!"#$!% '() *+,, -./012-%+"-13 ! #$%&'() *%+)(,-'%)+ !

4

51..13 .!61$-5 1#"6-3!% '() 5133!5"-37 5810$%9

1here are three basic melodic outlines that an improiser playing oer standard harmonic progression must know. Outlines are
harmonically speciic lines that connect chords through guide tones. 1he structural simplicity o the outlines allows the impro-
iser,composer much room or deeloping them in their own personal way.

Lxamples o outlines can be ound in any musical style period that uses traditional harmonic progressions. Outlines are plentiul
in the be-bop jazz ocabulary. 1here are entire solos by Cliord Brown based on nothing but outline no. 1. Knowing the outlines
should not in any way stile creatiity. On the contrary, knowing them should inspire creatiity. 1he outlines are a gien oer any
harmonic progression. 1hey are the linear equialent o knowing the chords to a tune. Knowing them gies a sense o harmonic
direction to improised or composed melodies. 1he outlines are not the only aluable material aailable as building blocks or
constructing musical lines, but they are excellent tools or beginning improisers and will be amiliar material to any adanced
player.

Outline no.1 begins on the 3
rd
o one chord and moes down the scale to the 3
rd
o the next chord. Outline no. 2 begins with a 1-
3-5 arpeggio or the irst chord then the
th
resoles to the 3
rd
o the next chord.

1:;<=>? 3(@ 4 1:;<=>? 3(@ A 1:;<=>? 3(@ B

!
"
1
#
#
#
#
Dm7
3 7
$ %
G7
3
#
#
#
#
Dm7
7
$ %
G7
3
#
#
#
#
Dm7
7
$
%
G7
3
1:;<=>? 3(@ 4 1:;<=>? 3(@ A 1:;<=>? 3(@ B
!
7
#
#
#
#
B7
3 7
$ &
%
E7
3
#
#
#
#
B7
7
$ &
%
E7
3
#
#
#
#
B7
7
$ &
%
E7
3

1he basic construction or the outlines are shown aboe in or a ii - V in C major and a iio - V in A minor. Outlines may be
used oer chords that progress in downward 5ths. I you change the chord symbols and add the correct accidentals the outlines
shown aboe could work or any o the ollowing progressions:

Dm - G ii - V in C major
D - Gmaj V - I in G major
Dmaj - Gmaj I - IV in D major
Dmaj - G
!
o IV - ii in A major
VI - iio in l
!
m

Dm - Gm iii - i in B
"
major
i - ii in l major
i - i in D minor

D - G V,V - V in C
Do - G iio - V in C minor

! " "#$%"& ()* +,-- ./0123.&,#.24 ! #$%&'() *%+)(,-'%)+
#$ %&'(%) *(+,& %$- ,*./01,+%',0$+ '23+3 0('),$3+ 0&&(/ %+ +,*.)4 %+ +205$ %6013 %$- 13/4 ,$ ,$'/,&%'3 70/*+ 5,'2 (+,$8 $0$9
2%/*0$,& '0$3+ %$- /24'2*,& -,+.)%&3*3$': ;234 *%4 63 +3<(3$&3- '2/0(82 +313/%) &20/- &2%$83+ %$- *%4 63 &0*6,$3- ,$ $(9
*3/0(+ 5%4+:

=..3/ %$- )053/ $3,8260/ '0$3+ %$- )3%-,$8 '0$3+ 2%13 633$ %--3- '0 '23 6%+,& 0('),$3 $0: > +2%.3 63)05:
!
!
13
#
#
13
#
#
# &
#
#
# '
# # &
Dm7
#
#
#
# '
$ %
G7
$ %

=..3/ %$- )053/ $3,8260/ '0$3+ %$- &2/0*%',& %../0%&2 '0$3+ 2%13 633$ %--3- '0 '23 6%+,& 0('),$3 $0: ? +2%.3 63)05:
!
!
16
#
#
# &
#
#
#
#
#
Dm7
16
#
(
#
#
#
# # &
$
G7
#
#
$


@$ %/.388,%'3- '0$3 A@BC %$- &2/0*%',& '0$3+ 2%13 633$ %--3- '0 '23 6%+,& 0('),$3 $0: D +2%.3 63)05:
!
!
18
#
#
#
#
# &
#
# '
# &
Dm7
18
#
#
#
# '
#
#
#
# $
G7
#


!"#$!% '() *+,, -./012-%+"-13 ! #$%&'() *%+)(,-'%)+ ! 4
It is good practice to play simple outlines oer a progression beore trying to do elaborate detailed harmonic improisations.
Learn to play each outline without error or hesitation throughout the entire progression. I the tune includes the ollow progres-
sion: Lm - A - Dm - G - Cmaj ,iii - V,ii - ii - V - I in C major,, practice the ollowing basic outlines to prepare or
improising. Learn to hear the
th
resole to the 3
rd
. Put the metronome on 2 & 4 and make it swing. Change a rhythm occasion-
ally, but make sure you connect each chord.

Outline no. 1 connecting through the progression:

!
20
#
#
#
#
Em7
3 7
# &
# )
#
#
A7
3 7
#
#
#
#
Dm7
3 7
#
#
#
#
G7
3 7
$
%
Cmaj7
3


Outline no. 2 connecting eery other measure:
!
25
#
#
#
#
Em7
7
$ &
%
A7
3
#
#
#
# '
Dm7
7
#
#
#
#
G7
3 7
$
%
Cmaj7
3


Outline no. 2 connecting eery other measure:
!
30
*
Em7
3
#
# &
#
#
A7
7
*
Dm7
3
#
#
#
#
G7
7
$
%
Cmaj7
3

Outline no. 3 connecting eery other measure ollowed by a 3-5--9 arpeggio:

!
35
#
#
#
#
Em7
7
# &
#
#
# )
A7
3 5 7 9
#
#
#
#
Dm7
7
#
#
#
#
G7
3 5 7 9
$
%
Cmaj7


3-5--9 arpeggio ollowed by outline no. 3 connecting eery other measure:
!
40
#
#
#
#
Em7
3 5 7 9
#
# &
#
#
A7
#
#
#
#
Dm7
3 5 7 9
#
#
#
#
G7
7
$
%
Cmaj7
3


1here are hundreds o outline examples shown in the ollowing books: !"##$%&'#( !*"+,- .'&* /'#$0+ 10+2"#3 ,entire book deals
with outlines,, !"24+$*$#-'5$ 6$%*#'78$ 9"+ :0;; <8-'%'0#- ,chapter 15,, :0;; 6*$"+3 =$-"8+%$- ,chapter 10,.