This month I’d like to discuss my approach to chord playing—how I look at the structure of chords and create solo lines and licks that incorporate small chord fragments as well as fully...
This month I’d like to discuss my approach to chord playing—how I look at the structure of chords and create solo lines and licks that incorporate small chord fragments as well as fully voiced chords.
My approach to chords is a little unique. Many players choose to play either single-note lines or chords, with some distinction made between the two types of playing. One day, I made the connection between what I might play as a single-note melody and what I might then play utilizing groups of notes simultaneously—in other words, as chords. I made the decision that “melody” would be one note at a time and “chords” would be any combination of two or more notes at a time. Other than that, my approach to improvising is exactly the same. I discovered that this type of thinking freed me up tremendously, as I could move from single-note ideas to harmonized ideas whenever and wherever I pleased.
For our purpose here, let’s use the D Mixolydian mode (D E Fs G A B C) as the harmonic setting. A chord that “lives within,” or clearly “describes,” D Mixolydian is D9, and many of you will be well familiar with the D9 voicings shown in FIGURE 1. D9 is built from the root, third, fifth, seventh and ninth of D Mixolydian (D Fs A C E), so this scale is natural to use when soloing over a D9 chord.
FIGURES 2 and 3 illustrate improvised solo ideas that remain diatonic to (within the scale structure of) D Mixolydian. Other than the very occasional passing tone (a note that falls outside of the structure of the scale/mode that is used to “connect” scale tones), everything sits within D Mixolydian.
If I then utilize the same