Module 16 — Improvisation from Chord Tones: How to Stop “Running Scales”
This module is where improvisation becomes practical.
The core idea is:
Improvisation is not “pick a scale and wander.” It is creating melody that knows what chord is happening.
The simplest way to do that is to treat chord tones as destinations and everything else as motion between them.
16.1Start with one progressionWe'll use:16.2The easiest improvisation exercise: one note per chordPlay the chords with your left hand.16.3Target the 3rdThe 3rd is one of the most useful improvisational targets.16.4Target the 7thNow target:16.5The crucial dominant resolutionsOver G7, two notes are especially important:16.6Your solo can imitate the harmonyThe chords themselves resolve:16.7Chord tones on strong beatsA very useful beginner rule:16.8Passing tonesSuppose your targets are:16.9Chromatic passing tonesYou are not limited to the scale.16.10Approach notesWant to land on B over G7?16.11EnclosuresNow approach a target from both sides.16.12Don't use chromaticism randomlyBad strategy:16.13Motifs are more important than note quantityCreate a tiny idea:16.14A motif can be only two notesFor example:16.15Rhythm creates identityTake three notes:16.16Silence is part of improvisationTry this:16.17Call and responseCreate:16.18Don't start every phrase on beat 1This makes improvisation sound mechanical.16.19AnticipationSuppose Cmaj7 is coming.16.20DelayOpposite idea:16.21Chord-scale thinking comes secondIn C major ii-V-I:16.22Why scale-only improvisation sounds weakIf you play:16.23A simple comparisonLoop:16.24One note can change functionHold E.16.25Common-tone improvisationOver:16.26Guide-tone linesInstead of thinking chord-by-chord, create a line through the whole progression.16.27Create a descending lineOver ii-V-I in C:16.28Create an ascending lineTry:16.29Chord tones do not all sound equally strongOver Cmaj7:16.30Extensions can be targets tooOver Cmaj9:16.31A good order of target notesAs a training progression:16.32Avoid always landing on the rootBeginners often resolve every chord to its root:16.33Use chord tones as landing points, not prison barsBetween important targets you can use:16.34Repetition is allowedDon't assume improvisation means every note must be new.16.35Sequence a motifMotif:16.36Rhythmic displacementTake motif:16.37Develop one idea instead of inventing tenSuppose your first phrase is:16.38Tension and release in a soloDon't make every note equally stable.16.39Secondary dominants change your target notesTake:16.40Another secondary-dominant lineAm7 → A7 → Dm716.41Passing diminished improvisationProgression:16.42Borrowed chord improvisationProgression:16.43This is the unifying conceptLook at these:16.44One-chord improvisation before progression improvisationChoose Cmaj7.16.45Two-note challengeOver Cmaj7, use only:16.46Three-note motif challengeUse:16.47Sing firstBefore playing a solo:16.48Singing does not require a good singing voiceYou're not performing vocally.16.49Restrict the rangeAnother useful exercise:16.50Restrict the rhythmOpposite exercise:16.51Think in 2-bar phrasesLoop:16.52Land the answer wellAt the final Cmaj7, try ending on:16.53Play behind the beatFor a relaxed jazz feel, don't mechanically attack every note exactly with the metronome.16.54Swing previewStraight eighths:16.55Articulation mattersPlay the same line:16.56Dynamics matter tooTake a four-note motif.16.57An excellent practice loopUse:16.58Apply to our richer progressionLoop slowly:16.59Do not try to “sound jazzy”This matters.16.60The improviser's mental hierarchyWhen playing, ideally think roughly in this order:•Homework for Module 16Spend around 30 minutes.•Module 16 mini-test1. What is the basic difference between running a scale and improvising through chord changes?