Photo by This guest post is from world touring keyboard player Steve Nixon. He is the owner of the jazz education website. Ok, saxophone players. I have a confession to make right off the bat.
Even though I’m a piano player I’ve always had a secret connection to the saxophone. The first time I heard Sonny Rollins as a kid I just about lost it! I can’t even keep track of how many times I listened to Saxophone Colossus or Hank Mobley’s Soul Station, or a Love Supreme. There’s just something about the tone, the feel, and the articulation that a sax can get. It really is an amazingly expressive instrument. Piano is, of course, expressive as well, but in a much different way than the sax. Every instrument has it’s own unique qualities.
It’s for this reason that I’ve spent a ton of time in my development learning from and listening to sax players. Sure, I’ve grabbed plenty of influence from Chick Corea, Brad Mehldau, Bud Powell, Bill Evans, and Barry Harris, etc. Etc. But, I think I’ve learned just as much, if not more, from listening to people like Bird, Coltrane, Michael Brecker, Sonny Stitt, Hank Mobley, and even Maceo Parker. Please don’t tell my piano playing friends if you see them. I’m sure you guys can keep a secret right?;) So, to pay homage to my sax-(morphed into piano)-playing influences I’d like to share three very cool jazz saxophone licks with you guys. We’ll take a look at a Dexter Gordon lick, a Harold Land lick, and Sonny Criss lick. (Notation, audio recording, and tips below.) Are you ready to learn?
Well, let’s get started! (Notation is in concert key for ease of use) 1. Harold Land Lick Bb Instruments Eb Instruments A quick tip while learning this lick. Harold lands on the 3rd of every chord on beat. Additionally, almost every downbeat in this lick contains a strong chord tone. That’s why even if you don’t play the behind this lick you can still hear the changes. Dexter Gordon Lick Bb Instruments Eb Instruments A quick tip while learning this lick.
Pay special attention the nice rhythmic ending Dexter plays on this lick. He ends his line using 2 eighth notes on beats 1 and the” & of 1″.
This is a classic bebop way of ending a phrase. It’s a very strong rhythmic resolution and it grooves! Practice Tip: Take an hour and practice ending all your phrases using 2 eighth notes on beats 1 and the “& of 1”.
By mastering this ending you’ll notice an immediate improvement in your sense of phrasing. Sonny Criss Lick Bb Instruments Eb Instruments A quick tip while learning this lick.
Sonny uses 2 chromatic descending notes (C and B) to set up the Bb chord tone on beat 4 of measure 1. This technique is called an approach pattern. Instead of playing the Bb on beat 3 Sonny extends his line by adding these 2 chromatic notes. Approach patterns are wonderful ways of adding chromaticism to your lines and extending your lines in a very musical way. When you play these you’re essentially delaying the resolution and encouraging forward motion through your phrase. They’re a huge part of jazz improvisation.
Practice Tip: Take an hour and practice improvising over your favorite jazz standard. Use the 2 descending chromatics approach pattern that Sonny uses on this lick. So, in other words practice landing on a variety of chord tones from 2 chromatics above. I think you’ll really love this sound!
Final Thoughts I hope you’ve enjoyed this jazz sax lick lesson. It’s been a pleasure sharing this lesson with you and expanding my audience! Keep swingin’ my friends. A special thanks to Doron for allowing me to share with his community here. Steve’s performance credits include such greats as:.
Four time Grammy Award Winner Buddy Guy. Two Time Grammy Award Winner Koko Taylor.
Blues Music Hall of Fame Member and Grammy Nominee Lonnie Brooks. Grammy Nominated Shemekia Copeland. Tab Benoit.and many more! He has also amazed audiences while sharing the stage with musical giants such as B.B.
King, Wyclef Jean, Taj Mahal, Bernard Allison, and John Lee Hooker Jr. Steve has performed with Ronnie Baker Brooks, Kenny Neal, Floyd Taylor, Jellybean Johnson (Morris Day and the Time & Janet Jackson), Cyrille Neville, Frieda Lee, Coco Montoya, and the international touring Chicago Children’s Choir. Steve is also an accomplished keyboard session musician and has worked at RaxTrax, Super Buddha Studios, Moonlight Label, and Piper Toonz.
Sus4 triads are great for creating some beautiful super-imposed lines on maj7 chords, and the sus chords are often forgotten among the diatonic chords and triads. In this video I will go over 5 examples of sus4 triads and show you both how you can use play and practice them and also how an example of them over a Cmaj7 sounds. I have also included the chord voicings that you can create using these sus4 triads as upper-structures. Finding Sus4 triads in a major scale To find the triads you can build all sus4 triads in a C major scale: C: C F G D: D G A E: E A B F: F B C G: G C D A: A D E B: B E F Since the objective is to find triads that work well on a Cmaj7 then it does not make too much sense to include an F in the triad. This means that we have These sus4 triads left: D,E,G and A.
Michael Brecker Licks Pdf To Word Converter
I have one more sus4 chord that I often use, but I will explain that later in the article. The Sus4 triad from the 3rd: Esus4 The best place to look for an upper-structure is the 3rd, somehow it is always like that. Probably because the 3rd is the most basic color of the chord. In this case the Esus4 triad gives use these notes against C: Triad: E A B Tension: 3 6 7 Here the sus4 chord is much really conveying the basic color of the chord (with the 3rd and the 7th) and adding the sound of the 6th or 13th. In that respect this triad is maybe as much evidence that the melody of the sus4 triad is at least as important as the notes it contains.
You can play the triad in the position like this: In the 2nd bar I have included the Esus4/C chord which is a Cmaj7(13) chord. Using the Esus4 triad on Cmaj7 A lick with this triad is shown here below. The first bar of the lick is the basic Esus4 triad arpeggio.From there it continues with an Em7 arpeggio and finally resolves to the 7th(B) of Cmaj7. The Prince chord re-interpreted: Gsus4/C The Gsus4 triad is of course an inversion of the Csus2 (or the other way around) which is the first chord in Prince’s Purple Rain.
As shown here below the triad only yields one extension(the 9th) and for the rest consists of basic chord tones, but again the strong melody of the sus4 triad is enough to make is a good arpeggio to use in a solo. Triad: G C D Tension: 5 1 9 To place the arpeggio in the 8th position it is written it out here below and the chord you can create with it is added in the 2nd bar. The Sus4 Melody In this lick is using two inversion of the Gsus4 triad. The first one is really described just as well as a Csus2. The 2nd half of the bar is the beginning of a descending Gsus4 triad.
The triads are played with pull offs and the repeated sequence really brings out the 4th interval and the sus4 sound. Asus4: The C6/9 arpeggio The way that diatonic chords are usually practiced and explored there is no real arpeggio for the 6/9 chords.
The Sus4 triad on the 6th of the scale could easily fill this void: Triad: A D E Tension: 6 9 3 The Asus4 triad is in fact just a rootless C6/9, so it works great for this. The arpeggio and the voicing is written out below: Sus4: The Signal melody and the repeating octave displacement Suspended chords ask for resolution. In a melody this makes it great to catch attention and it gives it the sound of a signal or announcement. This lick really uses this melodic aspect.
The opening of the lick is a basic A minor pentatonic run that then transitions into a 3 octave Asus4 triad arpeggio. The arpeggio is played using the idea that if you play a sus4 triad on the E and A strings you can shift this fingering and repeat it up an octave on D and G strings and one more time another octave higher on the B and E strings. Mostly colors: Dsus4 As with the Gsus4 triad the Dsus4 is not really conveying the sound of the Cmaj7 chord. But of course less clear structures can also be useful on a tonic major chord.
Triad: D G A Tension: 9 5 6 The arpeggio and the chord voicing is shown here below. Notice that like the Gsus4/C chord this voicing is not a complete chord since it does not contain a 3rd. It is how ever easy to add a 3rd on the A string in the 7th fret. The Quartal harmony connection The lick below is showing how Dsus4(D,G,A) inverted is in fact a 3-part quartal arpeggio (A,D,G). The first part of the lick is a repeated figure playing the Dsus4 triad as a quartal arpeggio. The 2nd part of the lick is resolving the melodic tension created by the ascending quartal arpeggio. This is done with a descending Em7 arpeggio.
B Sus4 triad: Getting a Lydian sound. The one sus4 triad that is not diatonic to C major is the Bsus4. This triad is great to get a lydian sound and you might not realize that you have been using it all along for your Cmaj7(#11) chords.
Triad: B E F# Tension: 7 3 #11 The triad contains the basic part of the chord (3rd and 7th) and adds the #11 to convey the Lydian sound. Play The Arpeggio in the 8th position like this: Borrowing from Michael Brecker The first part of the Bsus4 lick is using a quote that I took from a Michael Brecker solo. It’s a nice way to play the sus triad in groups of 4 and it is surprisingly easy to execute on guitar. The 2nd part of the lick is using a more basic Em7 to get the Cmaj7 sound across. The Chord Diagrams This lesson includes 5 voicings using the sus4 triads. The voicings are shown below as chord diagrams as well if you prefer to read an visualize them in that way. Using Super-imposed structures like the sus4 triad In Jazz there is a long tradition of using upper-structures when improvising, and it is a very useful approach to building a vocabulary of lines when improvising.
The use of the upper-structure and the ability to connect it with more simple material on the chord means that anything you study can be put to use in several places. I hope you can use these 5 sus4 triads I went over here to expand you vocabulary and add some great melodic ideas to your solos! Get a free E-book If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: Get the PDF!
You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for. Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.
This entry was posted in, and tagged, on. Your jazz licks have all the right arpeggios and chord tones, target notes etc. And they still don’t sound like great bop lines! The Problem is probably with the jazz phrasing. In this video I am going to give you a basic understanding of some of the jazz phrasing that can lift your solos to the next level.
I am also going to give you a way to write licks which you can phrase better and take a few bars from a George Benson solo to demonstrate how he gets it right! The Good, The Bad and the Bebop! In the example below I have written out two examples of jazz lines over a Turnaround in C major. They both contain right notes and the melodies are moving from chord to chord in a logical way, but the second one sits better in the groove and is easier to phrase in a nice way. The difference is where the target notes and the notes where the line changes direction are placed.
In the first example this is all the time on the heavy beats (so beats 1 and 3). This is shown with the circle. In the second line these notes are placed mostly on an off-beat and that makes it possible to give them an accent and add some more life to the line. I guess the difference is that bebop lines need the syncopated lines that have high notes and turning points on off-beats because that makes it come alive and add some small dynamic surprises for the listener. Composing lines with better phrasing It does sound a little strange I know, but actually we can work on making lines that are easier to phrase in a right way.
The trick is to find a way to create lines where we have a high note on an off-beat. If we take the two heavy beats in the bar, 1 and 3, then there are two types of off-beats we can have: The one before a heavy beat: 2& and 4& and the one after a heavy beat: 1& and 3&. Before a heavy beat In example 3 I am using the Dm7 G7 progression to demonstrate 4 different ways to have a high note (and therefore an accent) before beat 3. After a heavy beat The 3 different examples below show how you can add an accent on 1& by making that note a local high note. It is worth noting that the descending line actually also makes the 1& a note you can accent, so that option is also often a good way to add an accent. You will also see this in the George Benson solo. Examples of Jazz Licks with accents To show you some examples of lines that have melodies that you can add accents to I have written to II V I lines in C major.
The first example starts with an accent on the 2&. This is achieved with an Fmaj7 arpeggio similar the 2nd bar in Example 3. The rest of the bar does not contain anything that gets an accent. In the G7 bar the first accent is on the 1& where the D is a high note. There is another accent on the 3& where the B can get an accent. The 2nd example is using the same arpeggio on the Dm7 to get an accent on the 2&, but this time the arpeggio is played in an inversion to add a large 6th interval skip on the 1& The ascending arpeggios are also used to get accents on the 2& and 4& on the G7alt.
Here it is first a G augmented triad and the 2nd one is an Fm7(b5) arpeggio. Other ways to lget better at phrasing Learning from composing and analyzing is only one way of the ways to internalize these things. Of course it will help you recognize and hear where accents are and understand the phrasing examples you hear on a conscious level. Another way to work on this is to listen and imitate examples of good phrasing, this can be copying records or learning to play transcriptions. Why George Benson has great phrasing As an example of somebody with good phrasing here is 4 bars from a George Benson solo.
These 4 bars are an excerpt from his (really fantastic!) solo on Billies Bounce. I transcribed it and will go over where the accents are. The excerpt starts on the II V to Gm7, which in Billie’s bounce is Am7 D7(b9). The first part is a sweep of a triad which does not contain any accents, mostly because this technique does not really allow you to add an accent. The line on the D7 moving to Gm7 does have an accent. The Sweep of the C major triad comes out on an F#. From here it skips up to a D and descends step-wise to Bb.
This means that it is possible to add an accent on the 4&(C) which George does. On the Gm7 the A on the 2& get’s an accent., and for the rest there is no accents in the Gm7 line. Ont the C7 the G on the 1& is a high note which then gets an accent. It is followed by a dramatic skip (dramatic in a beautiful way) and the line is ended with a bop cliche that ends on an D on the 3& that also naturally get’s an accent. On the F7 D7 there are not notes on the off beat and therefore no accents. The Gm7 C7 line at the end of the chorus actually has accents on all off beats in the bar, which is of course possible, in this case it is also part of a blues phrase that somewhat asks for it. How do you go about improving your phrasing?
When you are working on phrasing I would suggest that you combine all the approaches I discussed in this lesson. It is important to listen and analyze solos to get the sound of the phrasing into your ear. At the same time you can reinforce this process with composing and exploring what lines you can come up with that has notes that you can give an accent. Finally it is also really good to have some solos that you really copy and play along with the record to really get into how the guitarist is phrasing. Good luck with it! Get a free E-book If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: Take this approach further with more examples If you want to explore the concepts discussed in this lesson further with some exercises and examles you can check out this lesson in my WebStore: Get the PDF! You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know.
Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for. Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases. This entry was posted in, and tagged, on.
If you don’t want to waste your time you want to make sure to turn everything you practice into material that you can use when you improvise. We all practice scales and work on our technique by doing Scale Exercises, arpeggios, diatonic triads and patterns. In this video I want to show you how you can take your exercises and start turning them into jazz licks. The Diatonic Triads in a Scale Position Let’s just start with an exercise that I am sure you already practice: Diatonic Triads.
Here below I have written it out in the key of C major: Turning this exercise into a II V I is shown here below where it is used on a II V I in C: Dm7, G7, Cmaj7: I am using the descending version of the exercise above on the Dm7. It is then used with the triads of Dm, C and finally B dim. From here it continues with a G7 altered lick before resolving to C. Diatonic Triads in Patterns A great way to practice diatonic triads is to play them in a pattern so that you break up the order of the notes. In the example below I have written out the diatonic triads in a 3 1 5 pattern: Using this type of exercise in a jazz lick is a great way to add some larger intervals to your lines. The lick here below is using the F,G and Am triads over the Dm7.
It then continues with a G7 altered line that is based on a Bmaj7(#5) arpeggio before it resolves to Cmaj7. Triads along the neck Another way to practice the triads is to play them on a string set along the neck. This is shown in a 2-1 fingering here below. Turning this into a lick is easy. I am using the F,Em and Dm triads descending and then continue the triad idea on the G altered with Eb and F dim triads to resolve to the 3rd(E) of Cmaj7. A good variation on this is to use Db and Eb triads on the G7.
This idea is shown here below: Changing the way we practice scales In the previous examples I had to rely on scale exercises that are stepwise in nature, so the triads are played in stepwise order: C, Dm, Em etc. The problem with this is that If you use triads on a Dm7 chord then Dm, F and Am are fine, but Em and G are less strong and therefore difficult to use in a lick. One way of getting around that is to look at how the Dm, F and Am are a 3rd apart in the scale. This means that we have can start working on practicing the triads in 3rds in the scale to get them together in the sets that work together. An example of how you can do this is shown here: The lick below is using the triads like this, and they are played in a 5 1 3 patttern. The triads used then are Dm, F and Am which are all closely related to a Dm7. Beyond the triads: Shell voicings Of course you can apply this to any type of structure.
ComfortableConservatories boasts over 70 amazing, professional 3D photo reports & CAD line drawings. Conservatories & window / door Software price list. Conservatory Roof Styles included in ComfortableConservatories (.pdf). The World's Favourite Conservatory Design Software. Looking for software to design conservatories and extensions? Try one of our packages RISK-FREE today! Conservatory cad drawing software for mac. 3d design for conservatory for clients in beverley and south cave. UK based Comfortablesoftware, develop professional software for sales of windows, doors and conservatories, 3D Design, Photo quality quote reports and CAD drawings. Database programs for t card planning resources, customer management & lead tracking.
In the example here below I am doing hte same type of exercise as example 7, but now using Shell Voicings. Turning this into a lick is shown in example 10 where I use Fmaj7 and Am7 shell voicings on the Dm7. On the G7 I am also using a Db7 shell voicing and combining that with an AbmMaj7 arpeggio before resolving to C. Putting it all together As you can see in these example it is not only important to try to use the exercises you do, but it can also be a great idea to try to shape your exercises so that they are immediately easier to use when improvising or composing lines. It makes a lot of sense to try to work a lot with 3rds because it reflects how we build chords and keep the triads closely related to the chord you want to use them on.
Get a Free Ebook If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: Get the PDF! You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for. Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.
This entry was posted in, and tagged, on. In this video I will go over 3 Music Theory Ideas that I use all the time in my own playing! Why learn Music Theory? Learning music theory is of course a part of learning guitar.
Jazz Guitar especially is often considered theory heavy, but in fact you can really easily start using some of your theory to make music. If you apply the things you learn you will remember them better and get more out of them so that is certainly something you should consider in your Jazz Guitar Practice.
In this video I will go over 3 theoretical ideas and then show you how you can directly turn them into music and hopefully it will give you some more ideas that you can add to your jazz guitar improvisation or compositions. The Key and the Chords All the examples I will use in this lesson are in the key of C major and I will demonstrate each idea on both a Dm7 and a Cmaj7 to give you some material to work with, 1. The Arpeggio from the 3rd of the Chord So the first thing we can look at is how to come up with some more arpeggios to use over any chord that we have to solo over.
In most cases the arpeggio from the 3rd will work as a great sound on top of the chord. The Dm7 chord and it’s 3rd In Example 1 I’ve written out a Dm7 and an Fmaj7 arpeggio. As you may know F is the 3rd of a Dm chord.
If you compare the Dm7 and the Fmaj7 arpeggio you get this: Dm7 D F A C Fmaj7 F A C E And as you can see the two arpeggios have the same notes except we are playing an E (which is the 9th ) instead of the root. A lick using the Fmaj7 arpeggio over a Dm7 chord might be something like this: The Cmaj7 and the Em7 arpeggio In a similar way we have an Em7 on the 3rd of Cmaj7 Again we can look at how these compare: Cmaj7 C E G B Em7 E G B D An example of a guitar lick with this idea is shown below in example 4. Notice how I use both Cmaj7 and Em7 arpeggios in the line. It is important to combine new ideas with the vocabulary you already have! If m7 Then Minor Pentatonic The second idea is that whenever we have a m7 chord then we can use a minor pentatonic scale to solo over it. The Dm and the Dm pentatonic The m7 arepggio is almost the same as a minor pentatonic scale as you can see in the table here below: Dm7 D F A C Dm Pentatonic D F G A C This is probably also easy to see from this comparison: Since the difference is only the G, which is the 11th of D and sounds great over the Dm chord then we can use this idea to make pretty modern jazz licks like example 6: The Cmaj7 and which pentatonic?
Cmaj7 is of course not a m7 chord, but we do have a m7 on the 3rd of the chord: Em7. This gives us the pentatonic scale shown below: The E minor pentatonic scale is 3 5 6 7 9 if you relate the E G A B D to a C root. All great sounds over a Cmaj7. A guitar lick using this idea could be something like example 8: 3. Adding Chromatic Leading notes The third idea is to add chromatic leading notes to the arpeggio. Since the chromatic notes are resolved to a chord tone immediately this is something that we can easily apply to a melody. The Dm7 and some leading notes In example 9 I have written out a Dm7 arpeggio in one octave and then in the next bar the same arpeggio but now with a chromatic leading note before each note.
I would not recommend that you use all of the leading notes all the time. It is easier to use one or two to get a more smooth lick.
A guitar lick with this concept is shown in example 10. Notice how I don’t add that many leading notes, and one of them is also diatonic so you almost miss it! The Cmaj7 can be lead on as well If we try to do the same with the Cmaj7 then we get the arpeggio followed by the arpeggio with leading notes as shown in example 11: Applying this to a line is shown in example 12: In the example above you can see how I am combining all of the three ideas: Leading notes, Arpeggio from the 3rd and Pentatonic scales. As I mentioned above it is important to combine as many things in your playing as possible, and especially to combine new ideas with the things you already know so that you can use it in your jazz improvisations. Turn Your Theory in to Practice!
As you can tell there are great ways to directly turn theory knowledge into lines and by understanding the basics of chords and scales you can already do so! I hope this lesson gives you some ideas to dig a bit further in exploring the possibilities from the theory you know!
If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for. Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases. This entry was posted in, and tagged, on. Using the things that we licks, scales and arpeggios we practice is a big challenge! The best way to get new material in to you vocabulary is to write jazz licks with it!
That way we connect the new material with all the things we already know. In this video I am going to show you how I write jazz guitar licks on a simple II V I in Bb major.
I will try to demonstrate the process and the thinking and write a few variations of the licks. This should illustrate how I apply different things in my jazz improvisation. In the process I will write 5-6 II V I jazz licks in the key of Bb with arpeggios, chromatic enclosures and altered dominants. The II V I progression In this lesson the II V I that I am using is a II V I in Bb as shown below. II Chord and the arpeggio To keep it simple let’s start with the Cm7 arpeggio. Since the line is going to be in 8th notes we have now covered half of the bar. To fill the bar it is probably better to decide where we want to go.
So that would be a target note ofn the F7. The clearest target note on the F7 is probably the 3rd(A), so let’s go with that one. Cm7 licks – Target notes Now we just have to come up with a few ideas that will take us to that A. Here’s a simle chromatic enclosure: You can also use a small fragment from a pentatonic scale, in this case the Gm pentatonic scale: Another option is a Bb major scale run: Or an enclosure that contains a few more chromatic notes but also introduces a stronger pull towards the A.
If we think of these examples as exercises in using the Cm7 arpeggio then what we are doing is that we are practicing making playable melodies that move logically to the F7 and are using the Cm7 arpeggio. The V chord – Adding the Dom7th chord. Now we can start using one of the lines on the Cm7 and focus on the F7 line. In this first example I am using an Am7b5 arpeggio in inversion and then the F7 arpeggio to target the 3rd(D) of Bbmaj7.
The second example is now using a motif idea on the F7. The first part of it is still the Am7(b5) inversion. That is then treated as a motif and the 2nd part of the line is a development of that melody. The development ends up being an Eb major triad and an F. The Altered Dominant We can also use an F7alt.
In the line below I start with a small scale movement in 3rds in the F altered (or F# melodic minor) scale. From there I am using the B major triad before I resolve to the 3rd(D) of Bbmaj7. A different altered dominant line is what I have in example 1. The Altered idea in this line is first a skip up a minor third to Db then down the scale to Ab. From Ab I use a fragment from the Ab minor or B major pentatonic scale: Ab Gb, Eb, D. Over an F7 gives us #9, b9, b7, b13 and since it is a part of a pentatonic scale it sounds a little different. It also leads directly to D which it encircles with Eb and Db.
In the next example I am using part of the line as a motif. This allows me to be repeating the idea in a developed version in the second hald of the bar. The motif that I use is a B7 arpeggio played descending. It is the developed by moving it up a diatonic 3rd to Db. From there it becomes a descending Ebm7b5 arepggio that then neatly resolves to D on the Bb. You can of course also use a stack of 4ths.
In this case I am using the stack of 4ths that is the top part of an F7#9 chord (see diagram in the video). The arpeggio is inserted right after the A, target note on the F7. From the last note the line continues with a descending scale run to resolve to the 3rd(D) of Bbmaj7. Conclusion Hopefully you can use the things that I went over here as an inspiration for your own writing process. As I mention in the beginning, I find that making your own lines is essential in the process of internalizing new material.
I aim for this lesson to show you, not only what I use but also how I think about target notes and use different strategies to come up with melodies. If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: You can also download the PDF of my ex.