Lead and Scales Guitar Lesson

Chapter 1: (07:54) All of Me Lead and Scales Review Time

In past lessons, Matt has covered some scale options for major, minor, and dominant chords. If necessary, watch lessons 4 and 5 again for a review of these concepts. In the current lesson, he applies this information to the chord changes of "All of Me."

Improvisation in the Jazz Style

Jazz improvisation features several key elements that contrast with improvisation in the blues, rock, and country styles. When playing a solo, most jazz guitarists switch scales with each chord change in the form. In the blues, rock, and country genres, one or two scales are typically played over an entire chord progression. Jazz melodies and solos typically feature a higher level of chromaticism as well. Chromatic notes are frequently played on weak beats to create a more colorful sound.

Matt improvises a solo over the chord changes to "All of Me" later in the lesson. After listening to the solo, print out the tablature provided under the "Supplemental Content" tab. Analyze where Matt plays chromatic notes. For example, notice the A# note that is played in measure 37. This note occurs on the "and" beat of three. It
resolves downward to the root of the A7 chord, A, on beat 4.

Although jazz improvisation features many unique characteristics, it also shares many characteristics with other genres. The rules of phrasing can be applied to a solo in any style. Remember that a phrase is the musical equivalent to the spoken or written sentence. A phrase must convey a logical, complete thought. In addition, punctuation must be added between sentences or phrases. This can be accomplished by resting or sustaining a note at the end of a phrase.

When playing any type of solo regardless of genre, the soloist must outline the chords played by the rhythm section. This is accomplished by playing chord tones on metrically strong beats. A chord tone does not have to be played on every downbeat. However, they should be played on most downbeats. Highlighting key resolutions between two chords also helps outline the progression. The most important resolution occurs between the third and seventh of two chords. The next most important resolution occurs between the ninth and the fifth of two adjacent chords in a progression.

Note: Open "Important Resolutions." This document is listed under the "Supplemental Content" tab.

The first example features a ii V I progression played in the key of C major. Notice how the seventh of the Dmi7 chord (C) resolves to the third of the G7 chord (B). At the end of the first measure, the seventh of the G7 chord (F) resolves to the third of Cmaj7 (E). These important resolutions help outline the changes within this progression.

Scale Options

A. Major Chords

The following scales are viable options when improvising over major chords:

-Major Scale (The fourth scale degree cannot be played on a downbeat.)

-Lydian Mode

-Major Pentatonic Scale

Minor Chords

The following scales are viable options when improvising over minor chords:

-Dorian Mode

-Minor Pentatonic Scale

-Aeolian Mode (Natural Minor Scale) Do not play the b6 scale degree on a downbeat!

Dominant Chords

The following scales are viable options when improvising over dominant chords:

-Minor Pentatonic (The note that is a perfect fourth above the root of the chord cannot be played on a downbeat.)

-Major Pentatonic

-Minor Blues Scale (The note that is a perfect fourth above the root of the chord cannot be played on a downbeat.)

-Major Blues Scale

-Mixolydian Mode (The fourth scale degree cannot be played on a downbeat.)

-Lydian Dominant Mode

-Bebop Dominant Scale (The fourth scale degree cannot be played on a downbeat.)

"All of Me" Chord Changes

The scale options listed above are applied to the chord changes to "All of Me."

CMA7: C Lydian, C major, C major pentatonic

E7: E Mixolydian, E Lydian Dominant, E Bebop Dominant, E minor pentatonic, E minor blues scale, E major pentatonic, E major blues scale

A7: A Mixolydian, A Lydian Dominant, A Bebop Dominant, A minor pentatonic, A minor blues scale, A major pentatonic, A major blues scale

DMI7: D Dorian, D Aeolian, D minor pentatonic

AMI7: A Dorian, A Aeolian, A minor pentatonic

D7: D Mixolydian, D Lydian Dominant, D Bebop Dominant, D minor pentatonic, D minor blues scale, D major pentatonic, D major blues scale

G7: G Mixolydian, G Lydian Dominant, G Bebop Dominant, G minor pentatonic, G minor blues scale, G major pentatonic, G major blues scale

F: F Lydian, F major, F major pentatonic

FMI7: F Dorian, F Aeolian, F minor pentatonic

EMI7: E Dorian, E Aeolian, E minor pentatonic

Note: Refer to the JamPlay scale library for fretboard patterns to these scales.

Watch and Learn!

Matt improvises a guitar solo over the chord changes to "All of Me." He chooses not to play this track along with the backing track to illustrate a specific point. Notice how he outlines the chord changes by placing chord tones on most of the strong beats. He also highlights key resolutions between each of the chords. As he plays through the solo, you can hear when the chords change even though no rhythm section is playing.

Steal These Licks!

Feel free to steal any of the licks Matt plays. Then, incorporate them into your own playing. Also, use these licks as a springboard for creating your own jazz lines.

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