"Mastering Jazz Improvisation: The Art of Targeting Chord Tones for Intermediate Players"
Introduction
Jazz is a language full of nuance, colour, and expression. As intermediate players looking to level up your improvisation skills, one of the most effective ways to create meaningful, melodically compelling solos is by targeting chord tones. These are the core notes that define a chord, and learning how to emphasise them in your improvisation can elevate playing from simply "running scales" to telling a story.
In this post, we’ll dive into the technique of targeting chord notes, explore why it’s so essential in jazz improvisation, and provide practice strategies that will help you hone this skill. By the end, you’ll have a solid understanding of how to make solos sound more intentional and musically satisfying.
What Are Chord Tones?
Chord tones, also known as chord tones or "guide tones," are the notes that form the foundation of a chord. In a basic triad, the chord tones are the 1st (root), 3rd, and 5th degrees of the scale. In more complex chords, such as seventh chords or extensions like 9ths, 11ths, and 13ths, the 7th and other additional notes also become key components.
For example, in a Cmaj7 chord (C, E, G, B), the chord tones are:
C (root)
E (3rd)
G (5th)
B (7th)
These are the notes that give the chord its specific colour and character. When you target these notes in your soloing, you emphasise the harmonic structure and create a deeper connection between your lines and the underlying chord progression.
Why Targeting Chord Tones Is So Important
Intermediate players often find themselves playing scales or modes over chord progressions, which can sound fine but sometimes lack direction. When you simply run through scales, it’s easy to lose the sense of harmonic connection between your solo and the backing chords. This results in a solo that may sound less intentional or emotionally engaging.
Check out these Chet Baker licks and see how often he uses targeting. For me, if it's good enough for Chet, it's fine for me. I truly believe that this is why his solos sound so wonderfully melodic!
The 'licks' are all over the major ii-v-i in C major or on a minor ii-v-i in A minor!
Next time you are checking out a jazz transcription (of any soloist) check out how often they use targeting the chord notes in their improvisations!
What is super intersting to me in these examples is that in many of them, not only does he target a chordal note on beat 1 but in many instances, beat 2 also!
Be like Chet!
Targeting chord tones helps you:
Outline the Harmony – By hitting the chord tones at key points in your solo, you’re outlining the chord changes, making your solo feel more grounded.
Create More Melodic Solos – Chord tones tend to sound "right" over a given chord, and they help you create lines that sound more like melodies rather than random runs.
Add Emotional Weight – Certain chord tones, like the 3rd and 7th, carry emotional weight and can make your solo sound more sophisticated and expressive.
Build Phrasing – When you target chord tones, especially on strong beats or downbeats, you create a natural phrasing that makes your solo flow more organically.
Understanding Chord Progressions in Jazz
Jazz chord progressions are often more complex than those in other genres of music. For example, a standard jazz blues might involve a II-V-I progression, or you might encounter tunes with rapid chord changes like in bebop standards.
Let’s take a look at the classic II-V-I progression in C major:
Dm7 (II) → G7 (V) → Cmaj7 (I)
Each chord has a set of chord tones:
Dm7: D (root), F (minor 3rd), A (5th), C (7th)
G7: G (root), B (major 3rd), D (5th), F (7th)
Cmaj7: C (root), E (major 3rd), G (5th), B (7th)
Your goal is to target these specific notes as the chords change in real time. This will give your solos a strong sense of harmonic direction.
Strategies for Targeting Chord Tones
1. Chord Tone Mapping
One of the first steps in targeting chord tones is to map them out on your instrument. For each chord in the progression, identify where the chord tones fall on your instrument. Practice playing through the changes while focusing only on the chord tones.
For instance, if you’re working on the II-V-I progression in C major, play only the Dm7, G7, and Cmaj7 chord tones in various positions across the fretboard or keyboard. This exercise will help you become more familiar with the location of the notes and how they connect between chords.
Here is an exercise I often play! It sounds super melodic!
2. Practice with Guide Tone Lines
Guide tone lines are simple, melodic lines that move between the most important chord tones, usually the 3rds and 7ths. These tones are essential because they define the quality of the chords (major, minor, dominant, etc.).
The concept of voice leading between the 3rds and 7ths is central to jazz harmony and will make solos sound more connected to the changes.
3. Target Chord Tones on Strong Beats
In jazz, the strongest beats are usually the 1st and 3rd beats of the measure. Targeting chord tones on these beats can create a strong harmonic statement. Even if you use passing tones or chromaticism, ensuring that you hit a chord tone on a strong beat can give your solo a sense of direction.
For example, over a II-V-I progression, try improvising while ensuring that on every downbeat of the chord change, you land on a chord tone.
Check out these jazz etudes I created and see how often I use targeting in them!
The first is over the tune "Tempus Fugit' and is advanced intermediate!
This example is over the tune 'All of me' and you can clearly see how often I target the chord notes! It is SUPER EFFECTIVE!
4. Add Chromaticism
Once you’re comfortable targeting chord tones, you can start incorporating chromatic notes to add tension and release. Chromatic approaches involve playing notes a half-step above or below the target chord tone and resolving them into the chord tone. This is a common jazz device that adds sophistication to your lines.
I love to use chromatic enclosures! Check out this video to see how I go about it!
5. Enclosures
An enclosure involves surrounding a chord tone with nearby notes, creating a framework around the target. Enclosures are a staple of bebop playing and can make your lines sound more intricate and polished.
I always play the notes diatonically from above and a semitone from below! I like this way as I notice that it is the same way as Clifford Brown uses them (over a major ii-v-i).
How to Apply These Techniques in Practice
Start Slow – Begin by practicing with very simple chord progressions like the II-V-I. Focus on hitting chord tones at slow tempos and gradually build speed as you become more comfortable.
Use Backing Tracks – There are plenty of jazz backing tracks available online or through apps that you can use to practice targeting chord tones in real-time. Start with slower tempos and work your way up.
Record Yourself – As you practice, record your solos and listen back to hear how effectively you’re targeting chord tones. This will give you a better sense of where you’re nailing it and where you need to improve.
Transcribe Solos – Listening to and transcribing solos from jazz masters is one of the best ways to internalise chord tone targeting. Pay attention to how players like Clifford Brown, Blue Mitchell, Chet Baker or Charlie Parker emphasise chord tones and create beautiful melodies.
Conclusion
This is my fundamental approach to practicing jazz as I ALWAYS know what I am trying to improve!
I have a clear path on what and how to practice! I can also incorporate vocabulary of the masters very easily (once I know the chord tones I am targeting of course).
As shown in the enclosures example! You can then practice rthis way over any jazz standard, only practice enclosures! Gradually building your vocabulary, the more vocabulary you practice in this way, the more you can incorporate into your solos!
If you don't know your chord tones, I highly recommend learning them!
Targeting chord tones is a game-changer for intermediate jazz players. It provides structure, direction, and a stronger sense of melody to your solos. By integrating the practice techniques outlined in this post—such as guide tone lines, targeting chord tones on strong beats, and using enclosures—you’ll start to notice a significant improvement in your improvisational skills.
Remember, mastery comes with time and practice, so be patient with yourself as you work through these exercises. The more you focus on targeting chord tones, the more you’ll find your solos sounding more connected to the harmony, ultimately leading to a deeper and more satisfying jazz experience. Happy practicing!
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Helpful resources
Jazz Etudes full of targeting the chord notes - 25 Jazz Etudes
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