If you’re ever stuck internalising and playing over a chord progression naturally, this is where to start!

but before embarking on this lesson you will need to be competent in triad shapes, this video will cover the basics of closed position triads…

So here’s the exercises –

1)Play all three notes of the triad in any order you want, don’t exceed an octave.

2) visual the triad of the next chord, pick the tone of the next chord you want to target first, Add a “Connector” using one 0f three note options –

1. A repeat of one of the notes of the triad you’re on. Repeat the note closest to the target tone of the next chord.
2. A note a semitone above or below the target tone (Focus on practicing this one)
3. A note a scale degree above or below the target note, using the scale of the chord you’re on, not of the target triad.

3)Repeat step 1 using the new chord’s triad

EXAMPLES OF EACH CONNECTOR OPTION

The chord progression is A major to D major

1. 
   Here I descend an A major triad then repeat the first note I played of the triad and then resolved to my target note of D.
2. 
   Here I ascend an A major triad and then add in an F natural to connect to the F#, this is therefore using a chromatic note below the target note.
3. 
   Here I play a permutation of the same triad shape as before, this just means that im not playing a standard ascending or descending order. In this example I use a B as a connector note, this note is from the A major scale, and is the nearest note of the A major scale above the target note I have chose. The target note is A, this is the 5th of D. Just to reiterate, the first 3 notes are an A major Arpeggio, then I think of my target tone and lead into it using the next note above it from the A major scale. It’s important you use the a major scale and not the scale of the target chord.

Having a good concept of resolving, outlining and being melodic with triads is the foundation of strong changes playing, this exercises is the quickest way to get you there but don’t forget; The rules are there for the exercises, as you build your ear and melodic sense you will be able to break these rules and still sound strong.

This is also very close to the melodic material that birthed bebop, the addition of chromaticism and scale tone connections between the harmonic material is the cornerstone of good jazz playing.

ANALYSING THE EXAMPLES

Giant Steps

Traids are marked with the legato markings and the connectors are written in parenthesis – ( )

Lets breakdown my Connectors

*  Chromatic note above target note. Target note is A the 5th of D7

** Repeat of chord tone from the D7 triad

*** Repeat of Chord tone from G7. This could also be seen as a chromatic note above the target tone too.

**** Scale tone from above- here a scale tone from the Bb7 scale (Bb mixolydian) is played to approach the target note. This could also be seen as a chromatic note above the target tone too.

Introducing Rhythms –

If a chord lasts one bar in length, then play quarter notes (Crotchets), If a chord lasts half a bar/2beats then your line will be made of 8th notes (Semi-Quavers)

This pattern contains 4 notes, so we can use some common 4 note rhythms in our practice.