ROUTE 666 - ROCCO’S ADVICE ABOUT HOW TO SHAPE AN IMPROVISATION

Pop and rock music is often characterised by diatonic chord progressions, with melodies that are appealing. So when I’m on a session where I have to improvise or prepare a solo, I consider the relevant diatonic and pentatonic scales with specific focus on creating melodic impact. I think this is very important, to solo melodically while highlighting the chords. This is very common when studying and playing jazz but just as useful whatever genre you play in. It’s also the approach I took for Jason Sidwell’s rock fusion piece, Route 666. One aspect of melodic playing that I have practiced a lot is the study of triads (three note chords), both closed (notes close together) and large (such as open voicings where the notes are more spread out). I think of triads as fundamental notes derived from the corresponding modal scale of the accompanying chord (eg a Dm triad being derived from D Dorian, played over a Dm chord). To use triads that sympathise with a track’s chord changes, it is imperative to know the chords (or at least have them written down to reference; just watch you’re not overly distracted from soloing well when reading a chord chart!). Here’s a suggestion for you: I often ask my students to solo over a Little Wing backing track. During their playing I stop the music and ask them what the chord is in that instant. They often make a mistake naming it so don’t be like them - know the song’s chords well and then you’ll solo with greater impact!