Improvisation Practice Systems category

Practice dominant/major/minor bebop scales with downbeat chord tones. Improves swing placement and harmonic clarity. more

Improvise a “call,” then answer it with a contrasting or resolving phrase. Trains phrasing, conversation, and audience engagement. more

Build solos from tiny interval cells (e.g., 1–b3–5). Sequence, invert, and transpose through changes for modern, intervallic lines. more

Matching each chord to a compatible scale to generate note choices. Useful as a map, but great solos still prioritize melody, voice-leading, and rh... more

Notes a semitone above or below a target that resolve into it. Practice over ii–V–I to strengthen harmonic aim and jazz vocabulary. more

Systematic drills through the three-tonic cycle. Start with arpeggio cells and guide-tones before adding approach notes. more

Practice with limits (one string, two notes, one rhythm). Constraints expose weaknesses and strengthen core musicality. more

Run lines, arpeggios, and patterns through all keys via the fourths cycle. Builds transpositional fluency and fretboard/keyboard coverage. more

A classic bebop device: surround a target tone from above and below (chromatic/diatonic) before landing. Creates tension-release and clear resolution. more

Intentionally imply substitute chords (triads, pentatonics) over the harmony. Use sparingly and resolve to chord tones to “come home.” more

Work on laying back or sitting ahead of the beat deliberately. Record to a click/loop to refine consistency and pocket. more

Informal term for casually improvising or playing riffs without structure or purpose—often when warming up or exploring ideas. “Noodling on the gui... more

Shift a line up/down a semitone or whole step from the harmony, then resolve. Creates tension if time and resolution are strong. more

Pre-chosen chord tones (often 3rds/7ths) you aim for on strong beats. Connect to them with scales, approaches, or enclosures for melodic direction. more

Transcribe phrases, then “translate” them to all keys, grooves, and tempos. The goal is concept absorption, not rote licks. more

Use triads built on extensions (e.g., over V7 play a bII major triad for b9/11). Creates colorful lines and fast chord recognition. more