Apply These 4 musical concepts to any scale!

ByDaniel Weiss

Hey everyone, how’s it going? Okay, so what we’re gonna do in this video is show you four phrases in different levels from basic to advanced that you can instantly implement into your playing. You can get all these ideas, start mixing them into your language, and basically, we’re gonna go from the very basic stuff like just being able to compose a line or construct a line using diatonic structures (i.e., just notes from a C major scale). Then we’re going to spice it up a little bit by adding chromatics, approach notes, using some bebop languages and rhythms. Finally, we’ll take it even a notch further and explore modern stuff, such as intervals like fourths, fifths, and even non-harmonic triads. Non-harmonic triads are basically triads that are not within the scale. So, let’s dive in! Hope you enjoyed this. As always, please support this channel by subscribing, liking, hitting the bell, and checking out my website weissguitar.com for some more cool stuff. Let’s start.

Phrase 1: Basic Diatonic Line

So here is a line that is only using the C major scale.

[Music]

Two, three, four.

[Music]

Again, one, two, three, four.

Okay, so basically, it’s just diatonic movement from the five to the six. It’s kind of like a double enclosure into the root. Now, I get the root over here, so five goes to the root. Then I’m free to play my major seven arpeggio. So I get:

Now that I played my C major arpeggio, I can play some approach notes from the six to the five, the third to the two, the root to the major seven, the five to the sixth.

[Music]

Two, three, four. One, two, three, four.

Let’s try and play this an octave lower.

So, you know, that’s a really great exercise because that’s how I’m testing that I really can hear the line.

[Music]

That’s it. I can hear it.

Okay, let’s play it even— I don’t know—let’s play here. You know, with anything, you really want to make sure that you’re playing it in different areas on the neck. That’s how you know you’re actually hearing it, and of course, moving it in different keys, playing it over tunes.

So that was number one. Yeah, that was just being able to take a scale and come up with a cool melody just using the notes of the scale. Nothing more, and this is just a simple major scale, right? C major.

Phrase 2: Adding Chromatics and Rhythmic Variety

Now, let’s say we want to bump it up. I’m going to use two elements: number one is going to be chromatics and number two is going to be some rhythmic variety. So I’m going to use triplets.

Chromatics:

[Music]

One, two, three.

[Music]

One, two, three.

[Music]

Okay, we got it.

So, basically, same idea, moving from the five to the six, but this time I’m using a triplet: one, two, three.

Let’s do it again.

Again, one, two, three.

[Music]

So, just getting used to these kinds of triplets, you know, instead of going:

[Music]

We get to take:

Here we go.

So this is just aiming again to the same major seven arpeggio that we had previously in the previous line.

[Music]

So major seven to the five, major seven to the five, chromatic approach, right? Just plain chromatic approach, half steps only: one, two, three.

[Music]

One, two, three.

[Music]

Okay, I’m gonna add the sixteenth note enclosure as well, aiming to the third. Here’s the third and I’m going till you leave your third, third.

Right.

And then I can go on and play from inside of the scale.

[Music]

You can see the C major triad here, right? But I’m kind of like aiming inside that triad from the six to the five.

One, two, three.

[Music]

And then I can close it off with:

[Music]

Which is basically just an enclosure into the root: a third, a five, a major seven.

[Music]

Nine. So this is like, you know, you’re adding thirds, you’re stacking thirds in your lines. So you get roots, root, another third from there is the third and the fifth. Then you have the major seven, nine.

[Music]

And then I’m closing it off with:

[Music]

You can see the triad here.

Phrase 3: Modern Leaps and Intervals

Okay, so the third idea of a line that I want to show you today is actually from my 51 Galactic Jazz Licks course, which is a very popular course on Instagram if you’re checking it out. By the way, make sure to follow me also on Instagram where I post all these short lessons and ideas. Anyway, so yeah, the line goes like this, and it’s basically:

I’m just, you know, I’m just taking the modern kind of vibe up a notch and I’m adding some more leaps and using some fourths and stuff like that. So we get:

One, two, three.

[Music]

Two, three.

So why is this more modern sounding? First of all, just an approach and deferred, same concept, and then an approach and deferred from the root. So you get some chromatic sounds approaching the word, kind of like surrounding the third with this structure.

And then major seven to the five, also some chromatic ideas from here: just B flat, A, and then chromatic.

[Music]

Then I’m just playing the triad into the six.

So:

[Music]

The major C major triad into the six. And now here’s some cool fourths.

[Music]

This kind of sounds more modern sounding, right?

[Music]

So we get kind of like this pentatonic vibe here.

[Music]

Now our next triplet is going to aim us into the fourth degree of C major, which is, in our case, 7 chord in F major 7. So I get this:

[Music]

So it’s a G, E to F. Atomic notes into a diatonic arpeggio. And I’m adding, you know, if we look at it as F major seven, I’m also adding a second degree into that arpeggio. So we get root, second, third of F major seven, five, major seven.

And then just going on one, three, five, seven from there.

Right. One, two, three.

[Music]

Right. Everything works over C because it’s diatonic now.

Now we get some bigger leaps when I’m arpeggiating these voicings and landing on the major seven and these voicings drop twos of a minor seven sus two, which is a little bit more complicated to explain. But if you’re really into the voicings and fundamentals, make sure to check out my Galactic Modern Guitar program. I made sure to include the link in the description below.

So this is basically a minor seven. It comes from this drop two.

And this is also a drop two of a sus4 for B minor sus4. It’s actually E7 sus4, and I’m using triplets in them.

[Music]

So I’m going to play the slide again: one, two, three.

[Music]

Phrase 4: Non-Harmonic Triads

Okay, so the fourth and last line phrase lick that we’re gonna learn is taking the modern thing even up a notch by adding non-harmonic triads. And non-harmonic triads are nonetheless triads that are not diatonic to the scale. So in C major, we have D flat, E flat, G flat, A flat, and B flat as non-harmonic notes. Basically, this is the line:

So yeah, what is going on over here? Well, I’m just approaching the five chromatically, just adding this effect, coming up an octave, and playing C9. So it’s just adding a note to the arpeggio.

[Music]

And then I’m playing F sharp, which is my first non-harmonic triad. F sharp is not an arpeggio that is built from the notes of C major, so it’s a non-harmonic triad. And I’m back in C.

[Music]

Now my second non-harmonic triad is going to be D flat six. So this is D flat major, and I’m moving from the five to the sixth, going back to C major.

So:

I’m back to C major, and then I can play the rest of the diatonic structure, which is six.

You get it. The same kind of fourths I used in previous licks, just like scalar motion. And this is just the C major seven arpeggio again. And then I’m playing a fourth between the second and the fifth: third, root, second, five.

[Music]

Conclusion

Okay, everyone, well, I really hope you learned something new from this video that will inspire you and get your practice going. If some of these concepts seem a little more advanced for you right now, don’t worry. The most important thing to do is just step in and start incorporating these into your practice routines. Get some awareness of these concepts, even when you listen to your favorite music like jazz players, fusion, and rock—all that kind of stuff. Just look for these concepts and be aware of them. Invite them into your musical vocabulary.

Now, if you’re looking for really step-by-step guidance and resources to help you out and if you feel like you really need to close some gaps in your knowledge, check out Galactic Modern Guitar. You can access that right now in the description below. Also, 51 Galactic Jazz Licks to learn a bunch of cool licks.

And that’s it, guys. As always, leave me a comment and let me know what you’d like me to cover next or if you have any ideas, suggestions, or discussions. Let’s go for it—I always love talking to you. Thanks so much for watching, have a happy practice, and I’ll see you in the next video!

TL;DR
Here’s the deal: Four ways to make any scale sound musical. Start with diatonic lines in C major, add chromatics and triplets, then non-harmonic triads.
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Frequently Asked Questions

What’s the difference between diatonic playing and using chromatic approach notes?

Diatonic playing uses only notes from your scale (like C major), while chromatic approach notes are passing tones between scale degrees that add movement and tension. The video shows how adding chromatics and triplet rhythms to a basic diatonic line makes it sound more sophisticated and musical.

How do I use non-harmonic triads in my solos without sounding out of tune?

Non-harmonic triads are voicings that sit outside your parent scale, like playing a D minor triad over C major. The key is to treat them as passing or chromatic devices that resolve back to in-scale notes, similar to how approach notes work in bebop language.

Why should I practice melodies in different positions on the guitar neck?

Playing the same line in different octaves and positions helps you actually hear the melody internally rather than just memorizing finger patterns. This builds real musical understanding and makes the phrase portable across all twelve keys.

What bebop techniques can I add to a simple major scale line?

You can add chromatic passing tones between scale degrees, use triplet rhythms instead of straight notes, and incorporate approach notes that land on chord tones like the major seventh. These techniques create the syncopated, flowing feel that characterizes bebop language.

Key Takeaway
In summary: Stop running scales. Start with simple diatonic movement like five to six, then build chromatics on top.

First and foremost, it’s important to understand that creating musical statements is not just about memorizing scales and patterns, but about knowing how to use them in a creative and expressive way.

This means thinking in terms of chord tones and non-chord tones, using motifs and variations, having a good sense of rhythm and phrasing, and being open to experimentation and exploration.

Let’s dive deeper into each of these techniques,

Chord Tones and Non-Chord Tones:

Chord tones are the notes that belong to the underlying harmony of a song, while non-chord tones are those that fall outside of the chord. By emphasizing chord tones on strong beats and using non-chord tones to create tension and release, we can create melodies that are harmonically interesting and musically satisfying.

Motifs and Variations:

A motif is a short melodic idea or pattern that can be repeated or developed throughout a solo, while variations on that motif can add interest and complexity. By using motifs and variations, we can create melodies that are both cohesive and varied.

Rhythm and Phrasing:

Having a good sense of rhythm and phrasing is essential for creating compelling and expressive melodies. This means understanding how to use different rhythms, articulations, contour, contrasts, and accents to create a sense of story, groove and forward motion in a melody. It also means understanding how to phrase melodies in a way that makes sense musically, with appropriate pauses, breaths, and dynamic contrasts.

Experimentation and Exploration:

it’s important to be open to experimentation and exploration. While having a solid foundation in theory and technique is important, it’s also important to be willing to take risks and try new things. This might mean incorporating unexpected harmonies, using ‘unusual’ scales or modes, or experimenting with different rhythms and phrasings.

Now that you understand the key techniques and approaches involved in creating musical statements from scales, it’s time to put them into practice. In the video provided, I demonstrate four different phrases, progressing from basic to advanced, that you can incorporate into your playing. These phrases use a variety of techniques, from basic diatonic movements to more advanced intervallic and harmonic concepts.

Remember, the key to mastering the art of creating musical statements from scales is practice, practice, practice! Play these phrases in different keys and positions on the neck, and over different tunes, to truly master them. And if you’re looking for more resources to help you on your journey, check out my online programs for additional content and courses.

Daniel Weiss