Ever wonder how the best players seem to improvise brilliant lines without any effort? All while you’re struggling to make even the simplest chord tones sound good. If you’re like most players you know this frustration. However, the solution doesn’t lie with a hidden secret or advanced music theory – it all goes back to the musical foundation that you already know.
By now you should be able to visualize the root and chord tones of any chord.
But knowing this information is only the starting point. The trick lies in making music out of these harmonic building blocks.
So how do you start with the basic notes of a chord and turn them into a solo that sounds good? How do you transform a few boring triads into music that people actually want to listen to??
As you’ll soon see, the gap between memorized theory and musical solos is closer than you think – you just need to know a few tricks.
It’s all about your approach…
Many of the complex lines that you hear in your favorite solos aren’t based on fancy scales.
Or even complex chords…
They are rooted in the basic structures found in every common chord: the root, 3rd, 5th and 7th.
One way improvisers create complex lines with limited material is through the use of chromatic approach notes.
For example listen to the opening of Dizzy Gillespie’s arrangement of Blue n’ Boogie:
Without the ornamentation or 16th notes the line would look like this – a Bb major triad with half-step approach notes: