Learning how to improvise over jazz standards is a rite of passage for all jazz guitarists and there’s no one better qualified than Frank Vignola to guide you on that journey. In this Jazz Standard Soloing edition of Essentials, Frank has prepared 10 soloing etudes for the progressions found in the most popular jazz standards. Each of the 10 solos has been constructed to illustrate a key creative or harmonic approach for soloing and improvisation.

”We're going to examine and solo over many of the most popular progressions found in the jazz songbook. We'll work through 10 soloing studies, playing over the changes to 10 very popular jazz standards. In each study we'll focus on a specific improvisational approach. For example, we'll focus on connecting chord tones over progressions used in tunes like Autumn Leaves, develop a melodic statement for a study based on progressions used in Sentimental Journey, and work on arpeggio patterns used in Bernie's Tune. We'll apply riff-based approaches for a blues, chromaticism and arpeggio extensions, study connecting chord tones, work on popular bebop Bossa nova progressions, examine the Flat 9 in a minor key with a touch of blues, and even apply a chord melody approach.”

"Superbe! This course is EXACTLY what I was looking for, to understand harmonies and improvise with elegance on standard tunes. Completely satisfied!" - Antonello Vanni, TrueFire Student

For each of the 10 soloing studies, Frank will first perform the solo over the jam track in its entirety, and then break it down for you note-by-note emphasizing the essential techniques and concepts in play.

Thirds for Autumn - ”In this solo, we use the chord progression for the popular standard "Autumn Leaves". We'll connect chord tones in this etude, which is a great tool to use for improvising melodically. We'll look ahead and connect the third of each chord using a scalar pattern. In this progression, we have a 2-5-1 Major and then a 2-5-1 Minor. The B section is also using 2-5-1 progressions but inverted, so this song is full of 2-5-1 progressions like most jazz standards. We'll first play the 3rd of every chord; a great exercise in general. We must play our theory and not just study it from a book. Then, we connect the thirds using scalar patterns and neighboring tones. Playing chord tones is a fabulous composition technique. If you take notice, the melody of "Autumn Leaves" uses the third as the main resting tone.”

Melodic Voyage - ”In this essential etude, we use the chord changes for the classic swing era hit song "Sentimental Journey". In this etude, I demonstrate the concept of melodic development using bluesy ideas. Without the blues, there is no jazz. Notice the first musical statement and how it develops. Also take notice of how the medley is present at the bridge. It's always a good idea to improvise around the melody. This is an AABA form, as a lot of jazz standards are written. The first 4 measure are C then D7 and G7. The 2nd four bars are C then F and back. A great place to play the blues. The bridge goes to the F or 4 chord and back to the C or 1 chord. The first statement is bluesy and fits the vibe of this tune. Notice the question and answer technique: I play a musical question and then answer it. I continue with this concept throughout the progression, always sticking around the medley. We also use some bluesy slides in this one.”

Bernie's Arps - ”In this essential solo, we use the chord progression similar to the great Gerry Mulligan tune, "Bernie's Tune". Notice the use of three note arpeggios and a repetitive rhythmic pattern to build the intensity. This is an AABA form. The chords are almost gypsy like. We play two measures of D minor, then two measures of Bb7 to 2 measures of A7 and back to D minor. The bridge goes to the key of Bb using a 1-6-2-5 progression. We start with an inverted three note arpeggio using the famous Dizzy rhythm from "Night in Tunisia". We're essentially stealing this famous jazz rhythm. When changing chords, we pick out the note that is different in the chord, which is Ab for the Bb7 coming from the A note, which is the 5th of D minor. In the bridge, we use a riff based idea for the whole bridge ending with a lead up scale to the last A section.”

Blues Riffs for Duke - ”This a blues in C, reminiscent of Ellington's "C Jam Blues". This is a riff based solo, meaning a melodic riff is stated then developed throughout the 12-bar blues. This 12-bar blues in C starts with a C chord, then to the 4 chord, F7, and back to the C. Going over the chord tones, we notice the main difference between the C and F7 is that the E note (the 3rd of C chord) becomes an Eb (b7 of F7 chord) and then back to the E (3rd of C). So, we use this difference in the riff. We also use the 2-5-1 to get back to the 1 chord. Instead of just ripping off pentatonic scales, the idea here is to use that difference between chord tones (the E and the Eb). Notice the Q/A, the slide into the first E note, and the ending phrase over the 2-5-1.”

Mellow Extensions - ”In this essential solo, we use the chord progression similar to another Duke Ellington classic, "In a Mellow Tone". This one uses arpeggio extensions and connecting chord tones using the chromatic scale. This one is in the key Ab, starting on Bb7 to an Eb7. Look at that, another 2-5-1 gets us started! The tune is in halves, or two similar 16 measure progressions. Notice the minor chord becomes a diminished at the end. We use extended arpeggios here, meaning the extensions of chords in arpeggiated form. We start on the 3rd of Bb7 or D, then move up to the 5th, 7th, then 9th, and then we move to the Eb7 chord upper extensions starting on the Db or flat 7, moving up the chord using the b9, then the 13th. These are the upper extensions and the concept behind this solo.”

My Nearest Chord Tones - ”In this essential solo, we use the chord progression similar to the classic "All of Me". The concept here is to pick the closest chord tone to the previous one and build musical ideas. In this essential solo, we use the chord progression similar to the classic "All of Me". The concept here is to pick the closest chord tone the previous one and build musical ideas. This song progression is in two halves. It starts on the 1 chord or C moving to E7. I chose to start on the 5th of C or G moving to G#, which is the 3rd of E7 and the closest chord tone to the G (5th of C), then to an A7 chord, so the next closest chord tone to G# is either A (the root) or G (the 7th). I chose the A note. I continue to pick close chord tones and create musical thoughts.”

1, 2, 3 Bossa Solo - ”This etude is a bossa nova with similar changes to "The Girl from Ipanema". I introduce the composition technique of 1-2-3, which simply put is playing an idea (1), playing the same idea or slightly altered (2), then using that idea to continue onward (3). This is an AABA form. The only difference with this one is the B section is 16 measures long instead of the usual 8 measures. Most standards in the AABA form are 32 measures divided equally into 8 measure sections. This classic progression is 40 measures long, with the A sections all being 8 measures and the B section or bridge at 16 measures long. Notice I make a musical statement, then build or alter that statement a bit either rhythmically or using different notes, then finishing up the phrase. I'm thinking in 8 measure phrases instead of one and two measure phrases. When we think over the length of a section, we can take our time to develop a melodic solo.”

Flat Nine & Bluesy - ”In this essential solo, we use the chord changes similar to those of the great Kenny Dorham classic, "Blue Bossa". It's a 16-measure song that is played 2 times through in the key of C minor. Using the flat nine over the 5 chord in a minor key is very effective, and using the pentatonic blues in a minor key works extremely well too. Here we start on a C minor chord and move to an F minor chord. Then, we'll play a 2-5-1 in C minor but using the 2 minor 7 flat 5 or Dm7(b5). This brings on the tonality of the flat nine for the G7 as the Ab (flat nine of G7) is the b5 of Dm7. Using the flat nine over the 5 chord in a minor key is effective. Also, using the pentatonic blues in a minor key works extremely well. In the 2nd half of the tune, we use a straight 2-5-1 in the key of Db major which is unique. Notice by just moving one note up a half step (Db to D), the chord Db major 7th becomes a Dm7(b5). I start with a bluesy pentatonic lick. The notes of the pentatonic are the notes of the minor chord. We then mix it up with a scalar pattern on the F minor. Then, we dive into the flat 9 sound on the 5 chord going back to the C minor 1 chord and into a classic sounding 2-5-1 riff in Db major using the flat 9 chord tone then back to the 2-5-1 to C minor using the flat nine into a confident concluding blues riff.”

Stolen Phrases - ”In this essential solo, we use similar chord changes as the Dizzy Gillespie classic, "Groovin' High", which ironically are basically the same chord changes as the old classic song, "Whispering". It's in the key of Eb major. Here we're going to basically use the same phrasing as the original melody but add our own notes. This one starts on an Eb major. The original version then went down a half step to a D7 chord and back to the Eb or 1 chord. In this case, we substitute the Am7 and D7 making it a 2-5 combination. Moving up and onward, we go to the 3 minor or gm7, to the 6 dominant or C7. Then we move on to the classic bebop turnaround, which is the 3 minor (Gm7), down a half step to Gb m7, down another half step to Fm7 (2 chord), down another half step to E dominant 9 which is the tritone substitution of Bb7 (5 chord). The second half is the same as the first half except the last four measures, which is an Fm7 to an Ab min and home to the 1 chord (Eb). The concept here is to take the rhythm of the melody (phrasing) but put our own notes instead of the original melody. You can do this with all melodies. It's a great way to learn how to phrase a melodic statement.”

Satin Chord Melody - ”This essential solo is based on the chord changes of "Satin Doll". In this one, we get into chord melody as a solo technique. There's a bunch of 2-5's in this classic AABA progression. In the key of C, it starts with Dm7 to G7, up to Em7 to A7, then chromatically we move down from Am7-D7, Abm7-Db7, C7-B7-Bb7-A7, into the next A section. The bridge starts on Gm7-C7 to F major, then Am7-D7 to G7 and back to the final A section. Chord melody is the solo concept here. Staying true and respectful to melody, I used the same kind of phrasing but featuring the 9th. As you’ll notice, in chord melody we don't have to play big full chords. We could use chord fragments since there is bass. Then I use a common tone on top of the chord (G note) while moving chords down chromatically from C7 to A7.”

All of the performances are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can play, loop and/or slow down the tab and notation as you work through the lessons. Plus, Frank generously includes all of the backing tracks for you to work with on your own.

Grab your guitar and let’s get jazzed with Frank Vignola!