Objective 4- Task 1
Establish Critical framework to be used to design and
develop the methods to be used in the resource.
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Objective 4, tasks 1 and 2
This objective should establish what content the resource is
comprised of. In order to do this, the research done on classical training,
transcriptions and pedagogical methods will be drawn on. This gives evidence to the following:
1.
What limitations of a classical training need to
be addressed in the method in respect of improvisation?
2.
How can a classically trained pianist’s existing
knowledge relate to improvisation?
3.
What techniques and devices have respected jazz
musicians used when improvising?
4.
What is a common learning format for the
teaching of improvisation?
5.
How can learning be contextualised according to
the requirements of the user?
The answers to these questions can be used to develop and
justify methods that are going to be used in the resource.
Due to the timeframe
in which the resource is to be completed, it will concentrate on the delivery
of the essential knowledge and skills needed in order to improvise effectively. This means that the user of the method should
be able to improvise a solo that has composition like qualities. ‘A Classical approach to Jazz Improvisation’,
considers a successful improvised solo to have such qualities. These are:
repetition, fragmentation, compression, transposition, syncopation and
reharmonization. (For example see Alldis 2003 p148) Other studies also allude
to this. ‘Many improvisers…also use repetition, variation, contrast and other
forms of development to elaborate on their fundamental ideas’ (Hinz 1995 P32) The first stage of this process is to list all
the tools that are needed to improvise. These will be contained within the
resource. Following this, how these
tools can be used for effective improvisation will be identified and described.
Tools to be used for improvisation-
The study of transcriptions and other self-development
methods reveal what scales and (or) chord tones are used for improvisation.
They also show how these devices are used to improvise. Some of these methods can be used in the
proposer’s guide. The needs of the particular audience along with the time
frame play a large part in determining what concepts are to be included.
Tools for improvisation
Pentatonic scale- The Pentatonic scale is used as a starting
point for improvisation in several self-development resources. ‘Due to the simplicity of the pentatonic scale,
your concentration can be more focussed on rhythm and phrasing while
improvising. As a result your improvisation will not be disturbed by your
having to think about playing the right notes’. (Moehrke 2009 p10, Also see
Alldis 2003 p7)It is therefore arguably easier to produce more pleasing results
from the onset by using the pentatonic scale. Regardless of what note of the
scale the user chooses, dissonance will be avoided. This is important as it means the user should
be encouraged from the initial stages. If major or minor scales were used for
the first step, because of the greater number of notes, there would be more
chance of the user playing harmonically displeasing notes. In addition to this, the analysis of
transcriptions of improvisations which use the chord progressions focussed on,
reveal the use of pentatonic scales. This suggests that the pentatonic scale would
be an appropriate choice for introducing improvisation within the proposer’s
method.
(Ellington 1941)
The solo starts in bar two of the first line. It can be
observed that the notes are mostly from the C major pentatonic scale with the
exception of the two grace notes and the Ab in bar four.
The Blues scale is also arguably a fundamental component of
jazz improvisation. It too is used in several self-development methods. ‘The
blues is an integral part of the language of jazz…’ (Alldis 2003 P24) Upon
studying the transcriptions, it is found that it is often used.
For example-
(Peterson 1963)
It can also be noted in the transcriptions, that major
scales can be used for improvising.
For example-
(Peterson 1963)
Nearly all of the notes used in the first line are from the
Db Major scale. One of the advantages of including major scales as a device for
improvisation is that the intended user of the resource is already likely to
know all the major scales. For example,
the ABRSM syllabus as discussed in objective 2, represents one of the most
common formalised approaches to learning that classical musicians partake in. The
syllabus requires participants to be highly adept at both major and minor
scales. (For example see ABRSM 2010) Therefore, this presents the opportunity for
the user to be presented with a tool for improvisation that they already know,
aiding the learning process. Furthermore, this can be used as a framework
for teaching the most widely used modes; another fundamental component of jazz
improvisation. (For example see Alldis 2003 P63)
Modes- Mixolydian, Dorian, Ionian, Aeolian and Lydian- These
modes are to be included as they provide a means of improvising using a chord
centre approach. In the proposer’s
method, the chord progression focussed on is: I-MAJII-MinII-V-I. The Mixolydian mode can be used over dominant
7th chords. This means it can be used over MAJII. The Dorian mode
can be used for improvising over m7 chords. This means that it can be used over
chord MinII within the resource. Ionian can be used for improvising over MAJ7
chords. This means that it can be used for improvising over chord I within the
resource. The Aeolian mode can be used for improvising over m7 chords. This
means that it provides an alternative to using the Dorian mode. The Lydian mode
can also be used for improvising over MAJ7 chords and so it can be used as an
alternative to the Ionian.
It has also been noted that the use of Chromaticism is a
frequent feature used to provide a contrast to diatonic scales. For example:
(Peterson 1963)
Again, the ABRSM syllabus requires participants to have
thorough knowledge of this. ‘Beginning on any notes named by the examiner,
legato or staccato as directed by the examiner, hands together, 4 octaves’
(ABRSM 2010) This provides another opportunity to give the classical musician
tools to improvise based on what knowledge they already have.
Finally, chord tones are often used as a tool for
improvisation. (For example see Alldis
2003 P97)
Also:
(Peterson 1963)
This is another area where it is
probable classical pianists have got a thorough understanding. This is because
the study of arpeggios forms an extensive part of the technical requirements
for the ABRSM syllabus. (For example see ABRSM 2010 also Green 2006 P8)
All of the above represent the Plat form from which the
improvised content can be based. How
these tools can be used to improvise effectively is the next area to be discussed.
Patterns represent a fundamental component of improvisation
that can lead to an improvised solo having the qualities of a composition. (For example see Moehrke 2009 P15, also
Alldis 203 P16)
The study of transcriptions reveals several patterns over
the course of one improvised solo. For example, from the analysis of ‘Take the
‘A’ Train’ (Ellington 1941)
There are several recurring patterns that can be observed
during the solo section. The chords played at beats three and four of the bar
are sometimes on the beat crotchets which act as a break to the syncopation
which precede them. For example:
There is a repeated pattern of chords which are syncopated by the use of a
quaver rest. For example, the first occurrence:
It is then suggested again here:
And here:
There are two passages where the
melody is comprised of whole tones. The first time this occurs the melody
ascends and the second time it descends. For example:
There are three examples of ascending triplets. Each time
there is a tendency to play thirds. For example:
Also, from analysis of ‘The Girl from Ipanema’ (Peterson
1963)
The final stage concerning
the analysis of melodic content involves detailing how the phrases, both
rhythmically and melodically, relate as a whole.
There are numerous patterns that can be
observed through the analysis of melodic content of the entire solo. The last two notes of the first bar are
suggested again by the last two notes of the first bar, second line. The
interval of a perfect fourth is observed in both cases. In the first bar of the
second line, instead of the last two notes being two quavers the first is a
crotchet and the second a quaver. The two notes are suggested again during the
first bar of the third line. This time the interval is a diminished fourth. The
note values have increased again so this time there is two crotchets. In the first line, second bar, the first
three notes, form a quaver followed by two semi-quavers. This pattern can also
be observed during bar three of the third line and bar four of the fourth line.
In all cases the same intervallic order of notes are used. The same rhythm that
is introduced during bars three and four of the first line is then suggested
again during bars three and four of the second line. This time instead of there
being a tied dotted crotchet there is a dotted crotchet rest. The first three
notes in the last bar of the second line also have the same intervallic order
as that of the above bar. The same pattern of ascending quavers are observed in
bar two of the first line and in bar two of the second line. There are also
repeated triplets. Peterson mostly uses
the Db major scale for the first and second line before using the Bb blues
scale in the third line. Before returning to the Db major scale (bars three and
four of last line) he includes two bars where chromaticism is used as a link
(Bars one and two of the last line)
The two transcriptions reveal the use of devices which have
been used to create patterns. There are repeated rhythmic and melodic patterns
which lead to the solo having composition like qualities. There are several
very common devices used in order to facilitate patterns.
These include:
1.
Target notes- Both transcriptions have examples
of notes which are repeatedly targeted. Often this is influenced by the melody
of the standard. For example:
The first line consists mainly of quavers in
a step-wise melodic motion. The general shape is that notes descend and then
ascend within the range of a minor tenth.
The first note of the solo is significant as it is the same note and
note length as the first note of the melody of ‘The Girl from Ipanema’, in this
key. In addition to this, Peterson uses
three C’s during this line. C is a very
prominent note of the melody from ‘The Girl from Ipanema’. There is an example of repeated note
intervals. During the first bar, the last two quavers marked with an * are
repeated in bar three.
During the first line there is a recurring
pattern of the notes, C and E, being used. This happens five times within the
space of three bars. Ellington uses
grace notes that are a semi-tone away from the target notes that follow them.
This happens during the first bar. The Ab in bar three is a semitone away from
G and A- notes that are both in the C major pentatonic scale. The first four
notes of the second bar have the same shape as the four quavers in the first
bar. The second group of quavers in both bars also have the same intervallic
order.
2.
Approach
notes- Approaches are a very common component of jazz improvisation. This is
when a target note is preceded by one or more notes that create some tension
before being resolved. (For example see Moehrke 2009 P34) From the analysis of
the transcriptions it can be seen that usage of this technique is common.
For example:
The first C and the E
marked with an * could be described as chromatic approach notes. They both
precede notes that are a semi-tone away. (For example see Alldis 2003 p91) The
second C marked with an * could be described as a target note. It is a crotchet
and the four notes leading up to it are quavers. Also C is a very prominent
note of the melody of ‘Girl from Ipanema’ in this key. (For example see Moehrke 2009 p35)
3.
Scale
Patterns- The use of a repeated pattern within the context of a scale is also a
widely used technique. ‘A good way to
generate more musical ideas is to begin compiling a vocabulary of scale
patterns with and without rhythmic displacement’. (Alldis 2003 P16) Again, the
analysis of improvisations reveals the usage of this.
In this example the Whole-tone scale is used
in a descending motion. This highlights the need for the user of the method to
be adept at playing each scale starting on any note.
4.
Chord tone
patterns- It has been evidenced that this is also a common component of
improvisation. This again highlights the need for the user to be adept at playing
chords starting from each of the notes in the chord. For example:
During the last two bars of the solo, there is a continued pattern of
ascending triplets in thirds. Unlike the previous examples, this time the first
and last note of each triplet has been harmonized. This gives it a percussive
quality which is enhanced by the crescendo at that point. The single notes in each triplet- D,F and A
form a Dm triad. From the second bar
there is step-wise movement leading back into the chorus.
5.
Rhythmic
displacement- Alteration of the rhythm through changing note lengths and
including syncopation is a common rhythmic tool deployed within improvisation.
By playing some notes on off-beats this helps create a strong jazz feel. (For
example see Alldis 2003 P100) The transcriptions reveal examples which are in
part characterized by this. For example:
During the first line there is syncopation
introduced from the onset by means of the dotted crotchet where there is
another example of at the start of bar four. Also, the two quavers at the end
of the first bar are repeated again from the second beat of the third bar. This
time though, the length of the second note is increased in length greatly.
There is another example of rhythmic displacement at the end of bar four.
Peterson also uses semi-quavers during bar two to provide a possible means of
including a passing note.
During the second line
there is a repeated minim. There is also
a repeated pattern in rhythm between the last three notes of bar one and the
last three notes of the fourth bar. At the same places the rhythm has also been
displaced.
6.
Swing feel- A strong sense of swing is essential
to evoking the true character of jazz. (For example see Cooke, Horn 2004 P4)
Often quavers are to be swung even if they are not notated this way. For example, the transcribed solo of ‘The
Girl from Ipanema’, does not give any indication that the quavers are to be
swung.
From listening to the recording however, the swung feel can
be heard to be a fundamental component of the improvisation. (For example see
Peterson 1963)
7.
Including various combinations of scales and
chord tones within the improvisation- When improvising, it is common practice
to use a variety of different scales and (or) chord tones within the one solo.
(For example see Sarath 2009 P138) By doing this the improviser is creating a
solo rich in the vocabulary of jazz. The transcriptions of improvisations
reveal the use of this. For example, ‘The Girl from Ipanema uses the Db major
scale and Bb blues scale extensively. There is also frequent chromaticism,
adding greater colour.
Contour-This refers to the shape of the melody line,
determined by its pitch. The contour of a solo must be considered carefully in
order for the improviser to produce a convincing solo. If the improviser uses
too narrow a register throughout the entirety of a solo then this may become boring.
If the improviser makes use of the full register available then this can aid
the development of the solo. For example, on starting the solo, the improviser
may play in the lower register and then move up the register as the solo
continues to enhance momentum. (For example see Alldis p155 2003) All of the
techniques listed to this point must be taught in a way that aids melodic
contour.
Knowledge of harmony- In order to facilitate both
improvising using chord tones and the user being able to apply a rudimentary
accompaniment, it is essential that some knowledge of harmony is included in
the guide. It is common place for
resources concerning the teaching of jazz to often have a separate guide for
jazz harmony. For example ‘A Classical Approach to Jazz Piano’,(Alldis 2003) is
also supplemented by ‘ A Classical Approach to Jazz Piano Exploring harmony’(Alldis
2003) ‘Jazz Piano solo concepts’, (Moerke 2000) is supplemented by ‘Jazz Piano
Voicing Concepts’ (Moerke 2007). The author states the basis for the book: ‘One
reason for this new edition of Voicing Concepts was that many students lacked
the basic understanding of chord structures. However, these basics are
necessary for understanding more complex harmonic concepts employing different
voicings.’ (Moehrke 2007 P7) The addition of a second resource dedicated to
harmony is to help the learner achieve a comprehensive understanding of
harmonic structures that underpin the improvisation. As a second resource is out with the scope of
the proposer’s project, the guide will concentrate on the essential knowledge
required to improvise using chord tones and for the user to be able to provide
a rudimentary accompaniment for solo improvisation.
Left-Hand voicings- Close Voicing’s can be played in the
left-hand which contain the root, third and seventh of the implied chord. This
provides a means of relating accompaniment to chord-tone patterns that the learner
is to be introduced to in the right hand. For example, if the learner has
already been taught how to improvise using chord tones before being taught left
hand accompaniments, then they already know what notes are contained within
each chord. This could then form the
basis for a left-hand voicing consisting of root, third and seventh. This is recognised
as an appropriate choice for solo accompaniment. (For example see Moerke 2007
P74) With the absence of a bass player, the root note is provided which means the
chord centre is established, the third defines whether the chord is major or
minor and the 7th provides the additional layer of colour needed for
a 7th chord. For a 9th,
11th or 13th chord, a fourth note could be added in order
to do this. The transcriptions studied also reveal the use of this form of
accompaniment. For example:
Another accompaniment style that the improviser can use when
unaccompanied is the Walking Bass Line. This is because it resembles that of
what a double bass player would play within the context of an ensemble. Therefore, it provides an effective rhythmic and
harmonic foundation for the improvisation. ‘Walking bass lines are an essential
part of the vocabulary of jazz.’ (Alldis 2003 P144) The bass line of ‘Take the
‘A’ Train’ (Ellington 1941) reveals this form of accompaniment.
For example:
Upon analysis of the first system a walking bass line consisting
entirely of crotchets can be observed. It is apparent that nearly all of the
notes are from the C major scale which establishes the tonal centre. The notes
that are an exception to this are, the Ab in bar one of the solo and the C
sharp in the last bar. These could be described as chromatic approach notes as
they come at the last beat of the bar, preceding notes from the C major
scale. The right hand during this line
provides fairly sparse harmony as there is never more than two notes played
together. Because of this there is sometimes one note of the chord omitted. For
example, the first two notes in the right hand are C and E. The first note in
the left hand is C. The chord symbol is C and so the G is omitted.
A Walking Bass line in isolation doesn’t provide as full a
harmonic underpinning as the Close Voicing’s do. In order to accommodate for
this, notes of the chord are often included in the right hand. For example:
During the second system the left hand continues with the walking bass
line. The second note of bars one and two could be described as a passing note.
This is because they both link chord tones. From the second bar of the right
hand, the full harmony implied by the chord symbol can be seen. This introduces
a dense texture which contrasts with the sparse texture seen up to this point.
In conclusion, through the analysis of transcriptions of
improvisations, existing teaching methods and characteristics of a classical
training, the essential ingredients needed to improvise have been identified.
This comprises of: The Pentatonic major scale, the Blues Scale, Major Scales
and the modes derived from them and chord tones. What techniques and concepts
can be used to improvise effectively has then been identified. This comprises
of: Target notes, Approach notes, Scaleic Patterns, Chord tone patterns, the
inclusion of various scales and (or) chord tones within one solo and contour.
With the desire that the learner should be able to apply a rudimentary
accompaniment suitable for soloing within an unaccompanied context, appropriate
accompaniment styles have been identified and explained. This comprises of close
voicings and walking bass lines.
References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Creech,et,al(2008)
Investigating musical performance: commonality and diversity amongst classical
and non-classical musicians, Music
Education Research,10(2)p215-243
Hinz,B.(1995)Helping
students master improvisation: Bob
Hinz introduces the concept of improvisation and suggests ways to develop
improvisation skills in students, Music
Educators Journal, 82, p32-36
Hussey.C.
Ed.,(2007).Great Jazz piano solos Book
two,(Music scores), Wise publications.
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music
scores), Wise publications
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
Sarath,E.(2009) Music Theory
Through Improvisation: A New Approach to Musicianship Training, Routledge
Cooke,M.Horn,D.(2003)The Cambridge
companion to Jazz, Cambridge University Press
