Implying Chords vs Outlining Changes For Jazz Improvisation

A clip from one of our melodic triads daily live classes in our facebook group.

Discussing the subtle different between "implying" chords and changes vs "outlining" changes. We're often taught to outline changes using arpeggios. This is an important idea to understand and concept to develop, but as quickly as we can we want to break the chains and start practicing other ideas. If we don't, it's very easy to fall into the trap of playing music like a robot.

To replace this idea, I recommend implying the changes. First, stop relying on 7 chord arpeggios, and stop practicing running up and down through them as your only means of "playing over changes". Take the basic triad of the chord you're on and try adding a melodic tension note. Here is my recommendation...

ii V I VI in C major

D-7 = D minor triad + E (tension 2)
G7 = G major triad + Ab (tension b2)
C6 = C major triad + D (tension 2)
A7 = A major triad + Bb (tension b2)

Don't get stuck in the trap of replacing 7 chord arpeggios with these add 2/b2 "arpeggios". Focus on using the triad as stable, resolution points... and the tension notes as TENSION notes. They want to move and resolve back to the triad. Try playing the tension note and resolving back to the root note, and then moving on to the next chord. This is a good way to start implying chords while staying simple and melodic. From there we can begin adding additional notes from the triad, leading tones, chromaticism, other diatonic tension notes from the scale, etc.

It gives us the sensation of moving through the changes in our melody, but it keeps things fresh and lyrical.

Happy Practicing!
Jordan Klemons
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Видео Implying Chords vs Outlining Changes For Jazz Improvisation канала Jordan Klemons - Jazz Guitar