Jazz Guitar Improv

Quickstart Guide
A Step-by-Step Guide to Improvising Convincing Jazz Guitar Solos

Copyright © JazzGuitarLessons.net 2017

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Table of Contents
Table of Contents 3

Introduction 4
Why I Wrote this eBook 4
Who Am I to Write This 4
How to Use? 4

Chapter 1: The Three Pillars 6

Pillar #1 - Define The Sandbox 6
Pillar #2 - Connect Chords Logically 7
Pillar #3 - Articulate Your Lines 7

Chapter 2: Patience 8

Chapter 3: Tips for Mastering the First Pillar 9

Chapter 4: Learn From the Masters 10

Chapter 5: Tips for Mastering Pillar Two 11

Chapter 6: The Exercise That Changed My Life 13

Chapter 7: Tips for Mastering Pillar Three 14

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Introduction

Why I Wrote this eBook

Jazz is an amazing music, and an amazing art form. More and more people are searching
for ways to start playing, or get better at playing jazz. And many of these people are
guitarists, interested in learning to play jazz guitar! Filtering through the overwhelming
amounts of educational materials available online and off can seem like difficult task.

This ​EBOOK ​is designed to send you in the right direction. It’s a quick read, and really
covers the essentials. If you want to improve, and your practice time is scarce or precious,
then this book is for you.

The secret? Good solid work.

Jazz is both an art ​and​ a craft. Improvisation involves the art of applying your craft in the
moment. The best part: it CAN be learned!

Many beginner and intermediates alike make the mistake of practicing jazz guitar in an
unorganized way. The main culprit: trying to tackle too much at once. Results are often
disappointing. It can be frustrating.

Rest assured, there’s hope. When you fully understand and integrate the content of this
short eBook, I personally ​guarantee, ​your musical skills will soar.

Who Am I to Write This

I’ve been in the jazz guitar field for over 10 years now, and feel it’s important that everyone
have this information. I’ve been working hard to provide people with free lessons online
since 2009 on jazzguitarlessons.net. I’ve discovered that best way to help burgeoning jazz
guitarists is through a nice tidy eBook? It’s easy, it’s simple. You can read it in five to ten
minutes and (hopefully) it will have a huge impact on your playing!

How to Use?

So, while reading this, I urge you to go ahead and apply all this stuff to your situation. Don’t
just read it, do it!

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Note that to continue your learning (further than the basics found in this eBook) with scales,
chords, songs, chord melody (and more), please visit JazzGuitarLessons.net and
JazzGuitarStore.net

To your continued jazz guitar success.

Marc-Andre Seguin

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Chapter 1: The Three Pillars
Though all of its genres, periods and movements, music has become an integral part of our
daily lives. Jazz is but one niche of music, and it’s a very unique (and therefore demanding)
one. The main reason for this is the element of IMPROVISATION.

To improvise is to create your own “new” music, in real time! And doing this on guitar,
playing jazz guitar​, is a special skill. For the past 10 years or so, I’ve been developing the
teaching side of my guitarist personality. Much to my surprise, teaching music proves to be
just as demanding as actually playing a solo over my favorite tune.

We have many of tools available to help us. Scales, arpeggios, rhythms, melodies, chords
changes, and good-old classic jazz standards are all “in the mix” as we rise to the moment
and take our turn in the spotlight.

However, my search has yet to show me a fundamental overview of the subject of

improvisation. Improving your improvising skills is a truly priceless endeavor, full of surprises
and great experiences. I find there are always new things to learn about music … and
myself! I’ve been mulling over ideas for this ebook. And while it’s long overdue, there’s a
good reason for this: Everyone is at a different spot on their journey as a musician! It takes
time to find the right words to be able to help everyone, at every level.

Some of you have flawless technique. Others have fantastic hearing, with a strong musical
intuition. Some have great technique and ears, but don’t understand too well song forms.
Each and every student is different. Every day is a new adventure for this jazz guitar
teacher!

I can say for sure that there is no magic formula for becoming a master improviser. But this
guide promises to help get you there. In this guide, I’ll outline what I call “​The Three Pillars of
Jazz Improvisation​”. I’ll explain them in brief:

Pillar #1 - Define The Sandbox

Here, the aim is to play the right notes at the right moment. Use scales and arpeggios to
outline the “sandbox”, outlining key centers or areas in which to play some good stuff.
Learning to switch between sets of “available” notes can be of great help when a song
changes key (seemingly) suddenly.

The ultimate goal in Pillar #1 is to develop your ability to play “​100% correct​” notes. When
you get it right, it’s very satisfying! Use​ ​Jazz Guitar Improv 101​ to help you master this.

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Pillar #2 - Connect Chords Logically

Pillar #2 focuses on the chord changes themselves. Using tools from Pillar #1, the work
begins on connecting the chord changes in new ways. An important question to be asked is
“What is the last note of the previous chord, and what is the first note of the next one?”
Answering this question (repeatedly!) develops a connection between two different chords,
while simultaneously reinforcing past lessons. Use ​Jazz Guitar Improv 102​ here.

Pillar #3 - Articulate Your Lines

Pillar #3 focuses on building a good musical line or phrase. Having a good sense of line or
phrasing is a huge component of improvising. All too often, it’s what sets any guitarist apart
from his peers, and it can help you to bring out the artist within! Rhythm (both notes ​and
rests) enters into the fold, making all the musical ideas from Pillars #1 and #2 come to life!
You can use ​Jazz Guitar Improv 103​ here.

Key Takeaway: ​Studious work on the Three Pillars of Jazz Improvisation lay the
groundwork for Jazz improvisation. Start with very small and sure-footed steps (Pillar #1).
Then, expand your ideas to include arpeggios (Pillar #2). Finally, find more possibilities
using Pillar #3 as your main tool. It’s surprising how much your playing will improve if you
follow these steps! Adhering to each Pillar will keep you organised and the right track as
well!

TL;DR - Summary and Action Steps

➢ Learning jazz improvisation seems like a big task. While this is true, there are ways
to get you started on the right path. Studying the Three Pillars of Jazz Improvisation
is a solid method that’ll help get you there.

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Chapter 2: Patience
Chapter 1 presents some tools and methods for developing your jazz guitar improvisation
skills. The jazz guitar genre contains quite a bit of information to digest. Using the “3 Pillars”
method keeps our areas of study organised, but almost any musician is bound to run into a
few problems. ​The first problem: IMPATIENCE.​ Once a concept is learned, we want to
quickly master it and move on to the next “big” idea. But as we all know, learning requires a
lot of work. Patience truly is an asset.

The effects of our impatience is diminished with the use of a good practice regiment. Use
this ​Essential Guide ​to​ ​organize your practice time. You’ll learn to master concepts in
incremental steps -- you’ll be consistently progressing. You’ll have a better chance of staying
on course toward your goal of become a solid and creative jazz guitarist!

Becoming a great jazz guitar player probably won’t happen overnight! Like anything in life,
you have to something​ ​a lot before you get ​really good​ at it.

There are many elements to absorb as you grow into your new set of skills. One of the
trickiest is the element of improvisation. Yes, it’s daunting to spontaneously present musical
ideas for everyone to hear! Improv is so much more than simply learning to play a scale and
playing it a various tempos. Mastering scales (and other tools) gives plenty of vitamins for
improvisation, but the only real solution is to practice improv on your guitar.

Developing good jazz guitar improv skills means you need to practice being spontaneous in
a real-time scenario. It’s a paradox -- preparing in advance for something (improv) that will
only happen in the moment.

Key Takeaway: ​You can learn many scales, arpeggios, voice-leading patterns (all
discussed in Chapter 1), all of which become tools for your improvising. And like any good
tool, you’ll use these in a variety of conditions. Fantastic, right? That good ‘ol C Major scale
will many different uses. When improvising, we can play the same thing twice, or thrice, or …
(​you decide!​)

One thing is certain however. If you’re going to use improv, you need to practice improv.
You’ll need to jump in, without a safety net. Baptism by fire. Don’t worry -- ​ The Essential
Guide​ will help get you in motion.

TL;DR - Summary and Action Steps

➢ Start improvising right away by jumping into the process; use the tools you’ve
developed (scales, arpeggios) to gain a foothold on the situation. Use the Essential
Guide to help you develop your practice routine and push your playing to the next
level.

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Chapter 3: Tips for Mastering the First
Pillar
To work on Pillar #1. Here we learn some common groundwork for scales, and begin to see
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how these scales relate to common chord progressions used in the jazz repertoire. S
here reading about Pillar #1​, to begin your study.

Before picking up your instrument, take some time to ensure you understand the concept
behind all of these new ideas. It’s surprisingly simple. -- the ​Major Scale​ is the home base for
these first steps.

Our goal is to have fun, always. This is why I like to to refer to each little project as a
“sandbox”. Get dirty, make a mess, build something … and have fun doing it! But try to keep
the sand in the box. Try to keep focussed on the task at hand. Study the scales and chords
of the ​3 “Biggies”: Major, Minor and Dominant.​ They’re some of the most common elements
of jazz music. As you learn these scales and chords, pay attention to the ​sound​ of each. Ask
yourself: “Does each scale sound the same, or different?” Can you try to describe, in your
own words, the sound of each?

As you learn each scale, remember this one “rule”. It’s the most important. ​GO SLOWLY

Eventually you’ll need to learn the 3 Biggies in a variety of Keys. For now, make your
“sandbox” nice and small. Pick one key -- C Major is a great place to start.

Step 1) Play the C Major scale from beginning to end. This is the ​Ionian mode​, the 1st mode
of the Major scale. Any time you see a ​Cmaj7​ chord, you can use this scale for improvising.

Step 2) Play the same C Major scale, this time with a twist. Start the scale from the 5th note
(the note G), then play the scale starting on G and finishing on G. This is the ​Mixolydian
mode​, the 5th mode of the Major scale. When you come across a ​G7​ chord use this scale.

Step 3) Once again, play the same C Major scale, beginning on the 2nd note, D. This is the
Dorian mode​, or 2nd mode of the Major scale. When you see a ​Dm7​ chord, use this scale.

The three sandboxes are the source of your fun. Continue practicing slowly and with focus!
Your Ultimate Aim: To match a scale to each of the 3 chords presented here. When thinking
of a particular chord, the notes of the matching scale “light up” on your fingerboard, giving
you access to solid (or “correct”) note choices for improvisation!

Key Takeaway: ​ You can learn the “3 Biggies” -- Dorian, Mixolydian and Major. They’ll give
you solid tools to begin improvising with the iim7-V7-Imaj7 chord progression. Practice
slowly and diligently!

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TL;DR - Summary and Action Steps

Learn some fundamental tools for improvising by mastering the “3 Biggies” scales. Apply
them to a iim7-V7-Imaj7 progression. Work slowly!

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Chapter 4: Learn From the Masters
Working on Pillar #1 equips you with some really good tools for improvising. For all that
learning and work, we’re still missing a vital element of good improvisation. What’s missing?
GOOD IDEAS.

You don’t have to look too hard to find a good idea. Every single jazz recording you have is
full of them! Quite often, when starting out we shun learning and listening to solos by others.
We do this because we’re impatient and want to get to US playing the music. There are too
many fantastic things to learn from the greats that, quite simply, they should not be ignored
or passed over.

It’s easy to get started. Make learning solos a part of your practice routine! Dedicate a small
portion of your practice time. What you gain will far outweigh what you invest, both time-wise
and improvement-wise.

Start by getting this music “in your ears”. ​Listen to the Masters,​ and listen closely to their jazz
“language”. Focus in on the feeling of the notes they play, the flowing musical lines, and
rhythmic subtleties. You don’t have readily identify what’s going on in the music, you just
need ​to absorb the music​.

It may seem there is much going on. This is sometimes true; however listening provides a
huge gateway into the world of understanding this music. What’s difficult to comprehend
today will not be as difficult down the road as you continue to learn.

After some serious listening, you’ll want to try to learn a few things from the soloists. Many
resources are available. Transcriptions are big help. You can even make your own! Wes
Montgomery licks can sound fantastic, even through your fingers!

Ironically, how do you think the Masters got so good? Almost always, there are two main
steps any Master took. First, they listened to and were inspired by Masters of generations
previous. Secondly, they played, and they played and they played … and then they played
some more. Any opportunity to play -- soloing, comping concerts, recording, jamming -- was
always welcomed. In short, listening to and playing are two great ways to getting your improv
skills to the the next level.

Key Takeaway: ​You can learn a lot about jazz guitar by listening and trying to imitate the
Masters of the genre.

TL;DR - Summary and Action Steps

Increase your vocabulary for improvisation through a few clear steps.

1. Get the music “in your ears” by listening a lot to jazz guitar masters.
2. Using transcriptions, try your hand at imitating the greats as well.
3. Play, play, and play some more. Get those fingers flowing!
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Chapter 5: Tips for Mastering Pillar
Two
Once Pillar #1 is mastered, you’re playing sweet-sounding notes nearly 100% of the time.
Using these building blocks of the jazz language, it’s time to take those blocks and begin
turning into a more eloquent musical statement. ​Read Pillar #2 to get started.

The goal of Pillar #2 is “Connecting Chords Logically”. The ultimate aim is to play lines that
perfectly outline the from the the current chord to the following chord, while still using some
of the info from Pillar #1.

​ uide Tones​!
More Than Modes -- G
In Pillar #1 we learned to match a scale mode to a particular chord. The “3 Biggies” we
learned are Dorian, Mixolydian and Major. Now, instead of looking at the scales, look at the
chords themselves. A closer look reveals the fundamental ways chords are connected.

3rds and 7ths: ​The fundamental character notes of any chord are the following: 3rd and 7th.
Take a minute to study what these notes are in each of the iim7, V7, Imaj7 chord. Begin with
the key of C Major. Eventually, work through the ​Cycle of Fourths​ to learn the 3rds and 7ths
in all of the keys. REMEMBER to take your time when doing this! These steps, when learned
correctly, are indispensable as you continue to move forward!

Once you’ve taken a closer look at the 3rds and 7ths of the iim7-V7-Imaj7, try to play the
notes on your guitar. It’ll probably sound a bit bizarre to your ears -- but persevere, you’ll
understand these sounds soon enough!

Once you’ve got the notes in your fingers, start to connect them from one chord to the next.
Try this: 1) One the iim7 chord, play 3rd-7th; 2) On the V7 chord, play 7th-3rd; and 3) On the
Imaj7 chord, play 7th-3rd.

These are the essential “micro-movements” that express the small differences between each
chord. Next: Add in some other scale tones, but be sure to use these 3rd-7th and 7th-3rd
movements to mark the transitions between chords. A good framework for this is arpeggios.

Key Takeaway: ​Elaborate your playing through the use of guide tones. Guide Tones
expresse the subtle changes between two different chords.

TL;DR - Summary and Action Steps

Add another level to your improvisation by adding guide tones into the mix. Get to know the
3rds and 7ths, play them on your guitar, then use them in your improvising!

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Chapter 6: The Exercise That Changed
My Life
Before moving on to Pillar #3, let’s look at what an important step in the process: Playing
actual songs. You’ve got some solid tools from Pillars #1 and #2. It’s time to use them!

This “4-chorus” exercise is very helpful. It’s going to help you do it all. After all, we’re here to
play some music, so let’s put aside the technical work put these things things into a musical
context. This exercise comes to me from a lesson I took with a great Montreal-based
guitarist, Michael Berard.

You’ll need to get the low-down on the “4-chorus” exercise. You can read all about it in ​this
blog post​.

Here is one example of how to get the most out of this “4-chorus” approach. Thanks to Jeff
(a private student) for his protocol!

JEFF’S PROTOCOL

➢ Step “0” - Look at your song list. Refresh any old ones (but do it from memory!)
➢ Step “1” - Pick a song!
➢ Step “2” - Record yourself (on your computer -- or your phone)
➢ Step “3” - REALITY CHECK: Are you hearing the beat, and executing the 4-chorus
exercise? If NO, See Step “4”. If YES, See Step “5”
○ NO? Step “4” - Do it again!
○ YES? Step “5” - Write down the song title on your list! (in ink)

Think of creating ​finished but not perfect​ renditions of standards. NO STOPPING, NO

STARTING OVER -- Just play through every time. You’ll get there!

“A band is only as good as its drummer.”​ Remember that old saying?

Well, here’s the cold hard truth: you’re only as good as your complete 4-chorus rendition of
Autumn Leaves ​-- so might as well practice ​that ​too!

Key Takeaway: ​You can work on many elements of your playing by using this “4-chorus”
exercise. It’s another way to keep your practicing organized. Plus, it’s a good barometer of
your development. Use it as a measuring stick and to build a list of repertoire.

TL;DR - Summary and Action Steps

The “4-chorus” exercise makes takes you through many elements of your jazz guitar playing.
It’s a great way to build repertoire and overall knowledge. ​Read this post​ to get started, and
follow the tips from Jeff’s protocol above!

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Chapter 7: Tips for Mastering Pillar
Three
Chapters 3 and 5 explore some big and small pieces of the “puzzle” of playing jazz guitar. Now,
we’re ready to take a step towards something more advanced.

Phrasing, Pacing and Articulation

What we’re learning is a part of a language. A musical language! Like language, there are
many subtleties to explore. Imagine being able to play a solo as eloquent as a fine poem, or
as engaging as any great work of literature. Or, envision the pace and intensity of a great
orator, or your favorite stand-up comedian!

Take the example of stand-up comedy. It’s full of examples to inspire us. Great comedians
think about these questions when building their routines:

● When do you going to pause to maximize the effect of the previous line?
● Should a long phrase be used, or a short phrase?
● Should you repeat certain ideas, to bring the audience into the joke?
● How do you deliver the “punchline” to make people laugh?

Well, one thing is for certain. You just have to work on it … You. Just. Have. To Work. On. It.
You just have to work on it! Try to “play” these three sentences on your guitar, trying to make
it sing on your axe, For instance, ​use this lick ...

The Ultimate Aim:​ Pillar #3’s ultimate aim is to be able to start and end musical phrases at
any location in any given bar of music, or in any place in the song form. In learning this,
you’ll be on your way to being able to “speak freely” using musical language! Think of your
solo lines as having two main components: 1) A subject (Pillars #1 and #2), and; 2) A way of
“talking” about your subject (Pillar #3).

Articulate your lines

Articulation is an important key to developing musical lines. What is articulation? Quite
simply, articulation is a form of punctuation or diction that you find in any phrase. Articulation
has many elements, some of which you many know already. Musical terms like ​staccato​,
marcato​, ​tenuto​, and just plain old ​accent​ are all types of articulations. Familiarize yourself
with these kinds of accents and what they sound like.

Key takeaway: ​Understand that music is indeed a language, and ideas can be expressed in
many ways. ​Use articulations to help bring these ideas to life.

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TL;DR - Summary and Action Steps

In developing phrasing, look to your own language for inspiration. Take a simple phrase and
learn to “say” it in a few different ways on your instrument. Work slowly at first, paying
attention to the fine details of your musical ideas, including articulation and phrasing.

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