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<p>You may have heard that jazz musicians artfully play &lsquo;wrong&rsquo; notes. However, if you just play at random frets you&rsquo;ll probably sound more like a crashed train than Coltrane. A better way to think about it is as &lsquo;tension and release&rsquo;: notes that clash with the underlying chord create tension, while notes from within the chord release that tension for a sweeter sound. Advanced jazz players might extend that tension for quite a while, but a safe starting place is to resolve each tense note by immediately following it with one from&nbsp;inside the chord. Play these &lsquo;chord tones&rsquo; on the beat and your tense &lsquo;outside&rsquo; notes off the beat to add colour to your licks without losing the plot. Choose outside notes one fret either side of chord tones: they create the maximum amount of tension but they also create flowing lines where the notes move smoothly.</p>
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<p>To do this confidently, you&rsquo;ll need to learn some arpeggios &ndash; that&rsquo;s when you play the notes of a chord one by one. Learning arpeggios will give you confidence about where the chord tones are, and you can then add outside notes without getting lost. Many jazz standards are built around II-V-I chord&nbsp;progressions (more on that shortly!), so learning how to play over these changes is a good start.</p>
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<p>Another approach is to add jazz ideas to your existing blues vocabulary. Example 5 across the page uses jazz note choices in a standard I-IV progression in E (E7-A7). A common jazz move here is to insert a Bb7 just before moving to the IV chord (A7). Even if the band doesn&rsquo;t play that, you can create that flavour by playing a Bb7 arpeggio for two beats just before the chord changes to A7. You&rsquo;ll create tension that you can resolve by landing on an A note as the chord changes.</p>
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