JAZZ IMPROVISATION

To begin improvising on a given set of chord changes, it is necessary to be proficient on all the major scales and minor scales, including "pure" or "natural" minor, melodic minor and harmonic minor. There are just slight variations among the three types of minor having to do with the 6th and 7th degrees, however very important in our choice of which one to use.

A basic knowledge of triads and intervalic nomenclature is recommended. We work mainly with 4 note chords, usually with 5 or 6 note structures on the V ( five ) or dominant seventh chord.

To improvise a solo is to take the listener on a journey through melodic and harmonic invention from point "A" to point "B". The more knowledge one has of the harmonic grid we will be traveling through, the velocity or speed we will travel, and the options available of altitude, ( whether ground level or quite high up ), will help us determine an interesting path ( flight plan ) for us to follow. In music academic circles this would be called "form". It is a good thing to have some sort of plan or "form" in mind, no matter how simple the form might be.

After all, we could just play one or two notes and hold them a long time!Listeners would become very bored though, I suspect. To make a solo interesting we have to vary the contents. I should add at this point, that studying the minature piano compositions of J.S. Bach - the "Inventions", will help the student of musical form and improvisation considerably.

Most music is composed of scale passages in combination with various intervals. The length of tones should vary also, as in our speech where we pause or linger on the important words. The good soloist mixes up his short note values with his long note values in a number of ways.

Normally we are working with moving eighth notes, we might pause on a dotted quarter note before moving on to land on a long tone. Leaving space between musical statements is a refreshing idea. Change of direction ( up now, rather than down ) with the notes is good.A rhythmic figure derived from the language of jazz is good, possibly repeating over and over in a sequential pattern. Sustained sound versus always moving around is good. What I refer to as a "Landing Tone" is an important concept to keep in mind. In other words being aware of where you are eventually going to end up and "land" ( quit moving around ), is important. It is always a good thing to wrap up your solo with a positive "Landing", no matter how simple or complex it may be, as the ear of the listener wants to know that you the soloist, were intentional in bringing your solo to a conclusion.