PracticeTechniques

FromFundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow

Dr.MarkWatkins

DirectorofJazzStudiesBrighamYoungUniversity–Idaho

©2010byMarkWatkinsMaterialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout

writtenpermissionfromtheauthor.

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):

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.

8. Theyhelptodrawinthelistener.Soloswhereeverynoteisconnectedtoeveryothernoteinuniquelyoriginalwaysaredifficultforaudiencestorelateto.Whensomethingfamiliarisplayedthelistenerfeelsmoreapartofwhat’sgoingon.(Overuseofknownpatternsisequallyasobjectionableorworseandwillsoundtrite,unoriginal.)

Thefollowingsectionsinclude5PracticeTechniquesorwaystoworkoutpatternsandusethemtoenhancejazzimprovisation.Theseinclude:PracticeTechnique#1:CircularPatternsPracticeTechnique#2:SameModeSequencesPracticeTechnique#3:Patternin12KeysPracticeTechnique#4:ApplicationPracticeTechnique#5:ChordProgressionPracticeTechnique#6:IndependencePracticeTechnique#7:ImprovSoloComposition

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.

9‐notePatternThisexerciseisthesameasthe5‐notepatternbutconcentratesonalargerunit.

FullRangeSclae

3rdsHalfOctave

3rdsOctave

3rdsFullRange

Alternatedescendingpattern:

4thsHalfOctave

4thsOctave

4thsFullRange

Onecancontinueinlikemannerwith5th,6th,7th,andoctaveintervals.Pattern1Experimentwitharticulationpatterns.

ht=halftongueorghost

Patterncontinues.

Pattern2

Pattern3

Pattern3canbeappliedtotripletrhythms.Pattern4

Thismelodicconceptcanbeadaptedtotheintervalofa5th.Pattern5

Pattern6

Pattern7

Thepreviousthreepatternscanbeinvertedthus:

Pattern8

Patternsthatareusefulfordevelopingone’sproficiencyandforapplicationtoimprovisedsolosarevirtuallyendless.Therearemanygreatsourcesincludingmanyfrominstrumentspecificclassicaltechniqueexercises,methods,etudebooks,etc.AfavoritesourcetojazzmusiciansisJerryCoker’sPatternsforJazz.Certainlymuchcanbeacquiredthroughactivelisteningandthroughone’screativeimaginationgivensufficientexperienceintheidiom.

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

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

Fours:High

Cycle:Low

Cycle:High

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

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

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.

AscendingPairs:Low

Pairs:High

Fours:Low

Fours:High

Cycle:Low

Cycle:High

DescendingRepeatallpreviousexercisesdescending.Example:Pairs:Low

Ascending/DescendingAlternationPairs:Low

Pairs:High

Fours:Low

Fours:High

Cycle:Low

Cycle:High

Descending/AscendingAlternationRepeatallpreviousalternationexercisesdescending/ascending.Example:Pairs:Low

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)

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

MinorThirds:

Set1;G,Bb,Db,E;Set2:Ab,B,D,F;Set3:A,C,Eb,F#

Example:Descending

MajorThirds:

Set1:G,B,Eb;Set2:Ab,C,E;Set3:A,C#,F;Set4:Bb,D,F#

Example:PairsAscending

PracticeTechnique#3:Patternin12KeysSelectapattern,analyze,memorizein12keys.AnalysisExample:

Writein12Keysthenmemorize:

PracticeTechnique#3:Patternin12Keys

WORKSHEETSelectapattern,analyze,memorizein12keys.PatternAnalysis:

Writein12Keysthenmemorize:

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

Descending

PhraseEndingsht=half‐tongueorghost

Improvise:fragments,startingnotes,ascending/descending,endings

ArpeggioPracticearpeggios1357toallowforinversionsasbelow.Thisistheprimemethodusedwhenapplyingarpeggiostochordprogressionstofacilitateinversions(PracticeTechnique#5).Ascending

Descending

9thChord

PhraseEndings

Improvise:fragments,startingnotes,ascending/descending,endings

Addscaleconcepts.

CircularScalePatternsChooseanyofthepatternslearnedfromPracticeTechnique#1.Example:

Improvise:fragments,startingnotes,ascending/descending,endings,scaleandarpeggioconcepts

AdditiveConcept:Practiceanotherscalepatternandaddittothepreviouspattern,scales,andarpeggios;thenanother,etc.RhythmBlocksChooseaRhythmBlock.Example:3C

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).

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).

ImproviseConsideration6(substitutions)addinganewelementoneatatimestartingwithrests,ties,thentriplets.

MelodicPatternsExamples:

Practiceamelodicpattern(withaplay‐a‐longtrack)

AdditiveConcept:Addmelodicpatternstoscales,arpeggios,scalepatterns,rhythmblocks,andconsiderations.

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.

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.

ScaleShiftingScaleshiftingcanbequitechallenging.Inthistechniqueonestartstheexerciseonanyscaletonethatfitsthefirstchord;achordtonepreferrably.Onethenproceedsupwardtothetopofone’sinstrument,turnsaroundandplaysdownwardtothebottom,andreturns.Inthecourseofthiscircularmelodicdirection,onechangesscalesasnewharmoniesarrive,alwaysstayingintimeandplayingeachchordforthedurationgiveninthetune.Movetotheclosestnoteofthenewscaleandkeepgoing.

5a:ChordTones(thesoundofIN)

5b:Arpeggiosrootup

rootdown

rootup/down

rootdown/up

3rdup

3rddown

3rdup/down

3rddown/up

5thup

5thdown

5thup/down

5thdown/up

7thup

7thdown

7thup/down

7thdown/up

9thChords:rootup

9thdown

rootup/9thdown

9thdown/rootup

5c:Scalesrootup

rootdown

rootup/down

rootdown/up

3rdup

3rddown

3rdup/down

3rddown/up

5thup

5thdown

5thup/down

5thdown/up

7thup

7thdown

7thup/down

7thdown/up

9thChords:rootup

9thdown

rootup/9thdown

9thdown/rootup

5d:GuideTones

5e:PatternsPattern1

Pattern2

5f:ScaleShifting

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.

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.

Impressions

SatinDoll

Blues

AutumnLeaves

RhythmChanges

SongforMyFather