LESSON 2.

THE PROCESS OF IMPROVISATION & MOVING PATTERNS PRACTICE.

2.1 Harmony Motion towards a cadence.
The vast majority of jazz is played in major keys. However, within the major key tonality, minor
chords are common. This is not a contradiction because we will see that the three minor chords
covered in this lesson contain only notes which are part of the major scale.
Ex.1. shows the chords built on the major scale by addin thirds to the !root" note and containin
only notes from that scale.
#e see that the $, % & ' chords are the major triads we discussed in the last lesson, but the (,
E & ) chords are minor triads. The * chord is one we will not meet for some time+ a diminished
chord, but don"t worry about this at the moment. )ain, if you are new to chords, find a piano
and listen to the sound of this !major scale" of chords, and also make sure you understand why
three of the chords are minor,
-ee Ex... for a complete list of all the minor triads. (on"t foret these triads can be spaced out
and inverted in exactly the same way as the major triads in 1...
The minor chord on the supertonic /the .nd deree of the scale0, is by far the most important of
these minor chords that are used in the major key /11m or (m in the key of $0.
1n harmonic proressions the supertonic minor chord almost always appears before the
dominant. This produces the se2uence 11m 3 1, /(m ' $ in $0, which sounds a smooth and
loical way to return to the tonic.
#ith this additional chord, new proressions emere, for example 4
1 13 11m 3 1 1 13 1 11m 3 1 1 11m 3 5
$ % (m ' $ $ % $ (m ' $ $ (m ' $
-ee Ex.6.
7ote that the introduction of the (m chord before the dominant is simply an extension of the
principle from lesson 1 8 the tendency of chords to move up a 9th or ravitate down a :th. ' is
the 9th above (5
The chords of 31m /)m0 and 111m /Em0 are also 2uite common because they are closely related
to the tonic chord, havin only one note of difference. The ) in the Em chord and the ) in the
)m.
$hord $ Em )m
7otes $E' E') )$E
*ecause of this similarity the 31m and the 111m are often used as substitutes for the tonic,
introducin a little variety but retainin the basic tonality.
;ur resource now permits us to assemble further proressions which sound riht 4
1 111m 13 3 1 1 111m 13 11m 3 1 1 3im 13 111m 3 1
$ Em % ' $ $ Em % (m ' $ $ )m % Em ' $
-ee Ex.9. for these and other combinations.
7ote the principles from lesson 1 8 the se2uences move away from the tonic and then back to it,
they will sound best when a minimum number of notes chane as the chord moves on, and the
chords are voiced as in 1.:.
<et"s recap+ it is when we move away from the tonic that we can encounter the minor chords as
well as the dominant and sub dominant chords covered in lesson 1. The sound is still very much
the major key sound+ all the notes from these chords are from the $ major scale.
#e now want to introduce you to another way of thinkin about harmonic proressions which is
useful for the improviser. $hord se2uences can be seen as a motion towards a cadence.
-ee Ex.:. for the common cadences.
1
The cadence is $;=><ETE when it resolves back to the tonic, as in the ?perfect? cadence, or
17$;=><ETE if it remains hanin on the fifth. 7otice the ?unsettlin? sound of the cadence, the
forward momentum is still there, you find yourself still waitin for the final resolution back to the
tonic. 1nvariably jazz standards will end on the tonic, with the imperfect cadence appearin after
the first section thus ?leadin? the son on into the next section. The final resolution back to the
tonic is usually from the dominant. #hen the dominant does not lead to the tonic the cadence is
described as 17TE@@A>TE(, and is a musical ?comma? not a ?full stop?, the music is still movin
on. The resolution back to the tonic from the subdominant is also common, most fre2uently
heard, perhaps, at the end of hymns as an ) 8 =E75 *ut in jazz it is a characteristic of the blues,
occurrin after the ubi2uitous move to the subdominant. #atch out for these cadences in your
sons, they will eventually bein to make sense as the proression ?leads? to these benchmarks.
Experiment with different voicins and try to memorise the sound of these cadences as they are
found repeatedly in the sons you will be playin . They are summarised as follows 4
imperfect B tonic or supertonic to dominant
plaal B sub dominant to tonic
interrupted B dominant to sub mediant
The more you listen the more you will realise that 8
H)@=;71$ >@;'@E--1;7- =)CE -E7-E *E$)A-E THED )@E ';17' -;=E#HE@E.
They are not isolated se2uences of ?nice? static sounds. They are movin to a $)(E7$E.
$hord se2uences are best ?heard? on a multi note instrument like a piano or a uitar, but the
brass and reed players must also ?knowE the se2uences because the ?bi? notes they play must
be 4
$H;@( 7;TE- %@;= THE A7(E@<D17' -;7' -EFAE7$E-.
This concept is easy to understand once we realise that the oriinal melody notes were
?harmonised? by addin underlyin chords which $;7T)17 THE =E<;(D 7;TE. The chord
se2uence moves with the melody and any new or embellished melody that is improvised must
follow the same principle and contain notes from the chords.
>layin any other notes can clash and sound out of tune or dissonant. 7;TE -E<E$T1;7 is of
fundamental importance for the improviser. =ore about this in the next lesson.
)s we suested in 1.6. all the proressions we have discussed should be memorised and
T@)7->;-E( 17T; ;THE@ CED-.
%or example 4 1 13 1lm 3 1
Cey $ $ % (m ' $
Cey % % *b 'm $ %
Cey ' ' $ )m ( '
1 1llm 13 1lm 3 1
Cey $ $ Em % (m ' $
Cey % % )m *b 'm $ %
Cey ' ' *m $ )m ( '
2.2 Melody. Harmonic rhythm & time keeping.
Exercises G to1H provide material for practice. The point to note is that an interestin melodic
line is bein played aainst a chanin se2uence of chords. The melody notes are notes from
the chords. )nalyse these examples to confirm that the melody line follows the chords. *ut
remember also that in jazz the ?interest? in the melody comes from the rhythmic interpretation
not from the ?harmony?.
.
7ote also that chords can continue for any lenth of time. They can chane every bar or every .
bars of even at the half bar. This introduces the idea of H)@=;71$ @HDTH=. Dou will find that
chord chanes have certain definite rhythms 88
Examples 4 #hen the -aints $ I I I $ I 'H I $ $H % %m $ 'H $ I
1. bar blues $ I I $H % I $ I 'H I $ I
#e should note that the harmonic se2uence, toether with the rhythm of the chanes, are vital
aspects of the process of improvisation. 1t is the feelin for the chord chanes associated with
the melody and the speed of the son which determines the improviser?s whereabouts in the
son. #e will return to this in the next lesson and later in lesson :...
)ain we should repeat that, at this stae, you will probably have some difficulty with the rhythm
of these exercises. #e recommend you analyse them first and then play them -<;#<D with a
=ET@;7;=E. *y playin slowly at first you will find that you are not preoccupied ?findin the
notes? and can concentrate on the timins. Dou will find it easy to increase speed later when the
sound of the exercise becomes familiar and your finers !know" where to o5
The metronome is an important discipline. $;7-T)7T time keepin is essential for ood
rhythm but it is probably one of the most difficult thins to et riht initially. There is always a
tendency to slow down over the ?difficult? parts and then speed up over the familiar parts. =ost
students also find themselves ?speedin up? in a desperate attempt to ?et the rhythm oin?5
*oth these failins will (E-T@;D THE E--E7T1)< @HDTH= of the son. The metronome will
provide the discipline of a basic constant pulse over which you are constructin your
complementary contribution.
Dou should realise that initially when learnin to keep time you will lose the E%%;@T<E--
$;7T17A1TD which is so essential to jazz. The music will seem to bristle with unfamiliar
difficulties, you will become tense and stilted, and this anxious determination will completely
destroy your ability to relax and your muscles will become riid and useless. H;#E3E@, when
you have put in a few hours and the ?technical? difficulties have been overcome you will find your
instinctive rhythmic sense returns, your finers and body will @E<)J and keepin time will
become as E)-D and 7)TA@)< as *@E)TH17'5
#e can?t say how many hours will be needed to reach this ?effortless? stae, for some it will be
more than others, but what we can say with confidence, is that E3E@D;7E will succeed in the
end if they put in the hours5
2.3 Ry!m. Four bar phrases, dancing, lyrics & breathing.
The aim of the rhythm exercises in the course is to establish the process of thinkin in terms of
*)@ >)TTE@7-, all rhythm has to be heard, or conceived, in bar patterns or phrases. )
rhythmic >H@)-E is a pattern associated with the musical ?measure? or bar, it can be a one,
two, three, four or maybe an eiht bar continuity. However, it is usual, althouh by no means
invariable for jazz phrases to be conceived in the context of a %;A@ *)@ section.
$ertainly the four bar structure dominates the blues. The 1. bar blues consists of three roups
of four bars, the ))* form.
@atime, another major influence on early jazz, is structured around 1G bar sections. *ut ras
were derived from marches and the left I riht . I 9 meter needed symmetrical bar roupins to
keep the discipline of the body movements. The ratime patterns were . K . B 9, 9 K 9 B L and
L K L B 1G bar strains. Mazz inherited these symmetrical patterns which are consistent with the
four bar phrase, and, of course, also admirably suited for ()7$17'.
1n the 6. bar ))*) !theatre" son form, the structure is 9 times L bar sections and within the L
bar sections phrases are usually rouped into four bar continuities. =aybe with a . bar
statement and a . bar answer or a . bar repeat, but nearly always you will find these reular
multiples or divisions of the four bar section.
)nalyse the sons from your repertoire, and discover for yourself that they are 88
)<=;-T 173)@1)*<D $;7-T@A$TE( %@;= %;A@ *)@ -E$T1;7-
6
Typical ., 9, L or 1G bar phrases can all be analysed as four bar entities.
1t is sinificant that practisin jazzmen oranise their ?breaks? as two or four bar sections and
often ?trade fours?, that is, they alternately improvise four bar phrases. %urthermore
accomplished performers, and particularly ?time keepin? drummers, will count or ?feel? the
proress of a son in terms of four bar sections. Dou should be clear now that your initial efforts
at improvisation should concentrate on . then 9 bar phrases.
#e will return to this topic of thinkin and ?feelin? four bar sections aain in lesson 9.9.
1n Ex.1L more rhythms are presented for study and memorisin, this time we have introduced
eihth notes.
The E1'HTH 7;TE is, perhaps, the most important and most fre2uently used note in jazz
improvisation, and with it comes a vast increase in the number of rhythmic permutations. -pend
some time practisin eihth notes, if you practice any scales or chords play them as eihth
notes. #hen you play sons introduce eihth notes wherever possible, playin two for every
2uarter note and four for the half note. This doublin up of notes is the first step to ivin a
melody a !swin". ) particular characteristic of jazz is the 1(1;=)T1$ #)D THE E1'HTH
7;TE- )@E ><)DE(, we will discuss !swin eihths" and triplet feel in later lessons.
1t will emere that phrases can start in the middle of a bar, cross a bar line and finish anywhere
in the bar. However, the phrase, with perhaps, appropriate rests, has to fit the bar structure of
the son. 1n the end we all have to collectively finish at the same time5 Antil the advent of
modern jazz it was most unusual for phrases to ?cross? the L or 9 bar sections of a son, )s we
have mentioned phrases were played ?four s2uare? for dancin and the expression ?s2uare? was
applied by the modern jazz practitioners, as a deroatory term, to describe those older inhibited
players who kept strictly to the bar lines5 -o remember when you play jazz it all started as
()7$E =A-1$ where the beat and the four s2uare structure assists the co8ordination of the
dance. To help your playin to sound like jazz and to help you to relax 4
1=)'17E ()7$17' T; THE @HDTH= ;% THE -;7'.
Dou can?t dance to stiff jerky sounds.
)nother way of approachin four bar phrases is to 4
TH17C <D@1$-.
#ithin the son structures most phrases can be moulded around the oriinal lyrics. =ost of the
traditional jazz standards and blues were written as sons with words. -tudents often find it
useful to hear the words of the son as they play. Dou can try to ?sin? the words on your
instrument. Think of phrases as completed thouhts. This keeps the phrases to a ?natural? lenth
and also helps you to avoid ettin lost 5
>hrases are 7;T a series of isolated impulses. 1t is the -;A7( of the $;=><ETE @HDTH=1$
A71T which matters and 7;T the individual crochets or 2uavers.
)nother ood way for brass and reed players to conceive phrases is to think in terms of
*@E)TH17'. The appropriate time to take a breath is between phrases. $ontinuities must be
split up into manaeable phrases if players are oin to breathe5 Dou must learn to 4
*@E)THE T; THE @HDTH= ;% THE =A-1$.
Ex.1N. and Ex..O. may make the concept clearer. Ex.1N. shows the rhythmic pattern, while
Ex..O. shows the same rhythm put into a melodic continuity. The continuity could reasonably be
split into . two bar phrases by breathin after two bars.
The natural =;T1;7 and @E>;-E of melodic rhythm will indicate where to breathe, most
obviously after a cadence. %or example, the early 1. bar blues often involved two bar plus
phrases which resolved on the first beat of bars 6, H and 11. The traditional blues also involve
characteristic ?fill in? phrases /played by a second instrument0 occupyin 1 to . bars at bars 6 &
9, H & L, and 11 & 1.. -ee Ex. .1. and ?feel? the flow of the son, ?feel? the natural place to end
the phrase and take a breath. *ut more of the blues later.
>hrases involve ?interpretation?+ or choices about accents, volume, timbre and the precision of
the timin. These are part and parcel of an individual style and they are always ?tailored? to the
9
all important rhythm of the son. )s we have said there is a natural motion and repose to all
sons, a natural ?dance?.
@emember, within the four bar section, dancin movements, lyrics, breathin and therefore
phrasin does not necessarily coincide with the bar lines. #e play phrases not bars5 *ut
althouh phrases flow across bar lines the overall four bar units are still preserved.
#e must emphasise that the phrases in these rhythm exercises are relatively simple ?on the
beat? phrases, the jazz ?feel? won?t emere until we introduce more complex ;%% THE *E)T
rhythms. #e have already met some of these in the melodic exercises but in the next lesson we
will more formally analyse some of these ?syncopated? jazz rhythms.
2." Im#ro$%&a!%on Pro'e&&e& Conscious practice & subconscious performance.
#e now want to introduce a very important principle. 1t is drawn from $;'71T13E -$1E7$E
and >-D$H;<;'D and it will help you to understand the creative mechanisms at work when
you improvise.
The brain works by @E$;'71-17' >)TTE@7-. 1t does not routinely ?work out?, or ?calculate?
what to do but it responds instinctively to patterns previously experienced.
Thus, the main mental mechanism connected with intuition, or inspiration, or creativity is
-A*$;7-$1;A- oranisation of material previously absorbed $;7-$1;A-<D by the brain.
The word subconscious simply means bein A7)#)@E of the processes that are at work.
This mental mechanism that we employ durin improvisation applies to all skills and
accomplishments and is analoous to the process involved when dreamin. #hen we dream
the mind makes use of experiences and imaes absorbed previously when we are awake, but
they reappear in a different order, or with different emphasis, or in a different context.
;ne of the main aims of this course is to make you )#)@E of what is happenin when you
improvise. 1f you understand what is happenin you then posses a powerful tool for the
construction of improvised material.
#e suest that four processes are involved in ood improvisation 4
understandin+ the intellectual aspect, what we miht call ?know how?+ the theoretical
knowlede of structure, chords, scales and rhythms. This provides you with a framework
of understandin which underpins confidence and ives meanin to your efforts. 1t
speeds up the learnin process.
listenin+ absorbin the sounds of the idiom. #ithout the sounds in your head you cannot
hope to reproduce any jazz on your instrument.
practice+ conscious work on instrument playin techni2ue, learnin, memorisin and
hearin the notes, se2uences and sounds. This provides the technical facility.
and the subconscious process of projection durin performance. This is dependant on
>@E31;A-<D >@)$T1-E( =)TE@1)< and )*-;@*E( -;A7(- ;% THE M)PP 1(1;=
havin a ?tendency to project themselves into actuality?.
The assimilation of understandin, listenin and practice, is essential as a preliminary to the
subconscious projection of the sound patterns durin actual performance.
<istenin without playin does not concern us. >ractice without understandin is tortuous and
time consumin and practice without listenin won?t produce jazz. 7o amount of intellectual
study of principles will do either because 4
the ?%17'E@ -H)>E-? and positions on the instrument need to be associated with the
-;A7( if any subconscious projection is to take place. =ore about this in lesson 6.
and the rhythmic ?T1=E %EE<? needs to be ac2uired to ensure the improviser feels the
end of a four bar section. =ore about this in lesson 9.
1n summary improvisation is about 4
$;7-$1;A- )*-;@>T1;7 of material durin listenin and practice followed by
-A*$;7-$1;A- >@;ME$T1;7 durin performance.
:
)nd always remember this 4
) TH17' =A-T EJ1-T 17 -;=E %;@= *E%;@E 1T $)7 *E 1=>@;3E( A>;7
... try improvisin now5
2.( Pra'!%'e. And practice.
#e know of no alternative way of becomin a proficient improviser other than by practice.
1 suppose we should be honest and say that practice isn"t always fun. *y definition you have to
work hard on thins that you can?t do5
#e suest some uidelines, practice should involve 4
@E'A<)@ periods, everyday, a little often bein much more rewardin than a lot
infre2uently
)<< the aspects we cover in the course+ harmony, melody, rhythm, dynamics, co8
ordination and listenin
(1-$1><1717' your timetable+ concentratin, not wastin time, and usin a metronome
settin yourself tarets which are achievable but proressive, above all start -<;#<D
and don?t try to run before you can walk
usin a 3)@1ETD of practice material+ exercises from the course, sons from your
repertoire, excerpts from your records, phrases from your head....anythin that is
interestin and %A7. @emember what we said in 1.9. jazz sons will be far more fun than
exercises5
@E<)J17'+ don?t et tired or frustrated
playin with ;THE@ =A-1$1)7-+ you learn from each other, jazz is a collective music,
and, in any case, you have more fun if you?re in a an5
(on?t foret your homework5 >lenty of written work should be done as this will test and develop
your understandin.
1t is >@)$T1$E which develops the components which make up a piece of music. The music is
a synchronisation of elements, with rhythm the priority, followed by melody and harmony and
others such as volume, timbre and articulation in support.
There is no secret involved in learnin to improvise, it is just H)@( #;@C5
2.) Ad$%'e. Confidence & patience.
#hen you?ve done a reasonable amount of preliminary work obstacles are likely to appear
which you should anticipate.
Dour initial attempts at improvisation will never reach the standards you hoped for and you will
become %@A-T@)TE( and 17H1*1TE(.
This will result in a <)$C ;% $;7%1(E7$E which D;A must overcome. Everybody plays ?bum
notes? and everyone has ?cloth ears? ....... at the start ..... but in time you will realise that the
positive side of your frustration is to push you on to reater thins5
)nother problem is 1=>)T1E7$E. ;nce you have made a decision to study any subject, there is
always a tendency to want to hurry and et results 2uickly this can lead to 88
skippin over or inorin certain points which seem to be too simple and obvious
tryin alternative approaches in the hope of findin a 2uick solution.
1n reality there are 7; FA1$C %1JE-, we repeat, the prime re2uisite for any accomplishment is
>@)$T1$E. Dou have to put in the hours, the jazzmen call it ?payin their dues?, or ?wood8
sheddin?, which refers to banishment to a remote place for practice5
There is only one way to proress, you have to ?stick with it?, you will add to your skill radually,
?two steps forward and one step back?. ;nly after lon and frustratin experience will you realise
that later proress is due to the solidity of your early practice schedules and to the amount of
G
thinkin you do about the material you are studyin. 1t is not about how many different
approaches, or tricks, or shortcuts, you have exposed yourself to.
However, stickin to the lessons does not mean that you should not attempt %@EE
1=>@;31-)T1;7. Dou will only proress by playin your instrument, and, furthermore playin
jazz on your instrument not scales or exercises. The lessons in this course are desined to
introduce you to sounds for memorisin and recall. )s you put in the hours you will find yourself
?hearin? minor thirds and chord inversions, the music will emere followin familiarisation with
the sound of the material. -tickin to the course will mean the sounds you hear and, hopefully,
play, will be the ?riht? sounds and A7(E@-T)7(17' #HD they are ?riht? will ive you the
essential $;7%1(E7$E for performance. $onfidence is vital when attemptin to improvise,
there should be no feelin of inade2uacy in relation to the results produced, no matter how bad
they may be. >owers will only develop throuh practice and if the activity of improvisin is
postponed until some ?ideal? time no work will be done at all5
How often do you heap the remark, ?1 can hear thins in my head but 1 cannot find them on the
instrument or 1 just et lost?5, #ith understandin, listenin and practice you #1<< be able to
find the sounds on your instrument and you #1<< be able to ?feel? those four bar sections.
(on?t worry about the sheer 2uantity of material and the practice recommendations presented in
these first two lessons, it will be absorbed 2uite easily as your studies continue, all you have to
do is put in the H;A@-555
2.* +r%!!en ,or-
>repare an exercise on the followin specifications 4
Harmony 4 1 1l1m 13 11lm3 1 1 31m 13 1lm 3 1
7o. of bars 4 . 1 1 . 1 1 . 1 1 . 1 .
Cey 4 Eb major
@hythm 4 %reely chosen from material already presented or more advanced material
if such is known.
7*. (istance learnin is always difficult because your tutor is not readily available to answer
your 2uestions. *ut don?t let this stop you from askin 2uestions, there is always someone
somewhere, who can help you. 1% D;A (;7?T A7(E@-T)7( )-C5 )nd after two lon lessons
you must have a host of 2uestions5
Mohn p birchall
website B httpIIQwww.themeister.co.uk
H