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The publisher declares itself available to pay the amount due for the pictures whose source could not be acknowledged. The musical examples used in the text, if not the property of the author, were used acting in accordance with the procedure laid down in Article 70 of the law 633, adopted on April 22nd 1943, as well as with the subsequent legislative decree 68 of April 2003, on citation right. Translated from Italian by Francesca Buran. A special thanks to Clio Pizzingrilli for his editing service. Graphic design copyright ©RR Copyright ©VAP (Voglia d'Arte Production) viale Europa 15 - 64026 Roseto degli Abruzzi (TE) Italy www.vogliadarteproduction.com [email protected] tel. +39 333 4926093 First published in Italy in 2012 by VAP 1002E

Renzo Ruggieri

TEN APPROACHES TO (JAZZ) IMPROVISATION

Voglia d'Arte Production

CONTENTS PREFACE..............................................................................................................................9 1. LISTENING, TRANSCRIBING AND ANALYZING...................................................11 1.1 Introduction...............................................................................................................11 1.2 How to transcribe a solo............................................................................................12 1.3 Conclusions...............................................................................................................14 Exercises..........................................................................................................................15 2. AN IN-DEPTH EXAMINATION OF PATTERNS........................................................17 2.1 Introduction...............................................................................................................17 2.2 Melody patterns.........................................................................................................18 2.3 Rhythm patterns.........................................................................................................19 Exercises..........................................................................................................................21 3. USING PATTERNS IN MUSICAL COMPOSITIONS..................................................23 3.1 Introduction...............................................................................................................23 3.2 Application................................................................................................................25 Exercises..........................................................................................................................27 4. USING STRONG NOTES TO IMPROVISE ON MELODIES......................................29 4.1 Development and creation.........................................................................................29 4.2 A step-by-step guide to the strong notes method......................................................30 4.3 Improvisation with strong notes: a suggested procedure...........................................33 4.4 Conclusions...............................................................................................................33 Exercises..........................................................................................................................34 5. IMPROVISING WITH THEMATIC CELLS.................................................................35 5.1 Introduction...............................................................................................................35 5.2 A step-by-step guide to the use of thematic cells......................................................35 5.3 Conclusions...............................................................................................................38 Exercises..........................................................................................................................39 6. PLAYING WITH SCALES.............................................................................................41 6.1 Modal procedure........................................................................................................41 6.2 An example................................................................................................................41 Exercises..........................................................................................................................43 7. PLAYING OVER CHORDS...........................................................................................45 7.1 An example................................................................................................................45 7.2 A step-by-step guide to the application of this method.............................................47 7.3 How to address a piece..............................................................................................49 Exercises..........................................................................................................................50 8. PLAYING WITH APPROACH NOTES.........................................................................51 8.1 Introduction...............................................................................................................51 8.2 A step-by-step guide to the study of this method......................................................51 8.3 Some examples..........................................................................................................53 Exercises..........................................................................................................................55 9. IMPROVISING WITH PHRASES..................................................................................57 9.1 Phrases.......................................................................................................................57

9.2 Question and answer..................................................................................................58 9.3 Connexions................................................................................................................58 9.4 Short riffs...................................................................................................................59 Exercises..........................................................................................................................61 10. PENTATONIC IMPROVISATION..............................................................................63 10.1 Introduction.............................................................................................................63 10.2 A single pentatonic scale revolving around a tonal centre......................................63 10.3 Pentatonic scale revolving around a tonal centre with dissonance..........................64 10.4 How to use pentatonics for outside playing.............................................................64 10.5 Conclusions.............................................................................................................65 Exercises..........................................................................................................................66 Notes.....................................................................................................................................69

PREFACE Originating from the need of outlining a practical method for improvisation (not only intended for jazz performers), this book is designed for those who already master the basics. Jazz classes most of the times primarily focus on theory as well as on its application, often neglecting or putting aside practice. But the theoretical framework can sometimes be perceived as overwhelming by students to such an extent that they may find it hard to get the major element of improvisation, that is the creation of a personal language which must include an appropriate assimilation. Knowing what to do (or not to do) is not enough. In order to perform a true improvisation one must first of all know a large number of pieces, but also be good enough as to forget them - in a sort of brainstorming – so as to avoid any remains of seduction left behind and create an empty space to be filled with their own creativity. In the following pages we are therefore going to explain in detail the procedures allowing a student to be introduced to the pragmatic of creativity. The directions for the use of these ten figures, however, should not be strictly followed. Quite the opposite. It is, indeed, desirable for the student/teacher to make them personal (for instance, by changing their order) throughout their schooling. So as to make that possible the pupil should already have a good knowledge of major and minor cadences, most common jazz scales, let alone theory, in other words: the basics. In order to make the here outlined concepts more effective it is, then, advisable for the reader to attentively focus on every single chapter and move to the next one only after each explained figure is well assimilated. As individual learning paths may highly differ from person to person, the teacher will have to adapt to their student's needs. It is nevertheless worth remembering that not perfection but a fair level is to be achieved. Moreover, at least four pieces for each figure should be considered: a ballad, a medium, a fast and a peculiar rhythm selected by the student. This sort of textbook has become particularly prominent in my intermediate level courses, even though it does not require students, who haven't acquired a well defined style of their own yet, to perfectly understand jazz harmony. Still, every single figure requires to be studied on its own, even though it is then supposed to be used along with the others. “Neither everything is necessary, nor useless”. the Author

Listening, Transcribing and Analyzing

1 LISTENING, TRANSCRIBING AND ANALYZING Listening: selecting a solo which has made a major impact on the history of jazz, listening to it and playing it getting into all its stylistic nuances. Transcribing: putting what you hear onto music paper. Analyzing: understanding the chosen artist's grammar of composition. 1.1 INTRODUCTION Listening to the most famous jazz musicians' improvisations is by far the most important thing you can do to learn about jazz. For years in the past this was the only way to learn/teach and still nowadays it is essential for any pupil to do that. As a matter of fact, listening helps a musician recognize and understand intervals, chords and the rhythmic grid, as well as the form of the piece, whenever the soloist's real purposes are clear. This procedure supports any student in a conscious and exhaustive development of their personality while introducing elements to their memory which are essential for everyone who wants to perform professional and stylistically advanced solos. A good listener will then be able to pick out the notes of the solo and identify the music genre it belongs to, as well as its form (intro, chorus, solos, etc.) and harmonic structure. Listening and transcribing a solo can be a very difficult process, which requires a well-trained ear and a good knowledge of harmony and theory. Identifying the already known elements is not enough. In addition, the incongruities which typically occur within the African 11

Ten Approaaches to (Jazz) Improvisation

American rhythm can make the transcription even harder. But don't give up in the face of initial challenges! Besides, as a teacher, you can sometimes decide to make the task easier either by choosing pieces that have already been transcribed and published or ignoring the transcription process altogether. Finally, for those aiming at a significant stylistic growth, it is crucial to perform the solo along with its recording paying close attention to all its stylistic inflections (licks, timing, grace notes, articulations, etc.). 1.2 HOW TO TRANSCRIBE A SOLO Here is a detailed explanation of the step-by-step process you need to follow when learning a solo. 1.

Listen to the tune you have chosen over and over, trying to sing it along with the recording. This will help you identify the general mood of your solo, the performer's timing as well as make you comfortable with its sound.

2.

Determine when the song was first recorded, its style and the musician's work. This will allow you to identify patterns you already know in the tune you are going to transcribe. If you are listening to bebop solos, for instance, it will be easier to recognize their voicings and phrases.

3.

Figure out the harmony of your solo. This tip will be particularly helpful, since chordal notes, as well as chords and scales are the most widely used. Try to identify the complete chords for every single tension the performer seems to aim at.

4.

Begin by breaking up your solo into short phrases and start singing the first one. Once you have learnt it, repeat it on your instrument. Do the same for each single phrase until you can accurately play 12

Listening, Transcribing and Analyzing

the entire solo. This is the most important as well as the hardest stage of the whole transcription process. Singing is crucial as it offers you clues to what the rhythmic scansion and the general melodic development are. Furthermore, playing the phrases on your instrument will offer you a chance to practice improvisation patterns as well as check if the notes you have figured out are correct. 5.

Use a music transcription software to write down your solo, in order to check the accuracy of the work you have done so far. This is a necessary step to fix the elements you have figured out by ear and help you memorize them, as writing down things is equivalent to reading them four times. Last but not least, it gives you the opportunity to build up a proper repertoire of the patterns you have come to know since the beginning of your learning path.

6.

Transcribe your piece paying close attention to its articulations (accents, tempo, timing, ornaments, etc...). This often neglected step is essential if you wish to achieve a deep understanding of a solo as well as of its author. If you do not focus on the stylistic elements, timing and phrase dynamics, in fact, you will never be able to truly benefit from your transcription efforts. So, do not forget to write down all articulations when possible.

7.

Analyse your solo. Every solo is the result of a controlled freedom, employed by the performer to express their own creativity as well as their personal art project. By listening to a tune, you can learn a lot including something about the soloist's personality. Begin by determining the historical period of the transcription, 13

Ten Approaaches to (Jazz) Improvisation

then move on to chords connections, reharmonizations when present, tonality changes, accompaniment arrangements, melodic patterns as well as the approach adopted by the musician. Finally, be sure not to forget the innovative elements introduced by the performer. 1.3 CONCLUSIONS The action of simply reading a sequence of notes is a waste of time if you do not provide a comparison with the original recording, with all of its expressive, performing and stylistic nuances. Whenever you approach a transcription, try to choose solos performed by famous musicians. As a teacher, remember never to force your students to transcribe tunes which are too far above their skills. This subject must first of all be approached gradually. You can start with short, easy solos and then move on to more complex ones. Playing already transcribed solos is a good exercise anyway. Finally, with those of your pupils who prove to be less responsive, consider the idea of implementing your regular classes with ear training exercises.

14

Listening, Transcribing and Analyzing

EXERCISES 1. Transcribe a short solo (at least one chorus) from the Tradition (New Orleans, Dixieland, Chicago, Swing). 2. Transcribe a short solo (at least one chorus) from the Bop Revolution (Bebop, Cool Jazz, West Coast, Hard Bop). 3. Transcribe a short solo (at least one chorus) from the Avant-Garde (Modal Jazz, Free Jazz). 4. Transcribe a short solo (at least one chorus) from the Contamination (Jazz Rock, Fusion, Ethnic Jazz, World Music). 5. Transcribe a solo you particularly like.

15

An In-depth Examination of Patterns

2 AN IN-DEPTH EXAMINATION OF PATTERNS A pattern is a melodic cell which can be easily adapted to the harmony and rhythm of a specific musical moment and is often repeated over and over in improvisations. In other words, it is a styleme containing all the basics of a music genre as well as an artist's most relevant features. 2.1 INTRODUCTION Many textbooks contain lists of patterns resulting from the transcription of the most popular musicians' solos. You can find them grouped together either according to their historical period or their distinctive characteristics. These books prove to be helpful tools if you aim at mastering every single key while improving your memory. These are both necessary requirements if you wish to create your own sound within a specific music genre. The purpose of this chapter is to provide you with a critical guide to the use of patterns and it mainly focuses on the practical aspect of the issue. As a matter of fact: • as a student, you will be able to select yourself the patterns you prefer; • they must be short and convey a single, selfsufficient and easily adaptable idea. Your task will be then to analyse, pick out and skimp on the selected melodic cell; • this study is not not only conceived as the key transposition of a tune, but also as its arrangement according to many different conditions. 17

Ten Approaaches to (Jazz) Improvisation

2.2 MELODY PATTERNS We are now going to discuss the concept of melody pattern. In order to do so, we will restrict our analysis to the case of a soloist's arrangement primarily focusing on notes while keeping the selected phrase easily recognizable. Here is a recommended approach for you to follow: 1. Select a pattern, which is either used by an artist or belongs to a specific period in the history of music. Make sure it conveys a strong and easily adaptable idea. Be careful moreover to choose short and meaningful phrases. 2. Play and memorize your sequence paying close attention to its whole articulation as well as to the author's licks. 3. Transpose your pattern into every key or, at least, into the most common ones. 4. Play it moving diatonically firstly into C major, then into all the most widely used keys. 5. Arrange it according to the five basic types of chords (major, minor, dominant, diminished and semi-diminished). 6. You can replace the notes as well as change the direction (ascending to descending). However, be careful not to change the original rhythm chart nor the basics of the performance.

•

Fig. A: the pattern is clear ad well-defined.

18

An In-depth Examination of Patterns

•

• •

Fig. B: The sequence shows how to diatonically transpose the pattern onto another key while keeping its original characters intact. The order of notes can be inverted (Fig. C) and leaps can also be used (Fig. D). Fig. E shows you how to push your options to the limit by radically replacing the notes of your pattern. On live performances small changes both to the rhythm and the number of notes frequently occur. The most important thing, however, is to keep the nature of each phrase intact.

2.3 RHYTHM PATTERNS Another way to use patterns is to memorize their rhythm chart only. This is a very helpful tool especially if you aim at trying improvisation since it provides you with a ready rhythmic scansion. You can also beat once again the same notes on the selected sequence. These same patterns could prove useful at different times, whenever you find it hard to approach a solo. Here are some rhythm sequences that can be filled with notes. You can either use them as a whole or split them into single bars.

19

Ten Approaaches to (Jazz) Improvisation

2.3 CONCLUSIONS Since patterns are other performers’ statements, be careful. Remember they can be often used in songs made up of several chords (tonal and fast runs), while they require you to be more cautious with harmonies poor of chords (modal or ballads). Be careful, though, not to overdo with the use of sequences. Otherwise, you may sound predictable and gradually lose your creativity. As a caring teacher, be sure to increase or reduce practice in this field whenever needed.

20

An In-depth Examination of Patterns

EXERCISES 6. Choose four short patterns from solos performed by famous jazz musicians: 1) Tradition; 2) Bop Revolution; 3) Avant-Garde; 4) Jazz Contamination. Transcribe and transpose all of them into every key. 7. Apply the melodic figures you have learnt in this chapter (A, B, C, D, E) to the four transcribed patterns. Be sure to do that on the twelve major scales (Ionian mode). 8. Same as exercise 7 but on the twelve minor scales (Dorian mode). 9. Same as exercise 7 but on the twelve dominant scales (Mixolydian mode). 10. Same as exercise 7 but on the twelve diminished scales (T/S mode). 11. Same as exercise 7 but on the twelve semi-diminished scales (Locrian mode). 12. Choose a harmonic structure and improvise on it applying the melodic figures (A and B). 13. Use the melodic figures you have learnt in this chapter (C, D) to improvise over a harmonic structure of your choice. 14. Use the melodic figures you have learnt in this chapter (E, F) to improvise over a harmonic structure of your choice. 15. Use the melodic figures you have learnt in this chapter (G, H) to improvise over a harmonic structure of your choice. 21

Using Patterns in Musical Compositions

3 USING PATTERNS IN MUSICAL COMPOSITIONS The application of a pattern to the harmony (all chords) of a specific tune helps the soloist getting familiar with the pattern itself. It will be then easier for them to use it over and over again without making mistakes. 3.1 INTRODUCTION We have already discussed the use of a pattern, that is to say how to memorize a cell, deal with its diatonic transposition (one key) and chromatic transposition (all keys), as well as how to write down free notes on a rhythm chart. You are now going to learn how to use a sequence in rhythmic and harmonic contexts different from the original one. The unrehearsed adaptation of a pattern may in fact cause problems when you are required to use it in a context whatsoever. Here is a suggested method for mastering these techniques: • select a pattern and play it paying close attention to all chords its structure is made up of. Notice that the notes of the harmony must be adapted without regard to time; • repeat the same procedure for each of the patterns you wish to use, this time providing adaptation for the rhythm only; 23

Ten Approaaches to (Jazz) Improvisation

•

start your improvisation trying to combine the harmonic and rhythm characteristics of your pattern with original phrases.

Here is an example (an extract from the Charlie Parker's theme Moose the Moche) to show you how a sequence can be arranged according to a specific harmony and shifted to other bars. Later on you will learn how to adapt the rhythm to the same pattern and you will also be able to invent different figures. Finally, you will simulate a solo over a blues structure while exploring its numerous application possibilities. It is worth remembering that, unlike melody arrangement, rhythm adaptation is not always necessary, since it tends to differ too much from the original piece. However when it comes to solos, rules are never too strict and the use of patterns belonging to a specific time in the history of music allows you to turn to an alphabet you already know, which is also easy to understand both for musicians and non-musicians.

24

Using Patterns in Musical Compositions

3.2 APPLICATION

• •

Look carefully at the first stave containing Parker's cell as well as its harmony. Figure B is similar to Figure A, but for the fact the attention is focused on bars no. 2 and no. 4 of the (harmonic) turnaround. 25

Ten Approaaches to (Jazz) Improvisation

•

•

•

•

In Figure C the same procedure as above is applied to every single bar. Notice that the last note of the progression was left out, since it was already present in the bar used to strengthen the whole turnaround. Figure D shows a rhythmic arrangement. The first quaver are, in fact, unsyncopated; chromatic notes (including passing notes) are lengthened. The second half of the cell is polyrhythmic used (a 3/4 figure over a 4/4 metre). Figure E shows a true improvisation with a pattern used all along the chorus of a blues in F. It begins with a faithful repetition of the pattern (bars no. 1 and 2), which is in turn repeated even though 3/4 anticipated (bars no. 2 and 3). The rhythmic scansion of the pattern remains intact all along bar no. 4, except for the final part, where it takes the form of a descending phrase shaping itself around the harmony. In bar no. 5 the pattern is 2/4 postponed and it fits the chords as usual. In bar no. 7, a brand new melodic cell can be found. In bars no. 8, 9 and 10, the pattern, arranged in melody and harmony, turns into progression. Bar no. 11 doubles the pattern opening while adapting it to the context; in bar no. 12, it finally draws to a close. Figure A is a first example of HARMONIC arrangement onto a different structure (first four chords of a Rhythm Changes). It particularly focuses on bars no. 1 and no. 3. Notes were arranged as required by chordal degrees. Chromatic passing notes (for instance the 3rd and the 5th, C#) stay the same and tend towards the degree of the employed chord.

26

Using Patterns in Musical Compositions

EXERCISES 16. Select a tune either from the Real Book or among those you have already learnt (be sure chord changes do not occur too often). Now choose a pattern from the melody and use it on every single bar after the necessary harmony arrangements have been made. 17. With the aid of either a metronome or a backing track, use a different pattern. Be careful the necessary rhythm arrangements required by the structure are made before you use it. Also remember you do not need to practice on every single bar and you can begin from different points within the bar itself. 18. Choose a pattern and a slow tune (ballad). Play it from the beginning to the end (melody and solos), trying to enhance its characteristics (one repetition every four bars at least). 19. Choose a pattern and a medium tune (swing). Play it from the beginning to the end (melody and solos), trying to enhance its characteristics (one repetition every four bars at least). 20. Choose a pattern and a fast tune (fast swing or latin). Play it from the beginning to the end (melody and solos), trying to enhance its characteristics (one repetition every four bars at least).

27

Using Strong Notes to Improvise on Melodies

4 USING STRONG NOTES TO IMPROVISE ON MELODIES Using strong notes to improvise on melodies means arranging the main theme according to guide-tones 4.1 DEVELOPMENT AND CREATION Lee Konitz advised his students to keep practicing the same melody for a long time (which means playing it slow ten times at least) in order for them to achieve the greatest inspiration as possible, before focusing on chords. He also suggested that they obtained sung recordings of the piece. The arrangement of a melody always involves both elaboratio and inventio. • The workout process produces a paraphrase of the main melodic line with a more or less definite change achieved by using ornaments (L. Armstrong, A. Tatum, R. Eldridge). • Invention gives birth to phrases only sharing the harmonic structure (for instance the one used by Bebop jazz performers) with the main theme. If you wish to perform solos drawing inspiration from the melody, an interesting method is based on determining the most significant notes (i.e. strong notes), where the major melodic pillars rest. In order to do so, assign a long duration to each one of your notes (for example halfnotes or whole notes) before writing them down. Then play them until you get 29

Ten Approaaches to (Jazz) Improvisation

them perfect. Start now to improvise focusing on the notes. It will be impossible for you to lose sight of the melodic sense of your tune. 4.2 A STEP-BY-STEP GUIDE TO THE STRONG NOTES METHOD The word "strong" generally refers to the significant notes of a melody, i.e the notes which are mostly learnt. These notes help you memorize the melodic flow while suggesting you proper creative clues. Obviously, the research for significant notes can be accomplished by instinct, that is to say singing. The most important notes are those you choose should be. But, if you prefer a more practical approach, here is a less spontaneous though equally effective procedure. Whenever you need to figure out what the significant notes of a melody are, you must consider three essential elements: a) their length; b) the crucial position they occupy within the phrase or bar; c) the fact melodic accents affect the importance of certain notes compared to others. LENGTH A long note always plays a key role in a melody and the composer normally chooses to use it within the piece where no risk of dissonances might occur.

30

Using Strong Notes to Improvise on Melodies

According to this definition, the first (Ab), second (Db) and last (E) notes of this well known standard must then be strong notes, since they all are long and have a relevant (melodic) value. POSITION Whenever you have to choose a note, another key element you must consider is its crucial position (for example first beat of the bar) within the phrase (either at the beginning of a progression or wherever it enhances the harmonic flow).

In this case emphasis can be put on G (bar no. 3) and F (bar no. 5). Despite the fact they are both quarter notes (hence not long), they indeed fall within a melodic progression beginning from Ab (bar no. 1) and going through G (bar no. 3), F (bar no. 5) and E (bar no. 7). Finally, be careful not to 31

Ten Approaaches to (Jazz) Improvisation

undervalue the beat position of the notes, which draws a greater attention on the melody itself. MELODIC ACCENTS As you can see on the above-mentioned melody, relevant melodic elements lay next to ones in a less relevant position. Nonetheless they play a key role within the phrase and are therefore useful in order to achieve the desidered effect.

In bars no. 4 and 6 you can find notes on the second movement (C and B) which portray the cases we have just discussed. When you listen to the melody, these notes stand out, even though they are not long or in a relevant position within the measure. The syncopation acts on them producing a melodic natural accent which keeps them in the foreground. Gathering the notes shown in the previous examples, you will therefore obtain a melodic line similar to this one:

32

Using Strong Notes to Improvise on Melodies

as you can see all three previously discussed cases have been considered and used in a single melody. Despite that, the piece is still easily recognizable. 4.3 IMPROVISATION WITH STRONG NOTES: A SUGGESTED PROCEDURE 1. Play the obtained melody as written (strong notes only) over and over, until you get it perfect. 2. Now work on the strong notes by adding embellishments (acciaccaturas, mordents, turns, trills, etc.) as well as any element that can well define your style. 3. Use a passing note, (preferably) diatonic or chromatic (half tone above or below) to link your notes. If you choose a chromatic passing note, play it fast so as not to make the intonation heavier. 4. As above, but using 2 notes. 5. As above, but using 3 notes. 6. As above. This time feel free to use groups of short notes (1 to 5). 7. Try to play freely, always keeping an eye on strong notes 4.4 CONCLUSIONS You can greatly benefit from using this method, which will moreover make the memorization of the harmonic structure of a piece much easier. Those who find this subject particularly hard will appreciate it. On the other side, we must recognize it could potentially reduce creativity since it suffers from the restrictions imposed by strong notes, which are so heavily used in repetitive and unoriginal solos. In order to balance such a guided solo without losing sight of the harmonic structure, just rely on your good taste and common sense. 33

Ten Approaaches to (Jazz) Improvisation

EXERCISES 21. Pick a piece of music and find out what its strong notes are. Now improvise on it only by using ornaments such as acciaccaturas, mordents, turns, trills. 22. On the same piece as above, use 1 or 2 passing notes to link the strong notes. 23. On the same piece as exercise 21, use groups of passing notes (3, 4, 5, etc.) to link the strong notes. 24. Play the piece freely always calling attention to the strong notes. 25. Use the strong notes method on the following pieces: a ballad, a medium, a fast, a peculiar rhythm (latin, ethnic, original...).

34

Improvising with Thematic Cells

5 IMPROVISING WITH THEMATIC CELLS In order to change the main theme of a piece, you need to use and change the cells it is made up of. 5.1 INTRODUCTION This interesting procedure - firstly advocated by Sonny Rollins - consists in using the cells of the theme as a base for the whole solo. You need indeed to pick an easily recognizable melodic cell (one or more up to three) and constantly vary it also providing an adaptation to the harmonic structure. This is a highly effective approach as well as a good alternative to the ones discussed so far. Finally, note that during the solo the attention is not called to the whole theme, but to one or more small parts of it. 5.2 A STEP-BY-STEP GUIDE TO THE USE OF THEMATIC CELLS The first thing you need to do is picking a melodic passage. This must be self-sufficient and easily recognizable, while retaining a clear connection with the original theme. Here are the ways you can use the selected melodic passages: • transposed repetition: the phrase is repeated exactly the same as the original but on a different pitch (for example, to achieve out effects); 35

Ten Approaaches to (Jazz) Improvisation

• • • • •

• • •

•

• •

•

harmonic repetition: the phrase is repeated literally, but built on different chords; diatonic repetition: same phrases starting on different degrees of the same scale; melodic repetition: same notes, different rhythm; rhythmic repetition: different notes, same rhythm; polyrhythmic repetition: a sequence of arranged cells producing a different time, but synchronized on the basic time; retrograde repetitions (mirror reflections): same notes, but the motives are turned backwards; repetitions in different registers: same phrase but played in different octaves; inversion and contrary motion: phrases are turned upside-down. The same effect can also be achieved by alternating rising and falling intervals; diminution: same phrase but the durational value of each note is divided by the same amount; augmentation: same phrase but the durational value of each note is multiplied by a variable; repetition with additional notes: phrase similar to the original but additional notes are used, the phrase must be easily recognizable; diminution: phrase similar to the original but some notes are delated. The phrase is still easily recognizable.

36

Improvising with Thematic Cells

MODELS FOR MOTIVIC DEVELOPMENT

Each one of these techniques can be used whenever you wish melodic cells to guide your improvisation. If you find it hard to start playing a solo, begin by selecting a phrase as it is written. Then simply repeat it starting at a different degree (3rd, 5th, etc) or at a different point in the measure and finally use one of the suggested transformations. Sometimes the repetition of a melodic cell in a rising or falling progression (diatonic or chromatic) proves to be very effective. However, the best solution will be the one you choose yourself. The BASIC IDEA is a technique based on the repetition and development of a melody throughout the solo. Despite the fact the material 37

Ten Approaaches to (Jazz) Improvisation

doesn't belong to the melody, it nevertheless falls into the field we have just discussed since its development is very similar to the one of the other techniques. 5.3 CONCLUSIONS Since the material is suggested by the theme itself, improvising upon elements which belong to the original melody may have important effects: an enhanced respect for the composer (cherished both by the public and the critics), a firmer grasp of the soloist's purposes (the listener may have several points of reference), as well as motivated and styleappropriate ideas.

38

Improvising with Thematic Cells

EXERCISES 26. Select a piece you know well enough from your repertoire (or from the real book). Now start performing DIATONIC, CHROMATIC and HARMONIC transformations upon it. 27. Same as exercise 26, but using RHYTHMIC, POLYRHYTHMIC, DIMINUTION and AUGMENTATION. 28. Same as exercise 26, but using MELODIC RETROGRADE, CONTRARY or ALTERNATING MOTION and the CHANGE OF REGISTER. 29. Same as exercise 26, but using DELATION and ORNAMENTATION. 30. Same as exercise 26, but using all the aforementioned techniques.

39

Playing with Scales

6 PLAYING WITH SCALES This figure of improvisation applies a specific scale to every single chord the harmonic structure is made up of. 6.1 MODAL PROCEDURE As far as it concerns the modal procedure, it is less important for you to figure out the connections of the harmonic structure, than the nature of every single chord as the scale will be used on them. It is therefore necessary for you to perfectly master the scales as well as the chord progression, since this procedure aims at performing each chord in a different mode. Playing on scales proves to be much more effective within coherent harmonic contexts, characterized by broader sequences of atmospheres, while it is impossible when there are plenty of chords performed at a fast time. 6.2 AN EXAMPLE Here is how scales applied to the harmonic structure of So What by Miles Davis look like. This modal tune is only made up of two chords in an AABA structure.

41

Ten Approaaches to (Jazz) Improvisation

Now, let's take a look at the example here below. This phrase uses improvisation with scales switching from one chord to the other simply by changing the mode while keeping the schema of the scale intact.

It's remarkable how in the aforementioned example chord variations are always shown by chordal notes (Eb in bar no. 2, 1st degree of Ebm9; F in bar no. 3, 2nd degree of Dm9). This is crucial whenever you wish to avoid strong dissonance, which would occur for sure if you lingered on the scale passing notes, instead. A borderline case is represented by the closing note (B, 6th degree in Dm9) which produces a very strong sound as this degree doesn't belong to the basic chord. However, since the average listener is already familiar with the 6th degree, this could come as much of a surprise. In all these cases you will need to adjust the basic voicing as well (Dm6/9).

42

Playing with Scales

EXERCISES 31. Analyse the following harmonic chart. Now identify all scales and root position voicings. SO WHAT (Miles Davis) harmonic structure AABA A

Dm9 | % | %

|%

|%

|%

|%

|%

|

A

Dm9 | % | %

|%

|%

|%

|%

|%

|

B

Ebm9 | % | %

|%

|%

|%

|%

|%

|

A

Dm9 | % | %

|%

|%

|%

|%

|%

||

32. Now improvise on the same piece as exercise 31 only using the notes scales are made up of: eighth notes (duplets), triplets and sixteenth notes (quadruplets). 33. Freely improvise on the piece: any figure can be used, but linear sequences must be predominant.

43

Playing over Chords

7 PLAYING OVER CHORDS Playing over chords means improvising mainly using the notes these are made up of. By doing so, you will choose a tonal rather than a modal procedure. 7.1 AN EXAMPLE If playing with scales tends to eliminate harmonic connections (modal procedure), playing over chords requires you to understand functions and links of chords according to their tonic. This technique is the one traditional jazz performers (Bop) seem to like best. They, indeed, use passing chromatic notes to link chordal degrees. Playing over chords means playing arpeggios melodically and freely over chords in their position (voicings). That allows you to make interesting sounds, especially on tensions (9th, 11th, 13th). Moreover it minimizes the possibility of mistakes. A chord improviser will create a sound which is mainly tonal. Sentences will therefore begin and end with scale fragments, conveying a distinct lyricism, even though mainly obtained by arpeggios. Now look carefully at the example shown below:

45

Ten Approaaches to (Jazz) Improvisation

Excerpt from Charlie Parker’s solo in AU PRIVAVE (VERVE 8010) In bar no. 1, the phrase has a melodic opening (on the 7th and 9th degree of the Gm). It then goes on with an arpeggio over the basic voicing finally ending on the G note (in C7). In bar no. 2 (the 5th degree used as a passing note is altered and becomes 5#, even though it is transcribed with a b6th) the interesting melodic cells still use chordal notes. The melodic ending with a major second on the 6th degree is remarkable. In order for this procedure to be successful and make the phrases more significant, you need to embellish your arpeggios by adding short, melodic linkage elements. Playing arpeggios only over voicings would produce a static, dull effect. Whenever you choose a polyphonic instrument, you can also use other ornaments, such as groups of chords (always to be added to the voicings) so as to make your piece more pleasing. When practicing, this method is often applied along with others already discussed in the previous chapters. By interacting with the soloist’s own style, they will be helpful to create always new professional solos. In addition, listening to pieces performed by jazz musicians of the 50s, such as Cannonball Adderley, Clifford Brown, John Coltrane, Miles Davis, Red Garland, Art Pepper, etc., can be very helpful, since they represent inspiring models for the application of this technique.

46

Playing over Chords

7.2 A STEP-BY-STEP GUIDE TO THE APPLICATION OF THIS METHOD After having harmonically analyzed your piece, work on getting yourself acquainted with voicings. Instead of considering one chord at a time, build your phrases by linking the progressions one with the others paying close attention to the major as well as the minor cadences. By stressing the 3rd and 7th, which are essential degrees, you will also highlight the harmonic movements. To put emphasis on tensions means to enhance the harmonic richness of the piece as a whole. 1) in order for you to master this technique, the first step consists in gaining a perfect control of the above-mentioned degrees. Start by memorizing the following exercise:

2) now change it as shown below:

47

Ten Approaaches to (Jazz) Improvisation

**The exercise continues in all keys (you can replace the bichord on the left with a dominant chord). 3) The following exercise, based on the voicings (dominant) of the 13th degree, is meant to be done in all measures, as shown by the model in bars no. 1 and 2. When you feel confident enough, try to improvise only by using the notes of the voicings you have just learnt. You can replace the left hand bichord with a dominant chord.

4) The most significant progressions in tonal music are the MAJOR and MINOR cadences. Use the aforementioned models on the shown below chart. Then transpose your piece into all keys.

48

Playing over Chords

Chords are written in free notes for piano, organ, guitar, free basses accordion and other harmonic instruments. If you are using a standard bass system instrument, you can refer to the bass combinations shown below, only using low registers (lacking high harmonies). Dm7 G7 Cj7

= = =

Dm + Am GM + Em Cm + Gm

Dm7(b5) = G7alt = Cm7 =

Fm + Fd G7 + EbM Cm + Gm

7.3 HOW TO ADDRESS A PIECE • Analyze carefully the harmonic structure of your piece and learn all its voicings. • Play arpeggios up and down through your piece (don’t forget inverted chords). In order to do so, use a free rhythmic figure made up of groups of four ascending or descending notes each. • Start to improvise freely using only the notes voicings are made up of. • Improvise freely over chords, using chromatic/diatonic passing notes to link the voicings one to the others.

49

Ten Approaaches to (Jazz) Improvisation

EXERCISES 34. Choose a piece of music. Once you have identified all voicings, play their notes both simultaneously (harmonic position) and in sequence (melodic position). Don’t forget to do the same with inverted voicings. 35. Play the voicings you have found starting each time at a different position, as shown below (start for instance at Cmaj and use it throughout the harmonic structure of the piece).

36. Start to improvise over the same piece by using only the notes voicings are made up of. 37. Do the same as exercise 36, linking the notes voicings are made up of using chromatic/diatonic scale fragments.

50

Playing with Approach Notes

8 PLAYING WITH APPROACH NOTES Playing with approach notes means using chromatic or diatonic passing notes to approach the main notes (i.e. strong notes) of a melody 8.1 INTRODUCTION This system arose spontaneously among jazz performers and reached its climax during the Bebop era, when musicians used chromatic notes to obtain their harmonic degrees (chromatic approach). This procedure leaves aside modal scales while enhancing chordal notes, which are approached by using short sequences of notes (a semitone above or below) that are generally chromatic. 8.2 A STEP-BY-STEP GUIDE TO THE STUDY OF THIS METHOD The first thing you need to do is figure out what the main notes (strong notes) of your chords or melody are. For the sake of simplicity, the 3rd and the 7th degrees of a series of chords descending by fifths are used in the here below examples.

51

Ten Approaaches to (Jazz) Improvisation

A very common ascending chromatic approach as well as a rarely used descending chromatic approach are shown below:

The example below illustrates a seldom used ascending diatonic approach as well as a very common descending diatonic approach:

The combination of different methods privileges the ascending chromatic as well as the descending diatonic:

52

Playing with Approach Notes

The diatonic approach, which is more tonal than the chromatic one, requires a real knowledge of the chord scale you need to use. In static situations it normally works better than chromaticisms. You can also choose more complex approaches all resolving to the C note, as shown below in the example. Whatever technique you prefer, anyway, it will help you achieve a well recognizable sound of your own.

8.3 SOME EXAMPLES 1. This is from the theme Ornithology by Charlie Parker. Notice that the 6th note of the measure is preceded by a diatonic note above (Bb) and a chromatic note below (Ab). 2. This is an extract from the piece Kim (Verve 8005), always by Charlie Parker. The opening is characterized by an ascending chromatism (F# on G). The second measure contains a chromatic ascending approach, characterized by groups of three eighth notes each (D, Eb, E – C, C#, D) which appear on any of the four 53

Ten Approaaches to (Jazz) Improvisation

quarter note beats of the measure following a polyrhytmic criterion. 3. This is an example taken from the piece Prime Lacrime (Kappadue, RAI1, 1978) by Gorni Kramer. Look carefully at the third beat of the measure. You can find an approach to the b5° of the Bb° chord (i.e. E) with F# (descending diatonic approach) and D# (ascending chromatic approach).

54

Playing with Approach Notes

EXERCISES 38. Transpose the here below chart into all keys (use approach notes over chordal notes) for all MAJOR chords.

39. Transpose the chart shown in Exercise 38 into all keys for MINOR chords (C, Eb, G, Bb). 40. Transpose the chart shown in Exercise 38 into all keys for DOMINANT chords (C, E, G, Bb). 41. Transpose the chart shown in Exercise 38 into all keys for DIMINISHED chords (C, Eb, Gb, A). 42. Transpose the chart shown in Exercise 38 into all keys for SEMIDIMINISHED chords (C, Eb, Gb, A). 55

Ten Approaaches to (Jazz) Improvisation

43. Play a piece of music trying the following methods to approach strong notes: - chromatic (ascending); - diatonic (descending); - both of the previously mentioned approaches (asc./desc.); - chromatic with several notes (ascending/descending); - diatonic with several notes (ascending/descending). 44. Improvise on the same piece as Exercise 43 (or another if you prefer) using the approaches discussed so far.

56

Improvising with Phrases

9 IMPROVISING WITH PHRASES This procedure, drawn from the oral tradition (question and answer), pays a special attention to voice tones and underlying inner intentions. 9.1 PHRASES A question is a spoken sentence whose last syllable is characterized by the pitch of the voice getting higher. An answer, on the other hand, is marked by a falling pitch on the end. If we applied this principle to improvisation, we could state the following: each musical improvised phrase should be connected to the preceding one (answer) as well as provide an incipit for the next one (question). So as to better analyze this technique, we will use the word “phrase” only referring to a sequence of notes which has a musical meaning of its own and is delimited by two significant empty spaces, marking each one a pause. In order for this method to be efficient, you must, then, isolate a phrase and take the following steps: 1. listen to the phrase; 2. take away a single small cell from the final part of the phrase; 3. use the cell to create a new lick evoking a completely new meaning; 57

Ten Approaaches to (Jazz) Improvisation

4.

go back to the first step after a proper pause.

This procedure allows the solo to constantly evolve and strengthen itself in its entirety by establishing a strong link between the elements it is made up of. By doing so, it will be easier for you to develop new ideas while providing the listener with a concrete and interesting interpretation. Playing with phrases gives rise to three different procedures each one having its own peculiar nuances. 9.2 QUESTION AND ANSWER The most natural procedure consists of: • A question sentence (whose final part implies a follow-up) followed by: • an answer (whose conclusion relieves the tension created by the question). Question and answer have very similar features and need to be distinguished so as to be clearly understood. Look carefully at the example shown below: to every rising sentence there corresponds a similar falling sentence.

9.3 CONNEXIONS A typical evolution of improvisations based on the question/answer method consists of using the final part of a phrase as a brand new melodic cell. It is 58

Improvising with Phrases

therefore crucial to use part of the preceding phrase as a starting point for the new lick. The example below (similar to the one shown above) closes with a small series of notes (bar no. 2). These are then used at the beginning of the new phrase (bar no. 4). Another appendix (bar 5 and 6) will provide the means for the new creation.

9.4 SHORT RIFFS This procedure is different from the concept of melodic evolution, but it nonetheless deals with phrases to improvise. Riffing means repeating a particularly forceful phrase over and over (Count Basie perfectly mastered this technique). What matters is the repetition of a chosen riff as well as of its variations (normally doubled or increased fourfold) as following: • melodic: variation of the basic motive; • rhythmic: variation of the basic rhythm; • polyrhythmic: phrases start at different points within the measure in order to create more than a rhythm at a time; • harmonic: variation obtained by adapting a single lick to a progression of chords.

59

Ten Approaaches to (Jazz) Improvisation

•

• •

• •

Figure B: the motive shown in Fig. A is melodically changed making the phrase longer. Figure C: the motive shown in Fig. A is rhythmically changed. Figure D: the cell at the beginning is treated polyrhythmically. The phrase shown in Fig. A here lasts 5/4 and is repeated starting at different points within the bar (on the 2nd beat, on the 3rd beat and so on). Figure E: the motive of Fig. A is shown in a different pitch. Figure A: the motive is repeated every two bars.

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Improvising with Phrases

EXERCISES 45. Select a phrase from a famous piece of music and improvise on it by using the QUESTION&ANSWER method. 46. Use the same phrase and improvise on it by using the CONNEXION method. 47. Use the beginning of the same phrase to create riffs to be treated melodically. 48. Use the beginning of the same phrase to create riffs to be treated rhythmically. 49. Use the beginning of the same phrase to create riffs to be treated polyrhythmically. 50. Use the beginning of the same phrase to create riffs to be treated harmonically. 51. Select a motive and use all the discussed techniques to improvise on it.

61

Pentatonic Improvisation

10 PENTATONIC IMPROVISATION Pentatonic scales (i.e. musical scales with five degrees which do not contain semitones) are very popular in modern music/jazz for the lack of dissonant notes and linearity. 10.1 INTRODUCTION There has been much written about pentatonic scales. Here are some examples just to show you how to use natural progressions (major, minor), which can be easily adapted to any other pentatonic scale. 10.2 A SINGLE PENTATONIC SCALE REVOLVING AROUND A TONAL CENTRE A pentatonic scale will perfectly work over any chord diatonically generated by a tonality. The MAJOR pentatonic contains the same notes as the MINOR, which however starts at different degrees. C Major Pentatonic A Minor Pentatonic

C, D, E, G, A A, C, D, E, G

Look carefully at the harmonic progression below: |C | Dm7 Em7

| Bm7b5 E7 | Famj7 G7

| Am7 Am/G | Am7

63

|Fmaj7 |Dm7 G7

| ||

Ten Approaaches to (Jazz) Improvisation

Note that it contains all the chords generated by the C major and its relative minor (Am). Dissonances are present in the E7 chord (G# instead of the pentatonic natural G), but they are perfectly acceptable since they frequently occur in blues. Moreover the exclusive use of the C major pentatonic while improvising, will make the employ of chords easier. Your ears will suggest you what the degrees that really count are. The outside effects produced by this solution never sound too strong. 10.3 PENTATONIC SCALE REVOLVING AROUND A TONAL CENTRE WITH DISSONANCE If you wish to make the dissonance more striking, you can use the major pentatonic built on the 5th degree of a key (for instance, in the key of Cmaj you can use the Gmaj pentatonic). That does not have difficult degrees to deal with, except for the 7th major (B in Cmaj), which creates a rather sophisticated and modern tension. However, since this degree does not work well with all chords of the tonic key, be careful when using it. G Pentatonic = G, A, B, D, E (in Cmaj) (it does not work well over Dm, Fmaj) 10.4 HOW TO USE PENTATONICS FOR OUTSIDE PLAYING Modern improvisers often weave in and out of a key in order to create short off-key lines, which they usually bring back into the chordal degrees shortly after. Pentatonic scales are especially useful when it comes to side-stepping. The example below shows you how from a major pentatonic (C) you can easily shift up to the same scale a semitone above (C#).

64

Pentatonic Improvisation

The same example would also work with a pentatonic a semitone below. 10.5 CONCLUSIONS The use of pentatonic scales should not be undervalued, since the lack of linearity may cause fingering problems difficult to tackle. This is anyway a very good method and the final result is generally much more convincing than the quality of the phrase itself (contrary to what happens when using scales to improvise). Its adaptability to several music genres has for sure contributed to its success. .

65

Ten Approaaches to (Jazz) Improvisation

EXERCISES 52. Use the shown below charts (C pentatonic= C, D, E, G, A) on the MAJOR pentatonics in all keys

...similar

...similar

...similar

...similar

...similar

...similar

...similar

...similar

66

Pentatonic Improvisation

53. Use the same charts as exercise 52 on the MINOR pentatonics (C pentatonic= C, Eb, F, G, Bb) in all keys. 54. Use the same charts as exercise 52 on the DOMINANT pentatonics (C pentatonic= C, D, E, G, Bb) in all keys. 55. Use the same charts as exercise 52 on the BLUES scales (C pentatonic= C, Eb, F, F#, G, Bb) in all keys.

67

NOTES