The ingredients of most common approach to jazz guitar: Scales and Arpeggios. never thought I would hear myself say this, but you can make some really great lines by ignoring scales completely. This way of thinking is quite different from the idea of assigning scales to the chords the way we usually do. At the same time it is a traditional way of making lines and a very useful approach to changing things up.
The problem with too much scale movement
The way of making lines that I am going to cover here is at the very least helping you get rid of lines that sound as predictable and boring as this:
Of course in the long run you probably want to learn you scales just the same. It is better to have more options after all. I will talk about why later.
The George Benson Connection
I came across this way of making lines while analyzing a George Benson solo and I realized that if create lines with this concept you can make some really strong lines that don’t move in a predictable way but still make sense.
In this video I am going to show you how it works and how you can start experimenting with it in your own playing.
The basic concept: Triads and Leading notes
This is a really simple concept. Instead of making lines with scales and arpeggios (my entire system for guitar just fell apart) then we can also just think in simple triad arpeggios and leading notes. So Lines are constructed by having triad tones as targets and adding small melodies of leading notes that point towards those triad tones.
The Chord and The Progression
For this lesson I am going to focus on how to use this on a II V I in Bb major, and especially the Cm7 in that progression!
Cm Triad and leading notes – Two Exercises
So the way the melodies are made are from using the simple triads for example: Cm. The basic material I am using is an enclosure and a leading note on a Cm triad like this:
Putting the idea to use in a II V I lick
And an example of a line using this could be something like this:
Above the triad targes are first Eb, then a low G and finally a C. The beginning of the F7 line is also using a chromatic enclosure to move to the 3rd.
The big advantage to Chord and Leading notes approach
What is liberating is that when we play like this then it often works to just jump from one place to the next and you don’t have to think so much about the direction of the scale run or arpeggio run, and because it is using a very basic arpeggio then the leading note melodies make a lot of sense.
Here’s another example on a II V I. Again using chromatic approach phrases to move to both Cm7 and F7 chord tones.
Of course there are also some things that this doesn’t do, and I would not only use this way of playing as a total approach to everything, but it is a nice way to come up with some lines that sound different and still work with the chords. Using this method to create lines with more more extensions gets a little difficult because the extensions also want to sound like leading notes and the leading notes for the extensions are often chord tones.
This example is using one of the lines that Benson uses a lot on the dominant. It is in fact a Parker lick that Benson learned.
How to work on this approach
So the best way to work on this is to mix it with another approach. This is also what George Benson does in his solo. I will link to my video analyzing this in the description of this video.
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