<p>The Art of ImprovisationVersion 1.0 8/22/2000</p><p> Creating real-time music through jazz improvisation </p><p>*Introduction*</p><p>by Bob TaylorAuthor of Sightreading Jazz, Sightreading Chord Progressions2000 Taylor-James Publications</p><p>About This BookWelcome to The Art of Improvisation ! This section is about: Why I Wrote The Art of Improvisation Highlights of The Art of Improvisation Acknowledgements and BRIDJJ Listening to Jazz</p><p>Why I Wrote The Art of Improvisation So how do they do it? How do the great improvisers create musical tales of suspense and wonder? Can we improvise like they do by copying what they play? I used to think so, but now Im convinced its better to visualize and understand their ideas, not just copy them. Great players know and use seven elements of improvisation; I wrote The Art of Improvisation to help you learn and use these elements like they do. Its not a wizards apprenticeship; its a real process you can learn a step at a time. You can include the principles in The Art of Improvisation in your daily practice to greatly speed up your progress in improvisation. Youll recognize these principles when you listen to the solos of great jazz improvisers.What This Book Is and Isnt About ..</p><p>In this book youll use the Yes concepts below, not the typical No methods.</p><p>' Yes:</p><p>Learn a variety of flexible scales that help you create musical ideas.</p><p>X No: Start with the blues scale, stay with the blues scale, and eventually become trapped by the blues scale.</p><p>' Yes:X No:</p><p>Create, develop, and express your own musical ideas and phrases. Memorize jazz patterns and try to turn them into improvisation. Learn to create and develop melodies first, then use changing chords. Study chord progressions first (get on the freeway, then learn to drive). Create melodies that sometimes fit, sometimes transcend the chords.</p><p>' Yes:X No:</p><p>' Yes:</p><p>X No: Play arpeggios so much that your listener is sure what chord youre playing against, but not sure if you know much else about improvising.About the Author</p><p>My early music background was classical; I started playing jazz as a freshman in college. At first I learned to improvise by copying patterns and by transcribing solos. But after extensive listening, I discovered solid principles in the solos of great improvisers. I used them, adapted them, and shared them with students. This book gathers what I learned in years of playing, teaching, and research.</p><p>About This Book</p><p>i</p><p>Some of my credits: Masters Degree in Music Education, California State Univ., Los Angeles Jazz faculty member at Cal. State L.A., Pasadena City College, and BYU Member of BYU Faculty Jazz Quintet and BRIDJJ jazz/fusion group Author of Sightreading Jazz and Sightreading Chord Progressions</p><p>Highlights of The Art of Improvisation The Art of Improvisation is a two-volume set that includes the features listed below, and more, to help you learn and master jazz improvisation: Easy-to-read explanations of 7 elements of improvisation, in 5 skill levels. Over 350 concise musical examples to illustrate what youre learning. Over 200 exercises to help you try out what youve learned. Most exercises have three levels of difficulty: Basic, Medium, and Challenge. Chords for 130 standard jazz tunes in a clear, easy-to-read format. Transcribed jazz solos from the BRIDJJ CD Beat the Rats. Ideas for teaching with The Art of Improvisation.</p><p>Other Books Ive Written</p><p>Sightreading Jazz, a complete method for reading pitches, rhythms, and melodies, for all instruments in treble or bass clef. Exercises can be recycled and varied, creating thousands of new sightreading examples. Also available are transposed exercises (Bb and Eb) for ensemble practice along with the concert key exercises. Acknowledgments and BRIDJJ Id like to especially thank those who have helped to bring this book to light: My wife, Jennifer, for her constant support and writing insights. My daughters, Jamie, Jessica, and Johanna, for sharing me with the computer. My parents, Harold and Jean, for the musical legacy they left me. John, for his love of jazz and art. Mick, for his love of engineering, and Rosie, for her love of the classics. Jay Lawrence, for his research and insights into latin and fusion rhythms. Rich Dixon, for his ideas on the art of playing outside. Members of BRIDJJ (Rich Dixon, Dan Waldis, Jim Stout, and Jay Lawrence). Steve Richins, Lars Yorgason, and Newell Dayley for their ideas and support. All the musicians who tested this book and provided valuable feedback.</p><p>ii</p><p>About This Book</p><p>Listening to Jazz As you study from The Art of Improvisation and practice its exercises, its essential that you keep listening to recordings of great jazz artists. As you listen, you should constantly try to: 1) Find the form of the tune so you can clearly identify the start and end of each solo chorus. 2) Switch your focus back and forth between the improvised solos and the rhythm section accompaniment, noticing how the players interact and support each other. 3) Identify interesting ideas and match them with concepts from the Art of Improvisation, so you can adapt them in your own improvisation.Some Famous Jazz Improvisers</p><p>The artists and recordings below can serve as a basic listening guide for your improv study (dates are approximate). Be sure to branch out and try new artists and recordings as you develop your own styles and tastes. For artists and recordings in fusion and latin styles, see Chapter 3C: Fusion and Latin Styles. StyleEarly jazz (1900-30)</p><p>Instrum.Trumpet Woodwinds Trombone Piano Eddie Lang Bessie Smith</p><p>ArtistLouis Armstrong, Bix Beiderbecke Sidney Bechet, Johnny Dodds Kid Ory, Jack Teagarden Scott Joplin, Jelly Roll Morton, Earl Hines, Fats Waller, James Johnson</p><p>Guitar Vocalists Swing (1930-45)</p><p>Trumpet Roy Eldridge, Sweets Edison, Cootie Williams Tenor SaxLester Young, Coleman Hawkins, Ben Webster Alto Sax Johnny Hodges, Benny Carter Clarinet Benny Goodman, Jimmy Dorsey, Artie Shaw Trombone Tommy Dorsey Piano Art Tatum, Duke Ellington, Count Basie Guitar Charlie Christian, Django Reinhardt Bass Jimmy Blanton, Oscar Pettiford Vibes Lionel Hampton Violin Stuff Smith, Stephane Grappelli Drums Gene Krupa Vocalists Billie Holiday Trumpet Dizzy Gillespie, Fats Navarro Alto Sax Charlie Parker, Sonny Stitt Tenor SaxDon Byas Trombone J. J. Johnson Piano Bud Powell, Thelonious Monk Drums Kenny Clarke, Max Roach, Buddy Rich Vocalists Ella Fitzgerald Trumpet Miles Davis, Chet Baker Alto Sax Paul Desmond, Lee Konitz, Art Pepper Tenor SaxStan Getz Bari Sax Gerry Mulligan Trombone Bob Brookmeyer</p><p>Bebop (1945-55)</p><p>Cool (1950-65)</p><p>About This Book</p><p>iii</p><p>Piano Drums Hard Bop (1955-70)</p><p>Dave Brubeck, Lennie Tristano Shelley Manne, Joe Morello</p><p>Trumpet Clifford Brown, Kenny Dorham, Lee Morgan, Freddie Hubbard Alto Sax Cannonball Adderley Tenor SaxSonny Rollins, Dexter Gordon, Joe Henderson Trombone Slide Hampton Piano Oscar Peterson Guitar Wes Montgomery, Joe Pass Organ Jimmy Smith Vibes Milt Jackson Bass Ray Brown Drums Shelley Manne, Joe Morello Vocalists Jon Hendricks Trumpet Miles Davis Tenor SaxJohn Coltrane, Wayne Shorter Piano McCoy Tyner Bass Paul Chambers, Ron Carter Drums Elvin Jones Trumpet Don Cherry, Lester Bowie, Don Ellis Alto Sax Ornette Coleman Tenor SaxJohn Coltrane, Albert Ayler Woodwinds Eric Dolphy Trombone Roswell Rudd, Albert Manglesdorff Piano Cecil Taylor Guitar John McLaughlin Bass Charles Mingus, Charlie Haden Trumpet Woody Shaw, Wynton Marsalis, Arturo Sandoval, Terence Blanchard, Wallace Roney Alto Sax Phil Woods Tenor SaxMichael Brecker, Branford Marsalis, Joshua Redman Clarinet Buddy DeFranco, Eddie Daniels Flute Hubert Laws Trombone Bill Watrous, Frank Rosolino, Carl Fontana Piano Chick Corea, Herbie Hancock, Joe Zawinul, Keith Jarrett, Clare Fischer, Marcus Roberts, Gonzalo Rubalcava, Joanne Brackeen Guitar John McLaughlin, John Scofield, Allan Holdsworth, Jim Hall, Pat Metheny, Mike Stern Vibes Gary Burton Harmonica Toots Thielemans Violin Jean-Luc Ponty Bass Niels Henning Orsted-Pedersen, John Pattitucci, Eddie Gomez, Dave Holland, Christian McBride Drums Tony Williams, Jack DeJohnette, Jeff Watts Vocalists Sarah Vaughn, Betty Carter, Bobby McFerrin</p><p>Modal Jazz (1960-70)</p><p>Free Jazz (1960-75)</p><p>Recent (1975- )</p><p>iv</p><p>About This Book</p><p>Table of Contents IntroductionAbout This Book Why I Wrote The Art of Improvisation What This Book Is and Isnt About .. About the Author Highlights of The Art of Improvisation Other Books Ive Written Acknowledgments and BRIDJJ Listening to Jazz Some Famous Jazz Improvisers Improvisation Levels and Elements About the Five Levels Starting at the Beginning Sneaking Ahead Exercises The Seven Elements of Improvisation Making the Seven Elements Work for You Skills You Need Jazz Improvisation Myths Myth #1: Youre Born With It Myth #2: You Need Perfect Pitch Myth #3: You Cant Practice Without Your Instrument Myth #4: Classical and Jazz Dont Mix Definitions of Improvisation Q1: How Do You Make It Up? Q2: What Makes It Good or Bad? Bad Habits of Improvisation Q3: What Are Notes? Q4: What about Wrong Notes? Q5: Who Communicates? Jazz Improvisation and Other Arts i i i i ii ii ii iii iii 1 1 1 1 2 2 2 2 3 3 3 3 3 4 5 5 5 5 5 6 6</p><p>Painting and Jazz Improvisation Classical Composition and Improvisation Language and Improvisation Standup Comedy and Improvisation Chapter Review Why Learn to Improvise? Self-Expression Creativity Teamwork Values Learning Values through Improvisation #1: Discernment and Wisdom #2: Integrity #3: Leadership #4: Informed Risks #5: Diversity About Creativity The Creative Process Steps in the Creative Process Five Barriers to Creativity</p><p>6 7 7 7 8 9 9 9 9 10 10 10 10 10 10 11 11 11 11 12</p><p>Barrier 1: Only One Way to Solve a Problem 12 Barrier 2: Our Creation Must Be All New 12 Barrier 3: We Dont Know Materials/Tools 12 Barrier 4: We Dont Plan or Visualize Barrier 5: We Let Fear and Ego Defeat Us Creative Improvisation Can Improvisation Be Pre-Determined? Improvisation and the Creative Process Chapter Review About the Exercises Using the Exercises Variety in Exercises Reviewing Exercises 13 13 13 13 14 14 11 15 16 16</p><p>Q6: What Do You Communicate and How? 6</p><p>Level 1 - Starting1A: Using the Virtual Practice Method 1.1 Steps for Virtual Practice Practicing with the Circle of Fourths 1.2 Practicing Major Scales Using Flexible Scales 1.3 Using Flexible Major Scales 1.4 Using Thirds in Flexible Scales More Practice SHAPE: See, Hear, And Play Expressively Using SHAPE Avoiding PHASE Improvising with a Background Chapter Review 1B: Chords and Scales Understanding Chord Symbols Basic Elements of Chord Symbols Building Major Chords 1.5 Spelling the 12 Major Chords 1.6 Practicing Major 7 Arpeggios Building Lydian Scales 1.7 Spelling The 12 Lydian Scales 1.8 Practicing Flexible Lydian Scales Building Dominant Chords and Scales 1.9 Spelling the 12 Dominant 7 Chords 1.10 Practicing Dominant 7 Chords 1.11 Spelling the 12 Mixolydian Scales 1.12 Practicing Flexible Mixolydian Scales Building Minor Chords and Scales 1.13 Spelling the 12 Minor 7 Chords 1.14 Practicing Minor 7 Chords 1.15 Spelling the 12 Dorian Scales 1.16 Practicing Flexible Dorian Scales 1.17 Flexible Scales with Wide Intervals 19 19 20 20 20 20 21 21 21 21 22 22 22 23 23 23 23 23 24 24 24 24 25 25 25 25 25 26 26 26 26 26 27</p><p>1.19 Flexible Scales: Wider Intervals, Alternate Rhythms 28 Chapter Review 1C: Melodic Color Color Tones 1.20 Naming the Color Tones 1.21 Emphasizing Color Tones 1.22 Using Color Intervals Handling the Fourth Degree Suspended Chords Handling the 4th Degree in Minor Finding Color Tones in Written Music 1.24 Color Tones in Transcribed Solos Soloing with Color Tones Chapter Review 1D: Rhythmic Variety Latin, Fusion, and Swing Styles Latin Style Fusion Style Swing Style Using Offbeats 1.25 Emphasizing Offbeats Mixing Offbeats and Downbeats 1.26 Consecutive Offbeats: Half-Notes 1.28 Shifting: Downbeats and Offbeats Playing Interesting Rhythms 1.29 Shorter and Longer Values 1.30 Using Triplets 1.31 Using Triplets with Ties and Rests Using Rhythmic Combinations Virtual Practice Method for Rhythms 1.33 Visualizing Rhythms 28 19 29 29 29 30 30 31 31 32 32 32 32 33 33 33 33 33 33 34 34 34 35 36 36 36 37 37 38 38 39 Chapter Review 39</p><p>1.23 Handling the 4th in Major &amp; Dominant30</p><p>Soloing with Color Tones &amp; Flexible Scales 32</p><p>1.27 Consecutive Offbeats: Quarter-Notes 35</p><p>More Practice with Flexible Scales and Arpeggios27 1.18 Flexible Scales with Alternate Rhythms 27</p><p>Rhythmic Precision: Thinking Like a Drummer</p><p>1E: Using Expression The Role of Expression Sound and Technique Playing with Expression #1: Subtle and Occasional #2: Varied #3: Well-Timed Using SHAPE for Expression Using Dynamics 1.34 Dynamic Variety Varying Accents and Articulations 1.35 Using Accents 1.36 Using Articulations Chapter Review 1F: Developing with Motifs and Phrases About Development The Classical Connection Excuses for Not Developing Creating a Motif 1.37 Motif Examples Motifs from Tune Melodies Varying a Motif Degrees of Variation 1.38 Varying Motifs 1.39 Developing Earlier Motifs Creating Phrases 1.40 Phrase Types 1.41 Connecting Motifs How to End Phrases Economizing Dealing with Silence Eliminating Phrase Barriers 1.43 Phrase Barriers Development Exercises, Level 1 Chapter Review</p><p>40 40 40 40 40 41 41 41 41 41 41 42 42 42 43 43 43 44 44 44 45 45 45 45 46 46 46 47 48 48 48 49 49 49 50</p><p>1G: Chords, Keys, and Progressions Chords in Major Keys 1.44 Using Roman Numerals in a Key Recognizing Keys in Chord Progressions 1.45 Tips for Recognizing Keys The Basic Blues 1.46 Blues Structure Using Blues Scales 1.47 Spelling the 12 Blues Scales 1.48 Practicing Flexible Blues Scales Avoiding Common Blues Scale Problems ii-V-I Progressions 1.49 Building a ii-V-I Progression 1.50 Prefacing a ii-V-I Simplifying Chord Progressions 1.51 Practice for Simplifying Chords Disadvantages of Simplifying Chapter Review 1H: The Jazz Group Group Performance Skills Time Balance and Dynamics Chord Reading Styles and Rhythmic Ideas Interaction and Teamwork Rhythm Section Roles The Chords The Bass The Drums The Tune Melody Tune Melodies on the BRIDJJ CD Chapter Review 1J: Analyzing Solos Evaluating Your Own Solos Creating, Then Criticizing Four Goals for Improving Your Solos 1.52 Practicing for Melody</p><p>51 51 51 52 52 52 52 53 53 53 54 54 54 54 54 55 55 55 56 56 56 56 57 57 57 57 57 57 58 58 58 58 59 59 59 59 60</p><p>1.53 Practicing for Rhythm 1.54 Practicing for Expression About Sound and Technique 1.55 Practicing for Development Analyzing Other Artists Solos Chapter Review Rhythm Section Techniques Chord Techniques Chord Inversions Chord Voicings for Left Hand Chord Voicings for Two Hands Bass Techniques Building a Walking Bass Line Bass Styles on the BRIDJJ CD Drumset Techniques Basic Drum Styles Drum Styles on the BRIDJJ CD Variety and Interaction Individual V..</p>