aas0117(0)-Jazz Improvisation Tips.pdf

Jazz Improvisation Tips:

Melodic Lines

When playing a melodic line, try thinking in terms of four-note groups.

Using various scales, try the following patterns: 1-2-3-1, 1-2-3-4, 1-2-3-5, 1-

3-5-7, and 1-7-7b-1. For example, in the Eb harmonic minor scale, 1-3-5-7

would be Eb-Gb-Bb-D.

Practice these forward, backward, and upside-down.

Try them using different rhythms. See what works and what does not.

Remember what Duke Ellington said, ... "If it sounds good, it is good."

Try combining groups that sound good.

Playing Within the Scale

To maintain the harmony of a progression while improvising within the scale, try

the following:

Hold chord tones longer.

Play chord tones on the first, last, high, & low notes.

Play chord tones on the downbeats (especially roots & thirds).

Accent chord tones.

Precede chord tones with an arpeggio.

Approach the chord tone with a series of chromatic tones.

Remember what Duke Ellington said, ... "If it sounds good, it is good."

Functional Structure

When moving through a harmonic progression:

Focus on harmonizing with the root and fifth (and possibly the seventh).

Space the remaining notes in thirds or fourths for a resonant sound.

Space the remaining notes in seconds for a sharper sound.

In general, most chord progressions move around the circle of fifths (C-F-

Bb-Eb-Ab-Db-Gb-B-E-A-D ...).

The progression can move upward in perfect fifths (clockwise) or downward

in perfect fourths (counter-clockwise).

The chord types (M7, m7, 7, m9, b9, etc.) in the progession will vary.

Some chords may be added, deleted, or repeated but this general pattern is

very common in jazz progressions.

The circle of fifths represents a good example of how many jazz chord

progressions move from the subdominant to the dominant to the tonic.

The most common progression is IIm7 -- V7 -- IM7. Variations of these

chords may also be substituted to keep the progression interesting (as

shown below).

SUBDOMINANT: IIm7 (1-3b-5-7b), IIm9 (3b-5-7b-9).

DOMINANT: V7 (1-3-5-7b), V7b9 (3-5-7b-9b), V7b5b9 (3-5b-7b-9b),

VM7b13 (7-9-11-b13).

TONIC: IM7 (1-3-5-7), IM6 (1-3-5-6), IM9 (3-5-7-9).

The next most common tendency is for the progression to move

chromatically downward (usually using the same chord type).

Remember what Duke Ellington said, ... "If it sounds good, it is good."

Miscellaneous Jazz Tips

The best thing is to make your own solo transcriptions. Tristano had his

students start with Lester Young, then move on to Charlie Parker. Get it in

your head, then onto your instrument, then notate it.

Run a lick through the cycle of fifths at a slow enough tempo to keep the

beat. Comp with the lick.

Clap hands with a metronome -- put your whole body into it.

Listen to all sorts of music, all sorts of jazz. Keep your ears wide open.

A Blues Progression

Listening is one of the biggest parts of improvisation. Listen until you can

sing back the solo, the bassline, and even the piano voicing without even

thinking about it. This will give you phrasing.

You must listen to jazz, not only to learn how to play, but also for pleasure.

You will learn a lot by giving everything a chance.

Here is a typical blues progression in the key of F: F7-F7-F7-F7-Bb7-Bb7-

F7-F7-C7-Bb7-F7-F7.

Here is the same blues progression in the style of Charlie Parker [each

chord is one bar, except for those in ( ), which indicates two beats for each

chord]: F6-(Bb7-Bdim)-F7-(Cm7-F7)-Bb7-Bdim-FM7-(Am-D7)-Gm-C7-(Am-

D7)-(Gm-D7).

Although this may not be known to most novices, the second progression

adds a lot more movement to the blues.

A Solo With An Identity Crisis

Over a progression involving a single chord for a few measures (such as Miles

Davis' "So What") play a mode per measure.

Start with Dorian, switch to Phyrgian, then loop a sweet Aeolian, to a nice

Melodic Minor, then a Harmonic Minor, etc...

Giving props to the root, let the 5th slide around.

Play games with the 6th.

Use ascending chromatic phrases involving the 2nd to the 4th, and the 6th

to the root.

Vocal Improvisation

The best way to learn to improvise is to practice singing "non-worded" songs

through a chord progression. This is easiest for pianists, but if you play a

wind instrument, do this singing while listening to your favorite music.

Once you become good at that, play what you sing. The singing helps you feel

what you're about to improvise.

Improvisation comes from the heart, so you should learn from your heart --

not from someone else's.

The Importance of Scales

Since I haven't updated the page in a while, here's another tip on scales:

The most important thing in jazz is knowing your scales.

Scales are the basic fundamentals of all music, but can benefit you most in

jazz.

Jazz Piano: Impressions from Hollywood

Here are some great words of wisdom from a jazz pianist , "Hollywood Hal" . Having

played commercially for over 20 years, he "could probably have walked to the moon

and back a couple of times" during the time that he has devoted to jazz study.

Practicing and Warm-up

How do I warm up? Scotch on the rocks. Actually, I read a long time ago that

Johnny Hodges (the great alto player with Ellington) said that he didn't

practice anymore -- he just played. Well, that's what I do now too. I find

that after playing a couple of tunes, I'm usually as warmed up as I'm going

to get.

When I was a lot younger I used to play scales in whole notes, half notes,

quarter notes, and 16th notes.

Play scales over three octaves, using both hands, in all 12 keys -- and then, of

course, Hannon on top of that.

After you get that under your belt, you just play!

When I play, I always play with a metronome, and I tape record

EVERYTHING I play. The metronome keeps me always playing in good time,

and the tape immediately tells me if I'm playing garbage.

Getting Started

I've tried just about everything connected to pop & jazz piano playing. A lot

of the stuff was useless and was junked, but the stuff I kept has served me

well.

It's amazing how some of the things you study and learn are not at all

practical when it comes to the actual commercial side of playing.

I don't play "licks" - that is one of the things I discarded. Not that I didn't

try that approach -- it just didn't work for me. Although, for a given chord

progression (I'm quoting Nat Cole), out of the 88 keys I try to pick out the

best or the prettiest notes.

A good teacher can save you years of frustration on trying to do it on your

own. Believe me, I speak from experience!

Recommended Resources for Jazz Pianists

I have subscribed to a magazine called "Piano Today" for several years. It

used to be called "The Piano Stylist & Jazz Workshop." It usually has

interesting articles and transcriptions or arrangements. (P.O.Box 58838,

Boulder, CO 80322)

The Jazz Theory Book by Mark Levin is a must have for any piano player. Get

it.

Marian McPartland has a weekly radio show called "Piano Jazz" , and it is

always fantastic. Marian is amazing - she can just play anything and she

always has great guests. I usually tape her shows, and I'll bet I have one of

the best representations of contemporary jazz pianists in the country.

Jazz Improvisation Techniques

I have a few special techniques that I occasionally re-use in different ways

(but not in all situations).

As an intro, I use the bridge or the last 8 bars of the tune I'm going to play.

I've found this works great with either ballads or up-tempo tunes. Check it

out!

Sometimes when ending a tune, I'll play the tonic of the melody harmonized

with a chord an augmented 5th above. Then I move down to a sharped I

chord, followed by the tonic. For example, in the key of C -- Play an A flat

maj 7 with C on top, followed by a D flat maj 7 with C on top then the tonic

chord (any C maj will do). Check it out! It works and sounds great.

I sometimes use a left hand 10th figure over a II-V-I Progression. A guy

showed me this about 40 years ago and I still use it.

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