IMPROVISATION - by Michael Furstner
Lesson 1 - IMPROVISATION ON CHORD TONES
_____________________________________________________________________________
CONTENTS
1-1. Introduction
1-2. Shape, Colour and Palette
1-3. A Happy Day
1-4. Improvisation
1-5. Using Rhythm Patterns
1-6. Swapping 2s and 4s
1-7. The Woodshed
1-8. Quiz
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1-1. INTRODUCTION
Improvisation is instant composition, the instant creation of a new melody.
When the improvised melody is not related to another song it is called 'free
improvisation'.
In Jazz (like in Classical music in the past) the improvisation is usually
related to a song.
In most cases the improvisation follows the chord progression of the song.
In the early days jazz improvisation was a skill purely guided by the ear.
Although this approach is still used by some, most jazz players now use their
knowledge of chords, chord progressions and chord-scale relationships as the
basis of their improvisation.
This is the approach of the many Tertiary Jazz Institutions around the world.
It takes some time to absorb this knowledge (known as 'Jazz Theory'), and new
graduates, just out of College, often still improvise in stilted, artificial
and sometimes boring patterns.
But look at the same student 2 or 3 years down the track and the once ugly
duckling has become a beautiful swan. For in the end the deeper musical
knowledge and skills acquired, greatly expand the musician's creative
and imaginative horizons.
The improvisation lessons in this Course are therefore also based on the
principle of understanding.
The beginning improviser must tackle three problems :
* What notes to play
* How to play the notes selected
* How to improvise without losing his/her place in the song
In the following Chapters we start with these.
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1-2. SHAPE, COLOUR and PALETTE
Every Jazz tune contains three musical layers :
C
-----------------------------
1. Melody ............. | C E F G c | G |
| 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------
2. Chord progression ...| G | G |
| E | E |
| C | C |
-----------------------------
3. Scale progression ...| C D E F G A B c | same |
-----------------------------
You can compare these three levels with a painting.
The MELODY represents the SHAPES in the painting.
The CHORDS represent the COLOURS filling and surrounding the shapes.
The SCALES are the resource from which the melody notes and the chord tones
are selected, they represent the PALETTE of the painter.
In a painting we see only the shapes and colours. The artist's palette
remains in the studio.
Likewise in a song we only hear the melody and the chords. The scale(s)
remain in the mind of the composer or improviser.
An improvisation can be guided by any of the three levels.
1. The improvisation can be just the embellishment of the melody.
2. Or the improvisation can use the chord tones of the underlying chords.
3. Or the improvisation can use the entire palette, the underlying scale(s)
(which of course includes all melody notes and chord tones).
HISTORIC DEVELOPMENT
It is interesting that over the years Jazz improvisation as a whole gradually
developed through these three levels.
1. In the early days of Jazz (around 1900) improvisations were very simple
embellishments of the song's melody.
2. Gradually (with Louis Armstrong) improvisation started to focus on
chord tones,
3. Eventually, in the Bebop era, improvisation tapped the deepest level of
the song, the scale progression.
(Experienced improvisers descend even to a deeper level (Level 4) when
playing 'outside' the tonality of the song.)
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1-3. A HAPPY DAY
For our first improvisation we will use Level 2 of a song : the Chord
progression.
A Happy Day is a simple tune. The chord progression consists of major triad
(3-note) chords and Dominant 7th chords. The melody is composed of chord
tones only.
(Chord symbols are written above the staff. Numbers in brackets below the
staff indicate the bar number.)
This song is written in the most popular Jazz song format, a 32 bar song in
the 'A A B A format'.
The first eight bars (1 to 8) represent the 'A-section.
This A-section is repeated in bars 9 to 16.
Then follows an eight bar 'Bridge' or 'B-section' from bar 17 to 24.
The song is completed with a final repeat of the A-section in bars 25 to 32.
(DEMO 1)
A HAPPY DAY
(by Michael Furstner)
C D7
---------------------------------------------------------------
4 G C E G | | F# D F# A | |
4 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
---------------------------------------------------------------
(1) A-section (2) (3) (4)
F G7 C
--------------------------------------------------------------
| F A c | B G D | E c | ||
| 1 2 + 3 4 | 1 2 + 3 4 | 1 2 + 3 4 | 1 2 3 4 ||
--------------------------------------------------------------
(5) (6) (7) (8)
C D7
---------------------------------------------------------------
| G C E G | | F# D F# A | |
| 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
---------------------------------------------------------------
(9) A-section (10) (11) (12)
F G7 C
--------------------------------------------------------------
| F A c | B G D | E c | ||
| 1 2 + 3 4 | 1 2 + 3 4 | 1 2 + 3 4 | 1 2 3 4 ||
--------------------------------------------------------------
(13) (14) (15) (16)
F C
---------------------------------------------------------------
| F C F A C F | | E G c e c G | |
| 1 + 2 + 3 4 + | 1 2 3 4 | 1 + 2 + 3 4 + | 1 2 3 4 |
---------------------------------------------------------------
(17) Bridge (18) (19) (20)
D7 G7
----------------------------------------------------------------
| F# D F# A C F# | | D G B d G D | ||
| 1 + 2 + 3 4 + | 1 2 3 4 | 1 + 2 + 3 4 + | 1 2 3 4 ||
----------------------------------------------------------------
(21) (22) (23) (24)
C D7
---------------------------------------------------------------
| G C E G | | F# D F# A | |
| 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
---------------------------------------------------------------
(25) A-section (26) (27) (28)
F G7 C
--------------------------------------------------------------
| F A c | B G D | E c | ||
| 1 2 + 3 4 | 1 2 + 3 4 | 1 2 + 3 4 | 1 2 3 4 ||
--------------------------------------------------------------
(29) (30) (31) (32)
Copyright 1995 Michael Furstner.
(Remember sustain each note until the next note.)
Other songs with the 32 bar AABA format include :
Solitude - Satin Doll - Take the A Train - In a Sentimental Mood -
Sophisticated Lady - Perdido (to name just a few written by Duke Ellington
alone).
Also : Georgia - Over the Rainbow - I can't get Started - What is this Thing
called Love - Love me or Leave Me - Lullaby of Birdland - Misty, and many
many more.
A Happy Day features two of the most powerful devices used in music
composition and improvisation.
1. REPETITION
Good improvisation (or composition) is not about cramming a song full with
one new idea after another. This is rather boring for the listener.
Instead take a simple idea and repeat it. This instantly creates interest, as
it sets up a 'story'. Develop the idea with a small variation, then combine it
perhaps with another idea. But not too many.
In the A A B A format three quarters of the song consists of the same thing
(A) and only in the Bridge is new material introduced.
There is much more repetition (and of different types) going on at a smaller
scale throughout the song. Can you spot these ?
We will discuss them next lesson.
2. VARYING RHYTHMIC ACTIVITY LEVELS
Music is all about tension and release.
A succession of short notes creates rhythmic tension (high activity).
Long notes and long rests create rhythmic release (low activity).
Alternating activity levels immediately creates interest and meaning in a
melody or improvisation.
Look at the first 4 bars of A Happy Day :
L = low activity, release H = high activity, tension
LLLLLLL H H H LLLLLLLLLLLLLLL LLLLLLL H H H LLLLLLLLLLLLLL
---------------------------------------------------------------
4 G C E G | | F# D F# A | |
4 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
---------------------------------------------------------------
(1) A-section (2) (3) (4)
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1-4. IMPROVISATION
Practise A Happy Day in the following ways (using the Play-a-Long Midi file
track) :
1. Play the melody until you can play it from memory.
(Keyboard and guitar players also learn to play the chords from memory.)
2. Play sustained chord ROOT TONES until you can play them from memory.
(DEMO 2)
A-section
| C | C | D | D |
(1)
| F | G | C | C :||
(5) (repeat)
Bridge
| F | F | C | C |
(17)
| D | D | G | G ||
(21)
A-section
| C | C | D | D |
(25)
| F | G | C | C ||
(29)
3. Play root tones only using a Rhythm Pattern (see 1-5 below).
4. Play all chord tones in crotchets (1 beat notes).
(DEMO 3)
A-section
-------------------------------------------------------
| C E G c | G E C | D F# A c | A F# D |
| 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
-------------------------------------------------------
(1)
| F A c f | G B d f | C E G c | G E C :||
(5) (repeat)
Bridge
| F A c f | c A F | C E G c | G E C |
(17)
| D F# A c | A F# D | G B d f | d B G ||
(21)
A-section
| C E G c | G E C | D F# A c | A F# D |
(25)
| F A c f | G B d f | C E G c | G E C ||
(29)
5. Improvise over the song's chord progression using CHORD TONES ONLY.
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1-5. USING RHYTHM PATTERNS
To overcome the problem of getting lost in the song, start with using 2 bar
RHYTHM PATTERNS.
These also have 'in built' contrasting activity levels, which helps you to
practise appropriate phrasing.
For example :
Pattern 1
----------------------------------------------------------
4 O O O | O | O O O | O |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
o = half beat note (quaver) O = whole beat note (crotchet) or longer
1st.
First play the pattern using ONE NOTE ONLY until you are thoroughly familiar
with its rhythm. Pattern 1 is obviously very easy but others may take some
time to absorb correctly. Start by using only one half of any 4 bar pattern.
2nd.
Next play the pattern using chord root tones only. Go this way through the
entire song a few times.
Pattern 1
C D7
----------------------------------------------------------
4 C C C | C | D D D | D |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
3rd.
Then fill in your own choice of (chord-) tones for the improvisation.
C D7
----------------------------------------------------------
4 E C C | G | F# A A | F# |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
Here are some patterns. You can make up some of your own as well.
Music Notation for Rhythm Patterns 1-5.
(DEMO 4)
Pattern 1
----------------------------------------------------------
4 O O O | O | O O O | O |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
Pattern 2
-------------------------------------------------------------
4 O o o o O | | O o o o O | |
4 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
-------------------------------------------------------------
Pattern 3
-------------------------------------------------------------
4 O O o o - O | o o - - | O o o - O | |
4 1 2 3 + 4 + | 1 2 + 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
-------------------------------------------------------------
Pattern 4
-------------------------------------------------------------
4 O o o o o | - o O | O o o o o | - |
4 1 2 3 + 4 + | 1 2 + 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
-------------------------------------------------------------
Pattern 5
---------------------------------------------------------------
4 o o o o - o O | O | o o o o - o O | |
4 1 + 2 + 3 + 4 + | 1 2 + 3 4 | 1 + 2 + 3 4 + | 1 2 3 4 |
---------------------------------------------------------------
Music notation for Rhythm Patterns 1-5
Play each off beat quaver (each 'o' that occurs on '+') that is followed by
a rest ('-') STACCATO (short).
(There are also many Rhythm Patterns in my 'Rhythm Class' course on CD-ROM.
You will find this course most useful in understanding and learning to
develop your own rhythmic ideas.)
On DEMO 1 I play the melody for the first chorus followed by one chorus of
improvisation using chord tones throughout. I used Rhythm Pattern 3 for all A
sections and Rhythm Pattern 4 for the Bridge.
REMEMBER :
When you just start painting you don't expect to come up with a masterpiece
straight away.
It is the same with improvisation. You first have to absorb the principles
and material involved. This takes time. So don't worry if your first efforts
are not what you would like it to be. Keep working at it, gradually things
will come together.
_____________________________________________________________________________
1-6. SWAPPING 2s and 4s
Swapping 2s or 4s is often included as a special feature in performances by
many small Jazz combos. It is especially popular with Trad Jazz groups, but
can be just as effective in a modern Jazz ensemble.
Rather than one performer improvising over an entire chorus (or more), two or
more soloists take turns playing only 2 or 4 bars at a time.
Each player reacts to what the previous player just has played. This is great
fun and can produce a fresh and unpredictable outcome.
In this Course each lesson includes one or two play-a-long midi tracks for
swapping 2s or 4s. These can be of great benefit to your development so make
sure you use them.
Play in all the 2 bar- (or 4 bar-) gaps as indicated in each lesson.
As the tracks are prerecorded I obviously cannot react to your efforts, but
you can respond to mine and that is the main purpose. Either copy each phrase
or respond to it in your own way.
Try to respond by using the chords or scales discussed in each lesson.
In this lesson for example improvise over track, swapping 2s, using chord
tones only. I have done the same here.
(As you progress through the course by all means come back later to this song
and use other sources of improvisation.)
There is also a complete improvisation demo which fills the gaps of the
swapping track.
Use the swapping tracks in the following 5 ways :
1.LISTEN
Play each gapped track several times, just listening to it.
They contain many rhythmic ideas ('licks') you should absorb so that they
gradually become part of your own vocabulary. The spaces between each phrase
nicely highlight each idea in isolation.
2.WRITE
Write out some of the ideas on paper as 2- or 4-bar rhythm patterns.
The more you involve yourself actively with music elements like these the
more you learn and absorb them.
3.SING
Sing the rhythm pattern of each phrase segment in the gap immediately behind
it.
Like "deeeedadadadit -dedaaaah".
4.REPEAT
Improvise on your instrument. Use your own note selection but repeat the
rhythm pattern of each preceding phrase segment.
5.COMPLEMENT
Improvise on your instrument. Use your own note selection and rhythm pattern
and complement in your own way the phrase segment before (or behind) it.
_____________________________________________________________________________
1-7. THE WOODSHED
Welcome to the Woodshed.
This is the place where every good improviser in the world has spent much
time ('paying his/her dues') learning the craft.
Never forget : every student who does some serious time and hard work in here
earns the respect of all the others who have passed through here before.
Good improvisation is based on an intimate knowledge of appropriate chords
and scales in all keys. This is what you work at in the Woodshed.
In each Lesson I will provide you with some Woodshedding material.
It is unlikely that you will master it all within the time span of this
course.
The main point is to get started with it and keep going at a relaxed but
determined pace.
Start with the major scale in all keys.
First priority are the major scales in A, D, G, C, F and Bb
Then add the others : Eb, Ab, Db, Gb, B, E
Work on the following exercise :
(DEMO 5)
<-------- play 3 times --------->
------------------------------------------------------------
4 C D E F G A B c | d c B A G F E D :|| C | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + || 1 2 3 4 | 1 2 3 4 |
------------------------------------------------------------
In words : play each scale 3 times, up to the 9th and back down, then sustain
the tonic note for two bars. This gives you time to think about the next
scale.
You can play the notes in 'straight' time or in swing quavers (as on DEMO 5).
In swing quavers down beat quavers are played for the first 2/3 of each beat,
while offbeat quavers are played for the last 1/3 of the beat :
C D E F G A B c
1 + + 2 + + 3 + + 4 + +
|_3_| |_3_| |_3_| |_3_|
Start with the major scale in A, then D, then G , etc.
Here are the first six major scales :
Scale tone --> 1 2 3 4 5 6 7 8 9
A major scale : A B C# D E F# G# a b
D major scale : D E F# G A B C# d e
G major scale : G A B C D E F# g a
C major scale : C D E F G A B c d
F major scale : F G A Bb C D E f g
Bb major scale : Bb C D Eb F G A bb c
Play the scales from memory as soon as possible.
Good luck. See you next Lesson,
Michael.
_____________________________________________________________________________
1-8. QUIZ 1
A.
1. What is improvisation ?
2. What is Free Improvisation ?
3. What levels are there in a Jazz song ?
4. Name three ways of tone selection for improvisation.
5. Name two devices used in composition and improvisation,
discussed in this lesson.
B.
1. Of how many sections does A Happy Day consists,
and how long is each section ?
2. What types of repetition can you find in A Happy Day ?
3. Give a definition of a major triad chord.
C.
1. How many occurrences of syncopation ('rhythmic surprise') are there in
the A-section of A Happy Day ?
2. How many occurrences of syncopation ('rhythmic surprise') are there in
the Bridge of A Happy Day ?
3. Try to work out (by reason or ear) which scales underlie the
chord progression of 'A Happy Day'.
D.
1. Describe a major scale in terms of the order of tones and semitones.
2. Write out the major scales in the keys of Eb, Ab, Db, Gb, B, and E.
3. Which Rhythm Patterns (1 to 5 in Chapt.1-6) contain syncopations ?
ANSWERS IN NEXT LESSON
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