale, the second mode of the major scale.
Becoming familiar with this scale is a lifesaver when it’s your turn to solo over a minor groove.
The dorian scale is built using these intervals:
Root - 2nd - b3rd - 4th - 5th - major 6th - b7th
Extra notes
These shapes are not conventional triads that you might expect, but shapes that have been extracted from the scale and played on each note of the scale.
This technique is sometimes called creating ‘cells’ (small musical phrases applied to every note of the scale).
#20 - Am7 pentatonic
What’s in this lick?
What’s better than a good, old pentatonic line?
Here, you’ll see an A minor pentatonic line that descends in sequence.
- A sequence is where a simple musical idea (sometimes called a cell) is repeated on every note of the scale.
- Using pentatonic scales is a staple for guitar soloing vocabulary, you might even have pentatonic vocabulary under your fingers ready to use.
What chord is this lick based on?
Based on an Am7 chord.
What scales are here?
The A minor pentatonic is the only scale in use here.
Extra notes
This phrase could easily be heard in a blues guitar playing style.
Grant Green is a great example of a jazz guitarist who uses bluesy, pentatonic lines to create some very memorable jazz blues guitar licks.
#21 - Melodic Minor part 1
What’s in this lick?
A new challenger has entered the arena, step forward melodic minor scale.
This smooth line was created using the C melodic minor scale.
The melodic minor scale is a minor scale unrelated to the major scale and its minor modes.
Instead, it features a minor 3rd with a major 7th giving it an unmistakably tense sound.
Try this line out over a minor chord to create a sense of tension in your solos.
What chord is this lick based on?
A static C minor 7 chord is the underlying harmony for this lick.
What scales are here?
This lick was created using the C melodic minor scale.
The C melodic minor scale is built using the following intervals:
R - 2 - min3 - 4 - 5 - 6 - maj7
C-D-Eb-F-G-A-B
Extra notes
The melodic minor scale isn’t always the best choice due to its tension.
Jazz players will often use the Dorian scale or natural minor scale for a more ‘inside’ minor sound when soloing over minor chords.
#22 - Melodic Minor part 2
What’s in this lick?
Thought you were done with the melodic minor? Not yet!
This next lick applies the same phrase but over an Fm7 chord.
Knowing how to use this same melodic minor phrase on different string sets is a game-changer for any jazz guitarist.
What chord is this lick based on?
A static F minor 7 chord.
What scales are here?
F melodic minor scale.
Here is the intervallic makeup of the scale:
R - 2 - min3 - 4 - 5 - 6 - maj7
F - G - Ab - Bb - C - D - E
Extra notes
Once you’ve got this line down, challenge yourself to find it in different parts of the fretboard for real fretboard mastery.
#23 - The mini step Dm7 lick
What’s in this lick?
The mini chromatic step in this phrase makes it feel so good to play – check it out.
This lick uses a chromatic line that passes from the 4th, to the major 3rd, then falls back to the minor 3rd.
Because the line uses the major and the minor 3rd, it creates a vague melody that fits both minor and major chord situations.
This is a perfect example of a melody that weaves together chromaticism and triads to create a lovely, subtle bebop vibe.
What chord is this lick based on?
A static D minor chord.
What scales are here?
This lick is mostly using the D Dorian scale.
You might even spot a D minor triad shape at the end.
The twist is that the minor 3rd has been switched out for a 9th.
Extra notes
Because this line touches on the major and minor 3rd, it would fit perfectly over a D7 or Dmaj7 too.
#24 - F minor pentatonic sequence
What’s in this lick?
Once again we loop back around to another slick minor pentatonic line.
It can’t hurt to have a few pentatonic sequences to pull out over minor chords.What chord is this lick based on?
F minor 7
What scales are here?
The F minor pentatonic scale
Extra notes
F minor pentatonic lines fit perfectly over an Ab major chord because of the relative minor/major relationship.
#25 - Half-diminished lick
What’s in this lick?
Dm7b5 is commonly used in minor keys and is often the II chord of choice when setting up a minor II-V-I.
This is an important concept to understand before moving on to the minor II-V-I licks section.
Knowing how to solo over this half-diminished chord requires some knowledge of the Locrian mode and how to construct the arpeggio.
This lick simply ascends up a Dm7b5 arpeggio with a little sequence that builds on the b5 of the scale before resolving onto the b7th.
What chord is this lick based on?
Dm7b5
What scales are here?
Although the line is simply a Dm7b5 arpeggio, the related scale would be the D Locrian scale which is the 7th mode of the Eb major scale.
Here’s how to build the locrian scale:
R - b2 - m3 - 4 - b5 - b6 - b7
D - Eb - F - G - Ab - Bb - C
Extra notes
If I could give you one practice tip for learning jazz guitar riffs in minor keys, it would be this:
Dig into the theory of a lick before taking on the minor II-V-I’s – it’ll make life much easier!
#26 - From major to minor
What’s in this lick?
Understanding how the relative major and minor keys work is a good exercise tip for digesting this lick.
Every major key has a relative minor key.
Think of it like a brother and sister relationship, they might sound a little different but the same information can be applied over both keys.
- The first thing to know is that they’re a 6th interval apart.
- Starting on a major note and rising up a major 6th interval will give you the relative minor.
- The inverse is also true for finding the relative major. Starting on a minor note and ascending up a minor 3rd will help you find the relative major.
- For example, this lick is takes place over a Bb minor chord but uses a Db major 7 arpeggio to highlight the 3rd, 5th, 7th, and 9th of the Bb minor.
What chord is this lick based on?
Bbm7
What scales are here?
Bb Dorian is the overarching scale used to construct this lick.
- Db major 7 arpeggio is in use from the 4th note.
- Db major is a triad that already exists in the Bb Dorian scale.
Extra notes
Don’t worry if this lick seems a little tough right now, the relative major and minor relationship takes some time to understand.
The best way to get to grips with the concept is to have the triads of the dorian scale memorized.
Minor II-V-I Licks
Now that you’ve got a good understanding of how to treat individual minor chords, it’s time to move on to playing minor II-V-I licks.
The music theory takes a step up in these next few licks, so I recommend you get comfortable with the minor licks section before jumping in.
- Minor II-V-I’s are the bread-and-butter chord progressions for jazz standards written in a minor key.
- Learning minor II-V-I’s helps you understand the building blocks of jazz standards written in minor keys.
There are three parts to minor II-V-I’s:
- II chord is often played as a minor7b5
- V chord can include lots of tension such as a V7b9.
- Over the I chord, the Dorian or melodic minor scale is the best choice for resolving the phrase.
If you’ve got those minor chord licks down, get ready to learn some exciting minor key jazz riffs for guitar.
#27 - F# Phrygian Dominant lick
What’s in this lick?
You’ve already got the Dorian and Locrian scales down, so I thought it was high time I introduced you to the Phrygian dominant scale.
This line descends the F# Phrygian dominant scale and resolves to the 5th of Bm7.
What chord is this lick based on?
This is a minor II-V-I in B minor.
C#m7b5 - F#7b9 - Bm7
What scales are here?
The Phrygian dominant scale is most commonly used over the V7 chord in a minor progression.
The phrygian dominant scale consists these intervals:
Root - b9 - major 3rd - 4th - 5th - b6th - b7th
The F# phrygian dominant notes are:
F# - G - A# - B - C# - D - E
Extra notes
The phrygian dominant scale sounds similar to the diminished scale because of the b9 sound at the beginning.
The phrygian dominant scale is the 5th mode of the harmonic minor scale.
Learning this scale is a very useful thing to know for creating tension in minor chord progressions.
#28 - Minor jumps
What’s in this lick?
Although this lick doesn’t have a lot of notes in it, the concept is pretty sweet.
- Over the A7alt chord, the melody highlights the minor 3rd, major 3rd, and jumps up to the minor 3rd an octave up to create maximum tension over the V chord.
- When using a minor 3rd over a dominant 7th chord, this is often known as the #9 tension.
- The phrase resolves onto the 5th of Dm9.
What chord is this lick based on?
This is a simple V - I in D minor.
A7alt to Dm9
What scales are here?
Over the A7alt, the A altered scale is used.
Extra notes
Using intervallic leaps is a fun way to disguise scale ideas and mix up the note order to create more interesting phrases.
#29 - Altered Minor line
What’s in this lick?
Similar to the last lick, this line takes the idea of using the altered scale over the V chord to the next level by ascending the entire A altered scale starting on the 7th.
Altered tension on the V chord can sound amazing when resolved correctly. As you’ll see, the line lands on the root of Dm9 to resolve the chord.
What chord is this lick based on?
A7alt to Dm9 is the V to I in D minor.
What scales are here?
Over the A7alt, the A altered scale is used, starting from the 7th.
The A altered scale is:
Root - b9th - #9th - 3rd - b5th - #5th - b7th
A - Bb - C - C# - Eb - F - G
Extra notes
Learning to play the altered scale from notes that are not the root will give you much more control of the sound when playing the altered scale.
#30 - One up, one down lick in A minor
What’s in this lick?
By this point, you’ve probably become quite familiar with playing up and down arpeggios over a II-V-I.
But this II-V-I in A minor challenges you to play up an arpeggio and down a scale.
- This skill is a good one to learn for playing through the chords in a minor progression without stopping for each chord.
- Min7b5 arpeggio over the Bm7b5.
- E phrygian dominant over E7b9.
- C major triad over A minor chord to highlight 3rd, 5th, 7th, and 9th.
What chord is this lick based on?
II-V-I in A minor.
Bm7b5 - E7b9 - Am7
What scales are here?
- Bm7b5 arpeggio (from B locrian scale)
- E phrygian dominant over E7
- C major arpeggio (from A dorian scale)
Extra notes
Once you’ve practiced this concept thoroughly and soon you’ll notice yourself developing the ability to construct you own licks.
#31 - Fragmented II-V-I in A minor
What’s in this lick?
Just like the previous lick, this phrase uses all of the same theory and scales over the chord progression.
- The only difference is that there are more scale based melodies rather than arpeggios.
- Fragmented rhythm helps split up the phrases into question and answer textures.
What chord is this lick based on?
II-V-I in A minor.
Bm7b5 - E7 - Am7
What scales are here?
- Bm7b5 arpeggio (from B locrian scale)
- E phrygian dominant over E7
- A dorian scale over Am7
Extra notes
This is a very singable lick which is great for creating memorable phrasing when soloing.
#32 - Minor II-V in A minor
What’s in this lick?
Another slick lick in A minor for you.
- The theory behind this line is the same as the last couple of licks.
- With this particular line, you’ll notice more scalic phrasing.
- Arpeggios appear towards the end starting on the 3rd of the E7 and Am7 chords.
What chord is this lick based on?
II-V-I in A minor.
Bm7b5 - E7b9 - Am7
What scales are here?
- B locrian scale over Bm7b5
- E phrygian dominant over E7
- C major 7 arpeggio over Am7 (from A dorian scale)
#33 - F#m7 II-V-I lick, Up down up down.
What’s in this lick?
This lick is a lesson in creating directional changes by combining arpeggios and scales.
- D major 7 arpeggio is used over the G#m7b5 chord.
- D is the b5th of the G#m7b5 and playing the D major 7 arpeggio highlights the extension notes of the G#m7b5 chord (b5th - b7th - b9th - 11th)
- C# altered scale is used to highlight outside tension over C#7
What chord is this lick based on?
II-V-I in F# minor.
G#m7b5 - C#7alt - F#m7
What scales are here?
G# locrian scale over G#m7b5
C# altered over C#7
F# dorian scale
Extra notes
You might not be used to playing in strange keys such as F# or Eb, but in jazz, you’ll come across these keys very often.
#34 - C altered lick
What’s in this lick?
How about a spicy lick?
Using the C altered scale to highlight all of the tension notes before resolving to the 5th of Fm7 is a great lick to get under the fingers.
What chord is this lick based on?
C7alt - Fm7
What scales are here?
C altered is used over C7
Extra notes
Can you sing the altered scale while playing the C7 chord beneath?
One of the best jazz guitar lessons you can learn is to teach your ears to remember scales and licks you’ve played so you can use them over other progressions.
Why not try to include a C augmented triad over the C7alt chord for maximum tension
#35 - bVI substitution lick
What’s in this lick?
Your first minor II-V chord substitution? This is a proud day!
- Swapping out the II chord for a bVI7 is a nice way of building ‘side-stepping’ tension before falling onto the true V dominant chord.
- The II chord is often swapped for something with a little more grit.
- The bVI7 is a great choice if you want to mix it up with some chromatic movement.
What chord is this lick based on?
bVI - V7 - I in Cm
Ab7 - G7 - Cm7
What scales are here?
- Cm7b5 arpeggio over the Ab7 to highlight Ab9
- Chromatic enclosure and G altered scale over G7
Extra notes
The bVI chord is a borrowed chord from the melodic minor scale.
In the case of Ab7, this is the IV chord from the Eb melodic minor scale.
Jazz blues guitar Licks
If you need a relaxing break after those minor II-V-I licks, we’ve got you covered.
Jazz blues guitar licks are some of the most useful and applicable sounds that you can learn.
The joy of jazz blues chord progressions is that they include a dominant chord on the I, IV, and V chords.
This means you can copy and paste I chord licks over the IV and V and they’ll be just as effective.
Ready to put those pentatonic lines to some use?
#36 - E minor pentatonic lick
What’s in this lick?
Let’s kick things off with a more modern blues lick in the key of G.
Remember the relative minor and major principle?
This is also true for using minor pentatonics over major chords.
- When playing over G7, E minor pentatonic can be used as the relative minor.
- E minor pentatonic is used over the full progression to create tension, but to simplify the melodic material being used.
What chord is this lick based on?
Although this progression highlights a V-I in Em and a II-V in G7, this lick treats it as one big E minor chord.
What scales are here?
E minor pentatonic scale is being used over all chords.
Extra notes
E minor pentatonic does a great job of highlighting extension notes in the B7, Dm7, and G7.
But the idea is not to highlight specific notes, and more to sound out a blanket minor pentatonic sound over the whole progression.
#37 - F jazz blues double stop lick
What’s in this lick?
Double stops are when two notes are paired together to harmonize a melody note.
This lick mixes the F minor pentatonic scale with double stops built using the minor 3rd and 5th of the chord.
What chord is this lick based on?
This blues lick can be used over Fm7 or F7 in the context of the blues.
What scales are here?
F minor pentatonic scale
Extra notes
The charm of blues lines is that they can be used over minor and major chords.
The clash of minor 3rds over major chords and vice versa creates the harmonic character of the blues.
#38 - Short F jazz blues lick
What’s in this lick?
Here’s a short lick that can be planted in most places.
This line uses a mixture of the F minor pentatonic scale and some chromatic movement quickly onto the b5th to create tension.
What chord is this lick based on?
This blues lick can be used over Fm7 or F7 in the context of the blues.
What scales are here?
This lick was written using the F Blues scale.
The F blues scale is the F minor pentatonic scale with a b5th:
Root - min 3rd - 4th - b5th - 5th - b7th
F - Ab - Bb - B - C - EbExtra notes
- The blues scale features the b5th, sometimes named the blue note which you can lean on to add tension.
- T blue note is a common sound heard in jazz blues soloing, but you’ll also notice it appearing in ballads and bebop tunes.
#39 - The tasty F lick
What’s in this lick?
Lots of slip and slides can add character to your blues lines.
Players such as Wes Montgomery and George Benson, combined the minor pentatonic with slides in and out of melodic phrases.
This approach can help smoothen the attack and add a certain slickness to the phrase.
What chord is this lick based on?
This blues lick can be used over Fm7 or F7 in any blues context.
What scales are here?
This lick was written using the F Blues scale.
The F blues scale is the F minor pentatonic scale with a b5th:
Root - min 3rd - 4th - b5th - 5th - b7th
F - Ab - Bb - B - C - Eb
Extra notes
Jazz guitar tabs might not provide enough info to master extended techniques lie this one.
Use your ears to figure out where the slips and slides are
#40 - The rinse and repeat lick
What’s in this lick?
Sometimes a lick is so good, you have to play it twice.
The repeated phrase has a slight alteration to fit the I7 and IV7 chords.
- This lick shows how you can apply a major pentatonic idea and suddenly switch to the parallel minor pentatonic to highlight the IV chord.
What chord is this lick based on?
The underlying harmony is:
Bb7 - Eb7 - Bb7
I - IV - I
What scales are here?
The main concept behind this lick is that Bb minor pentatonic can be used over Eb7 because the minor 3rd of Bb (in this case, Db), is the b7th of Eb7.
- Bb major pentatonic over Bb7
- Bb minor pentatonic over Eb7
#41 - Implying I - V7b9 - I over Cm6
What’s in this lick?
Back into the world of minor licks.
In this example, over a static Cm6 chord, the lick highlights Cm - G7b9 - Cm.
This is a classic bebop example of creating tension while outlining V-I harmony.
This C minor 6 lick uses:
- C minor triad
- Im - V7b9 - Im
- C melodic minor scale
- Chromatic approach notes
What chord is this lick based on?
A static C minor 6 chord.
What scales are here?
The C melodic minor scale is used in bar 1.
G Phrygian dominant is highlighted briefly in bar 2 to create a V7b9.
Finally resolving back to C melodic minor and highlighting the notes of the triad using chromatic approach notes.
Extra notes
- The I -V7b9 - I trick is sometimes used by bebop musicians to pack more harmonic information over a single chord.
- Lots of bebop guitarists have used this line over static chords to convey more harmonic movement in their melodies.
- Charlie Christian is a great example of a pre-bop player who pioneered this technique in his lines.
#42 - Bb7 blues turnaround lick
What’s in this lick?
Turnarounds..every now and then they pop up.
The final chord progression before leading back to the top of the song form is called a turnaround.
The blues and most jazz standards use turnaround licks to communicate with the rest of the band that the chorus is ending.
What chord is this lick based on?
Turnarounds use a strict formula of I - VI7 - II - V7.
These chords are usually packed into two bars.
What scales are here?
Dm7b5 arpeggio over Bb7
G phrygian dominant over G7
C minor 7 arpeggio over Cm7
Extra notes
Rhythm changes jazz guitar licks essentially highlight the turnaround progression every two bars.
This is what makes a rhythm changes progression challenging to solo over.
#43 - F7 blues turnaround lick
What’s in this lick?
Another turnaround lick in an F blues.
It’s quite common to see the I - VI - II and V chords all made into dominant chords for extra harmonic tension.
What chord is this lick based on?
I - VI - II - V in F
What scales are here?
F bebop dominant scale passes through F7
G melodic minor scale through both D7 and Gm7
C7 arpeggio over C7
Extra notes
Having a collection of turnaround licks is a great thing to have – and it’ll come in handy for most jazz standards that you learn.
Miscellaneous Licks
Now that you’ve completed the main portion of the major and minor licks, we’ve got some extra special, bonus licks for you to enjoy.
These upcoming licks feature different techniques and player-specific phrases that will help you get into the minds of the masters.
Want more?
Why not check out even more of our jazz guitar riff on YouTube with Arianna Powell?
#44 - The pedal point lick
What’s in this lick?
George Benson is one of the masters of jazz guitar for a reason.
This lick shows off one of his innovative playing examples of using an upper pedal note to build tension before flowing down a smooth, bluesy line to end the phrase.
What chord is this lick based on?
This lick can be used over a Bb7 chord.
What scales are here?
This lick uses the Bb blues scale.
Extra notes
#45 - Benson’s chromatic fantasy
What’s in this lick?
We’ve got another burning Benson lick lined up for you.
Listen out for the chromaticism encircling a G minor triad.
It passes through the 5th, b5th, 4th, and major 3rd to land on the minor 3rd.
Jumping back up to the b7th creates a huge range jump before falling down the G minor 7 triad.
What chord is this lick based on?
Gm7
What scales are here?
A mixture of G Dorian is used with some additional chromaticism to ease the transition into the minor triad.
Extra notes
- Benson’s slick licks often mix chromaticism with major, minor, and dominant 7th chords.
- The most important thing to do is choose a landing note – benson ends this lick by sliding onto the 13th of Gm.
- Mixing heavily chromatic licks like this with bluesy, pentatonic vocabulary is perfect for creating a bebop blues style of playing.
#46 - Wes Montgomery’s octave technique
What’s in this lick?
Doubling up melodies using octaves is a classic technique Wes used throughout his career.
- Octaves help to thicken the texture of a single note melody.
- Octaves lend themselves to chromatic approach tones mixed with slides for smoother transitions. Notice the pick up note just before bar 1.
What chord is this lick based on?
II-V-I in D major
Em7 - A7 - Dmaj7
What scales are here?
E Dorian over Em7
A Altered over A7
D major over Major 7
Extra notes
When playing octave licks, swapping the pick for the thumb completes the full Wes Montgomery vision of how to play octaves.
#47 - Octaves with 6ths
What’s in this lick?
Once you’ve got the octave technique down, adding a 6th in between increases the richness of harmony in your single lines.
- This technique requires good visualization skills of the D dorian scale on the fretboard and how to move across the scale on one string.
What chord is this lick based on?
Dm7
What scales are here?
D Dorian scale.
Extra notes
The most technical part of this lick is how you strum the chords.
Like octaves, I recommend going full Wes by dropping the pick and using the thumb to strum each chord.
#48 - The Parker line
What’s in this lick?
Charlie Parker and Sonny Stitt are two of the most innovative saxophonists of the Bebop era.
- This line mixes chromaticism, arpeggios, chromatic approaches, and sequences together to form a classic bebop line.
- It’s inspired by one of the most popular jazz licks of all time – the Charlie Parker Just Friends solo break at the beginning of the song
- Superimposed arpeggios highlight the chords extension notes.
What chord is this lick based on?
C major 7
What scales are here?
This lick is centered around the C major scale and its related arpeggios
Minorization takes place in the opening line when an Em7 arpeggio is used to highlight the 3rd, 5th, 7th, and 9th of the C major 7 chord.
‘Sidestepping’ approach notes are mixed with the C major pentatonic/C major scale in bar 3.
Extra notes
- The trick to nailing this lick is to make it swing.
- All the greatest jazz guitarists have studied, and have been influenced by Charlie Parker’s concepts.
- Check out some of Charlie Parker, Dizzy Gillespie, and Sonny Stitt’s music to gain a deeper insight into the time feel behind their solos.
#49 - Dm7 full range lick
What’s in this lick?
This two-octave Dm7 lick uses notes from the D Dorian scale to create a more interesting pattern outlining the chord while touching on other extension notes.
What chord is this lick based on?
Dm7
What scales are here?
D Dorian
Extra notes
It’s good to be aware of the extension notes around your Dm7 arpeggio.
#50 - ‘Pass’-ing through the chords
What’s in this lick?
This lick is heavily inspired by master chord technician, Joe Pass.
Pass was known for his remarkable ability to improvise chord melodies that moved through entire II-V chord progressions without pause.
Similar to the playing style of piano great, Art Tatum.
What chord is this lick based on?
II - V - I in C major
Dm7 - G7 - Cmaj7
What scales are here?
D Dorian over Dm7
G Altered over G7
C Major scale over C major 7
Extra notes
Lots of the chords that you see in this lick are 4th string inversions of the basic Dm7, G7, and C major 7 chords.
#51 - A second Pass
What’s in this lick?
Here’s another great Joe Pass inspired line that uses his signature 16th note pull off technique to create a fast chromatic flurry when descending down scales.
Pay attention to:
- Triads hidden inside chromatic enclosures
- Bb7 altered/B melodic minor line over Bb7
What chord is this lick based on?
II - V - I in Eb major
Fm7 - Bb7 - Eb maj7
What scales are here?
F Dorian over Fm7
Bb Altered over Bb7
Eb Major scale over Eb major 7
Extra notes
I’d recommend practicing this lick at a slow tempo to capture all the nuances in the line.
#52 - Double taking on double stops
What’s in this lick?
Remember the double stop line from lick #38?
This Benson line returns to the double stop technique but with a double stop paired with a double bend a minor 3rd up.
The second double stop highlights the b5th from the blues scale for extra tension over the blues chord progression.
What chord is this lick based on?
D7
What scales are here?
D major and minor pentatonic are mixed together over the D7.
D blues scale for b5th tension during the second double stop bend.
Extra notes
Mixing the minor and major 3rd together is a common approach in blues soloing.
#53 - Super turnaround lickin' Cm
What’s in this lick?
Our final lick pulls out all the stops, think you can handle it?
This double minor turnaround lick squeezes 2 turnaround progressions into (8 chords) into 7 bars!
Pay attention to:
- Chromaticism used over the G7 altered chord to create maximum tension.
- Am7b5 is the natural VI chord from C Dorian
- Ab7 is the bVI7 used in place of the IIm7b5
The bVI7 is sometimes labeled as the tritone substitution because it is a b5th interval away from the regular II chord that you’d expect to see there.
What chord is this lick based on?
I - VIm7b5 - bVI7 - V7 in C minor
Cm7 - Am7b5 - Ab7 - G7
What scales are here?
C Dorian over Cm7
A Locrian over Am7b5
Ab Mixolydian over Ab7
G Altered over G7
Extra notes
- A harmonically dense progression like this requires you to know the turnaround progression inside out.
- Don’t worry if you find this last one challenging.
- My advice is to practice the turnaround super slowly until you hear where each of the arpeggios naturally falls.
FAQs
What riffs should I practice for jazz guitar?
One of the greatest practices for developing a more lyrical sense of melody in your solos is to transcribe the melody of jazz standards by ear.
Learning how to play the bass part of a jazz song can be incredibly beneficial for helping you hear a chord progression.
Jazz bass riffs often highlight the root notes for a chord progression making it much easier to know what’s going on with the chords above.
What licks should I try for jazz soloing?
I recommend starting with the some basic licks over a C major 7 chord before moving on to major II-V-I licks in C.
Knowing how to solo over a single chord will give you a great basis for understanding how to solo over full chord progressions.
How do I train my ears to hear licks?
Much like learning a language, it’s crucial that you listen to the music as often as possible to become fluent.
- Singing each line helps you internalize a lick as a useable phrase.
- You can then use these phrases in other progressions.
- Taking single licks into all 12 keys is the best medicine for making it stick.
Need something to listen to?
We have a huge Jazz Learning Pathway playlist for you to check out.
Practice these licks over backing tracks to help your ears lock into chord progressions in real time.
Wrapping Up
I hope you’ve thoroughly enjoyed these 53 burning licks.
Each lick has given you an insight into using arpeggios, scales, triads, and chromaticism to craft beautiful jazz guitar licks over many different kinds of chord progression.
Some folks are afraid that only learning licks makes them a ‘lick player’ rather than a improviser.
It’s not true.
Learning licks, transcribing, and listening to the masters is one of the best ways to build your jazz guitar learning and gives you a window into their way of thinking.
In turn, learning licks will inevitably inspire you to improvise your own lines.
My final tip:
Once you’ve got a couple of these licks under your belt – start to learn jazz standards so you can use them in context.
The Great American Songbook is the collection of songs that jazz musicians go to for learning jazz songs to take to the jam.
Our Jazz Learning Pathway takes this concept even further and shows you how to combine these luxurious licks over jazz standards and popular chord progressions.
Author: Jack Handyside
Jack Handyside is a professional jazz guitarist, composer, and teacher from the UK with extensive experience in performance and education. A long-time member of the Pickup Music team, Jack serves as a course writer and feedback instructor, providing 1:1 video feedback to Pickup members.
He's also a seasoned private guitar instructor with an international student base and a strong social media presence. Jack's dedication to both performance and education has made him a respected voice in the jazz guitar community.
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Sam Blakelock
Sam Blakelock is a guitarist, educator, and the founder of Pickup Music. He's an expert at helping guitarists of all levels tackle fundamental techniques and complex topics in a straightforward & practical way.
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