全套萨克斯伴奏+示范+曲谱（200本），300元全部打包，不断更新至2020年，店长QQ:2335443114(萨克大亨)

Hip Licks for Saxophone

Volume 1

by Greg Fishman

Published by Greg Fishman Jazz Studios

Evanston, Illinois 60202
全套萨克斯伴奏+示范+曲谱（200本），300元全部打包，不断更新至2020年，店长QQ:2335443114(萨克大亨)

ISBN: 978-0-9843492-4-1

©2011 Greg Fishman

All rights reserved. International copyright secured. No part of this book or CD set
may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying or recording, or by any information storage
and retrieval system, without permission in writing from the publisher. Violation of
copyright is subject to all applicable laws.

Published by Greg Fishman Jazz Studios

824 Custer Avenue, Evanston, Illinois 60202
www.gregfishmanjazzstudios.com
全套萨克斯伴奏+示范+曲谱（200本），300元全部打包，不断更新至2020年，店长QQ:2335443114(萨克大亨)

Hip Licks for Saxophone

Volume 1

Table of Contents

Preface.……………………………………………………………….... 4
Credits………………………………………………………………….. 5
Suggested Use of This Book and CD Set………………………….. 6
Working with the Licks..………………………………………………. 13

ii mi7 / V7 Licks. ….…………………………………………………… 16

ii mi7 / V7 / I Maj7 Licks (Two Bar Phrases)…….…………………. 17
Major 7th Licks.……..….……..………………………………………. 18
Dominant 7th Licks…..……………………………………………….. 19
Minor 7th Licks…..……..……………………………………………... 20
ii mi7b5 / V7 / i mi Licks (Two Bar Phrases).………………………. 21
Parallel Maj7 to mi7 Licks……………………………………………. 22
Minor Licks…....…….…………………………………………………. 24
ii mi7 / V7 / I Maj7 Licks (Four Bar Phrases)..…...………………… 26
V7b9 Licks…..…...……………………………………………………. 28
Whole Tone Licks..……………………………………………………. 30
Diminished 7th Licks.…………………………………………………. 32
ii mi7b5 / V7b9 / i mi Licks (Four Bar Phrases)……………………. 34
ii mi7 / V7 / I Maj7 Licks (With Moving 7ths)……..…………...……. 36

Detailed Overview of the Licks.. ……………………………………. 39

About the Author………………………………………………………. 40

©2011 Greg Fishman

All rights reserved. International copyright secured.
 PREFACE

This application is designed to help saxophonists develop a high level of fluency in the
jazz language by providing mainstream jazz vocabulary (swing/bop/post-bop) that nails
the changes and lays great on the horn.

Think of Hip Licks for Saxophone as a musical reference application, like a dictionary of
great licks in all twelve keys, available when you need it. You can open the application
to any page and just start playing.

One of the challenges of writing a app like this is to make it useful to a wide variety of
players at all levels, from the aspiring saxophonist to the seasoned professional.

Aspiring players are encouraged to take their time with each lick and go at a
comfortable pace. After all, it’s not just about quickly reading through these licks; it’s
about hearing the musical ideas and the way that they clearly portray the sound of the
underlying chords. This is something that simply cannot be rushed.

Advanced players and professionals can use the application to further enhance their
technical ability on the saxophone. They might also study the licks from a theoretical
perspective, creating their own licks based on the concepts learned from the study of
the material in this application.

An additional benefit of practicing with this application as part of your daily routine is the
development of smooth, clean technique with fluency in all twelve keys. You might also
like to know that the material in this application is part of my personal practice routine,
which I’m happy to share. I hope that Hip Licks for Saxophone, Volume 1 provides you
with many years of enjoyment.

–– Greg Fishman

4
 CREDITS

Written by: Greg Fishman

Published by: Greg Fishman Jazz Studios, Evanston, Illinois
Text Edited by: Judy Roberts & Paul Maslin
Cover photo by: Jos. L. Knaepen
Graphic design by: Bogdan Nastase
Additional design: Russ Paladino
Music engraving: Greg Fishman

Application Developer and Designer: Ignacio Bermeo Juarez, naSh

E-mail: ignacio@tailormade-apps.com

Recorded at Studiomedia, Evanston, Illinois

Engineered, mixed and mastered by Scott Steinman

Greg Fishman – Alto and Tenor Saxophone

Dennis Luxion – Piano
Eric Hochberg – Bass
Phil Gratteau – Drums

Greg Fishman is a D’Addario artist and plays D’Addario reeds exclusively.

Special thanks to: Mark Colby, Mike Weiss, Don Acri, Rodney Laster, Sal Marchetti, David Kromelow,
Andy Schlinder, Dave Polk, Ben Soloman, Jed Paradies, Igancio Bermeo Juarez, Moy Bucay, James Barger,
Dan Forshaw, Ryan Whitehead, Tobias Leon Haecker, Chris Brown, David Krall, Terry Summa, Doug Lloyd,
Gregory Dudzienski, Jason Lowe, Will Kriski, John Temmerman, Vince Salerno, Mike Addelia, Wayne Colyer,
Gary Keller, Gary Campbell, Bob Sheppard, Les Silver, Jennifer Macke, Leopold Brandenburg, Sr., Jimmy Haag,
Gerhard Holst, Roberto Pacheco, Brad Bietry, Paul Haar, Jonathan Kuny, Chip McNeil, John Vana, Paul Maslin at
PM Woodwind Repair, Jerry Coker, Bruce Abbot, Tim Price, Evan Cobb, David Demsey, Ken Dorn, Brian Taylor,
Kristen McKeon and Robert Polan at D’Addario, Perry Conticchio, Alastair Ingram, Jay Mason, Christopher Braig,
Ed Michaels, Monica Shriver, Michael Walk, Claus Hamacher, Dave Gibson, Fred Haas, Andrew Fawcett,
Gigi Collier, Matt Eve, Jamey Aebersold.

5
 SUGGESTED USE OF THIS PLAY-ALONG APPLICATION

THE IDIOMATIC CONCEPT

If you've ever tried playing an alto solo transposed for tenor (or vice-versa), you know
that the transposed version of the piece never seems to “lay right” on the non-native
horn. This is because all of the fingerings of the notes have changed. In addition to the
fingering changes, when a solo is transposed for a different horn, some notes will be out
of the normal range of the saxophone. As a result, portions of phrases have to be
transposed up or down an octave.

My solution for this problem was simple. Rather than have the saxophone player
transpose to accommodate the rhythm section playing in just one key, I decided to have
the rhythm section transpose to accommodate the range of the saxophone, recording
everything in two keys. This enables the saxophonist, whether playing soprano, alto,
tenor or baritone, to read the same written part, and simply play along with the
appropriate track.

PLAY-ALONG TRACKS

This application features two versions of each play-along track. The first version is a
saxophone demonstration track, featuring my saxophone lead, plus the rhythm-section.
The second version of each track features the rhythm-section without the saxophone.

Hip Licks for Saxophone Volume 1 also includes both a slow and fast tempo version of
most licks (with the exception of three sets of licks which are intentionally presented at
just one tempo).

The “Saxophone + Rhythm Section” tracks feature the saxophone playing each lick
twice in a row. You have the option of listening to the lick the first time and playing along
on the repeat, or playing along both times. To really get the sound of the lick in your ear,
you may even want to listen repeatedly to the disc and scat along with the licks, or sing
chord tones or voice-leading lines. This will help you internalize the sounds of the licks
and their relationship to the underlying chords.

Pay close attention to the tone, articulation, accents, etc. There are a lot of interpretive
details on the recording that go beyond the notes on the written page.

This is why it’s crucial when learning the jazz language that you learn by listening, and
not just by reading. It is truly an aural tradition.

Advanced players may enjoy harmonizing some of the licks. For example, all of the
V7b9 licks and diminished 7th licks sound great when played a minor third above or
below the written part.
6
The “Rhythm Section Only” tracks are designed so that you can play the written licks
with the rhythm section, or perhaps try out some of your own ideas, and improvise over
the track. You might also want to play some variations on the written licks, or practice
arpeggiating the chords or playing the corresponding scales for the chord progressions.

You can also play the written lick the first time through, and improvise on the repeat.
These tracks are also great for simply improvising throughout, making up your own
licks, or developing a thematic solo which flows freely through all twelve keys.

The tracks were designed so that in addition to playing the licks in the original keys,
they’ll also work if you decide to transpose each lick into all twelve keys, playing just the
one lick for the entire track. This is a fun way of getting even more from the application.

HOME PAGE, NAVITION MENU & PLAY-ALONG TRACKS

When you launch this application, you’ll see the home page which is divided into a
upper and lower half. The top part of the home page features an icon of the book cover
with a button labeled “read book.” Click on this button to read the book without any play-
along tracks. For your convenience, there’s also a navigation menu that gives you
instant access to all of the different sections of the book. To access this menu, tap on
the icon in the middle at the top of the display. To return to the home page, select “main
menu” in the navigation menu.

The lower half of the home screen features the play-along tracks. Select the licks you’d
like to play by touching the title of the track.

TRANSPORT BUTTONS

There is a blue control strip across the bottom of the screen that contains all of the
playback controls for this application. These are, from left to right: A folder icon, a
saxophone icon, a slow/fast switch, a track time indicator (with slider), a pause button, a
stop button and a drum icon. Each of these buttons is described in detail below.

MENU ICON

The menu icon looks like a file folder. It is located on the far left of the control strip.
Press the menu icon to return to the main menu.

SAXOPHONE & DRUM ICONS

The saxophone and drum icons are used as play buttons in this application. To hear the
play-along track with the saxophone playing on the track, click on the saxophone icon
(located on the left side of the control strip). To hear the play-along track with the rhythm
section only, click on the drum icon (located on the right side of the control strip). You
can switch between the two different versions of the track while the track is playing.
The track will start playing the moment you click on the saxophone or drum icons.

7
SLOW / FAST SWITCH

This application includes both slow and fast versions of most of the licks. If the lick
displays two different tempo markings on the top of the page, you have a choice of
playing along with the slow or fast version. Slide the switch to your desired tempo and
then click on the saxophone or drum icon to start playback of the track.

TRACK TIME INDICATOR WITH SLIDER

For added convenience, a time display is provided. It is located just to the right of the
center of the control strip. This display shows the current location track time on the left
side of the display, and total track time on the right side of the display. For example, if
the display reads: 1.29 / 3.34, it means that you’re one minute and twenty-nine seconds
into the track, which has a total time of three minutes and thirty-four seconds.

The slider is located just to the left of the track time indicator. You can use this switch to
scroll through the playback track. This is useful if you want to rewind of fast-forward
through the track. It is important to note that on tracks with pages turns, if you fast-
forward beyond the first page with the slider, you’ll need to go back to the main menu
and reload the page if you still want the automatic page turn to be active. (You can still
turn the page manually while the track is playing).

PAUSE CONTROLS

The pause button is indicated by two vertical lines (located to the right of the track time
indicator). Press the pause button to stop playback and keep the track in its current
location. To restart the track from the current position, press the saxophone icon or the
drum icon.

STOP CONTROLS

The stop button is indicated by an “X.” Pressing the stop button sends the track back to
the beginning.

AUTOMATED PAGE-TURNS

For your convenience, the display pages will turn automatically with the play-along
tracks, allowing you to keep both hands on the saxophone for each set of licks.

When you reach the end of a page, read ahead just a bit so that you can anticipate the
page turn. The page turns are synchronized to turn at just the right time when playing
with both the sax demonstration track and with the rhythm-section track.

It is also possible to manually turn the page with a swiping motion across the page, from
right-to-left to turn the pages forward, and from left-to-right to turn the pages back.

8
I have set the page turns so that the new page will appear quickly enough that you can
read the new lick and keep up with the play-along track. This means that you may need
to practice memorizing the final measure of the lick on the first page in order to
successfully play through the entire track without stopping. This is a great skill to
develop. It just takes some time and practice to get used to reading ahead.

In some rare cases, the automated page turns may not always work if you’ve flipped
back and forth between pages or scrolled through the track before activating the play-
along track. If the automatic page turn doesn’t work, reset it by simply returning to the
main menu and re-selecting the page.

FLUENCY IN TWELVE KEYS

One of the great challenges facing every aspiring musician is gaining fluency and facility
in all twelve keys. Although it is important to learn to play the same lick or song in all
twelve keys, it is also important to develop a unique, customized and idiomatic
vocabulary in all twelve keys. A key feature of Hip Licks for Saxophone is that each
track takes you through all twelve keys, with a unique lick in each key.

One thing I learned from studying the jazz masters is that they can play with fluency in
all keys. Sometimes they’ll play the same idea in multiple keys. However, in addition to
having the ability to play the same licks in all keys, they also cultivate unique licks or
phrases which are only used in either a particular register of the horn, or in a particular
key. It is a combination of the comfort and ease with which the lick lays under the
fingers, as well as the unique timbre of the notes that leads to the creation of these
idiomatic licks.

This application is designed to help you achieve fluency in all twelve keys with
customized licks that are designed to lay well on the horn. Even the licks written in the
“difficult” keys will lay comfortably on the horn. Using this application as a part of your
daily practice routine will help you develop equal facility and a unique vocabulary in all
twelve keys.

BUILDING YOUR JAZZ VOCABULARY

Hip Licks for Saxophone was designed to help you build a great jazz vocabulary by
getting you acquainted with a mainstream (swing/bop/post-bop) approach to rhythm and
harmony from the idiomatic perspective of the saxophone.

Ultimately, total immersion in the jazz language through repeated listening, transcribing
the masters, and performing with a wide variety of musicians, is still the best way to gain
fluency in the language. Using this application to acquire a working knowledge of jazz
vocabulary is a great start along the path to becoming a mature soloist and fluent
speaker of the jazz language.

9
USING THE LICKS IN YOUR SOLOS

The licks in this application will sound great when played in solos, but they need to be
carefully integrated within the solo in a musical way, so that they relate to the
surrounding musical phrases. The point I’m trying to make is that there’s a lot more to
creating a great solo than simply stringing together a bunch of licks.

A great solo tells a story through the development of musical ideas. In other words, if
you’re going to use these licks in your solos, please keep in mind that musical context
and continuity is of great importance. A solo consisting of nothing but unrelated licks will
not hold up any better than a story made up of unrelated sentences.

Sometimes the hardest part of writing a story is creating an opening sentence. Think of
the licks in this application as a collection of great opening sentences for the many
different musical stories you’ll be telling as you improvise your solos. You can use these
licks as musical conversation starters.

It should be noted that these licks are not intended to serve as your complete
vocabulary. They’re designed to be used as a starting point, training your ears to
recognize the unique sound of each chord type so that you can learn to create your own
vocabulary.

Creating a solo requires a musician to develop musical themes, using sequence and
variation, while clearly conveying the unique sound of the song’s chord progression. A
good soloist also listens to the musicians with whom he’s playing, and interacts with
them musically, leaving room for them to respond to his musical statements. It is really
like a spoken conversation, but with sounds instead of words.

THE MISSING PIECE OF THE PUZZLE

Sometimes you’re soloing great on a tune, when you’re confronted with a change of
key. For example, you’re soloing on a tune in the key of “F” and everything’s going fine,
when abruptly, the bridge goes to the key of “Ab.” Suddenly your level of fluency takes a
hit, and you have to resort to playing off of the unfamiliar scale, or slow down and
disrupt the flow of your eighth-note lines.

This is where Hip Licks for Saxophone can really come in handy. Simply look through
the pages of licks until you find something in the key you need. For example, if you
need a major 7th, dominant 7th, minor 7th, minor 7b5 or diminished 7th lick, you’ll find it
within the pages of this application, already written out in the key you need, and in the
perfect range of the horn.

Of course, no application is going to have every conceivable variation on every single

chord type, but the odds are that you’ll find something in this app that will quickly help
you fill in that tough spot of the solo with something that sounds great and lays
comfortably under your fingers.

10
TEMPOS

As a special feature of Hip Licks for Saxophone, all licks at 192BPM or above have
been recorded at two tempos. There are two reasons for this:

1. The fast tempos may be beyond the technical facility of some players using this
application, making the slower versions valuable from a technical standpoint.

2. Although some players may have enough technical proficiency to play the licks at
the fast tempos, their ears may not yet be ready to process so much harmonic
information at high speeds. The slower tempos give your ears a chance to
comprehend the harmonic and rhythmic content of the licks.

Some players will need to practice the licks slower than the slow-tempo versions on the
recordings. If this is the case, use the application without the play-along tracks, and
practice the licks with a metronome to slowly work them up to speed. Instead of playing
an entire page of licks, focus on one lick at a time.

You should be able to play the lick five times in a row with no mistakes before moving
on to the next lick (or on to a faster tempo of the same lick). This requires a lot of
patience and persistence, but it’s worth the effort. As a result of this diligent approach,
you’ll develop the ability to play with speed and accuracy.

You might be wondering why the slow versions of the licks aren’t even slower than on
the play-along tracks. It’s because of there is a strong connection between tempo and
musical content. Many of the licks in this application were designed specifically for high-
speed playing. Just as a commercial airplane needs to reach a speed between 140 and
180 mph to achieve lift for takeoff, each of these licks were designed to be played within
a certain range of tempos. The fast-tempo versions are toward the upper end of the
range, and the slow-tempo versions are at the bottom of the range. If you were to try to
fly a commercial plane at 20 mph, you wouldn’t be going fast enough to get off the
ground.

This does bring up two different issues. From a musical standpoint, if I were playing at a
tempo of 120BPM, I’d be creating different musical ideas than if I were playing at a
tempo of 240BPM. It would definitely not be the same type of melodies or rhythms at
the two different tempos.

However, from the perspective of practicing a fast lick to work it up to performance

speed, no tempo is too slow for purposes of practice. These are really two separate
issues; one has to do with artistic choices based on the relationship of the musical
content and the tempo, and the other has to do strictly with issues of technical
proficiency.

11
MODULAR DESIGN

A key element of this application’s layout is its modular design. In other words, although
the licks are presented in a specific order, they can also effectively be isolated, played
out of their original order, and even paired with different licks in the app. In most cases,
they’ll still be aesthetically pleasing to the ear. For example, if you wanted to play the
two measure Bmi7 lick from the page called Hip mi7 Licks and follow it up with the two
measure E7 lick from the page called Hip Dominant 7th Licks, they’ll sound good
together. This is an excellent way to create even more licks, mixing and matching them
from different pages of the app. Of course, not every combination will work. It will
require a good sense of musical taste and judgment to determine the musicality of the
newly combined licks.

In addition, this modular design allows many of the licks to be split into two halves. For
example, you can quickly increase the number of major and minor licks by taking all of
the ii mi7 / V7 / I (and ii mi7b5 / V7b9 / i mi) licks, and playing just the last two bars of
the phrase. Again, this won’t necessarily work for every single lick in the application, but
it will work for many of them.

DYNAMICS

There are no specific dynamic markings in this application. However, I recommend that
you first play the licks at forte, and then experiment with a wide variety of dynamics on
all of the licks, from pianissimo through fortissimo.

It should be noted that within each piece and each phrase, there are often what I call
“micro-dynamics.” These are subtle differences between the weighting of notes in a
phrase, and they have a dramatic effect on the phrasing and feel of the piece. In other
words, I might be playing at an overall dynamic level of forte, yet, within the phrase,
some notes are played louder than forte, while others are played softer.

If you listen carefully to the recording, you can hear me making these dynamic choices,
too subtle and numerous to notate, but there for you to hear and study, nonetheless.

ARTICULATION

Crisp, clear articulation in music is the equivalent of the use of good diction in spoken
language. Throughout this application I have included various articulation markings to
convey the basic style of each piece. However, I recommend repeated listenings to the
play-along tracks, which will reveal more subtle nuances of articulation. Keep in mind,
when playing the licks, that the standard articulation for most swing eighth-note style
jazz playing requires that you tongue the upbeats and slur into the downbeats. Once
you’ve mastered this basic approach, you can experiment with more varied types of
articulation.

12
 WORKING WITH THE LICKS

There are a variety of compositional techniques which can be applied to the licks to give you
even more flexibility and variety with all of the material in this book. Below are some examples
of rhythmic displacement, augmentation, diminution, editing, and composite licks.

RHYTHMIC DISPLACEMENT

Rhythmic displacement keeps the entire lick intact, but shifts the starting point. This is a great
way to get more musical mileage from the same lick.

For example, you might use a lick in a solo, which originally starts on the upbeat of beat one during
your first solo chorus, and then repeat the lick in the next chorus, starting it on the upbeat of beat
three.

One word of caution about displacing the licks is that you'll need to be careful that the rhythmic
displacement doesn't cause a conflict with the notes of the lick and chord progressions.

Play through the following examples of rhythmic displacement applied to this major seventh
lick, noticing the different feel of the line, based upon its starting point in the measure.

b
B ÿ
œ œ œ # œ œ œ n œ b œ œ œ b œ -œ .
œ œ Œ
& ‰ J
3

b
Starting on the upbeat of beat one. (Original Lick).

B ÿ
œ œ œ # œ œ œ œ b œ œ œ b œ -œ .
& Œ ‰ Jœ
œ
3

b
Starting on the upbeat of beat two.

B ÿ
œ œ œ # œ œ œ n œ b œ œ œ b œ -œ .
& Ó ‰ œJ œŒ Ó
3

b
Starting on the upbeat of beat three.

B ÿ
œ œ œ # œ œ œ n œ b œ œ œ b œ -œ .
& Ó Œ ‰ Jœ
œ Ó
3
Starting on the upbeat of beat four.
"Hip Major 7th Licks - Lick #27" p.18
13
AUGMENTATION

When used in classical composition, augmentation often doubles, triples or quadruples the
rhythmic value of the notes in a theme or motif. When augmentation is used by an improviser in
the jazz style, there is more flexibility, with the basic idea being to expand the overall length of the lick.
In other words, you can augment the rhythmic value of some notes while keeping other notes at their
original values.

The following is an example of augmentation applied to a one-measure ii mi7 / V7 lick, expanding the
lick from a one-measure lick into to a two measure lick:

CÈ F7
œ b œ -
œ .
bœ œ
&œ Œ
The original lick.

CÈ F7
-œ b œ. œ. b œ >œ œ. >œ
& J Ó
Augmentation applied to the lick.
"Hip ii mi7 / V7 Licks - Lick #1," p. 16

DIMINUTION

Diminution shortens the length of the rhythmic values of a musical idea. It is a great device for
converting a two-measure phrase of eighth-notes into a single measure of sixteenth-notes.
Converting eighth-note lines to sixteenth-note lines is often referred to as playing in "double-time."

Below is an example of diminution applied to a dominant seventh lick:

G7
œ œ œ #œ œ
& Œ œ œ œ œ œ #œ Œ
The original lick.

G7
œ # œ œ œ œ #œ œ ‰
‰ œ
& œ œ œ J
Diminution applied to the lick.

"Hip Dominant 7th Licks - Lick #42," p. 19

14
EDITING

Editing is a great way to create different versions of the same lick. Below are two completely different
approaches to editing the same lick:

EÈ Aï Dÿ
œ
#œ œ œ œ #œ #œ œ nœ #œ œ # œ œ # œ œ œ œ # œ n -œ # œ.
&‰ J œ bœ #œ œ nœ #œ œ #œ œ œ Œ
3
The original lick.

EÈ Aî Dÿ
# œ œ œ #œ œ œ nœ #œ # œ œ # œ œ œ œ -œ .
‰ œ b œ # œ œ œ œ #œ Œ Œ Œ
& J #œ œ nœ #œ œ
3
Edited Version #1.

EÈ Aî Dÿ
# .
œ
-œ
œ- œ. ‰ b >œ . n ^œ # œ >œ œ . # œ œ # >œ ˙.
&Œ #œ œ Œ
J
Edited Version #2.

"Hip ii mi7 / V7 / I Maj7 Licks - Lick #107" p.27

COMPOSITE LICKS

Creating a composite lick takes your editing skills to new heights by challenging you to connect two
unrelated licks, forming a new composite lick. Sometimes it's necessary to create a few extra notes at
the end of the first lick to help it lead smoothly into the second lick.

C7 Fÿ
œ œ bœ
œ # œ œ œ œ œ œ -œ œ. Œ #œ œ œ œ œ œ bœ œ œ
& Œ ‰ J nœ œ œ Œ
The original lick. The original lick.
"Hip Dominant 7th Licks - Lick #37," p. 19 "Hip Major 7th Licks - Lick #32," p. 18

C7 œ Fÿ
œ œ bœ b œ œ œ bœ œ
& Œ œ #œ œ œ œ œ œ œ œ œ nœ œ œ œ
Œ Ó
The composite lick, created by connecting lick #37 to lick #32.
15
 GREG FISHMAN
PLAY 2X
COUNT OFF: 2 BARS (6 CLICKS)

Hip ii mi7 / V7 Licks

Slow Version: Fast Version:
Swing (q = 126) Swing (q = 192)

Lick #1 Lick #2

CÈ
F7 BÈ E7
b œ -
œ . œ #œ
. œ b œ œ œ .. .. # œ œ # -œ .
..
&c . Œ œ Œ

Lick #3 Lick #4
b b
B È -E 7 b œ. AÈ D7
-œ
œ bœ
œ œ œ
œ œ œ.
& .. œ b œ Œ .. .. Œ ..

b b
Lick #5 Lick #6

AÈ D 7 GÈ C7
b œ b œ b œ b œ -œ . œ -œ œ.
& .. bœ Œ .. .. œ b œ œ Œ ..

# b
Lick #7 Lick #8

F È B7 FÈ B 7
#œ œ #œ œ. bœ œ bœ œ bœ
. -
œ #œ .. .. œ- œ. ..
& . Œ Œ
3

Lick #9 Lick #10

b b
EÈ A7 E È A 7
. # -œ œ œ œ
œ # -œ . .. .. œ b œ n œ
bœ œ b -œ b œ. ..
& . œ Œ Œ
3

# #
Lick #11 Lick #12

DÈ G7 C È F 7
œ œ œ œ- œ. .. .. # œ œ - .
& .. œ Œ œ #œ #œ #œ Œ ..
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

16
PLAY 2X
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Swing (q = 114)
Hip ii mi7 / V7 / I Maj7 Licks

b
Lick #13 Lick #14

DÈ G7 Cÿ CÈ F7 Bÿ
œ œ # œj -œ œ # œ œ >œ ˙ œ b œ -œ œ n œ œ > œ n -œ b œ.
c . œœ . . œ bœ œ œ #œ œ œ Œ ..
& . Ó . . ‰
J
3 3

Lick #15 Lick #16

b b b # # #
BÈ E 7 Aÿ GÈ C 7 Fÿ
œ bœ bœ œ œ b >œ b œ >œ œ # œ # >œ œ # œ n >œ œ
b œb œ œ œ b œ œ .. .. ‰ # œj œ # œ # œ œ # œ
& .. ‰ J Œ ..
3
3 3

#
Lick #17 Lick #18

FÈ B7 Eÿ EÈ Aï Dÿ
œ œ #œ nœ # œ œ œœ # œ # œ # œj >œ œ # œ >
J # œ # œ
3

& .
. ‰ # œ œ œ #œ # œ œ Œ .
. .
. ‰ J œ b œ œ œ Œ ..
>
3

# #
Lick #19 Lick #20

CÈ -œ # œ > F 7 Bÿ BÈ E7 Aÿ
#œ œ # #œ œ # œ # >œ œ #œ œ #œ œ #œ œ # >œ œ
. œ J œ œ œ # œ
& .‰J Œ .. .. ‰ #œ Œ ..
3

Lick #21 Lick #22

AÈ D7 Gÿ GÈ C7 >œ Fÿ
œ œœ -œ œ. œ œ œ œ >
. ‰ J œ œ œ œ œ œ #œ œ œ #œ Œ . . ‰
j bœ œ œ #œ œœ œ Œ .
& . #œ . . œ .
3 3

b b b b b
Lick #23 Lick #24

FÈ B 7 Eÿ EÈ A 7 Dÿ
œ bœ œ b >œ œ . >œ bœ bœ -
& .. ‰ J œ b œ n œ b œ œœ JÓ .. .. ‰ J b œ œ b œ >œ U̇ . Œ ..
3 3
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.
(Hold Last X)

17
PLAY 2X
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Slow Version: Fast Version: Hip Major 7th Licks

Swing (q = 170) Swing (q = 232)
Lick #25 Lick #26
Cÿ
œ œ œ -œ œ. Bÿ
# œ œ œ # œ # -œ .
œ œ œ œ # œ # œ # œ Œ ..
& c .. Œ œ œœ Œ .. .. Œ # œ œ # œ œ

Lick #27 Lick #28

b
Bÿ Aÿ
œ œ œ b œ n œ œ œ b œ œ œ b œ -œ œ. œ # œ œ œ œ œ #œ
œ .
œ
. ‰ œ Œ . . ‰ # œ # œ œ Œ ..
& . J . . J
3

b
Lick #29 Lick #30

Aÿ Gÿ
œ bœ bœ œ œ - . œ œ œ œ œ œ œ œ œ -œ œ.
bœ nœ bœ œ bœ œ œ œ Œ . . ‰ œ œ
& .. ‰ Jœ . . J Œ ..
3

Lick #31 Lick #32

b
Gÿ b œ Fÿ œ œ bœ œ
œ b œ œ b œ œ b œ b œ œ b -
œ . # œ œ œ œ œ.
. b œ b œ b œ . . œ œ Œ ..
& .‰ J Œ . .‰ J nœ

Lick #33 Lick #34

b
Eÿ
œ # -œ œ œ # œ n œ -œ . Eÿ
b œ œ œ bœ œ œ bœ
. # œ # œ #œ œ œ # œ # œ . . œ œ b œ -œ . .
‰
& . J œ Œ . . Œ œŒ .
3

b
Lick #35 Lick #36
Dÿ Dÿ
j œ œ # œ œ b œ -œ œ. œ bœ bœ œ U̇
. ‰ œ # œ œ œ œ Œ . . Œ b œ b œ œ b œ ..
& . œ . . bœ nœ
©2011 Greg Fishman Jazz Studios
>
All Rights Reserved. Copyright Secured. (Hold Last X)
18
PLAY 2X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Hip Dominant 7th Licks

Slow Version: Fast Version:
Swing (q = 162) Swing (q = 244)
Lick #37 Lick #38
C7 œ œ bœ œ œ - .
B7
œ # œ # œ. -œ œ. # -œ # œ. .
œ #œ œ œ œ œ œ Œ .. .. ‰ # œ # œ œ # œ
& c .. Œ J ‰ #œ
J
Π.
3

Lick #39 Lick #40

b
B 7 A7
œ .
bœ bœ œœ œ.
b œ œ œ œ # œ # œ œ œ œ -
œ œ # œ Œ ..
& .. Œ b œ œ b œ œ œ Œ .. .. ‰ J œ œ #œ
3

b
Lick #41 Lick #42

A 7 G7
b œ b œ b œ œ œ œ b œ b œ œ b œ b œ b œ. œ œ œ # œ .
œ
& .. Œ œ .. .. Œ œ œ œ œ œ #œ Œ ..

#
Lick #43 Lick #44

F 7 F7
#œ #œ œ #œ #œ - . -œ .
# œ œ # œ œ # œ # œ œ œ b œ œ œ œ œ b œ œ œŒ .
& .. ‰ J #œ Œ .. .. œ b œ n œ œ œ
3

Lick #45 Lick #46

b
E7 E 7
œ # œ œ œ œ œ # -œ . œ bœ bœ œ œ
. Œ œ # œ n œ œ # œ œ Œ . . ‰ J b œ œ b œ b œ œ œ -œ b œ. Œ .
& . . . .
3

#
Lick #47 Lick #48

D7 C 7
# œ œ # œ n œ œ # œ - . œ #œ #œ œ #œ #œ #œ nœ - .
œ œ œ œ œ # œ n œ œ Œ .. .. Œ #œ # œ # œ œ Œ ..
& .. ‰
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

19
PLAY 2X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Slow Version: Fast Version:

Hip Minor 7th Licks
Swing (q = 150) Swing (q = 220)
Lick #49 Lick #50
CÈ BÈ
bœ œ œ œ œ b œ œ œ œ # œ- œ.
c . Œ bœ œ œ œ bœ œ œ . . œ #œ œ œ #œ nœ #œ œ #œ œ #œ Œ ..
& . . .
3

b
Lick #51 Lick #52

BÈ AÈ
b œ b œ œ b >œ ˙ œ œœ -œ œ.
. œ œ bœ œ œ .. .. ‰ œœ œ œœœ œ
& . Œ bœ #œ œ Œ ..

Lick #53 Lick #54

b
AÈ GÈ
bœ œ bœ bœ œ œ œ bœ -œ œ.
b œ œ b œ œ b œ j œ œ
& .. ‰ J b œ œ b œ b œ Œ .. .. ‰ œ b œ œ œ #œ Œ ..
- .
Lick #55 Lick #56
#
FÈ
#œ œ œ #œ œ #œ
FÈ
œ bœ bœ œ b œ œ b œ œ b œ -œ .
. .. .. ‰ œ œ œŒ .
& .Œ œ #œ œ #œ œ ˙ J .
3
>

b
Lick #57 Lick #58

EÈ EÈ
œ œ œ # œ œ œ # œ œ -œ . bœ œ œ bœ -œ b œ.
. # œ œ # œ œ n œ œ . . J bœ œ b œ b œ b œ b œ
& . Œ . . ‰ b œ b œ Œ ..
3
3

#
Lick #59 Lick #60

DÈ CÈ
œ œ œ œ œ #œ œ œ #œ œ #œ œ #œ - .
œœ œ œ - .
œ œ œ Œ . . ‰ #œ œ # œ œ # œ # œ Œ ..
& .. ‰ # œJ œ . . J
3 3
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

20
PLAY 2X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Swing (q = 118) Hip ii mi7b5 / V7b9 / i mi Licks

b
Lick #61 Lick #62
DÌ Gï Cmi CÌ Fï B mi
œ b œ b >œ œ œ b œ >œ œ- . bœ >
& c .. ‰ Jœ
œ œÓ .. .. ‰ b œj n œ b œ b œ b œ œ ˙ . Œ ..

# # #
Lick #63 Lick #64
b b b
BÌ Eï >œ b œA mi GÌ Cï F mi
b œ b œ b œ b >œ n -œ . #œ œ œ #œ œ œ # >œ œ
b
œ œœ œ bœ # œ n œ # œ
& .. ‰ b Jœ b œ Œ .. .. ‰ J #œ Œ ..
3

#
Lick #65 Lick #66

FÌ Bï Emi EÌ Aï Dmi
œ œ bœ œ #œ >œ œ œ # œ œ œ -œ . œ bœ #œ œ #œ œ nœ œ
. ‰ J # œ œ # # œ Œ . . ‰ J œ # œ œ -œ œ. Œ .
& . . . .
3

Lick #67 Lick #68

# # # # #
DÌ Gï C mi CÌ Fï Bmi
. œ #œ #œ œ œ œ œ œ > . . œ œ œ # -œ - .
œ œ Ó ..
& .‰ J #œ œ #œ œ Œ . . ‰ J #œ œ #œ œ
Lick #69 Lick #70

BÌ Eï Ami AÌ Dï Gmi

œ œ œ œ # œ œ œ œ œ >œ œ œ bœ œ #œ bœ
.
& . ‰ œJ . .
œ . .‰ J œ # œ œ # œ œ œ b œ n œ Œ ..
. - .

b b
Lick #71 Lick #72

GÌ Cï Fmi FÌ Bï E mi
>œ b >œ œ b >œ . œ. b œ b -œ œ b >œ U̇ .
& .. ‰ Jœ b œ ‰ J ‰ J JÓ .. .. ‰ b œ n œ
J
Π..
©2011 Greg Fishman Jazz Studios (Hold Laxt X)
All Rights Reserved. Copyright Secured

21
PLAY 1X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Hip Parallel Major to Minor Licks

Bossa Nova (q = 152)

Cÿ CÈ F7
œ. œ - . >
Lick #73

œ. œ- b œ œ œ.
( )

œ . - .
J
& c .. ‰ ‰ J œ ‰ Jœ œ œ ‰ b œJ œ œ Œ ∑ ..

Lick #74
b b b
Bÿ BÈ E 7
œ œ bœ œ œ œ œ œ œ œ bœ . bœ ˙
( )

.
& .‰ J œ bœ œ œ œ ˙ Ó ..
J

b b b
AÈ D 7)
Lick #75
Aÿ
b œ œ -œ b œ b œ œ . n -œ b œ b œ œ b œ n œ b >œ ˙.
(

bœ œ œ œ b œ b œ
& .
. ‰ J J Œ ..
Lick #76
# #
Fÿ F È B7
œ #œ #œ
( )

#œ #œ #œ nœ #œ # >œ ˙ ˙
& .. Œ #œ #œ #œ
nœ #œ œ nœ . J Ó ..

Eÿ EÈ A7
Lick #77

# œ # œ
#œ œ œ œ # œ œ n œ œ # œ >œ ˙
( )

# œ # œ œ œ œ ˙
.
& . ‰ œJ # œ Ó ..

Lick #78
b
Dÿ DÈ A 7
œ # œ œ œ >œ œ œ n >œ >œ >œ ˙ .
( )

. j œ œ œ # œ œ œ œ œ
‰
& . œ # œ ‰ J ‰ J ‰ J Œ ..
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured. ( Play Chords in Parenthesis on repeat only. )
22
 Lick #79
b b b
Dÿ DÈ G 9)
bœ bœ . œ b -œ b œ. >œJ b >Jœ œ b -œ b œ. >œJ ˙.
(

j b œ b œ œ
& .. ‰ b œ b œ œ J ‰ ‰ ‰ J ‰ Œ ..

Lick #80

Bÿ >œ BÈ E[ E9
# œ. # œ - . >œ œ . # œ -œ . >œ œ. œ - .
( )

#œ #œ ‰ J .
œ # œ # -œ . J
& .
. ‰ J ‰ J J œ ‰ J #œ ‰ J J # œ œ Œ ..

Lick #81

Aÿ -œ AÈ D9
œ œ œ # œ # œ œ œ n œ œ œ # œ œ œ # œ >œ ˙.
( )

œ # œ # œ œ .
œ
& .. ‰ J Œ Œ ..

Lick #82

Gÿ GÈ C9
œ œ œ #œ - .
( )

-
.
& . ‰ J œ œ œ œ œ œ ‰ œj œ b œ œ œ >œ ˙ ˙. Œ ..
>

b
Fÿ FÈ B7
Lick #83

-œ œ. b >œ œ œ b œ œ b œ b œ >œ
b œ ˙.
( )

œ œ œ œ œ œ bœ nœ œœ
. œ
& .‰ J œ ‰ J Œ ..

b b b
A®
Lick #84
Eÿ EÈ
œ bœ bœ bœ œ œ
( )

œ œ b œ œ œ b œ b œ b œ œ œ >œ Uw
b œ b œ
& .. ‰ b œJ œ œ œ
œ ..
3 (Hold Last X)
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

23
PLAY 1X
COUNT OFF: 2 BARS (6 CLICKS)
GREG FISHMAN

Slow Version: Fast Version: Hip Minor Licks

Swing (q = 168) Swing (q = 250)

> Cmi
#œ œ œ œ œ bœ œ œ bœ #œ œ bœ
Lick #85

. n >œ . œ b œ œ >œ # œ n œ
& c . ‰ J œ œ œ J œ bœ œ œ œ Œ ..
- .
Lick #86
#
C mi
> # œ >œ # œ # œ n œ œ # œ
j >
œ # œ œ # œ œ #œ œ œ œ # œ # œ œ # œ # œ œ n œ # -œ œ.
& .. ‰ # œ # œ œ nœ Œ ..

Lick #87

Dmi
jœ œ >œ . œ œ œ b œ œ œ œ œ œ œ >. > .
. ..
j
‰
& . œ J œ œ œ œ ˙ Œ
#œ

b
Lick #88

b >œ . >
bœ œ œ bœ œ œ œ œ bœ bœ bœ >
E mi
bœ œ bœ bœ nœ b œ n œ b œ œ œ œ
Œ ‰J b œ œ b ^œ ..
& .. ‰ b œJ
3

Lick #89
Emi >œ >œ >œ
> # >
œ >œ >œ # >œ >œ .
. . œ J œ ‰ ‰ œ œ ‰ J ‰ œ œ Œ ..
J
& .‰ œ œ ‰ J ‰ œ œ ‰ ‰ œ
J J J J

Lick #90
Fmi . b >œ b œ >œ > >
b œ b œ œ œ b >œ œ œ. >œ
. ‰ œ œ œ œœ œ J ‰ J ‰ J
œ ˙.
J ‰ J ..
& . J
3 ©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

24
Lick #91
#
F mi
# >œ .
>œ œ # œ >œ # >œ . œ # >œ >œ œ # œ >œ
>
œ #œ ‰ J
& .. ‰ Ó ‰ ‰ J Ó ..

Lick #92

Gmi >œ
œ œ b œ œ œ œ œ bœ j >
#œ œ œ . #œ nœ #œ
#
& .. ‰ J
œ œ #œ œ œ b œ œ œ b œ œ œ œ >œ Œ ..

Lick #93
b
A mi
b >œ œ n œ b >œ œ . b œ b ^œ b œ >œ œ .
b œ b œ œ b œ b œ b >œ . b œ n œ b œ Œ ..
& .. ‰ b œJ n œ J J J >

Lick #94

Ami
œ b >œ œ œ ˙.
j œ bœ nœ #œ #œ œ œ
œ b œ n œ
3

. ‰
& . #œ J ‰ œ œ œ œ œ œ œ œ Œ ..
>
Lick #95
b
B mi
^œ -œ >œ ^œ ^œ >œ œ bœ œ b >œ . œ b œ œ.
& .. ‰ J Œ Œ ‰ J Œ b œ œ b >œ Œ ‰ ..
3

Lick #96

BÈ
#œ nœ #œ œ œ #œ œ >œ U̇
. J # œ œ n œ # œ œ œ. Œ j œ œ œ # œ œ ..
& . ‰ ‰ #œ #œ #œ œ #œ
(Hold Last X)
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

25
PLAY 1X
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Hip ii mi7 / V7 / I Maj7 Licks

Slow Version: Fast Version:
Swing (q = 180) Swing (q = 264)

DÈ Gî Cÿ
Lick #97

j œ œ b œ bœ œ œ œ œ -œ .
œ œ œ œŒ Ó
& c .. ‰ œ œ # œ œ œ #œ nœ œ nœ œ œ œ ..

# #
Lick #98

CÈ F7 Bÿ
#œ œ #œ œ œ # œ n œ n œ # œ # œ # -
œ # .
œ
& .. Œ #œ #œ œ #œ #œ #œ #œ #œ #œ œ œ œ Œ Ó ..

Lick #99
b
CÈ Fï Bÿ
b œ œ bœ œ œ œ œ œ b œ -œ œ.
œ œ bœ bœ bœ œ œ nœ
3

. œ b œ œ b œ œ œ # œ œ Œ ..
& . œ œ œ bœ

Lick #100

BÈ E7 Aÿ
# œ œ œ #œ nœ œ
.
. Œ # œ œ #œ
œ #œ œ #œ œ œ # œ œ œ # œ œ # œ # œ -œ # œ. Œ Ó ..
&

b b b
Lick #101
BÈ
b œ
Eï
b œ b œ œ œ œ b >œ ˙ Aÿ

. œ œ œ œ bœ œ b œ b œ n œ n œ b œ œœ œ
‰
& . J b œ bœ œ œ Œ ..

Lick #102
AÈ Dï Gÿ
3 œ œ
œ œ # >œ œ œ # œ œ œ œ3 œ b œ
. œ œ # œ n œ œ b œ # œ œ œ # œ œ >œ ˙
‰
& . J œ ‰ œ œ Œ ..
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

26
Lick #103
# # #
GÈ Cï Fÿ
œ # œ #œ œ #œ nœ œ #œ #œ nœ # œ # œ # œ œ œ œ # œ # œ # œ # œ # -œ .
œ # œ
& .. ‰ J #œ œ #œ nœ #œ # œ Œ ..

Lick #104

GÈ Cî Fÿ
œ œ b œ œ b -œ b œ œ œ # œ n œ œ œ œ œ œ -œ .
œ œ œ œ
& .. Œ œ b œ œ œ œŒ Ó ..

Lick #105
#
FÈ B7 Eÿ
# >œ # ^œ # œ œ # œ # œ -œ .
. j # œ # œ
œ #œ #œ nœ œ # œ # œ # œ œœœ œ .
‰
& . #œ œ ‰ J J‰ #œ nœ #œ œ Œ .

Lick #106
b b
FÈ Bï Eÿ
b >œ œ b œ œ b œ bœ œ bœ œ nœ bœ bœ œ œ bœ œ
J œ œ œ bœ œ œ œ bœ Œ Ó
& .. ‰ - œ.
..

Lick #107

EÈ Aï Dÿ
œ œœ œ # œ œ œ œ # œ n -œ .
. # œ œ # œ # œ n œ
œ #œ bœ œ # œ œœœ # œ #œ Œ .
& . ‰ J œ #œ nœ #œ œ .
3

b b b
Lick #108

EÈ Aî Dÿ
>œ U̇ .
œ bœ œ b œ b œ n œ n œ b œ œ œ bœ bœ œ bœ œ œ b œ b œ
& .. œ b œ b œ b œ n œ Œ ..
(Hold Last X)
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

27
PLAY 1X
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Slow Version: Fast Version: Hip V7b9 Licks

Swing (q = 172 ) Swing (q = 240)

Cï
b íœ
Lick #109

^œ í œ bœ >
n œ ‰ J ‰ b -œ œ b œ. ‰ # ^œJ ‰ j b œ œ b œ >œ œ >œ œ b œ œ œ b œ œ œ
. #œ œ .
& c .. J œ Œ.
>
Lick #110

Fï
# œ œ œ œ >œ œ œ >œ # œ # œ > œ >
bœ ‰ J ‰ J œ ‰ J b œ œ ‰ œJ œ # œ ˙
& .. ‰ œJ œ Ó ..
3

>

b
Lick #111
Bï
b œ n œ # œ >œ œ b œ b œ n >œ œ œ b >œ >œ >œ j b œ b œ n >œ Œ ..
.
. ‰ J œ ‰ # œ œ œ b œ n œ # œ ‰
& J œ

Lick #112
b
Eï >œ
>
œ > ^
œ ^ ^ ^ œ ˙.
b œ œ # œ œ ‰ J ‰ b œ ‰ # œ ‰ œ ‰ b ^œ ‰ b œ œ œ b œ n œ
& .. ‰ J J J J J J
Π..

Lick #113

b
Aï
œ œ œ œ bœ bœ œ œ œ bœ bœ œ bœ œ œ œ
. Œ bœ œ œ bœ bœ œ œ œ bœ Ó ..
& . œ
- .
Lick #114
b
Dï
b >œ . œ œ œ œ >œ œ
œ œ œ œ- n >œ >
.
& .œ œ œ b œ ‰ J J ‰ œJ b œ œ ˙ . Œ ..
>
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

28
 #
Lick #115

Fï >œ
í íœ # œ n œ œ
œ #œ nœ bœ #œ œ œ #œ #œ œ œ3 œ œ
& .. œ̧ # œ n œ œ œ
3

>

œ # œ n œ b œ íœ œ œ œ #œ œ œ œœ # íœ œ œ # œ n >œ
3

œ Œ ..
3

&

Lick #116

Bï -œ
œ œ # œ œ n œ # œ œ # œ œ # œ # œ n œ # œ # œ œ # œ # œ
& .. Œ œ œ œ œ œ œ œ œ œ Œ ..

Lick #117
Eï
b œ # >œ œ œ œ b œ # œ >œ b œ # >œ œ œ b >œ -œ œ.
.
. # œ œœ œ œ #œ œ œ
Ó #œ œ œ
‰ J ..
&

Lick #118
Aï
œ œ #œ bœ bœ nœ œ œ #œ bœ œ œ œ # œ œ œœ # -œ
œ œ b œ n œ b œ n œ
& .. #œ #œ bœ œ # œ Œ ..

í
Lick #119

œ # œ œ œ œ œ b œ -œ # œ. b œ íœ
Dï
b -œ b œ. n íœ # -œ . j n >˙
& .. Œ ‰ J œ
‰ J œ ‰ œ Œ ..

Lick #120

Gï b œ n œ b œ # œ n œ b œ U.
œ œ œ œ œ œ œ b œ œ b ˙
. j # œ œ ..
& . ‰ œ œ œ œ œ bœ bœ œ
>
©2011 Greg Fishman Jazz Studios (Hold Last X)
All Rights Reserved. Copyright Secured.

29
PLAY 1X
COUNT OFF: 1 BAR + 3 BEATS (5 CLICKS)
GREG FISHMAN

Slow Version: Fast Version:

Hip Whole Tone Licks
Swing (q = 164) Swing (q = 200)

Lick #121
C´
c .
. ‰ j œ œ œ b œ œ # œ œ œ œ # œ # œ >œ Œ ‰ # œj œ œ œ b œ œ
# œ œ # œ # œ >œ
Ó ..
& #œ

Lick #122
B´
œ #œ nœ #œ œ #œ nœ œ œ #œ nœ œ œ œ œ nœ #œ œ œ nœ #œ
. Œ œ # œ œ œ # œ n œ œ Œ ..
& .
>
Lick #123
b
B´
>œ œ œ >œ . œ íœ œ # œ œ œ œ œ -œ œ. -œ œ
# >œ œ Œ .
J J ‰ J
& .. ‰ Œ .

Lick #124
A´
# >œ n œ -œ œ. > # >œ n œ -œ œ. >
& .. ‰ J ‰ J ‰ # œJ ‰ n Jœ œ œ ‰ J ‰ J
- .
‰ # Jœ ‰ n œJ œ œ œ œ œ œ œ Œ ..
>
Lick #125
b
A´
œ b œ b œ >œ œ b œ b œ >œ œ > b œ >œ œ œ >œ œ b œ b œ >œ
œ Œ ‰ œJ œ
& .. Ó Ó ..

Lick #126
G´
# > . # >œ .
œ # >œ # œ >œ . œ # >œ # œ œ >œ
œ œ œ œ # œ œ # œ œ >œ
& .. ‰ œ # œ # œ
J J Œ ‰ J‰ J J Ó ..
6 ©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

30
Lick #127
#
F´
œ œ #œ #œ œ #œ . œ # œ œ # œ # œ œ # íœ
œ #œ œ œ œ ‰ œ
J œ œ >œ Ó
& .. Ó ..
3

Lick #128

F´
œ # œ œ œ # >œ œ # œ œ œ œ # >œ œ # œ œ œ # >œ œ # œ >œ œ
œ œ œ #œ œ
& .. ‰ # œJ ‰ # œJ Œ ..
3 3

Lick #129

E´
#œ #œ œ œ œ
. œ œ œ # œ œ œ # œ # œ # œ >œ Œ ‰ œ # œ # œ # >œ ‰ Jœ œ >œ ˙ . Œ ..
& .‰J J
5

Lick #130
b
E´
œ ˙ œ œ œ œ œ œ œ œ -œ . œ ˙ œ œ œ œ œ œ œ œ œ.
& .. ‰ J #œ #œ Œ ‰ J #œ Œ ..
3 3 3 3
3 3

Lick #131
D´
œ œ # œ. œ œ . œ œ - # >œ œ œ œ # œ. œ œ . œ œ -
. ‰
# œ
‰ œ # œ Œ ‰ #œ
‰ œ # œ >œ œ Œ .
& . .

#
Lick #132

C´
# œ # -œ # œ >œ # œ # œ œ #œ >
œ
j œ #œ œ œ œ œœ œ œ œ
& .. ‰ œ # œ Ó ‰ œj # œ œ # œ Ó ..
3 3 3 3

©2011 Greg Fishman Jazz Studios

All Rights Reserved. Copyright Secured.

31
PLAY 1X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Slow Version: Fast Version:

Hip Diminished 7th Licks
Swing (q = 176) Swing (q = 232)

Lick #133

C∂ >œ . >œ ˙
j bœ b œ b œ b >œ . b >œ ˙
& c .. ‰ b œ n œ œ œ œ J ‰ œj b œ b œ n œ œ œ J ..

Lick #134

B∂ # œ œ >œ œ # œ n >œ œ # œ # œ n >œ œ

j œ œ # œ œ >œ ˙ .
. ‰
& . #œ # œ œ œ œ Œ ..

Lick #135

b
B ∂ -œ œ.
# œ œ œ b >œ b œ b œ n œ # œ >œ bœ nœ bœ nœ # œ œ œ b
& .. ‰ J œ œ bœ œ bœ >#œ œ œ b œ œ b œ Œ ..

Lick #136

A∂ >
œ b œ -œ . >œ b œ -œ . # >œ n œ - . >
.
. Œ b œ ‰ J ‰ J œ ‰ J ‰ J # œ ‰ n Jœ ‰ œ b œ- . ‰ >œ ‰ # œ n œ Œ ..
& œ J #œ J J - bœ
.
Lick #137
#
G ∂ œ # œ >œ >œ >
j > œ > œ > œ œ œ # œ # œ # œ œ # œ œ >œ
. œ œ œ ..
& . ‰ #œ œ #œ œ œ œ #œ œ #œ œ œ

Lick #138
G∂
# œ >œ œ # >œ œ b >œ >œ -œ œ.
J # œ # œ >
œ # œ œ # œ
& .. ‰ œ #œ œ #œ œ
> > #œ > #œ œ #œ œ œ bœ
œ #œ Œ ..
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.
32
Lick #139
#
F ∂
œ # œ œ >œ # œ n œ # œ >œ # >œ œ œ b >œ
. ‰ J # œ n œ # œ ‰ œ œ œ œ ‰ # œj n œ # œ œ Œ ..
& . J # œ > >
Lick #140

F∂
œ b >œ œ. œ b œ >œ >œ œ . # œ -œ . > j
& .. Œ œ b œ œ œ J ‰ J J
œ ‰ bœ œ .
J œ b œ- œ. Œ ..

Lick #141

E∂
œ b œ b œ íœ n -œ . b íœ - . íœ b -œ . íœ
. ‰ J b œ b œ ‰ b œ n œ œ ‰ j b ‰ j bœ bœ œ Ó ..
& . J œ œ œ
3
>
Lick #142
#
D ∂
j -œ . >œ . - œ. n œ # œ- # œ. # >œ œ
& .. # œ # œ # œ ‰ n œj œ. # œ >œ ‰ # œ œ ‰ J ‰ Jœ
# œ œ ‰
J ‰ J Œ ..
. >

Lick #143

D∂ - -œ
-œ -œ # œ b ^œ b œ >œ ˙ ^ b -œ b œ. ^œ œ >˙
& .
. # ‰ bœ ‰ nœ ‰ J ‰ J Œ ..
J J
Lick #144
#
C ∂
œ œ # >œ œ œ # >œ œ œ >œ œ # œ >œ œ œ # >œ œ # >œ U̇
œ
& .. Œ œ # œ œ ..
(Hold Last x)
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

33
PLAY 1X
COUNT OFF: 2 BARS (6 CLICKS)
GREG FISHMAN

Hip ii mi7b5 / V7b9 (or V+7b9) / i mi Licks

Slow Version: Fast Version:
Swing (q = 158) Swing (q = 204)

DÌ Gï Cmi
œ œ œœ
Lick #145

œ œ œ b œ b œ œ # œ n œ b œ œ b œ œ n œ b œ œ b œ -œ b œ.
& c .. ‰ J œœœœ œ œœ Œ ..

Lick #146

GÌ Cî Fmi
>œ œ b œ b >œ ˙ >œ œ .
œ. œ œ. >
& .. ‰ œJ b œ J J bœ œ ˙ . Œ ..

b
Lick #147
CÌ Fï B mi
b œ b œ b œ b >œ œ b œ œ b œ b >œ œ œ b œ
.
. ‰ œ bœ œ œ bœ œ nœ œ œ bœ bœ œ œ ˙ Œ ..
& J

b b
Lick #148

FÌ Bî >œ E mi
b íœ b œ b œ # >œ œ n œ œ bœ bœ
nœ bœbœ ‰ J # œ œ # -œ . ‰ J bœ œ bœ œ œ bœ
& .. - .
œ b œ b œ b >œ œ Œ ..
3
3 3

b b b
Lick #149

BÓ Eî A mi
b œ œ b >œ œ b œ >œ œ
œ b >œ œ b œ >œ œ
& .. Œ œ bœ œ b œ >œ ˙ . Œ ..

# # #
Lick #150

D Ì Gî C mi
>œ # œ . >œ œ. # >œ œ œ # >œ œ #œ #œ -
j #
‰ # œJ œ œ œ # œ. Œ .
& .. ‰ # œ œ ‰ ‰ œ œ
J
‰ .
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

34
Lick #151
# # #
GÌ C ï F mi
#œ œ #œ œ œ œ nœ #œ #œ nœ œ # œ œ # œ œ œ œ # œ œ # œ œ -œ # œ.
œ
& .. ‰ J #œ œ #œ nœ #œ Œ ..

Lick #152
# #
CÌ Fï Bmi
œ #œ nœ #œ œ œ # œ œ n œ # œ œ œ œ #œ #œ œ #œ œ
& .. Œ œ #œ œ #œ œ œ #œ œ œ Œ ..

Lick #153
#
FÌ Bï Emi
œ œ #œ #œ nœ # œ œ œ œ œ œ œ # íœ Œ .
& .. Œ #œ nœ #œ nœ #œ œ œ # œ
œ #œ nœ #œ œ œ .

Lick #154

BÌ Eï Ami
>œ œ œ
. œ œ œ œ œ œ n œ œ œ #œ œ # œ œ œ œ œ œ # œ -œ œ.
‰
& . J œ œ œ #œ œ œ Œ ..

Lick #155

EÌ Aï Dmi
œ œ b œ # œ œ n œ œ œ œ # œ œ # œ œ œ œ œ œ >œ
œ #œ œ œ
& .. ‰ œj œ b œ œ œ # œ œ Œ ..
3

Lick #156

AÌ Dï Gmi
œ œ œ œ b œ # œ œ # œ œ n œ b >œ >œ >œ U̇.
b œ # œ œ b œ œ n œ œ
& .. Œ œ œ Œ ..
(Hold Last x)
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

35
PLAY 1X GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)

Hip ii mi7 / V7 / I Maj7 Licks with Moving 7ths

Slow Version: Fast Version:
Swing (q = 174) Swing (q = 248)

>Dmi DÛ DÈ G7 Cÿ
Lick #157

œ œ # >œ œ n >œ œ > œ œ

œœ œœ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ .
& c .. œ Œ .

b
Lick #158

Cmi CÛ CÈ F7 Bÿ
œ œ œ œ œ b œ œ œ œ >œ >œ >œ ˙
. œ b œ œ œ b œ b œ ‰ œ b œ ‰ b œ œ Ó ..
& . J J

b b b b b
Lick #159

B mi BÛ B È- E7 Aÿ
-œ b œ.
œ b œ -œ œ. b >œ œ b œ œ. œ b œ b œ œ œ bœ œ bœ œ
& .. b œ b œ ‰ J ‰ J b œ œ Œ Ó ..
Lick #160
b b b b b
A mi AÛ AÈ D7-œ b œ. Gÿ
bœ œ œ œ b œ n œ œ b œ œ
. J bœ bœ œ œ œ bœ bœ œ bœ œ bœ bœ bœ œ œ œ
& .‰ Œ Ó ..
3 3
Lick #161
# # #
F mi FÛ FÈ B7 Eÿ
# œ œ #œ nœ œ œ œ œ œ #œ #œ œ #œ nœ #œ œ nœ #œ œ #œ #œ œ œ
& .. ‰ # Jœ # œ n œ œ # œ Œ Ó ..
- .
3 3 3

Lick #162
Emi EÛ
EÈ A7 Dÿ
œ œ # œ œ n œ # œ
œ œ œ œ bœ n œ œ b œ -œ œ.
œ œ œ #œ œ œ œ # œ
& .. Œ #œ œ œ œ Œ ..
©2011 Greg Fishman Jazz Studios
All Rights Reserved. Copyright Secured.

36
Lick #163
b b b b b
E mi EÛ EÈ A7 Dÿ
bœ bœ œ œ -œ b >œ œ
bœ œœ œ bœ œ œ bœ bœ b œ n œ nœ b œ œ bœ bœ œ œ œ œ bœ
& .. Π..

Lick #164
# # # #
C mi CÛ CÈ F7
# œ
Bÿ
œ # -œ
# œ œ n œ # œ # œ # œ œ œ œ # .
œ
j œ # œ œ
& .. ‰ # œ # œ œ nœ œ œ #œ #œ #œ Œ Ó ..

Lick #165

Bmi
œ # œ œ # œBÛ
œ œ œ BÈ E7
œ œ #œ œ #œ
Aÿ
œ # œ -œ œ.
J n œ œ œ # œ # œ
& .. ‰ œœ œ œ œ #œ Ó ..

Lick #166
Ami AÛ AÈ D7 Gÿ
œ œ # >œ œ n >œ œ # >œ œ œ # œ n œ b œ n œ œ œ # œ œ œ œ œ # œ n -œ . Œ Ó
.
& . œ œ œ œ œ ..
3

Lick #167

Gmi GÛ GÈ C7 Fÿ
œ # œ œ œ b œ œ n œ œ œ b œ œ b œ b œ œ b œ œ # œ œ œ n œ œ -œ .
& .. œ b œ œ œ Œ Ó ..

b b
Lick #168

Fmi FÛ FÈ B7 Eÿ
œ bœ œ œ b œ b œ n œ # œ b œ n œ œ b œ œ b œ œ œ b -œ .
œ œ ‰ b œJ ‰ # œ œ œ bœ Œ Ó
& .. J
..

©2011 Greg Fishman Jazz Studios

All Rights Reserved. Copyright Secured.

37
 DETAILED OVERVIEW OF THE LICKS

Slow Fast Style Phrase Lick Page CD

CHORD Tempo Tempo Length Numbers Numbers Track
PROGRESSION Version Version Numbers

ii mi7 / V7 q = 126 q = 192 Swing 1 Bar 1 – 12 16 1&2

ii mi7 / V7 / I Maj7 q = 114 Swing 2 Bars 13 – 24 17 3&4

Major 7th q = 170 q = 232 Swing 2 Bars 25 – 36 18 5&6

Dominant 7th q = 162 q = 244 Swing 2 Bars 37 – 48 19 7&8

Minor 7th q = 150 q = 220 Swing 2 Bars 49 – 60 20 9 & 10

ii mi7b5 / V7 / i mi q = 118 Swing 2 Bars 61 – 72 21 11 & 12

Parallel Maj7 to mi7 q = 152 Bossa 4 Bars 73 – 84 22 – 23 13 & 14

Minor q = 168 q = 250 Swing 4 Bars 85 – 96 24 – 25 15 & 16

ii mi7 / V7 / I Maj7 q = 180 q = 264 Swing 4 Bars 97 – 108 26 – 27 17 & 18

V7b9 q = 172 q = 240 Swing 4 Bars 109 – 120 28 – 29 19 & 20

Whole Tone (V+7) q = 164 q = 200 Latin 4 Bars 121 – 132 30 – 31 21 & 22

Diminished 7th q = 176 q = 232 Swing 4 Bars 133 – 144 32 – 33 23 & 24

ii mi7b5 / V7b9 / I mi q = 158 q = 204 Swing 4 Bars 145 – 156 34 – 35 25 & 26

ii mi7 / V7 / I Maj7 q = 174 q = 248 Swing 4 Bars 157 – 168 36 – 37 27 & 28

(w/moving 7ths)

39
About the Author
Saxophonist and flutist Greg Fishman is an accomplished
performer, recording artist, author, teacher and clinician. Born
in Chicago in 1967, he began playing professionally at age
fourteen. Greg graduated from DePaul University in Chicago
with a degree in Jazz Performance, and earned a Masters
Degree in Jazz Pedagogy from Northwestern University. He
is among the foremost experts on the music of Stan Getz and
is the author of three Getz transcription books published by
Hal Leonard. His self-published books, Jazz Saxophone
Etudes, Volumes 1 – 3, Jazz Saxophone Duets, Volumes
1 – 3, Jazz Phrasing for Saxophone, Volumes 1 – 3,
Hip Licks for Saxophone, Jazz Guitar Etudes, Jazz Trumpet
Duets and Tasting Harmony™ are in circulation worldwide
and have been endorsed by top educators and jazz
performers, including Michael Brecker, Jerry Coker, Bob Sheppard, James Moody
and Phil Woods.

Greg is a contributing author of jazz theory articles for Jazz Improv magazine, JAZZed,
Chicago Jazz Magazine, IAJE Jazz Educators Journal, and was featured on the cover of
Saxophone Journal, for whom he also writes. He is the author of the liner notes for the
Verve reissue of the Getz recording The Steamer.

Greg has toured and performed worldwide with his own group, and with such artists as
the Woody Herman Band, Louis Bellson, Slide Hampton, Conte Candoli, Lou Levy, Clark
Terry, Jackie and Roy, Don Menza, Ira Sullivan, Judy Roberts, Jeremy Monteiro, Jimmy
Heath, Lou Donaldson, Harry Allen, Jeff Hamilton, Eddie Higgins, and Benny Golson.

Greg is the co-founder, along with Brazilian guitarist/vocalist, Paulinho Garcia, of the
award-winning duo, "Two for Brazil.” They perform worldwide, and have recorded five
CDs. Greg’s current discography features additional jazz releases in the U.S.,
Singapore, and Japan.

In addition to clubs and concerts in the U.S., Greg has been featured at the Concord-
Fujitsu jazz festival in Japan, the NorthSea Jazz Festival in the Netherlands, and in
numerous concerts in Hong Kong, Bangkok, Singapore, China and Israel.

Greg teaches jazz master classes and college workshops nationally and internationally,
and is on the faculty of the Jamey Aebersold Summer Jazz Workshop.

When not on tour, Greg is based in the Chicago area where he performs locally and
teaches at Greg Fishman Jazz Studios.

Greg Fishman is a Rico artist and plays Rico reeds exclusively.

“...His solos are shrewdly conceived yet delivered with apparent ease and elegance. He
develops harmonies that sometimes startle the ear as he forges lines that take
unexpected twists and turns...”
–– Chicago Tribune

“Greg Fishman dares to explore new musical heights. Every lesson in Greg’s books is a
must for all musicians, and this latest book is no exception. Greg, you’ve done a
beautiful, musical thing again!”
–– James Moody
40