Chord Tone Soloing Ed Saindon（和弦音独奏 Ed Saindon）.pdfVIP

Chord Tone Soloing By Ed Saindon sing only chord tones as a basis for creating lines is a fundamental approach to improvisation. The challenge lies in the fact that chord tones are stable notes. Hence, there is no tension and color in the line from the use of passing tones, approach notes, or tensions. With that in mind, Uthere are certain aspects to focus on when soloing with only chord tones. CONNECTING THE CHORDS Connecting the lines from chord to chord via stepwise motion can help the lines flow through the changes. The use of guide tone motion on II–7 to V7s is an effective way to connect the changes. The 7th degree of the II–7 chord resolves down a half step to the 3rd of the V7 chord. Notice how the chords are connected by half steps in Example 1. Example 1 EDITING Editing involves the use of space via the omission of unnecessary and repetitive notes in a melodic line. The use of editing can make a melodic phrase more concise and coherent as well as allow for more space and the ability to play with more syncopated rhythms. Example 2 shows the use of chord tones played in consecutive eighth notes. Example 2 Example 3 illustrates the use of editing as applied to Example 2. With editing, we get more interesting lines as a result of the space, rhythmic syn- copation, and clear sense of phrasing. Example 3 PHRASING Here are some suggestions with regard to phrasing: try to avoid creating phrases that sound like separate and unrelated ideas from chord to chord. Try to play a phrase that continues over several measures. Begin and end phrases in unpredictable places in the measure as well as in the overall form of the composition. Try to phrase over the barline. Experiment with various phrase lengths. Maybe play a short phrase, leave space, and play a longer phrase. Try to avoid consistently playing in two- bar and four-bar phrases. For example, play a melodic phrase over three bars instead of two bars. Play two m