Pathways to Jazz Improvisation

Introduction

This article offers six different approaches to jazz improvisation that are not particularly difficult. Each one has infinite possibilities so the more time you spend experimenting with them (and the more creative you are), the more you will learn. Work with all six approaches in order to avoid running out of ideas or using any one method as a crutch, as often happens with the blues scale. Ultimately, you should be able to combine the fruits of your labor from all six approaches to produce well-rounded solos.

1. Learn the Head then Change some Notes and Rhythms

The written melody of a jazz tune is called the head. Get to know this part so well that you are comfortable enough to alter it: change a note or a rhythm here and there, add a few notes, or leave some out. Keep the pulse the whole time and try not to lose your place in the melody. Play-along products can help you practice this skill. A great way to get your feet wet is to swing a simple tune that you already know like Twinkle, Twinkle, Little Star. Play it a few times, give it a swing feel, add some jazzy rhythms, and even some new notes. It’s that easy: by definition, you are now improvising, or instantly composing.

2. Use the Main Scale that Works with Most of the Tune or Section

For instance, the notes of a C major scale will work throughout St. Thomas in C major. And most of the notes in a G major scale work throughout most of Autumn Leaves in e minor. You will have to look at the key and chord changes to determine what scale you can rely on for most of a tune or section. Be careful, however, not to lose yourself in the chosen scale as so many do when first working with the blues scale. You will still want to change important pitches as chords change to show an understanding of the form and the changes.

3. Use (but don’t overuse) the Blues Scale

I can’t explain the Blues Scale any better than Jamey Aebersold does here (pp. 30-35, where you can print your copy of the twelve blues scales) and here (where you can practice the blues in any key with sound files) and here. Just remember to use it mainly over tunes in the 12 bar blues form (also explained here and here). The blues scale sounds very cool very quickly so have fun with it, but make sure that you learn other ways to improvise!

4. Use Chord Tones and Passing Tones

Practice the scales and chords in the tune you are learning. The scale/chord symbols are written above your notes or in an improv section of the music. Learn which scales go with which symbols here (pp. 12-16) or at the pdf links here. It would be helpful if you know your basic scales before reading those charts. One-octave major and minor scales can be found here (bass clef) and two octave scales are here (bass clef), but you’ll need to learn more than just major and minor scales to play jazz. Don’t let this scare you off! You can hear all your scales and play along with them here (treble clef), take great lessons in scales and other music theory here, practice your scales while chords play here, and when you feel you have the hang of it, try improvising with simple chord progressions found in backing tracks to your favorite tunes.
For a tune in 4/4 with one chord per measure, play the roots (bottom note of each scale) as whole notes through the improv section. Use a play-along CD, software, website, or app.
Play roots and 3rds (half notes) for each measure.
Play roots, 3rds, and 5ths (2 quarters and a half note) in each measure.
Play the root, 3rd, 5th, 7th (4 quarters) in each measure. Now you can do what the bass player of a jazz combo usually does, except he/she chooses the notes to play in a smoother order than always 1-3-5-7. Change the order for smoother voice leading and use different combinations of roots, 3rds, 5ths, and 7ths. Once you can do this you really know the chords that go with the chord changes of the tune, and you are reading the chord symbols and choosing appropriate notes.
Continue to improvise using the notes that you learned in steps 2-6. Stay on the chord tones (1, 3, 5, 7) for now. If this is too many notes to keep track of, it may help to limit your improvisation to any 2 chord tones for a whole chorus. When you are comfortable, add the other chord tones and even passing tones (scale degrees 2, 4, and 6) between the 1, 3, 5, and 7, but lean mostly on the chord tones by putting them on the heavy beats and playing them longer.
Invent exercise patterns that use passing tones and stick to the exercise for a whole chorus. For instance, scale degrees 1-2-3/5-6-7 or 4-2-3/8-6-7 in a rhythm that fits each measure.
Combine steps 6 and 7, only now bridge one chord to another using passing tones and common tones (notes that are in two chords in a row).
Experiment! Repeat ideas. Try the “Rule of 3” (say it once, say it twice, say it differently the third time). Use silence. Make a phrase with a beginning, a peak (high point) in the middle, and an ending. Use longer ideas. Create melodies. Use dynamics.

5. Listen, Imitate, and Transcribe

Listen to jazz artists on any instrument. Pause the recording and imitate them, both on the head and on the improvised passages. Capture the notes and the style, then try playing along with them. Transcribe (write down) improvised passages, no matter how many times you need to pause the recording. Imitating and transcribing are great for ear-training and getting ideas for your own improvisation. Here is a great description of the process:

6. Scat Sing then Play What you Sang

Ultimately, you want to be able to play anything that you can think. In other words, your instrument should be a direct extension of your thought with no obstacles such as not knowing which position to go to or which valve/key to press. Go ahead, sing an improvisation then try to play it. If necessary, write down what you sang. Play-along CDs/software will provide a beat and help you stay in a key during this exercise.

Combine the Above 6 Approaches When Practicing & Improvising

Flow from a blues lick right into part of the head of the tune you are playing, glide off a chord tone into lick that you learned off your favorite jazz recording, and use other combinations of the above six approaches.

Jazz Apps, Play-alongs, Software, & Books

Follow this link and see the “software” and “Jazz Play-alongs” sections for links to play-along materials.

I recommend that interested students get the irealpro app and/or Band in a Box software. Each of those has almost every tune you can think of and the ability to change keys, speeds, style, and more. There is a handy independent user group for this BIAB and the irealpro site has forums and guides.

The Jamey Aebersold and other Book/CD sets are individually less expensive than BIAB but more than irealpro, and while they are eminently useful, they don’t have the volume of tunes and the flexibility of those. If you decide to use Aebersold, first get Volume 24 Major and Minor in Every Key, then Volume 1 Jazz: How to Play and Improvise, then others featuring artists and songs that you like. In addition to the play-along books/CDs, the web site has articles with tips for jazz soloing.

Among the many improvisation books out there are DiBlasio’s Bop Shop and DiBlasio’s Bop Shop: The Sequel. These books use cartoons, are very clear, easy to follow, and inexpensive. Find them here or at you favorite shop. Volume 1 seems to be out of print but Kendor offers a digital download.

Rich Begel