ExAMplES9&10 major-minor CompinG/arpeGGio soloinG
We end with a simple but musically effective solo that draws predominantly from the arpeggio tones of the underlying chords. There is absolutely nothing wrong with triads, as players like Django, and in this instance John, ably demonstrate. The beauty is in areas such as the rhythmic phrasing and in making sure the connection from one chord to the next is as smooth as possible. It’s a great exercise to play a single note solo over a tune with lots of chord changes and try to make the chords clearly audible with just note selection alone. When analysing this example your task is to compare chord symbol with note selection. Here the connection is fairly explicit, so this should be a good one to get you started in thinking this way. Bucky’s chords are equally economic but also equally beautiful and effective. Notice how each voicing is essentially stripped down to root, 3rd and 7th, or root, 7th and 3rd and how these voicings connect with minimal movement as the sequence unfolds. Of course, Bucky might drop the root down onto his low A string, as we’ve presented these ideas for regular six string but the concepts are equally applicable on either instrument and lots more besides.