JG Jazzrockharmonicsoloingmasterclass PDF

MASTERCLASS BOOKLET
James Graydon
JAZZ ROCK
HARMONIC
SOLOING
MASTERCLASS
INSIDE THE HARMONY
So what is harmonic soloing exactly? I see it as a thought process – understanding the

harmonic movement within a chord sequence and building that into your soloing. In most cases
we’re not trying to paint a complete harmonic picture, but IMPLY a little of that to the listener.
As a really simple example, imagine that you have a chord change from C major to F major.
Over the C major, you’re happily jamming in C major pentatonic (C D E G A). When the chord
changes to F, that scale will still work, but you’ll get a really cool sound by adding the F note.
It’s all about the notes in the chords… C major has C-E-G, while F major has F-A-C.
That’s why we are concentrating on adding just one or two extra notes to a single line, to give
a “vertical” aspect to the solo instead of a purely linear one. Obviously it’s important WHICH
notes we use; it’s no good just guessing! When this is done well, it gives a sense of the player
having a deeper musical understanding of the underlying form. So let’s explore some of the
knowledge that underpins the whole process.
WWW.JAMTRACKCENTRAL.COM
JAZZ ROCK HARMONIC SOLOING MASTERCLASS
JAMES GRAYDON
HARMONISING WITH INTERVALS
In the simplest form, we are using intervals within the scale or key to harmonise our single
lines.
In this first example, we’re in the key of G major. The notes move in 3rds together, but some
are major 3rds (a distance of 4 semitones between the notes) and some are minor 3rds (3
semitones). This pattern of 3rds is fixed by the G major scale (G A B C D E F#) so the E is
harmonised with a G (minor 3rd) but the D is harmonised with… not an F, but an F# (major 3rd).
D B
: 44 B B B B B B
1
B
!
c ! # !
! # % # %
# $ # $ &
$ &
This can take time to master, especially for the keys with a lot of sharps and flats. The only way
is to practise and incorporate them into your style, until a certain amount of “muscle memory”
develops and it becomes second nature.
As with any study, it’s a question of taking the existing knowledge and making it your own. All
theoretical concepts make more sense when you make MUSIC with them. If you find a way of
doing it that is easier for you, then that’s the right way.
The patterns in PART 1 example 11-15 are just my personal creations that work well for me, so
keep that philosophy in mind when you are experimenting.
Implied Harmony
Earlier I mentioned “implied harmony”. Really, whenever two or more notes are present there is
an implied harmony. That will be stronger or weaker depending on the context and intervallic
relationship of the notes.
Ex 2 shows a simple movement in thirds that implies the chords above to the listener.
D4 = =
G Am Bm C
1
: 4 = =
! " $ &
c ! # % &
Similarly Ex 3 shows how a falling line under a static note (known as a “pedal tone”) can do the
same thing.
E G6 A C
1 DD
: D D 44
== F== = F=
! ! ! !
& $ # "
c Page 1/1
JAMES GRAYDON
What we are trying to do (with skeleton or broken chords) is to convey the essential
components of the harmony as succinctly as possible. Often, a few carefully chosen notes will
“fill in the blanks” for the listener.
So why bother doing this? Well, for several reasons.
In solo guitar work it’s pleasing to the ear to hear full rich chords counterbalanced with the
economy of 2- or 3-note “shell” voicings. It creates contrast, light and shade. Also it’s very
effective when you are playing in a rhythm section. The guitar must often take on a different
role in this context. The bass player will usually be playing the root notes, so the guitar can
often omit the roots. Also, when another harmonic instrument (a piano or synth pad) is also
competing for the midrange frequencies, there can be an undesirable build up of sound in that
area.
So, in this situation, what do you play and what do you take out? In harmony, sometimes not all
notes are equal. We’ve already discovered that the root note of a chord is often not needed.
In major and minor chords, the 3rd is a very strong force. The 3rd defines whether a chord is
major or minor. Without a 3rd, the chord will be ambiguous. Of course, in some cases, that may
be what you’re looking for. Quite often, you’ll see “D no 3rd” for this very reason (this is also
achieved with sus2 and sus4 chords). But in many situations the 3rd is an indispensable part of
the character of a voicing.
Consider Ex 4 below. Here we have a G dominant 7th (G7) chord represented as just two
notes, the major 3rd and minor 7th (B and F). If we replaced either one of these notes with the
root (G), the implied harmony would probably not be as strong.
G7 with just 3rd and 7th Replace each note with root Full G7 voicing
D4
: 4 F == A F AA F=
=
1
=
c % % ! %
$ & $ $
&
$
In jazz and blues the 3rd and 7th notes of the chord are very important in conveying the
major, minor or dominant harmonic characteristics of the chord respectively. Those two notes
combine to create a wide range of chords…
Root, major 3rd, 5th, major 7th = major 7 chord (G B D F# = Gmaj7)
Root, major 3rd, 5th, minor 7th = dominant 7 chord (G B D F = G7)
Root, minor 3rd, 5th, minor 7th = minor 7 chord (G Bb D F = Gm7)
The interval between the minor 7th and major 3rd of the chord is a ‘tritone’ (three whole tones,
a jump of six frets). This interval exhibits a very strong tonal centre with just two notes
Interestingly, the tritone in G7 (see Ex4 above) also exists in another chord: Db7. All that
happens is that their roles are swapped. The B was the major 3rd of G7, but now becomes the
minor 7th of Db7 (it changes its name to Cb for music theory nerdy reasons). And then the F,
which was the minor 7th in G7, now becomes the major 3rd in Db7.
JAMES GRAYDON
Db7 with just 3rd and 7th Full Db7 voicing
: E E EE 4 E ==
E 4 E ==
=
1
#
c % %
$ $
%
Cool, right? This is where we get “tritone substitution”, a common trick in jazz. You can replace
one dominant 7 chord with the dominant 7 chord a tritone away… G7 to Db7, E7 to Bb7, etc.
When we look at the cadence in Example 6, we see the G7 resolving to C. However, this G7
can be “substituted” with Db7.
Tritone substitution
G7 C Db7 C
D4 AA EA FA
: 4 F AA FA A
1
c % & % &
$ # $ #
Root notes added for clearer effect

G7 C Db7 C
F AA
AA EA FA
EF A A
3
A
% & % &
$ # $ #
$ % $
$
In a musical form such as jazz, where 2-5-1 progressions are so ubiquitous, the tritone
substitution is used to great effect by harmonic instruments and bass players alike. See
Example 7…
E7 Bb7 A7 Eb7 D7 Ab7 G7
: 44 DAA E AA EA
D DAA AA
EA E AA F=
=
1
EA A EA =
Page 1/1
c ( ( ' ' & & %
' ' & & % % $
( ' &
' & % $
These tritone “shell voicings” are very effective when playing with a piano, as they leave room
for the pianist to add extensions to the chord, for example the #5th or b9th, etc.
But even in a three-piece band, where you are solely responsible for the harmonic content,
the 7th and 3rd still provide adequate harmonic information, and then YOU can add those
additional extensions. In the process of doing this, you will find plenty of opportunity to build in
some melodic elements on top of the voicings.
Page 1/1
JAMES GRAYDON
AA
A7#5 A7 Dm9 E7#9 E7b9 Am7
DA FA = A ==
: 44 DA A = DA A
1
' & & ) ' &

c ' & ( &
& $ ' &
INNER LINES
Moving lines are often used to create movement within a static tonality. Let’s say we have
two bars of C major and we want to make it more interesting. To create interest, the 5th of the
chord (G) rises to A make a C6. It then rises again to B to turn the chord into a major 7th. The
major 3rd of the chord (E) remains throughout, providing the tonal centre so that the inner line
can be effective.
C C6 Cmaj7 C6
1
: 44 A AA AA AA
c ! # % #
# # # #
$
Using our rhythm section technique of leaving the root to the bass, you can see how we could
strip this down to just two notes – 3rd and rising 5th.
Where intervals and inner lines meet
As you start thinking more about pedal notes, intervals and inner lines, you’ll start to
understand how they can all interact with each other. When this happens, the guitar can take
on an almost “orchestral” quality with several concepts happening at once.
In Example 10 we see a rising 10th pattern in the outer notes with a moving line between…
Gmaj7 G6 Am7 Am6 Gadd9/B G/B Cmaj7 C6
D4
: 4 AA AA AA AA AA AA AA AA
A A
1
A A A A A A
c % & ( * Page 1/1
% # & % ( & * (
$ & ( )
USING DISSONANCE
We usually associate dissonance with close intervals of major and minor 2nds (major 2nd is 2
frets; minor 2nd is one fret). Carefully chosen, these can create implied harmony and tension
at the same time. I often like to combine the root with the 2nd or the 2nd with the 3rd. These
clashes can then be resolved within a melodic solo setting, as in the following example…
Page 1/1
JAMES GRAYDON
AA DA
: 44 AA A
Amadd9 Am Dsus2 D
1
! #
" $
c % #
“BETWEEN THE LINES”
In Part 3 of this masterclass, you’ll find a full track called “Between The Lines”, where I
demonstrate how all of the concepts from Parts 1 and 2 can be used in a real musical context.
There’s full Tab, so take your time working through it.
I have also taken 10 short extracts from the main melodies and 23 short extracts from the solo,
sometimes playing variations on them, so you can work on them in isolation.
IN CONCLUSION…
So, I hope this has given you a good starting point to explore ways of adding some harmony
into your solos. The possibilities obviously extend beyond the realms of this package. Modes,
whole-tone and diminished scales are the next step, and the exciting area of polytonality can
offer amazing results. These more complex ideas are often most effective against a more
challenging harmonic backdrop. As ever, it’s important to use taste and judgement when
soloing, and try and communicate a sentiment which is sympathetic to the musical genre.
James Graydon. October 2016
Page 1/1
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EX 1 - C MAJOR 3RDS ASCENDING
As recorded by jamtrackcentral.com
(From the 2016 Album JAZZ ROCK HARMONIC SOLOING MASTERCLASS: PART 1)
VV VV VV VV WW
VV VV VV
1
I 44 VV VV VV VV VV VV VV
7 8 10 12
T 0 1 3 5 6 8 10 8 10 12 13
A 0 2 0 2 4 5 7 9 10
2 3 2 3
B 3 5
JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
EX 2 - C MAJOR 3RDS DESCENDING
VV VV VV VV VV VV VV VV
1
I 44 VV VV VV e VV VV VV WW
12 10 8 7
T 13 12 10 8 10 8 6 5 3 1 0
A 10 9 7 5 4 2 0 3 0
2 2 3 2
B 5 3

EX 3 - G MAJOR 3RDS ASCENDING
g VV VV
1
I 44 VV VV VV VV VV VV VV VV VV
VV
2
T 1 3 5 3
A 0 2 4 2 4 5
0 2 4 2 4 5
B 2 3 2 3 5
3 5
VV VV
8va
g VV VV VV VV VV VV UU
4
I
3 5 7 8 10 12 14 15 (15)
T 5 7 8 10 12 13 15 17 (17)
A
B

EX 4 - G MAJOR 3RDS DESCENDING
VV VV
8va
g VV VV VV VV VV VV VV
1
I 44 VV VV VV
15 14 12 10 8 7 5 3 2
T 17 15 13 12 10 8 7 5 3 5 3 1
A 5 4 2
B
g V
4
I V VV VV VV VV VV VV VV UU
T 0
A 0 2 0
4 2 4 2 0
B 5 3 2 3 2 (2)
5 3 (3)

EX 5 - G MAJOR 6THS ASCENDING
V V
8va
g V V V V V V V V V W
1
I 44 V V
V
V
V
V
V
V
V V V V V V V V W
V
2 3 5 7 8 10 12 14 15
T 0 1 3 5
A 0 2 2 4 5 7 9 11 12 14 16
0 2 4 5
B 2 3

EX 6 - G MAJOR 6THS DESCENDING
V
8va
g V V V V V V V V V
1
I 44 V V V V
V
V V V V V V
V V
V V
V V
V W
W
15 14 12 10 8 7 5 3 2 0
T 3 1 0
A 16 14 12 11 9 7 5 4 2 0 2 0
4 2 0
B 3 2

EX 7 - C MAJOR 6THS UP/DOWN
V V V V V V V V V
V V V
1
I 44 VV V
V V V V V V V V V V V V
V W
W
0 1 3 5 7 8 7 5 3 1 0
T 1 3 3 1
A 0 2 4 5 7 9 7 5 4 2 0
2 3 3 2
B

EX 8 - E MAJOR 10THS UP/DOWN
gggg 4 V V V V V V V V V V V
1
I 4 V V V V V V W
V V V V V V V V V V
V W
T 2 4 5 7 9 7 5 4 2 0
A 1 2 4 2 1
B 0 2 4 6 7 6 4 2 0
0 2 4 4 2 0

EX 9 - G MAJOR 10THS UP/DOWN
g V V V V V V V V V
1
I 44 V V V
V V V V V V V V V
V V W
V V V V V W
T 0 1 3 5 7 8 10 12 10 8 7 5 3 1 0
A
B 0 2 3 5 7 9 10 9 7 5 3 2 0
3 3

EX 10 - C MAJOR 10THS UP/DOWN
V V V V V V V V V
V V V V V W
1
I 44 V V V V V V V V V V V V V V W
5 7 8 10 12 10 8 7 5
T 5 6 8 8 6 5
A 3 5 7 9 10 9 7 5 3
B 3 5 7 7 5 3

EX 11 - 6THS PATTERN
g4 V V V V l V l V l V } V l V l } VV l VV l } } VV l VV VV
1
I 4 V V V V V V V } V V
u
T 0 1 3 3 1 5 3 7 5 8 7 x 10 8
A x x x
0 2 4 4 2 5 4 x 7 5 9 7 10 9
B
H sl. sl.

EX 12 - 3RDS PATTERN
g V V V
I 44 VV VV VV VV l VV l V l VV l } V l V l } VV l VV l } } VV l VV VV
u
1
T 0 1 3 3 1 5 3 7 5 8 7 x 10 8
A 0 2 4 4 2 5 4 7 5 x 9 7 x 11 9
x
B
H sl. sl. sl.

EX 13 - 10THS PATTERN
g V V V V l V l V l V V
1
I 44 V V V V l V l V l V } } V l V l } V V } } V V V
V V V V V V u
T 0 1 3 3 1 5 3 7 5 8 7 10 8
A x
x x x x
B 0 2 2 0 3 2 5 3 7 5 9 7
3
H sl.
H

EX 14 - E MINOR 3RDS PATTERN
g4 VV VV VV VV VV VV VV VV VV VV
1
I 4 k l u gVV VV WW
3
7 7 7 5 8 7 5 3 2 3 0
T 8 8 8 7 10 8 7 5 4 5 1
A
B
sl.

EX 15 - E MINOR 10THS PATTERN
g V V V V V V V V gV V V
I 44 k
V V V gV V
l
V V
V W
V gV V
1
V V W
3
u
T 8 8 8 7 10 8 7 5 4 7 0
A
B 7 7 7 6 9 7 6 3 2 6
3
sl.

EX 16 - A MINOR 5THS PATTERN
VV VV } VV l VV l } VV } gVV l VV l } VV V l
1
I 44 V V
} V }
VV k
T 5 5 8 10 10 7 3 5 1 0 1
A 7 7 x 10 12 x 12 x 9 5 x 7 3 x 2 x 3
B
VV } VV l VV l } VV } gVV
sl.
VV l VV l } WW
3
I
T 5 5 8 10 10 7 3 5
A 7 7 x 10 12 x 12 x 9 5 x 7
B
sl.

EX 17 - G MAJOR 4THS PATTERN
PP VV VV PP VV VV VV VV
g4 z PP UU
I 4 } z z
V }
1
10 12 10 5 7 5 3 5 3 (3)
T 10 12 10 5 7 5 3 5 3 (3)
A x
x
B
3
sl. sl. sl. sl. sl. sl.

EX 18 - LOWER PEDAL PATTERN
g4 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
1
I 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 8 8 8 8 8 7 7 7 10 10 10 10 10 8 8 8
A
B
g V V V V V V V V V V V V V V V V V V V V V V V V WW
3
I
0 0 0 0 0 0 0 0 0 0 0 0 0
T 12 12 12 13 13 10 10 12 12 8 8 7 5
A
B

EX 19 - LOWER PEDAL PATTERN 2
g4 V V V V V V V V V V V V V V V V V V V V V V V V V V
V V V V V V
1
I 4
0 0 0 0 0 0 0 0 0 0 0 0
T 5 5 8 8 7 7 10 10 8 12 13 13 10 10 12 12 8 8 7 8
A
B
g UU
3
I
0
T 5
A
B

EX 20 - LOWER PEDAL PATTERN 3
g V V V V V V V V V
1
I g 44 V V V V V V V V
fV
V V
V V V
V V V
V
V V V
T
A 9 11 11 12 11 9 7 5 4 2 4 7 9
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B
H sl. H
g V V V V V V V V V V V V W
3
Ig V V V V V V V V V V V V W
T
A 9 11 11 12 11 9 7 7 9 7 7
0 0 0 0 0 0 0 0 0 0 0
B
H sl. sl.

EX 21 - OUTER PEDALS PATTERN
g
1
I g 44 gVV V V V V V V VV V V V V V V VV V V V V V VV gV V V V V V
T 3 3 3 3
A 1 2 2 2 1 1 0 0 0 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B
g H P H
3
Ig UU
T
A 2
0
B

EX 22 - CHORDS OVER PEDAL
A E/A C/A G/A
ggg 4 VVV VV VVV VVV VVV }} }} VVV VV VV VV } }

V V V } } f f VVV VVV VVV VVV }} }} VVV VV VV VV } }
V V V } }
1
I 4
V V V V V V V V V V
T 9 10 10 10 10 10 9 9 9 8 8 8 8 8 8 8 8
A 9 9 9 9 x x 9 9 9 9 x x 9 9 9 9 x x 9 7 7 7 x x
9 11 11 11 11 x x 11 9 9 9 x x 10 10 10 10 x x 10 9 9 9 x x
B 0 0 0 0 0 0 0 0 0 0
H
F/A A G/A D/A A
ggg f f VV VV VV VV }} }} VV gVVV VVV VVV }} }}

3
I V V V V V f VVV }} VVV }} }} VVV WWW
V V V V V V V V W
T 6 6 6 6 6 5 5 5 3 3 2
A 5 5 5 5 x x 5 6 6 6 x x 4 x 2 x x 2
7 7 7 7 x x 7 7 7 7 x x 5 x 4 x x 2
B 0 0 0 0 0 0 0 0

EX 1 - G MAJOR 6THS WITH INNER PEDAL
g4 V V V VV VV W
I 4 VV VV VV VVV VVV VVV VVV VVV VVV VVV VVV VVV VV VV VV V V WW
V
1
GK10
T
A
0
0
0
1
2
3
4
3
0
4
1
0
2
5
0
5
3
0
4
7
0
7
5
0
5
8
0
9
(8)
(0)
(9)
7
0
7
KK100 8
0
9
B
H sl.

EX 2 - G MAJOR 10THS WITH INNER PEDAL
g V V V V V V W
I 44 VV V V VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV WW
V V V V V V V V V V V V
1
GK12
T 0 1 3 3 1 5 3 7 5 8 (8) 7 10 8
KK 0
K10
A 0 0 0 0 0 0 0 0 (0) 0 0 0
B 0 2 2 0 3 2 5 3 7 (7) 5 9 9 7
3
sl.
H

EX 3 - A MAJOR 6THS PATTERN OVER LOW PEDAL
ggg 4 j j k V V
1
I 4 d V V
V
T 2 3
A 2 4
B 0
ggg gV V V V l fV V V l V V f VV l V l V V gVV
I V fV V V V V V fV V V V V V
2
V V V V
T 4 5 5 5 3 3 3 3 3 5 3 2 2 3
A 4 5 5 5 4 4 4 3 3 5 3 2 2 4
B 0 0 0 0 0
sl. sl.
ggg V f VV V V l V V V l V V V W
4
I V V V V V V fV V V W
V V V V
T 3 5 5 5 3 3 3 3 3 2
A 4 5 5 5 4 4 4 3 3 2
B 0 0 0 0
H
sl.

EX4 - DESCENDING INNER LINE
Em Am
g 4 `P f V VV e V VV l V V VV l gV V VV
1
I 4 z } } } V VV } gV VV l f V V VV l V V VV
7 7 7 7
T 8 8 8 8 5 5 5 5
8 9 x 8 7 6 x x 5 5 5 5
A 7 x 6 5 4
B
sl.

EX5 - INNER LINE 2
Bm7 Cm7
g R e e VV VV VV V V VV VV
1
I g 44 bP VV VV f VV VV gVV VV VV
fV V V V V V V
V V V V V V V
T 3 3 3 3 3 4 4 4 4 4
1 2 1 0 1 2 3 3 2 0 2
A
B 2 2 2 2 2 2 2 3 3 3 3 3
H

EX6 - COUNTER-MELODY
g V V V V V V V V V V V V V V V
1
I 44 gV f V gV fV V eV V
T 12 12 12 12 10 10 10 10 8 8 8 8 7 7
A 14 13 12 11 10 9 8 7
B

EX7 - TWO-NOTE VOICING WITH BASS LINE
Emaj7
gg VV VV l VV l VV l VV VV VV VV
1
I g g 44 VV l VV l VV VV VV
V V V
T
A 8 6 8 8 8 6 8 8 9 8 6
6 6 6 6 6 6 6 6 6 6
B
0 7 0
sl.
Em/maj7
gggg V
3
I f VV l VV l VV VV VV f VV l VV l VV l VV V VV VV
V V V
T
A 8 6 8 8 6 8 8 9 8 6
5 5 5 5 5 5 5 5 5
B
b
0 7 0
sl.
Am7 Am6 E/G Em/G
gggg f V V VV VV
I fV V V V V V V V VV V V V
5
V V V V fV V
T GK5
A
B
KK50 5 4
5
0
4
4
4 2
4
2 2
4
Fb7 b
0 4 3
gg c c
F m7 Em
7
Igg VV gV k f VV VV V
k f VV UU
V V V V U
T
A 4 3 2 0 (0)
2 2 1 2 (2)
B
2 2 0 (0)

EX8 - TWO-NOTE VOICINGS WITH LOW PEDAL
g
1
I g 44 V V V V V V V V V
V
V V
V V V V V V V V V V
V
V V
T 3 3 3 3 3 3 3 3
A 2 2 4 4 6 4 2 2 4 4 6 4
0 0 0 0 0
B
g UU
H sl. H sl.
3
Ig U
T 3
A 2
0
B

EX9 - TWO-NOTE VOICINGS OVER ROOT-5TH BASS
g
1
I g 44 j l
V V gV
T
A
B 0 1
2
g VV
2
Ig gVV l f VV VV VV l gVV VV VV VV gVV l f VV VV VV l gVV VV VV
V } V V V V V } V V } V V V V V } V
T 3 3 3 3 3 3 3 3 3 3 3 3
A 2 1 0 0 1 1 2 1 0 0 1 1
B 2 2 2 2 0
g
x 2 2 x 2 x 2 2 x
4
Ig UU
U
T 3
A 2
B 2

EX10 - TRIADS WITH MOVING INNER LINE
ggg 4 VVV VVV VVV l VVV l VVV l VVV l VVV VVV VVV
f VVV VVV VVV l VVV l f VVV l VVV l VVV VVV VVV
A G
1
I 4
T 5 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3
A 6 6 4 4 7 7 7 6 6 4 4 2 2 5 5 5 4 4
7 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5
B
ggg f f VVV VVV VVV l VVV l f VVV l VVV l VVV VVV VVV VVV VVV VVV l VVV l f VVV l VVV l VVV VVV
C D
3
I
T 8 8 8 8 8 8 8 8 8 10 10 10 10 10 10 10 10
A 9 9 7 7 10 10 10 9 9 11 11 9 9 12 12 12 11
10 10 10 10 10 10 10 10 10 12 12 12 12 12 12 12 12
B

EX11 - INTO UPPER WHOLETONE CLASH
D/F b Gadd9 G/B Cadd9
g V W
1
I 43 VV V W VV
V W
V V W V
let ring
0
T 0 3
A 2 0
0
B 2 3
2 3
H
H

EX12 - INTO UPPER SEMITONE CLASH
gggg 4 VV V V V W
1
I 4
let ring
0
T 0 2 4
A 4
B
H H

EX13 - INTO INNER WHOLETONE CLASH
gg 4
D5 G/B Csus2
I 4 V V V V
V
1
V fV
let ring
T 3
A 0 2 0
0
B 2 3
H H

EX14 - 10THS INTO STAGGERED RESOLUTION
V V W
1
I 44 V V V V
V W
V
T 8 12 3 (3) 5
A
B 7 10 2 3
sl. sl. sl. sl.

EX15 - 4THS AND INNER LINE
PP VV VV
1
I 44 j k
z u P
z
VV V V
3 5 3
T 3 5 3 3
2 4 2 0
A
B
sl. sl. H P
(C)
VV VV VV V V k PP VV VV VV V V
I `P V V V z P
z V V u
2
V V V z
let ring
3 5 3
T 3 3 3 1 3 5 3 3
3 2 0 0 0 2 4 2 0
A 0 3 2
B 3 3
P H sl. sl. H P
(G)
I `P VV VV V VV V U
z V V V
g V
4
V U
T 3 3 3 (3) 1 0
3 2 0 0
A 0 2 4 2
B
3 3
P H sl. sl.

EX16 - INTO CLASHES W/STAGGERED
RESOLUTION
Em C
I 44 V V V V VV U
UU
V V gV V
1
V V V
V Watch the video carefully to see how the slides work! Hold all notes as long as possible.
let ring
T 3 (3) 5 (5)
A 0 0
0 2 4 4 5 (5)
B 2 3 (3)
0
H sl. sl.sl.

NE
W
RE
LE
AS
E!
ALJ
OSEPH
P
ROG
RE
SS
IV
ESO
LO
IN
G
AL
SOAVAI
LABL
EINDI
VIDUAL
LY
I
NCL
UDES
Pr
ogr
ess
iveSol
oingMas
ter
clas
s:Begi
nner
Pr
ogr
ess
iveSol
oingMas
ter
clas
s:I
ntermedi
ate AVAI
LABL
ENOW 
Pr
ogr
ess
iveSol
oingMas
ter
clas
s:Advanced J
AMTRACKCENTRAL.
COM
MAIN MELODY LINE 1
P = 76
Gadd9
g4 R R R R
1
I 4 P VV VV l P VV l VV VV VV }}
} P VV VV l P VV l VV VV VV }}
}
T 3 3 3 3 x 3 3 3 3 x
2 4 2 2 4 2 x 2 4 2 2 4 2 x
A x x
B
H H H H
C6
g P VV VV l R VV l V V VV }} P VV VV l PR VV l VV WW
3
I z P V V } z
T 8 8 x 8 8
7 9 7 7 7 x 7 9 7 7 7
A 7 9 7 x 7 9 7
B
H H H H

MAIN MELODY LINE 2
V VV VV VV
g4 k P V VV j
1
I 4 z
12 10 5 3
T 12 (12) 10 3 5 (5) 3
A
B
sl. sl. sl. sl.

MAIN MELODY LINE 3
P = 76
Gadd9
g 4 R VV V l R VV l V V R R
1
I 4 P V P V V V V V V V V V P VV VV l P VV l VV VV V V V V V V V
T 3 3 3 3 3 3 3 3
2 4 2 2 4 2 0 2 4 2 2 4 2 0
A 0 2 4 4 2 0 0 2 4 4 2 0
B
H H H H P H H H H P

MAIN MELODY LINE 4
P = 76
g k V V V
Gmaj7
1
I 44 V V V U
let ring
3 0
T 7 0
A 7 7 (7)
B

MAIN MELODY LINE 5
P = 76
V V V V
Cmaj7
g V V U
1
I 44 k
let ring
8 8
T 12 12
A 12 12 (12)
B

MAIN MELODY LINE 6
P = 76
Gmaj7
g4
I 4 k V V V V V V V V V V
1
V V V U
let ring
3 0
T 7 0
A 7 7
4 5 4 0 (0)
B
sl.

MAIN MELODY LINE 7
P = 76
V V V V V V V V V
Cmaj7
g
1
I 44 k V V V V U
let ring let ring
8 8
T 12 12
A 12 12
9 10 9
B 10 (10)
H

MAIN MELODY LINE 8
P = 76 b
d
Am7 G/B Cmaj7 B7/D
g3 V V eV fV V
I 4 VV V V l VV VV V l VV VV V k
gV V
1
V V V V V
T 7 8
A 5 7 7 9 (9)
5 5 7 5 9 (9) 7 8 9
B 6
b
5 7 8 8
sl.
g V V V VV VV
Emadd9 D/F
I V V V
3
V V V
T 8 10
A 9 10 12 12
B 7 9

MAIN MELODY LINE 9
P = 76
V V V V V V V V
G
g V V V V
1
I 44 j k u V V V V V V V V V
T 13 13 12 12 10 10 (10) 8 8
A 14 12 12 10 10 (10) 9 9
B
sl. sl. P
sl.

MAIN MELODY LINE 10
P = 76
C G/B A9 D13sus4
3
g V V V gV V V VVV WW
1
I 43 V
V
V V V 44
V V
V V V V
let ring let ring
7 5
T 8 8 8 8 8
A 7 9 7 6 5 5
5
B 0 5
8 7
H

SOLO LINE 1
P = 76
V V
g
1
I 44 j
10
T 12
A
B
sl.
UU
8va 8va 8va
g VV VV l
2
I PP VV VV VV k
u
VV k
z v
10 12 10 10 14 10 7
T 10 12 10 10 15 12 7
A
B
sl. sl.

SOLO LINE 2
P
V = 76 V V V
g V V
1
I 44 V V V W
let ring
10 10
T 7 8 8
A 7 9 7
7 9
B
H H H

SOLO LINE 3
P = 76
g V V V V V
1
I 44 V V V
V
V V
V
V
V V
V
T 8 7 7 5 5 3 3 1 1 0
A 7 5 4 2 (2) 0
B
sl. sl. P sl. P

SOLO LINE 4
P = 76
g V V V V V V V V V V V V V V
I 44 V V V V V V V
V V V V V V V V
1
T 0 1 0 0 3 5 3 3 5 7 5 5
A 2 0 0 2 2 5 7
2 0 0 2 4 4
B 0 2 3 3
g V V V V W
H H P H H P H H P H P H P
V
2
I
T 7 8 7 7
A 9
B
H P

SOLO LINE 5
P = 76
g V V V V V V V V W
V V V V
1
I 44 V V V V V V V V V V W
T 5 3 7 5 8 7 10 8 12 10 13 12
A 5 4 7 5 9 7 10 9 12 10 14 12
B
sl. P sl. sl. sl. sl. P sl. sl. sl.

SOLO LINE 6
8va
P = 76
g V V V V V V V V V V V R W
1
I 44 V V V V V V V V V V
V P
15 14 12
T 15 12 15 12
A 14 12 14 11 12 11
14 12 14 10 12 9 10 12
B 10 12
sl. H

SOLO LINE 7
P = 76
g R V V V V V V V V VV V V P
1
I 44 V V P z V V V V W
M
Full
T
12 14
O 12 12
12
A 12 14 14 14 12
B 10 10 12 14 14 12 10 10
12
sl. sl.

SOLO LINE 8
P = 76
V V V V V V V
g 4 P VV VV }} P VV VV VV
I 4 z V z V V l VV
e VV VV V V V P V V V V V V
z
1
8 7
T 10 7 8 8 10
A 12 12 x 12 12 7 8 7 7 11
9 10 9 x 9 10 9 7 (7) 7 9 9 9 12 12 10
B 10 10 (10)
VVV VV V
sl. sl. sl. H H sl.
V
3
I
g VV V
V
V
V
V
V l V V
3
let ring
14 12
T 12 12
A 12 12 12 12 12
10 9 9
B

SOLO LINE 9
P = 76
g 4 V V V V V V V V V P gV V V V V V l `P f V l V V PR V V V V
8va 8va 8va
I 4 V V V z V
z
1
15 15 14 14 12 12 10 10 8 9 9 10 9 8 10 6 7 10 12 15
T 8 8 10 12
A 16 14 12 11
B
sl. sl. P sl. H P sl. sl. sl.
U
8va
g
3
I
17
T
A
B
sl.

SOLO LINE 10
P = 76 8va
V l V V V V l V V V P V V V V V V V V
8va 8va
g
1
I 44 V V z
3 3 3 3
15 15 14 15 15 14 15 17 15 15 15 14 14 14
T 15 15
A 14 14
B
P P sl. sl.
g V V V V V
8va
2
I V V V V V V V V V V W
3
14 12 12 12 12 10 10 10 10 8 8 8 7 8 10 10
T
A
B
sl. P sl.

SOLO LINE 11
P = 76
g V V W
8va
V V
1
I 44 V V V V V V V V
10 10 12 12 14 14 15
T 8 8 8 8 8 8
A
B

SOLO LINE 12
P = 76
V V V V V
8va
g4 V V V V V V V V V V V V V W
1
I 4 V V
15 15 14 14 12 12 10 10 8 8 7
T 12 10 8
A 11 9 7 5 4
7
B
sl. sl. P sl. sl. sl.

SOLO LINE 13
P = 76
g V V V V V P gV V V P V V V V
V gV z V
1
I 44 V V V V V V V z
2 5 2 5 9 (9) 5 9 12 9
T 3 3 3 5 10
A 0 4 4 6 9
0 4
B
H sl. sl.

SOLO LINE 14
P
V = 76 V V V VV
g V V
1
I 44 V V V V V
let ring
10 10
T 7 8 8 8
A 7 9 7
7 9 7
B
H H H

SOLO LINE 15
P = 76
g VV V P VV V V V P V V W
1
I 44 VV V P
z
VV V P
z z V V z
T 0 0 0 0 0 0
5 4 5 7 5 7 9 7 9 11 9 12 14 14 16 12
A
B
sl. sl. sl. sl. sl.

SOLO LINE 16
P = 76
VV VV VV VV VV VV V V V
8va
g
I 44 V V V V V VV V VV l V e V f V f V V P eV V
V W
1
z
3
11 12 13 14 10 11
T 12 13 13 12 12 12 13 13 12 12 10 8
A 12 12 12 12 12 12 12
12 14 12 12 12 14 14
B
H H sl.

SOLO LINE 17
P = 76
g4 V V V V V V V V P
8va
1
I 4 z V V V V V V V R V V V V V V V V V
P V V V V V V
15 17 15
T 15 17 17 17 15 12
16 14 12 14 12 12 12 14 12
A 14 14 12 12 12 14 14
B 14 12 10 12 14 14
12
g U
sl. P sl. P sl. sl. H H
3
I
T
A
B

SOLO LINE 18
P = 76
8va
g V V V
1
I 44 V V V V V V V V V V V V V VV V V V V W
15 14 12
T 15 13 12 13 12 12
A 12 12 12 12 12 12 12 12 12 12 12 12 14 12
B
H P

SOLO LINE 19
P = 76
V V V V VV V V V V V VV V V V V V
g V V
1
I 44 V
u
V V V V V V V
3
GK10 8 7 8 7
8 K8
T
A
12
12
13
14
12
12
10
10
12
12
10
10
8
9
8
9 10
KK10 10
V V
sl. sl. P H P
V
3
I
g VV V V V V V V UUU
10 8 7
T 10 8 8 7
A 7 7 7 7 7 7
9
B

SOLO LINE 20
P = 76
V V V V V V
g eV V V fV V
1
I 44 V V
10 8 7
T 7 10 8 7 7 8
A 8 9
9 10
B
sl. P P

SOLO LINE 21
P
g V = 76 V V V V V V W
eV V
1
I 44 gV fV V V V W
T 13 12 12 10 12 10 8 8
A 13 12 11 10 12 10 9 9
B
sl. sl. sl. P

SOLO LINE 22
P = 76
g
3
V V V V V
3
V V W
1
I 44 gV
V V
j V V V
W
3 V 3
7 5
T 10 8
A 9 9 11 7 7 9
7 5
B
9 10 7 8

SOLO LINE 23
P = 76
c
g
I 44
V k V V V l V V f V l VV UUU
1
V V V eV V fV
V U
GK1
T 8 6
KK03 (1)
K0
A 9 7 7 (0)
(3)
B (0)
8 7 6

NE
W
RE
LE
AS
E!
S
TR
IN
GBE
NDI
NG JTCMASTERCLASS
S
TR
IN
GBE
NDI
NG
JTCMASTERCLASS BOXSET
VOL1FUNDAMENT
ALS
GETTHI
S
ASPARTOF:
JTCMASTERCLASS
STRI
NGBENDING
BOXSET!
AL
SOAVAI
LABL
EINDI
VIDUAL
LY
I
NCL UDES
I
NCL UDES Vol
.
1-Fundamental
s
JTCMASTERCLASS: Vol
.
2-ExpandedFretboar
d AVAI
LABL
ENOW 
STRINGBENDI
NG Vol
.
3-Expres
siv
eEx ecuti
on J
AMTRACKCENTRAL.
COM
BETWEEN THE LINES - FULL TRACK
Gadd9
x x x
C6 Gmaj7 3 fr. Cmaj7 3 fr. Am7
x x x x x
G/B
x
C B7/D
xx
b Emadd9
x
D/Fbx
G
xx
D/E
x
A9 D13sus4 5 fr. Em7 7 fr. Cadd9/E 7 fr. Bm7
x x x x x x
A/C bx xx
D
x
`
Gm/B Fadd9/A
x x
These chord shapes are designed to be "guitar friendly", summarising the overall harmony in the backing.
A Introduction
P = 76
Gadd9
g4 R R R R
1
I 4 P VV VV l P VV l VV VV VV }}
} P VV VV l P VV l VV VV VV }}
}
T 3 3 3 3 x 3 3 3 3 x
2 4 2 2 4 2 x 2 4 2 2 4 2 x
A x x
B
H H H H
VV VV
C6
V
g
I Pz
VV VV l R V l V V
P V V V VV }} V V R
P V V l P VV l VV VV P V V
3
} z z
12 10 5
T 8 8 x 8 8 12 (12) 10 3 5
7 9 7 7 7 x 7 9 7 7 7
A 7 9 7 x 7 9 7
B
H H H H sl. sl.
Gadd9
g R VV V l R VV l V V R R
5
I P V P V V V V V V V V V P VV VV l P VV l VV VV V V V V V V V
T 3 3 3 3 3 3 3 3
2 4 2 2 4 2 0 2 4 2 2 4 2 0
A 0 2 4 4 2 0 0 2 4 4 2 0
B
H H H H P H H H H P
VV VV l R V l V V P VV VV l PR VV l VV VV
C6
g VV
7
I Pz P V V V }}
z V
u
T 8 8 8 8 5
7 9 7 7 7 x 7 9 7 7 7 5
A 7 9 7 x 7 9 7 5
B
H H H H

BETWEEN THE LINES - FULL TRACK - jamtrackcentral.com Page 2 of 11
B Verse 1
g l V V V V V V V V V V l V V V V V V V V V V VV
Gmaj7
9
I
let ring let ring
3 0 3 0
T 7 0 7 0 7
A 7 7 7 7 7 7 7
B
VV V V V V V V V V V V V V V V V V V
Cmaj7
11
I
g l V V V V V
let ring let ring
8 8 8 8
T 12 12 12 12 12
A 12 12 12 12 12 12 12
12 10 9
B
sl.
Gmaj7
13
I
let ring let ring
3 0 3 0
T 7 0 7 7 7
A 7 7 7 7 7 7 7
B
VV V V V V V V V V V V V V V P V V V V V V VV
Cmaj7
15
I
g l V z
let ring let ring let ring
8 8 8 8 10 8
T 12 12 12 12 12 12
A 12 12 12 12 12 12 12
B
sl. sl.
Am7 G/B C B7/D b

g VV R PP VV V V V l V V V V
17
I 43 V l
V
VV PP VV VV VV } }
z gV V
V
T 5 0 7 8
5 5 5 7 7 x 7 9
A 5 0 5 5 7 5 x 7 9 7 9
B (6)
(5)
H sl.

b
VV V V V VV V V V
V V V l VV l VV VV VV VV VV
Emadd9 D/F G D/E
g V V V V
V 44
I V V V V
19
T 8 (8) 10 10 13 13 12 12 10 10 (10) 8 8 7
A 9 10 10 12 12 14 14 12 12 10 10 (10) 9 9 7
B 7 9
sl. sl. sl. sl. P
sl.
V P VV
V V V V V V l gV V V V W
C G/B A9 D13sus4
g
21
I 43 44 z V u
3
let ring let ring
7 7 5
T 8 8 8 5 8
A 7 9 7 6 5
B
sl. P
C Verse 2
Gmaj7
g l V V V V V V V V V V V V V V V V V V V V V
23
I V V V V V V V
let ring let ring
3 0 3 0
T 7 0 7 7
A 7 7 7 7 7 7
4 5 4 0 (0) 4 5 4
B
sl. sl.
VV V V V V V V V V V V V V V V Pz V l V V V V
Cmaj7
g V
25
I V V V V V V
8 8 8 8 10 8
T 12 12 12 12 12
A 12 12 12 12 12 12 12
9 10 9 10 9
B 10 (10)
sl. H sl. sl.
Gmaj7
27
I V V V V V V V
let ring let ring
3 0 3 0
T 7 0 7 0
A 7 7 7 7 7 7
4 5 4 0 (0) 4 5 4
B
sl. sl.

VV V V V V V V V V V V V V V V Pz V V V V V V VV
Cmaj7
g V V V V
29
I V
8 8 8 8 10 8
T 12 12 12 12 12 12
A 12 12 12 12 12 12 12
9 10 9
B 10 (10)
sl. H sl. sl.
Am7 G/B Cmaj7 B7/D b

g VV V VV V V V l V V e V f V V
31
I 43 V V V l VV V VV l PPz V gV V
V
T 5 7 7
5 7 7 7 7 9 (9) 9
A 5 5 5 7 5 7 9 (9) 7 7 8 9
B 6
7
sl. sl.
H
b
VV V V V l VV V V V
V V V l VV l VV VV V VV V
Emadd9 D/F G D/E
g V V V V 44 V V
33
I V V V V V V V
7
T 8 8 8 10 10 13 13 12 12 10 10 8 7 8
A 0
9 10 10 12 12 14 14 12 12 10 10 9 9
B 7 9
sl. sl. sl. sl. H
V V VV V V V
C G/B A9 D13sus4
g3 V V V V V V l gV V V 44 V V V V V
35
I 4 V V V V V
let ring let ring
7 7 5 5 10
T 8 8 8 8 5 8 8 8 12 12
A 7 9 7 6 5 5 5 5 5
B
H sl. sl.
D Solo
Gmaj7
VV V V V
8va
g V V
I PPz V VV VV VV VV VV VV }} }} V }} VV k V V V V V P V V
37
u z
let ring
10 12 10 10 10 10 x x 14 x 10 7 10
T 10 12 10 10 10 10 x x 15 x 12 7 7 8 8
A 7 9
7 9 9 7 5
B
sl. sl. sl. H H H sl. P

Cmaj7
g l V V V V V V V V
3
V
I V V V V V VV VV V V V V V V
39
3 3 3
T 8 7 7 5 5 3 3 1 1 0
A 7 5 4 2 (2) 0 2 0
B 0 2 3 3
sl. sl. P sl. P H H P
g V V V V V V V V V V V V V V V V V V V
40
I V V V V V V V V V
T 0 1 0 0 3 5 3 3 5 7 5 5 7 8 7 7
A 2 0 0 2 2 5 7 9
0 2 4 4
B
H H P H H P H P H P H P
V V V V V V V V V V V V V V V V
Gmaj7
g V V V V V V V VV V VV VV VV V V V V V V
41
I V V V V V V V V 3
3 3
3 3
15 14 12
T 5 3 7 (7) 5 8 7 10 8 12 10 13 (13) 12 15 12 15 12
A 14 12 14 11 12 11
5 4 7 (7) 5 9 7 10 9 12 10 14 (14) 12 14 12 14 10
B
sl. P sl. sl. sl. P
sl. sl. sl. sl. sl. sl.
V V
V V V } V V V V V V V P V V V
Cmaj7
g V V V R l V l V PR V V V V
43
I P V z V
M
Full
T 12
12 14
O 12 1212
A 9 10 12 12 12 12 14 x 14 14 12
B 10 12 10 10 12 14 14 14 12 10 10
b
12
sl. H sl. H sl.
V V V
Am7 G/B C B7/D
g V V V V V V V VV V V V
45
I 43 P V V V
z
P V V V } }
z
P
z
V V V gV
8 7
T 10
A 12 12 12 12 12 12 12 12 9 9 7 8
9 10 9 9 10 9 9 10 9
B 10 x x 10
sl.
b sl. sl. H
V V V V V
Emadd9 D/F G D/E
g VV VV VVV VVV VVV VVV l VVV VVV V V V 44 VV V V V l VV VV

V V V
V l V
47
I V
let ring
7 14 12
T 7 8 8 8 8 8 10 12 12
A 7 7 7 7 7 9 11 12 12 12 12 12 16
7 9 9 9 9 12 12 10 10 9 9
B
H
C G/B A9 D13sus4
g 3 V V V V V V V V V P gV V V V 4 V V V l `P f V l V V PR V V V V
8va 8va 8va
49
I 4 V V V z 4 z
3 3 3
3 3
15 15 14 14 12 12 10 10 8 9 9 10 9 8 10 6 7 10 12 15
T 8 8 10 12
A 16 14 12 11
B
sl. sl. P sl. H P sl. sl. sl.
Gmaj7
V V V V V V V
8va 8va 8va
g V V l V V l V V
51
I V V V
3 3 3 3 3
17 15 14 15 15 14 15 15 14
T 15 15 15
A 14 14 14
B
sl. P P P
g Pz V V V V V V V V V V V V V V V V V
8va
52
I V V V V V V
3
15 17 15 15 15 14 14 14 14 12 12 12 12 10 10 10 10 8 8 8 7 8 10
T
A
B
sl. sl. sl. P sl.
Cmaj7
8va
g V V V V V V V V V V V V V V V V V V V
3 3
53
I V V V V V V V V V V V V V V V
3
V
3 3
10 10 10 12 12 12 14 14 14 15 15 14 14 12 12 10 10 8 7
T 8 8 8 8 8 8 (8) 12 10 8 8
A 7 5
7
B
sl. sl. sl. sl. sl. sl. P sl.
P gV V V P V V V V
Gmaj7
g V V V V V V
3
I V l V V V z gV z VV V V V
V V
V V V
55
3
2 5 2 5 9 5 9 12 9
T 3 3 3 5 10 3 3
A 4 0 4 4 6 2 4 2 2
0 4 4
B
sl. sl. sl. H P sl.
V V P V
Cmaj7
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57
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A 7 9 9 7 7 7 x x
B
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59
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B
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A
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sl.

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MASTERCLASS BOOKLET

So what is harmonic soloing exactly? I see it as a thought process – understanding the

HARMONISING WITH INTERVALS

So why bother doing this? Well, for several reasons.

Root, major 3rd, 5th, major 7th = major 7 chord (G B D F# = Gmaj7)

Root, major 3rd, 5th, minor 7th = dominant 7 chord (G B D F = G7)

Root, minor 3rd, 5th, minor 7th = minor 7 chord (G Bb D F = Gm7)

Db7 with just 3rd and 7th Full Db7 voicing

Root notes added for clearer effect

E7 Bb7 A7 Eb7 D7 Ab7 G7

' & & ) ' &

Where intervals and inner lines meet

Gmaj7 G6 Am7 Am6 Gadd9/B G/B Cmaj7 C6

“BETWEEN THE LINES”

James Graydon. October 2016

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