Warning: Undefined variable $post in /home/gim/public_html/wp-content/plugins/oxygen/component-framework/components/classes/code-block.class.php(133) : eval()'d code on line 1

Lesson Series

Loading the player...
Preparing download...

NYC Collective Part 2 Improvisation Exercises with Sheryl Bailey

Lesson Notes

The mark of a great guitar solo, as they say, is that you can hear the song’s independent harmony throughout.

Our demonstration takes places over the common ii V I jazz chord progression in Bb. Naturally, a Bb scale will fit al 3 chords, but doesn’t broadcast the harmony. Creating lines within and around the arpeggios of each chord gives lines in which you can hear the changes.

This gives the following arpeggios: Cmin7, F7 and Bbmaj7.

Ex.1 To reduce things down further, we can focus on the 3rd and 7th of each chord as a vehicle for highlighting the changes.

Using our ii V I in Bb, the 3rds and 7ths would be: Bb & Eb, A & Eb, D & A.

Ex.2 Approaching each note in an arpeggio from one fret below is another valuable way to create interesting jazz guitar lines.

Ex.3 A less chromatic idea for creating melodic arpeggio lines and jazz guitar licks is to  approach each note in the arpeggio from the scale tone above it, e.g. - C E G B, as an arpeggio would be approached from D, F, A and C.

Up Next

1 2 3 22

You May Like

1 2 3 22
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram