Tag Archives: how to solo over chord changes

The Truth About Avoid Notes and Target Notes

There seems to be some confusion about what avoid notes and what target notes are when it comes to improvisation even mixing them up, so I thought it would be a good idea to show you which one is incredibly useful and which one really isn’t, because in a way, they are the opposite of each other.

When I was starting to learn Jazz, I was taught both along the way, and for me, one helped me build an essential skill for Jazz while the other one was something that I knew but it never really made any sense to me.

Avoid Avoid Notes

Usually, avoid notes are defined as the notes that create tension against the underlying chord. So the most common example would be playing an F over a Cmaj7

Here the F and the E and also the F and B clashes quite a bit.

But really any note that creates tension would be an avoid note.

It is probably clear that I don’t think in avoid-notes and thinking about avoid-notes is very useful. The reasons for this are quite simple when it comes to improving your playing. There are some essential things missing:

#1 It doesn’t tell you anything about what to play.

If you take the common example F as an avoid note over a Cmaj7 chord, then the only thing that tells you is to NOT play an F, which is not really useful information when you want to solo. You are much better off thinking about what you SHOULD play. You also don’t drive a car thinking about NOT hitting something.

#2 It doesn’t describe the music

If avoid notes make sense then surely nobody uses the avoid notes in their solos. But at the same time, I was given a ton of examples and transcribing solos and it doesn’t matter if it is Joe Pass, Charlie Parker, or Pat Martino. They all use avoid notes in their solos, even if they don’t often really sit on them. So that never made any sense to me. It was not only a rule that I couldn’t use to make music it also seemed like it wasn’t actually true.

Bad Teaching vs Good Teaching

To me, avoid notes is the same as teaching people not to use a hammer because that isn’t the right tool instead of teaching them how to use a screwdriver which would be the right tool when they are putting together something they bought at Ikea.

And it is really obvious that you benefit more from thinking about what to play instead of thinking about what not to play.

So focus on playing notes that sound good and making melodies that work with for example the arpeggio of a chord rather than thinking about not hitting a specific note in a scale. It is almost like telling you “don’t think about a pigeon.”

What Are Target Notes

The strange thing about target notes is that it isn’t really about the notes, it is about playing towards them. Anything can be a target note, that is really up to you.

You can even make an avoid note the target note, and sometimes that is a great thing to do….

I’ll show you that later in the lesson

In general, we often hear music as movement so there is a flow and there is a direction.

You can hear how this works with Bach:

Where the melody is moving forward and aiming for the target notes repeating a similar structure or motif to make it clear when you hit the target note on beat 1 of the bar.

And This is one of the things that really link Bebop and Bach: playing the movement and linking to the chord.

Take this Barry Harris lick, Where is clearly aiming for the 5th of Cm7 and uses the Bdim to really add momentum on the G7 that resolves to that Cm7 and in fact does the same to moving from Cm7 to F7 targeting the A.

So when you talk about target notes then you are talking about something that you can find in the music, which, as you may or may not know, is how I usually like to think about valid music theory: Something that describes the music that we play.

And it is also a way to develop your playing. Whatever target note you choose, you can sit down and practice to make lines that hit that target note, gradually moving from composing lines to improvising them and in that way internalizing the skill.

Examples of lines resolving to the 9th of Dm7: E.

This is important to be able to do. so let’s go over a basic example of how that works.

Practicing Target Notes

I’ll demonstrate this the way I learned to use target notes from my teacher, but actually, Hal Galper wrote a book on the topic that is worth checking out it is called Forward motion. I am just using the approach that I learned because that worked for me and has also worked very well for my students.

Target notes as a strategy works because you play melodies that are actually going somewhere. You are not just playing another note into the void (b-roll into the void) As you heard with Bach or the example from Barry or actually any other Bebop solo, there is an energy that drives it forward.

The first thing is to choose a target note, and if you are new to improvising over changes then you want to take notes that are very clear and easy to hear. This is just because that makes everything easier to learn and also helps you hear how the chords are moving, but as I already mentioned, you can really target any note you want to (which often ends up being any note you can hear anyway because otherwise you probably can’t make any lines that make sense).

For a II V I, the easiest place to start is just to use the 3rd of each chord: Clear notes that define the color of the chord:

So for a II V I in C major you have these chords:

And if you take the 3rd as a target note for each chord then you have these notes:

Now you can practice composing simple melodies that take you from one target note to the next:

And I am sure you can imagine that you have lots of options in terms of melodies for these target notes here’s another basic one:

If you start to be able to do this then You can also start to use the same target notes in other octaves, again because you build on what you can hear and use that to expand.

And then you can start opening up which notes you use, after the 3rd then the 5th is a great option, here I use that on the Cmaj7 chord:

And from here you can gradually start to learn to use other notes, see what you think works and give your ears time to get used to the sound. You can also gradually start to add things like other sounds on the dominant and extra chords. Having the direction in your lines will make a lot of things easier to get to work.

Target Avoid Notes

As I mentioned earlier, then you can take any note as a target note also a target note like the F over a Cmaj7. A basic way to do this could be this:

As you can hear then I treat the F as a suspension and resolve it to an E later in the bar. And that is simply just because the F sounds the way it does, and the most common way you will see the note in a melody would be like this, so a tension that is resolving later. Which is a great effect used in many melodies, and keep in mind that if you thought of it as an avoid note then you couldn’t do stuff like this.

Target Notes Are Not Everything

As you might have realized then there is a specific drive or type of sound to this type of melody, and that is a huge part of especially Bebop-inspired music, but it is not the only type of melody that you want to be able to play, so while this is a great way to get started playing over chord changes then it is not the only way you want to work on creating melodies. You want to also work on melodic techniques like Motivic development and Call-response. If you want to explore these techniques that are amazing for getting more of a story into your solos because phrases are more connected then check out this video that builds that up step-by-step.

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Most Important Skills For Jazz Chord Tones on a II V I

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A difficult thing when you are starting Jazz is that the chords are flying left and right while you have to keep up and play a solo that fits with the chords and also doesn’t sound like you are playing something that is completely random.

In this video, I am going to show you how you can work to develop skills that help you play natural sounding solos that follow the changes, starting very simple and the expanding it gradually, and I will give you an example of how great Jazz players make amazing lines with these very basic tools because that is possible too.

Why Chord Tones and Not Scales?

The first problem that you can easily overcome is to stop thinking in scales and start thinking about chord tones, so the notes in each chord. This is to help you learn to play the changes and hear the chord progression and you can always add the scales back later, they fit around the chord tones anyway. Reducing a song to a bunch of scales is not really helping you play a solo over that chord progression, simply because it is too much information, and not clearly connecting you to the chords. Instead, you want to focus on the chord tones or arpeggios of each chord.

In Jazz, the basic chord type that makes up the chord progression is a 7th chord, so when I talk about chord tones, then I am talking about the root, 3rd, 7th, and 5th of the chord (on screen: Cmaj7 adding the interval under the notes)

When you work on improvising with chord tones then you are learning to:

Improvise Melodies That Follow The Chord Progression
Hear The Chord Progression, not just understand it
Play Solos With Melodies That Make Sense and Sound Natural

Starting With A Scale?

The progression that I am using in this video is a II V I.

A II V I is a very common progression in Jazz that you need to master because they are all over the place!

When I am talking about a II V I then I am referring to scale degrees, so for C major then you have a chord on each note in the scale and we use the roman numerals to refer to those so in C major,

a II V I is Dm7 G7 Cmaj7

Since these chords are in the key of C major, then it is really useful to still keep in the back of your mind that this scale is the backdrop

Let’s start with a really simple way of playing arpeggios, just using one octave, and then expand from there:

Right now all the arpeggios have each note once. You will see later in the video, how to open that up and make it more flexible. But that doesn’t mean that you can’t already start to make some really good lines with this, and that is of course the goal: To play solid melodic Jazz solos.

Making Solid Lines With Few Notes

Here you have a basic II V I lick, just using the chord tones.’

You want to know the arpeggios so well that you don’t end up just running up and down the arpeggio and always start on the root.

If you want to use the arpeggios to play melodies then you need to be free to move around and play them, not be stuck only playing up and down the arpeggio. Simply because this is not a really interesting melody, it is predictable both on each chord and from one chord to the next.

Technique

Ears

Imagination

You want to practice making small melodies with an arpeggio to get your technique, your ears, and your imagination to open up. So for a Dm7, try to practice making small licks like these:

When you are working on this then you are starting to get used to improvising with them and what is often overlooked:

Composing lines is practicing improvisation slowly

So the more you do that and play those lines the more material you will have to play in your solos.

Nailing The Changes

The next thing to do is to start working on playing from one chord to the next and get it to sound like a melody not like two things next to each other.

If we start with going from Dm7 to G7.

This is sort of common sense: If you play a note on beat 1 of the G7 bar that is not in the Dm7 arpeggio then it is clear that you are now on a new chord, that is easy to hear and you are playing it right when the chord changes.

The strongest note for this is the 3rd: B, so if you play something on the Dm7 that flows to that B on G7 then it is easy to hear the change and it makes sense as a melody:

So to play the changes and have a solo line that makes sense then you can practice playing something on Dm7 that naturally flows to that B on G7 and then continue your melody from there.

And all of this is the same for the Cmaj7, so here you can practice playing towards the 3rd: E.

This is a good place to start, and the 1-octave arpeggios are something you will see in a lot of solos, but it is useful to also explore the entire position for the arpeggios which opens up for some more options with the melodies as well.

Expanding The Arpeggios

You probably know these already, now the Dm7 is this:

and G7 can expand to this:

and finally the Cmaj7:

Of course, the notes are still the same 4-notes we just have more of them on the fretboard., and for each chord, you will have

This means that now you can make lines like this:

Melodic Tricks and Exercises

There are some really simple things that you can add to your lines and get better at using that will make your lines a lot more interesting.

Some of them are used in this example:

Here I am repeating a pattern on the Dm7 which is a great way to build melodies. If you think about it then a lot of melodies are repeated figures that are either moved through the changes or think of Autumn Leaves which is one motif that is moving down the scale.

Or simple repeated like Broadway:

One way to work on this with arpeggios is to practice patterns like groups of 4 notes or skipping patterns:

And then work on using that in your playing by composing line with them.

Another thing that you want to work on is playing melodies that end or start on off beats.

In this example, you can see how the first part of this phrase ends on the 1& and then starts again on the 3&

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A Simple Jazz Blues Approach That Makes You Sound Better

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You already know it: It is not nearly as important what notes you play compared to how you play them. That is what I am going to use in this video because you can just take some really basic notes and then work on playing them in a way that sounds better. Once I started thinking more like that I really started to feel a difference in what I played, and it really lifted the solos and made them sound much more like “Real Jazz” (if that is actually a thing)

We can start with a basic C7:

And then use this simple one-octave version of the arpeggio for a C7:

Phrasing And A Little Rhythm

Now you can start working playing these notes and get them to sound like a Jazz Blues phrase. This is really about imagining a slow medium groove and just see if you can make some simple melodies, something like this:

So simple short phrases in the groove, think Wes Montgomery or Grant Green, and just try experimenting with coming up with some melodies.

You can actually get them to sound even better by adding this:

All that is changing is that you slide into the notes, which is sort of the Jazz version of bending strings.

Before you move on to another technique you probably also want to start to make longer phrases as well:

Here you want to notice that the longer phrases is really just two phrases put together and that one phrase works as a call (play) and the other as a response.

You can practice this by just playing a phrase then stop and try to imagine what you think should come after it, is it an ascending or descending phrase? A lot of notes or a few etc. Try to start getting used to hearing phrases and listen to what you hear inside

The Power of Legato Dynamics

Often when you practice legato technique then you are probably working on getting notes to sound equally loud so that there is no real difference between the picked notes and the ones you play with hammer-on/pull-offs

but they do have a different quality of tone, and this is something you can use to make your solos much more expressive and add some dynamics to your lines, which is a really important part of Jazz lines.

First, you can add the rest of the position around the one-octave arpeggio

This is just to have more places with two notes on one string so that you can use legato.

Now you can start creating lines like this:

And the fact that some notes are louder than others really helps make the whole thing much more interesting, so it is also something you can incorporate in your music as a dynamic quality. In fact, the is what you will hear with a lot of players like Grant Green, Wes, and more modern guys like Pat Metheny.

Adding A Little Color

Because you start with the basic chord tones then everything you play will sound good, but also very safe and maybe even a little bit boring. Besides working with phrasing techniques you can start to add in some more colors by surrounding the arpeggio with the rest of the scale. So let’s do that and then move on to some double stops.

So you go from this:

And then you place that in the scale:

The best strategy is probably to start by just adding notes in between the notes of the arpeggio:

Here you have the A before the 7th but notice that you can still use the slide to add another sound and the F is inserted to lead to the E.

And you are using scale notes to lead into the arpeggio. here’s another example:

Notice how the slide takes an incredibly simple melody adds a more bluesy character.

So the difference between the two bars below:

Double-stops and Pedal-tones

Double stops are often associated with Blues and work great for the sound. But there is another polyphonic technique that is also really great that you use which I will cover after this.

You can use double stops as a sort of emphasis on a chord tone, like this:

Here the double-stop is the important part of the phrase, and then the descending melody ending on the b7 drives home the blues feel. This is btw something you will hear Parker do very often: ending phrases on the 7th in a blues, especially just before moving to the IV chord.

Another great way to use double-stops could be this:

Example 13

The tritone is a great choice for a double stop that also really nails the sound of the chord.

Another way to use several voices that Kenny Burrell also uses quite often works like this:

Example 14

Using Pedal notes is a great sound, and it is a little overlooked, but still something you will hear in Stevie Ray Vaughn’s playing quite frequently.

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3 Important Exercises for Jazz Guitar Beginners To Get Started

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You need many skills if you want to play Jazz, and some of them can be hard to find good exercises for, or even realize that you need to work on them. In this video, I am going to go over 3 Easy exercises that will help you play better solos and develop skills that are difficult to fix by just practicing scales, arpeggios, or chords.

#1 Playing Changes – A Little Easier

Hope you are having a great day playing some Jazz! This video should help you develop your melodies, your rhythm and your phrasing.

This is something you get hit by very hard the first few times you try to improvise over a jazz standard. I know I certainly did, thinking that it must be impossible to follow the chords that move so fast! When you try to play a solo, chords are flying at you left and right and it seems like you have to be a math genius or a computer to figure out what to play and where to play it.

But improvising over chord changes is a part of Jazz and you want to be able to not only follow the chords but also play melodies that make sense.

This first exercise makes that a lot easier, and mastering this and the next exercise will already make you sound really good when you solo.

Let’s use a bit of the Standard How High The Moon:

The chords are:

The Trick is to do the “calculations” beforehand because eventually, you can get by without having to solve crazy equations whenever you see a chord progression, that is mostly a matter of experience. If you practice like this then you build that skill and it becomes something you can quite easily get into your playing (B-roll on top: complex equation overlay on How High The Moon)

I am not going to cover how you find chord tones, diatonic arpeggios and how to analyze chord progressions in this video. I want to focus on how you practice soloing, but if you want to dig into that then check out the playlist I link to in the description with videos that help you get started with that:

https://www.youtube.com/playlist?list=PLWYuNvZPqqcHYOlEVg5uHPBy_AudysODz

Of course, you want to play something on the chord progression that makes sense and has a natural flow. The best way to do that is to play phrases that begin on one chord and end on the chord change.

So in the song, when you move from Gmaj7 to Gm7 then the chords sound like this:

and a clear line going from Gmaj7 to Gm7 could sound like this:

So you play towards a very clear note in the next chord often a chord tone, and you can hear how it gives you a natural-sounding melody and also makes the change of chord very clear.

With How High The Moon:

Essentially this is two bars of G major, the key of the piece followed by a II V I in F major.

The simple thing you can do is to target the 3rd of the chord, but you should also check how well the 5th might work because that is a very strong melodic note, the 7th is for solos often not a very strong target note. If you play like this then that could give you:

So when you want to develop this skill then take the chord progression and

1 – Find target notes (especially 3rd and 5th)

2 – Make sure Target Notes are in the same area of the neck

3 – Practice playing short phrases to hit each target note

To develop this keep it simple, in one position and one target note at a time. If you develop a skill like this you can expand on it later.

You also want to give yourself time to think ahead, so just stop on the target note and think about making a melody to the next target note. Later you can open this up and become much freer and also not only play to target notes on beats one and three.

This approach is one of the best ways to develop a natural flow when you improvise over changes and learning to think ahead is incredibly important for so many things in Music, not just playing solos over chord changes.

Working like this you can end up with some very heavy phrasing that doesn’t really sound like Jazz which is why you want to check out the next exercise.

#2 The Most Important Part Of Jazz

The most important ingredient in Jazz is rhythm, but it can be difficult to develop mainly because you forget it when you focus on the chord changes and that can really ruin how you sound.

In general, a great way to develop a skill is to reduce your freedom with other things so that you are forced to focus on training and developing that skill.

When it comes to rhythm, then a very useful exercise is to limit your note choice so that you only have two notes and have to focus on being creative with rhythm to get what you play to work, and if you try this exercise then you will probably be surprised how much you can learn. Let’s check out an example and then talk about what you need to focus on to really develop your rhythm.

You Stepped Out Of A Dream

When you set up this exercise for yourself:

1 – Try to choose notes that are mostly chord tones and close to each other across chords so that you have an easier time connecting.

2 – Explore how to use a lot of off-beats especially ending phrases on an off-beat

(this is the sound of bebop phrasing and will help your solos sound 10x better)

3 – Try to play melodies with quarter notes

You always focus on learning to play 8th note lines and forget how great it can sound to play quarter-note rhythms

#3 Passing Notes – Grown Up Jazz Licks

When you can already play a solo over the harmony and you are beginning to use some more interesting rhythms

Maybe cut in: “I mean that you are working on exercise one and two from this video…”

Then you can start working on making the melodies more surprising and more complicated, and you do that by playing a lot of wrong notes and then resolving them to some right notes.

Obviously, this is a HUGE topic, but an easy way to get started is to do two really simple things:

1 Add a chromatic note before the start of a phrase like an arpeggio

2 Add a chromatic note between two notes in the scale.

And if you if put that to use over Ladybird then that sounds like this:

In the beginning, you want to resolve to chord tones and have the resolution on the beat, as you see here where:

The first Cmaj7 bar starts with adding a chromatic passing note between D and C, and later between A and G

on the Fm7 I am adding a chromatic leading note before the Fm7 and making the arpeggio an 8th note triplet which is a great Bebop sound.

The Bb7 has a passing note between the C and the Bb, and transitions back to the Cmaj7 by moving up from the 5 to the G on Cmaj7

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5 Easy Jazz Solo Exercises That You Want To Know

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A huge part of playing Jazz solos is following the chord progression. Learning how to solo over chord changes can seem difficult, but there are very useful exercises to help you develop that skill, and this video will help you nail the changes so that you don’t end up failing to keep up with the chords but instead naturally flow through the progression.

The Turnaround And A Surprising First Exercise

The chord progression I am using in this lesson is a fairly basic turnaround in the key of C major, and I am going to keep it all in this area of the neck:

Example 1 – C major scale

The first solo exercise is actually not to solo at all, because for any chord progression you want to solo over there is one thing you have to be able to do that is not about soloing:

You need to be able to play the chords so that you have an idea about what the progression sounds like.

A clear and basic way to do this could be:

I am using very basic chord voicings for this, if you want some more on learning chord voicings like this then there is a link to a video on that in the description.

If you think about it then I am sure you understand why this is important, even if it is not the first thing you think about. This is also related to why you get told to learn the melody of any song you want to solo on: The Melody is the real gateway to hearing the chords.

Now you know what the chords sound like, so let’s turn them into something you can use in a solo, which is the topic of the next two exercises, and then some exercises on how to get it to sound great!

The Arpeggios

It is probably not a surprise that to follow the chord progression then the “melodic” version of the chords, the arpeggios is a very practical thing to learn.

You want to think about it as this: If the chord is a Cmaj7 then you hear those notes in the background, and if you play one of those notes then of course that fits with what is going on.

Of course, just knowing the arpeggio doesn’t mean that you can play great solos, but we will get to that later in the video.

First, let’s just play the basic arpeggios of the chords.

Exercise #2 – Play The Arpeggios

You can already start to solo with this material and play things like this:

Example 2 – Solo with Arpeggios

If the Arpeggios is the skeleton of the progression then the surrounding notes are the meat, so let’s add some meat to the solo with some Barry Harris exercises

Barry’s Scales

Exercise #3 – The Barry Harris Scale Exercise

When you play the scales like this you are still clearly getting the chord sound across because the chord tones are on the beat.

You may notice that I am using a different scale on the A7, because that is a secondary dominant resolving to a minor chord, Dm7 the II chord in the scale. I am not going to get into analyzing progressions too much here, but if you want to check out a video on secondary dominants, then there is a link in the video description.

The short description is that the secondary dominant takes the scale from the chord it resolves to, so in this case that is Dm harmonic to resolve to the Dm7, giving us an A7(b9)

These first exercises are things you can do on any song you study and get more material to use, let’s have a look at how you can use it.

Playing Towards Target Notes

Maybe the most important skill when it comes to learning to improvise is to be able to think ahead and not get stuck on the chord you are on. When you play then you always want to be playing towards the next chord, that is what keeps you from feeling you have to keep up with the chord changes.

So how do you do that?

This is a lot easier than you might think, you choose a note that you want to hit on the next chord and then you play towards that, this will do two things:

Your melodies always have a direction and sound logical because of that
You never feel like you have to keep up because you are always ahead of what is happening.

Choosing Target Notes

You can do a lot with choosing different target notes, but for now, I am going to focus on using notes that are not a note in the previous chord or and also a strong part of the color of the new chord.

The easy choice for a target note is to take the 3rd of the chord like this:

Example 4a

An example of a note that works really well as a color of the chord but that isn’t a core chord tone would be to use the b9 on the A7, so a Bb.

This note is very clearly not a part of Cmaj7 or Dm7 and in the key of C, the Bb is a sort of signal that you are moving to the subdominant area, in this case, the Dm7.

It can be a good idea to just play the target notes over the chords to hear how they sound.

Create a Flow In Your Solo

Now that you have the target notes then you can start practicing playing towards that note. So you are thinking about the target note and try to get to it in a natural way.

Exercise #4 – Soloing Playing Towards Target Notes

Remember that you can go back and check the examples again to hear what is going on and get used to how they sound. That is going to make it easier to learn them

You want to practice playing like this so that it starts to become easy and becomes a part of how you play, but already in this exercise you can hear how it really works to play from chord to chord and you don’t sound like “isolated licks” per bar.

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Beginner Mistakes To Avoid: How To Solo Over Chords

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There is a difference between how you think about chord progressions if you are a beginner and if you are more experienced, and that is something that is probably holding you back and making your solos sound like unconnected fragments instead of a real piece of music.

In this video, I am going to talk about how to fix that.

Great Bebop Etudes: Joe Pass – Guitar Style: https://geni.us/nTYWH

Better Fretboard Overview: https://www.youtube.com/watch?v=r_HZSUfOKwM&list=PLWYuNvZPqqcFeRNN2GxRUhISSieUyalLZ

Get the PDF on Patreon:

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https://www.patreon.com/posts/beginner-to-how-42877445

Content:

00:00 Intro

00:20 Beginner Mindset – What Scale To use On Green Dolphin Street

01:14 What a Beginner Solo Then Becomes

01:51 Learning To Think Ahead And Play Towards Chords

03:01 Rhythm Changes

03:57 Target Notes

05:19 Zoom Out and See The Big Picture

06:20 The Next Level

06:27 Like the video? Check out my Patreon page!

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5 Exercises That Will Help You Solo over Chord Changes

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Learning how to solo over chord changes is pretty difficult, especially if you also want to be free to play melodies that move across the chords so that you are not just playing something on one chord and something else on the next. In this video, I am going to show you 5 exercises that will help you develop these skills. The exercises are mostly pretty common and are probably more about how you understand the chord changes and think about the exercises that will help you learn to play better solos. I think you will see what I mean along the way.

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5 Exercises for soloing over chord changes – Patreon

Content:

0:00 Intro

1:00 #1 Learn The Arpeggios But Not Only How To Play Them

2:13 Not Only Thinking In Intervals – Here’s Why!

3:56 #2 Give It Some Context – Add the Scales

4:47 #3 Put It In The Same Range – Where the Real Overview Is

5:56 #4 Connect the Chords – Voice-leading and Melodies

6:48 #5 Think Ahead – Universal Good Advice, Also in Jazz Solos

10:07 Avoid these mistakes in your solos!

10:18 Like the video? Check out my Patreon page

Improvising over Chord Changes with Target Notes:

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When You Really Know The Chords

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If you play Jazz then you need to know how to solo over jazz chords!

In this video, I am going to talk about how just assigning a scale to a chord is not really helping you play a better solo, but another approach which will make your solos sound a lot better.

There are many ways to think about a chord progression or a piece of music, but some of the common ways we break down harmony are really not helping if you want to learn how to solo over chord changes or Jazz Standards.

Locked in Thinking Scales

I have often come across students who spend a lot of time thinking about what scale goes where. This is also often what you will find phone apps say that they can figure out or in old Aebersold books.

Obviously it is nice to have a pool of notes to use when you are soloing and a scale is a practical thing that we can play.

And if you have to think about what scale you are playing you will not sound very good.

At the same time, 7 notes don’t really tell you a lot about how it sounds, you are not going to start all your lines on the root so it is far from a complete picture.

A lot of pieces have the same 7 notes happening all the time, but they don’t sound the same (think of 4 bars of Autumn Leaves). It is also difficult to know what to play out of those 7 notes that work well over the chord. There is more to it that will make it easier to play a good solo line.

Know the chords and How the Harmony moves

First, let’s look at what you need to know and a simple way to use that before I will get into some very useful soloing concepts. So this is what you need to know and then I’ll talk about a few ways to use it.

If you know the chords and the notes in the chords you can also see how each note in the chord moves from one chord to the next, but that is only possible if you really have a good overview of it and can voice-lead from one chord to the next.

You can figure out the Target notes that you want to emphasize in your solo since they are mostly chord tones and often you can look at notes that are not in the previous chord. ‘

This already helps you play something that connects with the chords and is clearly following the harmony.

Voice-leading for melodies and solos!

In the video, I also demonstrate how Voice-leading phrases is a great way to generate lines and something you want to have in your system.

This becomes a tool to really tie together different phrases and make youse solo a more complete musical whole.

Content:

0:00 Intro

0:37 Locked in Thinking Scales

0:52 Music is not just a Group of Notes

1:18 Autumn Leaves Example

2:10 Know the chords and how the harmony moves

2:26 Getting the Overview – Understanding a Chord Progression

3:03 I Remember You Example

3:30 Not just what the notes are but also how the voices move

4:38 Using Voice-leading in Comping and Soloing

4:53 Target Notes 3 examples

6:12 Voice-leading As A Melodic Tool

6:30 Moving Motifs with the harmony

7:29 One way to Practice this

7:53 Going through the progression

8:40 Example – Solo Using the Simple Exercise

9:09 Analyzing the Solo on the song – 3 ways of using voice-leading in a solo

10:44 Like the video? Check out my Patreon Page!

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How To Solo Over Chord Changes – The 5 Level Challenge

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Soloing over chord changes is a part of Jazz. It is a skill we need and in this video, I am going to go over 5 levels of exercises where you actually solo over chord changes and that will also test your knowledge of the chords, the fretboard and your ability to play strong melodies.

I am curious how far you can go, there are not that many who can do all 5 levels, but leave a comment with how far you can get. You can always pause the video and give it a try!

To keep it a bit short I am going to cover this just using a turnaround, but you could do this with any song or chord progression.

I am going to use a turnaround in C (play chords) and I am not really going to explain the scales etc. because if you are checking this out then you should have an idea about what those are already.

A lot of what this is going is about training very basic skills but getting them to a high level. Something that is very important in music. The last level is quite demanding and a goal I think we should all work towards.

The Never-ending scale exercise

Best Exercise for Difficult Chord Progressions – Never ending Scale Exercise

Check out more on improvising over chord changes

How To Solo Over Chord Changes The Right Way

3 ways to Solo over Chord Changes – Important Jazz Strategies

Content

0:00 Intro – A Dm7(9) voicing you already play

0:23 Making great sounding chords with inversions.

1:05 A little Voice-leading and a II V I Chord set

1:52 Inversions of the II V I Chords

2:22 Using Inversions and creating new sounds

2:47 Cmaj7 Shell-voicing and inversions

3:08 II Valt I chord set and inversions

3:59 A Great Counter-movement Trick for Shell-Voicings

4:45 Altered dominant Shell-voicing tricks

5:11 Putting it to use on a II V I Example 1

5:35 Example 2

5:53 Example 3 Inner-Voice movement ideas for these chords

6:24 Other Inversions

6:59 Like The Video? Check out my Patreon Page!

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How To Solo Over Chord Changes The Right Way

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When you start soloing over chord changes in Jazz then the first concern is often what to play over each chord. Of course, that is important, but maybe the most difficult part is how to play it, so that is what I want to focus on in this video:

How to play from one chord to the next in any chord progression

A Method that helps you play better solos not just fragments

And this is really because I found that to be such a huge difference for my own playing and it is time and time again what makes my students play lines that really connect with the changes and makes their solos sound much stronger and more natural.

In this lesson, I am going to quickly go over a progression and some chords, then find some target notes and talk about how you put those two things together to start creating some solid logical solo lines.

Here’s a basic II V I in C major.

Let’s keep it really simple: I am going to focus on playing from Dm7 to G7, so the first part of a II V I progression.

The progression is in C, so we don’t really need more than the C major scale: C major. As I have talked about in some of my other videos it is really useful(or necessary) to know the arpeggios for each of the chords etc.

Understanding the chord movement and how to play it

If you play from Dm7 to G7 then the most important note to change is the C in Dm7 moving to B in G7.

The is something we can use as a target note. If you want to play a solo that sounds like a logical melody and really connects well with the changes then using the B as a target note is a great choice.

So the idea is that if we play the B on beat 1 of the G7 bar then you can hear the chord change in the line.

One of the most important things to be able to do in music in general and jazz especially is thinking ahead. If you know you want to play a B on G7 then you can improvise a melody on Dm7 that leads into the B.

You can hear how it works here:

Solo Over Chord Changes- How Tor Practice

If you want to use this then you need to practice making lines on Dm7 moving to B., Of course, you can change to other target notes, I picked B because that is a very clear note and easy to hear.

So if you practice making lines that work like this then you might get something like this:

I would suggest you sit down and just try to improvise or compose lines, so play out of time but still think 8th notes so that you are working on being able to play lines from Dm7 to G7. As you work on this you get used to this way of thinking and you can easily implement it on other chord progressions as well. B-Roll – improvising rubato

I am of course using this on a II V I, but you can probably see how this will work on any chord set. They don’t have to use the same scale or be in the same key. This works on any chord progression.

Choosing Target Notes to Improvise Towards

The easiest choice is to pick a note that was not there in the previous chord or scale, so here I use B. If it was an altered dominant I could have taken a b13 or a b9 as well since they are not strong notes on Dm7 (or Cmaj7 for that matter)

For the res,t the 3rd is usually very clear, and often the 5th is too. In the beginning, you want to pick clear notes so that when you play a solo line without comping you can still hear the harmony change. This is really useful for your ears and helps you play a lot stronger solos.

Example on Take The A-Train

Another example: Take The A-train. Going from Cmaj7 to D7(#11).

Example one: Target note F# moving from C to D7.

Another good option for a target note is the melody note G#.

If you want to explore some other approaches that will help you improvise better solos and use other concepts than what I have covered here then check out this lesson where I am talking about improvising over chord changes but also how you might approach it in different ways:

3 ways to improvise over chord changes

Explore Target notes on Rhythm Changes

One of the most important strategies for soloing and how to learn that working on Rhythm Changes:

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