07 practice techniques
TRANSCRIPT
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PracticeTechniques
FromFundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow
Dr.MarkWatkins
DirectorofJazzStudiesBrighamYoungUniversity–Idaho
©2010byMarkWatkinsMaterialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout
writtenpermissionfromtheauthor.
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PatternsAlmosteverythinginmusiccanbeconsideredapatternofonetypeoranother.Therearemelodicpatterns,rhythmicpatterns,andpatternsofbothmelodyandrhythm.Recognitionoftheprincipleofpatternsisancient.Themedievalcomposeridentifiedatalea(rhythm)andatonor(pitch),whichtheymanipulatedinvariouscombinationsandfragments.Soitiswithjazzimprovisation.Weusescaleandarpeggiofragments,patternsstandardtothetradition,andthosewecontrive.Patternscanbecategorizedintothreetypes:
1. Circular2. Digital3. Melodic
Circularpatternsaregenerallybasedonsomechord/scaletype.Theycanbeplayeduptherangeofone’sinstrument,downandbackagain.Theymakealoopofmelodicpossibility.Thistypeisinvaluableforgainingmasteryofaharmonyandaremostoftenusedisfragmentswhenappliedtoimprovisation.Example(fromJerryCoker’sPatternsforJazz):
Digitalpatternsarelinkeddirectlytoascale.Whenthedegreesofascalearenumberedthesenumbersaredigits.Digitalpatterncanbeanalyzedaccordingtothesedigits.Example(JohnColtraneGiantSteps):
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Melodicpatternsdon’tfitintoeitheroftheabovecategories.Theycannotbeplayedinacircularfashionandtheirnoteswillnotlendthemselvestodigitalanalysisduetoachromaticelementnotwithintheconfinesofaknownscale.Example(CharlieParkerConfirmation):
Therearemanyvalidreasonstostudyandmemorizepatterns.
1. Theyteachusthejazzlanguagelikeavocabularylist.Wecanlearntospeakbymimickingjazzmastersaswelearnedtospeakbylisteningandmimickingourparents.
2. Theyteachusjazztheory.Whenanalyzedweseetherelationshipsbetweenharmonyandmelody.Welearnwhatworkstheoreticallyandwhysothatwecanadaptthisknowledgetootherimprovisationalsituations.Practicingpatternshelpsustointernalizetheoryandtakesitbeyondtheintellectualtothephysical.Thecombinationofmindandbodyhelpsthelanguagetoenteroursoul.Ithelpsustousewhatweknow.
3. Theyhelpuslearnjazzstylebymimickingthemannerinwhichthenotesareplayed(articulation,subdivision,rhythm,etc.).
4. Theyserveasanear‐trainingtool,especiallywhenpatternsaretranscribed(liftedfromarecording,writtenornot).
5. Theyhelpuslearncharacteristicsofspecifictunes.Amidstthesimilaritieseverytuneisunique.Wecanlearnsuccessfulwaystoimproviseonatunebylearningwhatothershavesuccessfullydone.
6. Theyserveasaspringboardtogenerateotherideas.Onecanthinkofapatternandplayavariationorsomethingquitedifferent.Thisgeneratescreativityratherthanstiflingit.Thespringboard,likeadiverbeingthrustintotheair,cangiveusimpetuswhenweareatalossduringanimprovisation.
7. Theyhelptodevelopfacilityoverourinstrument.Whetherthepatterniscircular,digital,ormelodic,masteringpatternsimprovesourabilitytomakeourinstrumentsplaywhatwehear.Withouttheskillfrompatterns(scalesandarpeggiosincluded)wehavenofreedom.
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8. Theyhelptodrawinthelistener.Soloswhereeverynoteisconnectedtoeveryothernoteinuniquelyoriginalwaysaredifficultforaudiencestorelateto.Whensomethingfamiliarisplayedthelistenerfeelsmoreapartofwhat’sgoingon.(Overuseofknownpatternsisequallyasobjectionableorworseandwillsoundtrite,unoriginal.)
Thefollowingsectionsinclude5PracticeTechniquesorwaystoworkoutpatternsandusethemtoenhancejazzimprovisation.Theseinclude:PracticeTechnique#1:CircularPatternsPracticeTechnique#2:SameModeSequencesPracticeTechnique#3:Patternin12KeysPracticeTechnique#4:ApplicationPracticeTechnique#5:ChordProgressionPracticeTechnique#6:IndependencePracticeTechnique#7:ImprovSoloComposition
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PracticeTechnique#1:CircularPatterns
(Example:CMajor,Saxophone)Whenpreparingtoimproviseonatuneitisadvantageoustoworkovereachchordinthecomposition.ThefollowingexamplesareinthekeyofCMajorbutcanbeadaptedtoeverykeyandtoalmostanychord/scalequality.Circularpatternsallowrepetition.Generally,patternsshouldencompasstherangeofonesinstrumentfromthelowestnotewithinthekeyathandtothehighestreasonablenote.Patternscanstartonthelowestnotethenproceedtothehighestandbackortheycanstartontherootandprogresstothetop,tothebottom,andbacktotheroot.Itisessentialthattheinstrument’sfullrangebedevelopedwithequalproficiency.Allpatternsaremelodicand,whenplayedwithanacceptablejazzstyle,canbeappliedtoimprovisation.Seldomarewholepatternsplayedintactbutfragmentsthereofpermeatetheliterature.RangeNotesinthekeyofCMajoronthesaxophoneinclude:
Practiceallpatternswiththefundamentaljazzarticulation.(Windinstrumentstonguetheupbeat,slurtothedownbeat;rhythminstrumentsplayslurredwithevenemphasisoraslightaccentonupbeats.Refertothesectiononarticulation.)Otherarticulationsmaybeappropriate;onecangainknowledgeregardingarticulationthroughconcertedlisteningtomastersandthroughrecordingandlisteningtooneself.5‐notePatternStartthepatternoneachscaledegreeandrepeatuntilcomfortable.Alwaysuseametronome;whenmediumswingtemposareemployed,clickonbeatstwoandfour.Startingoneachdegreehelpsflexibilityandavoidsthemagnetismofroot‐to‐rootscalepractice.Thisexercisealsohelpstostrengthenextremeregisters(lowsandhighs)andotherareasoftechnicalconcernbyfocusingonsmallunits.
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9‐notePatternThisexerciseisthesameasthe5‐notepatternbutconcentratesonalargerunit.
FullRangeSclae
3rdsHalfOctave
3rdsOctave
3rdsFullRange
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Alternatedescendingpattern:
4thsHalfOctave
4thsOctave
4thsFullRange
Onecancontinueinlikemannerwith5th,6th,7th,andoctaveintervals.Pattern1Experimentwitharticulationpatterns.
ht=halftongueorghost
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Patterncontinues.
Pattern2
Pattern3
Pattern3canbeappliedtotripletrhythms.Pattern4
Thismelodicconceptcanbeadaptedtotheintervalofa5th.Pattern5
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Pattern6
Pattern7
Thepreviousthreepatternscanbeinvertedthus:
Pattern8
Patternsthatareusefulfordevelopingone’sproficiencyandforapplicationtoimprovisedsolosarevirtuallyendless.Therearemanygreatsourcesincludingmanyfrominstrumentspecificclassicaltechniqueexercises,methods,etudebooks,etc.AfavoritesourcetojazzmusiciansisJerryCoker’sPatternsforJazz.Certainlymuchcanbeacquiredthroughactivelisteningandthroughone’screativeimaginationgivensufficientexperienceintheidiom.
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PracticeTechnique#2:SameModeSequences
(Example:Major,Trumpet)Jazzimprovisationoftenrequirestheperformertomovequicklyfromchordtochord.Eachchordinacompositioncancontainitsownuniquespectrumofsound.Theperformermayhaveto“shiftgears”so‐to‐speakandutilizeadifferentauralandphysicalconditionforeachharmony.Practicingmovementfromkeytokeywithinthesamechord/scaletypehelpstomakethekeysandqualitiesindependentwithoutreferencetoacrutch.Technique#2canhelptheperformerinternalizethetheoryofaparticularchord/scaleandtoprogresstowardstherealizationofchordprogressions.Onemustthinkofdominantasdominantnotmajorwithaflat7;onemustthinkofdorianminorasdorianminorandthinkofthemajorkeysignatureawholestepbelow.Theseandothermeanstorecognizechords/scalesaresuccessfulasafirststepbutultimatelyneedtobesupplantedwithrealknowledgeandfacility.Thefollowingexamplesaremajorbutshouldbeappliedtoanychord/scalethatoneisincorporatingintohisorherrepository.Itisimperativeforthestudenttousethistechnique,somethingsimilarorderivedfromthistechnique,inordertorealizetheinitiativedescribedabove.Therearethreepartstoconsider.Thestudentiswelcometoexplorewhicheversectionismostappropriatetodevelopcurrentlevels.
Part1:Lastnotessustaingivingtimetothinkofthenextkey.Part2:Moreadvanced,skippingimmediatelytothenewkeymakesthemindandbodybehave
inamannermoresimilartorealizingachordprogression.Part3:Thissectionexploresrootprogressionotherthanthecircleof5ths(cycleof4ths).
Determinethereasonablerangeofyourinstrument.Forthisexample,thetrumpetrangeoflowGtohighDismaintained.Certainly,ifoneisextendingone’srange,thosenotesshouldbeincluded.Range
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PART1Ascending/Descending(Sustain)Pairs:LowRegister
Continuethroughcycle:Ab‐Db,Db‐Gb(F#),F#‐B,B‐E,E‐A,A‐D,D‐G,G‐C
Pairs:HighRegister
Continuethroughcycle:Ab‐Db,Db‐Gb(F#),F#‐B,B‐E,E‐A,A‐D,D‐G,G‐C
Fours:Low
Continuethroughremainingsets:Ab‐Db(C#)‐Gb(F#)‐BandE‐A‐D‐G
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Fours:High
Cycle:Low
Cycle:High
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Descending/Ascending(Sustain)Pairs:Low
Continuethroughcycle:Ab‐Db,Db‐Gb(F#),F#‐B,B‐E,E‐A,A‐D,D‐G,G‐C
Pairs:High
Continuethroughcycle:Ab‐Db,Db‐Gb(F#),F#‐B,B‐E,E‐A,A‐D,D‐G,G‐C
Fours:Low
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Continuethroughremainingsets:Ab‐Db(C#)‐Gb(F#)‐BandE‐A‐D‐G
Fours:High
Continuethroughremainingsets:Ab‐Db(C#)‐Gb(F#)‐BandE‐A‐D‐G
Cycle:Low
Cycle:High
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PARTIIAscending/Descending(Skip)Repeatallpreviousexercisesskippingtothenextscaleinsteadofholdingtheroot.Example:Pairs:Low
Continuethroughcycle:Ab‐Db,Db‐Gb(F#),F#‐B,B‐E,E‐A,A‐D,D‐G,G‐C
Descending/Ascending(Skip)Sameasabove.Beginpatterndescending.
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AscendingPairs:Low
Pairs:High
Fours:Low
Fours:High
Cycle:Low
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Cycle:High
DescendingRepeatallpreviousexercisesdescending.Example:Pairs:Low
Ascending/DescendingAlternationPairs:Low
Pairs:High
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Fours:Low
Fours:High
Cycle:Low
Cycle:High
Descending/AscendingAlternationRepeatallpreviousalternationexercisesdescending/ascending.Example:Pairs:Low
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ArpeggiosPracticeallpreviousexercisesusingarpeggios:
Ascending/Descending(Sustain)Descending/Ascending(Sustain)Ascending/Descending(Skip)Descending/Ascending(Skip)AscendingDescendingAscending/DescendingAlternationDescending/AscendingAlternation
Examples:Pairs:Ascending/Descending,Low(Sustain)
Pairs:Descending/Ascending,Low(Sustain)
Pairs:Ascending(Skip)
Fours:Descending/AscendingAlternation
PARTIIIAdditionalRootProgressionsAllprogressionsshouldascendanddescend.Allprogressionsshouldencompasstheinstrument'sfullrange.Applyallpreviousexercises:
Ascending/Descending(Sustain)Descending/Ascending(Sustain)Ascending/Descending(Skip)Descending/Ascending(Skip)
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AscendingDescendingAscending/DescendingAlternationDescending/AscendingAlternation
Chromatic:G,Ab,A,Bb,B,C,C#,D,Eb,E,F,F#
Example:Ascending
MajorSeconds:
Set1:G,A,B,C#,Eb,F;Set2:Ab,Bb,C,D,E,F#
Example:Descending/AscendingAlternation
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MinorThirds:
Set1;G,Bb,Db,E;Set2:Ab,B,D,F;Set3:A,C,Eb,F#
Example:Descending
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MajorThirds:
Set1:G,B,Eb;Set2:Ab,C,E;Set3:A,C#,F;Set4:Bb,D,F#
Example:PairsAscending
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PracticeTechnique#3:Patternin12KeysSelectapattern,analyze,memorizein12keys.AnalysisExample:
Writein12Keysthenmemorize:
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PracticeTechnique#3:Patternin12Keys
WORKSHEETSelectapattern,analyze,memorizein12keys.PatternAnalysis:
Writein12Keysthenmemorize:
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PracticeTechnique#4:ApplicationStartwithamajorkey(examplesareinCMajor).Useaplay‐a‐longrecording,preferablyinaswingstyle.Proceedwiththefollowingsteps:
1. Scalea. Ascending(root,3rd,5th,7th,9th)b. Descendingc. PhraseendingsIMPROVISE
FragmentsStartingnotesAscending/descendingEndings
2. Arpeggio
a. Ascending(root,3rd,5th,7th)b. Descendingc. 9thChordsc. PhraseEndingsIMPROVISE
FragmentsStartingnotesAscending/descendingEndingsMixwithscaleconcepts
3. PracticeTechnique#1:CircularPatterns
IMPROVISEFragmentsStartingnotesAscending/descendingEndingsMixwithscaleandarpeggio
4. BuildingBlockrhythms
a. Vocabularyb. ApplyConsiderationsIMPROVISE
Mixwithscale,arpeggio,andPT1
5. MelodicPatterns
IMPROVISE
ScaleTransposetoinstrumentkeyChangeoctavesaccordingtoinstrumentrangeAscending
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Descending
PhraseEndingsht=half‐tongueorghost
Improvise:fragments,startingnotes,ascending/descending,endings
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ArpeggioPracticearpeggios1357toallowforinversionsasbelow.Thisistheprimemethodusedwhenapplyingarpeggiostochordprogressionstofacilitateinversions(PracticeTechnique#5).Ascending
Descending
9thChord
PhraseEndings
Improvise:fragments,startingnotes,ascending/descending,endings
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Addscaleconcepts.
CircularScalePatternsChooseanyofthepatternslearnedfromPracticeTechnique#1.Example:
Improvise:fragments,startingnotes,ascending/descending,endings,scaleandarpeggioconcepts
AdditiveConcept:Practiceanotherscalepatternandaddittothepreviouspattern,scales,andarpeggios;thenanother,etc.RhythmBlocksChooseaRhythmBlock.Example:3C
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Improvisethenotesbutholdtruetotherhythmandarticulation.
AdditiveConcept:Practiceanotherrhythmblockandaddittothepreviousblock,scales,arpeggios,andpatterns;thenanother,etc.Considerations
1. Combinerhythmblocksbyrest2. Combinerhythmblocksbyslur3. Contournotes4. Rhythmicdisplacement5. Pick‐upnote6. Rhythmicsubstitutions(rests,ties,triplets)
Consideration1:Combinetworhythmblocksbyrest.
ImproviseConsideration1(combinebyrest).
AdditiveConcept:Practiceanotherrhythmblockandaddittothepreviousblock,scales,arpeggios,andpatterns,thenanother,etc.Consideration2:Combinetworhythmblocksbyslur.
ImproviseConsideration2(combinebyslur).
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AdditiveConcept:Improvisecombinedblocksaddingscales,arpeggios,andpatterns.Consideration3:Contournotes.
ImproviseConsideration3usingeighthnotelines.
AdditiveConcept:Improvisecontournotearticulationaddingscales,arpeggios,patterns,andrhythmblockcombinations.Consideration4:Displacearhythmblockbymovingitacrossthemeasureby1,2,or3beats.
ImproviseConsideration4(rhythmicdisplacement).
AdditiveConcept:Applyrhythmicdisplacementtoscales,arpeggios,patterns,andrhythmblocks.Consideration5:Pick‐upnotes.Improvise
AdditiveConcept:Applypick‐upnotestoscales,arpeggios,patterns,andrhythmblocks.Consideration6:Rhythmicsubstitutions(rests,ties,andtriplets).
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ImproviseConsideration6(substitutions)addinganewelementoneatatimestartingwithrests,ties,thentriplets.
MelodicPatternsExamples:
Practiceamelodicpattern(withaplay‐a‐longtrack)
AdditiveConcept:Addmelodicpatternstoscales,arpeggios,scalepatterns,rhythmblocks,andconsiderations.
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PracticeTechnique#5:ChordProgressionTherearemanymethodsforlearningachordprogression.Sixarecontainedherein:
a. ChordTonesb. Arpeggiosc. Scalesd. GuideTonese. Patternsf. ScaleShifting
Allsixtechniquesarecompletelywrittenoutbecausetheyareoftenconfusingwhensimplygivenanexplanation.Theyareverydifficultforyoungplayerstoinitiallyplayfrommemory.Onemayplaythroughtheexercisesfromthewrittenpitchesatfirstbuteventuallythetechniquesneedtobepracticedentirelyfrommemory.Itisadvantageoustousesometypeofaccompanimenteitherrecordedorlive,.Thishelpsthestudentplayintimeandacquaintstheeartothechordchanges.Playingtheexercisesataslowerratethenthetunesuggestsisoftennecessaryandcanbedonewithametronomealone.Intimeoneshouldbecomeindependentofanycrutchandimproviseintime,withoutarhythmsection,delineatingthechordprogressioninone’smelodiccontentsufficientlyforthelistenertoheartheharmonicflowandknowwheretheperformerisinthetune.Thefollowingtechniqueswillhelpachievethisgoal.ChordTonesPlayingthechordtonesshouldalsoserveinanear‐trainingcapacity.Oneshouldsingthechordtonesaswellasplayingthemonone’sinstrument.Usearecordedaccompanimentorothermeanstoprovideaharmonicfoundation.Listentothecolorofeachchordtone.Chordtonesrepresentwhatisrightforaharmony;theyarethesoundofIN.Chromaticpassingnotesandpickupnotes,bluesnotes,“side‐slipping”orplaying“outside”meannothingunlesscomparedtothesoundofIN.Ifonelearnsoutsidepitchessuchasbluesnotesfirst,theearmaynotrecognizethattheyareoutsidethechordandnotgivethemthegrindorsoultheyareintendedtoprovide.Again,onemustfirstlearnthesoundofIN.ArpeggiosArpeggiosprovidethegoalnotehabitthatwilldefinetothelistenerwhereoneisintheprogression.Practicingarpeggioslocksthesoloistintotheprogression.Mostanyothernotescanbemadesuccessfulifresolvedtoachordtone.Seventhchordsaretheprimaryarpeggiosbecausetheyallowinversionsclearly.
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ScalesScalesshouldnotbethoughtofasstalealphabeticallistingsoftheoreticalpitches.Rather,onemightthinkofthemthus:
1. Scalesarechordswithextensions.Ifascaleisrepresentedas12345678withintheoctave,theextensionsare9101112131415.Withoctavedisplacement1=82=93=104=115=126=137=148=15.Intertianharmony,themostcommoninWesternartmusic,wesoundeveryothernoteofascaletocreateachord,stackedthirds.Whenthisprocessistakenbeyondtheoctaveweget135791113.Extensions8101214and15areredundantandnotincluded.
2. Scalesarenotlearnedinordertoplaytheminastepwisefashion.Onemightchoosetodosobuttheymaybeimprovisedinanyorder.Theyrepresentaspectrumofsoundthatwhenplayedasagroupofchoicesrepresentorproduceaunifiedcolor.Notallnotesofthescaleneedbeplayed.Whenwekeepacollectionofpitchestogether,inwhateverorder,overaperiodoftimehowevershortwecreateaharmoniceffect.Thiscombinedwithstrongmelodicorganizationmovesthemusicwithstrongforwardmotion.
3. Scalesarenotcreatedtheoreticallyfirstandthenappliedtoperformance.Indeedithappenstheotherwayaround.Musicianslookbacktowhathasbeendoneandlabeltendencies.Ifoneweretoplayaharmonythensystematicallycheckeachofthetwelvepossiblenotesofourtonalsystemagainstthatharmony,oneundoubtedlywouldchoosecertainnotesoverothers.Thesenotesplacedinanalphabeticalstepwiseorderbecomeascale.Itishighlylikelythatthisscaleissomethingrecognizedbythejazzcommunityasappropriatetothechordandhasalreadybeengivenaname.
Thistechniquerequiresstartingscalesontheroot,onthe3rd,the5th,7th,and9th.Thedirectionofthescalechangesfromupwardtodownwardinvariouscombinations.Youngplayer’simprovisationfrequentlybeginseachchordontheroot,usuallyfollowedbyupwardscalemotion.Thispracticetechniquehelpstobreakthattendency.GuideTonesGuidetoneshelptheimprovisergivemelodicdirectiontoalineanddelineatethechordprogression.Thegeneralruleis3rdsgothe7thsand7thsgothe3rds.ThisismostsuccessfulwithcyclicalmotionsuchasiiV7I,chainsofiiVs,iiiviiiV,etc.ForexampleDminortoG7toCmajormovesthe3rdofDtothe7thofGtothe3rdofCorFtoFtoE.The7thofDmovestothe3rdofGtothe7thofCorCtoBtoB.Sometimesnoteschange;sometimestheyremainthesame.Theimproviserseldomplaysguidetonesdirectlybuttheyarethestructurearoundwhichnotesareadded.PatternsPatternshavebeendiscussedattheonsetofthesectiononPracticeTechniques.Theapplicationtoachordprogressionisthatofplacingthepatternwithintheprogressionwhereveritisappropriate,changingkeyswherenecessary.Asapracticetechniqueoneshouldensurethatthepatternisplayedeverytime.Onecanimprovisebetweenappearancesofthepatternbutthepatternmustbeplayedwheneverpossible.Later,whenthelivesoloisplayed,thepatternmayormaynotoccur.Havingappliedthispracticetechniquehelpsfromonetoalloftheeightpointsforpatternlearningtobeexplored.
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ScaleShiftingScaleshiftingcanbequitechallenging.Inthistechniqueonestartstheexerciseonanyscaletonethatfitsthefirstchord;achordtonepreferrably.Onethenproceedsupwardtothetopofone’sinstrument,turnsaroundandplaysdownwardtothebottom,andreturns.Inthecourseofthiscircularmelodicdirection,onechangesscalesasnewharmoniesarrive,alwaysstayingintimeandplayingeachchordforthedurationgiveninthetune.Movetotheclosestnoteofthenewscaleandkeepgoing.
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5a:ChordTones(thesoundofIN)
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5b:Arpeggiosrootup
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rootdown
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rootup/down
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rootdown/up
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3rdup
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3rddown
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3rdup/down
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3rddown/up
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5thup
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5thdown
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5thup/down
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5thdown/up
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7thup
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7thdown
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7thup/down
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7thdown/up
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9thChords:rootup
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9thdown
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rootup/9thdown
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9thdown/rootup
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5c:Scalesrootup
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rootdown
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rootup/down
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rootdown/up
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3rdup
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3rddown
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3rdup/down
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3rddown/up
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5thup
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5thdown
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5thup/down
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5thdown/up
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7thup
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7thdown
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7thup/down
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7thdown/up
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9thChords:rootup
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9thdown
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rootup/9thdown
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9thdown/rootup
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5d:GuideTones
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5e:PatternsPattern1
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Pattern2
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5f:ScaleShifting
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PracticeTechnique#6:IndependenceIntimeoneshouldbecomeindependentofanycrutchandimproviseintime,withoutarhythmsection,delineatingthechordprogressioninone’smelodiccontentsufficientlyforthelistenertoheartheharmonicflowandknowwheretheperformerisinthetune.Playingintimewithoutarhythmsectionischallenging.However,itisimperativethatanysoloistbeabletoleadratherthanfollow.Asstated,itisimperativethatthesoloistalwayskeepstheformindependently.Whenallplayers,includingthesoloist,dothis,thetunehasstrengthandachievesprofessionallycompetentmusicality.One’searsreachouttoconfirmbutnevertofollow.Followingrequiresaresponsetowhathasbeenheard.Thisisgreatforcallandresponsecommunication;itismandatoryforintegratedmelodiclines.But,forkeepingone’splaceintheformandforaccuracyandunificationofpulse,followingisdetrimental.Itplacesthefollowerbehind,notBasielaidbackbutjustlate.Ifothersdothesame,thetunecontinuallyslows.Laidbackorrighton,theperformermustbeconsistentandnotdependent.Allpreviouspracticetechniqueshelptoprepareforindependentimprovisation.Practicingpatternsandotherexerciseswithametronomeandwithproperstyle(rhythm,subdivision,articulation)isimperative.Nosamplescanbewrittenforthistechniqueforitisentirelyimprovised.Therecan,however,beasystematicapproach.
1. Setthemetronometoaflatfour(1234)andimproviseonemeasure.Ifstudentscanpairup,oneshouldcountthebeatswhiletheotherimprovises.Stoponbeatoneofthesecondmeasure.Tryto“feel”thedurationoftheimprovisedmeasure.Repeatasmanytimesasnecessary.
2. Dothesameoverthedurationoftwomeasures.3. Again,butoverthedurationoffourmeasures.4. Tryeightmeasures.Somefeeleightmeasuredurationsastwosetsoffour.5. Nowsetthemetronomeon2and4andfollowthesameprocess.6. Asamoreadvancedtechnique,setthemetronomeonotherbeatssuchasonlybeat4,or3,
oreveryothermeasure,etc.
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Practice Technique #7: ImprovSoloComposition
Therearetwosignificantpurposesforthisexercise:1)itprovidestheinstructortheopportunitytolearnthestudent’slevelofunderstanding,and2)itrequiresthestudenttocodifyorassimilateknowledgelearnedtothispoint.Improvcompositionwillelicitcreativity.Asdifficultaswritingoutalogicalsolomightbe,itisnotachallengingascreatingacompositionspontaneously.Thisisanexerciseinslowmotionimprovisationallowingtimetoincorporatenewprinciplesofimprovisation.Severalstrategiesmightbeusefultothoseunfamiliarwithcomposition,improvisedorotherwise.
1. Writeoutthehead(melody)firstthenemployvariousdegreesofembellishment.2. Superimposepatternsfromworksheetassignmentseitheronthemelodyorasastarting
pointtoablanksheetofstaffpaper.3. RandomlyassignRhythmBlockrhythmstoaneightbarsectioneveryhalfmeasurethen
randomlyassignpitchesappropriatetothechord.Randomly(orsemi‐randomly)placerests,ties,andtripletstothephrase.Playthecreationandmaketastefulmusicalcorrections.
4. Mixandmatchalloftheabove.5. Avoidrun‐onsentencesbyusingspace.
Staffpaperisprovidedherein.Thecorrectnumberofmeasuresisgiven,whichalsosuggeststhenumberofchorusesexpected.TunesforPart1include:
ImpressionsSatinDollBlues(any12‐barhead)AutumnLeavesRhythmChanges(anyhead)SongforMyFather
Othertunesmayaccomplishthesameandadditionalgoalsasthoselistedandmanystrategiesmaybeappliedwiththistechnique.
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Impressions
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SatinDoll
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Blues
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AutumnLeaves
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RhythmChanges
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SongforMyFather