Improvising over one chord for long stretches of time can be a musician's best friend or worst nightmare. With no harmonic variation, we are left to generate interest through our lines, phrasing, and creativity. When I started learning to improvise, a minor 7 chord and a Dorian mode were the only sounds that I wanted to hear at the time. I found it tremendously helpful to have the harmony stay in one spot while I mined for new ideas to play. Playing over a static chord was crucial in developing my sense of time and phrasing.
The following is the first improvisational device I ever came across. I want to say I got it from a Frank Gambale book. The idea is that there are three minor pentatonic scales "hiding" in any given major scale. If we're in the key of C (C–D–E–F–G–A–B) we can pluck out the D, E, and A minor pentatonic scales. If we frame them over a Dm7 chord, they give us different five-note combinations of the D Dorian mode. In short, we are building minor pentatonic scales off the 2, 3, and 6 of the C major scale.
Viewing this through the lens of D minor (a sibling of C major and the tonal center for this lesson), D minor pentatonic gives us the 1–b3–4–5–b7, E minor pentatonic gives us 2–4–5–6–1, and A minor pentatonic gives us 5–b7–1–2–4. This means you can use your favorite pentatonic licks in three different locations and there are three different sounds we can tap into from the same structure.
If you smashed all of them together, you would get the D Dorian scale (D–E–F–G–A–B–C) with notes in common between the D, E, and A minor pentatonic scales. Ex. 1 uses all three scales, so you can hear the different colors each one creates over the chord.
Ex. 1
Ex. 2 is how I improvise with them, usually weaving in and out using different positional shapes.
Ex. 2
The next idea is one I stole from a guitarist who often came into a music store I worked at. On the surface, it's very easy: Just take two triads (in our example it will be Dm and C) and ping-pong between them. The D minor triad (D–F–A) gives us 1–b3–5, which is very much rooted in the chord, and the C major triad (C–E–G) gives us the b7–9–4, which is much floatier. Also, if you smash these two triads together, you get 1–2–b3–4–5–b7, which is a minor pentatonic scale with an added 2 (or 9). Eric Johnson uses this sound all the time. Ex. 3 is the lick I stole years ago.
Ex. 3
Ex. 4 is how I would improvise with this concept. Many different fingerings work with these, so experiment until you find a layout that's comfortable for your own playing.
Ex. 4
If two triads work, why not seven? This next approach will take all the triads in the key of C (C–Dm–Em–F–G–Am–Bdim) and use them over a Dm7 chord (Ex. 5). Each triad highlights different three-note combinations from the Dorian scale, and all of them sound different. Triads are clear structures that sound strong to our ears, and they can generate nice linear interest when played over one chord. Once again, all of this is 100% inside the scale. Ex. 5 is how each triad sounds over the track, and Ex. 6 is my attempt to improvise with them.
Ex. 5
Ex. 6
If we could find all these possibilities with triads, it's logical to make the structure a little bigger and take a similar approach with 7 chords, or in this case, arpeggios. Naturally, all the diatonic chords will work, but I'll limit this next idea to just Dm7, Fmaj7, Am7, and Cmaj7. I love this approach because as you move further away from the Dm7 shape, each new structure takes out a chord tone and replaces it with an extension. I notice that I usually come up with different lines when I'm thinking about different chord shapes, and this approach is a decent way to facilitate that. Ex. 7 is a good way to get these under your fingers. Just ascend one shape, shift into the next shape on the highest string, then descend and shift to the next on the lowest string.
Ex. 7
Ex. 8 is my improvisation using all four shapes and sounds, but I lean pretty heavily on the Am7.
Ex. 8
This last concept has kept me busy on the fretboard for the last five years or so. Check it out: You can take any idea that works over Dm7 and move the other diatonic chords. The result is six variations of your original lick. In Ex. 9 I play a line that is 4–1–b3–5 over Dm7 and then walk it through the other chords in the key. These notes are still in the key of C, but it sounds drastically different from playing a scale.
Ex. 9
In Ex. 10, I try to think about the shapes from the previous example, but I break up the note order in a random but fun way. The ending line is random but felt good, so I left it in.
Ex. 10
While all these concepts have been presented over a minor chord, you can just as easily apply them to any chord quality, and they work just as well in harmonic or melodic minor. Rewarding sounds are available right inside the harmony, and I am still discovering new ideas through these concepts after many years.
Though the above ideas won't necessarily be appropriate for every style or situation, they will work in quite a few. Developing any approach to the point that it becomes a natural extension of your playing takes considerable work and patience, so just enjoy the process, experiment, and let your ear guide you to the sounds you like. Even over just one chord, there is always something new to find.
It’s a familiar problem: You know your pentatonic scale patterns, but they’re only getting you so far. In this lesson, instructor Caitlin Caggiano breaks down the pentatonic scale and helps you elevate you patterns and deepen your playing. Want to learn how to make your pentatonics feel less boxy and more musical? How to use multiple pentatonic scales to emphasize chord tones? How to add certain notes to add more dimension and color to your playing? This lesson is for you.
Great music tells a story. It builds on a plot and holds the listener’s attention as the story unfolds. We are especially moved by soloists who bare their souls and who keep us riveted with every twist and turn from their narrative. Pentatonics are the backbone of modern guitar vocabulary. Partially because they just sound good, but also because they lay so easily on guitar. There are several ingredients that make a guitarist sound brilliant, but one of the most important is chromaticism. Could there a be a way we could combine these two? Let’s find out.
This term chromaticism comes from the Greek word chroma, which means “color.” Using chromaticism means having the freedom to use all 12 notes over a given chord. Imagine the possibilities and freedom to play any note over a chord in composition or improvising! The quickest way to start adding color notes to the minor pentatonic scale is to add the 2nd and the 6th, which then gives you a Dorian mode. I’ve outlined it below using the A minor pentatonic scale.
A Minor pentatonic: A–C–D–E–G
A Dorian: A–B–C–D–E–F#–G
In general, there are chromatic notes that are outside the chord/scale, and notes that are outside the key. The latter carries a lot of tension against a chord and needs movement or resolution. From my days of playing jazz gigs in Toledo, OH, I recall what legendary trumpeter Jimmy Cook once told me regarding playing outside: “You can go up to the attic, but you have to come back down.” In other words, you can play outside tonally, but you must resolve at some point in order for your music to sound coherent.
Let’s get started on this journey of chromaticism together.
Before we go hog wild and add random notes, let’s begin by taking an A minor pentatonic scale and fill in the chromatic notes between the already existing box pattern. It’s almost arbitrary, but it will enable you to hear different colors added within the scale (Ex. 1).
Chromatic Burst of Energy. In beat 1 of Ex. 2, we start with an A Dorian fragment followed by an extended chromatic line. The line in beat two starts on the b7 (G), highlighting the b5 (Eb) on beat 3, descending chromatically all the way down to B, and ending with A major pentatonic.
Bounce Around! We start on the b5 (Eb) followed by a typical chromatic rotation where we bounce around the b5. This idea lays quite well in the familiar pentatonic box. It’s easy and will add spice to your shredding (Ex. 3).
Side Stepping. A common approach to playing “outside” is side stepping. In other words, take the scale you’d normally use and displace it by a half-step above or below. By doing this, you’ll have instant access to notes that are harmonically outside the key—don’t think of them as wrong notes, just coloring notes. In Ex. 4 we take a pentatonic pattern from E minor pentatonic and sequence it in F minor pentatonic. As the notes can be analyzed over the E5 chord, it’s more important to view them as passing notes. Remember, the power of the sequence overrides the harmony!
Extend the Side Step. Ex. 5 uses the same concept of side stepping above but adds a note (D) to the displaced pattern. By doing so, this breaks the predictability of the phrase and places subsequent notes in new places.
Changing Tones.Ex. 6 is a fun lick to learn that starts with a strong, repeated three-note polyrhythmic figure (A#–B–D). The chromatic part occurs on beat 4 and utilizes changing tones, which is a type of non-harmonic tone.
Don’t Start On 1. The line starts on the 2nd (B), goes up a whole-step to C# followed by a double chromatic approach to Bb, down a whole-step to (G#), and finally resolving to the root (A). Once the A note is reached, there’s a cascading flurry of four-note groups settling in A minor pentatonic (Ex. 7).
Scrambles. This example (Ex. 8) was inspired by the legendary New York guitarist, Mark Hitt. Mark was a unique player, combining a rock sensibility with a jazz quotient. He developed an arsenal of twisting lines using chromaticism that he referred to as “scrambles.”
The pattern alternates between 1–3–4 and 1–2–4 fingerings, a typical fingering of the diminished scale. It can be analyzed where notes of the pentatonic are being targeted, but it’s all about the texture and excitement that is created. Make sure to play the line with slurs to get a fluid, legato sound.
Half-Step Approach. In this instance, we take the Im triad (Am) from the pentatonic scale and approach each chord tone from a half-step below (Ex. 9). This is more of a concept and exercise rather than a lick. This idea can be used with just about any improvising application.
One String Wonder. Ex. 10 highlights a series of chromatically descending half-steps. It’s an easy technique to get down and one I often use. It provides melodic interest, but also serves as an easy way to connect one position to the next. Here, we start on a high F that walks down a fourth to C in half-steps, followed by a C minor blues phrase.
Practice Tip
These chromatic lines sound best when played fast and with conviction. As always, approach new material slowly and accurately. Ignore your inner voice that may tell you that the “outside” notes are wrong. Once you’re able to play the lines up to speed, you’ll be amazed by how impressive it sounds. These ideas that will add motion, color, and excitement to your playing and enhance your musical expression when soloing.
In August 1960, hot on the heels of releasing his breakthrough record as a bandleader, Wes Montgomery won the New Star guitarist award in DownBeat magazine’s International Jazz Critics Poll. The album, The Incredible Jazz Guitar of Wes Montgomery, set the jazz world on fire, and featured one of the guitarist’s most electrifying approaches to soloing—moving from stunningly swinging single-note lines to breathtaking cascades of his trademark octaves, and culminating in wickedly masterful chordal soloing.
Playing with his thumb instead of a pick—initially, so as not to wake his family and neighbors during his late-night practice sessions—Montgomery’s tone was strikingly smooth and warm, while simultaneously being the epitome of cool.
The album has more than a few standout tracks, but, as DownBeat writer Ira Gitler raved in his 1960 review, “‘West Coast Blues’ will knock you out.” Composed by Montgomery, it is a decidedly non-traditional 12-bar blues, evoking a smoke-filled, late-night jam session. Also unique is its use of 6/4 time. But, fear not, you can think of a bar of 6/4 as simply being two bars of 3/4, with an invisible bar line in between.
Here’s the tune in its entirety. Note how Montgomery keeps his solo (0:58) compelling throughout, all the while building to a dazzling chordal crescendo. You can follow along using the accompanying chord chart.
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Note: You can play all of the examples in this lesson either with a pick, or Wes-style with your thumb, but you’ll notice a snazzy change in tone trying the latter.
Half-Steps Are Hip
For the first four choruses of his solo, Montgomery focuses exclusively on single-note lines. Along the way, he injects new life by conjuring unique twists and turns. Every chorus is vibrant, always keeping us on the edge of our seats.
Let’s begin with Ex. 1 (1:09), in which Montgomery spices things up with some subtle rhythmic detours.
Ex. 1
Coming off of a series of eighth-notes in the solo’s previous bars, notice how adding just a slight hitch, like the tie in the middle of bar 1, can throw us rhythmically off balance for a moment (in a good way). The triplet figure in measure 2 is also pretty cool.
Now, you may have noticed that even though the initial chord is Ebm7 (Eb–Gb–Bb–Db), Montgomery chooses to treat it as if it’s Eb7 (Eb–G–Bb–Db), playing the major third right on beat 1. In jazz (or blues or rock), if you play with confidence, and phrase musically, you can often get away with breaking the rules.
Ex. 2 (1:28) demonstrates Montgomery’s skillful use of über-memorable motifs.
Ex. 2
Here, he establishes a unique rhythmic motif that he repeats, altering his note choices along the way to fit the underlying harmony. This creates a unique moment that immediately distinguishes the second chorus from the first and, again, keeps things moving along nicely.
Also, notice his use of neighbor tones—the note a half-step below any target note, regardless of whether it’s in the key (it often isn’t). This is an extremely hip jazz concept that can make your phrases come alive, as Montgomery’s does here.
He also employs another nifty melodic device, one that is often useful over a dominant chord: playing a min7 arpeggio starting on the chord’s 5. Over the Ab7 (Ab–C–Eb–Gb) in measure 1, Montgomery outlines an Ebm7 arpeggio (Eb–Gb–Bb–Db), the 5 of Ab7. Notice how its first two notes are the 5 and b7 of Ab7. Next comes some magic, as you begin to add the chord’s extensions—color tones that go beyond the b7—here, the 9 (Bb) and 11 (Db). Repeating the idea, he then plays an Fm7 arpeggio (F–Ab-C-Eb) over the Bb7 (Bb–D–F–Ab).
Ex. 3 (1:44) is another example of Montgomery employing an ear-catching motif, this time whipping up a bouncy descending phrase that also happens to include some neighbor tones.
Ex. 3
It’s so musical, yet Montgomery is simply playing the key of Bb’s diatonic arpeggios—those found naturally in the key—each introduced with a quick nod to a neighbor tone. But why does he target an Ebmaj7 arpeggio (Eb–G–Bb–D) to start? Another basic jazz melodic device, used over a minor 7 chord, is to play a major 7 arpeggio starting from its 3. Here, the chord is Cm7 (C-Eb-G-Bb) and its 3 is Eb, so your major 7 arpeggio starts from there; note that it adds D, the chord’s 9, to the conversation. (Conversely, over a major 7 chord, playing a minor 7 arpeggio from its 3 can also be very hip.) Montgomery ends the phrase in style, on a C, the 9 of Bbmaj7.
Octaves, Octaves (and More Octaves)
There are more great moments in the opening choruses, but we must move on to Montgomery’s trademark—his unearthly ability to play complex melodies entirely in octaves. This interval is most often played on two non-adjacent strings, with the unused string in between muted with the inside of your picking-hand index finger.
First, let’s take a quick look at Montgomery doing his octaves thing on tenor sax icon John Coltrane’s “Impressions.”
Ex. 4 (3:09) is a slickly syncopated line—emphasizing the “and” of beats—that climbs straight up a Cm11 arpeggio (C–Eb–G–Bb–D–F). Montgomery then ends the phrase with a bluesy descent of the Bb minor pentatonic scale (Bb–Db–Eb–F–Ab), exhibiting his keen sense for knowing when to just keep things simple.
Ex. 4
In Ex. 5 (3:52), Montgomery introduces an octave motif that he cycles through the chord changes. Notice how he changes it up slightly each time, either rhythmically or melodically, in a musical way.
Ex. 5
A Cavalcade of Chords
The final section of the solo features Montgomery’s thrilling mastery of chord soloing. It could easily be a full lesson in itself; below are just a couple of examples to get you started.
Ex. 6 (4:25) shows Montgomery creatively playing off of the basic chord changes from measures 18 to 20 of the chart.
Notice how he’s not rhythmically tied down to exactly where the chords change on the chart (beats 1 and 4). And he’s using partial chords, most notably omitting the root notes that might be added on an additional lower string in more standard rhythm playing. This makes for lighter-sounding voicings and more economical movement.
Now, even though he’s exclusively playing chords here, Montgomery is still thinking melodically, creating a melody by connecting the highest note of each chord. While an oversimplification, this is one of the most important considerations for choosing the different voicings he plays.
Ex. 7 (5:04) culminates with a brilliant descending phrase that closes out Montgomery’s solo, over the final three measures of the chord chart. Note the two different voicings of Db13 chord in bar 1. The first has the 9 (Eb) in the melody, whereas the second has the 13 (Bb). Having this arsenal of voicings allows him to freely construct flowing melodies. At times, he’s more implying the chords than outright playing them; for example, most of the F7 chords in bar 2 lack both their root (F) and b7 (Eb).
Ex. 7
Let’s close out with Montgomery playing yet another of his swingin’ tunes, “Twisted Blues.” And, if you enjoyed this lesson, check out my similar looks at jazz icons Mike Stern and Barney Kessel.
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In my experience, constructing lines has always been about texture and structure. Developing ideas for soloing and writing melodies takes a keen sense of harmonic and rhythmic context. It’s about seducing the listener and delivering a ride that’s hard to forget—a ride that caters to the listener. Of course, it’s important to write for yourself and from the heart, but also remember that if your heart’s intent is to inspire others, then you’re on the right track for the long haul. And this is where melody comes in.
Melody deserves a certain level of priority in relation to harmony and rhythm. In this lesson, I’m going to show you a quick way to start improving your lines. The good news is music knows no bounds and music doesn’t care what level you’re at. Harmony and rhythm need to help each other tell your story.
In Ex. 1 we’ll be playing the Em7 arpeggio (E–G–B–D) in two positions. Don’t worry, we won’t get into too much theory, just remember these shapes can be transposed into any key. The top one starts in 10th position and shifts up the neck, while the bottom one starts in 5th position. Getting these under your fingers will help map out quite a bit of the fretboard. I try to only visualize one octave at a time, and then take that shape and move it wherever I need to chase the melodic and rhythmic ideas that inspire me.
Ex. 2 follows the same idea, but this time using a Gmaj7 arpeggio (G–B–D–F#). I’ve chosen E minor and G major because they are closely related key centers. When learning these arpeggios, focus on the string pairs that occur in each octave. In the extended arpeggio that ascends from the 2nd fret, notice how the patterns recur in each octave. That’s not always the case, as you’ll see in the second arpeggio that ascends from the 9th fret.
Next, we’re going to use the first Gmaj7 arpeggio—the one with the recurring pattern—to practice running through a sequence. Think of Ex. 3 in groups of five. When practicing such lines, I like to use drum grooves instead of a metronome. Now here’s the twist: To progressively challenge my technique, I keep changing the subdivision of the meter I’m using. For example, we’re in 4/4 time here. As I develop the sequence, I’ll increase the subdivision from quarter-notes, to quarter-note triplets, to eighth-notes, to eighth-note triplets, then 16th-notes, and finally 16th-note triplets. That not only increases my speed but it also forces me to be rhythmically aware, thus giving me both speed and accuracy. It gives me full control. Take your time with this example because we’ll apply the same shifting-subdivision concept to the next one.
We revisit the Em7 arpeggio pattern at the 12th fret for Ex. 4. Let’s take a moment to talk about picking. Please use whatever technique you feel most comfortable with, but if you must know, in the corresponding audio clip I’m using as much legato technique as I can. For those not familiar with this term, it means I’m using hammer-ons and pull-offs to sound many of the notes, as indicated in the notation and tab. But there’s no need to get hung up in the picking technique. If you want to pick every note using alternate or economy picking, then do so with style. If you want to hybrid pick, go for it. The point is to increase your rhythmic knowledge and execute some creative ideas.
Now it’s time to step up the subdivisions. In Ex. 5 and Ex. 6, we’re using the same arpeggios we mapped out earlier, only this time we’re playing 16th-notes. If this is something you haven’t done before, don’t be alarmed. Just think of it as a slight increase in speed. Learning to shift subdivisions with seamless control is a great way to expand your ability to develop lines.
Enough with the exercises—let’s make some music. Ex. 7 starts out by traversing the Em7 arpeggio with 16th-notes, then transitions into the next octave using 16th-note triplets. Then for variety, we mix in some pentatonic lyricism. That brings me to a side note: Always step away for a moment from using only arpeggios by mixing in some pentatonic or scalar lyricism to your lines. A line composed of only arpeggios can sound stiff and redundant. One way to avoid this is to sprinkle some scale tones into the phrase.
In Ex. 8, we’re using Em7 arpeggios again, but the position conveniently gives us a full three octaves to work with. Instead of sticking exclusively to the basic shape, I also included some pentatonic moves. Notice how mixing 16th-notes and 16th-note triplets add color to the line. The key to sounding like a professional player is to make sure your playing offers the listener variety in rhythm and note choice.
We head back to the Gmaj7 shape for Ex. 9. It starts out in the lowest octave, which is at the 2nd fret, and once again mixes in that good ol’ E minor pentatonic (E–G–A–B–D) tonality. We repeat the same thing an octave higher, but because we run out of real estate, we need to slide up before finishing off the line in a G major tonality.
In our final example (Ex. 10), we return to the Gmaj7 arpeggio in its higher position, though we’re treating it a bit more lyrically this time around. No sequences, just playing bits and pieces of the arpeggio.
