 The Clarinet BBoard
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Author: ajablons
Date: 2004-05-29 21:53
Hey all,
Does anyone know of a good way to get started learning how to improvise well? Are there any tried and true methods?
Thanks!
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Author: hans
Date: 2004-05-29 22:35
Aebersold has a book of exercises and instructions with accompanying recording that you could try.
Hans
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Author: allencole
Date: 2004-05-30 03:10
There are number threads on this subject, but I would ask you if you are listening to any jazz--and do you have some favorite recordings?
If so, your first and best move is to try and imiate some things that you hear and enjoy. There are a lot of academic materials available on improvisation, but this is the process that actually bonds you to the task.
Allen Cole
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Author: John_May
Date: 2004-05-30 03:29
Think of a line or a lick that you may have found catchy from another song that you may think fits in with what you're currently playing, and experiment with it; change it a bit. I do it often, and it helps me when I'm at a loss for what to play next. Eventually, you get to a point where if you can think it, you can play it, so the real key is being able to think up lines that will sound good.
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Author: ken
Date: 2004-05-31 01:30
Here's an updated short list of tips I posted last year -- best of luck:
Don't practice mistakes; the "depth" of information absorbed must exceed time spent … quality versus quantity.
Do not PLAY when you practice and do not practice when you PLAY; practice when you practice! And, if you're one of those people who find yourself playing when people are within earshot, go somewhere else.
Create ideas, build and shape simple solos gradually increasing them in complexity and intensity to a musically sensible climax. "Make a cake". When you have 2 or 3 choruses build and stack them 1 chorus at a time by layer. Remember, you're given time and opportunity in which to make a meaningful statement..... say something, not just play something.
Think of playing modally and lyrically; the instrument is of course, an extension of the human voice.
Habitually record ALL your sessions, analyze and archive them. Record your lessons and archive those too.
As an intermediate-advanced improviser, force yourself to keep it simple with standard diatonic progressions using tight intervals--Major/minor 2nds, Major 3rds, 4ths, 6ths, 7ths, Dom7, and 9ths.
Don’t play wild, note-y licks all over the horn that on the surface sound impressive but is gibberish, instead play the melody or stay close to it such as quoting the a harmonic duplicate in the key. Also, use the melody as both a springboard and anchor.
Solidity, originality and honest "risk taking" are a sign of maturity not jamming every signature lick or riff you know in one bar.
To gain confidence, play entire solos staying in one octave.
Resist playing familiar “get out of jail” licks or riffs if you get lost in the changes or miss a turnaround. Calmly, return to the melody and start a fresh idea.
Always remain in control; take chances but don't "invent" to the degree you don't know or can't "think" what you're playing.
"Singing" tunes, pitches, articulation, note lengths, even faking in scat (including your exercises) is inexpensive and effective ear training. Purchase a twelve-tone pitch pipe. Keep it in your car or when you're singing with the radio or recorded music.
Pick one favorite tune to transpose, then everyday learn and play it up a half step ascending through the horn's practical range. I have found this a valuable discipline developing a more even 12-key facility and not just learning reflex by rote finger patterns.
Purchase two (2) New Real Books (keyed instrument and C version). Incorporate them daily as sight-reading and for repertoire building.
A good way to get started is begin listening to and purchase 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 to name a few.
For more helps to supplement the Abersold and Coker methods, (Frank Mantooth and David Baker’s improvisation methods are also excellent) I recommend these programs. They're proven methods that produce fast and substantive results: 1) Jerry Bergonzi's, "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 ear training with emphasis on repetitive pattern exercises. v/r Ken
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Author: GBK
Date: 2004-05-31 01:48
Great advice above from Ken.
Having heard him play, he knows where in he speaks ...GBK
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Author: diz
Date: 2004-05-31 02:22
Sorry, I somewhat disagree ... improvision is a skill you come by easily and often intuitively if you're gifted that way, otherwise it's a battle ... as to learning how to do it from a text book ... good luck.
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Author: ken
Date: 2004-05-31 20:46
To me, the subject of natural born talent is a separate issue but since it's been touched on ... in over 30+ years in my corner of music I've worked with many musicians I considered gifted; two blood nephews of Pearl Bailey immediately come to mind. However, the ones that seemed less talented generally became more successful, not from a perceived lack of natural ability but from an "inherent" drive for success, positive attitude, love of the craft and unrelenting work ethic. With seemingly less talent these players rose the ladder with less education and connections then their contemporaries of the silver spoon variety. They got more phone calls (better sales people), more efficiently networked themselves (better business people) and landed higher paying gigs and exposure with bigger name groups and artists (better players).
On the other side of the fence, I've known my share who had so much natural talent and family money it leaked out of their ears and pockets, however, they most often had miserably poor work ethics, flat out lazy, and often squandered their talent refusing to practice relying on it to squeak through gigs and recording contracts. They had an affinity toward self-destruction with some becoming failures, not evolve as a person and ultimately quitting their horn for good, or going into another field. The best jazz alto saxophonist I ever heard in my life (Bird-Cannonball caliber) drives a garbage truck full-time in Chattanooga, TN.
Natural born talent is not the only path to success. I believe a case can readily be made for a "whole person concept". And, ALL method books are valuable tools in achieving a means to an end, but not the definitive course of action. Becoming proficient and/or mastering the art of improvisation is a life long journey that must clearly be experienced in real world musical situations. A beginning instrumentalist of any idiom must strive to join and play in a group with others (or in jazz improv at least buy MM1 books and play along). v/r Ken
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Author: ohsuzan
Date: 2004-05-31 21:01
Ken --
A thousand thanks for all you have said here. It is enormously helpful, and it rings very, very true.
Susan
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Author: Don Berger
Date: 2004-05-31 21:09
I heartily agree GBK, I also recognise Ken's expertise. I sure wish I had had this kind of advice "back when". Incidentally, Ken, we greatly enjoyed the Mid-America A F Band and vocals [Scott AFB] concert a few weeks ago here. The quality of "service" music is fantastic. Don
Thanx, Mark, Don
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Author: diz
Date: 2004-05-31 22:11
Did I suggest natural born talent was the key ingredient of hardworking ethics, no. Please don't read between the lines, thanks.
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Author: ken
Date: 2004-06-02 01:57
Fantastic Don! Glad to hear the Scott Band is still alive and kicking, some fine players in that group ... and now, back on our heads. v/r Ken ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
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Author: Mark Pinner
Date: 2004-06-02 14:42
You need good ears and a hide as thick as Jessy the elephant to get started. You then need some common sense (using the ears), self criticism (must also use ears for this) and the ability to share (using the ears to notice somebody else is trying to have a go). You also need to use your ears to listen to the greats and the not so greats. After the ears have developed you need to start to play from the heart, with feeling and then listen (using the ears). Hard task, good luck and enjoy.
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Author: katchow
Date: 2004-06-03 14:27
even if you have 'natural born talent', you still need some tools of the trade...whether they come from a texbook, recordings, or fellow musicians...i'm trying to refrain from using the charlie parker 'cliché'
kevin
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Author: David Spiegelthal ★2017
Date: 2004-06-03 14:56
If you can (and it's a big "if") find yourself a local, informal jazz or blues jam session and sit in. You may be terrified and/or embarrassed at first (and maybe even for some time thereafter), but there's no better way to learn tunes and how to improvise to them, than to get up there and do it. If you spend too much time with books and records in the comfort of your own home, what you may end up doing is playing strung-together collections of academic riffs and 'jazz-like' phrases, rather than real, heart-felt music (this is a hazard to which many otherwise-excellent players have succumbed).
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Author: sfalexi
Date: 2004-06-03 15:33
Good place to start looking for these informal jazz sessions would be local high schools/colleges. Colleges may have a jazz ensemble and allow you to sit in, or the professors and other musicians may know of these sessions.
Alexi
US Army Japan Band
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Author: Jonnyc
Date: 2004-06-04 09:28
I have found the following books excellent:
George Bouchard Intermediate Jazz Improvisation (just a great, logical way to get started)
The Jazz Theory Book by Mark Levine (it's all in here, phenomenal depth)
Elements of the Jazz language by Jerry Coker (to sound authentic)
These should keep you going for maybe 100 years :-)
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Author: David Spiegelthal ★2017
Date: 2004-06-04 14:34
Alexi,
I beg to differ -- -what you get in college classrooms is "academic jazz" which I've already warned against --- ya gotta go downtown and play the clubs. Professors and college music majors don't play jazz (no, not even at Berklee for the most part) --- sorry, but this ain't classical music that you can really 'learn' in a school environment.
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Author: sfalexi
Date: 2004-06-04 14:38
Our college jazz professor, while YES teaching us academic jazz as he has to for the curriculum, specializes in jazz and prefers to do nothing BUT jazz whenever playing a gig or anything. And I still think that talking to the professors would probably help you find local jazz clubs and places where they play jazz and might let you take a lick or two at it. Although I see your point about colleges being mostly 'academic' jazz.
Also, at the jazz ensembles in our school, each jazz class starts with about a half the class of looking at the scales and picking apart jazz and the academic stuff, and then the rest of the class is playing pieces and going around the room soloing.
Alexi
Alexi
US Army Japan Band
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Author: John_May
Date: 2004-06-05 03:18
Did anyone mention Jim Snidero's Jazz Conception book yet? It's great. Ken Peplowski does the demos, too.
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Author: Woodwinder
Date: 2004-06-06 20:22
I've been a rather stilted improvisor for years. It wasn't till I got in a supportive group that I broke out of boringness. Also, the program "Band In A Box" was enormously helpful. It's easy to enter the chords, and a reasonable background plays back for you. Also, it has ear training. You can also slow tempos down and really go through a piece.
But if you're a beginner, study blues scales first, then major and minor scales. Learn how modes work. Learn how chord progressions fit into a key. Learn where there is an implied key change. (Satin Doll is a good example for that).
Listen to blues tunes first. Try to establish the key by ear.
Develop an assertive attitude. If you hate a note you just played, don't let anybody know. Act like it was intended. Repeat it, even.
Hope you can find some great people to experiment with. Go to the bulletin board of a music store and advertise for other musicians.
Have fun--Signe
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Author: Wes
Date: 2004-06-07 03:42
Yes, the Band in a Box is the best play along computer program I've seen. The Abersol records are too advanced for the beginner, too fixed in tempos and chords, and have some other problems. Abersol changes the chord structure of standard tunes and sometimes the standard melodies without informing the student, thus, allowing the student to learn a modified standard. Abersol may never have played a root or a fifth. Abersol records often don't resolve tunes at the end of a chorus and they seem not to recognize the basic blues changes. Beginners especially need simple backgrounds.
To build technique, a good practice routine is called "Key of the Day" in which you practice by memory scales, chords, scale tone sevenths, and exercises in only one key per day, getting you really familiar with the keys.
Try playing along with the jazz radio staion by ear only as best you can.
When practicing with Band in a Box, you can first just play whole notes to the chords, then quarter notes, then eighth note simple scales, etc. Keep it simple, especially at first.
Don't play your horn like a doorbell. Try playing very soft and loud and building a chorus to a high point and then backing down from it. Leave some rests, not playing continuously. Good luck!
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