 The Clarinet BBoard
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Author: Henry
Date: 2003-09-14 18:53
I've always had trouble with improvisation! I play 3rd alto (and some clarinet) in a swing band. As I am an excellent reader and the 3rd alto part has few, if any, solos, I'm doing quite well in my assigned role. And, as long as a solo is written out, there's no problem. However, my great wish has always been to be able to let my creative juices go and to produce something truly original. The problem is: how to get there? I have some knowledge of scales and chords. I have just acquired Vols. 1 and 24 of the Jamey Aebersold series in a serious attempt to learn. His play-along CDs feature truly excellent rhythm sections, his texts seem clear and informative, and I'm starting to get enthusiastic! My question is: Is this the right approach? And what else should I do to get there? All comments are appreciated!
Henry
Post Edited (2003-09-15 00:36)
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Author: EEBaum
Date: 2003-09-14 19:24
How solid is your grasp of music theory? A couple courses in harmony, counterpoint, and form could really do you good when it comes to an overall grasp of how to work on a melodic line with accompaniment. Besides that, I'd recommend a lot of practice.
-Alex
www.mostlydifferent.com
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Author: allencole
Date: 2003-09-14 20:06
There is a lot of wisdom in Jamey Aebersold Vol.1 and you should study the introductory readings carefully. I can't remember what Vol.24 is--Blues in All Keys? If so, it's a great one to have.
There are a number of approaches to begin jazz improvisation. The Jamey Aebersold Books can sometimes overwhelm you with the concept that each chord has a characteristic scale and that you improvise by moving along the scale for that chord. To me, this is more of a long-term approach to it.
The bottom line of all improvsation is to take something that you hear in your head and reproduce it so that its pitch is at the correct place relative to the key center, and its rhythm falls at the right point in time.
Beginning improvisors can get a lot done if they can correctly identify the key center (or changing centers) of a song and simply play by ear within that framework. Pentatonic scales work beautifully. They are formed from 1-2-3-5-6-1 of the major scale. The signature guitar lick to "My Girl" is a straight pentatonic scale. You can also find one of the piano keyboard if you use all the black keys starting with F#.
The blues generally has one key center, although it can be dressed up considerably. How High the Moon starts in its home key, and travels through two more key centers, each a whole step down from the last. Sweet Georgia Brown has several key centers which travel around the Circle of 4ths.
I have a worksheet for use with Track 7 of Jamey Aebersold Vol.1 that gives 3 approaches to improvisation using pentatonic scales as the basic vocabulary. It was posted here a while back in a similar thread. Perhaps someone can show you how to find it. If not, I'll repost it with Mark's permission.
You might also want to seek out a book called "Improvising Jazz" by Jerry Coker. It is one of the most concise and sensible books that I've seen on this subject.
You may want to search some previous threads on this subject.
Allen Cole
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Author: Liquorice
Date: 2003-09-14 21:26
The above advice is great. I would like to add:
1. Every day- play something in all 12 keys (It doesn't matter how simple it is in the beginning, just play it in all 12 keys)
2. Improvise along with the radio. The great thing about the radio is that you don't know what's coming next.
3. Lift solos from records of your favourite players. Try to copy EVERY aspect of their playing.
Enjoy!
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Author: Silvite
Date: 2003-09-14 21:50
playing along with the best is a nice way to learn a style of soloing, and especialy, resolutions.
recently i bought a charlie parker book taht came with a cd.
6 of his songs some pages with a guide about his soloing and the cd goes by 1 song-4 tracks.
1st track original time with alto playing,2nd same time only backround no alto,3rd slower tempo w/ alot, 4th track slower tempo no alto.
i think its a great book. i dont remember the name of it right now, if u want il look it up later.
---------------------------------------------------------------
MY Jean Baptiste clarinet went on ebay for $150!!
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Author: Carol Dutcher
Date: 2003-09-15 02:45
Henry,
Improvisation is my favorite thing to do. I have Jamey Aebersold's volume called Indiana and one called Avalon. The more I work with these CDs the more I can think of do. I especially like how much time you have to do each one over and over if you want. I don't have much music theory in my wee brain, mostly playing by ear, playing with records, etc. But if you keep practicing you will be surprised at how much you can come up with. Also, it helps to tape record what you do. Nobody need hear it but you!!! A strange thought occurred to me one day. What if, those of us who do not have a great deal of schooling are coming up with more unique music than those who have degrees, etc. We are "out of the box" and doing our own thing, no matter how bad or how good it may be. My best to you.
Good luck. Carol
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Author: William
Date: 2003-09-15 15:19
You just have to experiment to learn to do it. And an easy way to start is to "play around" with a melody. Add some leading or passing notes, scoops, vibrato on the longer notes, change the rhythum or tempo, but all the while, do these "things" within the basic melody using it as a harmonic and notatinal guide.
Another "easy" way (if there is such a thing) to start improv is to learn the "blues" scale and then just improvise "over" a twelve bar blues. In C, the blues scale would be, C-Eb-F-F#-G-Bb-C. In a typical blues chordal progression, any of those notes will always fit and you can use them "at will" in any order or rhythmic sequence--the only rule might be, Does it sound good"(?). But even if it doesn't, who cares--just "do it" for self fullfilment, if nothing else.
Learning to play jazz is much like swimming. You can read all that is written about it. You can even watch Olympic events or kids splashing around in some local water hole. But until you actually "jump in" the water (or at least wade) and start splashing around, you will never learn to swim (or play jazz) on your own.
Listen to jazz, buy transcriptions of solos and other tutorials (Aebersold is great)--but in the end, JUST DO IT. Good luck
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Author: KENOLD
Date: 2003-09-16 03:41
I've learned improvisation skills by whistling along to the radio. If you can whistle, there are a whole lot more opportunities to grab a little practice time, because your never without your instrument
Moving those skills to the clarinet was easy in the keys that I am comfortable in. As for the other keys - its back to Baermann.
First I whistled melody and harmony and then learned to find the root and other notes of the chord. Then learned to add grace notes and flourishes. Next thing you know, I was improvising.
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Author: JMcAulay
Date: 2003-09-16 07:33
KENOLD's comments are good, but I'll go him one better. Use a kazoo. Really. It's even easier than whistling, unless you are a great whistler. It will give you the opportunity to make something sound good with whatever is being played on the radio or from a CD, and you don't have to worry about fingering. Once you've got that mastered, try the same stuff with a Clarinet.
Regards,
John
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Author: Markus Wenninger
Date: 2003-09-16 18:41
Forget the chords, forget all that "playing in" whatever Procrustes-bed You are made to lay down on to, drop all pre-stabilized and -harmonized structures metaphysical authorities and tradition fool a musician to bind oneself with - just sit down to play, by Your own, without anything else but Your saxophone and whatever You hear between Your own two ears. Practise that, thoroughly , and then, just then grap some of the structural stuff on the way, if one says "this is a note out of scale, a sound forbidden, this or that sound bad, disharmonic, out- of- tune- or- whatever", regard it as a must to play, to try to play. As the great Deleuze has it: "Make maps, not copies!". Structure, harmony, rhythm, this is an invention, nothing else but a tool for very determined purposes, extremely effective for those, but nothing more, not at all the what-it-means-to-make-a-musical-piece-of-art. Don´t fence Yourself in from the start, play OUT. Classical contemorary music has still the best, the most vast terrae here, the farthest extended techniques, the most intense thrill for a performer (all the more for a performer who reads easily, as You say You are).
All the best,
Markus
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Author: Henry
Date: 2003-09-16 19:34
Thanks for all of your suggestions. It seems that one of the best ways is to actually DO it in a small combo and a nonthreatening environment. I'm going to try to do that. In the meantime, Aebersold has a lot of good stuff that I can do on my own. And, Markus, I think I may benefit from your suggestions once I reread your post a few more times and digest its implications!
Thanks again.
Henry
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Author: BobD
Date: 2003-09-16 22:24
Remember too that the "original" improvs were self educated ...uh...self taught. Once you start taking "lessons" you are hungup on the written notes and that's where the problem starts.
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Author: Henry
Date: 2003-09-16 22:36
Yes, BobD, that has exactly been my experience!
Henry
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Author: diz
Date: 2003-09-17 00:41
BobD - you've hit that little nail on the head, yet again.
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Author: ned
Date: 2003-09-17 05:23
From Carol Dutcher:
"I don't have much music theory in my wee brain, mostly playing by ear, playing with records, etc. But if you keep practicing you will be surprised at how much you can come up with. Also, it helps to tape record what you do. Nobody need hear it but you!!! A strange thought occurred to me one day. What if, those of us who do not have a great deal of schooling are coming up with more unique music than those who have degrees, etc. We are "out of the box" and doing our own thing, no matter how bad or how good it may be. My best to you."
I'm from the same school of thought. This topic has been posted numerous times before, but I don't mind repeating - play to records, and the radio - it does not have to be jazz either - you are just trying to absorb ideas.
Practice licks and passages which appeal to you and work them out in as many keys as you can handle, your technique will gradually improve - beyond what you originally though possible - and having confidence in many keys [all?] will of itself enable some original thinking to come to the fore.
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Author: Henry
Date: 2003-09-18 00:45
I think I may be getting it! Just after a few days with Jamey Aebersold Vol.I, it is starting to make considerable sense (chords/scales). I'm starting to feel very comfortable with the blues. I know that that is a very basic scheme but it is a start. I wish I had made the effort a long time ago. I would have been really swinging by now, not just in my mind but on the horn and on stage as well! Anyone wants to join? It's great fun!
Henry
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Author: Barrie Marshall
Date: 2003-09-18 01:48
I have been a jazz improvisor for several years now and Iam self taught, and a non reader, about three months ago I decided to try something I have meant to try for years and never got around to doing, Pentatonic scales, my ideas have changed for the better and I am playing in a much simpler way, it has changed in such a way that peole are commenting on the change favourably and I told no one, but as others will know Pentatonics are a great guide but not the whole of the improvistion Holy Grail. One other thing, learn melodies by ear, its a great help in getting the memory of where notes lie in the scale without playing them...if you see what I mean.
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Author: ken
Date: 2003-09-18 18:14
Improvisation to me is about "communication" and instilling “lasting memories" in the listener. When I was learning basic theory the biggest challenge was not so much the HOW but the WHAT and WHY. I was determined to play what I hear and know what it was theoretically. The art of improvisation is a package deal and musical literacy is as much a critical factor in the creative process as any fundamental. Music of course, has its own language and vocabulary and having at least a working knowledge of theory is a valuable tool to "better" communicate the deeper things of the heart, mind and soul. Many jazz legends, Miles Davis, Clifford Brown; John Coltrane, Charlie Parker; Bill Evans, Oscar Peterson; Ella Fitzgerald, and Billie Holiday were not just self-taught, but “self-educated”. That mysterious talent and splendor as they “composed and performed” had its roots as much from the written page and pen as any aspect of their musicianship.
There's no doubt too much head playing comes off as mechanical, contrived and lackluster. I’ve worked with a few of these types who were amazing improvisers--they forgot more theory than I know--but their solos were too perfect and you could literally "hear the theory" in their ideas. Anyone can connect the dots memorizing licks or stock phrases played over (let’s say) a II-V chord in all 12 keys and plugged into a string of patterns. That approach is useful but takes the player only so far. It may fit structurally but it is not an original creation. A typical example of why in jazz it’s important to be able to read is determining the tonal center of a tune without a key signature. Has anyone ever had to read a part enharmonically and figure out whether it’s in the relative major or minor? Songs don’t always start on a I chord. You must understand basic tonal relationships and identify it. Of course, you go to the end of the tune, look for the final cadence and define the I chord. Why is this important? Couldn’t you use you ear? No, not really. There’s a difference between instinctively “hearing” a tonal center and “seeing and converting” it on the page. If a player can't read, they are unfamiliar with the concept and their ear isn't going to bail them out--at least to make the downbeat. The key center or root scale will come but only after fidgeting with random pitches or chords. Another condition is our ear deceives us and is conditioned to hear a dominant cadence as the defining sense of key.
Tips:
Don't practice mistakes; the "depth" of information absorbed in practice must exceed the time spent … quality versus quantity.
Do not practice when you PLAY, practice when you practice!
Build simple solos and gradually increase their complexity and intensity--chorus breaks are ideal spots. Think modally and lyrically; the instrument is of course, an extension of the human voice.
Record yourself constantly and analyze it. Record your lessons and archive them.
As a beginner, force yourself to play simple, diatonic progressions with tighter intervals--major/minor 2nds, major 3rds, 4ths, 6ths, 7ths, dom7, and 9ths. Don’t feel like you must play all over the horn.
Play solos staying in one octave to gain confidence.
Use the melody as a springboard as well as an anchor.
Do not resort to playing “get out of jail” licks/riffs if you get lost in the changes or miss a turnaround.
Stay in control, don't "invent" ideas to the degree you can't "think" what you're playing.
"Singing" tunes, (including your exercises) is inexpensive and effective ear training. Purchase a twelve-tone pitch pipe and keep it in your car for when you're singing with the radio or recorded music.
Pick one favorite tune to transpose. Everyday, play it up a half step and continue through the whole range of the instrument ... this is a discipline that will develop a more even 12-key facility and not just learning reflex by rote finger patterns.
Purchase two (2) New Real Books (at least, Bb and C versions). Incorporate them daily for sight-reading and as repertoire building.
“You got to live it to play it” Listen to and invest in music by male/female jazz vocalists. Singers like (the gals): Dinah Washington, Ella Fitzgerald, Billie Holiday, Sarah Vaughn, Nancy Wilson, Carmen McRae, Shirley Horn, Janis Siegel and Diana Krall. And, (the guys): Louis Armstrong, Johnny Hartman, Earl Coleman, Joe Williams, Nat Cole, Frank Sinatra, Mel Torme, Bobby Mcferrin and Al Jarreau.
For more helps to supplement the Abersold, Coker, (Frank Mantooth and David Baker’s improvisation methods are also excellent) consider these programs: 1) Jerry Bergonzi, "Melodic Structures" Vol. I & II w/CD. The Bergonzi is a concise and pragmatic approach although relies heavily on permutations/numbering scale tones. 2) Jim Grantham's "Jazzmaster Cookbook" Series (1993 Complete Edition, Sections 1-3, 12 CDs/cassettes in all keys). The Grantham is a universal system that builds more on traditional theoretical concepts and extensive ear training with emphasis on repetitive pattern exercises. v/r Ken
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Author: GBK
Date: 2003-09-18 18:25
Nice post Ken...
I've heard Ken play and can attest to his skills as a fine jazz clarinetist with masterful and creative improvisation ideas.
One would do well to heed his advice...GBK
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Author: Don Berger
Date: 2003-09-18 18:54
I heartily echo GBK, having heard Ken [on CD's, TKS, Ken], sure wish I could do as well as this REAL PRO!! Back online with more memory, {RAM, that is], Don
Thanx, Mark, Don
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Author: Henry
Date: 2003-09-18 19:07
Thanks, Ken, for your very helpful and detailed post. There is a lot in it that's worth digesting. It just seems to be a bit overwelming at times!!
Henry
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