Constructing Melodic Jazz Improvisation

Constructing Melodic Jazz Improvisation A comprehensive new approach for beginning and intermediate level musicians B Edition By: Brian Kane

ISBN 978-0-9760977-6-1

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Constructing Melodic Jazz Improvisation Table of Contents Introduction: Constructing Melodic Improvisation

1

Chapter One: Articulation, Swing Feel, and Stylistic Inflection Articulation in Improvisation Creating a Swing Feel in Improvisation Style Inflection in Improvisation Exercises for Continued Exploration

5 5 7 9 12

Chapter Two: Introducing the Blues Why the Twelve-Bar Blues and Blues Scale? Improvisational Solo Roadmaps, Composing Etudes, and Scales Constructing a Blues Scale The Twelve-Bar Blues Form Exercises for Continued Exploration

15 15 17 19 21 22

Chapter Three: Beginning to Improvise Beginning to Improvise Solos Melodic Contour Location in Form Exercises for Continued Exploration

25 26 31 34 36

Chapter Four: The Basic Language of Improvisation The Question The Answer The Statement Playing Rests Practicing Repetition Rhythmic Repetition Intervallic Repetition Exact Repetition Exercises for Continued Exploration

39 39 41 43 45 45 47 48 49 50

Chapter Five: Basic Improvisational Phrase Lengths The One-Bar Phrase The Two-Bar Phrase The Three-Bar Phrase Combining Phrase Lengths Exercises for Continued Exploration

53 53 59 63 67 70

Chapter Six: Developing Melodic Solos Shape and Intensity Building Intensity Decreasing Intensity Practice Solo for Melodic Development Creating Roadmaps that Build Intensity Exercises for Continued Exploration

73 73 75 75 76 79 83

Chapter Seven: Using Pickups in Improvisational Phrasing One-Bar Phrasing with Pick-ups Two-Bar Phrasing with Pick-ups Three-Bar Phrasing with Pick-ups Combining Phrase Lengths Exercises for Continued Exploration

85 86 90 94 98 101

Chapter Eight: Putting it Together Slow Blues Roadmap Medium Blues Roadmap Fast Blues Roadmap Exercises for Continued Exploration

103 104 106 108 112

Chapter Nine: Improvisational Motifs The Exact Motif The Rhythmic Motif Intervallic Motifs Transposed Motifs Shape Motifs Exercises for Continued Exploration

115 117 120 123 126 130 133

Chapter Ten: Transitioning to Harmony Playing Bass Lines Chord Scales Beginning the Transition Exercises for Continued Exploration

135 136 139 141 148

Appendix: Blues Progressions Major Scales Blues Scales Mixolydian Scale Dorian Scales Chord Types Discography About the Author/Personnel CD TRACK LISTING

151 152 153 154 155 156 158 159 LAST PAGE

INTRODUCTION: Constructing Melodic Jazz

IMPROVISATION It doesn’t matter whether you prefer jazz, rock, country western, hip hop, or classical music. In order to compose, arrange, or improvise beautiful music, musicians must understand how to construct and create melodic phrases. Melodies communicate, challenge, inspire, reveal, develop and convey the emotional intent of those playing and composing them. Melody is the common denominator within all great music that allows listeners to connect and understand the emotional messages of the performer or composer. What makes a quality melody? Philosophers have pondered this subjective question for centuries. Perhaps there is no definitive answer, but in order to create improvisational melodies, musicians must first understand three of the characteristics that quality melodies share. a. Melodies are stylistically appropriate for their idiom. b. Melodies contain structure in lines and phrases. c. Melodies communicate intent to listeners. In the course of this book readers will examine and practice each of the above elements in detail. By understanding the underlying commonalities that melodies share, musicians will learn the skills needed to improvise melodically in any style or idiom. All creative endeavors, including jazz improvisation, occur within structure. To achieve a creative outcome, a person makes choices within a set of given boundaries that lead to an unexpected result. Structure is always inherently present when creative choices are made, though it’s not always obvious. The structures that limit creative choices can vary widely. Rules of nature, skill level, and one’s ability to consciously choose one course of action over another all inherently create boundaries and limitations for creative activities. Often people believe that they are the most creative when they perceive the fewest structural limitations. They believe that countless possibilities lead to countless choices which, in turn, lead to a creative outcome. Unfortunately, the act navigating these countless choices can lead people to inaction or unfavorable creative outcomes. In actuality, highly structured choices and limitations generally lead to the best creative outcomes. For example, a musician with moderate technical skill may spend hours freely improvising in the hopes of playing a fantastic solo, but much of that hope will be based on the chance of stumbling across a great musical idea. By applying either harmonic or melodic structure to improvisation, the musician greatly decreases the amount of choices available but greatly increases the likelihood of playing an acceptable solo. Throughout this book, musicians will practice and apply melodic phrasing concepts that add structure to solos by limiting the location and intent of improvisational phrases. By controlling and

1

Introduction: Constructing Melodic Jazz Improvisation

structuring these basic aspects of improvisation, musicians gain the tools needed to create melodically rich solos. Improvising melodically rich solos presents a unique challenge and a benchmark to inexperienced musicians. Improvisational pedagogy varies widely, but a large part of it typically consists of educating a musician in the vast array of harmonic choices that exist within music. Once aware of these harmonic choices, musicians engage in experiential learning and accidental discovery on their instrument. Most musicians learn the melodic concepts inherent within improvisation through experiential learning, accidental discovery, and hours of listening and analyzing great solos. The process of exploring and listening to jazz is an earned right of passage for musicians and its value cannot be understated, but it can be enhanced and accelerated by understanding common melodic phrasing concepts that exist within improvisation. The application of melodic phrasing concepts helps to streamline the creative process that beginning improvisational musicians use. Over the years, I have worked with hundreds of intermediate level musicians who, despite having a competent understanding of technique, jazz harmony, and their instrument, say “I don’t know what to play” when faced with an unfamiliar improvisational setting. When faced with the dizzying array of harmonic and melodic choices available, some people are unable to take the creative leap necessary to just “jump in” to improvisation. Often these people develop the misconception that they are uncreative or simply not cut out for jazz. On the contrary, these students are certainly creative and their plight is not uncommon. Many of these beginners are overwhelmed by the amount of choices and creative decisions that occur while improvising. These beginners require even more structure in their improvisation in order to streamline and facilitate creative decision making. These musicians can benefit from the application of rigorous melodic phrasing concepts while improvising. The application of melodic phrasing structures change the improviser’s focus from “what” they are playing to “when” and “how” they are playing it. This change in focus limits the choices that beginning improvisers face and allows them to focus their creativity on simple, measurable goals: Did they use the proper style elements? Did they play in the correct place? Did they play with melodic intent? Learning melodic phrasing techniques before embarking on the technical and harmonic side of improvisation can help musicians of all levels develop confidence, an understanding of the language of improvisation, and the phrasing awareness necessary to succeed at more technical jazz improvisation.

How To Use This Book Virtually all of the resources that are presently available for learning beginning improvisation focus on learning technique and harmony, while offering only limited guidance on style, phrasing, creative content, and improvisational intent. Alternatively, this book has been designed to teach beginning and intermediate level musicians the phrasing and creative techniques that are needed to create outstanding solos, without

2

Introduction: Constructing Melodic Jazz Improvisation

immediately focusing on the harmonic and technical aspects of improvisation. The first eight chapters of this book exclusively demonstrate melodic phrasing concepts using the blues scale, not the harmonic alternatives available during improvisation. The later chapters in this book introduce harmony and exercises for technique only once the melodic skills from the earlier chapters have been mastered. This book is designed to function equally well as both a classroom textbook resource for beginning jazz improvisation and as a self-guided tutor for melodic improvisation. For Individuals This book offers a step-by-step method for understanding and exploring jazz improvisation that is appropriate for beginning and intermediate level musicians. Each chapter is progressively difficult and builds upon skills mastered in previous chapters. Beginners should work through chapters slowly and in order to successfully improve skills. The book focuses on using the blues scale to develop the essential phrasing and stylistic skills needed to progress to more advanced improvisation. Beginners should work sequentially through the improvisational exercises in the book using the blues scale, master each example solo, and create and compose their own examples where instructed. Those wishing to expand their harmonic awareness of the blues can do so in the Exercises for Continued Exploration areas at the end of each chapter. Enclosed with the book is a CD. The disc features play-a-long recordings for improvisational practice and demonstration solos for virtually every example solo in this book. Beginners need to be patient as they develop the skills and habits necessary for melodic improvisation. The process cannot be rushed. With dedicated practice, beginners can expect it to take six to twelve months to master and internalize all of the concepts in this book. For Groups and Classes The book has been designed to meet all of the established national frameworks for music education. Throughout the course of this book, readers are encouraged to sing, perform, improvise, compose, sight read, notate, listen, analyze, critique, and connect improvisation to language and the arts. The book consists of progressively difficult chapters that build the skills that musicians need to improvise melodically. At the end of each chapter, the exercises for continued exploration encourage readers to listen and evaluate jazz recordings, expand their technique with challenging exercises, and critically discuss and evaluate the topics of each chapter. This book is designed to be a companion for both first and second year improvisation classes or ensembles. Musicians using this book will gain a complete understanding of how to construct melodic phrases within jazz improvisation, gain technical fluency within a twelve bar blues, and internalize the melodic phrasing skills and techniques necessary to successfully transition to more harmonically focused

3

Introduction: Constructing Melodic Jazz Improvisation

improvisation. With dedicated practice, a class or group can expect to achieve positive results in one school year using this book. For Advanced Musicians Advanced musicians have already developed the technical and harmonic skills needed to move beyond the blues scale and apply the appropriate chord scale alternatives while improvising. Often, musicians who posses technical skills may not have not sufficiently developed phrasing and melodic skills. As intermediate and advanced musicians work through this book, they should first play each exercise using a blues scale in order to internalize the phrasing structure and then apply chord scales and harmonic alternatives. Often, advanced musicians find it challenging to eliminate the technical and harmonic aspects of improvisation and focus solely on phrasing and structure. This book creates opportunities for musicians to practice the essential phrasing, motivic, and melodic skills needed to excel at improvisation. All of the skills developed can later be applied to any genre, style, or form. I hope you find this book challenging and helpful in your exploration of jazz improvisation. Brian Kane

4

Chapter One:

O

Articulation, Swing Feel, and Stylistic Inflection

N

The articulations and stylistic inflections that musicians use while improvising have an enormous impact on the audible quality of melody. Articulation and stylistic inflections add character, emotion, and rhythmic feel to phrases. In many cases, the quality of a melodic idea is determined more by the style and ornament used than by the actual notes a musician chooses to play. The use of stylistic nuance and articulation help to form the musical personality of an improviser. In order to integrate appropriate stylistic inflections and articulations into improvisation, musicians must work hard to make their use habitual. The following series of rules and descriptions regarding articulations and stylistic inflections apply to most common jazz styles. Every rule, especially those in jazz, has exceptions but beginning musicians who work to make the following rules a permanent part of their interpretation will notice significant improvement in their stylistic maturity.

Articulation in Improvisation The following rules for articulations in jazz can be applied to every instrument. Though variations to these rules exist, beginning and intermediate level musicians who make these rules a habit will significantly improve their style. The easiest way for musicians to practice and improve articulations is by vocalizing, or saying articulation patterns in different contexts. Vocalization helps musicians understand how articulations should sound in different settings and encourages their habitual use. Words to help musicians vocalize the articulations are included with each example. Throughout the jazz idiom there are many variations for articulation with a swing feel. The following examples represent some of the most common and practical articulations and will help musicians create a style that is appropriate for the rest of this book. 1. Eighth notes followed by rests are staccato or short. To vocalize the following eighth note pattern, say “Do-Dut” or “Too-Tut.” Example One “Do-Dut”

5

Chapter One: Articulation, Swing Feel and Stylistic Inflection

2. When articulating triplets that are all on the same note, articulate the first two legato and the last staccato. When articulating triplets that change notes, articulate the first legato, slur to the second, and make the last staccato. To vocalize the following triplet pattern, say “Do-do-dut” or “Too-too-tut” for repeated triplets and “Do-ooh-dut” or “Too-ooh-tut” for triplets on different pitches. Example Two “Do-Do-Dut”

“Do-Ooh-Dut”

3. When articulating eighth notes that start on a down beat, articulate the first downbeat legato, the next up-beat legato, and every following up-beat legato. Do not articulate any down-beat other than the first. When eighth notes are repeated on the same note, articulate all eighth notes legato unless followed by a rest. To vocalize the following eighth note pattern, say “Do-do-ooh-do-ooh-do” etc. or “Too-too-ooh-too-ooh-too-ooh-too” etc. Example Three “Do-Do-Ooh-Do”

4. When articulating eighth notes that start on an up-beat, articulate the first eighth note legato and then every following eighth note on an up-beat legato. When eighth notes are repeated on the same note, articulate them all legato unless followed by a rest. To vocalize the following eighth note pattern, say “Do-ooh-doooh-do” etc. or “Too-ooh-too-ooh-too-ooh-too” etc. Example Four ”Do-Ooh-Do”

6

Chapter One: Articulation, Swing Feel and Stylistic Inflection

These rules for stylistic articulations are notated in every example solo throughout this book. Practice them in every example solo, but also try to make their use habitual during improvisation.

Creating a Swing Feel in Improvisation

The use of a swing feel is an essential component of melodic improvisation. In a swing feel, musicians interpret eighth notes and syncopations differently than in other styles of music. A swing feel is virtually never notated. This type of stylistic interpretation is left to the discretion of the musician and must become a habitual part of a musician’s repertoire. The correct use of a swing feel will make musicians sound more authentic and mature during improvisation. Swing Eighth Notes Eighth notes are not rhythmically even in a swing style. Eighth notes on down beats receive a greater subdivision of the beat while eighth notes on up-beats receive a slight accent and articulation. When playing eighth notes in a swing style, musicians should subdivide each beat into triplets. First play the following measure with triplets: Example Five

In order to create a swing feel, add ties to the first two notes of each triplet. Example Six

7

Chapter One: Articulation, Swing Feel and Stylistic Inflection

Eighth notes played with a swing feel sound like example seven. In swing jazz at slow and medium tempos the rhythms in example seven should sound the same if properly interpreted. Example Seven

The tempo at which a composition or solo is played effects the degree to which eighth notes are swung. At slower tempos, it is not uncommon to exaggerate the swing feel by further emphasizing the first of two eighth notes. At faster tempos the swing feel of eigthth notes dimishes greatly and the notes return to a relatively equal subdivision. Syncopation in a Swing Style Interpreting syncopation in a swing style presents a unique interpretative challenge to musicians. In a swing style, syncopated or off-beat notes can have different stylistic articulations depending on the tempo of a song or solo. There are numerous exceptions for the following examples, particularly in ensemble playing, but in general these rules create authentic swing articulations on syncopations during improvisation. In an up-tempo composition (usually faster than MM=112), off-beat quarter notes in syncopation are articulated staccato or short. The following examples show two rhythms that have the correct articulations notated for a fast tempo. In example eight, the eighth notes of shorter rhythmic value on the down-beat are articulated with a legato articulation while the quarter notes, of longer rhythmic value, are articulated with a staccato articulation. Example Eight

At slower swing tempos (usually slower than MM=112), the stylistic inverse often occurs. Those notes that were previously articulated as staccato revert to a legato articulation. Notice the different articulation markings in the same examples at a slower tempo. Example Nine

8

Chapter One: Articulation, Swing Feel and Stylistic Inflection

Style Inflections in Improvisation Jazz musicians use numerous stylistic inflections to enhance solos. There are a variety of different ways to play and notate every type of stylistic inflection. Some of the most commonly used stylistic inflections and notations are listed below. Scoops- Scoops are perhaps the most common jazz inflection. A scoop is a bend approach before a note. On wind instruments, scoops are typically created through individual embouchure, slide, or valve adjustments. Universally, scoops can be viewed as chromatic approach grace notes. Learning scoops through the use of chromatic approach notes has significant benefits. First, scooping using a chromatic note eliminates some of the significant intonation problems that can occur when beginner and intermediate level wind musicians make changes to their embouchures. Second, beginning musicians are able to efficiently scoop any note on their instrument regardless of register. Third, all musicians, regardless of experience or instrument are able to integrate the inflection fairly easily into their playing. This is how scoops will be notated in this book: Example Ten

Turns- To execute a turn on quarter notes, play a note and then rapidly play the next ascending diatonic note. This is how turns will be notated in this book and how they might be played: Example Eleven

9

Chapter One: Articulation, Swing Feel and Stylistic Inflection

Glissandos- Glissandos are the result of a rapid ascending or descending of a diatonic or chromatic scale. Glissandos are used to connect notes during improvisation. Glissandos can be of any length or speed. Glissandos can be difficult to execute because they require proficiency with either major or chromatic scales. Despite this technical difficulty, glissandos are an important stylistic inflection. This is how glissandos will be notated in this book and how they might be played: Example Twelve

Falls- The typical fall starts with a note (that will be fallen off of), followed by a drastic decrease in volume while playing a descending diatonic or chromatic scale. On brass instruments, falls are played using half-valve or slide movements rather than focusing on individual chromatic or diatonic notes. The key to an effective fall is that the loudest note is the first and the softest note is the last. Falls can go in any direction, be long or short, slow or fast. Falls moving in an ascending manner are often referred to as “doits” to mimic the sound they create. Typically, falls are used at the end of phrases. This is how falls will be notated in this book and how they might be played:

Example Thirteen

Trills- Trills are a rapid alteration between notes that are either a half-step or a wholestep apart. Trills are not as common as the other stylistic inflections mentioned, but can be effective when used conservatively. This is how trills will be notated in this book and how they might be played: Example Fourteen

10

Chapter One: Articulation, Swing Feel and Stylistic Inflection

Shakes- Shakes are a rapid alteration of notes that are greater than a whole step apart. The most common shakes use a minor third interval but can consist of any intervallic combination. On brass instruments like trumpet and trombone, shakes do not always use the same interval. On these instruments, musicians should move up to the next available partial using as few valve or slide movements as possible. This is how shakes will be notated in this book and how they might be played: Example Fifteen

These stylistic inflections and rules for articulations will aide musicians during improvisation. If the goal of melodic improvisation is to communicate using an instrument instead of a voice, then stylistic inflections and articulations create the accent and personality of that voice. Make the use of stylistic inflections and articulations a habitual part of playing. Musicians should strive to improvise with a musical accent that demonstrates a mature understanding of the feel and nuance of jazz.

11

Chapter One: Articulation, Swing Feel and Stylistic Inflection

CHAPTER ONE: Exercises for Continued Exploration 1. Apply swing articulations to all major, minor, blues, and modal scales in the technique appendix of this book. Begin practicing these scales now to develop proficiency. 2. Practice singing scales and technical patterns using the rules for swing articulations and stylistic inflection. This will help internalize their use when playing. 3. Practice singing phrases and etudes using the stylistic inflections from this chapter. Pay attention to the sound of the inflections and how they alter the quality of phrases. Remember, if you can’t remember to sing it, you won’t remember to play it. 4. Play the following twelve bar blues etude: Trumpet players may play an octave lower as needed.

5. Play the above etude and add the following stylistic inflections. Notate the inflections you will use. Create several examples that use different style inflections in different locations. Explore how the use of style inflections can alter the sound of a melody.

12

Chapter One: Articulation, Swing Feel and Stylistic Inflection

a. b. c. d. e.

Scoops Turns Falls Glissandos Other inflections

6. Play your favorite jazz composition and add stylistic inflections to see how it changes. Try playing etudes and exercises from the Jazz Path books Jazz Style and Technique and Creative Jazz Sight Reading to focus on developing correct swing articulations and jazz inflections. 7. Listen to these two examples of the same composition:* Louis Armstrong-Blues in the Night Ella Fitzgerald-Blues in the Night a. What stylistic inflections do you hear when Louis Armstrong sings the melody? b. What stylistic inflections do you hear in the piano comping behind the vocalist on the Louis Armstrong Recording? c. What stylistic inflections do you hear when Ella Fitzgerald sings the melody? c. What stylistic inflections do you hear in the big band arrangement behind Ella Fitzgerald? Discuss: a. How are the arrangements different? b. How do the inflections used by the vocalist change the overall feel of the songs? c. Which version of the song do you prefer? Why? d. Do you think some stylistic inflections more appropriate for certain instruments or voices? e. What other stylistic inflections have you heard in other types of music? f. In Rock n’ Roll? g. In country music? h. In classical music? i. In hip-hop? j. Can you find examples to back your claims? 8. Improvise vocal solos over tracks two through five of the play-a-long CD to practice to help internalize the rules for stylistic inflections and swing articulation.

*

See discography on page 158

13

14

CHAPTER TWO:

I

Introducing the Blues

ON

The majority of the scope and sequence of this book focuses on developing the phrasing structures and skills needed to improvise melodically within a twelve-bar blues progression using a blues scale. Musicians will first master essential phrasing skills and tools and then apply them over the simplest of improvisational forms: the twelve-bar blues. Once mastered, these same phrasing skills can be applied in all forms and styles of jazz improvisation with any type of harmony.

Why The Twelve-Bar Blues and Blues Scale? The twelve-bar blues is one of the simplest and most common chord progressions and forms in jazz. Thousands of unique melodies exist over blues chord changes and all musicians will encounter blues in various keys, tempos, and lengths throughout the course of their improvising. The twelve-bar structure of blues makes it one of the easiest forms for improvisers to follow, one of the shortest forms to solo over, and one of the most adaptable forms for non-harmonically driven improvisation. Basically, twelve-bar blues presents the simplest improvisational canvas for conveying and practicing the melodic concepts that will be examined in the course of this book. The blues scale can be derived from altering the notes in a major scale with the following variations: 1, flat 3, 4, sharp 4 or flat 5, 5, flat 7, 1. Often the blues scale is taught as a variation of the relative minor scale. For the sake of simplicity, the formula used in this book to create a blues scale will be based on only a musician’s knowledge of major scales. The process of constructing a blues scale is detailed on page 19 of this chapter. The scale consists of a series of notes that are harmonically suited to work over all parts of the twelve-bar blues form. The scale creates a harmonic center that does not directly reflect the underlying chord changes of the twelve-bar blues form. The scale offers beginning musicians the chance to have immediate success in improvisation by creating melodies that sound good harmonically over the blues form without mastering the underlying chords. Blues scales limit the harmonic choices improvisers have enabling them to focus their attention on melodic intent, style, and solo development. This type of highly structured immersion with the blues can help musicians develop essential skills that can be later applied to harmonically driven improvisation. Using structured immersion with a blues to scale to practice melodic phrasing concepts makes the transition to harmonically driven improvisation easier for beginning musicians because they learn to make fast creative decisions in a highly structured environment. Unfortunately, without guidance, unstructured immersion using the blues scale can have

15

Chapter Two: Introducing the Blues

an adverse impact on the long-term improvisational development of musicians and their ability to transition successfully to harmonic improvisation. Unstructured immersion occurs when beginning musicians are left to their own devices while learning to improvise with the blues scale. Unstructured immersion with a blues scale leads student musicians to falsely believe that all improvisation occurs without harmonic reference and with unstructured creative freedom. Given enough time musicians may develop the ability to play competent solos using a blues scale, but they will have failed to develop the ability to make fast creative choices within the changing contexts of harmonic improvisation and form. Often musicians are unable to leave the perceived freedom of the blues scale behind and progress to improvisation that is more harmonically structured because they have failed to develop the ability to make fast improvisational choices within a highly structured environment. The blame for a musician’s inability to leave a blues scale behind cannot be credited to the blues scale, but rather to the pedagogy of unstructured immersion. In the structured immersion that will be presented in this book, musicians will improvise solos while making creative choices that limit the length of phrases, location of rests, range, rhythm, and melodic devices that can be used. Though musicians will initially rely solely on the blues scale for harmonic content, they will remain intensely focused on phrase length and the application of melodic phrasing techniques while soloing. This structured immersion keeps musicians focused on the various phrasing options that exist within jazz improvisation and forces them to make fast and creative choices throughout the course of a solo. The blues scale, despite its harmonic flaws, is simply a vehicle used to apply and practice a wide variety of complicated melodic phrasing techniques. When used in this type of structured immersion, the blues scale has significant advantages over other harmonic alternatives. 1. The blues scale allows musicians to focus on the phrasing aspects of improvisation without harmonic or technical considerations. 2. The blues scale is accessible and simple enough for any musician to learn and manipulate. 3. Developing extreme technical proficiency with the blues scale encourages more advanced types of technical exploration on an instrument. 4. When using a blues scale, it is easy for inexperienced musicians to hear “mistakes.” 5. When using a blues scale, inexperienced musicians can focus more of their attention on time, style, and the content of improvisation. Developing technical fluency with the blues scale is essential in order to progress throughout this book. The blues scale should be memorized, played in as many octaves as possible, and with the patterns on page 20 before proceeding through exercises in this book.

16

Chapter Two: Introducing the Blues

A note for advanced musicians: Advanced musicians may choose to quickly leave the confines of the blues scale for other harmonic options. Regardless of the harmonies that one chooses to play, improvisers should focus on the phrase structures and lengths outlined in this book. Internalizing the various phrase lengths, melodic techniques, and solo roadmaps in this book can enhance the phrasing awareness of any musician.

Improvisational Solo Roadmaps, Compositional Etudes, and Scales Throughout the course of this book, improvisational solo roadmaps will be used to highlight the phrasing structure of solos and guide readers through the application of each melodic phrasing technique. Improvisational solo roadmaps consist of a blank twelve-bar blues form with phrasing notation that gives both the location and duration of improvised phrases and other techniques and tools that musicians should apply during a solo. The roadmaps are extremely limiting and force improvisers to focus their attention exclusively on phrase length and melodic techniques being used. These types of roadmaps, though at times difficult, have benefits for improvisers of all levels: 1. Improvisers must be constantly aware of where they are within the form. 2. Improvisers will experiment and gain proficiency with different phrase lengths and melodic techniques. 3. Improvisers will develop the ability to consciously repeat improvised ideas during solos. 4. Improvisers will consciously control and manage phrase length. 5. Improvisers will explore the use of space and solo development. Each roadmap is followed by a demonstration solo that illustrates each new phrasing concept. Readers should become proficient at each solo roadmap and listen to and practice each demonstration solo. The primary goal of this book is to construct melodic solos by developing proficiency and control of improvisational phrasing. Often students ask me, “Is this what you and others think about when you’re improvising a solo?” The answer is no. Musicians practice melodic phrasing skills in the same manner and for the same reason they practice harmonic and technical skills: So that during an improvised solo one can think about communication and emotion, not technique. Composing Melodic Etudes Composing improvisational etudes is an essential skill for beginning improvisers. Throughout the course of this book, readers are given dozens of opportunities to compose their own solo examples using the melodic techniques discussed. Composing examples gives musicians the opportunity to create a concrete example from a theoretical application. These written examples can help musicians remember and

17

Chapter Two: Introducing the Blues

apply new knowledge in a useful and pragmatic way and become a record of the evolution of one’s melodic improvisation. Readers should see drastic improvement in the quality of their written solos throughout the course of this book. Composing melodic examples also helps musicians develop a technical vocabulary for improvisation that can be applied during future solos. Often great improvised melodic ideas are forgotten and lost. By notating quality examples, improvisers can maintain a written record of their best ideas. These ideas can be reintroduced in future solos where they can be continually developed and improved. Developing this type of improvisational vocabulary helps eliminate those awkward moments when improvisers feel, “I don’t know what to play.”

Scale Fluency It is absolutely essential that musicians become proficient with the use of the blues scale before proceeding to the next chapter of this book. Fluency in a blues scale occurs when conscious thought is no longer required to play it. The scale should be mastered and memorized throughout the range of one’s instrument at a fast tempo with appropriate stylistic articulation. The following pages are a guide for constructing a blues scale and some rudimentary exercises that should be mastered before proceeding to chapter three.

18

Chapter Two: Introducing the Blues

Constructing a Blues Scale The blues scale is the tool that will allow musicians to master the melodic phrasing exercises in this book. The scale can be derived from altering notes in a major scale using the following formula:

1- b3 -4 - #4 ( b5 )-5 - b7 -1

Start with a major scale, in this case "C" major and assign each note a number. Then apply the blues scale formula and alter the notes from a major scale.

&c

&

1

˙

1

˙

2

˙

˙

b3

4

b˙

5

4

3

˙

˙

#4 or b5

˙

#˙

6

˙

b7

5

1

˙

1

w

b˙

˙

˙

7

The Blues Scale contains some interesting intervallic combinations. Experiment playing the interval 1- #4, which is known as a tritone interval, and practice creating a resolution to this tension by moving to 4 or 5. Experiment with other intervallic combinations within the blues scale and practice singing the entire scale to internalize its unique sound and nuances. Blues Scale in Concert B b

1

&

˙

b3

b˙

Common Resolutions of Blue Note 4

˙

Blue Note Interval 1- #4 ( b5)

#4 ( b5)

#˙

5

˙

b7

b˙

1

w

19

Chapter Two: Introducing the Blues

Developing technical fluency with blues scales is essential in order to progress through this book. The blues scale should be memorized, played in as many octaves as possible, and played in the following patterns before beginning to improvise. Musicians who are uncertain of the scale will be unable to focus on the melodic content of their improvisation. C Blues Scale: First play the exercise and then practice singing it.

&c

œ- b œ

œ #œ

œ

œ bœ

œ- b œ

œ #œ nœ bœ

œ

œ bœ

œ

Descending: First play the exercise and then practice singing it.

& œ- b œ

œ #œ nœ bœ

œ

œ- b œ

œ #œ

One octave scales on each note of a blues scale. First play the exercise and then practice singing it.

& bœ œ #œ œ bœ œ œ-

bœ œ #œ œ œ b œ &œ

bœ bœ œ œ œ b œ b œ œ œ œ- # œ b œ- œ # œ

œ bœ - bœ œ #œ œ bœ œ œ # œ b œ œ bœ œ

œ- b œ œ # œ n œ bœ œ

One octave scales descending: First play the exercise and then practice singing it.

œ- b œ œ # œ n œ bœ œ &

œ- b œ œ b œ & œ #œ nœ

- #œ nœ b œ- œ # œ n œ b œ œ bœ œ bœ œ bœ œ b œ- œ b œ

bœ œ #œ œ b œ œ # œ-

# œ- n œ b œ œ b œ œœ

œ # œ n œ b œ œ- b œ œ # œ n œ b œ œ œ b œ œ # œ œ b œ œ -

Every Other Note: First play the exercise and then practice singing it.

bœ œ Œ œ bœ œ b œ b œ & œ bœ#œ nœ œ #œ œ œ #œ œ nœ #œ bœ œ bœ œœ bœ œ 20

Œ

Chapter Two: Introducing the Blues

Twelve-Bar Blues Form The twelve-bar blues follows the basic progression that is outlined below. There are numerous chord variations and possible chord substitutions to the twelve-bar blues progression. The variation represented below is used due to its relative harmonic simplicity. Though musicians may use the harmonic changes to keep track of their location within the twelve-bar form, the initial focus of this book will be on developing and controlling phrase lengths within the blues form rather than on the specific chords.

CD Track 2 (play-a-long) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

&’ ’ ’ ’ D min7

F7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Listening Exercise It is extremely important for musicians to recognize the length and feel of a twelve-bar blues progression. Listen to this progression on tracks two, three, four and five of the accompanying CD. Count each measure and practice recognizing the beginning of each twelve-bar form. Practice singing the root of each chord during the twelve-bar blues progression. Hearing when the chords change helps musicians keep their place while improvising. Once you can sing the roots in time with the CD, practice playing the roots on your instrument. When you are able to recognize the beginning of each twelve-bar progression, move on to the following listening exercise. Let the CD play and leave the room for less than a minute. When you return, try to locate where you are within a blues form as quickly as possible. Try to locate the beginning of a new twelve-bar chorus and strive to locate where you are in the form after listening to only two or three bars. Focus on hearing the difference between the primary tonal changes in the blues: bar five "the IV 7" chord and bar nine "the ii min7" chord. This type of listening exercise simulates the experience that musicians often face when they lose their place within the form of a song. Every musician inevitably gets lost while improvising. Experienced musicians are able to recover quickly and continue.

21

Chapter Two: Introducing the Blues

CHAPTER TWO: Exercises for Continued Exploration

1. Practice and begin to memorize all twelve blues scales on page 153. 2. Practice and begin to memorize all twelve major scales on page 152. 3. Practice and begin to memorize all twelve mixolydian scales on page 154. 4. Practice and begin to memorize all twelve dorian-minor scales on page 155. 5. Memorize the chord pattern for the twelve bar blues in concert B flat. 6. Listen to CD track 2 and practice identifying the beginning, bar five, and bar nine of each twelve-bar chorus. 7. Listen to the following recordings of melody and solo over twelve-bar blues:* Gene Krupa-Drum Boogie Louis Armstrong- Black Ole Town Blues Miles Davis-Blues By Five 8. Discuss: a. Can you find the beginning of each twelve-bar chorus? b. Did every solo start at the beginning of a twelve-bar chorus? c. Can you identify the style inflections that the improvisers and vocalists used during solos? d. Identify and discuss specific examples of stylistic inflection and articulations used within solos. e. Could you hear the rules for swing articulation being applied within the solos? f. Does the tempo of a song change the way musicians improvise? Compare and contrast the three recording keeping the tempo in mind. g. Find examples of other musical styles that use a blues form like rock, country western, and rhythm and blues. h. How are these stylistically different from the jazz recordings? i. Is the blues form the same? *

22

See discography on page 158

Chapter Two: Introducing the Blues

9. Practice singing the root of each chord during a twelve-bar blues progression using tracks two, three, and four of the play-a-long CD. Hearing when the chords change can help you keep your place within a blues progression. Once you can sing the roots in time with the CD, practice playing them with your instrument. 10. Practice singing the blues scales while the CD plays through a twelve-bar blues progression. Memorizing the sound of the scale and its intervals will help improve improvisation. Focus on hearing the beginning of each twelve bar repeated progression. 11. Practice singing solos over a twelve-bar blues progression on tracks 2-5 of the CD. Sing for twelve-bars and rest for twelve-bars. This type of alteration can help you keep your place and follow the form. 12. Practice singing solos over a twelve-bar blues progression on track 2-5 of the CD. Sing for four bars and rest for four bars. This type of alteration can help you keep your place and follow the form. 13. Practice singing solos over a twelve-bar blues progression on track 2-5 of the CD. Sing for two bars and rest for two bars. This type of alteration can help you keep your place and follow the form. 14. Practice singing solos over a twelve-bar blues progression on track 2-5 of the CD. Sing for one bar and rest for one bar. This type of alteration can help you keep your place and follow the form.

23

24

CHAPTER THREE:

T

Beginning to Improvise

ION

Improvisation requires musicians to take creative risks. During improvisation musicians risk sounding bad, making mistakes, and becoming lost or unfocused. When musicians first begin to improvise, they often have no idea what they will play or how it will sound. Despite these hurdles, these first awkward steps in improvisation play an important role in helping musicians develop critical skills. These humble beginnings help musicians learn about form, time, and the individual intervals and sounds within a twelve-bar blues. In the previous chapter, musicians worked to develop modest technical fluency with a blues scale. Often beginning improvisers can’t decide what to play despite their technical prowess. Limiting the options that musicians have during solos can help them overcome this indecision. There are three primary ways that musicians can limit creative options and improve their improvisation. The first way musicians can improve improvisation is to limit the notes that may be played during a solo. Limiting note choices forces musicians to think creatively about rhythms, space, and the proper use of stylistic inflections, dynamics, and articulations. By limiting note choices, musicians remove any perceived technical hurdles and are able to focus solely on the creative and stylistic aspects of improvisation. The second way musicians can improve improvisation is to consider the melodic contour used during solos. When musicians focus on melodic contour while soloing, they limit the range and shape of melodic lines created during improvisation. The third way musicians can improve improvisation is to limit the physical location of phrases played within a blues form. When musicians focus on the location of phrases played during a solo they become sensitive to form and the effective use of space. In the exercises 3-1 through 3-5, musicians will experiment with improvisation using only limited notes from a blues scale. Musicians should focus on exploring the scale and memorizing the sound of the different intervals. Later in this chapter, we will examine how to use melodic contour to construct phrases within solos and will practice techniques that maintain awareness of location within the twelve-bar blues form.

25

Chapter Three: Beginning to Improvise

Beginning to Improvise In exercise 3-1 use only the first and second notes of the blues scale during improvisation. Focus on rhythmic variety and articulation, stylistic interpretation, and the use of different registers.

Exercise 3-1: Two Note Solos C7

F7

CD Track 2 (play-a-long)

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 3-1: Two Note Solos with Rhythms-Example Solo One technique that can be used to add rhythmic variety to a solo is to improvise notes while reading different rhythms. Be sure you can sing and count these rhythms before playing them on your instrument. Listen to the example solo and practice improvising your own solo using only the first two notes of the blues scale and the following rhythms. CD Track 13 (demo) CD Track 2 (play-a-long) C7

&Û

F7

Û

Û

Û

&Û Û Œ Û Û Œ Dmin7

F7

Û Û Û

F7

Û Û Œ G7

Û

Œ

Û Œ

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 26

C7

Û Û Û Û Û Û

C7

Œ

C7

Ó

Œ

Û Û

Û Û

C7

Û Û Û Û Ó C7

Û

G7

Û

Û Û Ó Û Û Ó

..

Chapter Three: Beginning to Improvise

In exercise 3-2 use only the first, second, and third notes of the blues scale during improvisation. Focus on rhythmic variety, articulation, stylistic interpretation, and the use of different registers.

Exercise 3-2: Three Note Solos C7

F7

CD Track 2 (play-a-long)

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 3-2: Three Note Solos with Rhythms-Example Solo One technique that can be used to add rhythmic variety to a solo is to improvise notes while reading different rhythms. Be sure you can sing and count these rhythms before playing them on your instrument. Listen to the example solo and practice improvising your own solo using only the first three notes of the blues scale and the following rhythms. CD Track 14 (demo) CD Track 2 (play-a-long) C7

&Û Û Û Û Û Û F7

F7

Û Û Û Û Ó

&Œ

Û

Œ

Û

Û Û Œ Û Û Œ

F7

C7

G7

C7

&Û Û Û Œ Û Û Û Û Û Û Ó Dmin7

C7

Û Û Œ

Û Œ

Œ

Û

Û

Û

C7

Û Û Œ C7

Û

G7

Û Û Û Û Û Û Û Û Û.

Û

Û Û Ó Û Ó J

.. 27

Chapter Three: Beginning to Improvise

In exercise 3-3 use only the first, second, third, and fourth notes of the blues scale during improvisation. Focus on rhythmic variety, articulation, stylistic interpretation, and the use of different registers.

Exercise 3-3: Four Note Solos CD Track 4 (play-a-long) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 3-3: Four Note Solos with Rhythms-Example Solo One technique that can be used to add rhythmic variety to a solo is to improvise notes while reading different rhythms. Be sure you can sing and count these rhythms before playing them on your instrument. Listen to the example solo and practice improvising your own solo using only the first four notes of the blues scale and the following rhythms. CD Track 15 (demo) CD Track 4 (play-a-long) C7

&Û

F7

Û

Û

&Û Û Û Ó Dmin7

F7

Û

Û Û Û Û Ó

F7

Û Û Û Û Û Œ G7

&Û Û Û Û Û Û Û Û Û Û Û Û Œ 28

C7

Û Û Œ Û Û Œ

C7

Û Û Û Û

Œ

C7

Û Û Û Œ

C7

Û Û Œ

Û

C7

Û Û Û Û Ó

G7

Û Û Û Û Ó

..

Chapter Three: Beginning to Improvise

In exercise 3-4 use only the first, second, third, fourth, and fifth notes of the blues scale during improvisation. Focus on rhythmic variety, articulation, stylistic interpretation, and the use of different registers.

Exercise 3-4: Five Note Solos C7

F7

CD Track 2 (play-a-long)

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’

C7

’ ’ ’ ’

G7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 3-4: Five Note Solos with Rhythms-Example Solo One technique that can be used to add rhythmic variety to a solo is to improvise notes while reading different rhythms. Be sure you can sing and count these rhythms before playing them on your instrument. Listen to the example solo and practice improvising your own solo using only the first five notes of the blues scale and the following rhythms. CD Track 16 (demo) CD Track 2 (play-a-long) C7

F7

&Û Û Û Û Û Û F7

&Û Û Û Œ Dmin7

&Œ

Û Û Û Û

Û.

Û J Ó

F7

Û Û Û Û Ó G7

Û Û Û Û Û Œ

C7

C7

Û Û Û Û Û Û Û Û Û Û Û Û Œ

C7

C7

Û Û Û Û Û Û Û Û Û Û Û Û Œ C7

Œ

Œ

Û Û

G7

Û Û Û Û Ó

.. 29

Chapter Three: Beginning to Improvise

In exercise 3-5 use the complete blues scale during improvisation. Focus on rhythmic variety, articulation, stylistic interpretation, and the use of different registers.

Exercise 3-5: The Complete Blues Scale C7

F7

CD Track 4 (play-a-long)

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 3-5: The Complete Blues Scale with Rhythms-Example Solo One technique that can be used to add rhythmic variety to a solo is to improvise notes while reading different rhythms. Be sure you can sing and count these rhythms before playing them on your instrument. Listen to the example solo and practice improvising your own solo using the complete blues scale with the following rhythms. CD Track 17 (demo) CD Track 4 (play-a-long) C7

F7

C7

&Û Û Û Û Û Û Û Û Û Û Û Û Œ F7

& Û. Dmin7

&Û 30

Û Ó J Û Û Û Û Û

F7

Û Û Û Û Ó G7

Û.

Û Ó J

C7

Û Û Û Û Û Û Û Û Û Û Û Ó

C7

Û

C7

Œ

Û Œ

C7

Û Û Û Û Û. Û

Û

G7

Û Ó J

Û Û Û Û Ó

..

Chapter Three: Beginning to Improvise

Melodic Contour Musicians must consider the contour of melodic lines while improvising. The melodic contour of an improvised phrase is the general intervallic shape that the phrase follows. For example, if a musician were to play this phrase:

The melodic contour of the phrase might be considered this:

Range

This dramatic shape, though effective at times, can be extreme for listeners and can inhibit melodic development when consistently used during solos. Often beginners to improvisation unknowingly use this type of phrasing extensively during solos without recognizing the melodic consequences. Phrase Length

Beginning improvisers should focus on creating melodic contours that use stepwise scale pitches and small intervals. Musicians should practice creating melodic lines that have a gentle rolling contour as shown in the example below:

The melodic contour of the phrase might be considered this:

Range

This shape of melodic contour offers improvisers many choices for developing melodic lines.

Phrase Length

31

Chapter Three: Beginning to Improvise

During improvisation the overall contour of melodic lines has a significant impact on how a solo sounds. There are countless variations and contours that musicians can create during improvising. Musicians must not allow chance and technique to dictate the contour of melodic lines. Musicians should consciously and creatively choose the contour and shape of melodic lines while improvising.

Exercise 3-6: Melodic Contour Using a blues scale and the accompanying play-a-long CD, try to create the melodic contours shown below over multi-chorus blues solos. First, practice singing solos that mimic the shapes below and then try playing them on an instrument.

Middle High Low

REGISTER

CD Tracks 2-5 (play-a-long)

Chorus One

Chorus Two

Chorus Three

Low

REGISTER Middle High

SOLO LENGTH

Chorus One

Chorus Two SOLO LENGTH

32

Chorus Three

Chapter Three: Beginning to Improvise

Exercise 3-6: Melodic Contour-Create Your Own Examples In this exercise, create your own examples of melodic contour for use during different length blues solos. First write out the melodic contours that will be used, then practice singing and playing solos that replicate the shape of the melodic line.

Middle High Low

REGISTER

CD Tracks 2-5 (play-a-long)

Chorus One

Chorus Two

Middle High Low

REGISTER

SOLO LENGTH

Chorus One

Chorus Two

Chorus Three

SOLO LENGTH

33

Chapter Three: Beginning to Improvise

Location in Form The third essential skill that musicians must develop to improve improvisation is the ability to be aware of their location within the form while improvising. At this stage of improvisational development, it's common for musicians to get lost within the form of the twelve-bar blues. All musicians, regardless of skill level, inevitably get lost while soloing. Good musicians recover quickly and are able to find where they are within the form through listening. The following exercises require musicians to be constantly aware of their location within the twelve-bar blues form. Musicians should listen carefully and observe the main chordal shifts that occur in bars one, five, and nine of the twelve-bar blues. Practice singing and playing solos that use the following roadmaps. Observe all rests.

Exercise 3-7: Play for Two and Rest for Two CD Track 4 (play-a-long)

Improvise Here C7

F7

&c ’ ’ ’ ’ ’ ’ ’ ’ F7

&’ ’ ’ ’ D min7

&’ ’ ’ ’

F7

C7

∑

∑

C7

’ ’ ’ ’ G7

’ ’ ’ ’

C7

∑

C7

∑

Don't forget to think about the melodic contour for each two-bar improvised phrase.

34

C7

∑

G7

∑

..

Chapter Three: Beginning to Improvise

Practice singing and playing solos using roadmap 3-8. Do not play during the rests.

Exercise 3-8: Rest for Two and Play for Two CD Track 4 (play-a-long)

Improvise Here C7

&c

∑

∑

F7

F7

∑

&

∑

C7

’ ’ ’ ’ G7

∑

C7

’ ’ ’ ’ ’ ’ ’ ’ C7

∑

Dmin7

&

C7

F7

C7

’ ’ ’ ’ G7

’ ’ ’ ’ ’ ’ ’ ’ ..

In exercise 3-9 practice playing for four bars and resting for four bars. In odd choruses, play in bars one through four and nine through twelve. In the even choruses, play only in bars five through eight. Trading fours is common in improvised jazz. the ability to hear where each four-bar phrase begins and ends is an essential skill for musicians to develop.

Exercise 3-9: Trading Fours CD Track 5 (play-a-long)

Odd Choruses C7

&’ ’ ’ ’

F7

’ ’ ’ ’

C7

C7

’ ’ ’ ’

’ ’ ’ ’

C7

C7

’ ’ ’ ’

’ ’ ’ ’

Even Choruses F7

&’ ’ ’ ’

F7

’ ’ ’ ’

Odd Choruses D min7

G7

C7

G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. 35

Chapter Three: Beginning to Improvise

CHAPTER THREE: Exercises for Continued Exploration 1. Write out five one-bar rhythms. Play exercises 3-1 through 3-5 using only the rhythms that you have written while improvising notes. 2. Write out five two-bar rhythms. Play exercises 3-1 through 3-5 using only the rhythms that you have written while improvising notes. 3. Play the following roadmap and follow all instructions for phrasing and note limitations. Practice singing and playing the roadmap with play-a-long tracks two through five.

36

Chapter Three: Beginning to Improvise

4. Create four of your own roadmaps using different combinations of rests and phrase lengths. Challenge yourself to keep your place within the form while improvising. Try to add these additional challenges to your roadmaps: a. Choose specific stylistic inflections that you will use during the solo. b. Choose specific melodic contours that you will use during the solo. c. Choose specific note combinations that you will use during the solo. 5. Listen to:* Sarah Vaughan- Sassy’s Blues Gene Ammons/Sonny Stitt- Blues Up and Down 6. Discuss: a. What type of melodic contour do the soloists use? Draw diagrams to reflect the melodic contour of the solos. b. Do the soloists repeat melodic ideas or rhythms? Where? c. Can you keep track of your place within the form while listening to solos? d. Can you recognize bar one, five, and nine while listening to the recordings? e. Can you keep track of your place within the form while the soloists trade solos? Challenge yourself to always know where you are within the form. f. What is the overall solo form of “Blues Up and Down”? For how many choruses do the artists trade fours, twos and twelves? Can you replicate the form of this solo form with a friend? 7. Go back and transcribe the example solos for exercises 3-1, 3-2, 3-3, 3-4 and 3-5 for your instrument. Remember, the rhythms are already notated in the exercises so focus on transcribing the notes. 8. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression on track ten of the play-a-long CD. An outline of the chord progression, blues scales, and chord scales that may be used can be found in the technique appendix of the book.

*

See discography on page 158

37

38

CHAPTER FOUR:

A

The Basic Language of Improvisation

TION

Good melodic improvisation communicates ideas, thoughts, and emotions to listeners. In some ways, musical communication can be more expressive than verbal or written language because of its ability to convey a range of complicated and subtle emotions to large numbers of people instantly. In order to understand how to construct melody and communicate ideas to listeners, musicians must first learn the basics about controlling phrases and adding melodic intent to improvisation. The following chapter introduces the most basic phrases and melodic devices in improvisation: the question, the answer and the statement. These devices are often grouped together and referred to as call and response. Rests and repetition are other critical tools used during melodic improvisation and will be examined later in this chapter.

The Question Why begin with a question? Read the previous sentence again and pay close attention to the tone and inflection that your inner voice uses at the end of the sentence. One should notice that the words "the question" are tonally higher than the rest of the sentence. This rise in pitch helps make the sentence an audible question. If readers experiment by not allowing their voice to rise when reading that first sentence, they will notice that it ceases to sound like a question. It is the audible rise in pitch at the end of sentence that triggers our brains to register the words as a question. In music, the same tonal inflection applies. Any short phrase whose ending rises in pitch may be audibly heard by listeners as a question. Playing questions using the blues scale is extremely easy. To play a question, make sure that the last note of a phrase is higher than the note preceding it or that the phrase generally ascends in pitch. The following examples are short one and two-bar questions written using the blues scale. Practice these examples, improvise your own one and two-bar examples, and then compose some questions in the spaces provided.

One-Bar Questions:

39

Chapter Four: The Basic Improvisational Language

Compose your own examples of one-bar questions.

& & & Two-Bar Questions:

Pay attention to the swing articulations and style inflections!

& œ bœ - -

œ- œ- œ-

& œ- œ- œ- b œ

œ-

bœ œ & # œr œ b œ œ Compose your own examples of two-bar questions.

& & & 40

Ó œ b œ œ- - . r #œ

œ.

b œ. Ó J

. œ b œ œ œ Œ œ- œ

Chapter Four: The Basic Improvisational Language

The Answer One of the differences between a question and an answer in spoken language is the audible pitch change the voice creates at the end of a sentence. As stated before, questions rise in pitch in the final syllables. Conversely, answers descend in pitch on the final syllables. In improvisation, the same type of inflection applies. Any short phrase whose overall shape descends in pitch may be heard by listeners as an answer. The following are some short one and two-bar answers written using the blues scale. Practice these examples, improvise your own one and two-bar examples, and compose some answers in spaces provided.

One-Bar Answers:

&c &

œ

r #œ

b œ- œ.

œ- œ- œ3

b œ- œ. Œ 3

Œ & b œ œ # œ. œ œ œ. b œ - œ.

Compose your own examples of one-bar answers:

& & & 41

Chapter Four: The Basic Improvisational Language

Two-Bar Answers:

œ

# œ-

n œ-

b œ-

œ-

b œ- œ Ó

~~ ~~~

&

r #œ

& œ œ bœ œ œ œ #œ #œ nœ bœ œ Ó - . bœ œ & œ- b œ œ

r #œ

bœ œ œ œ œ

Compose your own examples of two-bar answers:

&

& &

42

œ.

Œ

Chapter Four: The Basic Improvisational Language

The Statement Throughout this book phrases greater than two bars in length will be called statements. Improvisational statements can blur the obvious audible differences between questions and answers by increasing the length of the phrase and the possible shape of the line. In improvisational music, statements are the most common phrases. Improvisers often do not intend to consciously play questions or answers during a solo. As in written and spoken communication, questions and answers are only a small part of the improvisational language. Musicians spend most of their time developing improvisational ideas within solos, rather than focusing on specific questions or answers. Since it is not possible to audibly determine the intent of every improvisational phrase played during a solo, we will generally define any phrase greater than two bars as a statement. The following examples are three-bar statements written using a blues scale. Practice these examples, improvise your own three-bar examples, and then compose your own statements in the spaces provided.

Three-Bar Statements:

- - & c œ œ bœ

œ-

& œ-j # œ. b œj - œ-

œ-

œ- b œ. ‰ œj œ

œ- œ œ

b œ- œ .

Œ

œ- # œ œ- b œ œ

œ b œ- œ œ- # œ- œ. œ- œ œ

& # œ- œ- œ- œ- œ- œ- œ- œ- œ- b œ œ œ # œ- n œ œ b œ œ œ -

œ- b œ.

œ- œ .

43

Chapter Four: The Basic Improvisational Language

Compose your own examples of three-bar statements:

& & &

Musicians will encounter obvious cases when phrases that are longer than two bars are specifically intended to sound like questions or answers. This is the improviser's prerogative. The examples given on these pages are general examples that are meant to demonstrate the concepts of improvisational questions, answers, and statements. Musicians should strive to develop the musicality and skill necessary to consciously play phrases with communicative intent during a solo. Once improvisers acquire and refine this skill, great liberty may be taken during improvised solos.

Create Your Own Conversations: Musicians should practice creating improvisational conversations that consist of questions, answers, and statements. Any conversation that can be spoken can also be played on an instrument. Try the following exercise. First, write out a short conversation that consists of questions, answers, and statements. Then try playing improvisational phrases that mimic the written conversation. If the conversation repeats words or phrases, repeat those same phrases while improvising. If the conversation has emotional content, mimic those characteristic during improvisation using style and dynamics. At this point, don't worry about the chord changes within a blues form or fitting a musical conversation with the play-a-long CD. Focus exclusively on adding creative intent to improvisation with the blues scale.

44

Chapter Four: The Basic Improvisational Language

Playing Rests Rests are a critical component of every improvised solo. Rests provide the improviser with pauses that can begin, end, or add emphasis to a phrase. Rests also provide listeners with short breaks that enable them to better process and understand the music being heard. Without rests, solos would sound like one endless run-on sentence that would be neither intelligible nor enjoyable for listeners. Rests also play an important role when constructing a melodic solo. Where a musician rests significantly impacts phrasing and solo development. Throughout the remainder of this book, rests will be used to separate phrases and to add emphasis to the beginning and end of improvisational ideas. Often, rests will be one measure or more in length. It is extremely important to give these rests their full value. Do not begin any of the phrase structures on the following pages earlier than notated. Learning to control the beginning and ends of phrases is a critical first step in developing melodic phrasing skills.

Practicing Repetition Repetition is another essential component of melodic jazz improvisation and one of the most difficult skills for beginning musicians to master. Repetition requires musicians to remember short improvised phrases and reuse the same phrases later in a solo. Often beginning musicians are unable to remember melodies they have improvised. These musicians lack the ability to hear their own improvised melodies and repeat them. Developing melodic memory is a critical step in learning to improvise. The following pages contain several techniques that beginning improvisers can practice to enhance their repetitive skills. Later in chapter eight of this book, the use of repetition using improvisational motifs will be explored in greater detail. For beginning improvisers, the basic concepts needed to immediately integrate repetition into improvisation are detailed in the following pages. Musicians should focus on developing three types of repetitive skills: rhythmic, intervallic, and exact repetition. Here are some tips that can help beginning musicians develop the ability to remember melodic ideas during a solo: 1.

Improvise vocal solos. Singing solos that use repetition can help musicians improve their melodic memory. Often beginning improvisers create solos on their instruments that are far less melodic and structured than those that they might sing. The melodic ideas that beginning improvisers sing tend to be short, rhythmic, and in-time. These three characteristics make the ideas memorable and repeatable. Beginning musicians should follow this simple rule: If you can’t sing it or say it, don’t play it.

45

Chapter Four: The Basic Improvisational Language

2.

Focus on rhythms. Beginning improvisers can usually remember improvised rhythmic patterns easier than they can remember pitches. Find a simple or memorable rhythmic pattern and then repeat it throughout a solo without regard for the notes. Developing rhythmic memory leads to improved overall melodic memory.

3.

Repeat Intervals. Focus on repeating intervals during improvised solos. Experiment using obvious intervals like octaves, tri-tones, or minor thirds. The ability to purposefully repeat intervals helps musicians improve melodic memory.

4.

Quote a known phrase. In the course of learning to improvise, musicians are likely to learn and compose hundreds of melodic ideas. Instead of trying to remember a phrase that was recently improvised, focus on remembering and reusing a phrase that was previously practiced and memorized. This process of quoting melodic ideas and phrases improves melodic memory and can make a solo sound great.

The examples on the following pages will help musicians practice and improve repetitive skills and melodic memory.

46

Chapter Four: The Basic Improvisational Language

Rhythmic Repetition Rhythmic repetition is one of the simplest types of repetition that musicians use when improvising. This type of repetition occurs when musicians memorize a rhythmic pattern and repeat it during a solo. The rhythm can be repeated on one pitch or on different pitches. Rhythmic repetition fosters rhythmic awareness in musicians and is the simplest type of repetition to immediately integrate into improvisation. In exercise 4-1, practice singing and improvising solos using one repetitive rhythm for each chorus of blues. Rhythms can be one or two bars long. For a demonstration of this technique, listen to the example solo below.

Exercise 4-1: Rhythmic Repetition

CD Track 4 (play-a-long)

C7

F7

&c ’ ’ ’ ’ F7

D min7

G7

&’ ’ ’ ’

C7

’ ’ ’ ’ ’ ’ ’ ’

F7

&’ ’ ’ ’

C7

C7

’ ’ ’ ’ ’ ’ ’ ’ C7

’ ’ ’ ’ ’ ’ ’ ’

If this exercise proves to be difficult, notate the rhythms that will be repeated.

’ ’ ’ ’

C7

’ ’ ’ ’

’ ’ ’ ’ ..

G7

Exercise 4-1: Rhythmic Repetition-Example Solo CD Track 18 (demo)

Repeated Rhythmic Pattern C7

Û

F7

&Û

Û Û Û Û Û

&Û

Û

&Û

F7

Dmin7

Û Û Ó

C7

Û

Û Û Û Û Û

Û Û Ó

C7

Û Û Û Û Û Û

Û Û Ó

F7

G7

Û

C7

Û Û Û Û Û

Û Û Ó

Û

Û

Û Û Û Û Û

Û Û Ó

Û

Û Û Û Û Û Û

C7

C7

G7

Û Û Ó 47

..

Chapter Four: The Basic Improvisational Language

Intervallic Repetition Intervallic repetition occurs when improvisers play and repeat a series of specific intervallic notes during a solo. Typically, rhythms are used to vary the sound of the intervallic pattern. This type of repetition fosters pitch awareness in beginning improvisers and is far easier to execute than repeating exact phrases. Intervallic repetition is discussed in greater detail in chapter nine. In exercise 4-2, practice singing and improvising your own solos using intervallic repetition. Choose a series of notes for each chorus of blues and improvise a solo using only those notes. The example solo uses four intervallic notes from the blues scale to create an excellent one chorus blues solo.

Exercise 4-2: Intervallic Repetition C7

F7

CD Track 2 (play-a-long)

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

C7

&’ ’ ’ ’ ’ ’ ’ ’ D min7

G7

’ ’ ’ ’ C7

’ ’ ’ ’ ’ ’ ’ ’

C7

G7

&’ ’ ’ ’ ’ ’ ’ ’ ’

’

Notate the intervallic notes that will be used during each solo.

’

’ ’ ’ ’ ..

’

Exercise 4-2: Intervallic Repetition-Example Solo Pitch Sequence: 1- b3- #4-4

-œ b œ- # œ- n œ& C7

CD Track 19 (demo)

F7

œ- b œ # œ n œ œ Œ

- nœ œ . n œ. # œ # œ b œ b œ ‰ Jœ ‰ J ‰ œJ Œ

C7

- ~b œ. Œ b œœ œ Œ ~ & #œ nœ œ b˙ # œ- n œF7

Dmin7

b˙ & ˙ ~~~

48

F7

# œ- n œ œ Ó G7

C7

. n œ. # œ b œ . ‰ Jœ ‰ J ‰ J ‰ J

C7

# œ- n œ. Œ

. œ- b œ # œ n œ œ œ # œ n œ œ b œ # œ n œ œ Œ

C7

G7

3

Chapter Four: The Basic Improvisational Language

Exact Repetition Exact repetition occurs when improvisers repeat both the rhythm and pitch of previously improvised ideas during a solo. This type of repetition is the easiest for listeners to hear and most difficult for musicians to play. Repeated phrases can be of any length. Exact repetition is discussed in greater detail in chapter nine. The following example requires musicians to repeat a one-bar phrase throughout a solo. In exercise 4-3, musicians should practice repeating phrases where notated and improvising where slash notation is used. Improvise your own solos using exact repetition and listen to the example solo for exercise 4-3.

Exercise 4-3: Exact Repetition

&c

C7

CD Track 4 (play-a-long)

Repeat

Remember this phrase F7

C7

C7

’ ’ ’ ’

Repeat

’ ’ ’ ’ Repeat

F7

F7

&

C7

C7

’ ’ ’ ’

’ ’ ’ ’ Repeat

Repeat D min7

G7

&

C7

G7

’ ’ ’ ’ ..

’ ’ ’ ’

This type of repetition is complicated. When improvising your own examples, keep melodic ideas simple so that they are easy to remember and repeat. Practice singing solos before you play them.

Exercise 4-3: Exact Repetition-Example Solo Repeated Phrase

b œ- œ œ œ. Œ œ b œ &œ . C7

3

b œ- œ œ œ. Œ œ b œ &œ . F7

3

b œ- œ œ œ. Œ œ b œ &œ . Dmin7 3

CD Track 20 (demo)

b œ- œ œ œ. Œ œ b œ ’ ’ ’ ’ œ . F7

C7

3

b œ- œ œ œ. Œ œ b œ ’ ’ ’ ’ œ .

F7

C7

3

b œ- œ œ œ. Œ œ b œ ’ ’ ’ ’ œ .

G7

C7

3

C7

’’’’ C7

’’’’ G7

’’’’ 49

Chapter Four: The Basic Improvisational Language

CHAPTER FOUR: Exercises for Continued Exploration

1. Practice repeating a one-bar improvised idea at different locations during a solo using the following roadmap. This roadmap helps musicians remain aware of their location within the form while improvising. First, practice singing solos that follow the roadmap and then try playing them. The numbers represent what and where to repeat in each chorus. In the first chorus, repeat in locations marked “1,” in the second chorus, repeat in places marked “2” etc.

Practice the above roadmap exercises using: a. Rhythmic Repetition for three choruses b. Intervallic Repetition for three choruses c. Exact Repetition for three choruses 2. Practice repeating a two-bar improvised idea at different locations during a solo. This roadmap helps musicians remain aware of their location within the form while improvising. First, practice singing solos that follow the roadmap and then try playing them. The numbers represent what and where to repeat in each chorus. In the first chorus, repeat in locations marked “1”, in the second chorus, repeat in places marked “2” etc.

50

Chapter Four: The Basic Improvisational Language

Practice the above roadmap exercises using: a. Rhythmic Repetition for three choruses. b. Intervallic Repetition for three choruses. c. Exact Repetition for three choruses. 3. Listen to the following recordings:* Bessie Smith- Back Water Blues Louis Armstrong- St. Louis Blues Gene Ammons- Good Time Blues 4. Discuss: a. In Back Water Blues how is repetition used during each twelve bar chorus? b. In St. Louis Blues can you identify when the song uses a twelve bar blues form and when it does not? c. In St. Louis Blues can you hear the repetition used during the trumpet solo? What effect does this repetition have on you as a listener? d. In Good Time Blues how is repetition used during the melody? e. Are there places where you hear the musicians using repetition during improvisation? f. Do you think repetition becomes boring for listeners? How often do you think an idea has to be repeated before it becomes boring for listeners? How often do you think an idea must be repeated before listeners notice it is being repeated? Try out your thesis: Play a solo for listeners and have *

See discography on page 158

51

Chapter Four: The Basic Improvisational Language

them raise their hands when they are certain that they are hearing repetition. g. What can musicians do to improve their ability to remember what they have played and repeat it within a solo? 5. Write out the words to some conversations that might take place during the course of the day that contain questions, answers and statements. Write out a short: a. Argument between two people b. Conversation between a teacher and student c. Conversation between two friends d. Conversation asking directions from someone on the street e. Conversation asking to borrow something from a friend Now practice playing all of these conversations on your instrument. 6. Transcribe the example solos for exercises 4-1 and 4-3 for your instrument. 7. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression on tracks 10-12 of the play-a-long CD. Notation for the chord progression, blues scales, and chord scales for “F” blues can be found in the technique appendix of the book.

52

CHAPTER FIVE:

S

Basic Improvisational Phrase Lengths

ATION

In order to construct melodic solos, musicians must be able to consciously control the length, duration and placement of phrases. Musicians often allow technical proficiency to dictate phrase length. More advanced technical soloists tend to play longer phrases, while beginners tend to play shorter phrases. This stereotype should not be the case. Phrase length should be dictated by the intent of what a musician is trying to communicate, not by technique. In this chapter we will examine and practice three types of basic phrase lengths: the one-bar phrase, the two-bar phrase, and the three-bar phrase. These phrase lengths, when combined with stylistic inflections and improvisational intent, give musicians the tools needed to play quality solos. Improvisers should focus on adding melodic intent to each phrase length. It is simply not enough to play the correct notes in the correct place. Musicians should push themselves to consciously think about what they are trying to convey through their improvisation. In this chapter, a reader’s intent will be to convey questions, answers, and statements using the three basic phrase lengths, beginning with the one-bar phrase.

The One-Bar Phrase The shortest type of phrase length that musicians must master is the one-bar phrase. The one-bar phrase is extremely limiting in the content that it allows a musician to play, due to its short duration. This limitation makes mastering one-bar phrases an essential benchmark for musicians. The challenges encountered when playing one-bar phrases are both technical and creative. The main technical challenge that musicians face is to consciously stop each phrase before the first beat of the next measure. A one-bar phrase in 4/4 time can’t be more than four beats long. The measure of rest following each one-bar phrase in the preceding exercises should remain completely empty. The main creative challenge that musicians face when playing one-bar phrases is that this short phrase length allows little room for the melodic or rhythmic development of ideas. Therefore, each short phrase must be a quality melody. When used properly, one-bar phrases can create a conversational vocal quality in a solo. Simple question and answer solos might mimic the vocal quality of this short conversation:

53

Chapter Five: Basic Improvisational Phrase Lengths

Question You O.K? Ready to eat? Can we leave?

Answer Absolutely You bet. No way.

Very few good conversations consist of simple questions followed by simple answers. The above format can be altered in as many ways as there are literal counterparts. For example, the format can be used to create tension within a solo in the same way that a conversation might become tense. In the following example, tension in the conversation builds by repeating a question: Question Can I have that? Can I have that? Can I have that?

Answer No We can’t afford it. You’re not listening.

The opposite approach can also build tension in a solo by repeating an answer: Question Could I get a raise? Some additional vacation? Don’t you think I’ll quit?

Answer No way. No way No way.

Similarly, many conversations might have multiple questions that go unanswered or several different answers for the same question. Creativity and imagination are key elements needed to effectively use question and answer, or call and response, in an improvised solo. These types of short one-bar question and answer phrases are most stylistically appropriate in rhythm and blues, funk, or blues at a slow tempo. Extended multi-chorus solos exclusively using one-bar phrases are unlikely to occur in traditional jazz settings. Musicians should remember that improvising a solo is like telling a story. Great improvised solos follow the same rules for construction and development as verbal stories. Giving consideration to the "story" that one is improvising can help soloists add emotional content and create strategies for melodic phrasing that can engage both the audience and fellow musicians. Musicians should experiment with different conversational formats during improvised solos and strive to make this use of intent habitual. Variations to one, two, and three-bar phrasing will be explored in the following exercises and solo roadmaps in this chapter.

54

Chapter Five: Basic Improvisational Phrase Lengths

The following roadmaps demonstrate how one-bar phrasing can be used within a blues form. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-1.

Exercise 5-1: Question and Answers CD Track 3 (play-a-long)

Answer

Question

&c ’ ’ ’ ’

∑

C7

F7

∑

C7

C7

’ ’ ’ ’

Answer

Question

∑

F7

F7

&’ ’ ’ ’

C7

’ ’ ’ ’

∑

C7

Answer

Question Dmin7

&’ ’ ’ ’

∑

G7

C7

’ ’ ’ ’

..

∑

G7

Feel free to alter the suggested intent of this exercise. Improvisers often play numerous questions before playing an answer or multiple answers followed by questions. Vary the phrasing in creative ways.

Exercise 5-1: Questions and Answers-Example Solo Trumpet players should play an octave lower as needed.

Question

&œ

C7

-œ b œ T œ- œ.

Question

&

œ- b œ-

F7

œ-

œ- œ.

Answer

∑

F7

œ- œ- b œ- # œr œ b œ œ

&

œ- œ.

œ. b œ- œ- - . # œ n œ b œ œ~ ‰ J ~~~

∑

C7

Answer

∑

F7

C7

∑

C7

Answer

Question Dmin7

#C7œ- n œ- b œ-

CD Track 21 (demo)

∑

G7

# œ n œ œ œr b œ

r C7 nœ

r œ

œ œ.

∑

G7

In this type of slow funk, articulations on eighth notes are slightly different than the usual swing articulation. 55

Chapter Five: Basic Improvisational Phrase Lengths

Exercise 5-2 combines repetition and one-bar phrasing. In this exercise repeat the same answer for an entire chorus while playing different questions and observing all rests. Focus on remembering the melody improvised for the answer. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-2.

Exercise 5-2: The Answer Remains the Same Question

Answer (Remember This)

∑

C7

F7

&c ’ ’ ’ ’

C7

’ ’ ’ ’

&’

C7

∑

Answer (Repeat)

Question F7

CD Track 3 (play-a-long)

’ ’

∑

F7

’

C7

’

’ ’

’

C7

∑

Answer (Repeat)

Question

∑

D min7

G7

&’ ’ ’ ’

C7

’ ’ ’ ’

..

G7

∑

Focus on playing answers that are easy to remember in exercise 5-2.

Exercise 5-2: The Answer Remains the Same-Example Solo Trumpet players should play an octave lower as needed. CD Track 22 (demo)

Question

& œ- œ b œ œ œ œ œ œ. C7

Question

b˙

Question

œ-

Dmin7

& 56

œ-

œ-

œ- œ

~~~

&

F7

œ- b œ œ-

Answer

T œ œ œ b œ.

r #œ

F7

∑

r œ

C7

∑

r #œ

œ- b œ œ-

C7

r œ

∑

œ # œ n œ. b œ- œ. 3

œ- b œ œ-

Answer (Repeat) G7

C7

∑

3

Answer (Repeat) F7

œ # œ n œ. b œ- . œ

r #œ

C7

r œ

œ # œ n œ. b œ- . œ 3

C7

∑

G7

∑

Chapter Five: Basic Improvisational Phrase Lengths

In exercise 5-3, repeat the same question for an entire choruse while playing different answers. Focus on remembering the melody improvised for the question in bar one and observing all rests. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-3.

Exercise 5-3: The Question Remains the Same CD Track 3 (play-a-long)

Question (Remember This)

Answer

C7

F7

&c ’ ’ ’ ’

C7

∑

&’ ’ ’ ’

Answer F7

C7

∑

&’ ’ ’ ’

C7

∑

’ ’ ’ ’

Question (Repeat) D min7

∑

’ ’ ’ ’

Question (Repeat) F7

C7

Answer G7

C7

∑

..

G7

∑

’ ’ ’ ’

Focus on playing questions that are easy to remember during in 5-3.

Exercise 5-3: The Question Remains the Same-Example Solo Trumpet players should play an octave lower as needed. CD Track 23 (demo)

Question C7

& # œr ˙

Answer

b œ- œ œ œ.

∑

r #œ

F7

Question (Repeat)

&

F7

r #œ

˙

b œ- œ œ œ.

∑

F7

b œ- œ œ œ.

œ-

C7

C7

∑

C7

∑

œ-

. œ œ œ œ n œ. b œ#œ Answer

G7

b œ-

C7

3

3

œ- œ .

œ- œ

~~~

& # œr ˙

œ- n œ b œ œ œ œ.

Answer

Question (Repeat) D min7

œ-

C7

∑

∑

G7

57

Chapter Five: Basic Improvisational Phrase Lengths

Create Your Own Examples Construct and compose your own solo using combinations of one-bar questions, answers, and repetition. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating a record of melodic ideas that can be incorporated into future improvisation. CD Track 3 (play-a-long)

&c & &

& & & 58

Chapter Five: Basic Improvisational Phrase Lengths

The Two-Bar Phrase Two-bar phrases present a new hurdle for beginning improvisers: ending a phrase within two measures. When beginning improvisers immerse themselves in the blues scale the resulting solos often consist of phrases of random length. The following exercise will focus improvisers on creating two-bar questions and answers that all end before beat one of the new measure. In two-bar phrases, ending the phrase in the proper place is critical. When improvisers ignore the rests, the phrase structure ceases to be a two-bar phrase. Observe all rests while improvising using the following roadmap. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-4.

Exercise 5-4: The Two-Bar Phrase Question and Answer Question

CD Track 2 (play-a-long)

Answer

C7

F7

C7

&c ’ ’ ’ ’ ’ ’ ’ Œ Question

C7

’ ’ ’ ’ ’ ’ ’ Œ

Answer

F7

&’ ’ ’ ’

F7

’ ’ ’ Œ

Question

C7

’ ’ ’ ’

C7

’ ’ ’ Œ

Answer

D min7

G7

&’ ’ ’ ’ ’ ’ ’ Œ

C7

G7

’ ’ ’ ’ ’ ’ ’ Œ

..

Exercise 5-4: The Two Bar-Phrase Question and Answer-Example Solo Trumpet players should play an octave lower as needed.

Question

- b œœ & C7

œ- œ- œ

- . œ- b œ œ Ó

F7

Question

F7 œ- œ b œ œ œ œ. œ œ œ- # œ- œ. ‰ Ó & F7

Question

r #œ

G7

œ # œ- n œ- b œ-

œ- b œ- œ. Ó

C7

Answer

b œ- œ œ œ- œ- œ-

. œ b œ œ b œ œ œ œ œ Œ r & # œr œ b œ œ œ D min7

CD Track 24 (demo)

Answer

C7

C7

b œ T œ- b œ œ Œ C7

Answer r œ

bw C7

r œ

b œ . œ. Ó J G7

59

Chapter Five: Basic Improvisational Phrase Lengths

In exercise 5-5, repeat the same two-bar answer for an entire chorus while playing different questions. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-5.

Exercise 5-5: The Answer Remains the Same CD Track 2 (play-a-long)

Question

Answer (Remember This)

C7

F7

C7

&c ’ ’ ’ ’ ’ ’ ’ Œ

C7

’ ’ ’ ’ ’ ’ ’ Œ

Question

Answer (Repeat)

F7

F7

C7

&’ ’ ’ ’ ’ ’ ’ Œ

C7

’ ’ ’ Œ

’ ’ ’ ’

Answer (Repeat)

Question D min7

G7

C7

&’ ’ ’ ’ ’ ’ ’ Œ

G7

’ ’ ’ Œ

’ ’ ’ ’

..

Keep the answers simple in this exercise so that they are easy to remember and repeat.

Exercise 5-5: The Answer Remains the Same-Example Solo Trumpet players should play an octave lower as needed.

Question

- b œœ & C7

œ-

b œ- œ œ œ.

Question

&

F7

Œ

Question

60

r #œ

œ- b œ- œ. Ó

C7

œ-

Answer (Repeat)

Ó

œ . b œ n œ œ. Œ J

G7

œ-

~ œ b œ-

C7

œ bœ

œ-

Answer (Repeat) C7

œ-

œ b œ œ-

~~~

-œ b œ œ # œ œ n œ& Dmin7

C7

F7

~~~

b œ- œ œ œ œ œ.

œ- ~ ~

Answer

r # œ- œ. Ó œ œ

œ-

F7

CD Track 25 (demo)

œ- b œ- œ. Ó

C7

œ- b œ- œ. Ó

G7

Chapter Five: Basic Improvisational Phrase Lengths

In exercise 5-6, repeat the same question for an entire chorus while playing different answers. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-6.

Exercise 5-6: The Question Remains the Same CD Track 4 (play-a-long)

Question (Remember This) C7

Answer F7

C7

&c ’ ’ ’ ’ ’ ’ ’ Œ Question (Repeat)

C7

’ ’ ’ ’ ’ ’ ’ Œ

Answer

F7

F7

&’ ’ ’ ’ ’ ’ ’ Œ

C7

’ ’ ’ ’

C7

’ ’ ’ Œ

Answer

Question (Repeat) D min7

G7

&’ ’ ’ ’ ’ ’ ’ Œ

C7

’ ’ ’ ’

G7

’ ’ ’ Œ

..

Keep the questions simple in this exercise so that they are easy to remember and repeat.

Exercise 5-6: The Question Remains the Same-Example Solo Trumpet players should play an octave lower as needed.

Question

œ-

œ-

r #œ

Question (Repeat)

Question (Repeat)

œ-

œ-

œ bœ œ

F7

r #œ

œ- œ b œ

C7

œ bœ œ

G7

œ- # œ-

n œ- b œ- œ. Ó C7

Answer

T b œ œ œ œ œ œ œ œ # œ n œ b œ œ~ Ó ~~ C7

Ó

Answer

Ó

~~~

- b œœ & D min7

r #œ

Ó

~~~

- b œ- œ- œœ & F7

œ bœ œ

F7

Answer

~~

- b œœ & C7

CD Track 26 (demo)

œ

r C7 œ

œ- b œ

œ-

œT b œ- œ. Ó

G7

61

Chapter Five: Basic Improvisational Phrase Lengths

Musicians should be able to maintain two-bar phrasing for at least three consecutive choruses of solo before proceeding. In storytelling, not all questions are followed by answers and not all answers warrant new questions. Feel free to alter the forms used thus far by playing continuous questions or answers.

Create Your Own Examples Construct and compose your own solo using combinations of two-bar questions, answers, and repetition. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating a record of melodic ideas that can be incorporated into future improvisation.

CD Track 2 or 4 (play-a-long)

&c & &

& & & 62

Chapter Five: Basic Improvisational Phrase Lengths

The Three-Bar Phrase Three-bar phrases present the same hurdle to beginning improviser as two-bar phrases: controlling the end of the phrase. This challenge is more difficult in three-bar phrases because inexperienced improvisers tend to instinctually want to play phrases that are four-bars in length. In this exercise, all three-bar phrases must end before beat one of the fourth bar. The reason for this will become apparent in chapter seven. Phrases that are three-bars and longer often don't sound like questions or answers. Phrases of this length will be called statements throughout this book even though it is possible to approach three-bar phrases as either questions or answers. When improvising the following roadmaps, be sure to observe the rests. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-7.

Exercise 5-7: Three Separate Statements

CD Track 5 (play-a-long)

Statement C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

∑

Statement

F7

F7

C7

&’ ’ ’ ’ ’ ’ ’ ’ Statement

Dmin7

G7

C7

C7

&’ ’ ’ ’ ’ ’ ’ ’

∑

’ ’ ’ ’ G7

’ ’ ’ ’

..

∑

Exercise 5-7: Three Separate Statements-Example Solo Trumpet players should play an octave lower as needed.

œ- œ b œ œ- œ-

Statement C7

&

œ- b œ.

F7

CD Track 27 (demo)

- œ # œ- œ. œ œ n œ œ œ b œ ‰ J œ

Statement

r #œ

# œ- n œ. b œ- œ- œ- œ œ b œ- œ. Œ & J J F7

F7

C7

œ- b œ Cœ7 # œr œ n œ œ œ- b œ.

C7

∑

C7

∑

Statement

# œ- œ œ- œ- œ- œ- œ- œ- n œ- b œ- œ œ # œ- n œ œ b œ- œ œ œ- œ~ ~~~ & D min7

G7

C7

G7

∑

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Chapter Five: Basic Improvisational Phrase Lengths

In exercise 5-8, the first and third statements are the same. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-8.

Exercise 5-8: Repeating Statement One CD Track 5 (play-a-long)

Statement (Remember This) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

∑

Statement F7

F7

C7

&’ ’ ’ ’ ’ ’ ’ ’

C7

∑

’ ’ ’ ’

Statement (Repeat Statement One) Dmin7

G7

C7

&’ ’ ’ ’ ’ ’ ’ ’

G7

..

∑

’ ’ ’ ’

Exercise 5-8: Repeating Statement One-Example Solo Trumpet players should play an octave lower as needed. CD Track 28 (demo)

Statement

- b œœ & C7

œ-

œ- œ # œ n œ- b œ n œ F7

œ- œ ˙

C7

Statement F7

F7

bœ & ‰ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ Statement (Repeat Statement One)

- b œœ & Dmin7

64

œ-

œ- œ # œ n œ- b œ n œ G7

C7

r œ

œ- œ ˙

r œ

bœ.

œ~~~ J ~

C7

∑

œ b œ- œ œ œ- œ.

C7

r œ

bœ.

œ ~~~ J ~~~

C7

∑

G7

∑

Chapter Five: Basic Improvisational Phrase Lengths

In exercise 5-9, the second and third statements are the same. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-9.

Exercise 5-9: Repeating Statement Two CD Track 5 (play-a-long)

Statement C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

∑

Statement (Remember This) F7

F7

C7

&’ ’ ’ ’ ’ ’ ’ ’

C7

∑

’ ’ ’ ’

Statement (Repeat Statement Two) Dmin7

G7

C7

&’ ’ ’ ’ ’ ’ ’ ’

G7

..

∑

’ ’ ’ ’

Keep melodic ideas simple so that they are easy to remember and repeat.

Exercise 5-9: Repeating Statement Two-Example Solo Trumpet players should play an octave lower as needed.

CD Track 29 (demo)

Statement

F7 œ bœ œ #œ nœ bœ œ bœ œ œ ‰ &

œ œ œ œ œ.

C7

C7

b œ. Ó J

C7

∑

F7 C7 . œ œ. œ. . b œ œ œ œ œ œ b œ b œ œ œ œ œ œ œ œ n œ- œ œ #œ nœ œ Œ

Statement

&

r #œ

F7

3

3

3

3

G7 C7 . . . . b œ œ œ œ œ œ œ b œ œ œ b œ œ œ r œ œ œ œ n œ- œ œ# œ n œ œ #œ œ

C7

∑

Statement (Repeat Statement Two)

D min7

&

3

3

3

3

Œ

G7

∑

65

Chapter Five: Basic Improvisational Phrase Lengths

Musicians should be able to maintain three-bar phrasing for at least three consecutive choruses of solo before proceeding. Musicians should vary both the statement and the repeated phrases in the following examples.

Create Your Own Examples Construct and compose your own solo using combinations of three-bar statements and repetition. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating a record of melodic ideas that can be incorporated into future improvisation. CD Track 5 (play-a-long)

&c & &

& & & 66

Chapter Five: Basic Improvisational Phrase Lengths

Combining Phrase Lengths Once musicians can confidently use one, two, and three-bar phrases in isolation, they should begin combining the different phrase lengths within an improvised solo. Musicians should be aware of where they are within the blues form at all times and should observe rests in the following roadmaps. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-10.

Exercise 5-10: Combining Phrase Lengths Answer

CD Track 5 (play-a-long)

Question

C7

&c ’ ’ ’ ’

F7

C7

∑

C7

∑

’ ’ ’ ’

Statement F7

F7

&’ ’ ’ ’

C7

’ ’ ’ ’

Question

’ ’ ’ ’

C7

∑

Answer

D min7

G7

&’ ’ ’ ’ ’ ’ ’ Œ

C7

G7

’ ’ ’ ’ ’ ’ ’ Œ

..

Exercise 5-10: Combining Phrase Lengths-Example Solo Trumpet players should play an octave lower as needed.

&

bœ

Answer r C7 œ

œ- œ b œ œ. Œ

bœ

Question

∑

F7

r C7 œ

œT œ œ œ.

Statement

F7 œ œ # œ # œ n œ œ b œ œ œ b œ œ . œ œ œ œ & bœ F7

3

˙

. œ b œ œ b œ œ Œ œ œ r & # œr œ b œ œ œ œ G7

Œ

œ . b œ ~~ J ~~

C7

3

Question D min7

r #œ

CD Track 30 (demo) C7

∑

∑

C7

Answer r #œ

G7 œ n œ- b œ œ œ œ œ. b œ- œbœ bœ œ Œ

C7

3 67

Chapter Five: Basic Improvisational Phrase Lengths

Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 5-11.

Exercise 5-11: Combining Phrase Lengths Question

CD Track 4 (play-a-long)

Answer

C7

F7

&c ’ ’ ’ ’

C7

’ ’ ’ Œ

’ ’ ’ ’

C7

∑

Statement F7

&’ ’ ’ ’ Question

F7

C7

’ ’ ’ ’

’ ’ ’ ’

C7

∑

Statement

D min7

G7

&’ ’ ’ Œ

C7

..

G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ

Exercise 5-11: Combining Phrase Lengths-Example Solo Trumpet players should play an octave lower as needed. CD Track 31 (demo)

Question

Answer

F7 3 œ œ œ - b œ. Ó rbœ œ œ œ bœ œ b œ œ & #œ œ .

˙

C7

Statement

&

F7 b œ- œ œ œ œ

Dmin7

68

œ œ . bœ J

Statement

Ó

~~~

&

œ.

F7

# œ- œ œ œ- œ n œ b œ. œG7

3

C7 # œ n œ b œ. œ3

b œ- œ. Œ b œ œ œ. Œ

C7

∑

C7

∑

G7 . . œ b œ b œ œ b œ. ‰ Jœ. ‰ J ‰ J Œ œ- b œ œ C7

Œ

~~~

œT œ œ

Question

œ-

C7

Chapter Five: Basic Improvisational Phrase Lengths

Musicians should be able to spontaneously combine one, two, and three-bar phrase lengths within multiple choruses of twelve-bar blues. Musicians should vary the phrase lengths and the repeated phrases in their improvised and composed roadmap examples.

Create Your Own Examples Construct and compose your own solos using combinations of different phrase lengths and repetition. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating a record of melodic ideas that can be incorporated into future improvisation. CD Track 4 (play-a-long)

&c & &

& & & 69

Chapter Five: Basic Improvisational Phrase Lengths

CHAPTER FIVE: Exercises for Continue Exploration

1. Create ten new one chorus solo roadmaps using combinations of one, two, and three-bar phrases with questions, answers and statements. 2. Create a literal conversation that uses short questions, answers, and repetition. Write down the words for this short conversation and then try to create a solo roadmap that will reflect the attitude and content of the written words. The solo can be multiple choruses of blues and can use any of the phrase lengths in this chapter. 3. Practice singing and playing the following solo roadmap.

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Chapter Five: Basic Improvisational Phrase Lengths

4. Practice singing and playing the following solo roadmap.

5. Listen to the following recordings:* Miles Davis- One for Daddy-O Miles Davis-Vierd Blues Sonny Rollins-Blue Seven Charlie Parker-Now’s the Time Ray Brown-Mistreated but Undefeated Blues 6. Discuss: a. Can you identify any specific phrase lengths, questions, or answers that are used in the different melodies on the recordings? Create a roadmap that accurately reflects the melodies for Vierd Blues and One for DaddyO? b. Can you identify certain phrase lengths, questions, or answers that are used in the different improvised solos? Where? c. Are there places where you hear the improviser using repetition, questions or answers? Where? d. Do the improvisers on any of these recordings use space effectively in their solos? Where? e. Can you hear any places where the soloists use melodic quotes from other famous melodies in their solos? Where? Why do you think musicians do this? 7. Practice exercises 5-1 through 5-11 using the chord scales and arpeggios found in the appendix instead of the blues scale. *

See discography on page 158

71

Chapter Five: Basic Improvisational Phrase Lengths

8. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale or chord progression. An outline of the chord progression, blues scales, and chord scales needed for “F” blues can be found in the technique appendix of the book.

72

CHAPTER SIX:

I

Developing Melodic Solos

SATION

Once beginning musicians can competently integrate one, two and three-bar phrases into improvisation, they possess the phrasing skills needed to create quality improvised solos. Developing improvised solos is the next important skill that musicians must practice. A well developed solo increases and decreases in intensity and often elicits emotional responses from listeners. In the same way that great stories develop plot lines that entertain and surprise readers, great solos develop shapes that engage listeners and defy expectations. During improvisation musicians can control the development and shape of solos by either increasing or decreasing intensity.

Shape and Intensity Inexperienced musicians should have a cognitive plan for developing a solo before they begin to improvise. Inexperienced improvisers are often overwhelmed by the vast amount of creative decisions regarding notes, phrasing, and stylistic inflections that are made simultaneously during every solo. In order to facilitate this decision making, musicians can create an outline of how a solo will develop before they begin to improvise. By pre-planning solo shape, beginning musicians encourage themselves to move beyond the minutia of playing correct notes towards the more compelling challenges of creating improvisational intent and choosing specific solo development tools that will be used during a solo. Limiting choices helps improvisers focus on using specific tools to create specific results. Shape and development within improvisation is an important and often underutilized tool. Musicians must not only consider the shape of their own solo but must also consider the context and location of their solo within the larger composition. For example, in a big band composition, musicians are rarely given multiple choruses to develop solos. Solos might be inserted in the middle of a piece before a compositionally dense ending or there might be several different soloists in rapid succession. In these scenarios the shape options musicians have to choose from become more limited. In these cases, musicians may have to play solo shapes that fit into the overall compositional shape of the piece. In situations where there are multiple soloists, musicians must listen and be aware of the shape and development of previous solos. For example, if a previous soloist ends with an extreme decrease in tension, a musician would probably not choose to begin their solo on a high exciting point. If that were to happen, it would be awkward and might not make melodic sense to listeners. The alternative is also true. If a previous soloist ends

73

Chapter Six: Developing Melodic Solos

Intensity

Intensity

their solo with an extreme increase in tension, it would be awkward for the following soloist to begin at an extreme low point in tension. The landscape of melodic development often looks more like rolling hills than sharp mountain peaks and valleys. Alternatively, in small combos, musicians might have to develop three or more choruses of solo. In this scenario, development and pacing is extremely important so that musicians don’t exhaust their creative and technical resources or the attention of listeners before the end of a solo. There are countless solo shapes that improvisers might play. Shape is only limited by the length of a solo and the musician’s imagination. For demonstration purposes, the following shapes can represent common two chorus blues solos:

Length of solo

Length of solo

Figure 2

Intensity

Intensity

Figure 1

Length of solo

Figure 3

Figure 4

Intensity

Length of solo

Length of solo

Figure 5

Intensity in music can be created in any number of ways. The following is a list of tools that musicians use to increase and decrease intensity during solos.

74

Chapter Six: Developing Melodic Solos

How do improvisers build intensity during a solo? 1. By playing in increasingly higher registers- Gradually increasing range to play in higher registers during a solo builds tension for listeners. 2. By playing with increasing speed- Technique and speed can build tension and intensity within a solo. This type of intensity can be used to communicate a range of more aggressive emotions to an audience. 3. By sustaining notes- Holding out notes for long periods of time can increase tension and defy expectations of listeners. When a musician holds out a note, listeners create an internal expectation of when the note will end. If the expectation is not met, tension continues to build while listeners create a new set of expectations. The longer a note is held and the more listeners expectations are defied, the more tension increases. 4. By phrasing in an unexpected way- Phrasing solos in an unexpected way can increase the intensity felt by a listener. Listeners intuitively expect phrases of certain lengths and melodic rhythms. Altering the length and placement of phrases can be an unexpected and interesting surprise for listeners. 5. By playing louder- Increasing volume alters the amount of tension that listeners feel. By combining phrases that are both loud and soft, improvisers can imitate a vocal quality in a solo that is both engaging and intuitively understood by listeners. 6. By using repetition- Repetition reinforces improvisational ideas to listeners. Continued repetition increases intensity during an improvised solo. 7. By adding harmonic tension- Harmonic tension is created when musicians play notes that sound dissonant and resolve to notes that sound consonant. This process of “tension and release” can be accomplished using a blues scale but is most often used in harmonically centered improvisation. Harmonic tension plays an important role in improvisation and there are countless options and techniques that musicians can apply to create it. How do improvisers decrease intensity during a solo? 1. By playing gradually in lower registers- Gradually decreasing range and playing in decreasingly lower registers creates an audible decline in intensity for listeners. 2. By playing simple phrases- Phrases of less technical and rhythmic complexity create an audible decline in intensity for listeners.

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Chapter Six: Developing Melodic Solos

3. By phrasing in an expected way- Constructing simple phrases that meet the expectations of listeners decreases improvisational intensity. Phrases that begin on downbeats, are two or four bars in length, and coincide with strong harmonic changes, tend to meet listener’s expectations and can decrease intensity. 4. By diminishing overall volume- Playing at a softer volume can audibly decrease the intensity of a solo. 5. By effectively using space- Leaving significant amounts of rest bars or space in a solo decreases the audible intensity for a listener. Once a musician chooses a shape for a solo, he or she must then choose the melodic development tools that will be used to create that shape. At first, musicians should limit the number of tools that they allow themselves to use when developing a solo. Limiting choices focuses musicians on practicing specific techniques that can be immediately integrated into improvisation. The following exercise will help musicians construct a shape for a solo while limiting the development tools used.

A Practice Solo Roadmap for Melodic Development

Intensity

The following practice solo roadmap will attempt to create this solo shape:

Length of solo

In the following roadmap, the above shape will be created using a few simple intensity building techniques: repetition, playing in increasingly higher registers, and sustaining notes. Throughout the solo, improvisers will focus on playing two and threebar phrases. The following roadmap presents a significant amount of visual information for improvisers to process. In order to successfully play the following roadmap, first make note of the phrase lengths that are used through the solo roadmap. Second, make note of the overall range changes that the solo uses. You will notice that the ranges used mimic the solo diagram above. Finally, make note of any special instructions. In this case, there is one five-bar phrase with a sustained note in the high register and a two-bar repetition in the last four bars of the solo. Practice singing and improvising your own solo using exercise 6-1 and listen to and practice the example solo.

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Chapter Six: Developing Melodic Solos

Practice singing and improvising your own solo using exercise 6-1.

Exercise 6 -1: Building Intensity within Two Choruses of Blues CD Track 4 (play-a-long)

Three-bar phrase in the LOWER register of your instrument.

&c ’ ’ ’ ’ C7

F7

’ ’ ’ ’

∑

C7

C7

’ ’ ’ ’

Three-bar phrase in the MIDDLE register of your instrument. F7

F7

&’ ’ ’ ’

’ ’ ’ ’

&’ ’ ’ ’

G7

’ ’ ’ ’

C7

’ ’ ’ ’

Three-bar phrase in the UPPER register of your instrument. Dmin7

∑

C7

’ ’ ’ Œ

C7

Sustained Note Begins

Œ

G7

’ ’ ’

This is the high point of the solo. Choose a note that is high on your instrument and hold it out for as long as possible with a quality sound and vibrato. Try to hold the note out for at least three bars and then move down to the middle range of the blues scale on your instrument. C7

&’ ’ ’ ’

F7

C7

’ ’ ’ ’

’ ’ ’ ’

’ ’ Œ

Œ

C7

Three-bar phrase in the MIDDLE register of your instrument. F7

F7

&’ ’ ’ ’

’ ’ ’ ’

Answer (Remember This)

&’ ’ ’ ’ ’ ’ ’ Œ Dmin7

C7

G7

’ ’ ’ ’

∑

C7

Answer- Repeated C7

G7

’ ’ ’ ’ ’ ’ ’ ’

77

Chapter Six: Developing Melodic Solos

Listen to and practice this example solo until the techniques used for melodic development become clear.

Exercise 6 -1: Building Intensity within Two Choruses of Blues-Example Solo Trumpet players should play an octave lower as needed. CD Track 32 (demo)

Three-bar phrase in the LOWER register of your instrument. C7

& c œ- œ b œ

F7

œ-

C7

œ- b œ œ ~~ b œ œ b œ œ œ œ- b œ .

C7

j œ œ œ. Œ

∑

Three-bar phrase in the MIDDLE register of your instrument.

œ # œ œ b œ œ- # œ n œ b œ. # œ n œ œ œ œ œ œ œ # œ. n œ œ # œ- œ ~~~~ ∑ b œ œ J J ~ &‰ 3 F7

F7

C7

C7

3

Three-bar phrase in the UPPER register of your instrument.

&

bœ.

Dmin7

r œ

G7 b œ œ œ b œ- œ œ œ œ œ- œ œ. œ J

b œ- œ œ œ.

w

w

C7

Ó œ.

w

F7

G7 r

C7

3

This is the high point of the solo.

&

Sustained Note Begins

C7

Œ

œ

b˙.

C7

Œ

Ó

Three-bar phrase in the MIDDLE register of your instrument.

œ bœ œ #œ nœ - # œ- n œ œ b œ b œ œ J œ œ &‰ F7

F7

r œ

G7

r . j œ bœ œ ‰ & J œ b œ œ œ œ œJ b œ œ. Ó

78

C7

∑

Answer- Repeated

Answer (Remember This) Dmin7

b œ- œ œ # œ- n œ œ ~~~ ~~ C7

C7

G7

r ‰ œ b œJ œ œ b œ œ œ œ œJ b œ. œj Ó .

Chapter Six: Developing Melodic Solos

Creating Roadmaps that Build Intensity Follow these steps to create your own improvisational roadmaps that practice solo development. 1. Choose an overall solo shape. 2. Choose the tools that you will use to develop intensity during the solo from the list on page 75. 3. Choose the tools that you will use to decrease intensity during the solo from the list on pages 75-76. 4. Decide which phrase lengths will be used: one, two, or three-bar phrases. 5. Write out the road map. 6. Practice improvising vocal solos over the roadmap until it is internalized. 7. Improvise a solo with your instrument. 8. Repeat the process until the tools for developing an improvised solo are completely memorized and are habitually used. Musicians must internalize the tools for solo development. The practice roadmaps and the tools used for increasing and decreasing intensity are only useful in improvised solos when musicians don’t have to consciously think about their use. The practice exercises in this chapter and throughout this book are meant to help musicians understand, practice, and implement development tools in improvised solos. The next and most important step is for musicians to internalize the development tools and use them habitually. Solo development can take years to master, but the first steps toward eventual mastery are taken in this chapter. In order to continually facilitate this development, musicians should ask themselves “what’s my plan” before playing a solo and “did I execute my plan” after playing a solo. Musicians should set concrete goals and evaluate every solo to make sure that melodic skills are becoming habitual. Musicians should take the time to create their own detailed roadmaps using the tools for solo development. Musicians should work to reach the point where notating a road map is unnecessary and development occurs naturally. Internalizing these development tools is an essential step in learning to improvise and it should not be rushed. Be proficient at developing solos before beginning chapter seven.

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Chapter Six: Developing Melodic Solos

Create Your Own Example Solo Development Roadmap For Two Choruses of Blues Create your own solo development roadmap for two choruses of blues. Choose the techniques and phrasing that you will use to increase and decrease intensity to create the following solo shape:

Example 1.tif

CD Track 2 (play-a-long)

&c & &

& & & 80

Chapter Six: Developing Melodic Solos

Create Your Own Example Solo Development Roadmap For Two Choruses of Blues Create your own solo development roadmap for two choruses of blues. Choose the techniques and phrasing that you will use to increase and decrease intensity to create the following solo shape:

CD Track 4 (play-a-long)

&c & &

& & & 81

Chapter Six: Developing Melodic Solos

Create Your Own Example Solo Development Roadmap For Two Choruses of Blues Create your own solo development roadmap for two choruses of blues. Choose the techniques and phrasing that you will use to increase and decrease intensity to create the following solo shape:

CD Track 5 (play-a-long)

&c & &

& & & 82

Chapter Six: Developing Melodic Solos

CHAPTER SIX: Exercises for Continued Exploration 1. Practice singing and improvising two chorus solos using all of the example shapes on page 74. 2. Practice singing and improvising four chorus solos using all of the example shapes on page 74. 3. Practice singing and improvising two chorus solos using chord scales and arpeggios instead of the blues scale to create the following shapes. These scales can be found in the appendix of this book.

4. Write out all the tools for solo development on index cards. Before playing or singing a solo, randomly choose two index cards and use only those tools for solo development. 5. Write out eight original solo shapes for two and four chorus solos on index cards. Before playing or singing a solo, choose a card and spontaneously execute that solo shape without creating a written roadmap. 6. Listen to the following recordings: * Sarah Vaughn-Sassy’s Blues Gene Ammons- Blue Greens and Beans Louis Armstrong- West End Blues Miles Davis- One for Daddy-O Gene Ammons and Sonny Stitt- Blues Up and Down

*

See discography on page 158

83

Chapter Six: Developing Melodic Solos

7. Draw a diagram of the overall shape of each solo that you have listened to. Track each solo shape chorus by chorus.

8. Discuss: a. Which solo development tools did each artist use to accomplish the shape of their solo? b. Which solo development tools do you think are the most effective? Why? c. Are some solo development tools more effective than others at different tempos? d. Are there some solo shapes that seem to be more common than others? Which ones? Why? e. Are some solo development tools best suited to certain instruments? Which ones? Why? f. Are some solo development tools easier to play than others? Why? g. When there are multiple soloists, how does the solo shape each individual plays effect the overall listening experience? 9. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression on track 10-12 of the play-a-long CD. An outline of the chord progression, blues scales, and chord scales that should be used can be found in the technique appendix of the book.

84

CHAPTER SEVEN:

V

Using Pick-ups in Improvisational Phrasing

ISATION

The phrase pick-up is the next essential melodic tool for musicians to use during improvised solos. During solos, improvisers strive to keep the attention of the audience and other musicians by making solos interesting and by trying to defy the expectations of listeners. Most often, improvisers use harmonic tension as the primary tool for defying the expectations of listeners. Hundreds of books have been written discussing the use of harmonic tension and those techniques will not be discussed here in detail. Alternatively, creating intensity through the use of melodic phrasing is a more subtle, but equally effective way for improvisers to develop solos. Thus far, we have explored improvising with one, two, and three-bar phrases. Each of these phrase lengths, when used repeatedly, becomes predictable for listeners. This audible predictability decreases the overall intensity in a solo. Phrase pick-ups are the inevitable evolution of the basic phrase lengths mastered thus far. A phrase pick-up is a series of notes that is inserted before the beginning of a melodic idea. Adding phrase pick-ups to conventional phrase lengths creates the melodic displacement of one, two, or three-bar phrases. Adding pick-ups creates the dual effects of displacing and lengthening the improvised idea. One-bar phrases become to two-bar phrases, two-bar phrases become three-bar phrases, and three-bar phrases become four-bar phrases. While pick-ups lengthen phrases they also displace the beginning of melodic ideas which creates phrasing tension by beginning and ending phrases in unexpected locations relative to the form. Pick-ups significantly alter both the sound and feel of standard one, two, and three-bar phrases. Though conceptually simple, beginning musicians often have great difficultly properly placing pick-ups within a solo. Readers should focus intently on the correct rhythmic placement of pick-ups in all of the exercises in this chapter. The length of a pick-up directly effects how audibly noticeable it will be in an improvised solo. Beginning improvisers tend to play pick-ups that are one beat or less. Short pick-ups create the least amount of melodic tension. Musicians should strive to lengthen pick-ups to three beats and beyond. Throughout the course of the following chapter, pick-ups begin on various beats so that musicians can practice their use.

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Chapter Seven: Using Pick-ups in Improvisational Phrasing

One-Bar Phrasing with Pick-ups In the exercise 7-1 each one-bar phrase has a two beat pick-up. The pick-up displaces the phrase, making it sound more like a two-bar phrase and creates phrasing intensity by consistently beginning each melodic idea in an unexpected place. Be certain to observe all rests in the following exercise. Practice singing and improvising solos using exercise 7-1.

Exercise 7-1: One-Bar Phrasing with Pick-ups CD Track 3 (play-a-long)

One-Bar Phrase

Pick-up

&c ’ ’ ’ ’ Œ C7

Œ

F7

One-Bar Phrase F7

One-Bar Phrase

&’ ’ ’ ’ Œ Dmin7

Û Û Û Û ’ ’ ’ ’ Œ C7

Pick-up

&’ ’ ’ ’ Œ F7

G7

Œ

Œ

One-Bar Phrase

Œ

C7

Û Û Û Û ’ ’ ’ ’ Œ Pick-up

Œ

C7

One-Bar Phrase

Û Û Û Û ’ ’ ’ ’ Œ C7

Û Û Û Û

Pick-up

One-Bar Phrase

C7

Pick-up

C7

Œ

Û Û Û Û

Pick-up

Û Û Û Û ..

Beginners often have difficulty adhering to the strict structure of phrasing used in the above exercise. If the eighth note rhythms for pick-ups in the above exercise proves to be too difficult, simply alter the rhythm to something easier, like half notes or quarter notes. Regardless of the rhythm, continue placing the pick-up on beat three. Vocalizing improvisational phrasing can make the phrasing easier to execute. All musicians should practice singing this type of phrasing before attempting to play it. Developing the ability to sing phrase structures like pick-ups can greatly reduce the amount of time it takes to master playing them on an instrument.

86

Chapter Seven: Using Pick-ups in Improvisational Phrasing

In exercise 7-2, one-bar phrases with pick-ups are expanded to include questions, answers, and repetition. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-2.

Exercise 7-2: Repeating the Question with Pick-ups CD Track 3 (play-a-long)

Question (Remember This)

Pick-up

&c ’ ’ ’ ’ Œ C7

Question (Repeat) F7

&’ ’ ’ ’ Œ

Œ

C7

Answer

Pick-up

G7

Pick-up

Û Û Û Û ’ ’ ’ ’ Œ

Œ

C7

Û Û Û Û Pick-up

Û Û Û Û ’ ’ ’ ’ Œ

Œ

Û Û Û Û

Œ

C7

Answer C7

Question (Repeat) D min7

C7

Pick-up

&’ ’ ’ ’ Œ F7

Û Û Û Û ’ ’ ’ ’ Œ

Œ

F7

Pick-up

Answer

Œ

C7

Û Û Û Û ..

Exercise 7-2: Repeating the Question with Pick-ups-Example Solo Trumpet players should play an octave lower as needed.

Question

CD Track 33 (demo) C7 œ- ~~~ œ # œ n œ b œ œ œ. Œ Œ œ

Pick-up

F7 . œ - œ- b œ œ- bœ œ œ œ œ Œ Œ &

r C7 œ

C7

Question (Repeat)

Question (Repeat)

. œ- œ

Ó

G7

r œ

bœ.

C7

Answer

œ #Cœ7 n œ œ b œJ

œ- œ

~

œ- b œ

Pick-up

~~~

&œ

D min7

Pick-up

œ bœ œ #œ nœ C7 r - - - #œ œ œ œ œ b œ œ Œ Œ ‰

Answer

~~~~

F7 . œ - b œ œÓ &œ œ F7

. r œ œ bœ œ #œ Pick-up

Pick-up

Answer

∑

G7

Try variations of the above exercises like: playing the same answer, playing the same pickups for different questions and answers, and playing the same questions and answers while varying pick-ups. By practicing more variations of these exercises, musicians can greatly increase their control of melodic phrasing. 87

Chapter Seven: Using Pick-ups in Improvisational Phrasing

In exercise 7-3 one-bar phrases with pick-ups are expanded to include questions, answers and repetition. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-3.

Exercise 7-3: Repeating the Answer with Pick-ups CD Track 4 (play-a-long)

Question

Answer (Remember This)

Pick-up

Pick-up

& c ’ ’ ’ ’ Œ ‰ ÛJ Û Û Û Û ’ ’ ’ ’ Œ

Œ

‰ JÛ Û Û Û Û ’ ’ ’ ’ Œ

Œ

C7

F7

C7

Question

Pick-up

&’ ’ ’ ’ Œ F7

F7

C7

Answer (Repeat)

C7

Question

C7

Pick-up

Answer (Repeat)

Pick-up G7

ÛÛÛÛ Pick-up

& ’ ’ ’ ’ Œ ‰ ÛJ Û Û Û Û ’ ’ ’ ’ Œ D min7

ÛÛÛÛ

C7

C7

Œ

Û Û Û Û ..

Exercise 7-3: Repeating the Answer with Pick-ups-Example Solo Trumpet players should play an octave lower as needed. CD Track 34 (demo)

- b œ r . b œ- . œ œ œ œ # œ # œ n œ #œ œ œ nœ b œ œ Œ ‰ J & œ- œ b œ œ œ œ œ œ. Œ ‰ b Jœ œ Question

Pick-up

C7

Pick-up

Answer

F7

C7

3

. œ œ. C7- b œ- F7 œ b œ . œ œ œ œ œ # œ n œ. b œ- œ. C 7 # œ œ œ œ œ -œ œ œ Œ ‰ # œ Œ ‰ J J

Question

&

r œ

b˙

F7

Pick-up

3

Answer (Repeat)

3

3

œ œ b œ. # œ Cœ7 b œ- œœ œ- T œ œ œ b œ. G 7 Œ ‰ J J J & Question

Dmin7

88

Pick-up

Pick-up

Answer (Repeat)

œ # œ n œ. b œ- . œ 3

G7

∑

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Create Your Own Examples Construct and compose your own solos using combinations of questions and answers with pick-ups of different lengths. Composing solo etudes can help musicians become more conscious of form and phrase length while creating melodic ideas that can be used in future improvisation. Practice your own examples with the accompanying CD. CD Track 3 (play-a-long)

&c & ..

&

& & ..

&

89

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Two-Bar Phrasing with Pick-ups The following exercises add pick-ups to common two-bar phrases. In this exercise each two-bar phrase has a two and a half beat pick-up. Again, the pick-up displaces the two-bar phrase making it sound like a three-bar phrase and creates phrasing intensity by beginning each melodic idea in an unexpected place. Be certain to observe all rests in the following exercise. Practice singing and improvising solos using exercise 7-4.

Exercise 7-4: Two-Bar Phrases With Pick-ups CD Track 2 (play-a-long)

Pick-up

Two-Bar Phrase

‰ Û Û Û Û Û ’ ’ ’ ’ J

&c ’ ’ ’ ’ ’ ’ ’ ’ Œ C7

F7

C7

Pick-up F7

Pick-up

C7

Two Bar-Phrase

‰ ÛJ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’

&’ ’ ’ ’ Œ 5 F7

Two-Bar Phrase

C7

C7

Two-Bar Phrase

& Œ ‰ ÛJ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ Œ 9 D min7

G7

C7

C7

Pick-up

‰ JÛ Û Û Û Û ..

Two-bar phrasing with pick-ups is considerably more challenging for inexperienced improvisers than traditional two-bar phrasing. Instinctually improvisers tend to build phrases around the main chordal shifts that occur within a blues: measure one, measure five, and measure nine. When using two-bar phrasing with pick-ups, melodic phrases move across these strong harmonic changes in a way that may feel counterintuitive to inexperienced improvisers. Musicians should practice singing solos using the preceding phrasing structure and practice the solo examples that have been provided in order to develop proficiency with this important phrasing technique.

90

Chapter Seven: Using Pick-ups in Improvisational Phrasing

In exercise 7-5, two-bar phrases with pick-ups are expanded to include questions, answers, and repetition. Improvisers should be comfortable executing the following roadmaps for several consecutive choruses before moving on. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-5.

Exercise 7-5: Two-Bar Questions and Answer With Pick-ups CD Track 4 (play-a-long)

Answer

Pick-up

Question

& c ’ ’ ’ ’ ’ ’ ’ ’ Œ ‰ JÛ Û Û Û Û ’ ’ ’ ’ C7

F7

C7

Pick-up F7

‰ ÛJ Û

F7

&’ ’ ’ ’ Œ Pick-up

C7

Question

Û Û ’ ’ ’ ’ ’ ’ ’ ’ C7

C7

Answer

Pick-up

& Œ ‰ ÛJ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ Œ ‰ ÛJ Û Û Û Û .. D min7

G7

C7

C7

Exercise 7-5: Two-Bar Questions and Answer With Pick-ups-Example Solo Trumpet players should play an octave lower as needed.

Question

- b œœ & C7

œ- œ- œ

œ- b œ- œ. Ó & F7

Pick-up

-œ b œ- œ. Ó

F7

Pick-up

CD Track 35 (demo)

Pick-up C7

Œ

r - r bœ œ œ # œ nœ #œ n œ b œ œ ‰ bœ œ J C7

Question

. r bœ œ œ b œ œ œ Œ ‰ œ bœ œ #œ œ bœ œ œ œ Œ œ J -

F7

C7

C7

Answer

& Œ ‰ Jœ b œ œ œ # œ b œ œ œr œ œ œ œD min7

Answer

G7

r œ

b œ œ- b œ œ ~ Œ ~ ~ ~~ C7

C7

∑

91

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-6.

Exercise 7-6: Repeating the Answer With Pick-ups CD Track 4 (play-a-long)

Pick-up

Question

Answer (Remember This)

& c ’ ’ ’ ’ ’ ’ ’ ’ Œ ‰ JÛ Û Û Û Û ’ ’ ’ ’ C7

F7

C7

Pick-up F7

Question

‰ ÛJ Û Û Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’

F7

C7

&’ ’ ’ ’ Œ Pick-up

C7

3

C7

3

Answer (Repeat)

Pick-up

& Œ ‰ ÛJ Û Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ Œ ‰ ÛJ Û Û Û Û .. D min7

G7

C7

C7

3

Exercise 7-6: Repeating the Answer with Pick-ups-Example Solo CD Track 36 (demo)

Pick-up

Question

&

C7

œ- b œ-

œ-

F7

œ-

r œ

Dmin7

&Œ

Question

C7 r -œ œ #œ nœ œ œ œ Œ ‰ J œ bœ œ œ œ œ œ bœ . .

C7

& œ- b œ œ Ó - .

Œ

Pick-up

‰ # œj œ b œ œ œ œ ~~ b œ ~œ C7

C7

œ # œ- œ. Ó

Answer

F7

Pick-up

3

3

r œ

#œ œ œ C7

Ó

Answer (Repeat) G7

‰ jb œ œ # œ œ b œ œ ~ ~ œ- b œ. œ-

C7

3

œ-

œ- b œ- œ Ó .

G7

∑

Try variations of exercise 7-6 such as: keeping the answer the same, keeping the question the same, and keeping both the questions and answers the same while varying pick-ups. 92

œ-

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Create Your Own Examples Construct and compose your own solo using combinations of two-bar questions and answers with pick-ups. Composing solo etudes helps musicians become more conscious of form and phrase length while creating melodic ideas that can be incorporated into future improvisation. Practice your own examples with the accompanying CD. CD Track 4 (play-a-long)

&c & ..

&

& & ..

&

93

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Three-Bar Phrasing with Pick-ups

The following exercises add pick-ups to standard three-bar phrases. In exercise 7-7 each three-bar phrase has a three beat pick-up. The pick-up displaces the phrase making it sound more like a four-bar phrase and creates phrasing intensity by consistently beginning each melodic idea in an unexpected place. In this case, each pick-up begins each melodic phrase precisely where inexperienced improvisers tend to end phrases. By creating four-bar phrases that both begin and end in unexpected locations, improvisers can greatly increase the phrasing intensity of a solo. Be certain to observe the rests in the following exercise. Practice singing and playing this roadmap with the accompanying CD.

Exercise 7-7: Three-Bar Phrasing With Pick-ups CD Track 5 (play-a-long)

Statement

Pick-up

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ C7

F7

Œ

C7

C7

Statement

Pick-up

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ F7

F7

C7

Œ

C7

Statement

Û Û Û Û Û Û Pick-up

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Dmin7

Û Û Û Û Û Û

G7

C7

Œ

C7

Û Û Û Û Û Û ..

Three-bar phrasing with pick-ups, though effective at any tempo, is particularly effective as a phrasing tool at faster tempos. Be sure to try to apply this technique with the fast blues play-a-long provided on the accompanying CD. For an example of how this type of phrasing can be used in an up-tempo solo, look at exercise 8-3 in chapter eight.

94

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-8.

Exercise 7-8: Repeating Statement One CD Track 5 (play-a-long)

Pick-up

Statement (Remember This) C7

F7

C7

C7

Û Û Û Û Û Û

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Statement (Repeat Statement One) F7

Pick-up

F7

C7

C7

Û Û Û Û Û Û

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Statement

Pick-up

Dmin7

G7

C7

C7

Û Û Û Û Û Û ..

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ

Exercise 7-8: Repeating Statement One-Example Solo CD Track 37 (demo)

Trumpet players should play an octave lower as needed.

œ- œ b œ œ- œ-

Statement

&

C7

œ œ b œ œ- œ-

œ- b œ.

F7

œ- b œ.

Statement (Repeat Statement One) F7

&

Statement

F7

Pick-up

C7 C7 . bœ œ r œ œ œ œ œ #œ nœ œ œ # œ œ # œ b œ b œ ‰ J œ Œ

Pick-up

r - œ œ œ- œ- œ- œ # œ- œ. œ œ œ #œ nœ œ # œ b œ ‰ J œ Œ C7

G7 C7 œ œ œ œ œ œ #œ œ œ b œ œ œ # œ n œ œ b œ- œ œ & D min7

C7

œ- œ.

G7

∑

95

Chapter Seven: Using Pick-ups in Improvisational Phrasing

In this variation, repeat the second and third statement. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-9.

Exercise 7-9: Repeat Statement Two

CD Track 5 (play-a-long)

Pick-up

Statement C7

F7

C7

C7

Û

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Statement (Remember This) F7

Pick-up F7

C7

C7

Û Û Û Û Û Û

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Statement (Repeat Statement Two) Dmin7

Û Û Û Û

G7

Pick-up C7

C7

Û Û Û Û Û Û ..

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ

Exercise 7-9: Repeat Statement Two-Example Solo Trumpet players should play an octave lower as needed.

Statement

&

F7 - r b œ- œœ b œ œ œ œ #œ nœ bœ œ #œ œ

C7

Statement

b œ- œ- œ- œ œ & F7

r œ

b œœ &

œ-

œ- œ.

bCœ-7 œ œ b œ œ œ.

C7 T # œ n œ b œ n œ œ- œ ˙

r œ

T #œ nœ bœ nœ G7

œ- œ

Pick-up

Œ œ #œ œ bœ bœ - -

C7

Pick-up

F7

Statement (Repeat Statement Two) Dmin7

CD Track 38 (demo)

r œ

bœ.

œ. Œ # œ œ n œ œ b œ œ J

˙

bœ.

C7

C7

œ. J

G7

∑

Try variations of exercise 7-9. Practice keeping the statements the same, playing the same pick-ups for each statement, and using three-bar questions and answers in place of statements throughout the exercise. 96

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Create Your Own Example Construct and compose your own solos using three-bar phrases and pick-ups. Composing solo etudes helps musicians become more conscious of form and phrase length while creating melodic ideas that can be incorporated into future improvisation. Practice your own examples with the accompanying CD.

CD Track 5 (play-a-long)

&c & ..

&

& & ..

& 97

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Combining Phrase Lengths Once musicians can confidently use one, two, and three-bar phrases with pick-ups in isolation, they should begin combining the different phrase lengths within a twelve-bar blues. Musicians should be aware of their location within the blues form at all times and should observe rests. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-10.

Exercise 7-10: Combining Phrase Lengths CD Track 4 (play-a-long)

Answer C7

F7

&c ’ ’ ’ ’ Œ

Pick-up

Question

Œ

C7

Pick-up C7

’ ’ ’ ’ ’ ’ Œ

’ ’ ’ Pick-up

Statement F7

&’ ’ ’ ’

F7

’ ’ ’ ’

Question

’ ’ ’ ’

C7

Œ

’ ’ ’

Answer

Pick-up

D min7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

G7

C7

&’ ’ ’ ’ Œ

G7

Exercise 7-10: Combining Phrase Lengths-Example Solo Trumpet players should play an octave lower as needed.

CD Track 39 (demo)

Pick-up

Answer C7

& b œ œ- œ b œ œ Œ . r œ

F7

Ó

Statement

b œ- œ # œ œ

Question

b œ œ- œ œ œ. Œ C7

r œ

F7 œ œ # œ # œ n œ œ b œ œ œ b œ œ . œ œ œ œ & bœ F7

3

3

Question

bœ œ r œ Œ b˙ & œ bœ œ #œ œ . Dmin7

98

G7

r œ

Pick-up

œ œ œ. 3

r #œ

˙

C7

œ # œ n œ. b œ- œ- œŒ

C7

3

Pick-up

œ . b œ. Œ ˙ J C7

Answer r #œ

Pick-up

b œ- # œ

G7 œ n œ- b œ œ œ œ œ. b œ- œbœ bœ œ Œ

C7

3

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 7-11.

Exercise 7-11: Combining Phrase Lengths CD Track 4 (play-a-long)

Question

Answer

C7

F7

Pick-up

C7

&c ’ ’ ’ ’ ’ ’ ’ Œ

C7

’ ’ ’ ’ Œ

Statement

’ ’ ’ Pick-up

F7

F7

&’ ’ ’ ’

C7

’ ’ ’ ’

Question

’ ’ ’ ’

G7

&’ ’ ’ ’ Œ

Œ

’ ’ ’

Answer

Pick-up

D min7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. C7

G7

Exercise 7-11: Combining Phrase Lengths-Example Solo Trumpet players should play an octave lower as needed. CD Track 40 (demo)

Question

Answer

- b œ. Ó r bœ œ œ œ œ b œ œ & b œ œ œ œ- # œ œ . C7

F7

Statement

&

b œ œ œ œ œ œ-

œ.

F7

F7

Question

Pick-up

Ó

~~~

&œ œ œ

œ œ bœ J

G7

Ó

C7

C7 # œ n œ b œ. œ- b œ œ œ. Œ 3

œ- œ- b œ œ œ Œ

C7

r œ

Pick-up

Œ œr œ œ b œ

C7

Answer

C7 G7 . . # œ n œ b œ. œœ b œ œ b œ. ‰ Jœ. ‰ b œJ ‰ J Œ œ- b œ œ 3

Œ

~~~

T

Dmin7

˙ ~~ ~ bœ œ Œ .

3

Pick-up

99

Chapter Seven: Using Pick-ups in Improvisational Phrasing

Musicians should be able to spontaneously combine one, two, and three-bar phrases with pick-ups of different lengths within multiple choruses of twelve-bar blues. Musicians should vary the phrase lengths, the repeated phrases, and the pick-ups in their composed roadmap examples.

Create Your Own Examples Construct and compose your own solo using combinations of phrase lengths, repetition and pick-ups. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating melodic ideas that can be incorporated into future improvisation. CD Track 2, 3, 4, 5 (play-a-long)

&c & &

& & & 100

Chapter Seven: Using Pick-ups in Improvisational Phrasing

CHAPTER SEVEN: Exercises for Continued Exploration 1. Practice singing and playing the following roadmaps that combine one, two and three-bar phrasing with pick-ups:

101

Chapter Seven: Using Pick-ups in Improvisational Phrasing

2. Create ten two-chorus roadmaps that practice one, two and three bar-phrasing with pick-ups and practice singing and playing them. 3. Practice singing and playing all the examples in chapter seven using the chord scales and arpeggios in place of the blues scale. 4. Go back to the previous solos that you composed on pages 58, 62, 66, 69, and add phrase pick-ups in the bars of rest. Practice playing the new solos. How are they audibly different? 5. Listen to the following recordings:* Cannonball Adderley- Sack O’ Woe Sonny Rollins/John Coltrane- Tenor Madness Gene Ammons- Good Time Blues Sarah Vaughn- Sassy’s Blues 6. Discuss: a. Identify where you can hear phrase pick-ups being used during these solos? b. Why do phrase pick-ups help create tension in a solo? Are phrase lengths noticeable for listeners when phrase pick-ups are used? c. Are phrase pick-ups used in any of the melodies from previous listening examples in this book? Where? d. When listening to “over the bar line” phrasing it is easy to lose location within the form. When listening to the above recordings, pay special attention to location within form. Can you identify the beginning of each chorus? Measure five of each chorus? Measure nine of each chorus? 7. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression with the play-a-long CD. An outline of the chord progression, blues scales, and chord scales that should be used can be found in the technique appendix of this book.

*

102

See discography on page 158

CHAPTER EIGHT: Putting It Together

O

VISATION

The following chapter presents three solo roadmaps over two choruses of blues. Each roadmap is at a different tempo and uses the techniques and phrase structures discussed thus far in this book. Before proceeding, musicians should be proficient at: 1. 2. 3. 4. 5.

Questions, answers and statements One, two and three bar phrasing The use of repetition Multi-beat pick-ups for one, two and three-bar phrase lengths The tools for melodic solo development

Solo roadmaps are not meant to be sight reading exercises, but rather are meant to be guides that musicians study and prepare to improve melodic phrasing. Solo roadmaps are best used to train musicians to experiment with phrasing locations within the form and to integrate the use of melodic techniques into improvisation. Musicians should practice and understand the phrasing and concepts used within a roadmap before trying to play it. On complicated roadmaps, musicians should follow these progressive steps before improvising: 1. 2. 3. 4. 5.

Make note of phrase lengths Make note of range notations or use of melodic development tools Make note of repetition or other special instructions Make note of the length of pickups for phrases Practice singing a solo roadmap using all of the aforementioned techniques before playing it. If you can’t sing it, don’t play it. 6. Play the exercise repeatedly until the phrase structures become habitual.

103

Chapter Eight: Putting It Together

This solo applies melodic phrasing techniques at a slow blues tempo and utilizes virtually every tool that has been discussed thus far in the book. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 8-1.

Exercise 8-1: Slow Blues Solo Roadmap CD Track 2 (play-a-long)

Question

&c ’ ’ ’ ’ ’ ’ ’ Œ C7

’ ’ ’ ’ Œ

F7

Pick-up

Question

&’ ’ ’ ’ Œ F7

Pick-up

Answer (Remember This)

Œ

F7

Û

C7

Answer (Repeat Bar Three)

Û

’ ’ ’ ’ Œ

C7

&’ ’ ’ ’

Û

Û

Pick-up C7

Statement Dmin7

Œ

C7

‰ Û Û J

Û

Û

Û

Pick-up G7

’ ’ ’ ’

C7

’ ’ ’ ’

C7

Œ

Û

(Remember These) Question C7

&’ ’ ’ ’

Pick-up F7

’ ’ ’ ’

Œ

Œ

C7

Û

Û

Answer C7

’ ’ ’ ’

Pick-up (Repeat) Answer (Repeat) F7

&’ ’ ’ ’

Œ

F7

Œ

Û

Û

C7

’ ’ ’ ’

C7

’ ’ ’ ’

Statement Dmin7

&’ ’ ’ ’

G7

’ ’ ’ ’

C7

’ ’ ’ ’

Also try playing this roadmap at both medium and fast tempos. 104

C7

∑

..

Chapter Eight: Putting It Together

Exercise 8-1: Slow Blues Solo-Example Solo CD Track 41 (demo)

Answer

Question C7

&c

T j r j Œ Œ œ#œ œ œ #œ œ #œ œ nœ bœ - . œ.

F7

œ- b œ- œ œ œ # œ n œ

r #œ

Pick-up

Question F7

. œ . b œJ Ó

F7

Pick-up

C7

C7

Answer (Repeat Bar Three) C7

Pick-up

C7

~~~

& n œ œ œ œ b œ œ Œ Œ œ œr b œ # œ œ # œ œ n œ-jb œ œj Œ ‰ œJ b œ œ œ œ - . Pick-up

Statement

r œ bœ œ œ j œ & # œ- b œ œ œ # œ œ n œ œ b œ œ œ b œ. œj Ó . D min7

G7

C7

Question

Pick-up

T b œ. - bœ œ T b œ œ œ œ œ œ bœ œ Œ bœ & C7

F7

C7

Pick-up (Repeat) F7

F7

& b œJ œ- # œjn œ b œ œ Œ Œ œ b œ - .

3

Statement

Œ œr # œ œ œ b œ-

G7

Answer C7

Œ Œ œ b œ œ œ œ b œ œ # œj œ œ œj J J . 3

Answer (Repeat) C7

C7

œ. œ- œ b œJ œ- # œj Jœ œ- œj b œJ œ- # œjn œ b œ œ - .

r - œ œ b œ- œ œ b œ- œ b œ œ œ œ b œ œ Œ œ bœ œ œ Œ b œ & Dmin7

G7

C7

G7

~ ~~~~

∑

Try playing this solo an octave higher.

105

Chapter Eight: Putting It Together

This solo applies melodic phrasing techniques at a medium tempo blues. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 8-2.

Exercise 8-2: Medium Blues Solo Roadmap CD Track 4 (play-a-long)

Pick-up

Statement C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Pick-up

Question (Remember This) F7

F7

&’ ’ ’ ’ Œ

Œ

Û

Û

&’ ’ ’ ’

C7

C7

’ ’ ’ ’ Œ

&’ ’ ’ ’

G7

’ ’ ’ ’

C7

’ ’ ’ ’ Pick-up

F7

’ ’ ’ ’ Pick-up

F7

&’ ’ ’ ’

Û

‰ Û Û J

Û

Û

Û

Pick-up

Question (Remember This) C7

Û Pick-up

Question (Repeat)

Statement Dmin7

Œ

F7

Œ

Œ

Û

C7

Œ

Œ

Û

Û

C7

Œ

Û

Answer C7

’ ’ ’ ’

Question (Repeat Measures 13-14)

Û

C7

’ ’ ’ ’

C7

’ ’ ’ ’

Statement Dmin7

&’ ’ ’ ’ 106

G7

’ ’ ’ ’

C7

’ ’ ’ ’

C7

∑

..

Chapter Eight: Putting It Together

Exercise 8-2: Medium Blues-Example Solo CD Track 42 (demo)

Trumpet players should play an octave lower as needed.

Statement

&c œ

C7

r #œ

œ #œ œ œ

r #œ

C7 œ- n œ œ - b œ- œ œ œ b œ- œ œ œ Œ .

3 œ b œ b œ œrœ . . œ œ œ œ œ b œ œ œ b œ œ b œ œ œ œ œ b œ. œ &œ G7

C7

3

C7 F7 œ. #œ œ œ œ nœ bœ œ nœ œ œ œ bœ bœ Œ &

Pick-up

Question (Remember This)

Pick-up

b œ . œ. Ó J

Œ ‰ œj œ b œ- -

C7

3

Dmin7

&

Pick-up

~~~

r œ

F7

3

Question (Repeat)

Statement

F7

C7

b œ- œ œ - C 7 œ. # œ- œ œ bœ œ œ Œ Œ Œ

. # œ- œ œ œ b œ Œ &œ F7

r œ

r Œ Œ œ b œ œ- b œ-

F7

Pick-up

Question

3

Pick-up

œ œ n œ. Œ ‰ J

F7

r #œ

œ. b œ œ Œ ‰ J

C7

Pick-up

G7

Œ # œr œ b œ œ b œ œ œ

Answer

b œ- œ b œ œ œ œ œ œ C7

. F7 œ b œ œ œ œ œ #œ œ nœ bœ œ bœ nœ œ Œ

Question (Repeat Measures 13-14) C7

Statement

G7 C7 - nœ œ . œ. œ. b œ. œ# œ œ b œ Œ œ œ œ œ œ œ & ‰ J ‰ J ‰ J ‰ J bœ œ Dmin7

G7

∑

3

107

Chapter Eight: Putting It Together

This solo utilizes a few simple melodic phrasing tools to create an exciting solo at a fast blues tempo. The repetition and gradual increase in range make this solo fun to play and exciting for listeners. Practice singing and improvising solos using this roadmap and listen to and master the example solo for exercise 8-3.

Exercise 8-3: Fast Blues Solo Roadmap CD Track 5 (play-a-long)

Pick-up

Statement One (Remember This)

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ C7

F7

C7

C7

Œ

Statement One (Repeat) F7

C7

C7

Statement One (Repeat) Dmin7

&’ ’ ’ ’

Û

Pick-up

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ F7

Û

‰ Û Û J

Û

Û

Û

Û

Û

Û

Û

Û

Pick-up G7

’ ’ ’ ’

C7

’ ’ ’ ’

Œ

G7

(Slightly higher in pitch than statement one) Pick-up

Statement Two (Remember This) C7

&’ ’ ’ ’

F7

’ ’ ’ ’

C7

’ ’ ’ ’

Œ

C7

Statement Two (Repeat) F7

&’ ’ ’ ’

Û Pick-up

Œ

F7

C7

C7

G7

C7

G7

’ ’ ’ ’

’ ’ ’ ’

Û

Statement Two (Repeat) Dmin7

&’ ’ ’ ’ 108

Pick-up

’ ’ ’ ’

’ ’ ’ ’

Œ

Œ

Û

Û

Chapter Eight: Putting It Together

The combination of repetition and gradually increasing range help make this solo both fun to play and exciting for listeners. Repetition of melodic ideas over fast tempos makes improvisation easier for the performer and reinforces melodic ideas to listeners.

(Slightly higher in pitch than statement two) Pick-up

Statement Three (Remember This) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ Statement Three (Repeat) F7

&’ ’ ’ ’ &’ ’ ’ ’

Û

Û

Û

Û

Û

Û

Pick-up F7

C7

’ ’ ’ ’

’ ’ ’ ’

C7

Œ

Statement Three (Repeat) Dmin7

Œ Û Pick-up

G7

C7

’ ’ ’ ’

’ ’ ’ ’

G7

Œ

Û

(Slightly higher in pitch than statement three) Pick-up

Statement Four (Remember This) C7

F7

C7

C7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ

Œ

Statement Four (Repeat) F7

&’ ’ ’ ’

‰ Û Û J Pick-up

F7

’ ’ ’ ’

C7

’ ’ ’ ’

C7

Œ

Œ

Û

Û

Statement Four (Repeat) Dmin7

&’ ’ ’ ’

G7

’ ’ ’ ’

C7

’ ’ ’ ’

G7

∑

109

Chapter Eight: Putting It Together

Exercise 8-3: Fast Blues-Example Solo Trumpet players can play this entire solo an octave lower..

CD Track 43 (demo)

Pick-up

- œ. ‰ œ- œ- œ- œ. ‰ œ- œ- œ- b œ œ c & - œ- ˙ J J

~~~

Statement One

- . - & œ œ ‰ œJ œ

bœ

C7

F7

C7

# œ- œ n œ œ b œ Œ

bœ Œ

C7

Statement One (Repeat) F7

œ- b œ- œ ˙ -

C7

G7

C7

Œ

Œ

bœ Œ

# œ n œ- b œ. ‰ œ. ‰ œ œ œ- # œ. & J J F7

Œ

Œ

Pick-up

# œ- n œ- b œ œ œ- œ. Œ œr œ- b œ œ œ œ œ C7

Statement Two (Repeat)

# œ n œ- b œ. F7

&

- # œ. œ œ œ . Œ ‰ Jœ ‰ J F7

C7

Pick-up

r œ

œ n œ- b œ œ œ- œ. # œr œ œ œ Œ

C7

C7

Statement Two (Repeat)

# œ- n œ- b œ. œ. ‰ œ œ œ- # œ. Œ ‰ J J & D min7

110

G7

‰ œ b œ. J

œ- b œ œ œ œ œ

G7

Statement Two (slightly higher in pitch than statement one) C7

ΠPick-up

~~~~

- . - - - . - & œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ b œ- œ- ˙ Dmin7

C7

~~~

Statement One (Repeat)

œ- œ. ‰ œ- œJ F7

Pick-up

Pick-up r œ

œ n œ- b œ œ œ- œ. Ó

C7

G7

r #œ

œ- œ- œ- œ-

Chapter Eight: Putting It Together

b œ- œ- œ- œ œ œ.

Statement Three (slightly higher in pitch than statement two)

Statement Three (Repeat)

F7

Statement Three (Repeat)

œ- œ‰ J

œ

b ˙G7

œ- œ.

Œ

œ- œ‰J

r œ

C7 b œ- œ- œ- œ œ œ.

C7

&

Statement Four (Repeat)

œ- œ.

F7

&

œ- œ‰ J

Statement Four (Repeat)

œ- œ.

Dmin7

&

œ- œ‰ J

œ- œ. œ- œ.

F7

œ- b œ-

œ- œ‰ J

œ- b œ-

œ- œ‰ J

œ- b œ-

F7

G7

bœ

˙

C7

˙

C7

˙

C7

Ó

œ œ œ ‰ J

C7

Œ

Pick-up

C7 b œ- œ- œ- œ œ œ.

Statement Four (slightly higher in pitch than statement three)

# œ- œ œ œ

C7

Pick-up

- œ œ œ bœ œ # œ Œ

G7

Pick-up C7

Œ

~ ~~~

œ œ.

r œ

Œ

~~~

b œ- œ œ œ- œ-

D min7

&

œ

b˙

Pick-up

C7

r œ

Œ

~~~

&

F7 b œ œ œ œ- œ-

œ

b ˙F7

~~~

&c

b œ- œ œ œ- œC7

b œ ~~~

Œ

Œ

œ- b œ ‰ J

Pick-up

~

C7

Œ

b œ ~~~~

Ó

Œ

r œ

b˙

G7

∑

111

Chapter Eight: Putting It Together

CHAPTER EIGHT: Exercises for Continued Exploration 1. Create a new solo roadmap for a two chorus blues solo at a slow tempo. Use all of the melodic development tools discussed thus far. Make the solo create this shape:

112

2.

Create a new solo roadmap for a three chorus blues solo at a medium tempo. Use all of the melodic development tools discussed thus far. Make the solo create this shape:

3.

Create a new solo roadmap for a four chorus blues solo at a fast tempo. Use all of the melodic development tools discussed thus far. Make the solo create this shape:

Chapter Eight: Putting It Together

4. Listen to:* Miles Davis-Blues By Five Miles Davis-Blue and Boogie Joshua Redman-Blues on Sunday John Coltrane-Blue Train John Coltrane-Locomotion Charlie Parker-Now’s the Time Charlie Parker- Billies Bounce 5. While listening, chart the shapes of the different improvised solos on the above recordings chorus by chorus. 6. Discuss a. What tools do the musicians on the recordings use to create the shape of their solos? b. Can you identify specific times when musicians are using one, two, or three-bar phrasing and pick-ups within solos? Back up your claims with specific listening examples. c. Can you notice specific style inflections that are unique to individual musicians or instruments? d. How does improvisational phrasing change from recordings made in the 1940-50’s (Charlie Parker) to the 1960’s (John Coltrane and Miles Davis)? 7. Practice exercises 8-1, 8-2, and 8-3 using the chord scales and arpeggios instead of the blues scale. 8. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression on track 10-12 of the play-a-long CD. An outline of the chord progression, blues scales, and chord scales that may be used can be found in the technique appendix of the book.

*

See discography on page 158

113

114

CHAPTER NINE: Improvisational Motifs

R

OVISATION

Improvisational motifs are short rhythmic or melodic phrases that are thematically repeated by musicians at different times during an improvised solo. Improvisational motifs are thematic phrases that are both conceptually simple for musicians to improvise during a solo and are possible for listeners to recognize. Using motifs during improvisation has benefits for both performers and listeners. From a soloist’s perspective, motifs can help to develop a solo, navigate chord changes, and reinforce important melodic elements. From a listener’s perspective, motifs create a recognizable melodic thread that can engage them with the development and intent of a solo. Musicians sometimes approach motifs in improvisation from the perspective of composers. Over the centuries, composers have developed dozens of specific techniques for motivic composition. Many of these complicated compositional motifs are not entirely useful to intermediate level musicians because they are extremely difficult to improvise and sound audibly different from their original parent phrase. For example, a compositional motif in retrograde is a melodic idea that is written in reverse to create a new melodic idea. During a solo, spontaneously playing an improvised idea in retrograde is incredibly complicated once the content exceeds three or four notes. Furthermore, the typical listener would not be able to recognize this series of notes as an audible motif. For the scope of this chapter, we will limit ourselves to the five common types of improvisational motifs. 1. The Exact Motif: An exact motif occurs when musicians precisely repeat both the pitch and rhythm of a previously improvised phrase. Readers have already played numerous examples of exact motifs in this book, every time they have practiced exactly repeating an improvisational idea during a solo roadmap. 2. A Rhythmic Motif: A rhythmic motif occurs when musicians repeat the rhythm of a previously improvised melodic phrase. Rhythmic motifs are the simplest type of motif for improvisers to use in solos because remembering and repeating rhythms is easier than remembering and repeating exact phrases. 3. The Intervallic Motif: An intervallic motif occurs when musicians repeat intervals to create a melodic idea while altering the rhythms used. A simple example of an intervallic motif occurs when musicians repeat two notes over and over while varying the rhythms used. This type of motif is extremely easy for beginning improvisers to use in solos and is easy for listeners to recognize.

115

Chapter Nine: Improvisational Motifs

4. A Transposed Motif: A transposed motif occurs when musicians repeat an improvised melodic phrase in a new key center. Transposed motifs are incompatible with the exclusive use of the blues scale but will be extremely useful during harmonically based improvisation. 5. A Shape Motif: A shape motif occurs when musicians mimic the melodic shape or rhythm of a previously improvised melodic phrase, without attempting to precisely transpose the motif. Shape motifs are the most subtle and the most common type of motif used in jazz improvisation. Shape motifs share characteristics of rhythm and melodic shape but may sound audibly different from the original melodic idea. These types of motifs are useful to musicians when improvising melody over harmonically different chords and are generally incompatible with the exclusive use of the blues scale. In the examples on the following pages, the use of the exact motif, the rhythmic motif, and the intervallic motif are isolated and examined within the context of a twelve bar blues exclusively using the blues scale. In order to practice using the transposed motif and the shape motif, musicians will have to leave the confines of the blues scale and begin to create a technical bridge to the harmonically driven improvisation that lies ahead. Musicians will face an extremely difficult hurdle while playing the exercises for the transposed and shape motifs. Since the use of these motifs is mostly incompatible with the blues scale, these motivic exercises require musicians to develop a relatively high level of fluency with major, dominant and minor scales. This significant technical challenge will take time and hard work to achieve, but will result in a high level of fluency with these new essential scales. Musicians must work to create the same level of technical fluency with each of these new scales as they have developed with the blues scale. Mastering the exercises in this chapter can take dozens of hours of dedicated practice and should not be rushed. During the course of this hard work, musicians will have to balance the technical requirements of improvisation with their own melodic and creative intent.

116

Chapter Nine: Improvisational Motifs

The Exact Motif Exact motifs occur when musicians precisely repeat both the pitch and rhythm of a previously improvised phrase. This concept was previously introduced in chapter four and has been utilized throughout this book. Exercises 9-1 and 9-2 challenge a musician's ability to play an exact motif at different locations within one chorus of blues. Musicians may play any phrase length and rest at any time during the solo, except when repeating the exact motif. Practice singing and improvising solos using this roadmap and listen to and improvise your own version of the example solo for exercise 9-1.

Exercise 9-1: One-Bar Exact Motif CD Track 2 (play-a-long)

Remember this one-bar melodic idea

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ C7

F7

C7

Exact Motif (Repeat)

Exact Motif (Repeat) F7

C7

F7

&’ ’ ’ ’ ’ ’ ’ ’

C7

C7

’ ’ ’ ’ ’ ’ ’ ’

Exact Motif (Repeat)

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. D min7

G7

C7

G7

Extend this technique to multiple choruses of improvisation.

Exercise 9-1: One-Bar Exact Motif-Example Solo Trumpet players should play an octave lower as needed. CD Track 44 (demo)

Remember this one-bar melodic idea

- b œ- œ œ # œ. Œ œ & C7

F7

’ ’ ’ ’

C7

’ ’ ’ ’

Exact Motif (Repeat)

- b œ- œ œ # œ. Œ œ & F7

C7

’ ’ ’ ’

Exact Motif (Repeat) F7

’ ’ ’ ’

C7

’ ’ ’ ’

. œ- b œ œ œ # œ Œ

C7

Exact Motif (Repeat) Dmin7

G7

&’ ’ ’ ’ ’ ’ ’ ’

. œ- b œ œ œ # œ Œ

C7

G7

’ ’ ’ ’ 117

Chapter Nine: Improvisational Motifs

Practice singing and improvising solos using this roadmap and listen to and improvise your own version of the example solo for exercise 9-2.

Exercise 9-2: Two-Bar Exact Motif CD Track 4 (play-a-long)

Remember this two-bar melodic idea C7

F7

&c ’ ’ ’ ’

C7

’ ’ ’ ’

C7

’ ’ ’ ’ ’ ’ ’ ’

Exact Motif F7

F7

&’ ’ ’ ’

’ ’ ’ ’

C7

C7

’ ’ ’ ’

’ ’ ’ ’

Exact Motif D min7

G7

&’ ’ ’ ’ ’ ’ ’ ’

C7

’ ’ ’ ’

’ ’ ’ ’ ..

G7

Extend this technique to multiple choruses of improvisation.

Exercise 9-2: Two-Bar Exact Motif-Example Solo Trumpet players should play an octave lower as needed.

CD Track 45 (demo)

. . C7 F7 C7 . . b œ . . œ œ œ # œ # œ - bœ œ œ ‰ œ- b œ œ œ ‰ J ‰ J ’ ’ ’ ’ ’ ’ ’ ’ &œ J Remember this two-bar melodic idea

C7

3

3

. . C7 . . b œ œ œ . . œ # œ # œ - bœ œ œ - bœ œ œ J œ œ ‰ ‰ ‰ J &’ ’ ’ ’ ’ ’ ’ ’ J Exact Motif

F7

F7

C7

3

3

. œ. G7 . . b œ œ œ . . - b œ œ # œ ‰ œ- b œ œ œ # œ ‰ J ‰ J .. &’ ’ ’ ’ ’ ’ ’ ’ œ œ J Exact Motif

Dmin7

G7

C7

3

118

3

Chapter Nine: Improvisational Motifs

Create Your Own Examples Practice repeating your own exact motifs at different locations during a solo using the following roadmap. Practice singing solos before trying to play them. The numbers represent what and where to repeat in each chorus. In the first chorus, repeat the motif in locations marked "1," in the second chorus in places marked "2," etc. Vary the locations and lengths of repeated motifs to improve melodic memory and gain fluency with their use.

1, 2, 3 CD Track 4 (play-a-long) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 1

2

F7

&’ ’ ’ ’ 1

F7

’ ’ ’ ’

3

C7

’ ’ ’ ’

3

C7

’ ’ ’ ’ 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. D min7

G7

C7

G7

1, 2, 3 C7

&’ ’ ’ ’ 1 F7

&’ ’ ’ ’ 1

F7

’ ’ ’ ’

2

C7

’ ’ ’ ’

C7

’ ’ ’ ’

3 F7

’ ’ ’ ’ 3

C7

’ ’ ’ ’

C7

’ ’ ’ ’

2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Dmin7

G7

C7

G7

119

Chapter Nine: Improvisational Motifs

The Rhythmic Motif Rhythmic motifs occur when improvisers repeat a rhythmic pattern within a solo. Rhythmic motifs were first introduced in chapter four and now will be reexamined. The following solo roadmaps test an improviser's ability to play rhythmic motifs in a variety of locations within one chorus of blues. Improvisers may play any phrase length and rest at any time when not playing the provided rhythms. Practice singing and improvising solos using this roadmap and listen to and improvise your own version of the example solo for exercise 9-3.

Exercise 9-3: One-Bar Rhythmic Motif

C7

& c Û.

F7

Û ÛÛÛÛ J

C7

’ ’ ’ ’ Û.

3

F7

C7

& ’ ’ ’ ’ ’ ’ ’ ’ Û. D min7

& Û.

Û ÛÛÛÛ J

Û.

3

C7

’ ’ ’ ’

3

C7

Û ÛÛÛÛ J

’ ’ ’ ’

3

Û ÛÛÛÛ J

Rhythmic Motif G7

C7

Û ÛÛÛÛ J

Rhythmic Motif

F7

Rhythmic Motif

CD Track 2 (play-a-long)

Rhythmic Motif

One-Bar Rhythmic Motif

G7

’ ’ ’ ’ ’ ’ ’ ’ ..

3

Exercise 9-3: One-Bar Rhythmic Motif-Example Solo Trumpet players should play an octave lower as needed. CD Track 46 (demo)

One-Bar Rhythmic Motif C7

& œ.

Rhythmic Motif

œ- # œ n œ b œ. œJ 3

F7

j œ œ œ b œœ- - - .

C7

’ ’ ’ ’ œ.

3

C7

’ ’ ’ ’

Rhythmic Motif F7

F7

b œ . œ œ œ bœ J

C7

& ’ ’ ’ ’ ’ ’ ’ ’ œ. D min7

& bœ. 120

3

Rhythmic Motif

Rhythmic Motif

j- - . œ- œ œ œ œ 3

bœ. G7

œ- œ œ b œ. œ J 3

C7

C7

’ ’ ’ ’ G7

’ ’ ’ ’ ’ ’ ’ ’

Chapter Nine: Improvisational Motifs

Practice singing and improvising solos using this roadmap and listen to and improvise your own version of the example solo for exercise 9-4.

Exercise 9-4: Two-Bar Rhythmic Motif CD Track 4 (play-a-long)

Two-Bar Rhythmic Motif C7

F7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ Û

ÛÛÛ

Rhythmic Motif

F7

F7

&’ ’ ’ ’

C7

Û

’ ’ ’ ’

ÛÛÛ

Rhythmic Motif D min7

G7

C7

&’ ’ ’ ’ ’ ’ ’ ’ Û

ÛÛÛ

C7

ÛÛ ÛÛ‰ÛÛ J

Œ

C7

ÛÛ ÛÛ‰ÛÛ J G7

ÛÛ ÛÛ‰ÛÛ J

Π..

Œ

Exercise 9-4: Two-Bar Rhythmic Motif-Example Solo CD Track 47 (demo)

Two-Bar Rhythmic Motif. C7

F7

C7

&’ ’ ’ ’ ’ ’ ’ ’ œ

œ- œ- œ-

C7

œ- œ- œ- œ. ‰ b Jœ œ

Œ

Rhythmic Motif F7

F7

C7

& ’ ’ ’ ’ ’ ’ ’ ’ œ b œ- œ œ Rhythmic Motif

C7

œ- œ œ œ. ‰ b œj œ

Œ

b œ œ- œ- œ- œ- œ- b œ- œ. ‰ b œ œ Œ &’ ’ ’ ’ ’ ’ ’ ’ J D min7

G7

C7

G7

121

Chapter Nine: Improvisational Motifs

Create Your Own Examples Practice repeating your own rhythmic motifs at different locations during an improvised solo using the following roadmap. Practice singing solos before trying to play them. The numbers represent where to repeat rhythms in each chorus. In the first chorus, repeat the motif in locations marked "1," in the second chorus in places marked "2," etc. Vary the locations and lengths of repeated motifs to gain fluency with their use.

1, 2, 3

CD Track 4 (play-a-long)

C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 1

F7

&’ ’ ’ ’ 1

2

3

F7

C7

’ ’ ’ ’

’ ’ ’ ’

3

C7

’ ’ ’ ’ 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. D min7

G7

C7

G7

1, 2, 3 C7

&’ ’ ’ ’

F7

’ ’ ’ ’ 2

1 F7

&’ ’ ’ ’ 1

F7

’ ’ ’ ’ 3

C7

’ ’ ’ ’

C7

’ ’ ’ ’

3 C7

’ ’ ’ ’

C7

’ ’ ’ ’

2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. D min7

122

G7

C7

G7

Chapter Nine: Improvisational Motifs

Intervallic Motifs Intervallic motifs occur when musicians repeat an intervallic pattern while altering the rhythm during an improvised solo. Basic intervallic motifs were first introduced in chapter four and will now be reexamined. The following examples are simple to play because they all occur within a blues scale. In harmonically based improvisation, intervallic motifs are more technically challenging and require musicians to have a strong understanding of chord scales, arpeggios, and intervals. Beginning improvisers should become fluent with the use of intervallic motifs in the blues scale in order to become more conceptually comfortable applying the technique in non-blues scale based improvisation.

Original Intervallic Idea (Three Note Sequence)

œ bœ œ œ œ œ œ c & 3

Original Intervallic Idea (Minor Third)

bœ œ Œ ‰ œ œ œ œ ‰ bœ œ J J

bœ œ ‰ œ œ œ œ œ œ bœ. & J 3

Original Intervallic Idea (Four Note Sequence)

#œ nœ bœ œ &

Original Intervallic Idea (perfect fourths)

bœ & œ œ bœ

#œ.

Intervallic Motifs Displaced Rhythmically

œ

Intervallic Motifs Using Minor Thirds 3

œ Ó J

bœ œ ‰ œ œ œ œ œ J

œ b œ3 œ Ó

j bœ j œ. œ œ

nœ bœ œ #œ nœ bœ œ Œ #œ nœ œ œ #œ ‰ œ ‰ bœ œ J J ‰ J Œ J Intervallic Motifs Displaced Rhythmically

3

Intervallic Motifs (Perfect Fourths)

bœ bœ bœ œ œ œ b œ œ œ œœ

œ œ œ œ œ Ó œ

123

j œ

Chapter Nine: Improvisational Motifs

Play only the notes written and vary the rhythms during the intervallic motif areas of the roadmap. Listen to the example solos and then practice singing and improvising your own solos using exercises 9-5 and 9-6.

Example 9-5: Intervallic Motif-Three Note Sequence CD Track 48 (demo) CD Track 4 (play-a-long)

Original Intervallic Idea (three note sequence)

& c œ bœ

Œ

C7

Intervallic Motifs

Intervallic Motifs

œ

F7

C7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

F7

F7

&’ ’ ’ ’

’ ’ ’ ’

C7

C7

’ ’ ’ ’ ’ ’ ’ ’

Non-Motivic Improvisation

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. D min7

G7

C7

G7

Example 9-6: Intervallic Motif-Four Note Sequence CD Track 49 (demo) CD Track 4 (play-a-long)

Original Intervallic Idea (four note sequence)

Intervallic Motifs

C7

& #œ nœ bœ Intervallic Motifs F7

F7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

œ

&’ ’ ’ ’

C7

F7

’ ’ ’ ’

C7

’ ’ ’ ’

C7

’ ’ ’ ’

Non-Motivic Improvisation

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Dmin7

124

G7

C7

G7

Chapter Nine: Improvisational Motifs

Create Your Own Examples

Improvise your own solos using intervallic motifs. Try using these note combinations from the blues scale to improvise entire choruses of blues. 1, b3

1, b3, 4

1, b3, 4, #4

C7

1, b7, b3

5, b7

1, b7, b3, #4

5, b7, 1 #4, 5, b7,1

1, b7, b3, 5

F7

CD Track 4 (play-a-long)

C7

C7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

&’ ’ ’ ’ Dmin7

F7

’ ’ ’ ’ G7

’ ’ ’ ’

’ ’ ’ ’

C7

G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Don't forget to change registers, octaves, and rhythms while improvising. Intervallic motifs are extremely used in harmonically based improvisation. Try playing the above exercise using the arpeggio notes and chord scales found in the appendix instead of the blues scale. Focus on using one intervallic motif to navigate all of the chords with the blues progression.

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Chapter Nine: Improvisational Motifs

Transposed Motifs Transposed motifs occur when improvisers repeat a melody in a new tonal center. Transposed motifs are incompatible with the exclusive use of the blues scale during a twelve-bar blues. Once improvisers move on from the exclusive use of the blues scale they will find transposed motifs are an essential component for constructing melodic improvisation. Transposed motifs require a musician to have a high level of technical proficiency on their instrument. This proficiency is gained through repetitive practice and absolute mastery of major and minor scales and their corresponding chords and arpeggios. For the sake of example, some simple melodic ideas using a blues scale are transposed below.

Melodic Idea Two

Melodic Idea One

C Blues b7

œ œ œ. œ œ œ œ c b œ & œ J Œ

b3

b7

b7

b3

bœ œ ˙ bœ œ

‰ bœ œ œ bœ Œ J œ

j Œ bœ œ nœ œ ˙ œ œ œ . & œ œ nœ œ œ œ

‰ n Jœ œ œ b œ œ Œ

1

5 3

1

5

4

1

5

1

Transposed to"G"

#

3

Transposed to"F"

& b œ œ bœ œ 3

œ œ œ . œj œ Œ b œ œ b œ œ ˙

5

4

1

‰ b Jœ œ œ b œ œ Œ

Transposed to"D"

## œ 3 n œ œ œ œ œ . œ œ Œ œ & J

nœ œ ˙ nœ œ

‰ n Jœ œ œ n œ Œ œ

The technical ability to spontaneously transpose motifs during improvisation is essential. In order to do this, musicians must achieve technical fluency with major scales and chord scales. In the next exercises, musicians will leave the confines of the blues scale and begin the journey towards harmonic improvisation. When soloing in a harmonic context the goal of improvisation remains the same: communication. Musicians should not be so overly concerned with playing the correct notes that they forget the essential phrasing skills that have been addressed thus far in this book. Before playing the following exercises, musicians should be fluent with the scales and arpeggios in the appendix. 126

Chapter Nine: Improvisational Motifs

Exercise 9-7: Transposed Motifs In Major First navigate the chords using example one, then try with examples two and three. CMaj7

Example One

Example Two

‰ j œ- œ œ œ .

Œ

& œ- œ œ œ œ œ œ œ œ œ œ œ œ

Œ

&c

1

C Maj7

œ-

œCMaj7

3

œ- œ- œ1

3

1

&’ ’ ’ ’ b

5

3

4

5

3

4

2

b

’ ’ ’ ’

#

’ ’ ’ ’ ’ ’ ’ ’

D Maj7

7

CD Track 6 (play-a-long)

b

’ ’ ’ ’

’ ’ ’ ’

b

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

B Maj7

’ ’ ’ ’

E Maj7

&’ ’ ’ ’

5

Œ

D Maj7

F Maj7

&’ ’ ’ ’

3

3

E Maj7

A Maj7

&’ ’ ’ ’

œ- œ œ 5

FMaj7

B Maj7

&’ ’ ’ ’

1

3

3

1

j ‰ 7œ. ‰ œ1 7œ ‰ & œ œ œ. J J - . 1

C Maj7 5 6

Example Three

3

’ ’ ’ ’

’ ’ ’ ’

AMaj7

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

G Maj7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

Create and practice your own transposed motifs using this chord progression.

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Chapter Nine: Improvisational Motifs

Exercise 9-8: Transposed Motifs In Dominant Seventh First navigate the chords using example one, then try with examples two and three. Example One

&c C7

Example Two

Example Three C7

C7 1

1

3

œ-

œ-

3

‰ j œ- œ œ œ . 3

1

œ- œ- œ-

b7 7 1 j . œ & œ œ ‰ œ. ‰ b œJ ‰ J b œ - . 1

3

C7 5

6

5

b

3

Œ

œ- œ œ 5

3

b7

& œ- œ œ œ œ œ œ œ œ bœ œ œ œ

&’ ’ ’ ’ b

4

5

3

4

2

3

&’ ’ ’ ’ b

’ ’ ’ ’

#

’ ’ ’ ’ ’ ’ ’ ’

Œ

CD Track 7 (play-a-long)

’ ’ ’ ’ b

’ ’ ’ ’

’ ’ ’ ’ b

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

B7

’ ’ ’ ’

E7

&’ ’ ’ ’

5

D 7

F 7

&’ ’ ’ ’

3

E 7

A 7

&’ ’ ’ ’

1

Œ

F7

B 7

D7

1

’ ’ ’ ’

’ ’ ’ ’

A7

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

G7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

Create and practice your own transposed motifs using this chord progression.

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Chapter Nine: Improvisational Motifs

Exercise 9-9: Transposed Motifs In Minor Seventh First navigate the chords using example one, then try with examples two and three. C min7

Example One

Example Two

& c œ bœ C min7

C min7

b3

1

b3

1

œ- b œ- œ-

b œ- œ .

b3

5

b

b3

b3

b3

‰ j bœ œ

Œ

b3

œ- b œ œ

Œ

5

b3

b7

& œ- œ œ œ b œ œ œ œ b œ œ b œ œ œ

&’ ’ ’ ’ b

6

4

5

4

2

&’ ’ ’ ’ b

’ ’ ’ ’

#

’ ’ ’ ’ ’ ’ ’ ’

CD Track 8 (play-a-long)

b

’ ’ ’ ’

’ ’ ’ ’

b

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

B min7

’ ’ ’ ’

E min7

&’ ’ ’ ’

Œ

D min7

F min7

&’ ’ ’ ’

5

E min7

A min7

&’ ’ ’ ’

1

Fmin7

B min7

Dmin7

1

b7 7 1 j . œ & œ b œ ‰ œ. ‰ b Jœ ‰ J b œ - . 1

Cmin7 5

Example Three

b3

1

’ ’ ’ ’

’ ’ ’ ’

A min7

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

Gmin7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

Create and practice your own transposed motifs using this chord progression.

129

Chapter Nine: Improvisational Motifs

Shape Motifs A shape motif mimics the melodic contour and rhythm of a previously improvised phrase, without attempting to exactly reproduce it. Shape motifs are the most subtle and are the most common type of motifs used in jazz improvisation. Shape motifs share characteristics of rhythm and linear shape but may sound different from their parent phrase. These types of motifs are extremely useful when creating melody over harmonically different chords and are generally incompatible with the blues scale. The following examples of shape motifs use the blues scale for illustrative purposes only. Note that the rhythms, while similar, are not exactly the same.

Original Idea

œ œ œ. œ œ œ œ b œ c & œ J Œ 3

& œ bœ œ #œ œ bœ œ œ#œ œ œ Ó bœ œ. œ Ó &œ œ œ œ œ œ œ J Original Idea

& bœ œ bœ œ ˙

3

œ bœ œ œ bœ

bœ œ œ.

j œ œ Œ

Shape Motif

Original Idea

Original Idea

Shape Motif

bœ

bœ Ó œ œ b œ œ b œ œ œ œ #œ #œ

Shape Motif

3

‰ œj œ œ œ œ ‰ Jœ œ .

jÓ œ

Shape Motif

‰ bœ œ œ bœ Œ œ bœ œ bœ ˙ J œ

‰ Jœ b œ œ œ œ Œ

Notice that shape motifs share rhythmic and intervallic characteristics but do not attempt to exactly repeat their parent phrase. This type of loose transposition and interpretation is ideally suited for spontaneous improvisation.

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Chapter Nine: Improvisational Motifs

Before mastering this exercise, musicians must be proficient with all major and minor scales. Practice playing two-bar shape motifs that alternate between major and minor chord types. Examples one and two demonstrate shape motifs that are extremely similar. Musicians should use the same shape motif for the entire exercise until technical proficiency is attained.

Exercise 9-10: Shape Motifs in Major-Minor Trumpet players should play an octave lower as needed.

CD Track 9 (play-a-long)

Original Idea

3 5 7 1 5 3 6 4 3 7 1 4 3 3 5 3 6 Cmin7 œ œ -œ œ. œ- œ- œ- œ œ œ œ œ œ bœ œ œ bœ œ œ œ c œ bœ Œ Œ & J J

CMaj7

Example One

Shape Motif

b

3 5

b

b

b

Shape Motif

œ-1 œ7 œ œ-6 œ5 4 3 2 7 1 5 Cmin7 1 1œ bb7œ œ . œ6- 5œ 4 b3. -2 b7 1 5 œœœœœ Œ ‰œ œ bœ œ œ Œ œ J bœ œ & œ. J . 3 Original Idea

C Maj7 1

Example Two

Original Idea

Shape Motif

C Maj

&’ ’ ’ ’

C min

’ ’ ’ ’

G Maj

&’ ’ ’ ’

’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

A min

’ ’ ’ ’

E Maj

&’ ’ ’ ’

’ ’ ’ ’ D min

A Maj

&’ ’ ’ ’

’ ’ ’ ’

G min

D Maj

&’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

E min

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’ 131

Chapter Nine: Improvisational Motifs

B Maj

&’ ’ ’ ’ #

B min

’ ’ ’ ’

F Maj

&’ ’ ’ ’ b

b

’ ’ ’ ’

b

’ ’ ’ ’

b

’ ’ ’ ’

FMaj

’ ’ ’ ’

b

’ ’ ’ ’

’ ’ ’ ’

b

’ ’ ’ ’

E min

’ ’ ’ ’

B Maj

&’ ’ ’ ’

b

’ ’ ’ ’

A min

E Maj

&’ ’ ’ ’

’ ’ ’ ’

D min

A Maj

&’ ’ ’ ’

#

’ ’ ’ ’

F min

D Maj

&’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

b

’ ’ ’ ’

B min

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

Fmin

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’

Musicians should practice improvising their own shape motifs using this exercise and exercises 9-7, 9-8 and 9-9.

132

Chapter Nine: Improvisational Motifs

CHAPTER NINE: Exercises for Continued Exploration 1. Practice singing and playing the following roadmap that combines exact and rhythmic motifs.

2. Create your own roadmaps that combine rhythmic and exact motifs. a. Create two roadmaps for a two chorus blues solo b. Create two roadmaps for a three chorus blues solo c. Create two roadmaps for a four chorus blues solo 3. Use the following intervallic note combination from the blues scale to sing and play intervallic motifs for an entire chorus of twelve bar blues: a. one, flat 7, five b. one, sharp four, four c. flat three, four, sharp four d. one, sharp four, five e. flat three, sharp four, flat seven 4. Memorize all of the scale and arpeggio combinations in the appendix.

133

Chapter Nine: Improvisational Motifs

5. Listen to:* Thelonious Monk -Straight No Chaser Sonny Rollins-Sonnymoon for Two Sonny Rollins- Blue Seven Miles Davis-Blues by Five Louis Armstrong/King Oliver- Chimes Blue 6. Discuss the following: a. Where do you hear exact motifs being used in the above solos? b. Where do you hear rhythmic motifs being used in the above solos? c. Where do you hear intervallic motifs being used in the above solos? d. Where do you hear transposed motifs being used in the above solos? e. Where do you hear shape motifs being used in the above solos? f. Which type of motif is the easiest for listeners to hear? Why? g. Which type of motif is the easiest for musicians to play? Why? 7. Compose a series of one and two-bar phrases using major, minor, and dominant scales. Practice transposing the phrases into all twelve keys and applying them to exercises 9-7 through 9-10 with the play-a-long CD. 8. Transcribe the example solos for exercises 9-1, 9-2, 9-3 and 9-4 for your instrument. 9. Play exercises 9-1, 9-1, 9-3, 9-4, 9-5 and 9-6 using the concert “F” blues progression. An outline of the chord progression, blues scales, and chord scales that may be used can be found in the technique appendix of the book.

*

134

See discography on page 158

CHAPTER TEN: Transitioning to Harmony

IM

PROVISATION

The blues scale has been used as the primary harmonic tool in this book because it allows musicians to focus on intent and phrasing during a solo, without being overwhelmed by harmonic considerations. Just as artists first learn to draw with pencils to hone their skills before moving to paints and color, musicians use the blues scale to develop the confidence and phrasing skills necessary to transition to more harmonically focused improvisation. The transition away from the exclusive use of the blues scale should be a gradual and natural process that musicians embark on as their technical, phrasing, and harmonic awareness improves. The blues scale offers musicians only a neutral non-harmonic exploration of improvisation. Eventually, as musicians mature they will desire to add the nuance and harmonic color to improvised solos that the blues scale cannot provide. When musicians reach this point of maturity, the gradual transition to more harmonic based improvisation can begin. The transition toward harmonic improvisation can be taken once musicians have internalized the following skills. 1. Musicians are aware of their location within the form of blues while soloing with the blues scale. 2. Musicians consistently follow the guidelines for swing articulation when soloing with a blues scale. 3. Musicians consistently add stylistic inflections when soloing with a blues scale. 4. Musicians can successfully navigate all of the phrasing exercises thus far in this book using a blues scale. If musicians cannot confidently state the above criteria, they should continue to practice the previous chapters of this book until their skills develop. Musicians should not rush to transition to harmonically focused improvisation. If they do, they will likely be so focused on playing the technical aspects of harmony, a.k.a. “the right notes,” that they will fail to remember the stylistic, communicative, and creative aspects of improvisation. Once musicians can confidently state the above criteria, they should continue their exploration of the harmony of blues in this chapter.

135

Chapter Ten: Transitioning to Harmony

Bass Lines and Chord Scales The ability to play bass lines is an essential skill that can assist musicians in transitioning to harmonically focused improvisation. Simply knowing the correct notes of each arpeggio is not sufficient to technically prepare musicians to improvise using chord changes. Remember, melodic improvisation occurs when musicians focus the majority of their attention on communication, style, and intent rather than focusing exclusively on playing the correct notes. In order to improvise melodically without using a tool like the blues scale, musicians must not only memorize the arpeggios and chord scales used in a song, but must become so proficient with these tools that they require very little conscious thought to play. One of the most effective ways to develop this type of proficiency is to practice playing bass lines using the arpeggios of each chord. Bass lines are improvised quarter note passages that typically begin each measure on the root of the chord. For our purposes, we will use only notes from the arpeggio and will not necessarily begin each measure on the root of the chord. Advanced bass lines may use approach notes, scale tones, and substitutions, but these topics will not be addressed in our limited approach to the use of bass lines. Bass lines will be used as a tool to develop absolute proficiency with arpeggios. The simplest type of bass line uses a basic arpeggio as shown below.

This simple variation will only develop modest technique for improvisers to use when soloing. In order to become technically proficient with arpeggios, musicians must use variations of the above exercise. The following exercises will challenge musicians to play bass lines and chord scales in several variations.

136

Chapter Ten: Transitioning to Harmony

Replicate the pattern given in measure one over every other chord change. Do not write in the notes and practice playing with a metronome at a variety of tempos.

Exercise 10-1: Bass Lines C7

b7

& c bœ

5

œ

F7

1

3

œ

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

œ

F7

C7

C7

’ ’ ’ ’ G7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Exercise 10-2: Bass Lines C7 3

&œ

1

œ

b7

bœ

5

œ

F7

&’ ’ ’ ’ Dmin7

F7

’ ’ ’ ’ F7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

137

Chapter Ten: Transitioning to Harmony

Replicate the pattern given in measure one over every other chord change. Do not write in the notes and practice playing with a metronome at a variety of tempos.

Exercise 10-3: Bass Lines C7

b7

& c bœ

F7 3

1

5

œ

œ

F7

&’ ’ ’ ’ Dmin7

C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

œ

F7

C7

C7

’ ’ ’ ’ G7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 10-4: Bass Lines C7

b7

& œ bœ 3

F7 5

œ

1

œ

F7

&’ ’ ’ ’ Dmin7

’ ’ ’ ’ F7

’ ’ ’ ’ G7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Play the preceding examples in the following variations: 5371, 5713, 5317, 5137, 5731, 1735, 1537, 1735, 7153, 3715, 3517, 3751,

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Chapter Ten: Transitioning to Harmony

Replicate every two measure pattern given throughout the twelve-bar blues form. Do not write in the notes and practice playing the exercises with a metronome at a variety of tempos.

Exercise 10-5: Chord Scales Ascending

Descending

œ- b œ œ œ œ œœœœ ’ ’ ’ ’ ’ ’ ’ ’ & c œ œ œ œ œ œ bœ C7

F7

&’ ’ ’ ’ Dmin7

F7

F7

C7

C7

’ ’ ’ ’ G7

C7

C7

’ ’ ’ ’ C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 10-6: Chord Scales Descending

Ascending

œ b œ œ œœœ & œ- b œ œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’ œ œ œ- C7

F7

&’ ’ ’ ’ Dmin7

F7

F7

’ ’ ’ ’ G7

C7

C7

’ ’ ’ ’ C7

C7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

139

Chapter Ten: Transitioning to Harmony

Replicate every two measure pattern given throughout the twelve-bar blues form. Do not write in the notes and practice playing the exercises with a metronome at a variety of tempos.

Exercise 10-7: Chord Scales in Thirds Ascending (Third Intervals)

œ. b œ . . . œ œ œ œ œ & c œ œ œ œ œ œ. œ œ œ. b œ œ œ œ œ. b œ œ œ ’ ’ ’ ’ ’ ’ ’ ’ . 3 3 C7

3

F7

3

3

C7

3

3

3

F7

F7

&’ ’ ’ ’ Dmin7

C7

C7

’ ’ ’ ’

C7

’ ’ ’ ’

G7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Exercise 10-8: Chord Scales in Thirds Descending

Ascending

œ œ b œ. œ œ b œ. œ œ. . œ b œ œ œœœ ’ ’ ’ ’ ’ ’ ’ ’ & œ œ œ œ œ. œ œ œ. œ . œ . 3 C7

3

3

F7

3

3

3

F7

&’ ’ ’ ’ Dmin7

3

F7

’ ’ ’ ’ G7

C7

C7

3

C7

’ ’ ’ ’ C7

C7

’ ’ ’ ’ G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Create your own variations to these exercises. Developing complete technical proficiency with the scales and arpeggios used within the form will lead to creative freedom while improvising. 140

Chapter Ten: Transitioning to Harmony

Transitioning from the Blues Scale In the following exercises, musicians will gradually transition from the exclusive use of the blues scale to other harmonic alternatives during improvisation. In the course of this transition, the blues scale will not be completely abandoned but gradually replaced. The blues scale will remain an important tool for improvisation, but it will cease to be the only harmonic tool used. At this stage in development, musicians should be well aware of the noticeable harmonic changes that occur during blues in bars five and nine, have the chord progression of twelve bar blues memorized, and be fluent at playing bass lines over the twelve-bar form. The next series of exercises gradually substitutes arpeggios or chord scales for the blues scale. This type of gradual migration from exclusively using the blues scale can benefit musicians. The blues scale will remain a viable alternative tool for improvisation throughout a musician’s career. Musicians should not rush to immediately discard the blues scale once its harmonic alternatives are discovered, but rather should work to gradually enhance their solos by adding harmonic colors and nuances in appropriate locations. The following exercises will practice transitioning between harmonically based improvisation and the use of the blues scale. This transition may be more time consuming than one would expect. Jazz improvisation is one of the few endeavors where people must spontaneously use both their creative and analytical skills simultaneously. It’s a skill that takes time to learn. Thus far in this book, our focus has been on building skills and making fast creative choices for phrasing using the simple unchanging seven note blues scale. The new challenge musicians face will be to develop the ability to make fast creative choices for phrasing using the appropriate harmonies reflected by the chord changes. This challenge should not be underestimated or rushed. Often musicians rush to leave the confines of the blues scale only to find that the majority of their conscious thought is devoted to playing the correct notes. If you find this to be the case, go back and continue to practice the scales and arpeggios that are needed to navigate the chord changes. The more you think about playing the correct notes, the less you are thinking about creating melody. Overcoming technical hurdles can take time and patience, but technical fluency allows musicians to focus on style, phrasing, and intent which will lead to beautiful creative solos.

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Chapter Ten: Transitioning to Harmony

In exercise 10-9, musicians should improvise with a blues scale where notational slashes are used and improvise with arpeggios or chord scales where they are provided. Practice singing and improvising solos using this roadmap and listen to and practice playing your own version of the example solo for exercise 10-9.

Exercise 10-9: Transitioning from Blues Scale CD Track 4 (play-a-long)

Blues Scale C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Blues scale

F7

œ bœ

œ

&œ

F7

œ

œ

œ bœ

C7

C7

’ ’ ’ ’

’ ’ ’ ’

Blues Scale Dmin7

&œ

œ

œ

œ

G7

œ

œ

œ

œ

C7

G7

’ ’ ’ ’ ’ ’ ’ ’ ..

Exercise 10-9: Transitioning from Blues Scale-Example Solo Trumpet players should play an octave lower as needed. CD Track 50 (Demo)

Blues Scale C7

F7

&’ ’ ’ ’ &

r #œ

& 142

’ ’ ’ ’

œ œ œ œ ˙

F7

C7

’ ’ ’ ’

œ œ bœ œ œ œ œ œ œ œ bœ œ œ Œ

F7

D min7

r #œ

C7

’ ’ ’ ’

Blues Scale C7

C7

’ ’ ’ ’ ’ ’ ’ ’ Blues Scale

r #œ

œ nœ œ œ ˙

G7

C7

C7

’ ’ ’ ’ ’ ’ ’ ’

Chapter Ten: Transitioning to Harmony

In exercise 10-10, musicians should improvise with a blues scale where slashes are used and improvise with arpeggios or chord scales where they are provided. Practice singing and improvising solos using this roadmap and listen to and improvise your own version of the example solo for exercise 10-10.

Exercise 10-10: Transitions Part Two CD Track 4 (play-a-long)

Blues Scale C7

&c

3

1

F7 1

&œ

D min7 1

&œ

œ

3

b3

œ

b7

œ bœ 5

5

œ

b7

œ

5

œ

œ F7

œ

œ

C7

b7

œ bœ

3

1

œ bœ 5

œ

œ

F7

b7

C7

’ ’ ’ ’ ’ ’ ’ ’

Blues Scale C7

œ bœ

C7

’ ’ ’ ’ ’ ’ ’ ’

Blues Scale

G7

œ

1

3

œ

œ

5

C7

b7

G7

’ ’ ’ ’ ’ ’ ’ ’ ..

œ

Exercise 10-10: Transitions Part Two-Example Solo Trumpet players should play an octave lower as needed.

C7

- - œ œ & œ bœ

œ-

r #œ

œ œ œ bœ œ

F7

œ-

CD Track 51 (demo)

Blues Scale C7

C7

’ ’ ’ ’ ’ ’ ’ ’ Blues Scale

œ. . r bœ œ œ œ œ b œ œ œ œ & œ- œ œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’ F7

F7

C7

3

C7

Blues Scale

. œ œ œ. j œ. œ œ r œ J & ‰ œj œ. œ’ ’ ’ ’ ’ ’ ’ ’ J J #œ œ Dmin7

G7

C7

G7

143

Chapter Ten: Transitioning to Harmony

In exercise 10-11 musicians should follow the roadmap provided and focus on executing the pickups in bars four and eight. Notice that this roadmap is very similar to exercise 10-11 except for the use of pickups. Pickups may use either the blues scale or the appropriate chord scale. Practice singing and improvising solos using this roadmap and listen to and practice improvising your own version of the example solo for exercise 10-11.

Exercise 10-11: Adding Pickups CD Track 4 (play-a-long)

Pickup

Blues Scale

&c

C7

F7

œ

&œ

œ bœ

œ

œ

F7

œ bœ

œ bœ

œ

œ F7

œ

œ

C7

C7

’ ’ ’ ’ Œ

Blues Scale C7

œ bœ

C7

’ ’ ’ ’

Û

Û

Û

Û

Pickup

Û

Œ

Û

Blues Scale Dmin7

&œ

œ

œ

œ

G7

œ

œ

œ

œ

C7

G7

’ ’ ’ ’ ’ ’ ’ ’ ..

Try adding intent to this exercise by improvising questions and answers.

Exercise 10-11: Adding Pickups-Example Solo CD Track 52 (demo)

Trumpet players should play an octave lower as needed.

Pickup

Blues Scale

œ œ œ bœ ˙

C7

&

r #œ

r #œ

œ œ b œ œ œ œ œ # œr œ b œ œ œ œ œ & F7

œ- œ œ œ ˙ & Dmin7

144

- œ#œ œ b œ œ ’ ’ ’ ’ Œ

œ œ œ bœ œ Œ

F7

F7

r #œ

œ- n œ œ œ ˙

G7

C7

C7

Blues Scale

Œ

C7

Pickup

C7

’ ’ ’ ’ Œ

r #œ

œ- œ- œ-

Blues Scale C7

G7

’ ’ ’ ’ ’ ’ ’ ’

Chapter Ten: Transitioning to Harmony

Exercise 10-12: The Twelve Bar Blues Final Exam CD Tracks 2, 3, 4, 5 (play-a-long) C7

F7

C7

C7

&c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F7

&’ ’ ’ ’ D min7

F7

F7

F7

’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’

G7

F7

G7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Using your own combinations of the blues scale, arpeggios, and chord scales, improvise the following. 1. Play one-bar phrases as shown in exercises 5-1, 5-2, 5-3 from chapter five. 2. Play two-bar phrases as shown in exercises 5-4, 5-5, 5-6 from chapter five. 3. Play three-bar phrases as shown in exercise 5-7 from chapter five. 4. Develop a multi-chorus solo using the tools for solo development as shown in chapter six. 5. Use phrase pickups as shown in exercises 7-1 through 7-7 for the one, two and three-bar phrases in chapter seven. 6. Improvise using the solo roadmaps in exercises 8-1, 8-2, and 8-3 in chapter eight. 7. Integrate the exact, rhythmic, transposed, intervallic, and shape motifs from chapter nine into all the above solos.

145

Chapter Ten: Transitioning to Harmony

Create Your Own Examples Construct and compose your own solo roadmaps using using chord scales and arpeggios instead of the blues scale. Composing solo etudes helps beginning improvisers become more conscious of form and phrase length while creating melodic ideas that can be incorporated into future improvisation. Practice your own examples with the accompanying CD.

CD Track 2, 3, 4, 5 (play-a-long)

&c & &

& & & 146

Chapter Ten: Transitioning to Harmony

&c & & & & & & & & 147

Chapter Ten: Transitioning to Harmony

CHAPTER TEN: Exercises for Continued Exploration

1. Practice singing and playing the following roadmaps using chord scales and arpeggios instead of the blues scale:

148

Chapter Ten: Transitioning to Harmony

2. Create two new roadmaps that use motifs and solo development for a two chorus blues solo at a slow tempo. 3. Create two new roadmaps that use motifs and solo development for a three chorus blues solo at a medium tempo. 4. Create two new roadmaps that use motifs and solo development for a four chorus blues solo at a fast tempo. 5. Listen again to any of the selections in the Discography on page 158. 6. Discuss: a. Which recordings and solos are your favorites? Why? b. What melodic devices can you hear the improvisers use during the solos? c. Has your critical listening changed as you’ve progressed through this book? How? d. How do the different instruments on the recordings utilize specific melodic devices and phrasing? e. Are specific phrasing techniques used during certain historical time periods of improvisation? f. What is the role of technical proficiency in jazz improvisation? g. How does it impact a musician? h. How does it impact a listener?

149

Chapter Ten: Transitioning to Harmony

7. Transcribe the example solos for exercises 10-9, 10-10 and 10-11 for your instrument. 8. Go back and repeat all of the exercises in this chapter using the concert “F” blues scale and chord progression on tracks 10-12 of the play-a-long CD. An outline of the chord progression, blues scales, and chord scales that may be used can be found in the technique appendix of the book.

150

APPENDIX: FOR

Scales and Technique

IMPROVISATION

The following appendix outlines the major scales, blues scales, mixolydian scales, and dorian scales needed to improvise over a twelve bar blues. Musicians should master these scales and arpeggios in order to gain the complete technical fluency that is required to improvise melodically. Musicians will not be able to improvise with creative freedom until these technical components become habitual. C Blues-Concert Bb

G Blues-Concert F

151

Appendix: Scales and Technique

Twelve Major Scales Play each scale in as many octaves as possible. C Major C Maj7

&c

œœœ œœœœœ œ œ œ œœ œœ

G Major

œœœ œœœœœ œ œ œ œœ & œœ #

GMaj7

B b Major

&b

B bMaj7

b

œ œœœœ œ œ œ œ œœœ œœœ

F Major

b œœœœœœœœ œ œ œ œ œ œ œ FMaj7

D Major

##

œœ œ œ œ œ œ œ œ œ œ œ œ œœ

D Maj7

A Major

### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A Maj7

E b Major

E Major

A b Major

B Major

b

b œ œœœœ œ œ b œ b œ & œœœ œœœ E Maj7

A bMaj7

bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b D b Major

b

####

œ œ œ œ œ œ œ œ œ œ œ œ œœœ

E Maj7

B Maj7 # ## # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #

F # Major

#

#### # bbb œœ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ # œœœœ œœ & b œœœœ œœ D Maj7

152

F Maj7

Appendix: Scales and Technique

Twelve Blues Scales Play each scale in as many octaves as possible. C Blues

&c

œ bœ œ œ bœ œ #œ nœ bœ œ # œ b œ œ œ

# bœ œ #œ œ nœ œ œ nœ œ #œ nœ bœ œ & œ G Blues

&

B b Blues

bb

bœ œ œ bœ œ nœ bœ bœ œ œ n œ b œ œ œ

E b Blues

bb

bœ œ œ bœ œ nœ bœ bœ & b œ bœ œ nœ œ œ A b Blues

bb b b œ b œ œ n œ œ b œ œ œ b œ œ n œ b œ b œ œ & D b Blues

b & b bbb œ b œ œ n œ œ b œ œ œ b œ œ n œ b œ b œ œ

b œ bœ œ nœ œ bœ œ œ bœ œ nœ bœ bœ œ F Blues

##

D Blues

nœ œ œ nœ œ #œ nœ œ œ # œ nœ œ œ nœ

### n œ œ # œ œ n œ œ œ n œ œ # œ n œ n œ œ œ

A Blues

# ###

E Blues

nœ œ œ # œ n œ œ

œ œ nœ œ #œ nœ nœ œ

#### œ n œ œ # œ œ n œ œ œ n œ œ # œ n œ n œ œ # B Blues

F # Blues

# ### # nœ œ œ nœ œ #œ nœ nœ # œ nœ œ #œ œ œ

153

Appendix: Scales and Technique

Twelve Mixolydian Scales Mixolydian scales are used over the dominant seventh chords that occur in every bar of a blues progression, except for bar nine. This scale is derived from a major scale by flatting the seventh degree or by simply playing a major scale beginning on its fifth diatonic note. Adjust the octave ranges to suit your individual instrument. C Mixolydian G Mixolydian

nœ œ nœ œ œ œ œ œ œ œœœ &c œœœ G7

D Mixolydian

#

C7

bœ œ bœ œ œ œ œ œ œ œ œ œœ œœ

b

A Mixolydian

& œ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ

##

œ bœ œ œ œ œœœ

###

D7

F Mixolydian

b œ bœ &b œœœœœ F7

B b Mixolydian

b &bb

b

B 7

bœ œ bœ œ œ œ œ œ œ œ œ œœ œœ

E b Mixolydian E b7

b bœ œ bœ œ œ œ œ & b bb œ œ œ œ œ œ œœ A b Mixolydian

&

154

bbbb

b

œ œbœ œ œ œ b œ A 7

œ bœ œ œ œ œ

œœ

nœ œ nœ œ œ œ œ œ œ œ œ œœ œœ

A7

E Mixolydian E7

œ œ nœ œ œ œ œ

B Mixolydian

####

B7

nœ œ œ œ œ œœ

F # Mixolydian

####

#

œ nœ œ œ œ œœœ œ nœ œ œ œ œœœ

œ nœ œ œ œ n œ œ œ œ œœœ # œœœ F 7

C # Mixolydian

#

#### # # œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ C 7

Appendix: Scales and Technique

Twelve Dorian-Minor Scales Dorian-Minor scales are used over minor seventh chords like the one that occurs in bar nine of a twelve-bar blues. They are derived from a major scale by flatting the third and seventh degrees or by simply playing a major scale beginning on its second diatonic note. Adjust the octave ranges to suit your individual instrument. G Dorian-Minor

D Dorian-Minor

& c œ œ nœ œ œ œ nœ œ nœ œ œ œ nœ œ œ D min7

A Dorian-Minor

# nœ œ œ œ nœ œ nœ œ œ œ nœ œœ & œœ A min7

C Dorian-Minor

&b

b

C min7

œ œ œ bœ œ œ

F Dorian-Minor

bœ œ bœ œ œ œ bœ œ œ

b œ bœ & b b œ œ bœ œ œ B b Dorian-Minor B bmin7

œ bœ œ œ œ bœ œ œ

bb b b œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ œ & E b Dorian-Minor

&

bbbb

E Dorian-Minor

##

œ nœ œ nœ œ œ œ nœ œ œ n œ œœ œœ

E min7

B Dorian-Minor

Fmin7

b

nœ œ nœ œ œ œ b œ œ bœ œ œ œ bœ œ œ G min7

###

B min7

œ nœ œ œ n œ œ œ

F # Dorian-Minor

####

#

œ nœ œ œ œ nœ œ œ

œ nœ œ œ œ n œ œ œ œ nœ œ œ œ œ nœ

F min7

C # Dorian-Minor #

####

C min7

# œ nœ œ œ œ nœ œ nœ œ œ œ nœ œ œ œ

A b Dorian-Minor b

œ bœ œ œ b œ œ b œ œ b b œ b œ œ œ bœ œ œ b bœ œ œ œ bœ b œ œ bœ œ œ œ œœ b b b œœ E min7

A min7

155

Appendix: Scales and Technique

Chords and Arpeggios These are the arpeggios needed to navigate the chord progressions used in this book. C Maj7

&c œ

5

œ

b

1

7

##

œ

D Maj7

&

œ

b

E Maj7

b &bb œ ####

E Maj7

&

FMaj7

&b œ

#

#### # & # œ

F Maj7

156

œ

E7

F7

œ

œ œ

œ

œ

œ

F 7

œ

œ

nœ bœ

œ

œ #

bœ

œ

œ

œ

œ

œ

œ

b

bœ nœ

œ

œ

E 7

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

D7

œ

œ

œ

D 7

œ

œ

œ

5

œ

b

bœ

œ

3

œ

D Maj7

bb b & bb

b7

C7

œ

œ

3

1

œ

nœ

Cmin7 1

œ b

b3

œ

bœ

bœ

œ

bœ

nœ

œ

nœ

bœ

œ

bœ

nœ

œ

nœ

bœ

œ

bœ

œ

nœ

D min7

œ Dmin7

œ

b

E min7

œ

Emin7

œ Fmin7

œ

#

F min7

œ

b7

bœ

5

nœ

Appendix: Scales and Technique

# & œ

GMaj7

b

œ

œ

œ

œ

œ

œ

œ

bb b & b œ ###

&

œ

b

B Maj7

b &b œ

#### œ & #

B Maj7

œ

œ

œ

b

A 7

œ A7

œ b

B 7

œ

œ

B7

œ

nœ

œ

œ

œ

œ

A Maj7

A Maj7

œ

œ

œ

G7

œ

bœ

œ

œ

nœ

œ

œ

bœ

œ

œ

œ

nœ

G min7

œ b

A min7

œ

A min7

œ b

B min7

œ

Bmin7

œ

bœ

œ

nœ

bœ

œ

bœ

nœ

œ

nœ

bœ

œ

bœ

nœ

œ

nœ

157

Appendix: Scales and Technique

Blues Discography for Constructing Melodic Jazz Improvisation The following examples are recordings that can be used for listening and analysis in the Continuing Explorations areas of this book. Every musician develops improvisational skills by listening to the great masters and analyzing and transcribing solos. The recordings were chosen because of their melodic significance and availability, but are not meant to reflect a comprehensive jazz collection. Each selection reflects different stylistic components of blues improvisation and reinforces the melodic concepts in this book. Due to the incredible popularity of portable MP3 players, the following listening discography is catalogued by artists, song, and album, and is available for purchase on iTunes, Rhapsody, and other paymusic download websites. This student and budget friendly alternative will gives listeners a thorough overview of the evolution and melodic components of the improvisational blues from the masters of jazz. Many examples used throughout the book, but not listed below, have been taken from the CD Box set: Ken Burns JAZZ: The Story of American Music, which is available at many schools and libraries nationwide.

158

Artist

Track

Recording

Charlie Parker Charlie Parker Charlie Parker Charlie Parker Charlie Parker Charlie Parker

Cool Blues-52nd Street Theme K.C Blues Blues For Alice Now’s the Time Billies Bounce Barbados

Charlie Parker: The Best of Bird Volume II Confirmation: The Best of the Verve Years Confirmation:The Best of the Verve Years Now’s the Time The Complete Savoy and Dial Master Takes The Complete Savoy and Dial Master Takes

Sonny Rollins Sonny Rollins

Blue Seven Tenor Madness

Saxophone Colossus The Best of Sonny Rollins Remastered

Cannonball Adderley

Sack O’ Woe

Live at the Lighthouse

Miles Davis Miles Davis Miles Davis Miles Davis Miles Davis Miles Davis

Blues By Five All Blues Freddy The Freeloader Vierd Blues Blues By Five One For Daddy-O

Bluing: Miles Davis Plays the Blues Miles Davis The Columbia Years 1955-1985 Kind of Blue Bluing: Miles Davis Plays the Blues Bluing: Miles Davis Plays the Blues Ballads and Blues

Louis Armstrong Louis Armstrong Louis Armstrong Louis Armstrong Louis Armstrong Louis Armstrong

St. Louis Blues Blues in the Night West End Blues Chime Blues Black Ole Town Blues Basin Street Blues-

The Essential Louis Armstrong Blues in Orbit Ken Burns Jazz Collection: Louis Armstrong Louis Armstrong and King Oliver Louis Armstrong Golden Jazz Louis Armstrong 100th Birthday Celebration

Gene Ammons Gene Ammons

Blues Up and Down Good Time Blues

Boss Tenors: Straight Ahead From Chicago 1961 The Ultimate Tenor Sax Collection

John Coltrane John Coltrane

Blue Train Locomotion

Blue Train Blue Train

Gene Krupa

Drum Boogie

Ken Burns JAZZ: The Story of American Music

Sarah Vaughn

Sassy’s Blues

Embraceable You

Ella Fitzgerald

Blues in the Night

Ella at Juan-Les Pins

Thelonious Monk

Straight No Chaser

Ken Burns JAZZ: The Story of American Music

Joshua Redman

Blues on Sunday

Joshua Redman

Ray Brown

Mistreated but Undefeated Blues

Soular Energy

About the Author Author/Tenor Saxophone-Brian Kane is an extremely busy musician, educator and clinician. He has taught music in both public and private schools at all age levels and settings and has developed innovative teaching techniques for vocal technique, instrumental jazz styles, sight reading, and melodic improvisational concepts. Brian has written feature articles on music education that have been published by the IAJE National Journal, Music Teacher Magazine International, Saxophone Journal, Choral Director Magazine, and JazzEd Magazine. He is the author of the Jazz Style and Technique Series, Creative Jazz Sight Reading, and the vocal technique books Singing Tongue Twisters AZ and Sing After Me. Brian is available to present a wide variety of clinics and master classes for beginning through advanced improvisers and can be reached at www.jazzpath.com.

CD Personnel Piano-Paul Schmeling is Chair Emeritus of the piano department at the Berklee College of Music. Paul has performed at numerous festivals, on radio and television, and with Art Farmer, Clark Terry, Carol Sloane, Slide Hampton, and Ernestine Anderson and recorded with Dick Johnson, Phil Wilson, Herb Pomeroy, and Rebecca Parris. Paul is the author of Berklee Music Theory, Berklee Practice Method: Keyboard, and Instant Keyboard. Bass-Whit Browne is an associate professor of bass at the Berklee College of Music. He has performed with Oscar Peterson, Dizzy Gillespie, Sonny Stitt, Joe Williams, Zoot Sims, Diana Krall, Kenny Burrell, and recorded with Gunther Schuller, Phil Wilson, Ray Santisi, Matt Grady among others. Whit has numerous television and radio appearances, has been a three-time Boston Music Awards nominee for outstanding bassist and a recipient of Harvard University certificate for "Contribution to the Arts." Drums-James Lattini is an assistant professor of percussion at the University of Massachusetts-Lowell. He has performed with Claudio Roditti, Steve Marcus, Randy Brecker, The Artie Shaw/Dick Johnson Orchestra, Phil Wilson, Ricky Ford, Rebecca Parris, Jerry Bergonzi, Nick Brignola, Bobby Shew, Phil Wilson, George Garzone, Bruce Gertz, The Fifth Dimension, The Four Freshmen, Buddy Hackett, Eliza Karshi, Donna McKechnie, The Radio City Music Hall Rockettes, and Jeffrey Osborne, and most recently has performed with the show, Gershwin Sings Gershwin, featuring Alexis Gershwin. Jim has numerous television and motion picture recording credits including the motion picture “Analyze This” and, among others, is featured on the CD Bounce with Joe Calderazzo and John Patitucci and You Don’t Know Me with Rebecca Paris, Gary Burton, and Jerry Bergonzi. Jim endorses Vic Firth products and is a member of the Vic Firth Education Team. Trombone-Jeff Galindo is an Assistant Professor at the Berklee College of Music, teaching both trombone and jazz improvisation. He has studied with Hal Crook, Jerry Bergonzi, and George Garzone with grants by the National Endowment of the Arts. His experience includes tours of Europe with Phil Woods and Japan with Makoto Ozone, and

159

tours with the Artie Shaw Orchestra. Jeff has performed with such notables as Chick Corea, Clark Terry, Joe Lovano, Buddy DeFranco, Slide Hampton, and Johnny Griffin. He has also performed with Gunther Schuller, Ray Charles, Aretha Franklin, Jerry Bergonzi, Bobby Shew, The Boston Pops Orchestra, and Sam Butera among many others. In Boston, Jeff performs regularly with the Greg Hopkins Big Band and Nonet, The Galindo/Phaneuf Sextet (with which he has released a new CD Locking Horns in 1998 and won Boston Magazines "Best of Boston" for a jazz group in 1999), plus his double quartet with George Garzone. Jeff is the author the Berklee Practice MethodTrombone. He is currently one of the top free-lancing trombonists in the Boston area. Jeff is in high demand as a guest artist and clinician at high schools and universities in Massachusetts, the United States, Canada, and Europe. Jeff can be reached at www.jeffgalindo.com. Trumpet-Trent Austin also is on the faculty at the University of Southern Maine, teaches "on call" trumpet lessons throughout the Boston area, and has a highly successful private studio the greater Boston area. Trent has performed with such artists as Tony Bennett, Natalie Cole, Joe Williams, Clark Terry, Jack Jones, Bob Brookmeyer, Maria Schneider, Peter Erskine, Arturo Sandoval, Hal Galper, Dick Oatts, Marvin Stamm, Red Holloway, Jesse Davis, Dick Johnson, Kenny Werner, and Bob Wilber. Most recently, Trent was a featured trumpet soloist with the prestigious Artie Shaw Orchestra (a position he held for 11 years) and is currently highly in demand in the Boston area as a trumpet soloist. Trent has recorded two CD’s as a leader: Trumpet 101 and his newest release, Two-Toned, which features intimate duo collaborations with some of his favorite musicians, including the piano legend Benny Green. Trent can be reached at www.trentaustin.com. Alto Sax-Daniel Ian Smith has been an active performer and educator for the last 18 years. He is an Assistant Professor of Music at the Berklee College of Music and an indemand saxophonist. Daniel has performed throughout the world alongside such notables as Nick Brignola, Kazumi Watanabe, Arturo Sandoval, John Lewis, Jimmy Giuffre, Maria Schneider, Fred Ho, Marty Ehrlich, Akikazu Nakamura, Sheila Jordan, Claudio Roditi, Patti Lupone, Jyoji Sawada, Jun Saito, Johnny Mathis, The Temptations, and George Russell. He has performed in and conducted ensembles as diverse as: The Cayuga Chamber Orchestra, ALEA III, Rhode Island Philharmonic, The Greg Hopkins Jazz Orchestra, the Jazz Composers Alliance Orchestra and Saxophone Quartet, Mark Harvey’s Aardvark Jazz Orchestra, New England Conservatory Contemporary Music Ensemble, John Allmark Jazz Orchestra, Composer’s in Red Sneakers and NuClassix composers forum. He was the featured soloist at the Yokohama Port Festival, Yokohama, Japan in June of 1996. He has recorded for Sony, DIW, Brownstone, Cherry Street Records, 9 Winds, and Big and Phat Jazz Productions. He actively performs with his quintet "A Collective Directive," is the founder and director of the Big and Phat Jazz Orchestra, and is the founder/artistic director of the Boston based "Jazz In the Sanctuary" concert series. Daniel can be reached at www.danieliansmith.com. Recorded by Jon Chase at Chase Productions: www.chaseproductions.net

160

Jazz Path Publishing Presents: Jazz Style and Technique is a comprehensive workbook for developing the technical and musical skills necessary to perform with a mature jazz style. Developed for advancing beginner and intermediate level students, this workbook offers detailed instruction on how to create a swing feel, use swing articulations and integrate useful jazz inflections into compositions. This work book presents 15 original and fun jazz compositions in multiple key signatures. Students have the opportunity to gain technical fluency in different keys while remaining focused on developing an authentic jazz style through the use of articulations and inflections. This workbook is ideal for ALL TREBLE CLEF INSTRUMENTS. ISBN: 0-9760977-2-9

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Creative Jazz Sight Reading is comprehensive sight reading workout for beginner, intermediate, and advanced musicians. All musicians can improve their jazz style and sight reading by working through the 10 progressively difficult rhythmic lessons. Lessons contain hundreds of jazz rhythms notated with proper articulation markings, creative improvisational rhythmic etudes, and blues etudes. Each lesson includes notation for concert key, E flat, B flat and bass clef. This book is for ALL instruments. ISBN: 0-9760977-0-2

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Singing Tongue Twisters A-Z contains 50 fun filled wacky warm-ups to improve pronunciation, vocal range, and technique. Perfect for teachers and kids, this fun sing-a-long book contains musical tongue twisters of variable difficulty levels, read-a-long worksheets, and a 50 track sing-a-long CD. Singing Tongue Twisters is an excellent warm-up tool for choral groups and a fun practice workbook for individual singers. 80 pages with CD.

ISBN: 0-9760977-3-7

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Jazz Style and Technique for Saxophone is a comprehensive workbook for developing the technical and musical skills necessary to perform with a mature jazz style. Developed for advancing beginner and intermediate level students, this workbook offers detailed instruction on how to create a swing feel, use swing articulations and integrate useful jazz inflections into compositions. This work book presents 15 original and fun jazz compositions in multiple key signatures. Students have the opportunity to gain technical fluency in different keys while remaining focused on developing an authentic jazz style through the use of articulations and inflections. This workbook is ideal for ALL SAXOPHONES. ISBN: 0-9760977-1-0

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Order online or locate a retailer at www.jazzpath.com

Sing After Me contains ten fantastically funny, unusually useful, amazingly adaptive, excellent echo songs to help students learn to sing with practically perfect pitch and deliberately delightful diction. The book includes a sing-a-long and demonstration CD, reproducible student worksheets, and movement, art, and language activities for each song. Ages 6-13. ISBN 0-9760977-4-5

List Price (U.S.) $22.95

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Educational Clinics for Constructing Melodic Jazz Improvisation are available and can be customized for beginning, intermediate or advanced student musicians. To learn more about clinics, master classes and residencies with Brian Kane, please visit us on the web at www.jazzpath.com

Constructing Melodic Jazz Improvisation contains detailed explanations and analysis of the creative and improvisational techniques musicians use for style, phrasing, solo development and motivic improvisation in an easy to follow step-by-step format. Ten progressively difficult chapters, containing dozens of improvisational exercises, explore jazz improvisation from a creative, melodic and technical perspective. The book is designed to meet all of the national standards and frameworks for music education and is a comprehensive improvisational curriculum for individual musicians or group classes. The book includes a 52 track play-a-long and demonstration CD featuring Paul Schmeling (piano), Whit Browne (bass), James Lattini (drums), Jeff Galindo (trombone), Daniel Ian Smith (alto sax), Trent Austin (trumpet), and Brian Kane (tenor sax). The book is available in Concert Key, Bass Clef, Eb and Bb Editions.

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Constructing Melodic Jazz Improvisation Download and listen at:

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CD Track List Tracks 2-12 Stereo Separation: Right Channel- Piano, Drums; Left Channel- Bass, Drums CD Track 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Tuning Notes-Concert Bb and A Slow Blues in Concert Bb Funk Blues in Concert Bb Medium Blues in Concert Bb Fast Blues in Concert Bb Exercise 9-7 Major Circle of Fourths Exercise 9-8 Dominant Circle of Fourths Exercise 9-9 Minor Circle of Fourths Exercise 9-10 Major-Minor Cycle Slow Blues in Concert F Medium Blues in Concert F Fast Blues in Concert F Exercise 3-1 Exercise 3-2 Exercise 3-3 Exercise 3-4 Exercise 3-5 Exercise 4-1 Exercise 4-2 Exercise 4-3 Exercise 5-1 Exercise 5-2 Exercise 5-3 Exercise 5-4 Exercise 5-5 Exercise 5-6

CD Track 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52

Exercise 5-7 Exercise 5-8 Exercise 5-9 Exercise 5-10 Exercise 5-11 Exercise 6-1 Exercise 7-2 Exercise 7-3 Exercise 7-5 Exercise 7-6 Exercise 7-8 Exercise 7-9 Exercise 7-10 Exercise 7-11 Exercise 8-1 Exercise 8-2 Exercise 8-3 Exercise 9-1 Exercise 9-2 Exercise 9-3 Exercise 9-4 Exercise 9-5 Exercise 9-6 Exercise 10-9 Exercise 10-10 Exercise 10-11