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Jazz Guitar Soloing - Part One:
THE EXAMPLE PROGRESSION:
Pieces such as Blue Moon as well as, Heart and Soul use these progressions and it's popularity peaked in the 1950's and 60's with doo-wop music.
CHORD TONE TARGETING:
However, this skill is not simple by any means and it takes a good deal of time and effort to achieve. In order to develop this technique players need to learn the notes of scales, the chords and the arpeggios on their fingerboards. It is also crutial that players know and completely understand the geometry of the intervals as well.
When we play a chord, the notes form a map on the fingerboard. One of my G.I.T. instructors, Steve Dudas, often called them, Chord Sandwiches. And, knowing the shapes on the neck can aide greatly with performing better lines, more expertly crafted into the exact tones of the chord.
For example; let's say we had a D Major 7th chord. The notes of this chord are; D, F#, A, C#.
Jazz players seldom play into the root, (it is sort of considered somewhat hokey to do so). The fifth, while being a solid chord tone, tends to be looked at as somewhat bland. However, the 3rd and the 7th chord tones are quite colorful. They are part of the quality defining tones of the chord and can offer excellent color upon resolution.
Make a study of the melody outlined in the tab charts, (the download links are below). And, if you would like to look into further concepts around this topic, check out Part Two of this series.
Part Two of this series covers the theory involved with targeting, as well as, how to practice this technique. Three licks are included in the lesson handout which incorporate basic targeting, using diminished scale for resolution and targeting into extensions of 9, 11, and 13.