Lesson Four

Soloing over the I chord

Creating interest over the I chord or a static major 7th can be tough. Very often the music feels "grounded" when it hits the I chord as if all movement has ceased. Using chord tones and some well placed chromatics, it is possible to freshen up this often stagnant sounding situation.

 

Example 1 shows an approach to the all-important 5th of the I chord (D). Beginning on the 6th (E), the line descends using the b6 (Eb) then a half step approach to the 5th. Though the Eb and C# are not in the key of G, they provide a sense of inevitability as they approach resolution. The line continues descending in a scale-wise fashion.

Example 2 begins with the same half step approach to the 5th of the I chord. Also notice the half step approach to the 3rd of the chord (B). The latter half of the first bar contains a D major triad (D F# A), resulting in a strong resolution to the G in bar 2. Extract this principle for future use: PLAY A MAJOR TRIAD A FIFTH ABOVE THE ROOT OF THE I CHORD CREATING A MAJ9 SOUND.

Example 3 shows chromatic half step approaches as well as a leap of a 5th from D to the A at the beginning of the second bar.

Example 4 a long line with half step approaches to the 9th of the I chord (A), and 5th (D).

These lines will go a long way toward improving your sound over the I chord. Practice all of these over GMaj7, then work toward learning them in all keys. Jamey Aebersold's Major & Minor  play-along package is an ideal practice tool for hearing these lines in context.

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