Translating Licks to Different Scales and Chord Qualities
An instructor once told me that a great skill to develop is the ability to translate one lick to multiple scales and chord qualities. Music is made up of patterns and thematic development of a motif, which is usually expressed over changing chords. Accomplishing this involves understanding how scales are constructed, and which of the scale degrees are stable versus unstable. This is just another way of saying which tones carry tension and which tones carry the absence or resolution of tension. Chord tones are stable, and the non-chord tones are more unstable- especially if within a half step of a chord tone. For example, the b9 really wants to resolve to the 1, and the 4 is begging to resolve to the 3. Non-chord tones with a whole step relationship, for example, the 9 or 6 in a major scale, are more stable and depending on the context can act as stable or unstable tones. Notes that are neither chord tones nor non-chord tones (i.e., outside of the scale) can be also expressed as unstable because they are also an unstable sound over the sounding chord. These are usually functioning as approach tones (i.e., the b3 to a major 3, or the #4 to a 5).
It's much easier to understand this concept when expressed over a piece of music. The example below goes through the changes of "All of Me" and starts with a relatively simple idea. Over the Cmaj7 I play an arpeggio 7/1/3/5/7/6. While 7 is a chord tone and thus stable, in its first use it acts as an approach note and can also be considered unstable. The second 7, and the proceeding 6th, are stable. So the pattern is unstable-stable-stable-stable-stable-stable. You don't have to follow this pattern exactly- it's just a guide. Especially with so many stable tones in a row, it's ripe for throwing in some unstable tones in between, or a sequence of unstable tones to build tension. It's all about developing a solo over time and this approach can be helpful in planning tension and release.
For simplicity, the rhythms are expressed unchanging from the original pattern, however the direction and starting scale degrees are changed throughout. For example, the line can go up or down, or wander around in a non-linear sequence. There are a couple different starting scale degrees that the same pattern can work for. For example, the CM7 arpeggio can start on the 1, or easily be shifted the 3rd to play a 3-to-9 arpeggio, and have the same stability-instability pattern (remember that although it's not a chord tone, the 9 in a major scale is a relatively stable).
It's much easier to understand this concept when expressed over a piece of music. The example below goes through the changes of "All of Me" and starts with a relatively simple idea. Over the Cmaj7 I play an arpeggio 7/1/3/5/7/6. While 7 is a chord tone and thus stable, in its first use it acts as an approach note and can also be considered unstable. The second 7, and the proceeding 6th, are stable. So the pattern is unstable-stable-stable-stable-stable-stable. You don't have to follow this pattern exactly- it's just a guide. Especially with so many stable tones in a row, it's ripe for throwing in some unstable tones in between, or a sequence of unstable tones to build tension. It's all about developing a solo over time and this approach can be helpful in planning tension and release.
For simplicity, the rhythms are expressed unchanging from the original pattern, however the direction and starting scale degrees are changed throughout. For example, the line can go up or down, or wander around in a non-linear sequence. There are a couple different starting scale degrees that the same pattern can work for. For example, the CM7 arpeggio can start on the 1, or easily be shifted the 3rd to play a 3-to-9 arpeggio, and have the same stability-instability pattern (remember that although it's not a chord tone, the 9 in a major scale is a relatively stable).
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