Learn to land your phrases like Coltrane, Cannonball, and Dexter.
Advanced
Intermediate
• Use rhythmic "push-pull" technique to create momentum.
• Extend your lines with turnaround progressions.
• Build tension with repetitive motifs.
The solo break can often be one of the most exciting moments in a jazz recording. Allow me to set the scene: The band sets up a tune with a light intro. They play through the melody of the tune, all while ramping up in energy and building the audience's anticipation towards an unaccompanied improvisational break where the first soloist will mark their entrance and establish the mood for their first chorus. This break is a test of a soloist's ability to sustain momentum without the accompaniment of a rhythm section. A good solo break can make an audience jump out of their seats, tap their toes, or even laugh. It commands their attention.
Some of the most famous solo breaks are fiery, virtuosic displays of instrumental prowess. Take for example John Coltrane's solo break on "I Love You," from the album Lush Life (1961). Following in the footsteps of Charlie Parker's famous "A Night in Tunisia" solo break, Coltrane plays a robust and perfectly articulated 16th-note phrase that establishes an energetic start to his legendary solo on this tune. (It happens at about 1:09 in the video below.)
John Coltrane - I Love You
The break gives us a taste of Coltrane's command of harmony. The line in question (similar to Ex. 1) outlines an Fmaj7–Am7–D7 harmony. Despite there being no harmonic accompaniment, you can hear the chord changes as clear as day. This is due to the chord tones primarily being placed on strong beats. In the case of a double-time line, strong beats are both downbeats as well as upbeats (the "and" of each beat), while the other subdivisions ("e" and "a") would be weaker beats. You don't always have to place chord tones on strong beats, but if your goal is to coherently spell chord changes, it's a good thing to keep in mind!
The Art of the Solo Break Ex. 1
Pay close attention to the shape (where it goes up and down) of Coltrane's line. Try singing this line—not necessarily with exact pitches, but just try to match the general direction. This will help you internalize melodic ideas for use in your own improvisations, which will put you on the path to creating your own jaw-dropping solo breaks!
Here's a line that I composed over the same implied chord progression (Fmaj7–Amin7–D7) that takes some of my favorite shapes from the Coltrane line (Ex. 2). In this phrase, I'm also conscious of putting a healthy amount of chord tones on strong beats. To further the process of internalizing Coltrane's ideas, I put these shapes alongside things that I typically improvise. Framing new vocabulary with old vocabulary is key to getting transcribed vocabulary to come out in your playing.
The Art of the Solo Break Ex. 2
Ex. 3 is another line using some of Coltrane's shapes over a different chord progression, a IIm7–V7–I in F major:
The Art of the Solo Break Ex. 3
In addition to the melodic and harmonic qualities of a double-time solo break, the line's ending will determine how well you can keep your listeners' attention. Part of what makes Coltrane's break satisfying is that he lands in a way that assures you he's completely in control of the pulse. Not only does his phrase line up right on the first beat of the form, but he also extends his line past the break with an eighth-note triplet figure that gives music an interesting "push-pull" quality. When you're creating your solo break, be mindful of how you're landing, and how the ideas you play after the break relate to what you just played (Ex. 4).
The Art of the Solo Break Ex. 4
Ex. 5 flips the rhythmic skeleton of Coltrane's idea. Now the break is a series of eighth-note triplets, while the line after the break is mainly 16th-notes, reintroducing that "push-pull" quality.
The Art of the Solo Break Ex. 5
Now that we've seen an example of a bebop-oriented solo break, let's explore a more bluesy break that relies heavily on repetition to get a listener to bob their head and tap their toes. Ex. 6 is similar to what Cannonball Adderley plays on "One for Daddy-O" from his album Something Else (1958).
Cannonball Adderley - One for Daddy-O
This line (Ex. 6) begins with a Bb blues-based motif that you'd be likely to hear in a big band shout chorus and ends with a more bebop-oriented figure that (similarly to Coltrane's idea) outlines an implied F7–the V chord.
The Art of the Solo Break Ex. 6
Using the language of the blues in a jazz context is key to creating a musical statement linked to the tradition and rhythmic placement is key to making a blues idea speak. Cannonball's repetitive rhythmic figure not only creates tension, but it also gives a listener something to latch onto. Toward the end of Cannonball's solo break, we feel another example of the "push-pull" which comes from his use of contrasting rhythms: The muscular 16th-note-heavy phrase that begins the break is contrasted with a wispy 16th-note triplet idea that carries us into the form.
Ex. 7 uses a rhythmic skeleton like Cannonball's line. I start with a bluesy idea with a repetitive rhythm (a polyrhythmic group of five 16th-notes over 4/4 time) and break things up with a bebop-derived 16th-note triplet idea that lands squarely on beat 1 of the third measure.
The Art of the Solo Break Ex. 7
Let's take a look at our final type of solo break, which arguably is the most effective in commanding a listener's attention: the quote. Quotes are commonplace in jazz improvisation, with soloists taking something as dense as a bebop melody (or as recognizable as a nursery rhyme) and superimposing it on top of a new set of chord changes. A quote-based solo break is a surefire way to establish a playful (and sometimes humorous) mood for your first solo. The break we'll use for this example is Dexter Gordon on "Three O' Clock in the Morning" from Go (1962). Dexter Gordon is known as one of the greatest tenor saxophonists of all time, with a discography spanning bebop to post-bop, and he's also known as jazz's master of quotes.
Dexter Gordon-Three O'Clock in the Morning
In Gordon's solo break, he quotes "Westminster Quarters," which is the melody Big Ben's bells play to mark every quarter-hour (Ex. 8). This melody is also used as the intro for Gordon's version of the tune in question, as well as for Miles Davis' version of "If I Were a Bell." Gordon's quote is made even more playful by the fact that he doesn't finish the entire melody.
The Art of the Solo Break Ex. 8
Ex. 9 shows what the full quote would sound like. By leaving the melody unfinished, Gordon creates tension that is unresolved, which is a great way to leave your listener on edge. Throughout the course of his masterful solo, Gordon quotes "Take Me Out to the Ballgame," "Poinciana," and "Three Blind Mice," proving that there is no end to his bank of melodies.
The Art of the Solo Break Ex. 9
Ex. 10 uses "Jingle Bells" over "Rhythm" changes, just to show how you can really make anything work if there's enough conviction. There isn't really a recommended list of quotable tunes, it just depends on how well known the given melody is. I've heard soloists quote everything from "Careless Whisper" on a minor blues to "Pop Goes the Weasel" on "Giant Steps," the possibilities are endless!
The Art of the Solo Break Ex. 10
Now that you're familiar with three different types of solo breaks, try composing a couple of your own original breaks on a tune you're familiar with. Keep in mind the melodic, harmonic, and rhythmic characteristics of Coltrane, Adderley, and Gordon's breaks. Once you're able to hear bits and pieces of their vocabulary alongside your own, try your hand at improvising some breaks. You'll be sure to get a reaction out of your listeners!
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The legendary Elvis sideman was a pioneer of rockabilly guitar, and his approach to merging blues and country influenced generations of guitar pickers. Here’s how he did it.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Craft simple blues-based phrases that lie within the CAGED system.
• Understand how double-stops are used in rockabilly music.
• Improve your Travis picking.
Click here to download a printable PDF of this lesson's notation.
In 2016 we lost one of the most influential guitarists and unsung heroes the world has ever known. The driving force behind Elvis Presley’s first recordings, Winfield Scott “Scotty” Moore III helped shape the sound of rock ’n’ roll and inspire generations of fans. Born in 1931, Scotty caught his big break in 1954 when he was called to do a session with Elvis at Sam Phillip’s Sun Studio in Memphis. History was made that day when Elvis recorded “That’s All Right,” and for about four years, Scotty provided 6-string magic for such Elvis hits as “Heartbreak Hotel,” “Hound Dog,” and “Jailhouse Rock.”
A huge Chet Atkins fan, Scotty grew up listening to country and jazz. This blend would have a dramatic impact on his sound, as he would mix Travis picking with some ear-twisting note choices based on chords, rather than using an obvious scalar approach.
I used a thumbpick on the examples in this lesson to sound as authentic as possible. Using a thumbpick on some notes makes them stand out in comparison to those plucked with the remaining fingertips. Ex. 1 is a classic Scotty-type rhythm riff in E that uses some Travis picking. Play the notes on the 6th and 4th strings with your thumb, and use your index and middle fingers for the double-stops on the 3rd and 2nd strings. This is illustrated in the notation: Attack all the up-stemmed notes with your fingers and down-stemmed notes with your thumb.
Click here for Ex. 1
The next example (Ex. 2) reveals one of the more common elements of Scotty’s lead work: double-stops. It makes sense when you consider that Scotty often performed with just a bass player and drummer, so when it came time to play a solo, he needed to create a strong sense of harmony. The first three phrases begin in the “E” shape of the CAGED system before moving down to the “A” shape and returning to the “E” shape. Those last two measures sit squarely in the “E” shape at the 12th position.
Click here for Ex. 2
Ex. 3 returns to Scotty’s Travis-picking influence by outlining an A chord before leading the idea in a new direction with double-stops. The example begins in the “C” shape and resolves in the “E” shape, though this wouldn’t have meant anything to the legendary guitarist. However, his reliance on moving the five basic chord shapes around the neck is undeniable.
In this version of “Hound Dog”—a song originally recorded by Big Mama Thornton—Moore takes a bluesy solo starting at :45.
Click here for Ex. 3
The blues was an essential part of Scotty’s style, and Ex. 4 shows something he might play over the first eight measures of a blues in E. To use the moves in any given key, it’s important to understand how intervals work within a chord. For example, over the E7, I’m approaching the root and 3 (G#) with a half-step slide. With that information, you’re able to transpose this musical shape all over the neck. Approach each double-stop with this method, and you’ll get a lot of mileage out of this rather simple lick.
Click here for Ex. 4
Ex. 5 shows some of Scotty’s single-note ideas, though the phrase still begins with a double-stop on the top two strings to grab the listener’s attention. Measures three and four use a strange collection of notes. Scotty isn’t thinking of a scale here. The phrase begins with a bluesy flourish and a melodic descent to the root. When he gets there, he moves down a half-step to the 7 (an unusual note to play on a dominant chord, but if it sounds good, it is good), and then up again to resolve to the A chord.
Click here for Ex. 5
Scotty was also a big fan of using three-note grips. In Ex. 6, you can see how these ear-grabbing sounds would work over our blues progression. It begins with an E triad in the “D” shape. It’s genuinely amazing how many great chordal licks Scotty could come up with by using just a few chord forms.
Click here for Ex. 6
Ex. 7 is a little trickier, but a great example of how to move from an A chord to an E chord using some double-stops and single notes along with position shifts and sixths. This is very much a country phrase and evidence of the genre’s importance to the rockabilly sound.
Click here for Ex. 7
The final example (Ex. 8) is a longer, 20-measure piece outlining a full progression with Scotty's superb Travis-picking ideas. While this isn’t a column specifically on Travis picking with a collection of exercises to develop that skill, here are a couple of simple tips that should help you navigate this music.
First, focus only on the bass notes. The thumb needs to be automatic. Strive to put no thought into playing the bass part. This takes time but eventually you’ll be free to concentrate on the melody. The last part to absorb is the excellent ending chord. It’s a maj6/9 with the root on top—very common in the rockabilly style.
Click here for Ex. 8
From here it’s easy to hear Scotty’s immense influence on guitardom. It would be well worth your time to go down a rabbit hole of YouTube vids from the CAAS (Chet Atkins Appreciation Society) conference. Nearly every player from that scene owes a debt to Mr. Moore.
Nashville's historic Gruhn Guitars give PG an exclusive look at a very early amp that is a piece of rock history that preceded the heralded JTM45. Amp builder and reverb aficionado Eric Borash of Ebo Sounds shares his expertise on this rare amp's lineage, while John Bohlinger plugs in Dan Auerbach's old '60s ES-335 to test it out.
Metallica's M72 World Tour will be extended into a third year with 21 North American shows spanning April, May, and June 2025.
The M72 World Tour’s 2025 itinerary will continue the hallowed No Repeat Weekend tradition, with each night of the two-show stands featuring entirely different setlists and support lineups. These will include the band’s first Nashville shows in five years on May 1 and 3 at Nissan Stadium, as well as Metallica’s return to Tampa after 15 years on June 6 and 8 at Raymond James Stadium. M72 has also confirmed its much anticipated Bay Area hometown play, to take place June 20 and 22 with the band’s debut performances at Levi's Stadium in Santa Clara.
In a new twist, M72 2025 will feature several single shows bringing the tour’s full production, with its massive in-the-round stage, to venues including two college football stadiums: JMA Wireless Dome in Syracuse, New York on April 19, and Metallica's first ever visit to Blacksburg, Virginia, home of the Virginia Tech Hokies. The May 7 show at Lane Stadium will mark the culmination of 20+ years of “Enter Sandman” playing as the Hokies take the field.
In addition to playing football stadiums across the nation, the M72 World Tour’s 2025 itinerary will also include two festival headlines—the first being the opening night of the run April 12 at Sick New World at the Las Vegas Festival Grounds. May 9 and 11 will then mark a festival/No Repeat Weekend combo as Metallica plays two headline sets at Sonic Temple at Historic Crew Stadium in Columbus, Ohio.
Support on M72’s 2025 North American run will come from Pantera, Limp Bizkit, Suicidal Tendencies and Ice Nine Kills. See below for specifics.
Additionally, M72 2025 will see Metallica’s long-awaited return to Australia and New Zealand.
M72’s 2025 North American leg is produced by Live Nation and presented by new sponsor inKind. inKind rewards diners with special offers and credit back when they use the app to pay at 2,000+ top-rated restaurants nationwide. The company provides innovative financing to participating restaurants in a way that enables new levels of sustainability and success. Metallica fans can learn more at inkind.com.
Citi is the official card of the M72 tour. Citi cardmembers will have access to presale tickets beginning Tuesday, September 24 at 10am local time until Thursday, September 26 at 10pm local time through the Citi Entertainment program.
Verizon will offer an exclusive presale for the M72 tour in the U.S through Verizon Access, just for being a customer. Verizon Access Presale tickets for select shows will begin Tuesday, September 24 at 10am local time until Thursday, September 26 at 10pm local time.
* Citi and Verizon presales will not be available for Sick New World, Sonic Temple or the Toronto dates. Verizon presale will not be available for the Nashville, Blacksburg or Landover shows.
As always, a portion of proceeds from every ticket sold will go to local charities via the band’s All Within My Hands foundation. Established in 2017 as a way to give back to communities that have supported Metallica over the years, All Within My Hands has raised over $15 million – providing $8.2 million in grants to career and technical education programs including the ground-breaking Metallica Scholars Initiative, now in its sixth year, over $3.6 million to combat food insecurity, more than $3.5 million to disaster relief efforts.
For more information, please visit metallica.com.
Metallica M72 North America 2025 Tour Dates
April 12 Las Vegas, NV Sick New World @ Las Vegas Festival Grounds
April 19 Syracuse, NY JMA Wireless Dome *
April 24 Toronto, ON Rogers Centre *
April 26 Toronto, ON Rogers Centre +
May 1 Nashville, TN Nissan Stadium *
May 3 Nashville, TN Nissan Stadium +
May 7 Blacksburg, VA Lane Stadium *
May 9 Columbus, OH Sonic Temple @ Historic Crew Stadium
May 11 Columbus, OH Sonic Temple @ Historic Crew Stadium
May 23 Philadelphia, PA Lincoln Financial Field +
May 25 Philadelphia, PA Lincoln Financial Field *
May 28 Landover, MD Northwest Stadium *
May 31 Charlotte, NC Bank of America Stadium *
June 3 Atlanta, GA Mercedes-Benz Stadium *
June 6 Tampa, FL Raymond James Stadium +
June 8 Tampa, FL Raymond James Stadium *
June 14 Houston, TX NRG Stadium *
June 20 Santa Clara, CA Levi's Stadium +
June 22 Santa Clara, CA Levi's Stadium *
June 27 Denver, CO Empower Field at Mile High +
June 29 Denver, CO Empower Field at Mile High *
* Pantera and Suicidal Tendencies support
+ Limp Bizkit and Ice Nine Kills supp
Beetronics FX Tuna Fuzz pedal offers vintage-style fuzz in a quirky tuna can enclosure.
With a single "Stinker" knob for volume control and adjustable fuzz gain from your guitar's volume knob, this pedal is both unique and versatile.
"The unique tuna can format embodies the creative spirit that has always been the heart of Beetronics, but don’t let the unusual package fool you: the Tuna Fuzz is a serious pedal with great tone. It offers a preset level of vintage-style fuzz in a super simple single-knob format. Its “Stinker” knob controls the amount of volume boost. You can control the amount of fuzz with your guitar’s volume knob, and the Tuna Fuzz cleans up amazingly well when you roll back the volume on your guitar. To top it off, Beetronics has added a cool Tunabee design on the PCB, visible through the plastic back cover."
The Tuna Fuzz draws inspiration from Beetronics founder Filipe's early days of tinkering, when limitedfunds led him to repurpose tuna cans as pedal enclosures. Filipe even shared his ingenuity by teachingclasses in Brazil, showing kids how to build pedals using these unconventional housings. Although Filipe eventually stopped making pedals with tuna cans, the early units were a hit on social media whenever photos were posted.
Tuna Fuzz features include:
- Single knob control – “Stinker” – for controlling output volume
- Preset fuzz gain, adjustable from your guitar’s volume knob
- 9-volt DC operation using standard external power supply – no battery compartment
- True bypass switching
One of the goals of this project was to offer an affordable price so that everyone could own a Beetronicspedal. For that reason, the pedal will be sold exclusively on beetronicsfx.com for a sweet $99.99.
For more information, please visit beetronicsfx.com.