It is commonly postulated that knowledge of chords and scales is essential in order to improvise well in the jazz idiom. By contemplating this axiom early on in my studies I came to an important realization: anything you play as an harmonic idea (chord) can be played as a melodic idea (melody or line) and vice versa. There are no shortcuts to playing fluidly and melodically on tunes with changes; it is something that develops over time and by approaching it from many perspectives. This is one reason that the harmony/melody inter-relationship is so useful, because this symbiosis helps to advance your playing as an accompanist and as a soloist if you are taking the time to study the implications. Let's begin with new melodic ideas from harmonic changes.

In lesson 8 Bob showed some very useful turnarounds, beginning with the basic I VI II V and then some common variations. Here is a line which you could play over the basic I VI II V:




As you'll notice there are no accidentals (sharps or flats) in this line; all the notes are in the key of C major. While this line is perfectly serviceable, the lack of chromatic notes makes it a bit unadventurous. Now check out what happens when we change the chords a little and adapt the line to fit the new changes:




All we've done is change the minor 7th chords into dominant 7th chords, and the line reflects these changes by raising the note C in the A chord and F in the D chord to C# and F#, respectively. This gives the line an entirely different character; it sounds more "jazzy". Let's take this a step further:




Now we've introduced an alteration on the dominant chords, the flatted 9th, which in turn gives us more chromatic melody notes. Compared to the first example this one is much more "jazzy."

Two more things to keep in mind as we explore these options. One is that you don't have to follow this exactly the way I've done it. Because the shape of the melody is pretty consistent you can cut and paste any of the individual lines over each chord and create variations. Here's one possibility:




Last, it's important to realize that these are just possibilities and not rules. Use the principles to find lines that you like and that fit the music you are playing; don't throw something in just because it works in theory. As always, trust your ear. Happy practicing!

Clay Moore guitarbuddy@earthlink.net


Add your comment   There are 0 comments on this article so far

Comment on this article

Name
Email address
solve the following equation: 4 + 4 =



Jazz Books


Hal Leonard Guitar Method - Jazz Guitar: Hal Leonard Guitar Method Stylistic Supplement Bk/online audio. Featuring in-depth lessons and 40 great jazz classics, the Hal Leonard Jazz Guitar Method is your complete guide to learning jazz guitar. Songs include: 'Satin Doll', 'Take the A Train', 'Billie's Bounce', 'Impressions', 'Bluesette' and more.

Jazz Guitars


Jazz Lessons


secret guitar teacher jazz courses

Good jazz is like good coffee: it’s smooth, rich and lingers fragrantly in a room. The best jazz musicians are expert improvisers with years of experience – but you only need to take a few jazz guitar lessons from guitar guru Nick Minnion to play some sensational sounds