The perfeCt jazz Solo!
[bars 2-9: simple melodies] We begin our solo study with a collection of simple melodic ideas that fit each chord perfectly by connecting those crucial 3rd and 7th intervals in a logical and cohesive way. When approaching writing a mel6odxyx, xyxoxuxcxoxuxlxd do a lot worse than just writing down all the notes in each
6 xxxxxxxxxx chord and look at the results for a second to see if you spot any connections.
6 xxxxxxxxxx like e6vexrxyxthxixnxgxxyxoxu practise, familiarity with the common moves comes with time sC6ooxbmxexpxaxletxitxeexnxtSxwoiltoh:your studies and you shall reap rewards. [bars 10-13: Double-Time] From a scale perspective, we’re looking at Bb Ionian
1herBe,bEb (Eb-F-Gb-Ab-Bb-bC-jDbbÏ) (Bb-CC-Do-mEbp-Fle-G AS)folrob:SowthinBgbmaj7As maj7 Dorian E m7 A1 B maj7 Em7 A1 B maj7 E 7 A1 B maj7J E 7 A1 B maj7 E 7 1: Simple Melodies 1: Simple Melodies 1: Simple Melodies 1: Simple Melodies6 8 1: Simple78 Melodies6 8 78 6 8 78 6 8 78 6 8 78 Swing Swing∑ Swing∑ Cm Cm Cm Cm Cm with chromatic bridges for Ebm7 and Ab7 and the combination of G Phrygian and Phrygian Dominant for G7#9 (G-Ab-Bb-B-D-Db-Eb-F). While you could, of course, choose to pick all these notes, pay attention to all the hammer-ons and pull-offs as these are strategically placed to maximise both speed and bounce. [bars 14-17: Quotes] Within these four bars we see three variations of the same five-note phrase, although each time both the melodic and rhythmic content is varied ever so slightly to sustain interest with what is essentially the same idea over and over. This ability to reuse and disguise your phrases is one of the key Ab creBabting improvised#
9sobloÏ asp7ects to maj7 long and cohesive G7 s. A 7 B maj7 G7 9 A7 B maj7 G7 9 A7 B maj7 G7 9 A7 B maj7 G7 9