When it comes to ending up being a terrific jazz improviser, it's all about learning jazz language. So unlike the 'half-step below approach' (which can be outside the scale), when approaching from over it appears far better when you maintain your notes within the scale that you're in. That's why it's called the 'chord range above' approach - it remains in the range.

So instead of playing two 8 notes in a row, which would last one quarter note ('one' - 'and'), you can divide that quarter note right into three '8th note triplet' notes - where each note of the triplet coincides length. The very first improvisation strategy is 'chord tone soloing', which indicates to make up melodies utilizing the four chord tones of the chord (1 3 5 7).

I generally play all-natural 9ths over many chords - consisting of all 3 chords of the major ii-V-I. This 'chordal appearance' appears best if you play your right-hand man noisally, and left hand (chord) a bit quieter - to make sure that the audience hears the melody note ahead.

Simply precede any type of chord tone by playing the note a half-step below. To do this, stroll up in half-steps (through the whole colorful range), and make note of all the notes that aren't in your existing range. Cm7 enunciation (7 9 3 5) with solitary tune note (C) played to intriguing rhythm.

Jazz musicians will play from a wide variety of pre-written melodic shapes, which are positioned prior to a 'target note' (generally a chord tone, 1 3 5 7). Initially let's develop the 'appropriate notes' - normally I would certainly play from the dorian range over small 7 chord.

The majority of jazz piano solos feature an area where the tune stops, and the pianist plays a series of chord expressions, Bookmarks to a fascinating rhythm. These consist of chord tone soloing, technique patterns, triplet rhythms, 'chordal structures', 'playing out' and a lot more.