BASIC JAZZ SOLOING

VOCABULARY BUILDER

by Anthony Muthurajah

C O N T E N T S.
INTRODUCTION GUIDE BASIC RHYTHM
PAGE 1 TONES PHRASING PAGE 14
PAGE 5 PAGE 9 — 10

BASIC MUSIC HIGHLIGHTING ENCLOSURES AND CREATIVITY

THEORY CHANGES TARGET TONES AND CONTROL
PAGE 2 PAGE 6 — 7 PAGE 11 PAGE 15

CHORDS AND MOTIVIC HARMONIC EXAMPLES

CHORD SCALES DEVELOPMENT EXTENSIONS INDEX
PAGE 3 — 4 PAGE 8 PAGE 12 — 13 PAGE 17

DESIGNED BY : @CALLIECEE EMAIL : [email protected]

 INTRODUCTION.
1

Hey there. Thank you for checking out this book!

Vocabulary is a part of everyday life. Whether it’s language or music,
it says a lot about what one has to say. In music, we need the right
vocabulary to create meaningful solaos. It helps add the right colors to
the music.
In this particular book, we’re going to take a look at the basic essentials
one would need to develop a solid vocabulary to be able to play decent
solos in a jazz context.
Needless to say, the concepts are very universal and can be applied
to different styles, but it is extremely important to keep everything
contextual. For example, hearing a bebop phrase in a four chord pop
song would be weird normally, but it could work. It all depends on how
and why you do it. Anyway, enough of the chatter. Let’s get to it!

*All examples and topics covered are extremely basic, mostly focusing on the major
scale. Take all the concepts and apply them to other scales as you go further in your
personal shed. Stay true to yourself!
BASIC MUSIC THEORY

Whether you play an instrument or you’re just a vocalist, studying harmony and melody is extremely
important. Let’s take a look at some very basic music theory that is needed as we go through the book.

The 12 Tones of Western Music

There are 12 tones (or notes) that are audible/used in today’s music. Other forms of tones exist as well.
They are not too common (micro tones or quarter tones), but are found in many ethnically driven styles
of music. The 12 tones are as follows:

A A#(Bb) B C C#(Db) D D#(Eb) E F F#(Gb) G G#(Ab)

The notes in bold have two names, but have the same pitch. That’s what we refer to as an enharmonic equivalent.
There’s a simple reason for that, which we will get into in a bit.

Intervals
An interval in music is the space between two notes. Using intervals, we construct chords/scales based
on the 12 tones. Here’s a list of all possible intervals with A being the first note.
2
There are intervals which extend beyond
Note/Pitch Interval Interval Symbol the octave. If we take a D7b9 for example,
A Tonic 1 the b9 indicates that the Eb is played an
octave above, not directly above the
A - A# (Bb) Minor 2nd m2 root. If played directly above the root, it
would be a b2.
A-B Major 2nd M2
Chord extensions typically use intervals
A-C Minor 3rd m3
above a 12 note octave. It all depends on
what you’re going for ultimately.
A - C# (Db) Major 3rd M3

A-D Perfect 4th P4 A Cmaj7#11 won’t sound the same as a

Cmaj7b5 (#4); same note, different pitch.
A - D# (Eb) Augmented 4th / Diminished 5th +4 / o5 This is a very simple way to bring more
color to your chords.
A-E Perfect 5th P5

A-F Minor 6th m6 Typically in any scale, we try our best to

avoid repeating the same note name. For
A - F# (Gb) Major 6th M6 example, in G major we have F# and not
Gb, as we already have a G. This in turn
A-G Minor 7th m7
gives us keys based on sharps (#) and
flats (b). Through the course of this book,
A - G# (Ab) Major 7th M7
we are going to be using intervals a lot to
explore multiple ideas.
A-A Octave 8

Table 1
 CHORDS AND
CHORD SCALES

For every chord we construct, there’s a “relevant” scale we can use to improvise or compose melodies.
If we take this further we get the modes. This gives you a unique scale for each chord. Let’s take a look
at this with the example of a C major scale.

C major scale - C D E F G A B
7th Chord Chord Scale Scale Tones
Cmaj7 Ionian CDEFGAB

Dm7 Dorian DEFGABC

Em7 Phrygian EFGABCD This is a matter of perspective, but don’t you think it
makes sense to have ONE parent scale over seven
Fmaj7 Lydian FGABCDE different chords? Try phrasing from different starting
points on the scale without having separate names.
G7 Mixolydian GABCDEF
This is where you start to find the most color when you
improvise. The name of a mode is a mere reference of
Am7 Aeolian ABCDEFG
that sound, but you can’t deny the parent scale being
3 Bm7b5 Locrian BCDEFGA the best sound that works over any chord of said scale.

Table 2
Here are a couple of ways to gain perspective beyond modes.
1. PLAYING SCALES AWAY FROM THE CHORD
If you have a Cmaj7 chord, the typical option would be to play the C ionian or simply the C major scale.
However, this sound gets dull pretty quickly. You can try using all the intervallic options, but starting
melodies from the tonic of a chord all the time is redundant. If you wonder why bass solos are boring,
this is one of many reasons (oops).

A simple way to spice up your ideas is to move away from the tonic of the chord. Maybe start the same
scale from the 3rd degree? You can think of it as a Phrygian, but it’s simply all just ONE parent scale.
Let’s look at this with the scale tones laid out over a Cmaj7.

Cmaj7 - C D E F G A B (C maj scale with the chord tones of a Cmaj7 highlighted)

E F G A B C D (E Phrygian or just a C major scale starting from E, i.e. the 3rd of a Cmaj7)

If you run up the scale in 8th notes in one octave, you will hear a 3rd line up against every chord tone of
the chord. This gives it a refreshing sound and has a strong sense of melody to it. In Example 1, you will
hear a few variations of this sound.
Simply put, if you start the parent scale on any of the chord tones of any chord, you get a more
melodically driven sound. Do not completely omit starting on the tonic. However, we need to go beyond
that. One simple way to internalize this is to sing all the scale options as you play them. That helps create
a solid ear for melodies.

Take this concept and try it over every chord. In Example 2, you will hear the varying possibilities over every chord in the
C major scale. And of course, transpose this in ALL 12 KEYS yourself!
CHORDS AND
CHORD SCALES CONT’D

2. PLAYING CHORDS AWAY FROM THE CHORD

Now, this might seem like a very street way to put it, but when you stack chords on top of one another,
you essentially get extensions. In the previous page we saw how we play a C major scale starting from
the note E on the tonic chord. If we take the chord on that degree (the 3rd), we get an Em7. This is a very
commonly used approach in jazz, specifically in bebop.

Cmaj7 - C E G B
Em7 - E G B D (You get the 9 on top with this approach giving it a strong and unique resolution)

In simpler words, if we can use scale tones based on the chord tones of any chord, we can also use the
arpeggios available based on them. Here are some arpeggio (triads and 7th chords) options you can use
on a Cmaj7: (Example 3)

We’re also using the relative minor as an option. (A minor against C major)

The arpeggio from the 7th degree (B) isn’t usable in the key of C. 4
Em7 EGBD (You get a F which clashes with the E in the chord)

Em EGB
However, in the key of G, it is a solid option. You get a Bm triad or Bm7
chord on top of a Cmaj7, giving you the tonality of the 9 ,#11 (F#)
and 13. This can also be viewed as a D triad over Cmaj7.
G GBD
Cmaj7 - CEGB
Am7 ACEG
D - D F# A ( 9 #11 13)
G6 (Em7 inversion) GBDE It is useful to know the existence of one chord type in different keys.

This gives you freedom to access different tonalities at any given

Am ACE
point, in context, of course.

Table 3

With these two approaches, one can have a ton of material to shed for a lifetime. Take these principles
and apply it to jazz standards. Write down the changes of any standard and make a side note on every
chord, denoting what options are available. With every chorus cycle, you can try a different option.
This keeps your solo development interesting and gives it a great arc/contour.

This is a PRACTICE METHOD, not art. Your art is a direct result of how and what you practice.
Always remember that.
 GUIDE TONES

Guide tones are typically the 3rd and 7th of a chord. They help determine the quality/tonality of a chord.
For example, a Cmaj7, - C E G B; the E and B solidify the sound of the chord. One of the simplest ways to
understand playing changes is to play (sing and hear) the guide tones on a jazz blues.

Let’s take a look at the guide tones in a F blues.

In Example 4, we hear the guide tones being played in half notes.

Chord Guide Tones Focus on the half step motions. Internalize that sound.
Sing it out loud.
F7 A Eb
The harmony on the example is open with tensions added, along
with some passing chords.
Bb7 D Ab
You can hear the tension and release specifically on the D7#9 and
A-7 CG C7#9. It’s very common to use altered voicings on these 2 chords on
a blues.
D7 F# C
5 This exercise works on any set of changes, whether they’re basic
or not as far as voicings are concerned. The important part is to get
G-7 Bb F comfortable with the sound.

You MUST play the guide tones all over your instrument!
C7 E Bb

Table 4

One thing you will immediately notice about the I to IV chord movement is how close the guide tones
are to each other. F7 to Bb7 (A moves to Ab, Eb moves to D). The same half step motion is seen again on
the A-7 to D7 and G-7 to C7 with a slight difference. The 3rd of Am7 for instance is the b7 of D7 (C).
The note C is shared by both chords. The half step motion in this situation is the G moving down to F#.
Who would’ve thought moving just one note on a 2-5 highlights the change?!

Once you’re comfortable doing this with the blues, take any simple AABA standard and apply the same
concept. Eventually, try adding different notes from the parent scales and try resolving to either guide
tones. Your ideas start to move in a specific direction. You won’t sound lost and you definitely won’t
get lost!

In Example 5, you’ll hear the direct application over Autumn Leaves. What you’ll also notice is how
the actual melody of the song revolves around the guide tones. This is commonly found in multiple
standards of different styles. If you find yourself struggling to find the 3rds and 7ths, just focus on the
melody and find your way around it!
HIGHLIGHTING
CHANGES

Once you are comfortable with the concept of guide tones, the next step is to CONNECT the ideas from
one chord to another. We’re going to take two chords and find ways to connect them using their relevant
scales and guide tones.

The first thing we should look out for are the

Chord C-7 Gmaj7 COMMON TONES/NOTES shared by the
two chords (if there are any). In this case,
depending on how we approach the Gmaj7
Chord Tones C Eb G Bb G B D F# (whether it’s the Ionian or Lydian), it presents
a different set of shared tones.

Scale (mode) C D Eb F G A Bb G A B C (C#) D E F#

G is technically the only common tone between the two
chords if we disregard their relevant scales. Bring the chord
scales into the equation and make note of other shared
Guide Tones Eb / Bb B / F#
tones besides just the chord tones.

Table 5 6

C-7 (dorian) / Gmaj7 (Ionian) - C D G A : Eb Bb F# are not common tones.

C-7 (dorian) / Gmaj7 (lydian) - D G A : Eb Bb F# and C# are not common tones.

These four notes (C D G A) will ultimately give you the leverage to move within the two chords, as they
are shared and have relevance in both tonalities.

If we take these common tones and add the guide and scale tones pertaining to each chord, we get this:

C-7 (dorian) / Gmaj7 (Ionian/Lydian) - Bb C (C#) D Eb E F F# G A B (almost a chromatic scale).

The C# in the Gmaj7 can also act as a guide tone since it highlights the Lydian tonality. In C-7, the A also acts as a guide tone since it highlights
the Dorian tonality. Basically, any note that emphasises tonality besides the 3rd and 7th can be used as guide tones. (Chord tones, scale tones
and tension tones)

In Example 6 you’ll hear different variations of melodies focusing on these notes. At a quick glance,
it almost makes no sense, but when you string them together with restraint and control, it’s bound to
sound good.

On the next page we have the first eight bars of Autumn Leaves (Example 7). The changes are written out
with the relevant scales/guide tones in brackets. There are a few sample melodies written to emphasise
the specific direction and motion we’re aiming for. Write out your own variations and see what you can
come up with. The more you do this, the more it becomes engrained in your ears, fingers and mind.
It will become second nature to be able to do this “on the fly”, i.e. to truly improvise.
 HIGHLIGHTING
CHANGES CONT’D

Example 7.

     
B♭maj7 (Ionian - D A) E♭maj7 (Lydian - G D)
  
C-7 (Dorian - Eb Bb) F7 (Mixolydian - A Eb)

          
    

          
A-7♭5 (Locrian - C G) D7♭9 (Mixolydian - F# C) G-6 (Dorian - Bb E) G7 (Mixolydian - B F)

          
5

  

Fig 1.
7

1. This example is in the key of Gm (Bb major).

2. Make note of the usage of pure diatonic notes based on the chord changes.

F# on D7 and B on G7 are two examples of non diatonic tones in relation to the key of the tune, but they

belong to the pertaining chords. Almost every jazz standard employs changes outside of it’s key centre.

3. The turn around back to Cm7 switches tonality (Gm to G7). This is a commonly used technique in jazz.

4. The 6 is the guide tone on G-6 since there’s no b7 in the chord.

5. Listen to how the strong beats (downbeats) function in this example.

6. Make note of the rhythmic variations.

7. Write at least five exercises of your own along these lines (the more, the better).

8. Transpose all exercises in 12 keys; A MUST.

9. If eight bars seem like a stretch, feel free to cut the number of bars/chords. Write out your own set of

diatonic changes and work out melodies that highlight the chords.

Ultimately, the logic behind this exercise is to develop the basic ability to highlight changes. It is almost
impossible to improvise in this context from the get-go. Hence, we work it out first and then try to
improvise with logic, in context.
MOTIVIC
DEVELOPMENT

One of the first things students are taught in the context of improvisation and/or composition is Motivic
Development. In very simple words, the idea is to take either a rhythmic, melodic or harmonic idea and
move it in relevance to the changes/song/structure. This is not a religious approach to improvisation,
but it helps keep all the ideas grounded with maximum control.

Again, the melody of Autumn Leaves is a classic example of a rhythmic/melodic motif that repeats
itself a few times over the changes before resolving on the last couple of bars. In Example 8, you will
hear the melody with some embellishments.

Another tune where we hear a similar motion is on All The Things You Are. A lot of standard repertoire
has this in common. Great motifs tend to carry the weight of an entire tune. Be it classical music or
modern day pop, motifs are everywhere. They enable any listener to be able to latch on to the music.
This is what is referred to as a “hook” in a song.

8
In Example 9, you’ll hear a couple of varying approaches to how motifs can be used and then eventually
taken for a run. To further develop your own approach, take ONE motif at a time and move it across an
entire tune, for starters. Once comfortable, add a 2nd then a 3rd, 4th, 5th..etc. You get the gist! Don’t be
afraid to explore beyond what the book highlights as examples.

In the context of improvisation, however, we need more than to be just able to execute motivic ideas.
One should have the ability to tell a story. If your mood is a certain way on a gig, you probably won’t even
head in the direction of a motif. You might just want to burn straight up or lay down simple vocal ideas.
In order to be able to execute your ideas, knowing HOW TO PHRASE them is paramount.
 BASIC PHRASING

Phrasing in music pertains to the ability to emotionally express any and all ideas in an orderly fashion.
Much like in any language, it’s a skill set that requires constant practice and it only gets better with time.

BUT, hold on a second.

HOW do we go about practicing phrasing in music? Do we treat it like a language, literally? Do we try to
“speak” right off the bat? Here are FOUR key things to keep in mind and develop before you even try to
get going with phrasing ideas.

1. Ability to Hear/Play Simple Melodies 2. Chord Identification

This is often overlooked. Why? Because it’s EXTREMELY Theoretically , you could know chords and their differences,
SIMPLE yet DIFFICULT. Without the ability to play basic but can you actually hear it? Take a set of changes and
melodies with good expression, there really is no point identify the progression. Write it down on a piece of paper
in trying to go further in improvisation. This is a pretty so you have a visual representation (extremely important!).
subjective opinion, but it’s all about the basics. If you Do this with four chords at a time to pace yourself. Once
can’t play Mary Had a Little Lamb and you want to play comfortable, try extending the chord phrases beyond
over Coltrane changes - FORGET ABOUT IT! just four.
9

3. Scale Recognition 4. Melody Reference

Once you have the chords written down, the next step Melody is king. It always is. A song ceases to exist without
is to identify the relevant scales. Write it over the chords. it. Regardless of the tune you choose to practice, always
Sometimes the obvious chord scales don’t do melodic keep the main theme in mind. It’s a great way to get
justice, but seeing that we’re primarily using the major your phrasing together. This makes it fun and keeps the
scale in this book, keep it simple for starters. listener (yourself when practicing) interested in what’s
happening, since the tiniest of ideas are based around
the main melody.

On the following page we have a couple of exercises incorporating all the topics we’ve covered so far.
There are two basic 12 bar forms : One jazz blues form and a second form with almost random chords that
have no relationship to each other (for the most part). Pay attention to the overall curve of the different
approaches to improvisation on both forms. If at any point, nothing makes sense, turn back a few pages
and revise the material.
BASIC PHRASING
CONT’D

In Examples 10 and 11, you hear variants of solos on both forms which are purely improvised. Here are
the changes with relevant scales written out for visual representation.

All scales are either major (Ionian), minor (Aeolian), Dorian, Mixolydian or Altered. Scales
written in (brackets) are secondary options which you will hear in the varying examples.

Example 10.
Mixolydian (C Melodic minor) Mixolydian (F Dorian) Mixolydian (C Melodic minor) Mixolydian (C Melodic minor)

    
F7 B♭7 F7 F7



Mixolydian (F Dorian) Mixolydian (F Dorian) Dorian (C Melodic minor) Altered

   
5 B♭7 B♭7 A-7 D7 10


Dorian (G Melodic minor) Altered Mixolydian Altered Dorian Altered

   
9 G-7 C7 F7 D7 G-7 C7

Fig 2.

Example 11.
Ionian (C Melodic minor) Dorian (E Ionian) Ionian (F Dorian) Altered (C Melodic minor) All relevant substitute scales
    
E♭maj7 D♭-7 A♭maj7 D7♯9
are on the easy listening side
 of the spectrum. There are
far more intense possibilities,
Dorian (F Aeolian) Mixolydian (B Dorian) Dorian (C# Aeolian) Dorian (G# alt) but don’t go there just yet.
   
5 B♭-7 Esus4 F♯-7 A-6

 Singing your ideas is the greatest

way to internalize them. You don’t
have to be a singer to do this.
Dorian (G Mixolydian) Ionian (E dorian) Dorian (Eb Ionian) Dorian (C Aeolian)
Vocalize as much as possible. Your
   
9 D-7 Gmaj7 C-7 F-11


phrases start to breathe this way.

Fig 3.
 ENCLOSURES AND
TARGET TONES

This is the quintessential sound of jazz; bebop in particular. Almost every musician of that era had this in
their arsenal. While it is generic, it enables you to extend ideas on a simple arpeggio or scale fragment.
It helps break up the generic flow of melodies and develops interest and contour.

An enclosure is basically the notes that surround a target tone. A target tone is the note you choose to
resolve on the strong beat of a chord (it can also be the weak beat, but that’s for later!). So, how do we
put these two elements together to create an idea?

There are two typical approaches to enclosures.

1. Single note enclosures

We take a note above and/or below the target tone.

It is important to practice these in all combinations. They are; above, below, above-below and below-above.

11
2. Double note enclosures
We take two notes above and/or below the target tone. Same combination principles apply here as well.

Bearing in mind single and double note enclosures, we can use either diatonic or chromatic notes to create
enclosures. For example, let’s take a G7 going to a Cmaj7. Our intended target tone is the 3rd of Cmaj7 (E).

Diatonic Enclosures
We take the diatonic notes that surround E in the key of C. The notes below would be C D and the
notes above would be F G. How you choose to phrase these notes is entirely up to you. Go with what
sounds good to your ears. In Example 12, you hear two variants of enclosures targeting each chord
tone of the Cmaj7.

Chromatic Enclosures
Now, we have access to the chromatic tones above and below the target tone. This is a sound you’ll
hear in the music of Charlie Parker, Dizzie, Clifford Brown etc. We take two notes above and/or below
(F# F and D Eb). In Example 13, you hear the two variants of enclosures targeting each chord tone. Note
the differences between diatonic and chromatic enclosures. Eventually, you’ll find yourself leaning
towards the sound of the chromatic enclosure. This is particularly interesting because we tend to lean
on “diatonic melodies” more, but if you have an ear for the music, it starts to change!

It’s paramount that you also focus on the rhythmic side of enclosures. While one can use them freely, the resolution is
important. They need to have a very specific rhythmic direction that enables it to work in context.
HARMONIC
EXTENSIONS

In Chapter 2, Chords and Chord Scales, we took a look at playing away from chords in a scalar form. If we
take this concept and apply enclosures to them, we start to find different colors in the melodies created.
Let’s take the same example of a G7 resolving to Cmaj7.

We’re going to use a two note above and below chromatic enclosure on beats three and four of the G7.
The target tone is E, but we don’t just resolve on that note. We play an Em7 arpeggio on beat one of
Cmaj7. This gives you a harmonic and melodic extension. (Example 14)

What happens if we move the arpeggio in the opposite direction? What if we change the direction of the
enclosure instead? Or both? (Example 15)

Needless to say, there are countless ways we can extend a chord both harmonically and melodically
speaking. Here’s a list of simple extensions you can use on all diatonic chords of a C major scale.

Some of the extensions mentioned are not typical options. 12

Cmaj7 Em7 Am7 There are some generic sounds in the bebop style, like the
Em7 against Cmaj7. However, we can use other options to
Dm7 Fmaj7 Am7 G7 give more shape to the melodic possibilities.

Em7 Cmaj7 against Fmaj7 gives us the #11 (B), 13 (D) and 9 (G). If
we were to further simplify this sound, it’s exactly the same as
Fmaj7 Dm7 Am7 Cmaj7 playing a G triad against Fmaj7. Regardless of the approach,
the result is exactly the same. However, each approach can
G7 Bm7b5 Dm7 Fmaj7 take the following melody in a different direction.

Am7 Cmaj7 Em7 G-7 In Example 16, you will hear the various extensions against
each chord in the form of chords, arpeggios and scale-
Bm7b5 Dm7 G7 based melodies. Pay attention to the color each extension
has to offer.
Table 6

Besides the Em7 or iiim7, each chord has at least two possible extensions.

The iiim7 is highly unstable since it resolves down to the ii minor or IV Major. They are not strong resolutions. You seldom
come across tunes where there’s an emphasis on the iii minor chord.
 HARMONIC
EXTENSIONS CONT’D

Here’s a list of a few non diatonic harmonic extensions we can use against the diatonic chords in the key
of C.

All the substitutions besides the Gmaj7 and Em7add9 are

Cmaj7 Gmaj7 Em7add9 borrowed from the melodic minor scale.
(D, A and E melodic minor)
Dm7 (A7) (Bm7b5add9)
It is one of the most usable scales to create tension and
release with your melodic and harmonic ideas.
Em7 Gmaj7 (Gmaj7#5)

Gmaj7/Em7add 9 on a Cmaj7 is a very generic sound that

Fmaj7 (Bm7b5add9) (A7) emphasizes the #11 (Lydian) tonality.

G7 (A7) (Bm7b5add9)

13
Am7 (Cmaj7#5) (E7)

Bm7b5 (Dmmaj7) (E7)

Table 7

In the table above, some of the chords don’t necessarily make sense as an extension from a harmonic
point of view. However, we can create melodic motions using them.

A7 on a Dm7 gives you the 7 (C#), 11 (G) and 9 (E). These are extremely colourful tones in contrast to
what the Dm7 spells. A is a common tone shared by both chords. That can be used as a pivot point to go
back and forth between the two chords. (Example 17)

Don’t omit the diatonic extensions we looked at in Chapter 2. Add on as you learn; never replace material.

Using this table as a reference, come up with your own extension ideas. Do not neglect triads. For the
sake of keeping the information concise, we’ve skipped triads for the most part. Have a drone of each
diatonic chord and play the listed options against it. (Example 18)
RHYTHM

Rhythm is without a doubt one of the most neglected topics in relevance to developing jazz vocabulary.
Think about it. Without rhythm, you can’t actually make music. Whether it’s rubato or a medium tempo,
we NEED rhythm to bring any and every idea to life.

Let’s take a look at some basic figures to help us understand the influence of rhythm in jazz.
(Example 19) Example 18.
19
Example 18.

       

   

       

   

              
3

 
              
3

 

             
5
14
 
             
5

 

                
7


                
7

           
9

 
           
9

 

            
11

            
11

Fig 4.

The most basic phrase is at least two bars long. However, we can stretch this out to three to four bars or
even eight bars if we wish. Have a listen to some extended phrases using nothing more than the figures
written above. The combinations of phrases will be mentioned in every example. (Example 20)

Example 21 is a rhythmically driven solo on a Bb jazz blues. Focus on how the rhythm starts to build up
with each passing chorus.
 CREATIVITY
AND CONTROL

A lot of musicians from the bebop era often employed the same tools to improvise. However, we are
still able to identify one from the other. How is this possible if all the tools used in the shed are exactly
the same? The answer is simple. It’s in our DNA. We are all unique as human beings, which gives us the
ability to forge our own paths with anything we choose to do.

Eventually, you need to find your unique voice as a musician. That’s not going to be possible if you
literally apply the material from transcriptions alone. Remember, whatever you transcribe is the creation
of that specific musician.

One of the simplest ways to further understand “finding your unique voice” is to listen to the many
variants of a single jazz standard. Don’t bother transcribing just yet. Absorb the music first. The tune/
melody is a constant. The harmony can change at times depending on the artist. A small change like
a couple of chords or time feel/rhythm in a form can be used to link that choice to a specific player/
composer/artist. You could call it a cliché, but it is indeed an identity.

15 In Example 22, you hear three variants of a melody/solo on a standard form.

1. Bebop 2. Hard bop 3. Modern

Each variation has a very different vibe. You can also hear how the previous era influenced the current.
Bebop translates into the more open sounding harmonic/melodic approach heard in hard bop. The
openness of the hard bop approach can be heard in modern jazz, where the tradition of bebop is not
necessarily present.

Having said that, I think every single aspiring jazz musician MUST go through the history of the music.
Although, over the last century the style and approach has evolved into something else entirely, the
influence of the early 1900s can be heard in the music of the present.

While it is important to study history, one must not dwell in it. Take what Bird or Dizzie played and move
on with the information. No matter how hard one tries, you can only emulate your heroes. They all played
what came to their minds and hearts in the moment. Get the information down and take what hits you on
an emotional and intellectual level. Again, don’t get caught up with playing transcriptions only.

Ask the right questions when learning. Why? When? Where? How? and What did they play?
17
EXAMPLES
INDEX .

1. Em7 against Cmaj7

2. Chord away from chord on all seven diatonic chords in C.
3. Arpeggios available against Cmaj7.
4. Guide tones on a F blues.
5. Guide tone solo over an AABA form.
6. Connecting C-7 and Gmaj7.
7. Sample melodies over first eight of Autumn Leaves (Fig 1)
8. Melody motif over Autumn Leaves with slight variations.
9. Motivic solo over an AABA form.
10. Varying solos on a F blues (Fig 2)
11. Varying solos on a random 12 bar chord progression (Fig 3)
12. Diatonic Enclosures on G7 to Cmaj7.
13. Chromatic Enclosures on G7 to Cmaj7.
14. Enclosure on chord extension of Cmaj7.
15. Enclosure and direction variation of above example.
16. Extension ideas in the form of arpeggios and scales against all seven diatonic chords.
17. Pivoting between two chords.
18. Options from Table 7 against all seven diatonic chords.
19. Basic rhythmic figures (Fig 4)
20. Varying combinations of phrases from Fig 4.
21. Rhythmic solo over a Bb blues.
22. Three varying styles of solos over a standard form.