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Progression I vi IV V7 I
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{{Top-Level Crumbs|1}}
{{Lesson Crumbs|3}}
{{Advanced Lesson Crumbs|6}}
=== Guidelines for Good Phrasing ===
* Each phrase or consecutive group of phrases should create a complete musical thought (create and relieve tension).
* Each phrase should use altered sustained notes, accents, rests, or otherwise alter rhythmic/pitch patterns between phrases to create contrast. You could repeat the entire phrase exactly but altering just one note may be enough.
* Try to make phrases different numbers of notes and durations of time.
* Question/Answer phrasing is simple and works well, but avoid multiple consecutive sequences of such, unless purposefully doing so to build tension. Otherwise, it can begin to sound mechanistic and simple, or forced.
* Avoid simply ascending or descending a key with a near-constant rhythm, unless you do so quickly in a run, or the timing aligns very well with the harmony. This often sounds meaningless and amateur. Think how even simple melodies, even children's nursery rhymes, use such sparingly. Jumps, doubled notes, accidentals, sustained notes, accents, rests, embellished notes, off-time playing, and advanced techniques sound far more interesting and engaging to the listener.</span>
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In the example below, we can see that all of the notes from the chords belong to C Major. However, rather than playing all of the notes from C Major over each chord, we can limit ourselves to or emphasize those that belong to the current chord.
{||colspan="8"| Progression - I C Major scale vi IV V7 I|-||-| Chord # || Chord || C || D || E || F || G || A || B || C |- | I || C major chord || C || || E || || G || || || C |-| vi || A minor chord || C || || E || || || A || || C |-| IV || F major chord || C || || || F || || A || || C |-| V7 || G dominant 7th || || D || || F || G || || B|| |- | I || C major chord || C || || E || || G || || || C|}
In particular, we want our tension and release to align with the harmony. A phrase that ends on the tonic note will be less effective over the vi and IV chords than the I. It will be confusing and conflicting to play that phrase over the V{{7}}. We can also emphasize the harmonic movement by moving from mutually exclusive notes between adjacent chords. For example, playing G on the last beat of the C major chord, then playing A on the downbeat of the A minor chord. Then E -> F for A minor -> F major, A -> B for F major -> G major 7, and B -> C for G major 7 -> C major.
== Chord soloing ==
A popular soloing method in jazz is a '''chord solo'''. It is particularly effective when there is no rhythm guitar or piano to fill in the harmony, particularly extended "jazz" chords. It uses a combination of melody lines and chords to create the solo. Some notes of the chord may be sustained while others are moved as a melody. Alternate voicings of the chord may be used to follow the energy of the solo or allow easier manipulation of melody lines. Not all chords may be played - sometimes the melody may simply accent the chord's root or an important voice of the chord not being played by another instrument.
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