to be imitated and then proceeds to

the formulation of a code of behav-

ior predicated on those observa-
tions. Each situation has its own
rules and codes of behavior that
prescribe the parameters within
which an improviser or composer
r must operate. Once the code of
ir rules is given, a matrix emerges. A
strategy for successful realization or
rov!sati on execution of a composition or im-
provisation is then dependent on
the particulars of the situation.
Manyteachers initially find it eas-
ier to explore improvisation within

A TOOL
the jazz tradition rather than in oth-
er kinds of music simply because
the sine qua non of jazz is improvi-
sation and because the last twenty
or twenty-five years have yielded a
FOR MUSIC plethora of excellent method books
and a variety of approaches to im-
provising within various jazz
idioms. However, if one is willing
LEARNING to devote the necessary time and
energy to consulting the wealth of
theory, composition, and musi-
cology resources that exist as well
as to studying scores, transcriptions,
and recordings, information is also
available for building improvisation-
al approaches to ethnic traditions
David N. Baker speed and enhance the learning and art music.
process. Improvisation can, if properly
In spite of the proliferation of Of course, improvisation should handled, serve as a valuable adjunct
stage and jazz bands and jazz in- not be misunderstood as simply a to the other education concepts we
struction of all kinds, little has been catharticexperience, with partici- use in teaching music. It can be the
attempted regarding the use of mu- pants doing whatever comes to means to an end as well as an end
sic improvisation as a teaching tool, mind without order or direction. A in itself.
and what has been done has been teacher must be able to understand
confined largely to those specifical- and impart to students the rules Manipulation of basic elements
ly interested in jazz. Yet improvisa- and codes governing improvisation If one is to maximize the poten-
tion and many of the related skills according to whatever matrix is op- tial of improvisation in teaching sit-
usually subsumed under that head- erative. Improvisational techniques, uations, perhaps the term itself
ing (ear training, call and response, materials, and approaches vary from needs to be redefined and made
theme construction and develop- era to era and style to style, and more inclusive. I would like to of-
ment, and so on) can serve any stu- from one type of music to another. fer some suggestions for music ac-
dent interested in music throughout The rules governing the realization tivities that have learning poten-
his or her education. of a figured bass or an improvisa- tial and involve some element of
One of the most important rea- tion in the style of J. S. Bach are improvisation.
sons for using improvisation as a quite different from the rules that A student can be taught to alter
means of music learning is the total determine the correctness of an im- written music (learned from the
involvement necessary on the part provisation in the bebop style of printed page or by rote) in any
of both teacher and student. Passiv- jazz or the rules that are operative number of preset ways. Perhaps the
ity is one of the greatest deterrents in a score by Lukas Foss or John easiest technique for altering a mel-
to learning on any level. Creating Cage. ody is that of simple embellish-
situations in which a student is per- But to an extent, the tasks set ment. The use of trills, shakes,
mitted and encouraged to experi- forth for all improvisers are similar mordents, turns, gruppettos, appog-
ence and to use new information as and not substantially different from giaturas, glissandos, and porta-
he or she acquires it can only the task given a student composer mentos is easily taught and ex-
assigned to write a work in the emplified in almost every style of
style of Haydn, Bartok, or Ives. One music. Of course, in jazz, blues,
The author is professor of music and chair- starts with the observation of the gospel, and many other forms of
man ofjazz studies at Indiana Universityin harmonic, melodic, and rhythmic black music, the embellishments
Bloomington. practices of the composer or style might take completely different

42 mej/jan '80

Downloaded from mej.sagepub.com at EMORY UNIV on April 21, 2015

forms and names, such as rips, Original
drop-offs, varied vibratos, smears, k

bends, growls, melismas, shouts,

and the like. (Many of these tech- v I
niques are best learned through im-
itation.) Countless jazz, blues, gos-
pel, rock, and popular music
recordings offer excellent examples
of the latter types of embellishment;
opera, classical keyboard music, ca-
denzas from concertos, and art Naturalminor
tA
songs all exemplify the former k

types. (See "Ornamentation"in the

Harvard Dictionary of Music and U) I u

Chapter 3 of David N. Baker'sJazz

Improvisation.)
Working with tonal aspects of a
0) .-*
work, one might begin by changing
the mode of the composition. For
instance, using the carol "Joyto the
World" as our model, one might Harmonicminor (exoticEasternquality)
change the melody to conform to A
various scales that a student already
might know or that the teacher can I) I
write on the chalkboard or simply
I I
teach by ear. Needless to say, this
exercise can help to dramatize the
tonal potential of various scales and v -6- I I
modes. See Figure 1.
A student also might sing or play
the tune using different key signa- Compositescale
I
tures. The key signature can prevail
for the entire work or it can be
changed from phrase to phrase or U)
from section to section. See Figure A) I I
2.
Hearing and imagination might 0) I I
be taxed even more by having stu- -.
dents sing or play the tune with
each in a different key (listen to Wholetone (impressionistic)
Charles Ives' works or to George A I
Russell's "Sippin' at the Bells" from
The George Russell Sextet at the Five
Spot [Decca DL 79220] and "Au Pri- tDi I

vave" from 1, 2, 3, 4, 5, Sextet [Riv-

erside RS-3043]). See Figure 3.
Diminished
Manyof the works in Bartok'sMik-
rokosmos lend themselves to this I

treatment. Folk songs, patriotic

songs, and other easily remem- .) I vu

bered, essentially diatonic melodies

also will serve this purpose.
Students might write out in-
Lydian dominant
versions, retrogrades, retrograde in-
versions, and the like and combine
them with the melody or each oth-
er. They might try starting the mel-
ody at different times in the manner
of a round. (The resultant harmo-
nies, though random, are often Blues
quite novel and interesting.) The
time interval of entrance can be
predetermined, random, or both.
When the stretto approach is com- gure . Modal manipulation
bined with other techniques such Figure 1. Modal manipulation

mej/jan '80 43
 fn I as retrograde or change of mode,
Jl l ||~ the results are often exciting and al-
most never dull. See Figure 4.
Students can be encouraged to
join various melodic fragments and
or or phrases together in different ways,
I Ji
N1 1I. to juxtapose various phrases, or to
-ir 1- - phrases and fragments to ac-
use
t)e I I
company the melody. The phrases
Figure 2. Key changes might be transposed to conform to
the prevailing harmonic structure
or might simply be used with Ive-
z.e I I
C major sian disregard for their tonal impli-
L

cations. See Figure 5.

Al,major
AbmJor
I I ) i,8 SStudents also might improvise
V 1r a
r melodic lines, retaining only the
rhythm, the shape of the original
line, or the original time frame (for
d :$ W.-' L-

[yH ~ G major
example, if the original is four mea-
sures long, then the improvised
I
Ebmajor line is also four measures long).
Again working with the melodic
Figure 3. Polytonality line in a group circumstance, stu-
dents might simply play or sing in
-^ - p. unison, arbitrarily(on their own
Pr " initiative or that of the teacher or
| |designated group leader),varying
dynamics, phrasing, articulation,
and so on. See Figure 6. To further
contribute to the heterophonic ef-
A fect, students can be encouraged to
I \ f, ,
bp'
\o completely personalize their inter-
w I U
Tr - -
T
FTrj pretations of phrases with regard
to phrase endings, octave displace-
ments, rhythmic interpretation, note
values, and so on. The resultant
sound will not be vastly different
b $l
;1 f~? from what usually happens when
I I
T TIi
I
40,000 football spectators attempt to
Figure 4. Canon
Figure 4. Canon

Figure 5. Linear counterpoint

44 mej/jan '80
sing "The Star-SpangledBanner" in
unison or when a church congrega-
tion attempts to sing a hymn from
-)
memory. Ip - fl
The teacher or group leader wP zfz= ffPmP
might improvise by tossing individ-
ual notes or phrases between in- n > >
struments and voices. A greater test
of concentration occurs if the play-
ers are instructed simply to react to ff-pp
each other with phrases and frag- fpfp ppcff
ments. See Figure 7.
Another more sophisticated tech- A L

nique might involve the use of spe-

cific instructions detailing the use
of fragments, phrases, extraneous P ff P^ - If
P ==~~~~-p ~~f ==u4PP
materials, the order in which they
should be used, their frequency of Figure 6. Varying dynamics and articulation
occurrence, and other performance
considerations, as in aleatoric music
after the manner of Foss, Cage, Ter-
ry Riley, Stockhausen, and others.
Without altering the melody, the
students might improvise using
sound alterations as the point of de-
parture. Some possibilities might f pp
include varied articulation;glis-
sandos; different registrations;vol-
ume changes; vibrato or nonvibrato;
trills, shakes, and turns; and the use
of mutes, plungers, bottles, and
a
p
electronic equipment.
Another simple improvisational
technique involves changing the
meaning of a work by altering its --
style. If students listen to and un-
derstand the imperatives of various 1
I&
kinds of music, then they can be sfz
taught to improvise works in those
f
various styles. For instance, using Figure 7. Fragmentation
rhythmic devices, note choices,
phrasing and articulations, and oth-
er characteristicgestures, one can
perform "Joyto the World" in a (ad lib)
blues, modal, country-western, or Bluesy '
jazz style, or as a waltz, bossa nova, n I/ I , o
or samba. See Figure 8. Using the
same approach, one might also ef- v '
fect an improvisation in the style of to the world.
J. S. Bach, Brahms, Schoenberg, Joy Joy Joy- to the world.
Ives, or Bart6k. Figure 8. Blues version
Many rhythmic improvisational
possibilities exist, perhaps the most
obvious of which are in the realm
of meter. One might play or sing a
melody in a meter other than the
original. Change "Joyto the World"
4 3 57T
from 4 to , 4, 4, or 3 + 3 + 2, to a __ _L 4P

nonmetered time, or to a time with

accents to obscure the original me- or
ter. See Figure 9.
The areas of metric modulation
and polymeter both offer fertile
ground for exploration. Students i r ic i ;?ff
.
- 42
Figure 9. Metric manipulation

mej/jan '80 45
 should pick tunes at random for
conversion. See Figure 10. Of
. r---3---- course, any of the tonal techniques
may be combined with those relat-
ing to meter.
ILL-4J- 41_. r
In addition, students might iso-
late the rhythms of a work and im-
provise by playing random notes
based on those rhythms. One might
also use various predetermined
scales or modes, melodic frag-
r3,
r-3' -t ments, systems, and so on. See Fig-
ure 11.
.JJJJJ r-o ? Various rhythmic elements may
be isolated and treated sequentially;
inverted; permutated; or subjected
to the techniques of elongation,
or
diminution, truncation, augmenta-
Polymeter version (do not synchronize) tion, and so on. All these tech-
niques can be combined with the
Slow ' various tonal approaches.
f^OwT C r r rl rf m With a little imagination, tonal
techniques such as stretto, juxtapo-
ff sition, and heterophony can be par-
alleled using rhythm as the focal
point. Introductions, backgrounds,
Fast and the like all can be improvised
using just a work's rhythms.
$14. j4J24. A4. * Students and teachers should try
to combine melody or rhythm with
cresc.
other improvisatory elements. For
example,
4
they might play a melody
in 4 while walking and tapping the
Moderate
hand in 4, 4, and so on. They might
sing a melody, tap 4 in the right
hand, 4 in the left hand, and walk
mf quarter-note triplets. If a whole
group is involved, the possibilities
Figure 10. Metric modulation for improvisational combinations
are astronomical. A series of activi-
ties might include the following.

I. (A) plays the melody in 4, key

of C
(B) plays the melody in dimi-
nution, key of E-flat
(C) sings the melody in aug-
mentation, key of A
(D)sings the melody in quar-
ter-note triplets, key of F-
sharp
II. (A) plays the melody in 4, key
of F
(B) strettos the melody in3,
key of E minor
Figure11.Melodic
improvisation (C) plays the melody in retro-
grade in 4 in augmentation
Figure 11. Melodic improvisation in D
(D)plays the melody in retro-
grade in 4 augmentation
and strettoed in C minor
III. (A) 8 C ascending melodic
minor

12 mm

46 mej/jan '80
 (B) 4 F-sharp ascending melod-
ic minor (7th scales) Bb7
~ ^A Fm mmw_ I i I I

4 J J n , ' ~4k _ .3|j- - j 3j...

(C) 4 B ascending melodic mi-
nor
F- 3 ----1 3

4
4 J; J J J Dm
For further exercises see chapters
1-10 of Paul Hindemith's Elemen-
tary Training for Musicians (New
York:B. Schott's Soehne [European-
American Music], 1949).

Theme and variations

Next, students might be encour-
aged to study various examples of
theme and variations with the goal
of improvising using techniques Bb+7 (t9) (Diminished/wholetone)
?( Fm
Fm
such as change of mode, change of
rhythm, altered phrase lengths, var-
<jr [_ | ' ^
ied tessitura, and so on. There also
could be musical reactions without
IJ "^^q^^i^L1
any restrictions as to the basic
theme. This technique might prove Dm [G7(b9)] (Diminished)
particularlyeffective with un-
schooled or less sophisticated
players.
Although the use of thematic im-
provisation in jazz education has
become increasingly popular and
important in the last twenty years,
traditionallysuch improvisation has
been based on chord sequences,
which means that a thorough
knowledge of chord to scale rela-
tionships, harmonic formulas, and A( Fm (Diminished) Abm
jazz patterns is absolutely manda-
tory. A set of chord changes usually
is assigned to a given melody. This
recurrent harmonic progression
(often varied on subsequent repeats
via substitution, chord superim- G7 (7th scales) Db7
position, and so on) is then real-
ized through the use of scales,
modes, and "licks" that are current.
See Figure 12. Figure 12. Samplejazz licks
If a tune is folk-like, modal, or
bluesy, or if it lends itself to a mod-
al treatment, the improvisation of-
ten will be realized using a single
scale or one scale per tune section.
See Figure 13.
Conceptually, improvisation can Am/D bass Cm/F bass
manifest itself in yet another way: 1, ----oX4sw--
_P 4---
_it.. ?~ or!I.. bo~~0. ?I
the use of various call-and-response
games. At the outset, to develop lis-
tening skills and good reaction re-
sponses as well as to build con- Figure 13. Bass line for modal improvisation
fidence, responses should be
noninterpretive reactions to short
diatonic phrases. For this purpose,
blues and pentatonic melodies are
ideal. Scales and chords also make
excellent raw materials. See Figure

mej/jan '80 47
 Blues/-. Z Rpennnse

1b -

r 1
v

br
or
OF

Call Response

Figure 14. Call and responsescales

Call Response Call Response

C7(Il 1) F+7(7$9)

call and response

Figure 15. Chord-to-scale

14. Chord-to-scale and scale-to- imaginable. nique, which I have used with clas-
chord responses are valuable with * Call-The response is improvised sically trained performers, has re-
many variants,such as exact re- but rigidly controlled, drawing from sulted in significantly raised
sponse at pitch, response at another predetermined rhythmic, melodic, performance and awareness levels.
pitch level, and so on. See Figure or harmonic choices; performing One might start with the first move-
15 and A New Approach to Ear within a certain register or within ment of a cello sonata. The per-
Trainingfor the Jazz Musician by an octave; performing with certain former begins by learning and ex-
David N. Baker. inflections; or responding within ploring all the basic thematic
In a group situation a number of certain sound parameters. material (transposing it to all keys;
options exist for call-and-response * Call-The middle section(s) is altering the modes; taking it
games: one to one (teacher to stu- missing and, according to style con- through various permutations; ex-
dent, student to student, and so siderations, the response fills in the amining the retrograde, inversion,
on), student to group, teacher to gap. and retrograde inversion; looking at
student to group, and round robin * Call-The response uses pre- the intervallic, harmonic, and rhyth-
(teacher or group leader plays/ determined phrases labeled A, B, C, mic structures; and exploring the
sings a new phrase, then student D, or E (E signifying that none of harmonic and rhythmic implications
two answers, then student three the above is proper). and even the implications of dy-
plays/sings a new phrase, then stu- * Call-Each student elaborates on namics, silences, and so on). Once
dent four answers, and so on; a the phrase of the previous student. this information has been inter-
phrase incorrectly answered is at- For example, the teacher or a stu- nalized, the student is encouraged
tempted by the next student and dent sings a phrase, student two to improvise on that material;then
then others until it is accurately adds to the phrase, student three the improvised version is compared
reproduced). sings that phrase and adds to it, and with the original work. This process
Once students are reasonably so on. can be even more valuable if it pre-
comfortable with these introductory With an ensemble, other possi- ceeds the hearing and learning of a
techniques, real call-and-response bilities exist for exploring improvi- new composition.
improvisation can be tackled. Some sational concepts. Four that readily At Indiana University, students in
possibilities are as follows. come to mind are creating an ar- our jazz styles and analysis courses
* Call-Respond with different ma- rangement; creating an original study the styles of particular jazz
terial but use the same scale, the composition; learning a composi- performers via transcriptions (writ-
same rhythmic materials, and so on. tion from a recording; and creating ten and played) and analysis, with
* Call-Respond using material an arrangement based on a record- one of the goals being the ability to
from some other predetermined ing (see David N. Baker'sJazz Ped- create improvisations indistinguish-
mode or scale. agogy: A ComprehensiveMethod of able from those of the musician
* Call-Respond in sequence but Jazz Education for Teacher and being studied. In imitating a partic-
conform to the prevailing mode or Student, chapter 5; although the ular performer, a student must as-
harmonic circumstance. techniques described inJazz Ped- similate the harmonic, melodic, and
* Call-Complete the idea or agogy pertain to a jazz ensemble, rhythmic language of that per-
phrase compatible with the stylistic most of them are applicable to or former. He must be able to project
imperatives. adaptable for virtually any style of in a reasonably accurate fashion
* Call-Complete the idea in the music and any type of ensemble). what that performer would do giv-
most bizarre or unusual manner Another improvisational tech- en a particular set of musical op-

48 mej/jan '80
 -

tions. The student learns to predict "MotherPopcorn." The AABAform

tempo, key, and scale preferences; is found in countless pop tunes and Art music examples
the frequency of certain patterns; the I-vi-ii-V7 harmonic formula Bartok, Bela. Mikrokosmos, nos. 61
and the recurrence of particular is basic to numerous jazz, pop, and 78; String Quartet No. 3,
formulas, as well as how to repro- rock, gospel, and bluegrass tunes. pages 7-8 (Boosey & Hawkes)
duce the more subtle aspects of Learning to follow the form of a Debussy, Claude. "Voiles" from
vibrato, tone production, and articu- work in a recording and then im- Douze Preludes, book 1
lation. The benefits to overall musi- provising on the same tune or Hindemith, Paul. Tanzstiicke, piano,
cianship that accrue to anyone able chord structure while simultaneous- page 18 (B. Schott's Soehne)
to deal with a style at this level of ly attending to such other details as Ravel, Maurice.L'Enfantet les Sort-
specificity should be obvious (see scale choices, dynamics, the shape ilWges,pages 42-43 (Durand)
David N. Baker'sJazz Monograph of the line, and cadences can pro-
Series). vide maximum involvement for a Jazz examples
student. (Most jazz, pop, rock, and Adderley, Cannonball. "Country
Learning basic concepts bluegrass tunes keep repeating the Preacher"(Capitol SKAO-404)
through improvisation original forms and harmonic struc- Coltrane,John. "Blue Trane" from
Improvisation can be made to tures during improvisation, thereby Blue Trane (Blue Note 81577)
serve the teaching of virtually every giving students the opportunity to A Love Supreme (Impulse
facet of music. Improvisation as it is hear a form repeated many times in 90 215. Entire album; all soloists
practiced within a jazz context is a short period; while this kind of Hampton, Slide. "Chop Suey" from
the point of departure for the re- phenomenon also might be readily The Fabulous Slide Hampton
mainder of this article, though observable in a theme and varia- Quartet (Pathe EMIC062-10156)
much if not most of this informa- tions, the form would likely be Rollins, Sonny. "Keep Hold of Your-
tion is applicable to other kinds of much more difficult to perceive in a self" from Next Album (Milestone
improvisation. large work such as a concerto or a MSP9042)
The teaching of form, scales, sonata.)
modes, chords, nomenclature, in- The study of scales, modes, Blues examples
strumental and vocal technique, ear chords, and other tonal materials Brown, James. It's a Mother (King
training, rhythm, meter, articulation, could not be more profitably ap- KSD 1063)
forward motion, theory, melodic proached than through jazz im- Charles, Ray. "Drown in My Own
construction and development, and provisation. Often in art music, a Tears" from Solid Gold Soul, Vol.
style all can be approached through particularscale will be used only 2 (AtlanticAT 8137)
the use of improvisation. briefly or will be disguised via or- King, B. B. Live at the Regal (Para-
There are a number of reasons chestration, rhythmic encum- mount ABCS509)
why improvisation based on the im- berances, or through the use of Walker,T-Bone. Soul in the Begin-
peratives of jazz, gospel, blues, pop, other sophisticated techniques, ning (Embassy 33006)
rock, or bluegrass might prove par- making it difficult for a novice to
ticularly effective in a teaching situa- hear the scales in question and how -

tion. One of the most obvious rea- they are used.

sons is that any one of these styles In jazz or pop, because of the
is likely to be closer to a student's brevity of performance, shortened formulate their own rules before at-
musical language and realm of ex- forms, and the immediacy of the tempting to improvise works in the
perience than Western art music. improvisational situation, the same style in question. (For a compre-
These are the types of music to tonal materials, once chosen, usual- hensive list of various scales in a
which most young people are con- ly will be used consistently over a wide range of musical situations-
stantly exposed via radio, television, longer period of time, often will be art music, jazz, folk music, and pop-
recordings, and concerts. If a stu- used in a less involved or com- ular music-see Advanced Improvi-
dent is active in a group outside the plicated way, and usually will be sation by David N. Baker, pages
school, in all probability the group more easily defined and recognized 95-108.)
specializes in some form of these than in classical music. A student will more likely be
types of music. A teacher might decide to ap- motivated to practice the different
Another important reason for us- proach the study of a particular kinds of scales in all keys when he
ing improvisation based on jazz, type of scale by presenting it in a or she can see their necessity and
rock, blues, and other popular variety of music surroundings, fol- immediate applicability in an im-
models is that many of music's ba- lowed then by the experience of provised performance. Few jazz
sic forms and elements are more improvising using that scale. For ex- works use less than two different
easily perceived in short, less com- ample, the materials at the top of scales and most use at least five,
plicated, and often less sophisti- the next column could be used to with some using as many as thirty
cated styles. For instance, an os- present the pentatonic scale. different modes and scales. Young
tinato might be clearly perceived After comparing the ways in players have quickly internalized
and understood when encountered which pentatonic scales are used in patterns, runs, and other improvisa-
in jazz tunes like Herbie Hancock's these examples, students should be tional materials built on the B ma-
"Chameleon" and Freddie Hub- encouraged either to consult theory jor/C-sharp Dorian scale (a scale
bard's "StraightLife" or in a rhythm and composition books or, predi- that most teachers consider to be
and blues tune like James Brown's cated on what they hear and see, difficult) once they have realized

mej/jan '80 49
they need it to play Herbie Han- * Anticipatoryhearing-the ability Bossa Nova
cock's "MaidenVoyage." to hear a melodic, harmonic, or Fast
Improvisation as a means to and rhythmic idea and, predicated on G9(b5) C+7(t9)
incentive for developing technique the style, era, and other environ-
cannot be overestimated. The ability mental conditions, predict with
to handle a multiplicity of scales, reasonable certainty the probable
chords, patterns, and melodic lines consequences Figure 16. Bossa nova chordchanges
at all tempos and in all keys is an Certainlythe need for these
absolute necessity for a good im- specialized skills is present in other
proviser. The fact that a player must kinds of music, but nowhere are
be able to call forth and play on they as sharply in focus as in
command a wide variety of materi- improvisation.
als without written aid demands a Improvisation also can provide a Improvisation also may provide a
kind of physical and mental alert- means for learning the inner work- means of studying musical motion
ness not always evident in realizing ings of thematic construction and via ii-V7 formulas, I-vi-ii-V7 ca-
a written score (although ideally it development. One has the where- dential formulas, and so on.
should be in evidence there, too). withal to experiment with thematic Through the study of harmonic for-
The process of acquiring these dis- transformation,sequence, inversion, mulas one might see how melodic
ciplines inevitably results in greatly retrograde, and chordal variation lines, note choices, and rhythmic
improved technical facility. Of while improvising. In fact, a good choices affect forward motion.
course, a truly aware improviser improviser will employ these and Improvisation also provides a di-
will draw on all of the relevant ma- many more developmental tech- rect way to teach and study articula-
terials that are a part of his experi- niques. Somehow creating music by tion. By being able to isolate some
ence, regardless of source. (For using these techniques seems to problems, minimize others, and
example, a trumpet player can re- implant their meaning more ef- dramatize still others, it is often
member and use all of the scale fectively than simply dealing with possible to zero in on specific
and chord patterns that permeate them passively. problems connected with articula-
The Arban Method, The Amsden Because of the nature of improvi- tion. For instance, if difficultywith a
Duets, The Marcel Bietsch Etudes, sation, the symbols that convey in- particularphrasing or articulation
and so on.) The demands of much formation in an arrangement must occurs, an improviser can choose to
jazz improvisation are such that one be direct, explicit, easily under- simplify all the other elements in
must develop a facility over the en- stood, and contain all pertinent an improvisation to more effectively
tire range of an instrument as well data. For instance, the information address it.
as a more flexible attitude with re- contained in Figure 16 is as follows. It also seems that improvisation
gard to what is acceptable and * The tempo is fast. is an effective way to focus on
proper in terms of sound. (Improvi- * The meter is 4.4 memory problems. Call-and-re-
sation in most contemporary art * Eighth notes are to be played sponse games, recall games, and as-
music also demands an enlightened evenly rather than swung (the bossa sociative games all provide ways of
attitude with regard to latitude of nova designation signifies this). developing the powers of retention.
sound.) * Each of the two chords lasts one (See David N. Baker'sJazz Improvi-
Improvisation traditionally has measure. sation, chapter 10, page 82.)
necessitated a good ear and also * The first chord is spelled G, Bb, Imaginative use of improvisation
has provided a means for devel- Db, F, A; the second is spelled C, E, can provide one means of address-
oping good listening habits. In jazz, G#, Bb,ID. ing rhythmic problems related to
for instance, one must develop * The scale of the first chord is meter. For instance, simple im-
some specialized hearing skills, in- called a Locrian no. 2 and is spelled provisational exercises in odd me-
cluding the following. G, A, B,, C, Db, Eb, F, G (B-flat as- ters (such as 8 or 1 ) or in multi-
* Environmental hearing-the abil- cending melodic minor) and the meters (such as 3, 8, , 81,and so on)
ity to improvise while simulta- scale of the second chord is called or using polymetric schemata (such
neously reacting to environmental a diminished/whole tone and is as those found in Ives) can contrib-
musical stimuli (piano, bass, drums, spelled C, D b, Eb, E, Fr, G;, A;, C ute much to the understanding and
guitar, background horns, and so (D-flat ascending melodic minor). development of ease and facility
on) * The probable chord of resolution in these relatively difficult meter
* Prehearing-the ability to hear is F minor. (If, in fact, the progres- signatures.
an idea, place it in a tonal per- sion does culminate on F minor, Even the teaching of music read-
spective, translate it into actual then the soloist also can color the ing can be facilitated through care-
notes for an instrument, and play it, entire sequence with a host of so- fully coordinated improvisational
all of this being done in a split called horizontal scales such as F exercises and the study of tran-
second harmonic minor, F blues, F pen- scribed solos and melody lines.
* Practicalinstrumental hearing- tatonic, or the F chromatic scale.) Some of these techniques obvi-
the ability to immediately translate The use of such a symbolic system ously are aimed at advanced stu-
what is heard (outside or inside the in the teaching of theory, composi- dents and classes; however, with in-
head) into sound without writing it tion, and arranging might prove of telligent modifications, many less
down or consciously figuring it out great consequence. sophisticated techniques can be

50 mej/jan '80
used at virtually any grade level. . A New Approach to Ear Dunte Publishing Company, 1976.
Most of these techniques are equal- Training for the Jazz Musician.
ly effective in both classroom and Lebanon, Indiana: Studio P/R, Inc., Encyclopedia of Improvisation. 6
private teaching situations. 1976. vols. New York: Charles Colin, 1972.
In short, teachers should stop
asking how improvisation can be Coker, Jerry.ImprovisingJazz. Eng- Haerle, Dan.Jazz/Rock Voicingsfor
taught and start exploring what can lewood Cliffs,New Jersey: Prentice- the Contemporary Keyboard Player.
be taught with improvisation. Hall, Inc., 1964. Lebanon, Indiana: Studio P/R, Inc.,
1974.
.The Jazz Idiom. Englewood
Cliffs,New Jersey: Prentice-Hall, . Scales for Improvisation.
Selected resources Inc., 1975. Lebanon, Indiana: Studio P/R, Inc.,
for teaching with improvisation 1975.
(mostly jazz-oriented) Listening to Jazz. Engle-
wood Cliffs,New Jersey: Prentice-
Mehegan, John.Jazz Improvisation.
Aebersold, Jamey.A New Approach Hall, Inc., 1978. 2 vols. New York:Watson-Guptill
to Jazz Improvisation. 21 vols. New . Patternsfor Jazz. Engle- Publications, 1959.
Albany, Indiana:Jamey Aebersold, wood Cliffs,New Jersey: Prentice-
1967-79. Hall, Inc., 1970. Nelson, Oliver. Patterns for Jazz.
Hollywood, California:Nolsen Mu-
Baker, David N. Advanced Ear Deutsch, Maury.Improvisational sic, 1966.
Training. Lebanon, Indiana: Studio Concepts. New York: Charles Colin,
P/R, Inc., 1977. 1973. Ricker, Ramon.New Concepts in
. Advanced Improvisation. Linear Improvisation. Lebanon, In-
Dobbins, Bill. The Contemporary diana: Studio P/R, Inc., 1977.
Chicago: Maher Publications, 1974.
Jazz Pianist. 2 vols. Jamestown, Pentatonic Scales for Jazz
. Developing Improvisational Rhode Island: GAMTMusic Press,
Facility. 4 vols. Chicago: Maher Pub- 1977. Improvisation. Lebanon, Indiana:
Studio P/R, Inc., 1975.
lications, 1968-71.
. Jazz Improvisation. Chi- Dunbar, Ted. A System of Tonal . Technique Development in
Convergence. Kendall Park,New Fourths. Lebanon, Indiana: Studio
cago: Maher Publications, 1969.
Jersey: Dunte Publishing Company, P/R, Inc., 1976.
.Jazz Pedagogy: A Compre- 1977.
hensive Method of Jazz Education Stuart,Walter.The Chord Approach
- New Approaches to Jazz
for Teacher and Student. Chicago: Guitar. Kendall Park,New Jersey:
to Improvising. New York: Charles
Maher Publications, 1979. Colin, 1972. Ai

TEACHING MATER
John A. Kuzmich, Jr. through college, and it is not being them integrate improvisatory activi-
limited to instrumental jazz pro- ties and skills into their curricu-
Improvisation is increasingly grams. It promises to assume even lums. Much fine material is already
being incorporated as a viable part more importance in the eighties as available, but not all the bases are
of music instruction from preschool progressive educators find that im- covered.
provisation can be an effective, ver-
The author is coordinator of music for the satile vehicle for probing, discov- Jazz education
Kirkwoqd,Missouri, schools. He serves the ering, and experimenting with Insofar as improvisation has been
National Association of Jazz Educators as its music concepts. But many will have recognized as a fundamental ele-
national research chairman and as associate to do some careful searching to ment of jazz since its beginnings,
editor of the NAJEEducator. find materials and resources to help jazz educators have led the way in

mej/jan '80 51