![]() Not only is this one of the best jazz solos of all time it also has an incredible amount of jazz vocabulary in there for you to learn from. Well, If any of these sound like you then I have an easy solution for you: Start with one of the most famous, easiest, and greatest jazz solos of all time. Or perhaps you’ve already tried transcribing for a bit but found it to hard and gave up in frustration? Then as you get more comfortable you can add in the other chord tones: and start moving up or down by half steps and whole steps to build extremely simple melodies.Have you heard that you should be transcribing solos but just aren’t sure where a good place to start is?Īre you having problems finding a jazz solo that is not only easy to play but has tons of great jazz licks in there? Try playing ii - V - I's in all 12 keys using just the 3rd to 7th and 7th to 3rd rule, like this. Make up your own rhythms and see what you like, don't be afraid to mimic rhythms from other jazz pieces or players solos - imitation is a fantastic way to learn to improv better! Once that starts to feel natural, play around with some rhythms on only those 3rds/7ths. I suggest starting with long tones that move as fast as the chords do like this: and play through a couple choruses of just 3rds and 7ths. Its perfectly fine to look at all the chords initially and write out what the 3rds and 7ths are to help you keep track. Now you can pick out any playalong improv track (like an Abersold play-a-long or search YouTube for 'Jazz play along') and play only these 3rds and 7ths over the chords. So as a beginner, you can now limit the number of note choices to simply picking whether you start on the 3rd or 7th and move down step wise to start getting the feel more confident and sound good while you are learning! F and C are the 3rd and 7th of Dm9, F and B are the 7th and 3rd of G13, and E and B are the 3rds and 7ths of CM9. These are the 3 > 7 and 7 > 3 movement that is a great place to start for soloing. Now we have 2 options for highlighting the chord structure in the fewest notes: F-F-E or C-B-B. If you learn how to solo over ii - V and ii - V - I chord structure (and all major/minor/diminished varieties of these chords), you're well on your way! Let's add the I to our above ii - V progression These chords happen to be a ii - V progression which is EVERYWHERE in jazz. Play these notes over these chords and you'll sound like you have an idea of what you are doing with Improv. The movement of the C - B outlines the chord motion from Dm9 to G13, this is playing the changes. So, let's re-stack these chord tones so there is as little movement as possible. Think of this as chord tones being lazy and wanting to move as little as possible between chords. Now we just need to find the notes that change between these chords. The notes in these chords stacked up from the root look like this:įor beginning purposes the bass always plays the root, so we can drop those for now: These are the changes that any good solo will highlight and as a beginner, this is a great place to start.įor example in the key of C major, you might have a progression like this: Dm9 - G13. Typically there are a couple notes that stay the same from the current chord to the next chord, and a few key notes that change. Solo-ing is commonly called 'Playing the Changes'. ![]() ![]() Definitely start to attempt both of these, but I like to begin Improv from a more simplistic approach: 3rds go to 7ths, 7ths go to 3rds - this will make more sense, keep reading! But, there is a bit of a learning curve for these (especially the transcribing solos by ear). These are extremely rewarding hard work exercises and are meant to be a long term strategy for Improv. Transcribing other solos and learning cool licks/scales in all 12 keys are essential. ![]()
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