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Jazz Solo Scales Technique

Discussion in 'Technique [BG]' started by LorentBassman, Nov 19, 2012.

  1. LorentBassman


    Aug 9, 2011
    Can anyone tell me what kind of scale do they use for soloing in jazz style, I see a lot of bassists play jazz almost the same, so I really wanna learn to solo in jazz stale so can anyone tell me what kind of scales, tricks should I learn?

    An example:

  2. Wow that's a big question. And it has a big answer: All of them.

    Maybe it would be best to start learning melodies (heads) to jazz charts. Grab a Real Book and get cracking. :)
  3. There aren't any tricks, it's a crap ton of work. Id learn the chord tones to all major minor chords all over the fretboard first.
  4. JTE


    Mar 12, 2008
    Central Illinois, USA
    It's a balanced combination of knowing what notes are in the chords, how the chords relate to each other, knowing the melody, knowing how the melody relates to the chord progression, having some good melodic ideas, having the technical skills to execute what you hear, and doing it over and over and over again.

    Hop over to the theory sub forum and comb through the stickies, look for posts from Malcom Amos and from Ed Fuqua.

  5. LorentBassman


    Aug 9, 2011
    Thanks a lot every one of you, I see it very difficult to get the concept of solos in jazz that's why I asked if there is any trick, because a lot of bass players I hear they sound too similar that's why I thought there is any trick or scale that a lot of bass players that are lazy to learn all those scale for soloing on jazz
  6. FretlessMainly


    Nov 17, 2010
    As mentioned, it is a whole lotta work, but there are indeed some "tricks" that you could start with to get your feet wet:

    1. Treat every Major chord as a IV chord, so it becomes Maj7(#11). You can introduce yourself to this sound and concept by playing extended arpeggios:

    Upwards: C E G B D F# A
    and back down. What you have here is a DMaj triad on top of a CMaj7 (you could also think of it as a B-7 on top of a CMaj triad, but I prefer the former).

    When soloing, you'll want to draw on these notes, but it's typically more melodic to break up the arpeggio into up and down fragments and non-step-wise intervals (in other words, mix it up musicially).

    2. Treat every Dom7th chord that resolves to a minor chord as a diminished chord. For example, it is very common to see this in jazz:

    | A-7(b5) | D7(b9) | G-7 C7 | FMaj7 |

    The diminished substitution for the D7(b9) is derived from the b9 or Eb. Play an Eb diminished scale (whole, half, whole, half...) over the D7(b9). Alternatively, you could think of this as a half, whole, half, whole...diminished scale starting on D. They are the same thing.

    The diminsihed scales are created as follows:

    D half whole dim (expressed in the format of a D7(b9) chord: D Eb F F# G# A B C

    Eb whole half dim (expressed as a dim chord): Eb F Gb Ab Bbb Cb Dbb D. This is enharmonically equivalent to the D half whole dim above (displaced by one note) and you can use the same scale over the A-7(b5). Thus, you have two bars of Eb whole half dim and two bars of FMaj. Or you could incorporate my idea #1 above and play FMaj7(#11) over the final bar (the use of this would depend heavily on what the other instrumentalists are doing, as is the case with any scale choice in jazz - you need to synch with the bandmates and their harmonic approach to any given tune).

    And these ideas are about 0.00001% of what you can use for scales in jazz.