One approach he uses over the initial Gmaj7 chord of this tune is to start the scale on the G# of the scale, his logic being that this is the defining note of that chord.

He first recommended picking rhythmically and melodically interesting phrases, just using the notes in that scale.

The tune progresses to a Bm7 chord, which belongs again to the key of G.  Ron's approach, therefore, is to stick with the scale of G, but start it on the note B in the scale.

 Similarly, other chords which also belong to G, like Am7, can also have a G scale played over them, starting on the root note of the chord i.e. A. 

For D7, play a G scale starting on D.  For a C major chord, which also belongs to the key of G, play the scale of G major starting on C e.g. C D E F# G A B C.

1. Introduction

On the cover of legendary  pianist Bill Evans's Finest Hour album there is a  quote from the man himself which goes "it bugs me when people try to analyze jazz as an intellectual theorem. It is not, it's feeling". Whilst there maybe some truth in this view, for most novice jazz musicians creating a meaningful solo over complicated and continually modulating chord changes by feel alone presents a real problem. The purpose of this workshop is to try and explain how these problems can be overcome by analysing the chord sequence to Have You Met Miss Jones, with no apologies being made for the theoretical content.

2. Analysis of Chord Progression

Have You Met Miss Jones is a Rodgers and Hart standard recorded by many artistes including Joe Pass, Stephane Grappelli, McCoy Tyner and more recently rock star- turned crooner Robbie Williams.  It shares the AABA 32 bar format with many other jazz tunes.  The A section consists of 1 VI 11 V sequence whilst the B section includes a string of 11 V 1 's moved down in Major 3^rd intervals (very much like John Coltrane's Giant Steps progression). The tune is made up of 3 chord types; minor 7th, dominant 7th and major 7th. There are four key centres in this progression, presenting a real challenge for the soloist. Tempo is usually medium -fast, making the construction of a melodic solo over the changes even more of a challenge.

3. Creating a solo: Scale and Arpeggio Suggestions

To play a decent melodic solo through these changes you need to get to know some scales and arpeggios and how they can be applied. This will enable you to map out the changes on the fret board and help you to locate the strong chord tones for the progression.

3.1 Getting Started

It's best to start by using only  major scales and related arpeggios to navigate your way through the changes. Although this can be a bit hit and miss at first due to the presence of  'avoid notes' in the major scale, with practice and careful phrasing an acceptable solo can be created. Ultimately it's best to know all major scales in every position on the fingerboard. For the purpose of this exercise, you will need to know the four major scales and associated arpeggios relevant to the four keys found in the progression.

For the F major key centre  - F major scale plus arpeggios of F major 7 and F major 9

For the Bb major key centre  - Bb major scale plus arpeggios of Bb major7 and Bb major 9

For the Gb major key centre - Gb major scale plus arpeggios of Gb major 7 and Gb major 9    

For the D Major key centre  - D major scale plus arpeggios of D major 7 and D major 9

Try to find these scales and arpeggios within a confined area of the fingerboard; apart from being good fret board navigation practice this assists in the smooth transition of lines through the various keys. For example: -

F Major scale        start with finger 4 on string 5, fret 8

Bb Major scale      start with finger 1 on string 6, fret 6

Gb Major scale     start with finger 4 on string 5, fret 9

D Major   scale     start with finger 4 on string 6, fret 10

Many jazz guitar educators advocate the use of this method (called the 'CAGED' system) for learning the fret board and to facilitate the smooth transition of solo lines between key changes.

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