Why Do My Jazz Solos Still Sound Like Scales?

Are you sounding like this -

A phrase of purely scales!

But want to sound more like this? -

A phrase incorporating different elements of bebop!

If you’ve ever felt frustrated that your jazz solos still sound like you're just running up and down scales—even after months or years of practice—you’re not alone. Many intermediate players reach this exact point. You know the theory, you’ve got the scales, and maybe even the modes down cold. But when it comes time to improvise, it all comes out sounding... robotic. Predictable. Unmusical.

Here’s the good news: you’re not broken. You’re just missing a few key ideas that transform theoretical knowledge into real music. In this post, we’ll walk through a practical path that helps you break free from the “scale trap.” And it all starts with chord tones.

Throughout this post, we’ll use a simple and classic chord progression:

Cmaj7 – A7 – Dm7 – G7

This I–VI–ii–V sequence gives us rich harmonic movement and plenty of opportunity to apply bebop techniques.

Step 1: Focus on Chord Notes First - Why do my jazz solos sound like scales?

The most expressive jazz solos are rooted in the harmony. And the harmony lives in the chord tones—not the scale.

When you solo with scales alone, you’re essentially treating every note as equal. But jazz harmony doesn’t work like that. Each chord has a specific character, and the notes that define it are the 1st, 3rd, 5th, and 7th. Those notes should be your primary targets.

Soloing this way immediately makes your lines sound more intentional. You're outlining the actual changes, rather than floating on top of them.

Practice idea: Take our progression—Cmaj7 – A7 – Dm7 – G7—and restrict yourself to only the chord tones for your solo. Get used to hearing and feeling how strong and clear your ideas sound, even without any passing notes.

Start easy -

Triads

Adding the 7th. Very important to know the chord tones in every chord!

Add the 7th

Gradually add the 7th

1/8 notes using the 7th too

Step 2: Approach the Chord Notes - Why do my jazz solos sound like scales?

Once you’re fluent in hitting chord tones, you can begin to approach them. This is where things start to sound like jazz.

The most effective way to lead into chord tones is with approach tones. These are notes that create a sense of tension and resolution as you land on the target.

Approach from Below

This is when you come from diatonically underneath the chord note. It builds anticipation and gives your line direction.

Approach from Above

Here you land on the target by coming from just above diatonically. This creates a different flavour of tension.

Combined Approach (Above and Below)

The most sophisticated sound comes when you use a two-note enclosure—approaching the target from both above and below. This is the core of bebop language, and it adds instant swing and complexity to your solos.

Practice idea: Try targeting just the 3rds and 7ths of each chord in our progression—Cmaj7 – A7 – Dm7 – G7—and approach them from below, above, and both. Do this slowly, with intention, and listen for how each variation feels different.

Guide tones. Learn the HEAR these guide tones in your practice and when improvising!

Connecting the guide tones from below. Notice the beautiful melodic feel!

Connecting the guide tones from above, again, woderfully melodic!

Remember to also practice from both directions. I always feel you get a great Chet type feel when practicing this way!

Step 3: Add Rhythm and Syncopation - Why do my jazz solos sound like scales?

Now that you’re hitting chord tones and approaching them with flavour, it’s time to bring your lines to life with rhythm.

Rhythm is what separates a good line from a great one. Even a simple two-note idea can sound killing if it’s rhythmically alive.

Practice idea: Take a single approach phrase over one bar of the progression and experiment with:

• Delaying the resolution

• Anticipating the beat

• Tying across barlines

• Using triplets or rests

Don’t just play everything straight and even. Jazz breathes in the spaces. There are literally 100's of phrases I could give you here but if you want solos full of pretty much chord tones only check out this book - https://www.jazzetudes.net/product-page/nice-and-easy-jazz-collection-solos-bb

Simple, melodic phrase, only using the chord tones (notice the b9 in the A7 chord)

Step 4: Use Chromatic Enclosures - Why do my jazz solos sound like scales?

A chromatic enclosure surrounds your target note with tension before resolving. It often involves two or more chromatic notes placed around the target note.

This technique is essential to jazz vocabulary and gives your lines a polished, professional sound. These enclosures often use the structure:

• Above -> Below -> Target

• Below -> Above -> Target

Apply this over each chord in Cmaj7 – A7 – Dm7 – G7, and you’ll begin to hear that classic bebop glue start to form.

Decending chromtaic enclosures.

Always target chord notes when using chromatic enclosures!

Step 5: Use Two-Note Enclosures (Short and Sweet) - Why do my jazz solos sound like scales?

Not every enclosure needs to be a three-note idea. Two-note enclosures are a quicker, punchier way to decorate a target note.

Example structures include:

• Below -> Target

• Above -> Target

• Above chromatic -> Target

• Below chromatic -> Target

Use them tastefully over your ii–V section (Dm7–G7), or to highlight resolutions from A7 to Dm7.

Step 6: Insert the Fat's Lick/Broken Chords - Why do my jazz solos sound like scales?

Now we move into classic bebop territory: fast licks that outline chords in broken intervals, rather than straight arpeggios.

These broken chords move in angular, rhythmic shapes, and they’re a hallmark of fast, exciting bebop playing. These patterns often emphasise chord tones, but with skips.

Take each chord in our cycle and try patterns like:

Then string them together through the full Cmaj7 – A7 – Dm7 – G7 sequence.

Obviously, you would never play a phrase like this but I like to practice in a way that digs deep into each element of bebop language I use!

Step 7: Learn the Tom Harrell Phrase - Why do my jazz solos sound like scales?

Tom Harrell is known for his lyrical, harmonically rich playing. One of his signature moves is using ascending or descending patterns that outline guide tones in flowing, connected phrases.

We’ll show a phrase over Cmaj7 – A7 – Dm7 – G7 where he connects 3rds and 7ths across the changes, combining enclosures and rhythmic shifts. This is a perfect example of using advanced vocabulary to serve melodic storytelling.

Start on a chord tone, then go up three notes diatonically and then miss one, this is the phrase you get!

Final Thoughts: From Scales to Solos - Why do my jazz solos sound like scales?

If you’ve made it this far, you already know what makes a jazz solo sound like jazz:

• Targeting chord tones

• Approaching them with grace and tension

• Adding rhythmic vitality

• Studying and applying great phrases

It’s not about playing more notes. It’s about choosing the right ones—and making them sing.

And the fastest way to integrate all of this is to study etudes that embed these ideas right into the lines—especially over progressions like Cmaj7 – A7 – Dm7 – G7.

Targeting chord notes using bebop language!

Melodic jazz trumpet solos? Get them free along when you join my newsletter here - https://www.jazzetudes.net/free-jazz-trumpet-solos

Regards, Darren.