It’s a quick and dirty way to get started and often an effective tool, but there comes a time when this style of learning guitar solo and playing breaks down. This situation most commonly occurs when guitarists attempt to play jazz or any style of music that involves multiple variations of chord structures.

This “slide rule” concept of moving shapes and patterns usually ends up with the guitarist performing a disjunct non-melodic solo. Having difficulty “making the changes” is a major problem for most guitarists attempting the transition from just playing licks and riffs to becoming a creative guitar improviser.

What is generally lacking for most guitarists is a strong sense of chord tone knowledge.

Horn players generally develop a strong melodic chord tone sensibility in the beginning stages of their development, but most intermediate to advanced guitar students are in the dark when it comes to chord tone placement and fretboard harmony.

Because of the labyrinth of unisons the guitar fingerboard avails, it truly can be confusing enough to make a Zen master cry.

To develop this chord tone sensibility, start by taking a chord progression and develop a clear melodic solo using only chord tones. At first this will tend to be quite awkward, as you will not be able to rely on favorite licks or technical fretboard wizardry. It is generally helpful to list the notes in each chord next to the symbol when first attempting this exercise. It’s well worth the hassle as you will be amazed at the creativity and new dimensions your performance abilities will take.

Follow these suggestions and listen to what transpires:

1. Don’t consciously try to play arpeggios.

Use silence as a tool to create mood and form as opposed to filling up the measures with notes.

2. Use as much of the fingerboard as possible. Do not stay in any one area of the guitar for more than a phrase or two. Using the whole neck may feel awkward and goes against the principle of “economy in motion,” but it will give you an individual sound that adds character and definition to your playing.

3. Don’t try to use every note in the chord before it changes. Pick and choose the notes you use by letting your ear be your guide.

4. Don’t get stuck in a rut by using the same chord tones or silences in the same section each time you practice.

5. All chord tones sound good, but the 3rd and 7th degrees define a chord’s texture and will make for the strongest sound. These are often referred to as guide tones or color tones.

6. Stepwise motion (either half or whole) sounds particularly good when chords change.

7. Writing improvisation-style solos is a good academic exercise, but get away from it as soon as possible because it can bog you down. Work off the fingerboard. It’s helpful to make a chart of all the notes on the fretboard to keep in front of you at all times.

8. Take your chord tone solo and, using your ear, play notes connecting your chord tone ideas with scale tones and chromatic approaches. If you’re unsure of what to do, rely on your ear.

9. Record yourself often, but put the tape aside and listen with a constructive ear at a later time. Date your tapes and make a “journal” of phrases and ideas you feel are particularly good. Good players have their own individual library of phrases and sounds that are unique to them. As soon as you can start developing your own phrase library, the better off you are.