Chord Tones

[blackcat]

Looking for a way in to chord-tone soloing. Please can anyone recommend a link, book, video tutorial with examples relating to jazz guitar.

Thanks.

David

PS A friend recommended 'Chord Tone Soloing' by Barrett Tagliarino, but all the examplse seem to be rock orientated and whilst I know the principles transcend genres, the CD is flavoured in that way or so it seems.

[Hep To The Jive]

Why do you need a book? Transcribe or get a transcription of Charlie Christian solos, and you'll be all set. Everything you need to know is in there.

[rlrhett]

Chord tone soloing is the essence of traditional jazz and bebop, so virtually every jazz oriented book covers it. I liked Fareed Haque’s TrueFire course “Bebop Improvisation Survival Guide” mostly because he does a great job at demystifying the concept and making it seem natural and organic. For a book with good excreciones and a progression of complexity from totally entry to interesting I would recommend Mimi Fox’s book “Arpeggio Studies on Standard”. There is also the Joseph Alexander book, “The Complete Jazz Soloing Compilation”.

Good luck!


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[DS71]

I mentioned this in another thread. I was well versed in arpeggios for rock and classical playing.

A few years ago when I started down the path.....
I worked Maj7, Dom7, min7, and min7b5 arpeggios across the neck in 12 keys and did some time running 8th not studies through the standards I was working on at the time. Always changing and reaching for the nearest chord tone as you move through the changes. I'm sure many on here have done the same, at least for a time.

[mikostep]

Stay away from it. That's a one of the biggest bullshit in jazz teaching. Use those tones for something else.

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[blackcat]

Why do you need a book? Transcribe or get a transcription of Charlie Christian solos, and you'll be all set. Everything you need to know is in there.

Need the discipline!

[Tal_175]

Stay away from it. That's a one of the biggest bullshit in jazz teaching. Use those tones for something else.

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So do you disagree that chord-tones are prevalent in the solos of great jazz masters or do you disagree that one should practice it?

[blackcat]

Metheny seems to be in favour of them.

[p1p]

What exactly is "chord tone soloing"? Is there a type of soloing that isn't somewhat based around chord tones? (Sorry if this is a dumb question..)

I think like 'Hep to the Jive' mentioned, studying the likes of early boppers will pretty much teach you what there is to know with regards to soloing around chord tones. The way I see it is sometimes you can be more general around chord tones with the changes, sometimes more specific..

[Hep To The Jive]

What exactly is "chord tone soloing"? Is there a type of soloing that isn't somewhat based around chord tones? (Sorry if this is a dumb question..)

I think like 'Hep to the Jive' mentioned, studying the likes of early boppers will pretty much teach you what there is to know with regards to soloing around chord tones. The way I see it is sometimes you can be more general around chord tones with the changes, sometimes more specific..

Basically in the beginning you see the fretboard as 'boxes', not unlike 'pentatonic box' that every guitarist knows, only with chord shapes. That's your pool of notes, the starting point. From there you work your way around ii-v etc. Combine with developed ears and good rhythm feel, that's one way to approach standard jazz. You'll end up playing scales too, but you don't always think of them as such.

Served me well, this approach.

[Hep To The Jive]

Stay away from it. That's a one of the biggest bullshit in jazz teaching. Use those tones for something else.

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OK.

What does mikostep recommend?

[p1p]

Basically in the beginning you see the fretboard as 'boxes', not unlike 'pentatonic box' that every guitarist knows, only with chord shapes. That's your pool of notes, the starting point. From there you work your way around ii-v etc. Combine with developed ears and good rhythm feel, that's one way to approach standard jazz. You'll end up playing scales too, but you don't always think of them as such.

Served me well, this approach.

I think I get you. Well maybe some see it as chord tones PLUS notes between, some scales MINUS notes between? I'm more the former, but aware of the scales of course.

[mikostep]

OK.

What does mikostep recommend?

I would practice lines. Major and minor, harmonic and melodic minor, dominant diminished lines. Learn the lines without avoid notes so that the are not ambiguous. Lines gives colors, smooth out the playing, gives confident and they are very accessible for introduction of phrasing and various rhythmic devices. And that is where the fun starts because phrasing and various rhythmic inflections can help multiply one line into 10 new ones. That is good start. Chord tones can be your start and end points, but all other tones too (even more fun). Much better approach. And you don't fight with scale bullshit either.

But, please don't get me wrong. I'm not trying to offend you or anyone else.

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[Tal_175]

I would practice lines. Major and minor, harmonic and melodic minor, dominant diminished lines.

By lines do you mean what's commonly referred to as "licks"? I think OP is asking for a method of practice to get chord tones in his/her playing over time. I'm guessing you're suggesting getting a lick book and memorize licks instead.
I'm not saying that won't work, but not every note is created equal in a given context. In the practice room, I like to work through a tune's progression with the awareness of note hierarchy:
1- Strong melody notes.
2- Guide tones.
3- Triadic forms of the chords (dim triad for Dom's, primary triad for other chords).
4- 4 note arpeggioes.
5- Chord extensions.

First quarter or even half notes, gradually 8th notes and triplets. In the latter case passing notes, runs, embellishments (ie scale notes and chromaticism) are thrown in. I also explore various ways of connecting chords while I'm playing choruses using the ideas above, gradually moving from 1 to 5. Initially having pre-planned digital patterns/rhythmic figures to follow over each chord, gradually freeing up the lines.
To me just learning licks (if that's what you mean), makes this hierarchy less explicit. The end result over a long term might be the same, but I believe being aware of the hierarchy above and integrating this awareness to the practice is a more direct way to train ones ears.

[Hep To The Jive]

I would practice lines. Major and minor, harmonic and melodic minor, dominant diminished lines. Learn the lines without avoid notes so that the are not ambiguous. Lines gives colors, smooth out the playing, gives confident and they are very accessible for introduction of phrasing and various rhythmic devices. And that is where the fun starts because phrasing and various rhythmic inflections can help multiply one line into 10 new ones. That is good start. Chord tones can be your start and end points, but all other tones too (even more fun). Much better approach. And you don't fight with scale bullshit either.

But, please don't get me wrong. I'm not trying to offend you or anyone else.

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You can't offend me.

Lines are great, of course! But where are those lines coming from? If you mean stealing licks, im all for it, its fun and highly useful. But you need some kind of organizational approach to improvise on your own. Chord tones is very good for playing standards. Obviously, youre not just playing the chord tones without connecting them in interesting way, lol.

And i wouldn't use this approach on tunes like So What or any modal or fusiony type jazz. But otherwise, it's what helped me with my playing a lot, so can't call it BS myself. Not more than any other methods anyway.

[mikostep]

No, not licks. Licks already have implemented phrasing, rhythm etc.
Here is example of C major line: descending d, c, b (1 string), a, g (2 string), e, d (3 str), c, b (4 str), g, e (5str) c, b (6str). So, no f note (avoid note). This line or a part of it can be played with any phrasing, rhythm etc. And can be used in various situations (example over B7 leading to Emaj or Emin, over D7 etc, not mentioning obvious choices).
After you learn the lines (and arrpegios) for major and parallel minor, harmonic and melodic minor and dominant diminished (these are most important, there are offcourse other) then you learn to combine them in large lines. I know, it sounds like something most of the people already are doing but the difference is that these are lines, not scales or licks. Biggest advantage of lines is that you start to think in biggest chunks, line by line. Not note by note. That's how the smoothness develop. Second advantage is that the ear caches them as colors so you can smoothly combine those colors.
Combining lines (colors) follows the same rules as chord substitutions, or maybe its even better to think as comping tricks. Imagine you comp and instead of playing all those chords play your lines. There are other trivks too.
Another advantage is awareness of space. It's much easier to grasp the space with lines than with just notes from the scales. It's also easy to think of some rhythms (drum etc) or a phrasing and implement it in a line that you already have mastered because you can compress or expand the line easier.
Also, there is muscle memory that helps smoothness. There are issues with muscle memory. Sometimes it's good sometimes not, but that's another story.

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[Tal_175]

Here is example of C major line: descending d, c, b (1 string), a, g (2 string), e, d (3 str), c, b (4 str), g, e (5str) c, b (6str). So, no f note (avoid note). This line or a part of it can be played with any phrasing, rhythm etc. And can be used in various situations (example over B7 leading to Emaj or Emin, over D7 etc, not mentioning obvious choices).

It's still not clear to me what you mean by a line. It seems like you mean "a note collection without avoid notes". The example "line" above wouldn't work nicely over the stated situations (B7 leading to Emaj or Emin, over D7?).

[mikostep]

It's still not clear to me what you mean by a line. It seems like you mean "a note collection without avoid notes". The example "line" above wouldn't work nicely over the stated situations (B7 leading to Emaj or Emin, over D7?).

Think of it this way: scale is a note collection, a line is a note collection with start, middle and end.
GB would not agree with regarding the above "line" usage.

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[garybaldy]

It's still not clear to me what you mean by a line. It seems like you mean "a note collection without avoid notes". The example "line" above wouldn't work nicely over the stated situations (B7 leading to Emaj or Emin, over D7?).

With my limited knowledge I would probably think Balt to Em (and possibly to Emajor) so I would more likely avoid 'e' over the B7,use d# (3rd) and f as b5. e would be ok in the right place as a passing note.
Over D7 (resolving to Gmaj/Gm)I'd have to incorporate an f# in preference to g. etc etc

[mikostep]

With my limited knowledge I would probably think Balt to Em (and possibly to Emajor) so I would more likely avoid 'e' over the B7,use d# (3rd) and f as b5. e would be ok in the right place as a passing note.
Over D7 (resolving to Gmaj/Gm)I'd have to incorporate an f# in preference to g. etc etc

That way you are ignoring the colors in favor of obeying the rules. Just don't think of it too much and try to play it, but use backing tracks. Without backing tracks you can't feel/hear the color.
As a matter of fact always play lines with backing tracks. They tell you is the line working or not and what you have to change.

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[Tal_175]

That way you are ignoring the colors in favor of obeying the rules. Just don't think of it too much and try to play it, but use backing tracks. Without backing tracks you can't feel/hear the color.
As a matter of fact always play lines with backing tracks. They tell you is the line working or not and what you have to change.

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One should always be able to "sound the harmony" linearly with their lines without the trial error of playing against backing tracks in my opinion. Being aware of the chord tones and voice leading is what's going to enable someone do that.
Backing tracks have their place. They help you hear the colors etc. But one should always be able to hear the changes from their lines alone. At least have ability to do so at will.

[mikostep]

Arpeggios can also be considered as lines, intervalic jumps etc anything with start, middle and the end.

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[mikostep]

One should always be able to "sound the harmony" linearly with their lines without the trial error of playing against backing tracks in my opinion. Being aware of the chord tones and voice leading is what's going to enable someone do that.
Backing tracks have their place. They help you hear the colors etc. But one should always be able to hear the changes from their lines alone. At least have ability to do so at will.

Lines are perfect for doing this, only you do it in bigger chunks, more smoothly and with variety of colors.

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[GuyBoden]

I think that this is a good beginners practice exercise to get to know your chord tones, it approaches the Chord Tones from a note below:


(LN = Link Note.)

The 3rd, 2nd, 1st, 7th notes are on the downbeats of the Dm7 and G7 bars.

I practiced approaching the chord tones from a note below using many keys and chord progressions too.