example 2 – motives - alfred music · example 2 – motives multi-motive phrase a multi-motive...

Example 2 – Motives

Multi-Motive PhraseA multi-motive phrase is two or more musical motives comprised of distinctly differ-ent (i.e., non-imitative) melodic and rhythmic material occurring within a singlephrase. C Motive and Phrase and Through Composed

C PART 3: EXERCISES – Motive development Exercise #2; also see How To Improvise,Motive Soloing and Multi-Motive Phrases for more information.

Part 2: Preparation

34Beyond Time and Changes

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17 18

Example 3 – Multi-Motive Phrases

VocabularyThe term vocabulary refers to a collection of common or familiar musical phrases,shapes or patterns – sometimes referred to as “licks” – that are incorporated into theimprovising and have an effect similar to an idiomatic expression in language.

The terms vocabulary and lick can also be used to refer to a particular improvisedmotive upon which developments are based when creating continuity in the improvis-ing.

Vocabulary licks are often transcribed from popular or well-known recordings and cir-culated throughout the music world via repeated use by many different players.

A vocabulary lick is usually played in time and typically fits a particular chord or chordpattern while also identifying a certain musical style (e.g., jazz, rock, etc.) or form (e.g.,blues). The same vocabulary licks may be used by countless players. Some players maycreate their own vocabulary licks as well.

Part 2: Preparation


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Example 4

[Note: Variation (i.e., same rhythm, different melody) also includes techniques suchas inversion (melody played upside down), retrograde (melody played backwards),and retrograde inversion (melody played upside down and backwards). However,the nature of these treatments may at times make them impractical for use inimprovisation.]

C PART 3: EXERCISES – Motive Development

2. Transposition A development technique whereby the rhythm of the original motiveis repeated more or less exactly, while the melody notes are transposed to a new pitchlevel. Transposition – as a motive development technique – is considered to be a form ofVariation (see above).

[Note: Drummers can transpose a melody by first orchestrating it entirely on drumsand then entirely on cymbals, or vice versa.]

Transposition is especially suitable for developing original motives that have a memo-rable melody (pitch sequence) or melodic curve.

Summary Transposition = same rhythm as original motive, transposed melody.

Example 5

C PART 3: EXERCISES – Motive Development

Part 2: Preparation


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Variation 1 Variation 2

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Example 13

C PART 3: EXERCISES – Motive Development.

7. Extension A development technique whereby one or more extra notes are added toan exact repetition of the original motive or to a motive development (e.g., variationplus one or more notes, or fragmentation plus one or more notes, or rhythmic displace-ment plus one or more notes, etc.). The extra material can be added immediately afterand/or before the repeated original motive or the motive development.

Extension is suitable for developing any memorable original motive.

Summary Extension = original motive or variation or fragmentation or rhythmic dis-placement or augmentation or diminution (or any combination thereof) with extranotes added at the end and/or the beginning.

Example 14

C PART 3: EXERCISES – Motive Development.

Part 2: Preparation


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1. Original Motive with Extension 2. Variation with Extension

3. Fragment with Extension

Example 15a – Variation

Part 2: Preparation


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11. VD(AD) 12. VR(AD)

13. VR(AD)E 14. VRE

15. VA 16. VA

17. VAE 18. VAE

Example 15c – Rhythmic Displacement

Example 15d – Augmentation/Diminution

Part 2: Preparation


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Example 18

C PART 3: EXERCISES

Chord TransformationChord transformation is a term used to describe the results of melody-guided constantstructure comping (on form) when it produces non-harmonic notes that change ortransform the chord quality of the intended chords (i.e., spontaneous re-harmoniza-tion).

Example 19

Chord transformation typically allows the soloist greater melodic freedom whenimprovising on chords. However, if applied insensitively it can sometimes limit thesoloist’s melodic choices to those that fit the newly transformed chord, thereby defeat-ing the purpose of opening up or expanding the harmony.

Chord transformation also allows accompanists to find and play voicings that harmo-nize well with prominent non-harmonic melody notes played intentionally by a soloistwhile improvising in a free-on-form setting. C Free on Form

See PART 4: PERFORMANCE SCENARIOS – Form and Free Settings, scenario #8

Part 2: Preparation


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Exercise #1 (Preparation – Soloing with Motives, No Development)

• Play an original motive (OM) using 2 to 8 notes, no rest within the motive.• Rest (R) several beats or more.• While resting, re-play the OM in your mind’s ear one or more times.• Play a different OM (i.e., use a different rhythm, different melody, different start-

ing beat, etc., than the previous motive).• Rest several beats or more – re-play the new OM in your mind’s ear one or more

times.• Continue form of exercise.

[Note: The objectives of this exercise are (1) to practice organizing melodic and rhyth-mic material into thematic motives, and (2) to make adjacent motives distinctly differ-ent. Although this is an effective preparation exercise for motive development, theexercise can be used for through-composed style improvising as well.]

Summary:OM – R – New OM – R – New OM – R – Continue.

Record your practice and critique the results. C Self-Critique

Exercise #2 (Preparation – Soloing with Multi-Motive Phrases)

• Play a multi-motive phrase (MMP) by connecting two (or three) brief and dis-tinctly different original motives, no rest within the phrase. (Optional: May con-nect motives using a short sustained note at first.)

• Rest (R) several beats or more.• While resting, replay the MMP in your mind’s ear one or more times.• Play a different MMP (i.e., use different rhythm, different melody, different start-

ing beat, etc., than the previous phrase).• Rest several beats or more – replay the new MMP in your mind’s ear one or

more times.• Continue form of exercise.

[Note: The objectives of this exercise are (1) to practice organizing melodic and rhyth-mic material into multi-motive phrases, and (2) to make adjacent multi-motive phras-es distinctly different. Although this is an effective preparation exercise for motivedevelopment, the exercise can be used for through-composed style improvising aswell.]

Summary:MMP – R – New MMP – R – New MMP – R – Continue.


Part 3: Exercises


Exercises for Pacing (Soloist Only)

The following exercises on pacing can be practiced on form and in a free-in-time set-ting with a rhythm section and a soloist. They can also be played with just a rhythmsection featuring one of the players as the soloist.

The pacing instructions are for the soloist only.

These exercises can be practiced at all tempos, but those exercises requiring long restsare best applied at medium to fast tempos.

Exercise #1Soloist plays for short durations (2 to 6 beats – no rest), and rests for short durations(2 to 6 beats – no playing).

Exercise #2Soloist plays for short durations (2 to 6 beats – no rest), and rests for long durations (6to 10 measures – no playing). Accompanists fill rests in solo lines.

C PART 4: PERFORMANCE SCENARIOS – Performance Scenario #1: Soloist Trades WithAccompaniment. Also hear demonstration on CD.

Exercise #3Soloist plays for long durations (6 to 10 measures – no rest), and rests for short dura-tions (2 to 6 beats – no playing).

Exercise #4Soloist plays for long durations (6 to 10 measures – no rest), and rests for long dura-tions (6 to 10 measures – no playing). Accompanists fill rests in solo lines.

C PART 4: PERFORMANCE SCENARIOS – Performance Scenario #1: Soloist Trades WithAccompaniment. Also hear demonstration on CD.


Part 3: Exercises


PART 4: PERFORMANCE SCENARIOS

The upcoming performance scenarios (#1–15) are designed to give soloists and accom-panists experience at improvising on form and in free settings while following specif-ic performance instructions regarding leading, following, supporting, interacting andresting.

The purpose of practicing such instructions is to develop skills for organizing theimprovising that can be utilized – if desired – when playing without instructions.

With initial practice sessions, players should try to follow the instructions of a scenariothroughout the entire performance. After gaining experience with a scenario, it maythen be used in performance intermittently, or as a point of departure.

Certain performance scenarios may also be applied in conjunction with other scenar-ios in order to extend and vary the performance. C Combining Performance Scenarios

Demonstration performances of each scenario can be heard on the CD that accompa-nies the book, and my comments about each demonstration performance are offeredas well. C PART 5: DEMONSTRATION CD – About the Demonstration Performances

Several solos on the CD have also been transcribed to aid demonstration of the per-formance scenario.

ImportantPerformance instructions relating to motive development (i.e., creating the composi-tional direction of imitation ) are explained on the following pages.

Also included are suggestions for changing the compositional direction of the improvis-ing, as well as comping considerations (for accompanists and soloists), and practicingscenarios on form and in free settings.

Note also the upcoming list of standard jazz songs suggested for use with performancescenarios #1–8 when applied on form.


Practicing on Form and in Free Settings

The upcoming performance scenarios can be applied in the following musical settings:

FormWhen applying a performance scenario on form, the possibilities include:

• In time (tempo and meter) on a single chord (modal style, unlimited duration).• In time on a 2- to 4-chord grouping (assign specific durations for each chord).• In time on a tune progression*.

*For best results, use a standard jazz song with a conventional form (e.g., AABA, ABAC,etc.), and a chord progression on which each player is capable of soloing or compingby memory and unaccompanied. (See upcoming Suggested Tune List.)

FreeWhen applying a performance scenario in a free setting, the possibilities include:

• Free in time (i.e., in tempo and meter but without harmonic restriction).• Free in tempo (i.e., in tempo but without meter and harmonic restriction).• Completely free regarding both the time and the changes.

ImportantWhen improvising in a group, it’s not uncommon for players to overlook or forgetabout certain important musical events that occurred during the performance.

To get the maximum benefit from practicing the upcoming performance scenarios,therefore, players are urged to record each practice session and critique the resultsusing the performance instructions of each scenario as criteria.

C PART 3: EXERCISES – Self-Critique

Part 4: Performance Scenarios


Performance Scenarios #1–8: Form and Free Settings

Before practicing the following performance scenarios on form and in free settings, review as desiredthe material in PART 2: PREPARATION; PART 3: EXERCISES; and PART 4: PERFORMANCESCENARIOS; also see PART 5: DEMONSTRATION CD – About the DemonstrationPerformances (author’s commentary) and Solo Transcriptions.

[Note: An asterisk (*) after the track number means that one or more improvised solosfrom the performance on the demo CD have been transcribed.]

T

1. Soloist Trades With Accompaniment

Soloist improvises on form or in a free setting while playing for various durations(1 to 16+ measures) and resting for long durations (4 to 16+ measures).

Accompanists comp in interactive style while soloist plays, and one or more accom-panists must solo and fill while soloist rests.

Record the performance and critique the results. C PART 3: Self-Critique



Track

01*–

Track 1, Performance Scenario 1: Trombone Solo



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