 The Clarinet BBoard
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Author: JonTheReeds
Date: 2013-09-11 18:18
I've been asked to lead on improvising with a song at a regular workshop I attend
Any ideas on how to approach it? The level of the workshop is low to intermediate
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The older I get, the better I was
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Author: 42cheese
Date: 2013-09-16 01:05
Hi Jon,
I've been improvising on the clarinet since I was twelve, so maybe I can help you out. But first I would need to know what the song is, who it was originally written/played by, and in what way(s) your group is changing the style around (if any) to make it more your own.
I rarely use the same approach to improvising on any two songs, so it's definitely important to know specifically what feeling you're going for.
Best,
Sean
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Author: JonTheReeds
Date: 2013-09-17 19:35
Hi Sean
The song is Black Coffee and was originally written by Paul Westel/Sonny Burke
The set up is normally some drums, a few guitars, a bass, piano, a few saxes, a couple of clarinets, a few trumpets and a couple of trombones. The level is beginner to intermediate. Last time there was even a harp
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The older I get, the better I was
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Author: 42cheese
Date: 2013-09-22 22:21
Dear Jon,
Sorry for the delay in getting back to you! I hope it isn't too late.
Wow, that's a big group! Do you get a mic while you solo? Even if so, your workshop-mates better be good enough to really bring their volume down, especially on "Black Coffee."
So am I right that you're group does this much like the original? (Slow and brooding, full of nasty 7#9 chords, fairly quiet.) And I take it you personally are a beginning-to-intermediate improviser?
Based on what I know of how you and your group are going about this song:
—In regards to what notes to play, the blues scale is definitely your friend for this song, but the back-and-forth between the G and Ab chords provides a little more opportunity for exploring chromatic territory. For instance, you could play a riff over a G chord and play the same riff up a half-step over the following Ab chord. A more popular tune with the back-and-forth is "well, You Needn't" by Thelonius Monk. Listen to that, it might give you some ideas.
—The clarinet has the perfect tone for this type of song. I would recommend mostly digging around in the low register during Part A (assuming the band can play quietly enough to let you be heard), climbing higher during the more uplifting bridge, and coming back down hard into Part A. Don't be afraid to transition from the end of the bridge to the last Part A by throwing out some extremely dissonant riff that doesn't even correspond to the chords. If you can, do plenty of note-bending and scooping to capture the song's dark, bluesy feeling. This will make you sound more like a vocalist, which is always something to strive for in the blues.
—Be lyrical! Every jazz and blues musician strives for lyricality in soloing, even hard bop players. Having a rhythmic or melodic theme or two throughout your solo is the greatest thing to listen to, even if you only play two notes or a single rhythm the entire solo. One thing that'll help you a lot in this regard is if you do something to echo the melody's rhythmic groove (da dadada dada-daaa). That's something that strongly defines "Black Coffee."
Hope this helps! Let me know if you have any questions.
Best,
Sean
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Author: Arnoldstang
Date: 2013-09-23 01:26
Pick another tune. It is a blues but with the chromatic changes you might as well play a Monk tune.
Freelance woodwind performer
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Author: JonTheReeds
Date: 2013-09-24 10:56
Thanks for all the suggestions, it’s not too late – it’s tomorrow evening, so keep them coming!
It is quite a group, and the harp is a classical harp, not harmonica! We don’t mic up but everyone - except bass/drums/guitars - drops out when we solo
I am definitely a beginner when it comes to improvising, although I have quite a bit of experience on guitar so not really worried about getting up in front of people and making a fool of myself! ;o)
The post was more about how to lead the session and giving people suggestions of how to approach it and how to improve their improvisation
I the like the idea of highlighting the bluesy side of things with lots of note bending. I’ll get everyone to play through the A minor blues scale before playing the tune. Also the rhythmic ‘fingerprint’ is something I can talk about
The chords are off a sheet and fairly standard, nothing more scary than 5+ or 75b
What does it mean lyrical? Does that mean playing a melody and concentrating on tone, rather than playing arpeggios?
The structure is basically a minor blues with a middle bit in the dominant. How would the tri tone sub fit in with song?
It’s too late to change the tune now as the music has gone out, but maybe “Well, You Needn't” by Thelonius Monk would be good for next time
Many thanks for everyone's ideas
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The older I get, the better I was
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Author: 42cheese
Date: 2013-09-25 01:50
Dear Jon,
As you are a beginner, I recommend ignoring super-locrian and tritone-substitution and other complex scales and theory. It'll just sound silly if you try to make a solo out of it without adequate study and practice (a.k.a. years-worth). You need to concentrate on making music.
This brings me back to (by far) the MOST important part of all: lyricality!!! Lyricality is when you express a musical idea, say a riff, and somehow echo it as you go along. It might be a running theme throughout your solo; it might be something you come back to once or twice to emphasize your point.
The simplest way to develop lyricality in your improvisation is by echoing themes from the melody, like the rhythmic "fingerprint" as you call it. A melody is almost always the perfect example of lyricality because the whole idea behind it is to make a musical point, elaborate on it, maybe bring a slightly different idea or two into the mix (a.k.a. Part B, the bridge), and usually come back to the original point or some conclusion thus reached.
It's like an essay. If you make a statement and then make some completely unrelated statement, you've already lost your audience. Especially if you're just beginning, you need to be coherent. In other words, lyrical. In other words, musical.
You can use ideas from arpeggios if you need to, but if you rely on them too much you'll just sound like you're doing an exercise. When you perform, you're expected to have already done your exercises, even if only a few. So yes: melody and tone take absolute priority. If you play only FOUR notes (yes, literally!) the ENTIRE solo but you play them with purpose—with lyricality and good tone—you will have played beautiful music.
Practice this, and tell the members of your workshop to do the same! Pick four notes (the RARE extra one if what you're playing desperately wants to go in that direction) and see how many solos you can get out of just them. I've done this countless times with all my teachers over the years and in all jazz and blues groups I've been in. I have come to view it as essential to developing improvisational ability.
Once you realize that you can play those four notes as long or as short as you want, as loud or as quiet as you want, in as many or as few melodic combinations as you want, in as many or as few different rhythms as you want, etc., you will have nearly endless possibilities at your fingertips! And once you master lyricality with a few notes, then steadily add the other 30+ notes the clarinet can play. Bam. Music.
Good luck tomorrow evening!
Best,
Sean
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Author: brycon
Date: 2013-09-25 02:32
Charlie Parker never played thematically- just saying...
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Author: Arnoldstang
Date: 2013-09-25 14:24
Pretty good advice Sean. There are many different ways to approach things. Keep it simple and have fun with it. Let us know how it turns out JonTheReeds.
Freelance woodwind performer
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Author: 42cheese
Date: 2013-09-26 02:30
Brycon:
I would not say Bird always played thematically, but I would definitely not say "never." Have you ever studied the Bird Omnibook? There is actually quite a lot of coherence in Bird's solos—at least in the good ones that he chose to release on record.
Believe me, I felt the same as you on first listen to much of his stuff, but as I continued to listen I quickly recognized all sorts of distinctive riffs that he comes back to and lots of convoluted licks that turn out to be much more musical than is immediately apparent.
Many boppers and post-boppers were/are largely concerned with experimentation, with pushing music to its limits, so doubtless they sometimes pushed it past its limits. But that is the exception. Bird and his disciples are tough nuts to crack where lyricality is concerned, but they definitely have it.
---Sean
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Author: brycon
Date: 2013-09-26 18:47
Quote:
I would not say Bird always played thematically, but I would definitely not say "never." Have you ever studied the Bird Omnibook? There is actually quite a lot of coherence in Bird's solos—at least in the good ones that he chose to release on record.
I have studied the Omnibook and transcribed a number of Bird's solos on my own. In which of his solos does he have a "rhythmic or melodic theme or two throughout?"
Since you used the literary metaphor of an essay (not sure if I would want to apply that metaphor to my own playing), Bird's solos are rather more like the steam of consciousness technique: though appearing unrelated, his melodic lines are organized on a deeper level via register, degree of dissonance, counterpoint, et cetera. His melodies do not, however, develop thematically in the way that you put forth (nor does he reference the tune's melody during the solo).
All this is to say that there are numerous ways of organizing a solo, and Bird is an example of someone that took a different approach from the one that you outline.
I agree that improvisers should be aware of the melodic aspect of their playing, but I am not sure what that- "lyricality"- has to do with thematic development...
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Author: Liquorice
Date: 2013-09-26 19:09
I'm finding this discussion interesting, especially the comments by Sean and brycon. I'm a beginning improviser. I've been learning standards and have been very challenged to memorise chord changes and the appropriate scales. I'm now getting better at that, and my next step is to "organise my solo" so that it takes on more meaning than just playing chords scales and patterns that fit.
brycon mentions that there are numerous ways to organise a solo. I'd be very happy to hear some ideas about doing this. Thanks in advance!
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Author: brycon
Date: 2013-09-27 21:27
Hey Liquorice,
Firstly, some advice for learning tunes:
It helps me to think of the changes with regard to their function. Rather than remembering the first couple of bars of a "Bird Blues" as:
C / b half dim E7 / a min7 D7 / g min7 C7 / F
I find it easier to remember (not to mention much easier to transpose):
I / ii V in the key of vi / ii V in the key of V / ii V in the key of IV / IV
I also learn tunes by transcribing rather than real book: I find it easier to "internalize" the tune that way. Of course, everyone learns differently, so your mileage may vary.
With regard to organization, I was speaking to Charlie Parker's ability to create a cohesive solo without utilizing thematic/motivic development (in the way that was previously discussed).
Bird accomplished this in a number of ways. For example, the final note of one melodic line is usually the same (or a second, octave, or octave plus a second apart) as the beginning of the next, which lends a sense of continuity to the lines. Additionally, the leaps in his lines, which form a single-line counterpoint, usually merge at the end of his phrases (ex- the first phrase of the first chorus in Confirmation), creating a clear sense of phrasal structure.
He also varies the length of his phrases to create cohesion (ex- compare the first chorus bridge in KoKo to the second chorus bridge): often the longer phrases come at a high point in the chorus or solo. Likewise, he often utilized the upper register of the instrument at high points (ex- the concert Gb on the second chorus bridge in Confirmation or the concert Eb on the second chorus bridge in Donna Lee).
These are just a couple short examples of one improvisers approach (and I do not have my transcriptions on hand, so I hope the examples are accurate). Really, I imagine that you already know how to "organize" a solo: it is not any different than organizing a composition, and how many great composers have you studied? Register, rhythmic activity, dissonance/consonance, phrase length, motif, interval content, et cetera can all be utilized: simply beginning the solo in the low register, building to the upper register, and ending once again in the low register gives a rough shape or organization to your solo, for example. How do your favorite improvisers and composers approach the issue?
One exercise that may be helpful, is to write out a few choruses of a tune: Without any improvisation related anxiety, you can more easily concentrate on beautiful melodic lines, general shape, et cetera. Also, avoid Abersold play-alongs- they only encourage scale/chord outlining- and instead try to play with other musicians or with your metronome.
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Author: Liquorice
Date: 2013-09-28 21:36
brycon- thanks a lot for your advice and ideas. I appreciate it very much. I'll definitely try to think of the changes more functionally than what I've been doing- ie. just remembering ii-V progressions and chords, but with no relation to the tonic. I'll also try writing out some choruses.
You mention that I should avoid play-alongs. I agree that nothing beats playing with other musicians, but why would a play-along encourage scale-chord outlining more than if I just practise with a metronome?
I've learnt some tunes by transcribing. I'm also trying to memorise the changes of some standards (rather than read them off the page). What I find hard with this is playing over one chord while thinking ahead to what the next chord is. The faster the tempo, the more difficult it is for me. Should I just practise slowly and hope that things improve, or do you have any other ideas?
Thanks!
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Author: brycon
Date: 2013-09-28 22:40
Abersolds- in my opinion- are a creative straight jacket. They discourage the sort of overall shaping that we were previously discussing: a prerecorded rhythm section cannot respond to you, but an imagined rhythm section can.
Also, Abersolds can easily hide issues with your playing. Are you playing solid time or relying on the Abersold? Are you "hearing" the changes or relying on the Abersold? Et cetera.
A good exercise for you might be to put your metronome on beats 2 and 4, and record yourself playing a couple of choruses of a tune. As you listen back, see if you can "hear" the tune throughout your solo. 30 minutes of this sort of practice is immensely more valuable than hours spent with a play-along.
If you find yourself needing to think ahead of the next chord (i.e. what is the 3rd, 5th, 7th, and 11th?), I imagine that you have not completely internalized the changes. Are you hearing the counterpoint between the root motion of the chords and your melodic lines? Also, you might not be hearing your melodic lines. Could you sing back the lines that you just played?
Another good exercise might be for you to take something that you transcribed- a ii V for instance- and play the chords on piano while you sing the line, or use the sustain pedal to play the chords on piano while you play the line on the clarinet. You could also sing the line while you finger through it with the clarinet. All the sorts of things are meant to strengthen the connection between your mind's ear and your clarinet playing. It seems to me- from what you describe- that this is your main issue.
I meant to post this earlier: http://www.youtube.com/watch?v=zC4kvW4S6mk
Here is someone who knows how to organize a solo (he does play thematically, by the way) and has definitely practiced playing through tunes solo!
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Author: MarlboroughMan
Date: 2013-09-28 23:44
Steps to becoming a master jazz clarinetist:
1. Quit your day job.
2. Go to New Orleans.
3. Eat blackened fish at the Gumbo Shop.
4. Play on the street or anywhere they'll let you sit in.
5. Put on your headphones (or somebody else's if you can't afford your own anymore) and listen to Sidney Bechet, Leon Roppolo Omer Simeon, Johnny Dodds, Jimmie Noone, Irving Fazola, and Pete Fountain.
6. Play Pete's solo to "St James Infirmary" in retrograde, only to realize it sounds better played forward.
7. Go to Chicago.
8. Drink vast quantities of bad alcohol.
9. Shout Tesch solos loudly and somewhat angrily while sauntering around the Loop.
10. Stare at the ceiling of your hotel room for several hours in the afternoon while running through Benny Goodman solos in your mind.
11. Smile softly to yourself, knowingly.
12. Drive to Shekomeko, NY, in the middle of the night, so as to arrive in early morning.
http://thejazzclarinet.blogspot.com/2013/09/the-shekomeko-shuffle-in-search-of.html
13. Imbibe the air.
14. Stand in the middle of Route 82 and contemplate the scenery while mentally noting the perfections of Shaw's "Don't Take Your Love from Me".
15. Pick up your horn (make sure it's a large bore bazooka of the soul).
16. Let the blues out before they kill you.
17. See? You get it now, don't you?
Eric
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The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Arnoldstang
Date: 2013-09-29 16:38
Eric, Regarding your site....listed at end of # 12 above......Wonderful... love it. ...thanks
Freelance woodwind performer
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Author: brycon
Date: 2013-09-29 19:16
Eric,
Vast quantities of bad alcohol? Count me in!
Cheers!
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Author: Liquorice
Date: 2013-09-29 21:07
brycon- thanks again for your advice. I'm going to try everything you suggested. The Chris Potter track is mind-blowing. How can anyone spurt out so much beautiful creativity?!
Eric- I'll try some of your suggestions, but don't think I'll be able to do all of them!
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Author: MarlboroughMan
Date: 2013-09-30 00:32
Liquorice - Swing hard, man. My favorite points above in Bryan's posts related to internalizing changes.
Bryan - I'm kinda surprised you didn't mention the bad alcohol before I did. Must be playing too many classical gigs, man. I'll have to fight you on that metronome thing someday...my main arguments will be "Max Roach" and "Gene Krupa." (a metronome would kill the chance of playing well with them).
Also, I forgot one of the most important points. Call it 14.5:
"Call, text, or email her, saying that you're sorry, it wasn't her fault, and you're trying to set things right."
Believe me, if you've done the other 14 steps before this properly, this one will fall right into place.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: JonTheReeds
Date: 2013-10-04 16:55
Thanks for everyone's advice. The session went well - the hardest part was to stop the guitarists from noodling when I was speaking!
We played through the blues scales which seemed to help people and then went round the group for solos
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The older I get, the better I was
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