Advanced Soloing Concepts

ADVANCED SOLOING CONCEPTS

In this section you’ll learn a lot of concepts and melodic ideas that you can personalize and use in your own improvisations.

Learning like this, from actual real-world musical examples, is very different from just learning a lot of theory and trying to think up a musical vocabulary from that.

It is not only infinitely more effective when developing as an improvisor, is’s also much more fun, and immediately very rewarding.


Developing Speed And Groove Oriented Phrasing

Developing Speed And Groove Oriented Phrasing
Introduction to my concept of developing strong technique for soloing, while relating everything we play to the groove. This lesson is extremely important, as it will help you understand and experience how choosing the right picking patterns will make your playing sound balanced and in the groove.

Some Essential Jazz Vocabulary

These are short melodic ideas that most jazz musicians know, and use. Learning a few of these will instantly give you a jazzy sound, and help balance your phrases.

Essential Jazz Vocabulary 1
3 simple melodic ideas that firmly establishes an altered tonality.

Essential Jazz Vocabulary 2
The Wes Montgomery arpeggio – A couple of melodic ideas using the diagonal approach that, among others, Wes Montgomery used a lot. There are ascending and descending arpeggio ideas, and a 8-note descending scale lick over the same neck areas.

Essential Jazz Vocabulary 3
2-string Maj7 arpeggios moving diagonally to create 3 octave runs, starting with the basic arpeggios, and developing them into cool melodic ideas using chromatics and superimposing.

Essential Jazz Vocabulary 4
Ascending triplet sweep.

Essential Jazz Vocabulary 5
Descending triplet sweep.

Essential Jazz Vocabulary 6
Chromatic flow, plus how to play on a bII7 – Im7 chord progression.

Essential Jazz Vocabulary 7
Using one melodic device to create both an altered tonality and a lydian dominant tonality.

Essential Jazz Vocabulary 8
3 JUICY jazz guitar improv tools: 1st part of this jazz line I took from WES MONTGOMERY. It’s a line he played in one of his solos that I always loved. 2nd part can be seen as SUPERIMPOSING one tonality on top of another, which is a concept I really dig. If you analyze it note buy note, there’s also the ambiguity of it being not quite altered, and not quite major. Also something I really dig, GEORGE BENSON comes to mind, particularly the early days. 3rd part is a regular arpeggio, made JUICY by simply approaching it with some CHROMATICS.

SUPERIMPOSING

Superimposing is an essential concept to understand in jazz, especially if you want to get that “outside” sound

Superimposing
This is a 50 minute monster lesson, taking you all the way from the very basic idea of superimposing, and deep into some very cool applications of the concept. You’ll see how even the simplest ideas can be turned into something complex sounding and hip!

Understanding superimposing is essential to understanding jazz, regardless of it being the bluesy roots or modern and “outside” playing!

TRIADS

Once you learn the big arpeggios, it’s easy to forget about the triads. Don’t. You can create a lot of interesting ideas with triads, and for superimposing they are also great with their clear harmonic structure.

Parallel Major Triads
This is a really cool idea that sounds very sophisticated, but is really simple, and easy to play. It’s very typical for George Benson, which makes sense, since I stole the idea from him.

3 Triads Moving Chromatically
Here’s a pattern made up from 3 different triads that you can move chromatically either up or down.

Signature Triad Licks
In this lesson you’ll learn two triad patterns that I build on for one of my signature licks. It uses major, minor and sus4 triads, and goes back and forth between “inside” and “outside” sounds. In my obviously biased opinion, it’s a super cool idea!

TRIAD PAIRS

This is a very cool concept that allows you to build lines using two different triads in different inversions.

Triad Pairs 1
In this lesson we’ll look at the concept of Triad Pairs, and a few different way to apply them to the guitar. It’s a nice idea that is used a lot in jazz, and it instantly sounds great when you play it.

Triad Pairs 2
Getting the triad pairs idea up to blistering speeds.

Triad Pairs 3
Several more triad pairs in the same key, and some big sweeps.

Triad Pairs 4
Triad pairs within the whole tone scale.

Triad Pairs 5
In this lesson we’re introducing triad pairs from the harmonic minor scale. There are a couple of melodic ideas here that are pretty easy to learn and use, even though the topic may be complex.

Triad Pairs 6
Some longer lines (up to 2 octaves+) using the triad pairs from the harmonic minor scale

Triad Pairs 7
Slightly outside, major on minor, sound by using triad pairs from E harmonic minor scale on C minor chord.

DUAL ARPEGGIOS

Two related arpeggios within one chord to make your arpeggios based soloing more interesting

Dual Arpeggios 1
Establish that dominant sound with these arpeggios, arpeggios from 7 and 3 on dominant chords.

Dual Arpeggios 2
Establishing a tonality with dual arpeggios, and using them to create an altered tonality with tritone subs.

Dual Arpeggios 3
Same formula as on the dominant chords on a minor 7 chord. (And the relative Maj7)

Dual Arpeggios 4
Dominant 7 from 5 and 9, a couple of new ways to play dominant 7 arpeggios.

TRIPPLE ARPEGGIOS

Connecting three different arpeggios within the same basic tonality

Tripple Arpeggios 1
Repeating pattern over three different arpeggios, with some nice chromatic colors.

Tripple Arpeggios 2
Repeating pattern over three different arpeggios, with some nice chromatic colors.

Tripple Arpeggios 3
Repeating pattern over three different arpeggios, with some nice chromatic colors.

CHORDS WITHIN CHORDS

Three-note shapes within chords to expand harmony and lead lines

Chords Within Chords 1
This is an approach making it easier to play solos based more on chord notes than scales, and it also opens up nice chord melody options.

Chords Within Chords 2
Expanding on a simple riff.

Chords Within Chords 3
Using the chords within chords to create an “outside” sound.

Chords Within Chords 4
Using the chords within chords approach to create an altered sus4 tonality.

Chords Within Chords 5
Sweet Comping Fills.

DIAGONAL DOMINANT PENTATONICS

Musical way of approaching dominant chords for soloing

Diagonal Dominant Pentatonics 1
Dominant pentatonic scale grouped in 2 and 3 notes per string so you cover entire scale using two strings. Practicing changing between two keys, Bb and Eb, to play on first 8 bars of a regular blues progression.

Diagonal Dominant Pentatonics 2
Dominant pentatonic scale with chromatic passing note added. Triplet run with 3 notes per string, ascending and descending in two different keys.

Diagonal Dominant Pentatonics 3
In this lesson you get two arpeggios to go along the diagonal scale, and a melodic structure using both the scale and arpeggio. Probably will take some time to master.

BLUE NOTE TENSION

Blue Note Tension 1
This lesson shows how you can take out the “blues note”, the b5, and use it in a different way than just a chromatic passing tone. It’s a simple idea, but very usable, and can be transferred to many other harmonic settings, by understanding the “vibe” of it.

Blue Note Tension 2
Expanding concept, learn melodic figure over 3 string groups.

Blue Note Tension 3
Concept developed even further, applied on a 12 bar blues.

DIAGONAL ALTERED

This is a MUSICAL course on a theoretical subject. Learn to get a “foot hold” on this confusing altered scale, and get some really great melodic devices that you can use and expand on in your soloing!

Diagonal Altered 1
Introduction to the concept, learn the basic one octave at the time approach to the altered scale.

Diagonal Altered 2
Get a lot of melodic ideas to get you started, using both arpeggios and scales. Also using the arpeggio up – scale down approach.

Diagonal Altered 3
More melodic ideas. Also learn how to spice up your playing on regular minor chords too, not just dominants, using the very same approach as to altered.

4ths AND sus4

Using 4th and sus4 patterns is really nice, and can often offer a more “open” or “modal” feel than regular third based arpeggios.

4th Licks
Saxophone-like lick, based on fourths, over a 2-5-1 progression on a 12/8 kind of groove.

Sus Triad Mini Sweep
Spin-off from the lesson on Chick Corea – “Bessie’s Blues”. We’re taking an element from that transcribed solo and use it to make an exercise, which should be fairly easy to use in your soloing.

Sus 4 Ideas
Moving around one simple sus4 shape to create both a nice “modal” feel, as well as a killer “outside” idea.

Diagonally Cascading Fourths
Different approaches to fourth arpeggios in the key of C mixolydian.

BASIC CHORD MELODY

Different approaches to harmonize your improvised solos.

Chord Melody Connecting With Dim Chords
How to harmonize melody notes played on the 1st string using inversions of the major 6 chord and diminished chords.

2+3 Pentatonic in Octaves
A Major Pentatonic scale in octaves (Wes Montgomery style), plus a nice comping idea.

Octaves plus 6ths
Another shade of “chord melody”

TRIPLET RUNS

The Triplet Run
You have got to know this run!

Ultimate Triplets 1
Bursts of energy as a variation to 8th note based lines. Arpeggio based idea.

Ultimate Triplets 2
The “Ultimate triplets” pattern starting on the 5th string.

ALTERED / LYDIAN DOMINANT

Arpeggios On Altered Chords
Here are some nice arpeggio shapes built from the altered tonality.

Scale Pattern On Altered Chords
Here’s a pretty “chopsy” pattern that uses the altered tonality.

Mixo #4 From 4th String
Basic walk-through of the Mixo #4 scale, and one cool melodic idea.

VOCAL-LIKE PHRASING

In this section we’ll focus on the nuances of vocal phrasing, to make the guitar “sing”.

Ingebjørg Bratland on “Markus”
Ingebjørg Bratland is a phenomenal Norwegian singer who sings in a traditional way on more contemporary music.

Justin Bieber on “What Do You Mean”
Check out the bluesy phrasing that Justin Bieber does on “What Do You Mean”. Also, one of my “signature” licks is an extension of one of these phrases.

FALSE FINGERING

False fingering is really a concept on saxophone, where you can play the same note with two different fingerings. Adapted to guitar, that means playing the same note on different strings, which will give some interesting sounds when used inside jazz phrases.

False Fingering 1
Lick using “false fingering”

False Fingering 2
2 licks using “false fingering”, and major 3rd tension on minor chords.

False Fingering 3
“False fingering” (saxophone concept) chromatic ideas leading to arpeggio ideas.

CHROMATICS

It’s a bit strange maybe to have a category named chromatics, seeing that there are chromatics all over jazz, and in just about every single the lessons on this site.. Still, here are some lessons specifically targeting the subject.

All Strings Scale Pattern With Chromatics
Pattern you can use to make a long line, or as part of other lines.

The Chromatic Scale
One way of playing the chromatic scale that really swings, using 6 notes on each string.

Chromatic Lick Targeting Major Triad
Melodic idea with chromatic tension that can be played “loosely”, and also very fast.

Chromatic Approach to Chord Tones
Simple enclosure idea using an F major triad as target notes, and cromatic note below – scale note above pattern. Very nice, and very musical idea.

6 Note Chromatic Approach
Here’s a chromatic pattern, and 3 ways to incorporate it in longer jazz lines.

Swingin’ chromatics
Linear movement simply using the cromatic scale, focusing mainly on rhythm and accent patterns.

DIMINISHED

Diminished Arpeggios and the Whole Half Scale
Arpeggios around A minor tonality, connecting the inversions using diminished arpeggios, and also using the whole/half scale to the corresponding V7 chord to form arpeggios.

7 Beat Half Whole Pattern
7 beat pattern using the half-whole scale. Because the pattern is 7 beats long, it alligns differently to the bar each time, so it sounds less like a pattern.


MISC

Random bits of inspiration

Pentatonics With M3 Tension
Simple melodic idea played in two different positions, using the minor pentatonic scale with a major 3rd tension . Works well as both a pretty much inside idea, with just one outside tension note, as well as completely outside.

Pentatonic Runs
Triplet based, fast tempo pentatonic pattern.

6 and 5 note Diagonal Dorian
Musical way of using the dorian mode.

Lydian #5
Concept of the scale, melodic ideas, arpeggio ideas.

Whole tone Scale and Chromatics
Some chromatic passing notes added to the scale, and exercise connecting it with two arpeggio based ideas.

Gypsy Style Licks
Some nice melodic ideas and licks to get you started with some typical gypsy-jazz vocabulary.

Bluesy Jazz Licks
Bluesy melodic ideas, using a simple trick to get a sophisticated jazzy touch.

Flashy Sax-Like Lick
Fun flashy legato idea that can be played freely over any tempo.

Whole Tone Scale 2+3
introduction to the whole tone scale, how to play it and ways to use it.

Bite-Sized Altered Runs
In this lesson we are practicing descending the altered scale from different tension notes of the V7 altered chord – the b13 and #9

Sweeping Triplet Approach
Small arpeggio ornament approaching target notes, using sweep picking. Very important and usable trick.

Bluesy Ellington
Here’s a melodic idea inspired by the bluesy style of early Duke Ellington.

Blues Scale Becomes Melodic Minor
Here’s a different approach to working with the melodic minor scale. You’ll see how to use two different altered scales on the same chord progression, and how they relate to the tonic.