Watermelon Man Chord Solo Study

www.mattwarnockguitar.com Learning how to play jazz guitar means leaning how to bring different textures into your soloing ideas. While many of us want to learn how to bring chord-soloing phrases into our playing, we often shy away from working on this skill in the practice room since we believe that chord soloing means using big, hard to play play chords to create cool-sounding chord solos. But, often times less is more when it comes to building effective chord solos, and bringing chord soloing lines and phrases into your solos and chord-melody phrases. In todays lesson, well be looking at how you can use double-stops, two-note ideas, to build cool-sounding and effective chord solos, without having to bring larger chords into the equation. If you have avoided learning chord-soloing techniques because you thought it would be too difcult. Or you have worked out larger chord forms and are looking to bring a new texture to your chord-soloing ideas, then checking out this double-stop chord solo over Watermelon Man may be just the thing to take your playing to the next level. In order to fully learn this solo, try breaking it down into four-bar phrases and learning each one before putting the solo together as a whole. This will help you ease into the larger solo, while getting a chance to dissect and absorb the material behind each phrase at the same time. So grab your axe and have fun!

Solo Analysis - First Four Bars

The solo starts off by using double-stops mixed in with a few notes from the underlying F Mixolydian Mode. Throughout this study, the double-stop lines will be coming from the Mixolydian Mode, the 5th mode of the major scale. So, if you are unfamiliar with this mode, you might want to check out my Mixolydian Mode Page in order to get this scale in your ears and under your ngers before moving on to the rest of the study.

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Throughout the etude, you will notice that there are moments, such as the 4th beat of the second bar in this phrase, where I use a hammer-on in the recording between Ab and A. Since adding slurs such as this might not be for everyone, I left them out of the notation. But, feel free to add in hammer-ons, pull-offs and slides where you see t. You can either listen to the audio below to get an idea of how I use slurs to spice up these lines, or come up with approaches of your own. As long as your taste and musical ears says its cool to add in slurs, then go for it.

Solo Analysis - Second Four Bars

The second four bars is an almost exact repeat of the rst four bars, though this time the notes have been moved up to t the Bb7 chord that occurs in the rst two-bars of this phrase. The last two bars are a slight adaptation of what you learned in the rst phrase of the solo, mostly to get back from the Bb7 while keeping the spirit of the line intact in a call and response sort of fashion. Taking a line and moving it around the harmony in order to make it t over different chords and sections of a tune is a great way to develop your sense of phrasing, while not having to worry about coming up with new material for every bar in your solo.

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Solo Analysis - Third Four Bars

The third, four-bar section uses repetition to build on a motive, altering it slightly over the C7 chords, in order to keep a sense of familiarity within the phrase without sounding stale at the same time. Again, the notes for each lick are taken from the underlying Mixolydian Mode, C Mixo and Bb Mixo respectively. As well, each phrase, except the rst bar, starts and ends on the related triad. We sometimes feel that we should avoid triads in our soloing as they sound too plain and not interesting enough to be jazzworthy. But, sometimes the sound of a triad can be effective and bring a sense of harmony to your lines that cant be duplicated with a scale or larger chord form. So, though you may advance as a player throughout your study, dont forget to keep triads in your bag of tricks. They might come in handy more than you would think.

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Solo Analysis - Fourth Four Bars

The last four bars play off of a variation of the riff heard in the previous phrase, though now it is moving chromatically down from C to B in the rst bar. Then down to Bb, Ab, Gb and nally resolving to the F triad in bar three. By focusing on triads while stepping outside the given harmony, we are giving the listener an anchor to grab onto, the familiar sound of the triad, while bringing them along to outside harmonies at the same time. Whenever you have a series of chords like this, C7-Bb7-F7, you might be tempted to spice up your lines by adding in different scales and modes. But, sometimes the most effective way to add outside colors to your lines is to stick to a simple idea, such as triads, and then create a new harmonic path, such as the one here that moves from C-B-Bb-Ab-Gb-F, that gets you to your destination by different means than is written in the tune.

Watermelon Man Chord Solo Etude

To nish things off, here is the full chord solo written out with audio to act as a guide when working on this study in the practice room. When you see the whole solo on one page, you can really see how the use of space helps to divide the phrases, letting the solo breathe at the same time. So, spend some time and work out this solo in your practice routine this week. Then, try writing out or improvising your own double-stop based solo over Watermelon Man. Its a great tune to know, and one that comes up often in jam sessions and on pick-up gigs, so denitely worth learning.
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Click to hear audio for the Watermelon Man Chord Solo Etude.

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So you can see, you dont have to use large, 3, 4 or 5-note chords to build a cool sounding and effective chord solo. After you work this solo out in the practice room, try coming up with your own doublestop based solos over Watermelon Man, or any tune you are working on in the woodshed. And, if you do learn the solo, feel free to record a video or audio version of you playing the solo and post in on the Matt Warnock Guitar Facebook Page for others to check out. Check out this solo in the woodshed this week and have fun!

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