Beyond the Blues Scale: How to Structure Melodic Improvisation
What was the question?
Joel asked for clarification regarding a specific practice direction given in a YouTube lesson for the standard In A Sentimental Mood. The direction was to "pick two bars of the melody, play it three times clean, use the same direction, and then create one new phrase." The student wanted to know how to apply this rigor without oversimplifying the music (02:55). A follow-up question asked if arpeggios were used to connect the chromatic descending lines (10:31).
The core idea (in plain English)
The goal is to avoid immediately falling into the trap of playing a D minor blues scale just because the key centers allow it. Instead, you must internalize the melody so deeply that your improvisation sounds like a variation or an extension of the original theme.
When I played the example in the lesson, I wasn't using a "trick" or a specific arpeggio shape to move from note to note. I was using voice leading. The melody dictates the structure, and the harmony supports it. Legendary players like Kenny Burrell or Peter Bernstein often focus on the melodic structure rather than running scales. Peter Bernstein once noted that playing strictly within a scale structure can sound mechanical, whereas targeting the melody and the underlying structure feels more musical (04:37).
Fretboard breakdown (what to play)
Instead of defaulting to a D minor blues lick, try this approach:
Step 1: Learn the Melody Perfectly (02:55)
Don't just play it once. Play it until you know exactly where the notes land rhythmically and harmonically.Step 2: Identical Direction (09:04)
Play a phrase that follows the exact same contour (up or down) and rhythm as the melody, but resolve it to a chord tone (usually the third or seventh).Step 3: One New Phrase (09:04)
Once you have established the melody and a variation of it, create one new phrase that sounds like you, but still respects the framework of the song.Voice Leading the Line Cliche (16:01)
For the chromatic descent (D minor, D minor/Major 7, D minor 7, D minor 6), do not think of four separate arpeggios. Visualize the single voice moving down chromatically (D, C#, C, B) while the rest of the chord shape remains relatively static.
Common mistake to avoid
A common mistake is treating the harmony as a series of isolated vertical arpeggios. When a student asked if I used arpeggios to link the chromatic notes (10:31), the answer was no. Thinking in arpeggios here can make your playing sound disjointed. Focus on the linear movement of the voice leading—specifically line cliches—to connect the chords smoothly.
A 10-minute practice assignment
Take the first four bars of In A Sentimental Mood (or any ballad you are working on).
Play the melody simply and cleanly three times.
Play a variation that follows the exact same "shape" as the melody but changes the target notes to other chord tones.
Do this for 10 minutes without reverting to the blues scale.
(Assignment context: 02:55 - 10:07)
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