Non-Symmetrical Enclosures

Non-Symmetrical Enclosures For Jazz Piano

In this jazz piano improvisation lesson, we explore non-symmetrical enclosures and how they can be used to connect our melodies to the underlying harmony.

Building on the previous lesson on single and double note enclosures, this tutorial shows how different chord types require unique approach patterns depending on the scale tones around the target note.

Using the harmony of ‘Autumn Leaves’, you will learn how to apply these enclosure patterns over minor, dominant, and major chords. We also practice developing one of the most important skills in jazz improvisation: leaving space.

What You Will Learn in This Lesson:

• The core differences between symmetrical and non-symmetrical enclosures.

• How to analyze chord scales and modes (Dorian, Mixolydian, and Ionian) to identify the correct enclosures and approach patterns.

• Specific enclosure shapes tailored for major, dominant, and minor chords.

• The art of leaving space to allow your solos to breath and gives context to the melodic ideas and phrases.

Symmetrical vs. Non-Symmetrical Enclosures

In our previous lesson, we explored symmetrical enclosures which include both single and double note configurations. These patterns can be applied cleanly to any chord tone because they surround the target note in a balanced and chromatic fashion.

Non-symmetrical enclosures work differently. They depend directly on the specific scale or mode connected to each chord. This means your physical hand shape will dynamically shift depending on the chord type and the scale degree which you are targeting.

Understanding Chord Scales & Modes

To understand why non-symmetrical enclosures alter from chord to chord, we must first look at the modes connected to the opening progression of Autumn Leaves:

• For C-7 we can derive our enclosures from the C Dorian mode.

• For F7 we can derive our enclosures from the F Mixolydian mode.

• For Bbmaj7 we can derive our enclosures from the B♭ Ionian mode.

While these modes all originate from the parent B♭ major scale, the intervals and distances between scale degrees change relative to the chord tones of each chord.

This is especially critical when targeting the 3rd of each chord. For example, C-7 has only a half step between its 2nd and 3rd scale degrees, whereas F7 and Bbmaj7 feature a whole step between their 2nd and 3rd degrees.

Enclosure Patterns for Major & Dominant Chords

Over major and dominant chords, a common jazz enclosure pattern targets the 3rd by playing the 2nd degree, the 4th degree, returning to the 2nd degree, and finally adding a chromatic passing tone right into the 3rd. This enclosure pattern starts on beat 3 of the previous bar.

This specific pattern works beautifully when targeting the 3rd or 7th of major chords and the 3rd of dominant chords. It can also be used to target the 5th of minor chords.

Enclosure Patterns for Minor Chords

When targeting the 3rd of minor chords, a slightly different approach strategy is needed. For minor 7th chords, the diatonic note directly below a minor 3rd is only a half step away, and so the enclosure shapes used over major and dominant chords will not resolve the same way over minor harmony.

To solve this, this lesson introduces alternative minor enclosure shapes that target the 3rd from a whole step above. We also introduce enclosure decoration such as turns.

Targeting Different Chord Tones

If a specific non-symmetrical enclosure shape doesn’t align cleanly when targeting the 3rd of a minor chord, it can still work perfectly when targeting other key chord tones like the 5th.

As a general rule, symmetrical enclosure patterns can be used to target any chord tone of any chord type. When applying the non-symmetrical enclosure patterns we must also take into consideration to surrounding scale tones to choose an approach enclosure or approach pattern.

Leaving Space in Your Improvised Lines

A key observation in this lesson is learning the discipline of leaving space. In earlier technical drills, the primary objective was to target every single chord change mechanically. However, in authentic improvisation, great jazz players do not fill every single beat.

Leaving intentional gaps allows your melodic lines to breath and creates a more interesting and dynamic solo. Leaving space can also makes your enclosures vastly more powerful, allowing them to lead into crucial resolution points rather than sounding like constant technical running exercises.

Playing Into the Chord Changes

Enclosures derive their musical power from the fact that they often begin before the next chord officially arrives. This means your hands are anticipating the upcoming harmony rather than just reacting to it.

This forward-thinking mindset creates strong forward momentum, making your phrases sound as though they are gracefully weaving into the changes rather than just sitting flatly on top of them.

As you progress through the lesson, you will practice combining multiple enclosure shapes across the full AABC form of Autumn Leaves. You will target the 3rd of dominant chords, the 5th of minor chords, the 7th of major chords, and also integrate the double enclosures mastered in Lesson 2.

The goal is not to memorize a rigid, fixed formula, but to organically build a creative toolkit of approach patterns.

Preparing for Chord Tone Connectors

This lesson acts prepares you for the next phase of the course: connecting your enclosure patterns with chord tones and arpeggio patterns. Once you can confidently target individual chord tones using different enclosure patterns, you will then learn how to string those targets together into longer, highly logical melodic lines and phrases.

These enclosure patterns form the bedrock for understanding the full 251 phrases showcased in the upcoming lessons.

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