Hey, guys, this is Marc back here again with you from Jazz Guitar Lessons. In this podcast, I want to show you the relevance of looking at very basic known progressions. I’ll talk about the reasons and pitfalls of learning licks, and why I personally don't like to teach licks per se. We’ll address this throughout the episode because, in essence, we often learn snippets of things, building only a part of the house when we could be building the whole house.
Welcome to Jazz Guitar Lessons, where we help guitarists learn jazz faster, express themselves more fluently, and have fun along the way. My name is Marc, and if you're looking to learn jazz, form better practice habits, and especially if you enjoy a French accent, make sure to subscribe.
On the relevance of looking into larger progressions and learning songs: Whether you want to play jazz, bebop, fusion, or just want to get better overall, one of the main ways to improve in music is to practice chord progressions. For instance, a primordial example is the 12-bar blues. We play it as a common entry point—most of us have probably played it at some point. As jazz players, we use this concept of a "conveyor belt" with chord progressions like the 12-bar blues, which has a defined form with specific chord changes.
This approach is actually step two in my entire teaching pedagogy, which you can find at jazzguitarlessons.net/process. It’s a long document explaining how we help people, from beginners or those who feel overwhelmed by jazz, progress to a high level in comping, chord melody, and improvisation. You can look at it for free, and you can also explore the Jazz Guitar Fellowship, where I teach and discuss this approach in depth.
The concept of the conveyor belt is deeper than people often realize. Imagine this scenario: someone learns snippets of techniques, like a Bon Jovi riff or a Pat Benatar lick. In these cases, you learn a riff that lasts a few seconds, you memorize it, and you’re set. In jazz, we simplify and deepen things by learning a form—say, the 12-bar blues—and ensuring that the “conveyor belt” of this form is so solid that we can accompany someone, create chord melodies, and improvise over it seamlessly.
One of the main issues players face is getting lost when improvising. You’re playing your B-flat blues, everything is fine, and suddenly—whoops—you lose your place. That’s why practicing with chord progressions is essential. Instead of focusing on learning tons of licks, we should focus on learning the form, the harmonies, and the context.
So, while learning a Bon Jovi or Pat Benatar riff is one thing, trying to replicate that approach with jazz by learning snippets doesn’t work as well. Instead, I recommend practicing with a form or chord progression, even if it’s just two alternating chords. Keeping your place in that form, counting out loud, and knowing the progression are key to becoming a better jazz player.
And that’s the core message of this podcast: prioritize songs before licks. You could learn a bunch of licks for minor chords or altered dominants, but increasing your "encyclopedia of licks" won’t improve your playing as much as mastering the form and the chord progression.
For example, with a basic 12-bar blues, there are countless variations. You might focus on bar four one week, or explore substitutions in bars seven and eight. How did Wes Montgomery play on “West Coast Blues”? These are all variations of the same 12-bar blues form, and the deeper you go, the better you understand and perform.
If you’re enjoying this episode and interested in taking your jazz guitar playing to the next level, please reach out. We’ve helped thousands of guitarists improve their improvisation skills on standards. Check the link in the description or visit jazzguitarlessons.net to start today.
The key takeaway here is that licks and repertoire are part of your vocabulary, but ensuring you can perform on these progressions is critical. There’s a reason we have standards—not because nothing new has been written since the 1930s, but because these forms are foundational. Tunes like “Sweet Georgia Brown” and “Cherokee” serve as essential training grounds for jazz players.
Knowing these forms and their common variations helps you be prepared for any setting, whether it’s bebop, fusion, or even pop. This knowledge makes you a better player, allowing you to build on your past experience and understanding.
When I was younger, I sometimes wondered, “Do we really have to play standards like ‘Satin Doll’?” But it’s similar to how a classical musician learns Mozart. Standards are part of our tradition, our jazz "laboratory," and essential for building repertoire.
Thank you for listening and watching. If you’re on YouTube or a podcast platform, please leave a comment. Let me know if you enjoyed this, or if there are other questions you’d like me to tackle. Visit jazzguitarlessons.net for more content, including songs, tunes, licks, and chords. You can also check out the free Fellowship, where I offer more training and hang out with thousands of students.
All right, I’ll see you there!
