Swapping between chord work and single note soloing

[garybaldy]

I mostly do chord work in my band, busking standards and written arrangements. When it's my turn to do a 2 or 4 bar single note break or a full chorus my hands aren't ready and sort of seize up. My RA probably has something to do with it but when I played in a GJ style duo where I played most of the twiddly stuff I would fly (all the right notes but not necessarily in the right order!!) It's just the short bursts that give me the problem. When I realise it's not happening I seem to tense up more.
Any tips please?

[enalnitram]

You need to practice those transitions. Then they’ll get easier. That is the obvious answer. But, since RA is likely part of the difficulty, if I’m interpreting your situation correctly, it seems that you have a mental melodic image in your imagination that you want to attain, but you’re not able to accomplish it physically. Maybe you want your single note lines to be gymnastically impressive, like John Coltrane or Allan Holdsworth?

Let go of all of that…develop single note phrases that work for your physical ability. Just play those. Practice those. They will come out. Then as you’re playing, when the moment happens, the image in your mind will be of the kind of accomplishable vocabulary you have prepared, and you’ll be more successful in having it come out.

It’s ok to leave space. Give yourself a pause like a breath. Hop in and out of the groove with chordal statements and melodic statements.

While practicing, play melodically using the exact same rhythmic articulation you were using with chords, but now with notes. Then add to it gradually, never dropping the groove.

[garybaldy]

You need to practice those transitions. Then they’ll get easier. That is the obvious answer. But, since RA is likely part of the difficulty, if I’m interpreting your situation correctly, it seems that you have a mental melodic image in your imagination that you want to attain, but you’re not able to accomplish it physically. Maybe you want your single note lines to be gymnastically impressive, like John Coltrane or Allan Holdsworth? Let go of all of that…develop single note phrase that work for your physical ability. Just play those. Practice those. They will come out. Then as you’re playing, when the moment happens, the image in your mind will be of the kind of accomplishable vocabulary you have prepared, and you’ll be more successful in having it come out.

It’s ok to leave space. Give yourself a pause like a breath. Hop in and out of the groove with chordal statements and melodic statements.

While practicing, play melodically using the exact same rhythmic articulation you were using with chords, but now with notes. Then add to it gradually, never dropping the groove.

Thank you. I'll work on those ideas.

[AllanAllen]

it's just another thing to practice. Check out this video of Moonglow. I forgot what I was trying to show halfway though, but you'll see.

Start with Kenny Burrell's Chitlins Con Carne, the call and response is right in the head. Then just apply that to other tunes. Autumn Leaves is another one that fits, maybe I'll do a video of that later.

[garybaldy]

it's just another thing to practice. Check out this video of Moonglow. I forgot what I was trying to show halfway though, but you'll see.

Start with Kenny Burrell's Chitlins Con Carne, the call and response is right in the head. Then just apply that to other tunes. Autumn Leaves is another one that fits, maybe I'll do a video of that later.

Thanks but I'm OK going from a few brief chords with some movement to a few brief single notes, it's when I'm full on chugging out chords for possibly a couple of minutes (sort of a la gypsy jazz and the like). Much less relaxed than your video. Faster and metronomic.

[AllanAllen]

Thanks but I'm OK going from a few brief chords with some movement to a few brief single notes, it's when I'm full on chugging out chords for possibly a couple of minutes (sort of a la gypsy jazz and the like). Much less relaxed than your video. Faster and metronomic.

Sounds like you already know what to practice then. I would probably map stuff with arpeggios. 3 bars of comping then arpeggio the 4th bar. A 3579 or 6135 arp sounds plenty musical over a V.

My process is basically just make up some BS and then play with that over time and it’ll get better.

[JazzPadd]

Thanks but I'm OK going from a few brief chords with some movement to a few brief single notes, it's when I'm full on chugging out chords for possibly a couple of minutes (sort of a la gypsy jazz and the like). Much less relaxed than your video. Faster and metronomic.

I hear you. When I sat in with a Romany Jazz trio recently, I had to really work hard on transitioning from “chugging out chords” to single note playing.

It was on acoustic and maintaining consistent dynamics was noticeably difficult. You probably got that part together.

But for transitions and what to play in the single note parts, I used a backing track with a similar chording style and drilled the tune. First playing melody only, then chords only and then ad-lib only. Once the fluency was there with those three individual aspects separately, I moved between them by trading eights, fours and twos, and even odd breaks and phrases, working out a few lines, focusing especially on the transitions while staying in tempo, over and over and over until it was second nature. Not just “playing” the tune, in other words, but “playing around” with it, in both form and content.

Main lesson from that experience, which has already been noted above, was to sync my imagination with my hands, feeling my physical limitations and working within those limitations in context rather than constantly struggling against them.

Wishing you all the best in your endeavors!

[rpjazzguitar]

If we're talking about the break which leads to a solo chorus ...

A lot of players really burn on that kind of break. Lotta notes, very exciting.

But, you don't have to do it that way. One high note, held for 8 beats can work. Or anything in between.

I think the thing that makes it work is that first note must be placed really well -- in time. That is, at the exact right moment.

So, I'd start by practicing the breaks with one note and then add from there.

I'd also suggest giving some thought to the left hand movement in going from the last chord to the first solo note. It might help to arrange it so you don't have to move much.

[garybaldy]

I hear you. When I sat in with a Romany Jazz trio recently, I had to really work hard on transitioning from “chugging out chords” to single note playing.

It was on acoustic and maintaining consistent dynamics was noticeably difficult. You probably got that part together.

But for transitions and what to play in the single note parts, I used a backing track with a similar chording style and drilled the tune. First playing melody only, then chords only and then ad-lib only. Once the fluency was there with those three individual aspects separately, I moved between them by trading eights, fours and twos, and even odd breaks and phrases, working out a few lines, focusing especially on the transitions while staying in tempo, over and over and over until it was second nature. Not just “playing” the tune, in other words, but “playing around” with it, in both form and content.

Main lesson from that experience, which has already been noted above, was to sync my imagination with my hands, feeling my physical limitations and working within those limitations in context rather than constantly struggling against them.

Wishing you all the best in your endeavors!

Thank you.

[garybaldy]

If we're talking about the break which leads to a solo chorus ...

A lot of players really burn on that kind of break. Lotta notes, very exciting.

But, you don't have to do it that way. One high note, held for 8 beats can work. Or anything in between.

I think the thing that makes it work is that first note must be placed really well -- in time. That is, at the exact right moment.

So, I'd start by practicing the breaks with one note and then add from there.

I'd also suggest giving some thought to the left hand movement in going from the last chord to the first solo note. It might help to arrange it so you don't have to move much.

Yes. Sometimes it's a 4 bar break into a solo. Like, for example, the last 4 of After You've Gone. We do an arrangement of Dark Town Strutter's Ball where I have to play the last 4 ( of the sax's solo) in Bb and my solo is in F. So I have a pre - prepared idea over Bb/// D7/// G7/// C7(b9)/// into F major. There are many times when we don't have drums and by default my job is to play over their 2 bar fills etc. This can be single notes or banjo - esque chords!
It definitely requires calmness, more practice, more concentration and planning head.
And the trouble is I'm now practicing for a rock gig tomorrow night!

[rpjazzguitar]

Yes. Sometimes it's a 4 bar break into a solo. Like, for example, the last 4 of After You've Gone. We do an arrangement of Dark Town Strutter's Ball where I have to play the last 4 ( of the sax's solo) in Bb and my solo is in F. So I have a pre - prepared idea over Bb/// D7/// G7/// C7(b9)/// into F major. There are many times when we don't have drums and by default my job is to play over their 2 bar fills etc. This can be single notes or banjo - esque chords!
It definitely requires calmness, more practice, more concentration and planning head.
And the trouble is I'm now practicing for a rock gig tomorrow night!

My thought is to make it as easy as possible. If I had to go from Bb to C, I'd think about Bb B C7. Or Bb Db C7. Then have an easy lick, maybe just a couple of held notes, and play it in Bb, then up a fret (or three) and then up (or down) one fret.

Or, more like yours, Bb, Am7, Abm7, Gm7, C7. Easy chromatic movement.

The issue isn't so much the lick. Rather it's to nail the time when the lick starts. It doesn't have to be fancy, but it does have to be right in the groove. And play it with authority.

That, or practice until you can do something harder <g>.

[Bobby Timmons]

I have this too lol. Not necessarily breaks but I have trouble just getting at it immediately and playing aggressively. I have to plan things out and wind up to it a bit and let context work. Let me list all the things which hinder my technical ability:

1. I have the shakes, a neurologic disability called essential tremor. So I shake when I do fine motor things or when I get nervous.
2. I was an athlete before a musician. So it's more moving your body without a bunch of fine finger movements especially in my main sport of swimming. This could have hardwired me for less finger dexterity.
3. Bass was my 1st instrument. This developed my hands asymmetrically and it took years to counteract this for piano.
4. Didn't start with lessons on piano to gain any technique.
5. Didn't even get how technical skills were a thing until a few years ago, 20 years into being a musician. Lol!

A thought I had to develop technical skills aside from trying to pinpoint exercises was simply play fast. Playing fast forces you to tighten things up neuro-muscularly so it should improve your technical skills??

[Christian Miller]

Op - sounds like you’re probably overfretting your chords. I had the same thing.

It’s a classic - heavy right hand = clench left hand.

Practice loosening up your right hand rhythm attack, and make sure you don’t push down on the chord grips any more than necessary.

This may also have a beneficial effect on your rhythm.


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[Boss Man Zwiebelsohn]

Relax your wrists consciously starting from the shoulders.

[AllanAllen]

I would play an F blues line over a key change from Bb to F.

[GuyBoden]

It's the disadvantage of playing chord shapes, your fingers can get locked into these chord shapes.

[garybaldy]

I have this too lol. Not necessarily breaks but I have trouble just getting at it immediately and playing aggressively. I have to plan things out and wind up to it a bit and let context work. Let me list all the things which hinder my technical ability:

1. I have the shakes, a neurologic disability called essential tremor. So I shake when I do fine motor things or when I get nervous.
2. I was an athlete before a musician. So it's more moving your body without a bunch of fine finger movements especially in my main sport of swimming. This could have hardwired me for less finger dexterity.
3. Bass was my 1st instrument. This developed my hands asymmetrically and it took years to counteract this for piano.
4. Didn't start with lessons on piano to gain any technique.
5. Didn't even get how technical skills were a thing until a few years ago, 20 years into being a musician. Lol!

A thought I had to develop technical skills aside from trying to pinpoint exercises was simply play fast. Playing fast forces you to tighten things up neuro-muscularly so it should improve your technical skills??

I played bass regularly for around 35 years and basic stopped in 2019, the latter 20 years on upright. I've been doing a couple of bass gigs a year since or the odd sit in but I now realise I just can't do it any more.

[pamosmusic]

A thought I had to develop technical skills aside from trying to pinpoint exercises was simply play fast. Playing fast forces you to tighten things up neuro-muscularly so it should improve your technical skills??

This is a little bit loaded. Perfect and consistent is more important than fast. Playing fast is really important because it’s sort of qualitatively different than playing slow, but it’s counterproductive if there are inconsistencies in your technique at the up tempo.

[garybaldy]

Op - sounds like you’re probably overfretting your chords. I had the same thing.

It’s a classic - heavy right hand = clench left hand.

Practice loosening up your right hand rhythm attack, and make sure you don’t push down on the chord grips any more than necessary.

This may also have a beneficial effect on your rhythm.


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Thanks. I'm mostly using my Loar 700 with MM13s and a stiff Clayton pick. The trouble is holding down a chord is tough and the pick isn't the easiest to use but the tone is exactly what I'm after. Lighter strings are either rattley or need too high action. I find the Dunlop purple picks easier to use but I still prefer the sound of the Clayton.
I've been doing my damnedest to pick lightly and I can do it after a warm up. I need to work on the chord grips.

[Christian Miller]

Thanks. I'm mostly using my Loar 700 with MM13s and a stiff Clayton pick. The trouble is holding down a chord is tough and the pick isn't the easiest to use but the tone is exactly what I'm after. Lighter strings are either rattley or need too high action. I find the Dunlop purple picks easier to use but I still prefer the sound of the Clayton.
I've been doing my damnedest to pick lightly and I can do it after a warm up. I need to work on the chord grips.

Yeah well there’s a reason why all those archtop players tended to be chord solo guys hah

Apart from of course Eddie Lang who played a brutal setup by all accounts.

For a reasonable action I still think you can work on relaxation. This something cellists work on for example and they use heavier actions than most guitarists. My wife’s cello teacher said ‘quiet left hand, loud right hand.’

The way you put enough pressure on chords can be explored as well.

I’d also suggest trying a lighter pick <1mm. Harder to play blazing single note stuff, but there’s an interesting psychology at play which sometimes a bit of recording at a distance can address - more right hand force does not always equate to greater projection. A softer pick places an upper limit on how hard you can hit the strings too.


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[Bobby Timmons]

This is a little bit loaded. Perfect and consistent is more important than fast. Playing fast is really important because it’s sort of qualitatively different than playing slow, but it’s counterproductive if there are inconsistencies in your technique at the up tempo.

I already do stuff to target technique playing slow. I think simply playing fast and working on getting it clean fast is a simple way to generally improve technique.

[pamosmusic]

I already do stuff to target technique playing slow. I think simply playing fast and working on getting it clean fast is a simple way to target technique.

I don’t know man. I think I’m a hard disagree. Gotta be super careful playing fast.

If you practice in mistakes, your muscle memory doesnt give you a pass because you were trying it at 280.

There are some useful ways to do it … I like bursts a lot. So I might set the metronome for 60 and play eighth notes perfectly five or six times, then just leave the metronome and imagine it’s on one and three, play it maybe two or three times perfectly, then imagine it’s just on beat one and burn it once.

Then I go back down. Maybe set the metronome to 61.

[garybaldy]

Yeah well there’s a reason why all those archtop players tended to be chord solo guys hah

Apart from of course Eddie Lang who played a brutal setup by all accounts.

For a reasonable action I still think you can work on relaxation. This something cellists work on for example and they use heavier actions than most guitarists. My wife’s cello teacher said ‘quiet left hand, loud right hand.’

The way you put enough pressure on chords can be explored as well.

I’d also suggest trying a lighter pick <1mm. Harder to play blazing single note stuff, but there’s an interesting psychology at play which sometimes a bit of recording at a distance can address - more right hand force does not always equate to greater projection. A softer pick places an upper limit on how hard you can hit the strings too.


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My Clayton is 1mm. I originally bought 1.5mm because the Dunlops I did use were 1.5mm and 2mm but the 1.5 claytons just seemed too stiff. I'll have to try their .7s or whatever they have.

[Boss Man Zwiebelsohn]

Yeah well there’s a reason why all those archtop players tended to be chord solo guys hah

Apart from of course Eddie Lang who played a brutal setup by all accounts.

For a reasonable action I still think you can work on relaxation. This something cellists work on for example and they use heavier actions than most guitarists. My wife’s cello teacher said ‘quiet left hand, loud right hand.’

The way you put enough pressure on chords can be explored as well.

I’d also suggest trying a lighter pick <1mm. Harder to play blazing single note stuff, but there’s an interesting psychology at play which sometimes a bit of recording at a distance can address - more right hand force does not always equate to greater projection. A softer pick places an upper limit on how hard you can hit the strings too.


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In Notes and Tones Ron Carter says something similar about upright pizzicato.

[rpjazzguitar]

A thing I recall having to work through (I say this as if it's all in the past) was a certain level of uncertainty or insecurity.

Like, I'd wait to hear something from the other musicians and then, assured that I knew where we were, I'd play my part -- a moment too late.

I had to develop more confidence in order to start playing a break when I thought the time was right -- and risk getting it wrong. I had to learn to trust the chart and play the ink right on time -- not a moment after everybody else.

Two things helped confidence. 1. More repetitions. 2. Sitting with the chart and making sure I understood the lead up to the break, rhythmically and harmonically. Then more repetitions.

One other thing that helped a little was thinking about what chord to have in mind during an unaccompanied break. Say it's a iii VI ii V I. The I is hit on the first beat of a two bar break. When you return to the top of the tune, say the chord is the same I. You could do your break solo on the I. Or, you could do it on the V7 going to I.

Or, get as elaborate as you're capable of getting. A common one is to play the chords that make up the turnaround for the solo choruses, typically a iii VI ii V, but not always.

You could do something like IMa7 biiiMa7 bVIMa7 bIXMa7 (C^7 Eb^7 Ab^7 Db^7).