Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Learn how to build solo lines based on chord tones.
• Understand various comping techniques used to play jazz standards.
• Develop lines that employ string skipping and “pivot” notes.
Click here to download MP3s and a printable PDF of this lesson's notation.
From his beginnings in 1955 with the Chico Hamilton Quartet to his work with his own groups in the present day, NEA Jazz Master Jim Hall has a style that’s equal parts introspective, whimsical, and virtuosic in a minimalist way. With simple techniques that you can experiment with, Hall has created a sophisticated sound and style that is easily recognized within a few notes. And at 82 years old, Hall is still touring, recording, and evolving as a musician and improviser.
Fig. 1 is a melody inspired by Hall’s work on Sonny Rollins’ groundbreaking album, The Bridge. Recorded in 1962 and with guitar as the solo chordal instrument on the record, Hall is both accompanist and countermelody to Rollins’ tenor saxophone. This example uses the chords from the first eight measures of “Without a Song.”
When it comes to comping, the same rules apply. Fig. 2 uses the same chord progression from the previous example and demonstrates one way that Hall might approach it, by using chord tones—most notably the 3s and 7s—as a springboard.
Over the years Hall has collaborated with many musicians in a duo setting, such as pianist Bill Evans and bassist Ron Carter. In the two-guitar category, Hall has recorded with Pat Metheny and Bill Frisell. And in a fun, White-Stripes-meets-jazz-greats kind of way, he has a duo album with drummer Joey Baron. Fig. 3 incorporates the open string voicings that Hall favors when he is focusing on a more rhythmic, strumming approach. Keep the volume as low as possible on this one, to get more of a “woody” sound, like the one Hall creates with his hollowbody custom Sadowsky guitar. (Even if you don’t have a hollowbody guitar, it will work.)
Fig. 4 highlights the concept of soloing on non-adjacent strings. It’s a surefire way to spruce up your technique, and Hall uses it tastefully in almost every solo he takes. He’ll also use one note as a pivot tone or springboard to play through the changes. This uses the chords from the first four measures of “My Funny Valentine.”
Speaking of pivot notes, Hall also likes to create chord melodies within his solos, no matter what the instrumentation of the ensemble. Sometimes he’ll choose a note and harmonize it within the context of a tune. Fig. 5 is an example of something he might play over the harmony to “All the Things You Are.”
The techniques used in the examples above are simple and should be transposed into all keys. In doing so, not only will you develop a solid knowledge of the fretboard in general, but you’ll also have more creative avenues through which to improvise. Pick one technique at a time and play it over a jazz standard—or even just a 12-bar blues to start. Work on it slowly and before you know it, you’ll have these sounds under your fingers and in your ears.
Amanda MonacoAmanda Monaco is an Assistant Professor at Berklee College of Music and a founder of the Queens Jazz OverGround, a non-profit organization dedicated to bringing more jazz to the borough of Queens, in New York City, through free workshops and concerts. The author of Jazz Guitar for the Absolute Beginner (Alfred), she has recorded five CDs as a leader and is currently working on a new recording to be released in late 2013. For more information, visit amandamonaco.com.
Playing a pink Paisley Tele through vintage amps with multiple delays, Paisley has re-ignited country soloing. By combining wide intervals and chromaticism with pizzazz, he has enticed us to pry at how he’s pulling it off.
Fig. 1, inspired by the opening lick from “Nervous Breakdown,” is a droning Albert Lee-style 3rd-position G minor pentatonic (G–Bb–C–D–F) lick. In measure one we encounter a descending pull-off sequence to fretted and open notes of the same letter. Measure two’s ascent applies various pedal tones towards a rapid-fire whip of bluesy pull-offs that end on the b7. Hybrid picking adds the perfect punch to the pull-offs and open strings, so pick as precisely as possible.
Heard in live solos from the likes of “Alabama,” slurring from higher frets to open strings is another of Paisley’s favorite tricks. Fig. 2 uses the open-G string (root) as a pull-off pedal point while ascending with diatonic third shapes built from the G Mixolydian (G–A–B–C–D–E–F) mode. Practice playing the fretted dyads at the same time before trying the lick, and watch out for the open-string, wide-stretch hammer-ons just before the pedal-steel bend.
Another crucial facet of the figure is how it exploits a unique rhythmic pattern that displaces strong beats across a measure. Known as a hemiola, this trick is done by playing an odd-numbered pattern in an even subdivision to create strong forward momentum. Use it sparingly for rhythmic surprises.
Similar to the intros of “Cluster Pluck” and “Sharp Dressed Man,” Fig. 3 exploits open strings by pulling off from higher places on the neck. It employs the 5th-position A minor pentatonic scale (A–C–D–E–G) in a similar pull-off sequence as Fig. 1, but the shape’s location gives the slurring an extra oblong sense of direction. Measure two explodes with a sextuplet pull-off descent that is relatively easy to execute, yet produces rather sonically complex results. The higher on the neck from where you pull-off, the more sideways the lines will feel, so use the layout of the guitar to your advantage.
Borrowing ideas from “Ticks,” Fig. 4 fluidly mixes Paisley’s country and rock influences via ringing banjo rolls and metal-esque legato flash. While the pull-off frenzy is the fun part, the banjo rolls present some potential picking problems. Make sure your right-hand fingers avoid any extraneous movement, as that will cost you the precious precision that eludes so many hybrid pickers.
Paisley’s eccentrically effective note-choice and effortless position shifting via passing tones is our final focus of his frenetic fretwork. Inspired by solos from “Mud on the Tires” and “Cliffs of Rock City,” Fig. 5 weaves E major pentatonic (E–F#–G#–B–C#) and E minor pentatonic (E–G–A–B–D) with the E Mixolydian mode (E–F#–G#–A–B–C#–D) and other outside sounds. Starting with major pentatonics, it ascends with a hybrid Mixolydian-blues sequence on beat 3 that takes advantage of the open 3rd string for smoothness. Obvious chromatic ideas are employed in measure two by inching towards the 3rd and 5th with various picked and sliding articulations. The phrase is effectively capped with a pedal-steel-style, double-stop bend. Pulling towards the floor as you bend helps ensure that the notes will ring together as you slide the shape to the 10th position for an E7b9 sound.
As long as the chord tones of your solos come on beats 2 and 4, you can generally get away with as much chromaticism as you want. Let your ears be your guide as you venture into this uncharted territory.
This lesson was mainly a study in legato licks of jarring jocularity, but we’ve only scratched the surface of Paisley’s talent. His technical facilities feature augmented arpeggios, breakneck bluegrass runs, and Danny Gatton-style octaves—not to mention his finger-breaking G-bender licks. Having these ideas at your fingertips is a life-long pursuit, and once they are, the goal is to use them effectively and tastefully. Playing a solo where the speed never stops overloads listeners and turns them off to what your guitar has to say. Mr. Paisley surprises his audience by pacing his phrases and making the techniques the climax of his soloing story. Take a lesson from a master storyteller, singer, and picker by making the contours of your solos many, gradual, and deliberate. Knowing when to whip out the wailing comes from experience with a lot of trial-and-error, so keep playing, have fun, and enjoy the journey.
| Print It! Click here to download a printable PDF of this lesson's notation. |
The morning of January 15th started just like every morning for me—a cup of coffee, the guitar, and the dog lying at my feet. As I began playing, I started to feel guilty because the night before I had broken my routine of reading scripture (Please understand that I am relating a story and not preaching).
At that moment, the melody of “The Price” came to me as if I had known it forever. I say this with humility because it was more gift than effort. As a matter of fact, nothing was changed or rewritten in any way—what you hear is what I first heard.
This leads to the question where does musical expression and creativity come from when it is inspired? It is much easier to explain craft and work ethic. I live near Nashville where songwriters make appointments to be both clever and creative. They meet at nine, go to lunch, and then finish the next heartbreak classic. In the real world, writing and creating like this is necessary, though one could easily argue that it’s a necessary evil.
In Greek mythology, a Muse is a goddess who presides over the arts and sciences. In recent years, I have heard many musicians refer to this as the creative flow. Wherever the magic comes from it is a welcomed companion. Trust me, she will not visit every day!
Now we will talk about space and melodic elements that can be used to fill space and hold the listener's interest. First, let me say that the choice to fill this space is personal and many times, it will be a better musical choice to leave space. I believe Mozart said, “Music is painted on a canvas of silence." Who am I to argue with Mozart?
Many devices can be used to fill space, such as rhythm and harmonic variation and melodic activity either in a secondary voice or in the bass line. In “The Price” you will find many places where secondary melodic activity happens when longer sustain notes ring in the soprano voice. Most of this secondary melodic motion you will find in the inner line. The first measure that uses this device is measure nine. You will notice that the inner line of this measure is short but is melodically independent and makes sense. It is always important that the secondary line whether it is in the middle voice or bass that the line stands on its own and is logical.
Rhythmic independence
Notice that the secondary lines throughout the piece start after the principle melody. This allows the ear to digest the two melodic statements with greater clarity. It also sets up what I would call a question and answer. It becomes more of a musical conversation.
Take a look at measures 9-13 and 20-23 to see inner line movement. Measure 20 starts the second time around with the A section of the tune. Notice that the inner line in measure 20 starts on a higher pitch than in measure nine. This gives use a new musical possibility, and we always want to avoid being too predictable.
Points to Consider:
• A melodic motif is set up with the sixteenth note pickups that happen through the piece. A simple short motif can be a very attractive thing.
• Notice the intro has a constant flow of eighth notes below sustained notes above. The notes above come in on beat three each time creating space against activity. I hear this really as two separate instruments.
• When performing the piece it is important to let it breathe a little yet still have a basic sense of time. This certainly is not something that can be explained but should be felt naturally.
• Watch the left hand fingerings. They may feel a bit odd in a couple of places however the music should always define fingerings. Never let the fingers guide the music.
In closing, I hope you find joy in playing “The Price.” It certainly brought me joy as it unfolded under my fingers.
By Bill Piburn
Download Example Audio
