![]() ![]() Most of the time he’s using 4 notes in his arpeggio ascending and then immediately makes his line descend into a scale like passage. It’s also a great way to break up the monotony of most of the solo being stepwise motion. He does this very strongly define the harmony of the tune. Red mixes in arpeggios of the chord in a very cool way. How To Practice: You could turn this into an exercise by grabbing your favorite approach pattern (say 2 chromatics below a note) and always playing the approach pattern before you hit that note.Ĥ. Measure 10 beat 2 he plays D, D# and then finally resolves to E which is the 3rd of the C chord. Measure 6 beat 3 he plays G, E and then finally resolves to F over the Fmin7 chord. Measure 4 beat 1 he plays F, F# and then finally resolves to G over the Gmin7(b5). He does this all over the solo but here are a couple specific examples. He keeps pushing his resolution forward using these approach patterns. So, that’s why Red’s very long first line (10 measures long) still sounds so interesting. When you hit a target note on a downbeat it often times makes the line stop moving. An approach pattern is series of chromatic notes that are either above,below, or circle a note of resolution. On many downbeats (meaning beats 1, 2, 3, or 4) Red uses approach patterns to extend his line. ![]() This is a fantastic way to practice improvisation by having target points.ģ. How To Practice: You could turn this into an exercise by improvising your own solo over a standard and making sure you hit the 3rd or 7th of every chord on the downbeat. The 3rd and 7th of a chord are essential chord tones and when you play them at the right time rhythmically it sounds really melodic and pleasing to the ear.įor example, Red hit’s either the 3rd or 7th on beat 1 or beat 3 in measures 4, 5, 6, 7, 8, 9, 10, 20, 26, 27, 28. When I say voiceleading I am referring to how he mostly targets the 3rd and 7th of a chord on beat 1 or beat 3 of many measures. Red does this by primarily using melodic voiceleading and approach patterns.Ģ. This is a textbook study on how to extend your jazz lines and still make them sound interesting. The first 8 bars plus the break (first 2 measures) are all eighth notes with no rests. We will also talk about how to apply all these tools to your own music. You can turn almost everything in this solo into an exercise or study. There are literally hundreds of cool things in this solo but we’ll just pick a few. Let’s now discuss some of the awesome things we can learn from this solo. 5 Things We Can Learn From This Jazz Solo Here is the transcription of Red Garland’s solo Red Garland’s solo on What Is This Thing Called Love. ![]()
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