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Intro To Jazz Improvising

This document provides guidance on different types of melodic improvisation, including melodic, rhythmic, and harmonic improvisation. It emphasizes the importance of knowing the chord changes and scales associated with each chord to clearly outline the harmonic content. Diversity in rhythms and articulations adds variety, as does using extensions, chromatic tones, and voice leading between chords. The document encourages learning improvisation by listening to different versions of songs and imitating stylistic elements.

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Thomas Steele
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33 views

Intro To Jazz Improvising

This document provides guidance on different types of melodic improvisation, including melodic, rhythmic, and harmonic improvisation. It emphasizes the importance of knowing the chord changes and scales associated with each chord to clearly outline the harmonic content. Diversity in rhythms and articulations adds variety, as does using extensions, chromatic tones, and voice leading between chords. The document encourages learning improvisation by listening to different versions of songs and imitating stylistic elements.

Uploaded by

Thomas Steele
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Learn to Improvise

Melodic Improvisation: Using the


melody as a cue and motif for
improvising over the tune Use the melodic as a motif for
Rhythmic Improvisation: Using a improvising. This works well
variety of rhythms and articulations because the melody always follows
to improvise over the tune the changes, and outline each chord
Harmonic Improvisation: Using the To have diversity in your motifs,
chord changes to make clear and listen to different vocalists and
concise improvisational movements instrumentalists sing or play the
throughout the progressions of the melody. You can use these different
tune interpretations in stylistically
different means
If the song is a standard, or has
lyrics, listen to how vocalists sing the
melody. This will teach you different
ways to phrase the melody

Practice on the beat articulation,


bebop articulation
Articulating and ghosting different
beats of the notes can make your
lines sound rhythmically diverse, The most important thing to consider is
even if it’s just simple eighth notes to memorize the chord changes and
Off the beat licks that play over the know the voice leading
bar line Use extensions on chords for extra
Diversity in rhythms and articulations colours
for improvising can be done on Use scales associated with each chord.
quarter notes, eight notes, triplets, You can then create patterns with
playing over the barline, sixteenth scales and arpeggios so your
notes, and more. These add flair and improvisation doesn’t sound too static,
variety to your playing, which will but also clearly outlines the chord
intrigue the listener Use chromatic approach tones and
enclosures, appoggiaturas,
anticipations and delays
Learn to Improvise

3-7 and 5-9 voice leading


demonstrates the intervallic
relationships between the notes in Each chord has a scale associated with it.
each chord Using a specific scale on its related chord will
We will see the three of the first allow for improvsors to play notes in the key
chord fall to the seven of the centre, and will demonstrate their ability to
second chord, and determine how play within the changes.
close those intervalic notes are. This Major scale (for Maj7)
can also be used by looking at the Lydian mode (for Maj7#11)
five of the first chord, and where it Mixolydian mode (for Dom7)
falls in relation to the nine of the Whole-tone scale (for Dom7)
next chord Half-Whole diminished scale (for Dom7)
Voice leading allows for improvisers Dorian mode (for Min7)
to solo using few notes, but still Locrian mode (for Min7b5)
remain true to the harmonic content Whole-Half diminished scale (for Dim7)
Harmonic minor mode (for MinMaj7)

Harmonic accompanists and soloists can use Lift solos by ear and write them down
extensions on each chord to add colours to the “Plug and Chug” lines into your solos
sound. These colours can include warm, resonant, Use the same lick over different
dark, light, etc chords (example: one lick can work
Major Seven: 9, #11, #5; over DMaj7, Amaj7, Gma7#11, Bmin7)
Dominant Seven: 9, b9, #9, #11, b13; Use a combination of lines you’ve
Minor Seven: 9, 11, 13 transcribed and lines you’ve created
Half-Dim and Dim Seven: 9 to write out a solo
Practice everything in all 12 keys

Listen to a variety of different versions of the song. These will stylistically


vary from artist to artist. Active listening will aid you in discovering the more
critical moments of the melody, as well as important elements to take note
of:
- Groove, Feel and Rhythms
- Melody and Counter-Melody
- Harmony, Progressions and Chord Changes
- Dynamics
- The Form of the tune
- Texture, Timbre
From this skills, you can attempt to imitate what you hear. Learning jazz is
like speaking English; you learn from listening, imitating, repeating

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