A motif is generally defined as a short musical phrase that carries 
significance in the overall composition � not just a throwaway idea 
like a lick. A motif can be a phrase that repeats at different points 
like a musical hook, an important recurring theme apart from the main 
melody, a phrase that is stated then developed in various ways, or a 
melodic, rhythmic or harmonic cell. In practice a motif is usually a 
phrase carried through a solo � a musical statement that is developed 
to give improvisation a sense of continuity.

There are numerous ways to develop a motif. You can adapt the phrase 
slightly to fit the next chord change, embellish it with passing notes, 
transpose it up or down the octave, play the same phrase over different 
chords, play different notes but keep the same rhythm, keep the same 
notes but alter the motif rhythmically, or keep the same notes but 
displace the motif by beginning on different beats of the bar.

The players who stand out are the ones who can take a simple idea and 
develop it � beginning with a small seed of an idea and telling a story 
with it. Listen closely to solos by Eric Clapton, Jimi Hendrix, Robben 
Ford and Alan Holdsworth and you will notice they all start simple and 
gradually build their solo as one idea leads to the next. A great lick 
in a solo is never an isolated idea � it evolved from a collection of 
related ideas. This is the great benefit of motival playing � it gives 
you space to develop an idea, turn it around from different angles, and 
keep expressing it until the magic happens.

Playing over a Dm7 chord viewed as chord ii in C Major targets a D 
Dorian sound. The D Dorian scale has the notes D E F G A B C. A motif 
can be transposed diatonically through this scale on a single string � 
beginning on A at the 2nd fret of the third string, then moving to B 
at the 4th fret, then C at the 5th fret, and so on. Each time the 
motif moves to the next scale tone, it is adapted to stay within the 
notes of the scale. The ear guides the transposition rather than 
theoretical calculation.

To get maximum mileage from a motif, relocate it to different 
three-string groupings. Starting on strings four, three and two 
ascending the D Dorian scale on the second string, then moving to the 
top three strings ascending on the first string, covers the entire 
range of the neck from a single seed phrase. The same motif played 
ascending and descending, faster as 16th note runs or slower with 
rhythmic syncopation and varied note lengths, creates enormous creative 
potential while remaining entirely within scale tones and sounding 
musical throughout.

The essence of motif development is taking a seed of an idea and 
transposing it through a scale to compose a longer line that makes 
perfect musical sense with movement and direction. Improvise a simple 
phrase, transpose it through the parent scale, transfer it to different 
string sets, and the result covers the entire neck while remaining 
coherent and musical. The creative potential is huge because the line 
is super-musical � built entirely from scale tones shaped by a single 
motivic idea.