Klarinet Archive - Posting 000226.txt from 1997/06

From: "Frederick S. Sterns" <fssterns@-----.net>
Subj: Improv, etc...
Date: Mon, 16 Jun 1997 13:35:09 -0400

Craig...I was out of town for a few days and didn't get in on the early
correspondence...but I judge from later messages that you asked about "jazz
improvization." This is one of my favorite topics...and a large one indeed.
Permit me a few observations which I hope will be useful additions to your
collection of knowledge on this subject.

There are any number of theories on how to "learn" to improvise in a jazz
context. I can think of a half dozen right now that are all substantially
different...but all quite effective, depending on the individual musician.
There is one common denominator, however...a reasonable level of technical
proficiency on the part of the musician. He/she must be able to play scales
and chords in all twelve keys as a matter of second nature. As a starting
point that means not only Major...but also Dorian Minor and Dominant. So,
if you can rip through thirty-six scales almost without thinking...and be
able to arpeggiate them too... you've got a good foundation for starting to
improvize jazz.

On this "technical point" please keep in mind that these modes are only the
beginning. Ultimately you have to be equally proficient with Lydian b7
scales, Locrian #2s, Super Locrians, Pentatonics, Blues Scales, several
types of Diminished...and there are even "artificial" scales that play a
big role in jazz improv that don't even have names [they're described as
derivatives of the more common modes].

So...the first important point is...you really have to be able to get
around on your horn without too much conscious thought.

But the second point is really more important...and that's why I left it
for last. To play jazz, and to improvise jazz, you have to understand the
jazz conception. This, in my view, can be "learned" only by listening.

There is a trite saying...but one that is instructive...that European
classical is the music of the composer and American jazz is the music of
the performer! The jazz player must respect the form and harmony of the
piece he proposes to improvise on...but the interpretation is left solely
to the musician. And that can and does vary every time he/she plays the
tune. Another saying is: Improv is "instant composition"...and that also is
an accurate desription.

In my view a good soloist will start with the "head" [melody] and play it
as written...or almost so. On the next chorus he will embellish the tune.
Then he will extend the harmony further...but not to the point where the
original melody is completely lost. The player may end up "composing" his
own tune on the "changes" [chord progression] of the original...but will
always return, before he quits, to the starting melody.

The point here, Craig, is that you have to "hear" how all this is done to
really grasp the concept. Thus, my most important advice to you is to find
a jazz musician, or even just an experienced jazz fan in your community who
will share his music collection with you.

There are many different "styles" of jazz and how they sound and how
players improvise within each style are things you will want to assess so
you can decide which you like best...and which styles of improv seem best
suited to your skills and interests.

I'll bet your local library has the Smithsonian Institution's record or CD
collection of "Classic Jazz." That would be an excellent introduction to
jazz and improvizing.

This has become much longer than I intended...it's sort of like trying to
distill Pilgrims' Progress into two pages. But if you find this helpful and
have additional questions don't hesitate to e-mail me.

Regards...Fred