Beyond Scales: Forward Motion, Chromaticism, and Targeting

There Are No Wrong Notes

A common question from advancing players is about "avoid notes"—for instance, "Why do I hear the natural 4th played over a dominant chord when theory forbids it?" The answer lies in shifting your perspective from static theory to dynamic movement. In improvisation, there are strictly no "wrong" notes, only notes that are not yet resolved. This concept is the essence of Forward Motion. It’s not about which scale fits the chord vertically, but how linear energy drives a line toward a specific Target Note.

Forward Motion and Chromaticism

During the transcript discussion, we touched on Charlie Parker’s Chasing the Bird and the structural nuances of Rhythm Changes. The key takeaway, however, was about how bebop musicians navigate harmony. A generic chromatic exercise is musical nonsense. But using chromaticism to approach a target is the holy grail of jazz phrasing. Visualize a dominant chord resolving to a tonic. Instead of just playing the Mixolydian scale, identify a target tone on the resolution chord (like the 3rd of the I chord). Now, play a line that encircles or approaches that target chromatically from above or below. Even if you pass through theoretically "clashing" notes (like the major 7th over a dominant 7th), the strong resolution makes the listener accept the tension as purposeful. This is why players like George Benson or Wes Montgomery sound so fluid. They aren't thinking "Dorian for this bar, Mixolydian for that bar." They are thinking about the destination. The 4th over a dominant chord might just be part of a "sus4" sound created by superimposing the ii chord over the V, or it might be a blues scale inflection. Functional harmony explains the structure, but Forward Motion explains the flow.

Target Practice

Scales like Melodic Minor and Lydian Dominant are tools, not rules. The ultimate skill is aiming. If your target is clear and your rhythm is strong, you can play almost anything in between. Stop worrying about "avoid notes" and start focusing on where your line is landing. For deep dives into constructing bebop lines and targeting exercises, visit VoiceLidJazzGuitar.com.