
Guitarists can learn a lot by dissecting the art of articulation of the horn-playing masters.
Advanced
Intermediate
• Develop a more fluid jazz time-feel by using hammer-ons and pull-offs.
• Create elegant jazz lead lines.
• Understand how to navigate bebop harmonic passages.
Few figures in jazz history loom as large as Charlie Parker. His pioneering work in the 1940s remains a cornerstone of modern small-ensemble jazz and his playing still sounds fresh today. Parker’s legendary practice regimen combined with his brilliant artistic vision yielded a uniquely personal and virtuosic style. It’s a high bar, but let’s learn some Parker-style jazz language and see how well his style adapts to the fretboard.
We can experience some Charlie Parker greatness by checking out these clips.
Charlie Parker - Now's The Time
Where else to start but the blues? This is Parker’s classic blues tune “Now’s the Time,” which has become essential material for any budding jazzer. His economy of melody has become so codified that the intro to his solo has become a cliché on its own.
Anthropology
There are very few things as exciting as hearing an absolute master tear through a “rhythm changes” tune. Here we have “Anthropology,” which is a medium-up bebop standard. Just listen to how Parker weaves through the cycle of dominant chords on the bridge.
Charlie Parker - All the things you are
Naturally, Parker was also a master of interpreting classic jazz standards. Rhythmically, the melody to “All the Things You Are” is rather vanilla. Check out how Parker embellishes the melody without losing the through line.
Since Charlie Parker began with the blues let’s start there. There’s a certain irony that bebop guitar players aren’t the bendiest bunch—we often favor slides over bends—but Charlie Parker would frequently bend notes. By changing his embouchure, Parker was able to imbue deep blue inflections in his lines. Ex. 1 is a Bb blues lick that has a few Db to D bends. Unlike typical guitar-based blues playing, these bent notes tend to come from very close to the target note—in other words, you can start with a tiny bit of a pre-bend. Parker would use licks like this in conventional 12-bar settings, but he would also use them in rhythm changes or even standards.
Ex. 1
The lick in Ex. 2 is really bluesy and demonstrates a more down-home, Kansas City style. A reverence for blues roots is often present in Parker’s bebop style, especially in his moderate tempo blues tunes. As before, be careful not to overdo the bends—start with a tiny prebend so that you’re close to the goal note. If you’re playing a jazz box with some thick strings, sliding instead of bending is effective as well.
Ex. 2
Slurs are integral to creating a convincing Charlie Parker style, on any instrument. We might not be able to capture all of his details (saxophone vs. guitar), but it’s crucial to make the effort. Listen to his original records to notice how he uses legato techniques. This is especially important if you’re playing his compositions in your repertoire—and aren’t we all? It can take some time, but careful study of the music will help you mark up your transcriptions and lead sheets. There is a tendency to slur notes in pairs. Typically, the upbeat is connected to the subsequent downbeat, but Parker isn’t as committed to this approach as later players, such as John Coltrane.
Ex. 3 is a quick little lick over Gm7 where I keep almost entirely within the G Dorian (G–A–Bb–C–D–E–F) scale. Keep an eye on the reverse sweep at the end of the second measure and maintain that rhythmic pulse going through the legato bit at the end.
Ex. 3
Here’s a typical bebop lick over a IIm7–V7–I in G major (Ex. 4) that incorporates slides and hammer-ons to match Parker’s articulations. We also get to learn some bebop melodic devices here, such as the chromatic embellishment around the note D in the second measure. It’s crucial to get a working knowledge of these non-harmonic tones to establish a convincing bebop vocabulary. Merely applying a chord/scale approach doesn’t cut it here. Follow the notated fingering, as it’s designed to enable a phrasing that matches Parker’s. It might be challenging at first, but the musicality wins out in the end.
Ex. 4
Here’s another IIm7–V7–I in G, similar to the previous line, musically speaking, but fingered in a different way (Ex. 5). The third measure has a bebop rhythmic cliché: an otherwise all-eighth-note line but with a triplet on beat two. This rhythm is super common in Parker’s improvisations and in his original tunes. Invariably, slurs and economy picking are employed to make these triplets work well on guitar. If you are a staunch alternate picker, licks with fingerings like this one will give you a more horn-like sound.
Ex. 5
How about something fast and flashy? Ex. 6 works over Gm7 or C7. Parker played versions of this figure often, so it’s clearly something that he practiced a lot and loved to use as double-time virtuosic line. I should mention, it’s never the same in Parker’s hands. He’ll apply little variations and tweaks, which you can hear as he as he plays this in variety of songs from blues to standards. I’ve incorporated a sweep and single-string legato playing to make it work on guitar.
Ex. 6
Parker’s blues playing was deep and varied. He was equally comfortable on simpler versions of the 12-bar form as well as a variety of more sophisticated versions that he developed as a bebop innovator. (Compare the chord changes on his compositions such as “Now’s the Time” or “Cool Blues” to tunes such as “Au Privave” or “Blues for Alice.”) Ex. 7 shows how even if the rhythm section is playing a basic blues with four measures of the I chord (or a “quick IV” variant) he could play a line that was more harmonically adventurous.
In this case, we hear a melodic idea that implies its own substitute chord changes: a back-cycling idea that would lead to the IV chord in bar 5 (not shown). It’s as if the changes are C7 | Bm7b5 E7 | Am7 D7 | Gm7 C7 rather than four measures of C7.
Ex. 7
The line in Ex. 8 is the final phrase of a C blues (measures 9–12 of the form), in which we hear the typical IIm7-V7 idea followed by a I–VI–II–V turnaround. This is a classic phrasing that highlights upbeat notes, which are picked, sliding into the downbeat notes. There’s a two-fold benefit: easier picking and matching Parker’s phrasing. The turnaround uses chromatically descending arpeggios. Notice the use of an Ebm7 arpeggio on the A7 chord. We can hear this as a loose interpretation of a tritone sub or merely an easy way to get some dissonant upper extension to the chord (including the b5, 13, and b9). The Dm7 gets a purely diatonic treatment while the G7 chord gets a true tritone substitution via the Db arpeggio.
Ex. 8
Ex. 9 works over the beginning of rhythm changes. (“Rhythm Changes” is the name given to any of numerous songs that use the fundamental chord changes from George Gershwin’s “I Got Rhythm.” Parker and the beboppers wrote dozens of new melodies and embellished chord changes.) Again, fingerings are not going to seem so intuitive, but the musical expression is worth the effort. This example begins with a diatonic approach in the first measure, but gets more chromatic in the next with the C# over the F7 chord and the smooth chromatic passing tone (Gb) at the end of the measure. There’s a typical descending line in measure 3. You can think of it as implying G7b9 (it does) or as a movement down the C harmonic minor scale.
Ex. 9
Here’s a really long line (Ex. 10) that’s played over the bridge section of rhythm changes. The progression is a sequential cycle of dominant chords. Each chord is the V of the subsequent chord (D7 is V of G, G7 is V of C, and so on.) The D7 idea is mostly diatonic, but there is a b9 in the triplet figure. The G7 also begins diatonically but has a stylistic b9 #9 b9 figure (bar 4) and some chromatic passing tones. This hints at some of the knowledge required for convincing bebop playing: Basic chords and arpeggios must be mastered in order to apply chromaticism and non-harmonic tones.
Ex. 10
The C7 section is interesting because of the note B. This note isn’t a typical choice by beginning players over a C7 chord, but Parker would use it often, but quite judiciously—either as a neighbor tone to the tonic (measure 5) or as a passing tone (bar 6). The use in measure 6 is particularly important. Music theorists after Parker would describe this as the “bebop dominant scale,” which is a form of the Mixolydian mode. In the key of C, instead of the usual seven notes, a B natural is added. This B natural is played as a passing tone on an upbeat so that the tonic (C) and b7 (Bb) can appear as downbeat notes, exactly as done here.
While Parker’s vocabulary doesn’t lay as easily on the fretboard as a Led Zep riff or a Clapton solo, it does offer a glimpse into the mind of a harmonic master. Parker could logically dissect jazz harmony and improvise some of the most engaging and beautiful melodies every created. Even if jazz isn’t your bag, learning a few of these licks will undoubtedly open your eyes, ears, and fingers.
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Wampler Pedals releases the Brent Mason signature ReWired pedal.
Brent Mason’s career as a session guitarist spans over five decades, making him one of the most recorded musicians in history. His unparalleled talent has graced more than 1,000 albums, playing with and contributing to chart-topping hits from icons like Alan Jackson, Brooks & Dunn, Vince Gill, George Jones, Dolly Parton, Blake Shelton, Shania Twain, and many others. A Grammy winner and Musicians Hall of Fame inductee, Brent has also earned twelve Guitarist of the Year awards from the Academy of Country Music, two CMA® Musician of the Year titles, and was named one of the top ten session guitarists ever by Guitar World magazine.
Brian Wampler’s journey with Brent Mason began way back around 2004, when he’d make weekend trips to Nashville just to watch Brent play. Inspired by Brent’s incredible talent and effortless touch, Brian set out to craft a signature pedal that would become the cornerstone of Brent’s sound. The Overdrive channel perfectly captures Brent’s iconic rhythm tones, offering everything from crystal-clear light dirt to a punchy, muscular Overdrive. The Distortion channel screams with rich harmonics, making it ideal for solos - whether used on its own or stacked with the Overdrive for maximum impact.
An Iconic Tone, Reimagined
With two fully independent circuits, the ReWired gives you access to both classic Overdrive and powerful Distortion channels that have been tweaked to Brent’s exact specs. The Overdrive side is perfect for rhythm and Chicken Pickin’ - built for warmth and maximum clarity, staying true to Brent's iconic sound. The Distortion channel is a perfect lead tone and offers a weighty “British” Plexi-like punch. The ReWired also features an order switch that allows the stacking direction to be changed on-the-fly without the hassle of changing cables.
Dual inputs and Outputs
The ReWired can be connected with a single mono input and output cable, just like a regular guitar pedal, or you can connect each channel independently (very useful when used with a loop switcher!). You can even connect a pedal in between both channels - try adding a compressor or an EQ if you want to sculpt your tone further.
Fat Blends
The ReWired incorporates our unique “Fat” circuit control onto each channel as separate knobs. This allows you to dial in just the right amount of low end thump and presence into your rig - helping tame big speaker cabs or enhance smaller ones. The Overdrive channel also has Brent’s signature blend control, allowing you to tune the amount of drive to your liking.
ReWired - for ALL players
This is not a guitar pedal to be bought and put in a case and admired - but with its exclusive new Prime Silver finish (a nod to Brent’s infamous ‘67 Telecaster) and custom graphics we wouldn’t blame you if you did. The Wampler ReWired is designed to be at the heart of your rig. It sounds great with every guitar and amp we’ve tried it with and covers so many genres of music with ease. It comes with Wampler’s standard no fuss 5 Year guarantee and is built from the highest grade components to withstand the rigors of practice and gigging for years to come. The Wampler Brent Mason ReWired Signature Overdrive and Distortion - Rewire Your Sound Today Built in the U.S.A. with high-grade components selected for superior sound and response, premium finish and controls Dual Independent Overdrive and Distortion channels Independent Level, Gain, Tone and Fat controls for both channels, Blend Control for Overdrive channel Channel Order switch with two pairs of Input and Output jacks Power draw: 35mA at 9V and 40mA at 18V. 9-18v power jack - DC supply only, do not exceed 18v DC, battery Included Includes Limited 5-Year Warranty Dimensions: 5” x 4.5” x 2.4″ (88.9mm x 114.3mm x 58.0mm)
The Wampler ReWired carries a street price of $279.97. For more information visit https://www.wamplerpedals.com/
The body shape of this 6-string seems surprisingly ergonomic, but that perception changes when you hold its neck!
Originally priced at $25 and tagged for the student market, this guitar built at the Kawai factory sounds surprisingly good, but its neck is a “husky” fit.
Recently, I celebrated a birthday—and let me tell you, after 50 I just feel thankful for a shot at another day. I’m at the point in life where I wake up with injuries, like random bruises or sore joints after a good night of sleep. What the heck! As part of being over 50, I find it necessary to keep up on my vaccinations and health things, and in my recent travels, I was surprised to learn that so many people have a birthday around the same time as me. It started with various phlebotomists, doctors, and nurses. Then it continued with people at work and social media messages. I never really thought about it before, but I did some research and, in fact, more babies are born in September than in any other month! My birthday is October 6, but according to my dear mom, I was two weeks late (as usual).
And so it goes that I pondered this proliferation of Virgos and Libras, and my hypothesis came into focus. Were we all the result of our parents’ Christmas and New Year’s celebrations?! I have to say, there was a camaraderie discovered among my fellow party babies when I presented my findings to them. Now, being born in the early ’70s also had me thinking of the culture of the times. Hippie life was fading as young people started to realize they had to get a job, and alas, long hair and beards were being replaced by staid 9-to-5 gigs that could slowly suck the life out of you. So, given the cultural mores of that era, I thought that this month I should write about the Sorrento Swinger.
“Hippie life was fading as young people started to realize they had to get a job.”
Born around 1967—maybe in September—these Swingers hailed from the “crazy” design period of the Kawai Co. Kawai produced some of the coolest guitar designs from 1967 to ’69, and there were some very creative guitar designers there on the job. Kawai had poached some of the finest employees from the wreckage of the Shinko Gakki factory (Pleasant, Intermark, etc.) and through the purchase of the Teisco brand. In this era, Kawai usually used three different standard pickups and they all sound great, plus the units are always wired in series, which is just awesome.
For a 25-buck, Japan-made guitar from the ’70s, the Swinger has an elite-looking headstock—and, on this example, most of its tuners.
Now, the Swinger (and similar Kawai-made guitars) came from an era where U.S. importers would order small batches of instruments that were often unique and extremely gonzo. The guitars might have been destined for medium-sized music stores or direct-order catalogs, but whatever the case, the importer usually gave the guitars names. In this instance, it was Jack Westheimer who featured this model as an “exclusive” design. In Westheimer Corporation catalogs from the time, the Swinger carried the A-2T model name (there was another one-pickup model called the A-1) and sold wholesale for $25 in 1967! As the catalog mentioned, these were “priced for the teenaged trade.” This particular guitar featured the Sorrento badge, and was sold through some sort of music store that’s probably long out of business, but all the Swingers were the same.
The Swinger’s large mahogany neck (sans truss rod) is robust and beefy in all the nicest ways. Like, when I was a kid, I was considered a “husky” fit. That’s this neck: husky! The striped pickguard is a Teisco holdover and the controls are as simple as it gets. Two knobs (volume, tone) and two pickup selectors is all there is, but the beauty is in the body. That lower bout is shaped like some sort of 1969 lounge chair. The strap pin is totally in the wrong place, but the big bottom swoop is worth it. Yep, the Swinger was ready to bring in the dawn of the 1970s, but alas, the guitar came and went in a blink.
Hand-built in the USA, this pedal features original potentiometer values, True Bypass, and three unique modes for versatile distortion options. Commemorative extras included.
This limited-edition pedal is limited to a 1,974-piece run to commemorate the year of DOD’s start, 1974. The original OD250 put DOD on the map as “America’s Pedal” and continues to be an industry favorite today. Each pedal will have a serial-numbered Certificate of Authenticity, a commemorative laser-etched pedal topper, several commemorative guitar picks, and multiple commemorative stickers.
Hand-built in the USA, the DOD OD250 – 50th Anniversary Edition pedal boasts Gain and Level controls using the original potentiometer values and tapers giving the control knob the feel and range that DOD enthusiasts love. A three-position toggle switch features the OD250’s classic “SILICON” mode replicating that original sound. The “Ge/ASYM” mode uses a vintage Germanium diode for asymmetrical even-harmonic distortion. “LIFT” mode cuts the diode clipping from the signal path allowing for a clean boost or even a dirty boost when the vintage LM741 op-amp is clipped at higher gain settings. The DOD 250 also features True Bypass to maintain the integrity of your guitar tone.
This limited edition OD250 is outfitted in a stunning metal flake gray finish with classic yellow screenprint in a callback to the original OD250 of the 1970s. An etched aluminum badge on each unit commemorates this occasion. The DOD OD 250 – 50th Anniversary is ready to take its place among the historic DOD pedal lineup.
When John Johnson and “Mr. DOD” himself, David O. DiFrancesco set out to make DOD Electronics in Salt Lake City, Utah 50 years ago, they had no idea how enduring their legacy would be. Now 50 years later, DOD Electronics continues to be at the forefront of pedal technology. The DOD OD 250 – 50th Anniversary Pedal is an exceptional testament to DOD Electronics’ long–standing success.
Retail Price: $250.00
For more information, please visit digitech.com.
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