Improvising in jazz requires the ability to play in different keys over different chords. Results certainly do not come overnight, but with diligent practice, you would be surprised by what you can achieve. Many people ask me about what scales I use as if they were some big secret. While knowing your scales is very helpful, a comprehensive understanding of the inner workings of music is the only way to be able to express yourself as fully as possible. Today, I will discuss some of the scales I find myself using most often. Just remember, though, you have to get your hands dirty and really practice every aspect of music that you can; scales, triads, time, dynamics, touch, tone, etc.

You might have seen some of these before if you have gone over the basic modes of the major scale, but it’s important to remember that each one has its own distinct qualities and they fit over chords in specific ways. Let’s begin.

One common approach in jazz improvisation is to treat each chord as its own sound instead of soloing over a whole section as one sound. Both approaches are perfectly valid and both are often used, but it’s important to go over everything. Let’s discuss the basic scales used over a basic ii V I progression. Here are a few options:

Dorian (ii)                       

E  :—————-|

B  :—————-|

G  :————5-7-|

D  :——5-7-9—–|

A  :5-7-8———–|

E  :—————-|

Mixolydian (V)

E  :—————-|

B  :—————-|

G  :—————-|

D  :————3-5-|

A  :——3-5-7—–|

E  :3-5-7———–|

Ionian (I)

E  :—————-|

B  :—————-|

G  :————4-5-|

D  :——3-5-7—–|

A  :3-5-7———–|

E  :—————-|

Or Lydian for the #11

E  :—————-|

B  :—————-|

G  :————4-5-|

D  :——4-5-7—–|

A  :3-5-7———–|

E  :—————-|

If you know a bit about chord construction, you probably noticed how each of the corresponding chords for these scales outline the guide tones or the important notes in the chord. With regard to the I chord, both, Lydian and Ionian are valid unless the chord is specifically the major 7 with the #11. In this case you definitely want Lydian. As far as Ionian is concerned, you want to be careful with the 4th scale degree, in this case F, as it clashes with the 3rd of the chord and that is one of the important notes! Practice trying to combine ideas among these modes and see what you can create. Always keep in mind trying to hit guide tones on strong beats so the changes are clearly defined.

Let’s move on to some more exotic sounding stuff. One way many jazz players like to achieve some fun “out” sounds is by employing melodic minor in different ways. Most of these are applications over dominant chords, but you can really get creative with it. First, let’s go over the scale:

E  :—————-|

B  :—————-|

G  :————6-7-|

D  :——5-7-9—–|

A  :5-7-8———–|

E  :—————-|

For the sake of saving time, I will go over the names of the modes but I will describe them the way I like to think of them, which is basing the melodic minor scale off of specific chord tones instead of thinking of individual modes. Before moving on to dominant chord applications, it is worth noting that it is very effective to use the scale over a minor ii-7b5 V i progression. You can play it over the entire thing and it hits everything you need. Now, I am sure some of you are thinking, “What about the b7 on the i chord?” This is a valid concern, but as long as you avoid laying into that natural 7th from melodic minor too much, you can play through it as a sort of passing tone and be totally fine. Try it for yourself and see!

Lydian Dominant – Play melodic minor from the 5th of a dominant chord. Ex: F melodic minor over Bb7

Altered Dominant – Play melodic minor from the b2 of a dominant chord. Ex: B melodic minor over Bb7

The rabbit hole goes pretty deep with melodic minor applications, and to go over all of it is probably beyond the scope of this lesson, but these are two of the ones most commonly applied.

One scale that is more commonly used but still very useful is the blues scale. This is very useful over a static minor chord and even dominant chords. You might be wondering about playing that b3 in the scale over a dominant chord which would have a natural 3rd, but it ends up just being the #9 of the chord so it actually sounds pretty neat. Jimi Hendrix, anyone? Anyway, here it is, as with anything, learn it in every octave and key in every position all over the neck.

E  :—————-|

B  :—————-|

G  :—————-|

D  :———-5-7—|

A  :—-5-6-7——-|

E  :5-8————-|

Lastly, I would like to discuss the diminished scale a bit. This is a symmetrical scale and it exists as the half-whole diminished and the whole-half diminished. I have heard every name in the book for these, but I feel that these are the most practical for me. The half-whole is particularly useful over a dominant chord with specific alterations. Think 13b9 and #11. Do some exploration and see where else you like to hear it. I tend to use the whole-half over diminished chords. Sometimes, I like to treat diminished chords as dominant chords and approach them that way. So, for example, if you have got a progression that goes something like Gm G#dim | Am, I would treat the G# diminished as E7. G# diminished just so happens to be the upper structure for E7b9. It is much easier for me to apply the diminished scale over the chord this way.

It is extremely important to learn this material in as many octaves, positions, and shapes as possible. Learn them in 3rds, 6ths, 7ths, etc as well. Come up with different permutations. Really make these part of your vocabulary. That, for me, is the best way to make sure they are used naturally instead of being forced. For some great information on jazz improvisation and using some of these devices, I recommend Tony Remy’s instructional which you can find at the following link:

http://www.promusictutor.com/guitar/pro-licks-guitar-lessons/jazz-and-blues-concepts-series-1-tony-remy-guitar-lesson/

About the Author

Marc-Andre Seguin is the webmaster, “brains behind” and teacher on JazzGuitarLessons.net, the #1 online resource for learning how to play jazz guitar. He draws from his experience both as a professional jazz guitarist and professional jazz teacher to help thousands of people from all around the world learn the craft of jazz guitar.