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Introduction
Guitarists studying jazz often run into the problem of how to get a jazz or bebop sound into their playing. It's important to get down scales and arpeggios and know music theory but how do
you get to the next level? For most musicians, the next level is learning melodies. Knowing tons of scales and arpeggios doesn't at all guarantee that you can suddenly play melodically. A few proven approaches to learning to play
melodi-cally are to learn lines from recordings of top players or from transcriptions of their solos. Careful listening to classical music and studying the great composers
also offers a wealth of melodic influence.
A major ingredient in jazz, as well as in classical melodies, is chromatic passing tones. Often referred to as "neighbor tones," these notes lead or
"Set-up" scale and chord tones giving melodies more interest. The term "target tone" is often used to describe the primary scale/chord note that is set-up by
passing tones. Passing notes in melodies can actually make chord and scale tones sound stronger.
Guitar players have explored several approaches in striving to add chro-matics to their playing. From simply adding passing notes to scales, to
struggling to make musical sense out of the chromatic scale. Often these approaches come up short when it comes to creating good chro-matic melodies that still define the chord they are being played over. The key to success in using chromatics comes with the
understanding and the ability to "hear" how these weak "out of the key" passing notes work with and enhance strong chord
and scale tones.
It is also correct to assume that rhythmic phrasing is an important part of the equation. Most jazz and classical
melodies take advantage of the strong beats to work =S with passing tones to emphasize primary notes.
= Who are the guitar players that use chromatics? Obviously a difficult question. Pretty much every experienced player uses them to some degtee. Jazz guitarists such as Joe Pass, Pat Martino, George Benson, Pat Metheny and John Scofield are only a few of the many that come to mind. Even Charlie Christian and Django Reinhardt's improvisations were filled with chromaticism. Today, modern players such as John Mclaughlin, Scott Henderson and Allan Holdsworth have pushed the envelope using chromatic sounds as a tool for playing "outside."
However, chromaticism isn't just reservedfor jazz players. Many great blues and rock players play melodies sprinkled with passing tones. There are even some amazing chromatics heard in bluegrass and country music.
But to really understand the big picture when it comes to chromatics, expand your listening beyond guitar players. Pianists and horn players have led the way in the exploration of chromatics' Names like Parker, Coltrane, Davis, Evans, Corea and Hancock are just a few legends who impro-vise with chromatics.
And if you want to visit the real founding fathers of melodies, check out a guy named Bach or Mozart or even Gershwin.
'Ihrget
Melodrcs
Nothing will teach you more about passing tones than simply learning lots of melodies con-taining them. But here is an easy way to immediately put chromatics in your playing.
All you have to do is learn the two following four-note melodies and be familiar with a few basic arpeggios. The way these short melodies work is the first three notes "set-up" and "target" the final fourth note. This is why they are phrased in 8th notes starting on the "and" of beat one and the ,.and,, of beat three in the bar. Later examples demonstrate the melodies in 16th notes phrased with the 4th, or target note, on down beats.
Target Melody #1 begins on D, a whole step above the target tone C. Then down a half step to Db and to B before resolving to C (circled note). Learn this line everywhere on the fingerboard on every string.
Target Melody #L
Example I
Example 2
Now let's put these two melodies to use. We're going to take aC7 atpeggio around the 8th fret and apply our two melodies targeting the arpeggio tones. Use melody #1 to target the root, 5th and bTth of the arpeggio. Use melody #2 to target the 3rd. The four target tones are circled. Even though the fingerings might seem awkward, you can instantly hear the chromaticism surrounding the tones.
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Target Melody #2 begins on F, only a half step above the E target tone. Then down to D, up to D# and finally resolving to E. As with the first melody, play it all over the guitar keeping aware of the fourth or "target" tone.
Target Melody #2
1(F9-7-8-12-11 7-12-11
Arpeggio Fingerings
If you are not familiar with arpeggios such as the C7 used in Example 3, a few very useful patterns are next. To get the most out of the target melodies, three types of arpeggios are important to know: dominant 7th, major 7th and minor 7th. Each arpeggio is shown in two common patterns. Pay extra attention to the arpeggio tones (root, 3rd, 5th, 7th, etc.). Although each arpeggio has four notes per octave, the fingerboard patterns have a range of about two octaves. Also, the arpeggios are notated ascending only. To descend, simply play the notes in reverse order.
The first two patterns are for C7. Remember that arpeggio patterns slide up and down the fingerboard just like chords. Once you start to memorize the patterns, move them up or down to other keys. Use the roots on the 5th and 6th strings as guides.
C7 Arpeggios
Example 4
Example 5
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You'll notice that the first pattern begins on G rather than the root. It's very common to begin scales and arpeggio fingerboard patterns on notes other than the root. This simply extends the range. At first, it's OK to begin on the root of the arpeggio (C on the 3rd fret, 5th string) ignoring the optional lower notes.
The next two patterns are for Cmaj7.
CmajT Arpeggios
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5th 3rd
The final two arpeggio patterns are for a minor 7th. Again, pay special attention to the chord/arpeggio tones (root, b3rd, 5th, bTth) shown below each note on the staff.
CminT Arpeggios
Example 6
The next two examples demonstrate the two melodies targeting the arpeggio tones of a major 7th and minor 7th. Played around the eighth fret area, Example 7 uses melody #1 to target the root (C), and the 5th (G). Target Melody #2 is used for the 3rd (E) and the 7th (B). You can continue into the next octave targeting the 3rd (E on the 9th fret, third string), 5th (G on the 8th fret, second string), 7th (B on the 7th fret, first string) and a high root (C on the 8th fret, first string). Example 7
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10-7-8-9-12-11 7-12-11Here are the notes of CminT targeted by the two melodies. Unlike the majT and dom7, the minT has a b3rd which uses Target Melody #1. In fact, all four tones are targeted by melody #1. The example is shown in the eighth fret area (2nd Cm7 arpeggio pattern), however, it can also be played around the 3rd fret using the first Cm7 arpeggio pattern.
Example 8
CminZ
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Etc.
1()-_+-7
13-12-1(Fl1 12-11Once you can play and understand Examples 3, I and 8, let's move on to making music with our targeting melodies. I'm sure you've found that when the notes of arpeggios are targeted in order (root, b3rd, 5th, b7th etc.) using our two melodies, the fingerings can be awkward. Also, the lines created can sound predictable and even a bit corny. But, coming up next are ways to use the target melodies in lines that are easier to play and sound more interesting.
10_9_7_8_12_11
Melodic hth-Note Phrases Using Thrget Melodies
In this section we'll learn some practical melodic phrases that use the four-note target melodies. All that is done to create these lines is to mix up the order of the arpeggio tones that are targeted. We'lI also begin to combine the target melodies with scales and arpeggios.
The first line is for C7 and begins with Target Melody #l setting up the bTth followed by melody #2 targeting the 3rd. These first eight notes create a classic jazzlbebop phrase that can be found in countless recorded solos by jazz artists. The line continues targeting the other notes of C7. Except for the last three notes of the third bar and lst note in the fourth, this entire line is built using the two target melodies.
Example 9
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1(F_9-7-8-13-1(Fl1-13-1^ 1F-11
The following line for Cmaj7 uses the target melodies more sparingly and introduces a few arpeggios. Following the pickup (melody #1 targeting the root), a Cmaj9 arpeggio ascends into melody #2 taryeting the 3rd (E). The G# in the 3rd bar is an interesting chromatic passing note helping to target the G, lst note last bar. The last bar is aCmajT descending arpeggio.
Example 10 Track l0
A good line for CmJ, Example 11 begins with a C minor scale leading into Melody #1 tar-geting the b7th. The line continues with several more target melodies before a descending C minor arpeggio in the last bar.
Example Il CminT 1(F9-7 1(F9-7 1(F9-7
CmajT
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1 ( F 1 1A modification you can make to this line to give it a more jazz sound, is to change the lst note in the second bar to B natural. Then use Target Melody #2leading into it (the last three notes of the lst bar would be C. A and Bb). Now the line has a C melodic minor flavor. Check it out.
Thrgeting with 16th Notes
At some tempos, it might be more appropriate to phrase melody lines with 16th notes. Our two targeting melodies work just as well played as 16ths. In fact, all of the previous examples can be played as 16ths. The main difference is that you'll have four places to apply targeting in each bar instead of two: on beats one, two, three and four. 16th notes are counted "one-e-&-a, two-e-&-a, three-e-&-two-e-&-a, four-e-&-a." The target melodies are played beginning on the "e" of any beat. This will accent the target note on a downbeat. This is, however, not a "set in stone" rule. At times, tar-get melodies can begin on other 16th-note divisions of the beat. Later examples will demonstrate this.
In this first 16th-note example, all the target melodies resolve to C7 tones on down beats. It also includes several arpeggio shapes and chromatic moves. Don't forget to move the line to other keys once you get it down.
Example 12
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13-12-1 tO==-::_----rO-Z-g-g - Z-8-11 10-9-7-8-13-1(F1 1 12-13-14-15-12 - 15_.t4_12_13-1 15-12-7-8 Example 13The next line for Cmaj7 uses the two target melodies mixed with short scale sequences (C major). The accents created by the target melodies are all on down beats except for one place. The second to last note in the first bar, (G) is targeted by melody #1 beginning on the "a" of the third beat. This "off-set" effect smooths out the line making it sound less predictable.
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7-7-1(F7-8-9-1
r v
Example 14 has a distinctive jazzlbebop sound. The target melodies descend setting up the b3rd and root of Cmin7. I play the first eight notes all on the first string but you might prefer
involving the second string. Then something different happens. Target Melody #2 is played to target the 6th (A) of the Cmin7. This introduces the next section in this book: using target melodies on scale tones as well as arpeggio tones. The rest of Example 14 is built with melodies targeting the major 7th (B) and the root followed by a simple scale sequence idea. The use of the major 7th, which is a very common jazz technique, adds a touch of tension/resolution to minor lines.
Example 14
13-' 12-1 11-1(FF7
11-8-9-1
10-8-7
10_7
Thrget Melody Theory
It may be clear to you by now how our two target melodies are constructed. If not, here's a quick analysis:
The first of the four notes in either target melody always begin on a scale tone that is in the key. This determines which target melody to choose. The first note also starts either a whole step (two frets), or a half step (one fret), above the target tone.
In Target Melody #1 the two middle notes are either chromatic passing notes or a chromatic passing note and a lower scale tone. The 2nd and 3rd notes of Target Melody #2 are a lower scale tone and a chromatic passing tone. The final note of both melodies is the target tone, which is either a chord/arpeggio tone or scale tone.
The following example shows the two target melodies with descriptions of their specific notes.
Thrget Metody #1
Target Melody #2
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Example 15
upper Chromatic Low,er scale Target tone scale tone passing tone
rcne or chromatic passmg tone
Lower
scale tone passing Chromatic Target tone tone
CminZ
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Upper
Targeting Scale Tbnes
Scale tones are also a good place to apply our target melodies. If we do a little math, we'll find that most basic scales have seven notes. And of that seven, we have been targeting four of them, the root, 3rd, 5th and 7th. This only leaves three more notes remaining in the scale. The 2nd, 4th and 6th. Applying the two target melodies to these tones expand the possible sounds we can create. Just keep in mind that targeting to chord/arpeggio tones are harmonically stronger than scale tones.
The first example is more of an exercise than a melody line. It's good to know however, because it demonstrates targeting all seven tones of a major scale. It also is a good chop builder because of the challenging fingerings. The tab shows several target melodies played on adjacent strings rather than on one string. This helps stay in position. The C major scale tones are circled in the first octave of the line.
C Major Scale
Example 16
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7_6_ 7-1r.,-.7-8-9 9-1 7--$ _ 8 _-¤-7-1(F9-7 1G13-1G11-12 - - 12-1About the Chromatic Scale
Learning to improvise using chromatics is not as simple as just playing a chromatic scale (all twelve tones). The chromatic scale by itself does not identify and sound any particular chord. Solo-ing usSolo-ing just the chromatic scale will probably lead to a nonsensical result.
A good improvisor and composer can use several chromatics in a melody line and still retain the sound of the chord. All of the melody lines we have covered so far express the sound of the chord they are played over. When you play these lines, even without accompaniment, you can still hear the chord's sound. And with very few exceptions, all twelve tones are sounded in every exam-ple.
The same principles apply to targeting tones in major scale modes. Since the modes simply start on any note of a major scale, maintaining the same l/2 step/whole step sequence, the row of target melodies will be the same. Here's an A natural minor scale or A aeolian mode in one octave targeting each scale tone. But remember, they're just the notes of C major, starting on A'
A Aeolian Scale
Example 17
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AminT
7 :10-9-7-8 - 9-1 7--4-9-8-6-7-1o_7
7-10-7-8-H1
Of the three traditional seven-note scales used in Western music (major, harmonic and melodic minors), the harmonic minor scale is unique because of the minor 3rd interval between the b6th and maj7th degrees. Even with this interval, our two target melodies still work great.
Examplel8 demonstrates targeting the scale tones of D harmonic minor. It also demonstrates one of the best uses of the scale, D harmonic minor over A7. This is by far the most common use of this scale which creates an "altered sound" over a dominant 7th (A7#5b9)'
D Harmonic Minor Scale (starting on A)
Example I8
Thrgeting Descending Scale Tones
So far, the emphasis has been on targeting scale tones in order, in an ascending manner. This works well because there are never any doubled notes (two that are the same and side by side). But when we reverse the process and follow the scale in a descending direction we find dou-bled notes between each target melody. In many situations this may sound OK, but check out the result of leaving out one of the double notes.
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7-5-6-1 (F9 -7 -8-1 1 -8-9-1 7_4_5_6_9_8_$_7-7
Example 19 is a descending C major scale starting on F. It begins by targeting the high F with Melody #1. But to target the next E note (Melody #2) we'll leave off the frst note (F) and borrow the last F (target tone of the frst melody). This F now serves two purposes: it's the last note of Melody #l and the first note of Melody #2.We end up with a pretty cool sounding ,,offset,, chromatic sound as we continue down leaving off the first note of each new target melody.
C Major Scale Descending
Example 19
GTlDminT
15-14-1 13-1GG1 1-12-11-Fl
1 4-1 2-1 3-1G1 1 -1 2-1 1 -9-1
Now for a few line ideas that demonstrate targeting scale tones. The next example is a phrase for F7 and targets scale tones along with arpeggio tones. It also takes us to a new finger-board position. The line lays roughly around the eighth fret and is based in the first domin ant 1th arpeggio pattern. (c7 pattern #l slid up to F7, at the eighth fret).
It starts with an F7 scale (Bb major) with a few passing notes leading into a target melody on the 2nd degree (G). More target melodies continue up the scale on the 3rd and 4th degrees. Following two scale tones, another melody targets the b7th. With the accents now turned around, (similar to the offsets in Example 19) the bTth tone now becomes the first note of target Melody #2 setting up the 6th degree. Next, Melody #1 targets the 5th and #2 targets the 3rd. We finish off with a little chromatic idea on the second and third strings followed by some scale tones. This line also fits well over Cmin7.
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Example 20
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13-11-12-11-9-1G7F7 (Cmin7)
1 0L9_7_8_1 1_8_9_1 0_1 3 _12_1 1(F9 - 8_1 1(F8-7-1 (F1(F8-7-1 3-1(F8-7-1 2-1(F8-7-1 0-1(F8-7-1 1(F8-7-1-8-F1(F8-7-1 (F9_7The melodic minor scale is a favorite of jazz players to create altered and "outside" sounds. One of the most popular uses is to superimpose a melodic minor l/2 step above the root of a domi-nant 7th chord. The next example demonstrates a C melodic minor scale line over 87#5#9.
Example 2l
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b
Rhythmic Phrasing
All of the previous examples so far have used very basic rhythms, just straight 8th and l6th notes. This makes them easier to learn and helps emphasize the melodies. But rhythmic phrasing, along with good melodies, is what really breathes life into music. Once you get your favorite exam-ples learned and can play them in any key, start experimenting with breaking them up rhythmically. Listen closely to the recordings of your favorite players and emulate their rhythmic phrasing.
It's beyond the scope of this lesson to go in depth into the subject of rhythmic phrasing and syncopation. But, here's an example of a melody line both in straight 16th notes and broken up rhythmically. The line uses a few target melodies mixed with chromatics with emphasis on the major 7th (G#).
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Examplc 22
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13-12-1G11-7-1(F9-7-8 _. ^ - _ 11_711-8-F1+1
1(F8_7_ -1(F_l(F7AminZ
Next is one of hundreds of possible rhythmic variations that can be created with the above melody. It utilizes several syncopated 16th-note figures and a l6th-note triplet. The rhythms extend the line an additional two beats.
Example 23
Blues and Jau Chromatic Lines
Now for a few Blues andJazz melodic lines featuring target melodies and chromatics. The examples have several target melodies but also demonstrate other approaches to chromatics. And, as with all of the previous examples, explore other fingerings if the ones shown are awkward or uncomfortable for you. There are several play-along tracks on the CD to practice the lines in a musical situation.
We'll get started with a simple but cool blues riff in C minor. It can also be played over F7. The D grace note slides into the Eb followed by Target Melody #1 leading into the root C. The 6th tone (A) and 5th (G) are targeted before an ascending chromatic blues resolution.
Example 24
CminT
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AminT
1 ( F 1 1 - 1 ro-11-1()-9-7 11-8 - 11-8-9-10-9-7This next lick is another blues-style line for C7. It's unique because the entire line is played on the first and second strings. It combines a few bends in C minor pentatonic with added C7 scale tones. If you want to play this line over a C minor chord, flat the two E notes.
Example 25
C I
Example 26
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Here's a classic blues riff for C7 with some extra chromaticism thrown in. The line is based on C minor pentatonic, howeveq it switches to more of a C7 sound in the second bar. Our two tar-get melodies can be found between several scale and chromatic passing tones.
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C Z
1 1 -1 2-1 3-1 4-1 5-1 4-1 3-12-11 15-14-12-13-1 15-1 13 _ 11_14_12_ 15-12-13-1Check out this unique blues line inspired by George Benson. It's essentially a descending c blues scale filled with chromatic passing notes. what makes this line so interesting are the high punctuations that jump out in an unpredictable manner'
Example 27
Exatnple 28rrack26l@
C7 (Cmin7)
--10-1(F9-8 8-7 10-9-8-8-7The C minor pentatonic scale is used in the next example to demonstrate two important points. First, our target melodies can work great in a pentatonic scale if they are placed in a way that fits the style of Lusic. The second point is that the target melodies can also work when played as triplets. But again, they need to be phrased in a way that emphasizes the correct notes'
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One of the most common chord progressions in music is the II-V-I. It's also a great place to apply chromatic ideas. This example starts off with a traditional jazzlbebop line over the Dm7. When we reach the G7#5, the line changes to Ab melodic minor to take advantage of its additional tension. The scale changes to C major for the last two bars. You'll find several target melodies in this example.
Example 29
. Up next is a line for a minor version of a II-V-I progression. Most of the line is based in the E harmonic minor scale. Target Melody #1 sets up the b5th of the F#min7b5 followed by a
descending E harmonic minor phrase into Melody #2 targeting the 3rd of the 87b9. Additional E harmonic minor notes take us to a resolution on Emin7.
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Example 30
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EminT
Example 31 is a longer minor II-V-I line. This time the II and V are one bar each. E har-monic minor is the primary scale used for the II and V chords to create the interesting and almost "classical" tension.
Example 31
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Btbs
EminT
Example 3l is a long 16th-note line that is a"bag of tricks" when it come to chromatics. Played over A7 or Emin7, the line has a very jazzlbop feel to it. The line in its entirety, makes a good chop builder but probably is a bit long to use in a solo. But there are several useful shorter ideas that can be extracted.
Example 32
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7 - 8-5--$-7-¤-5-7
7-8-1(H-9-7-6 7-9-8-8-9-7
7-1(F8-11-The final example is two choruses of a jazz-style blues in Bb. It's filled with traditional chromatic lines and a few modern approaches. The first l2-bar solo is just straight Sth notes travel-ing through the basic chord changes. The second chorus has some rhythmical phrastravel-ing mixed with a few contemporary and "outside" sounds. The track is a swing jazz feel at a medium tempo. The solo makes a great warm-up and technique exercise. And, as with all the examples in this lesson, find ways to use them in your playing, even if it is only a short phrase that you liked from a longer example.
"Jazz-Blues Solo Etude"
Examplc 33
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nbt
10_9_7_8_7
Eaimz
"Jazz-Blues
Solo Etude" cont'd
CminT
1 1 - 1
G+s
10_9_1(}-9-8 A F I t _ ECminT
12-8-11-9-Gzvs
10-8-9-7-8 6-7 10 8_9-7-8-6-7Play-Along Tracks
practice the examples using the play-along tracks on the CD. Even if you don't have the lines down very well, play them in half time or slower (ll4 or half notes) along with the band. Learn the lines well enough that you can accurately sing them. And as soon as you can, work them into an improvised solo. One important thing to remember: depending on your playing experience, don,t try to tackle every example in this book at once. You are better off learning just a few that you can really play and use.
C7 Groove Play-Along TFack
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Cm7 Groove Play-Along Tfack
CmajT Groove PlaY'Along Tfack
II-V-I in C Play-Along Tfack
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[-V-I in E minor Play-Along Thack
Jazz Blues in Bb Play-Along TFack
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I hope this lesson gets you started on the road to playing more interesting and melodic solos. Experiment with the two target melodies on all types of arpeggios and scales. Listen to recordings to hear how ,-our favorite players use techniques like this. Invent your own "target" melodies. Although the Wo shown in this lesson are probably the most common ones, any short phrase that leads into a specific note can be considered a target melody.
And be sure to join me at the Guitar Axis web site for more on chromatics and many other topics.
