2.1.2- Identify and describe aspects of a classical training
which act as a barrier to improvisation
In order to facilitate accuracy, it is first fundamental to
define what the characteristics are of a classical training compared with a
popular training.
‘Popular music education in and for itself,
and for ‘other’ music: current research in the classroom’ (Green 2006) is a
journal article that discusses how popular music has been introduced to the
school curriculum within a formalized context. The author argues that this
ignores the informal approach of popular musicians (For example see Green 2006
Abstract) An informal approach to learning is at odds with the formalised
approach that classical musicians partake in: ‘These differ greatly from
formal music educational procedures and from the ways in which classical
musical skills and knowledge have been acquired and transmitted, at least over
the last two centuries or so’ (Green 2006 P8) The author
identifies key characteristics of a classical training. This concentrates on
the emphasis on notation, having pieces chosen for the classical musician,
supervision by a teacher who has more advanced skills than the learner and
reproduction. (For example see Green 2006 P8) ‘In the formal realm,
pupils follow a progression from simple to complex, which often involves a
curriculum, syllabus, graded exam, specially composed piece or exercises.’(Green
2006 p8) This contrasts with the characteristics of popular musicians learning
which focuses on: playing by ear, choosing pieces based on musicians ‘own
preferences, learning in a group, improvisation and an emphasis on creativity .
(For example see Green 2006 P8)
This view is further evidenced by quantitative research into
the practice regimes of classical and non classical musicians. ‘Investigating musical performance:
commonality and diversity amongst classical and non-classical musicians’, (Creech,et,al 2008) is a review
article focussing on what the characteristics are of classical musicians and non-classical musicians. ‘While classical musicians emphasized
the drive to excel musically and technically and prioritized notation-based
skills and analytical skills, non-classical musicians attached greater
importance to memorizing and improvising.’(Creech,et,al 2008)
Both of these journal
articles help to confirm that the reliance on the written score is one of the
most apparent reasons for a classical musician’s difficulty in making the
transition to improvisation. This difficulty
is exemplified when considering that the process of improvisation focuses on
spontaneity. It is defined as ‘A performance according to the inventive whim of
the moment, i.e. without a written or printed score and not from memory.’
(Oxford 2007) The ABRSM classical
syllabus represents perhaps the most common example of the curriculum, syllabus
and graded exam that as Green discusses is a common characteristic of a
classical training. ‘As the world's
leading specialist in music assessment, our consistent and rigorous
approach carries recognized international authority. ‘(Exams from ABRSM N.D) In recognition of
the fact that the syllabus has limitations regarding how broad an education it
provides, the ABRSM states, ‘Exam syllabuses are not intended to provide a
complete curriculum. Students are encouraged to play and experience as much
music as possible, embracing a wide range of genres.’ (Exams from ABRSM N.D)
Further evidence of this is that the ABRSM have an entirely different syllabus
for the study of jazz. For the classical
syllabus learners are required to learn pieces which are from different
periods. This is always in full notation form from the bottom grade to grade 8,
the highest grade. (For example see Jones.R.Ed.,(2010).Selected piano exam pieces 2011 and 2012 Grade 8, (Music
scores),ABRSM Publishing) It is therefore conceivable that a classical musician
could reach grade 8 level and have no experience in playing anything other than
the written score. Indeed the results from ‘Investigating musical
performance...’ would seem to highlight this: ‘Classical musicians... prioritized
notation-based skills... Classical musicians ranked the ability to improvise as the least
important musical skill, the non-classical musicians assigned the least
importance to the ability to sight-read.’ (Creech,et,al 2008 P8) Each of the pieces within the syllabus has
short performance notes which describe the background of the piece and give
guidance to the effect that should be achieved.
For example, ‘Its forte passages
often sound like imitations of orchestral tuttis, and it makes a special
feature of sharp dynamic contrasts...The cross hands development falls
harmonically into two-bar phrases, and the f
at b.60 suggests quieter tone in the preceding eight bars.’ (Sadie 1978 P32)
In addition to the performance notes, the ABRSM also publishes teaching notes
for further advice on how the piece should be played. Although the player is afforded room for
interpretation, (For example see Jones
2010 Pieces) this highlights the
emphasis in classical music placed on reproduction. (For example see Green 2006
P8) Within improvisation however, the
improviser does not have such guidance as they themselves are the composer. It
is therefore arguable that a classical musician who has always had this level
of instruction may have some reliance on it due to it being an integral part of
their musicality. What is also a
fundamental component in jazz is swung rhythm. (For example see Cooke, Horn
2004 P4) The ABRSM syllabus presents learners with pieces from the baroque,
classical and twentieth century periods. From analysis of these pieces, it
seems possible that a candidate could choose one piece from each of the three
periods and not encounter swung rhythms.
This contrasts with notated jazz where it is often assumed that quavers
are to be swung, even if they are not notated this way. (For example see Cooke Horne 2004 P117)
Other than the
reliance on the written score, it is possible that the environment of learning
within a classical education may be of detriment in respect of improvisation.
For example, both of the journals state that classical musicians don’t tend to
place an emphasis on learning within a group context. ‘Not only is the informal
learner self-taught, but crucially, learning takes places in groups... This is
quite distinct from the formal realm, which involves adult supervision and
guidance from an expert with superior skills and knowledge’ (Green 2006 P8) ‘Although
both classical and non-classical musicians assigned relatively high relevance
to practising alone, classical musicians were found to assign significantly
greater relevance to this activity (t = 3.14(214), p = .002) than did
the non-classical musicians.’ (Creech et al 2008 p11) It is arguable that the
process of improvisation is aided when it is within the context of a
group. A fundamental component of jazz
improvisation is call and response. (For
example see Cooke, Horn 2004 P4) It can be appreciated that this is a component
that lends itself well to improvisation within an ensemble. Within the study of jazz pedagogy, an emphasis
on teaching improvisation within the context of an ensemble is often advocated.
David Barker’s ‘Jazz Pedagogy’, discusses methodologies for this. ‘In large heterogeneous
classes...Very often we play a game of call and response with various students
alternating as leader’. (Barker 1979 P168)
‘Music Theory through improvisation’, by Edward Sarath also describes an
ideal methodology for teaching within an ensemble. ‘Sit in a circle if possible. Select a scale that everyone knows. Each musician
is to play only long tones, selecting notes only from the designated scale.
Listen carefully to the collective sonority as you enter and try to hear in
advance how your tone will fit in’. (Sarath 2009 P3) In both cases there is evidence of pedagogy that
takes place in the most conducive environment for the learning of
improvisation.
In summary, it has been evidenced that both the emphasis on
notation and learning in isolation are key factors within a classical education
that are at odds with the freedom of improvisation and the importance of the
group within improvisation. This acts as crucial research as how to contextualize
the pedagogy that is to be applied to the proposers guide. For example, teaching concepts within the
context of notation could be a way of targeting learning to the intended user
of the guide. ‘A Classical approach to
jazz improvisation’, (Alldis 2003) uses this as a main theme. As the proposer’s method is to be a
self-development guide, the importance of the group within improvisation could
be recognised with the addition of a CD.
Monday, 27 February 2012
Objective 2 Task 1
The first task for this objective is to prepare a bibliography of resorces which will facilitate the study of a classical musicians education. The results of this then help contextulise the pedagogy that will be applied to my guide as it allows for an understanding of classical musicians needs.
Objective 2- Identify classical training characteristics
2.2.1- Prepare bibliography of resources needed for the study of classical musicians education
ABRSM.(2010).Specimen Aural Tests
Grade 8,ABRSM Publishing
ABRSM.(2008).Piano specimen
sight-reading tests Grade 8,(Music scores), ABRSM Publishing
ABRSM.(2010).Piano scales and
arpeggios Grade 8,ABRSM Publishing
Alldis,D.(2003)JAZZ PIANO
IMPROVISATION, Hall Leonard
Barker,D.(1978)JAZZ PEDAGOGY, Alfred
Cooke,M.Horn,D. The Cambridge
companion to Jazz, Cambridge University Press
Creech,et,al(2008) Investigating musical performance: commonality and
diversity amongst classical and non-classical musicians, Music Education Research,10(2)p215-243
Jones.R.Ed.,(2010).Selected piano
exam pieces 2011 and 2012 Grade 8,(Music scores), ABRSM Publishing
Green,L.(2006). Popular music education
in and for itself, and for ‘other’ music: current research in the classroom, International journal of music education,24(2)p101-108
Sarath,E.(2009)Music Theory through Improvisation, Rootledge
Objective 2- Identify classical training characteristics
2.2.1- Prepare bibliography of resources needed for the study of classical musicians education
ABRSM.(2010).Specimen Aural Tests
Grade 8,ABRSM Publishing
ABRSM.(2008).Piano specimen
sight-reading tests Grade 8,(Music scores), ABRSM Publishing
ABRSM.(2010).Piano scales and
arpeggios Grade 8,ABRSM Publishing
Alldis,D.(2003)JAZZ PIANO
IMPROVISATION, Hall Leonard
Barker,D.(1978)JAZZ PEDAGOGY, Alfred
Cooke,M.Horn,D. The Cambridge
companion to Jazz, Cambridge University Press
Creech,et,al(2008) Investigating musical performance: commonality and
diversity amongst classical and non-classical musicians, Music Education Research,10(2)p215-243
Jones.R.Ed.,(2010).Selected piano
exam pieces 2011 and 2012 Grade 8,(Music scores), ABRSM Publishing
Green,L.(2006). Popular music education
in and for itself, and for ‘other’ music: current research in the classroom, International journal of music education,24(2)p101-108
Sarath,E.(2009)Music Theory through Improvisation, Rootledge
Monday, 20 February 2012
(Objective 1 Task 4) Complete analysis of 'Take the 'A' Train
Click This link to download copy of analysis with images- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjI4NmFmNTlkMjE1NjU0Ng
The solo of 'Take the 'A' Train' uses the chord progression that I am focussing on- I-II-II-V-I. It is contrasting to that of 'The Girl from Ipanema' as it was recorded more than twenty years prior and so provides a very famous example from the swing period. As such, the features it uses are different. As with 'The Girl from Ipanema', the juestification for analysing the transcription is that it provides an accessible means of identifying and understanding a particular artists approach to improvisation. This then contributes to building a critical framework for the development of concepts within my method. The rationale for the inclusion of concepts is then provided as the analysis of transcriptions act as a reference for what different artists' approaches are.
Analysing ‘Take the ‘A’ Train’
The piano solo transcription of ‘Take the ‘A’ Train’, contrasts with that of ‘Girl from Ipanema’ as the left hand almost entirely consists of a walking bass line as opposed to the Peterson transcription which uses close voiced chords. As a result of this, the right hand of ‘Take the ‘A’ Train often includes fairly dense harmony as part of the improvisation. Being recorded in 1941, it also comes, during the swing period- more than twenty years earlier than Peterson’s recording of ‘The Girl from Ipanema’. It therefore represents a contrasting piece that still uses the same chord progression.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation and isolate this fromthe accompaniment.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation.
1. There is a 24 bar solo in ‘Take the ‘A’ Train’. It can be observed that the left- hand consists almost entirely of single notes that resemble a walking bass line. The right hand therefore comprises of the improvisation. What is a consistent feature is that most of the content in the right hand has been harmonized with the harmony following the same rhythm as the highest note. The highest note of the right hand therefore could be said represents the melody. For example:
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
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.
During the first bar of the second line chord tones from E7 can be observed before various inversions of Dm7 are used in the second and third bar. The inversions used are determined by what the melody note is.
During the first bar of the third line, all the notes are from the C major scale and have been harmonized in minor thirds. The rest of the line uses various inversions of chords depending on what the melody note is.
During the first bar of the fourth line there is a series of notes which move chromatically and have been harmonized in thirds.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
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.
During the second line the last three notes of the first bar comprise of the root, fifth and seventh of the E7 chord. The seventh, a D, creates a step-wise movement onto the melody note, C, of the next bar. In bar two, the first three inversions of the chord descend, before the next three inversions ascend. The last two chords, G9 and G7(b9) have E and F as the melody note. This has been already been suggested during bar two of the second line.
During the third line, first bar, it can be noted that there is an emphasis on notes B and D, which are played on all of the four beats. During the second bar there is decreasing intervals between each of the four melody notes. What is also apparent is that there is a D sharp introduced during at the third chord inversion of bar two. This is ahead of the D sharp being introduced as a melody note in the next chord. It is also significant because of the emphasis on D natural during bar one. During bars three and four, all the chord inversions are of C6 and so the A gives an additional layer of colour. Bar four follows the same ascending pattern as bar three. There is an additional inversion of the chord that uses E as the melody note which seems to act as a response to what is suggested in the preceding bar.
During the fourth line, bars one and two, the melody ascends using whole tones. From bar three to four, the notes continue ascending using the interval of a third each time.
The pattern of ascending notes concludes by means of the semibreve chord in bar two of the fifth line. The chord that precedes this has the melody note of F which provides a stepwise movement to the melody note of G seen in the target chord. During the third bar the G sharp is significant as it is a semi-tone higher than the G natural that can be seen in the target chord.
During the sixth line, the same intervals used in the first bar are once again used in the second. The major 7th of the chord, E, is the first note used both times. The E is then suggested again during the first note of the third bar where it is a semi-tone below F. From that point, another series of ascending notes in thirds starts.
During the first bar of the seventh line, the first triplet has the same intervallic order as the last triplet in the bar. The second triplet continues a pattern of thirds which was seen in the previous bar. Also, the major 7th interval introduced as the first note of the series of triplets during the previous line, recurs again as the last note of the series of triplets. During the next two bars the first four notes contain a phrase which is then repeated starting on a lower note during the second phrase and a lower note again during the third phrase.
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. Bec From the second bar there is step-wise movement leading back into the chorus.
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
During the first line of the solo the rhythm of the second phrase has been suggested in the first phrase. The dotted quaver which is the second note of the first bar has been used again as the first note of the second bar. The off beats are also accentuated at beats four and a half during the first and second bar. This enhances the effect of the rhythmic displacement.
During the second line of the solo, the dotted rhythm pattern that was introduced during the first line is suggested again at bar one. From bar two there are five quaver chords in a row that have been separated by quaver rests. These have all been accentuated resulting in a strong sense of rhythmic displacement. The two crotchets during the third bar act as a transition into the next line. They come on on-beats and so contrast with the syncopated chords which come before them.
During the third line of the solo, the dotted note pattern continues. Also, the syncopated quaver pattern introduced in the above line is continued in bar two of this line. In bar three, the last two chords are on-beat crotchets which were suggested at the last bar of the previous line. In addition, the phrase in the fourth bar of the third line could be described as a rhythmic variation of the preceding bar. Quavers are used in order to decrease the note lengths.
The first two bars of the fourth line again continue with the syncopated quaver pattern which has been included in the last two lines. The third bar, introduces a triplet pattern without the addition of quaver rests which creates a sense of momentum.
During the fifth line the triplet pattern leads to two on beat crotchets during beats three and four. This is a recurrence of what happens during lines two and three.
During the sixth line, the second bar could be described as a rhythmic variation on the preceding bar. The quaver rest which comes on the first beat of the first bar moves to beat two of the second bar. The first dotted crotchet chord of the first bar becomes a quaver in the next bar. The triplet pattern is continued in the third bar which once again gives a contrasting rhythm to the two syncopated bars which precede it.
During the seventh line in bars two and three, just as the melody follows a pattern, the same syncopated rhythm occurs three times.
During the seventh line, the ascending pattern of triplets is used to conclude the solo. It could also be said that the lengths of the notes decrease as it concludes. For example, the last chord of bar one is still part of a triplet, in bar two; two quavers are played on the first beat before the last chord of the solo is two and a half beats long.
The final stage concerns analysing how the phrases, both rhythmically and melodically relate as a whole.
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:
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
1. The left hand part of ‘Take the ‘A’ Train’ consists almost entirely of a walking bass line which means that it can be regarded as accompaniment. It has already been discussed that the right hand often consists of the melody being harmonized by the lower notes in the right hand. For example:
It can be observed that all of the notes below the top note of the right hand are from the chord. Therefore, they could be described as part of the accompaniment as they contain the harmony implied by the chord symbols.
2.
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.
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.
During the third system increased intervals can be seen in the first two bars of the left hand. Instead of a step-wise movement seen in the first two systems, the intervals of a third and fourth are used. At bar one of the right hand, the lower of the two notes increases the colour of the harmony. The chord is C and the lower notes are B and A- The major seventh and major sixth. From bar three the left hand, for the first time follows the exact shape of the right hand. The tonal centre of C is implied by the first C of the left hand, which is unaccompanied, at bar three.
During the fourth system, the first unaccompanied D of the left hand establishes the tonal centre before the left hand plays the same notes as the melody but an octave lower. The two notes of the right hand that come below the melody note in each chord therefore imply the harmony suggested by the chord symbol. At bar three it can be noted that all the notes are chord tones from Dm. The texture is however much sparser as the right hand consists of just single notes.
During the fifth system there are two examples of an octave interval in the left hand which reinforces what the chord is at these points. From where the chords in the right hand are re-introduced at the first bar, they all have a major second interval. This creates a dense texture which contrasts with the single note triplet pattern which preceded them.
During the fifth system all the notes in the left hand are chord tones from F major. This defines the chordal centre and the notes in the right hand produce the additional chord tones that are suggested by the chord symbol.
The bass line in the sixth system continues with playing solely, notes of the triad from which the chord is built.
The first note in the left hand of the seventh system is an unaccompanied D which is followed by the left hand following the shape of the right hand for the third time in the solo. Therefore this has become a pattern of the solo.
3.
Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
As has been specified the chord progression used is: I-II-II-V-I. As the key is C major this results in the chords: C-D-Dm-G-C . Therefore any chords that are found that vary from this will be identified and analysis made on them.
There is an example of an altered chord seen in the G7(b9) in the third bar of the second line and in bar two of the third line. In both instances the ninth has been flattened which is amongst the most common alteration. (For example see Baerman p8 1998) Another common alteration seen in the solo is the augmented fifth. This often happens on the first chord II. It facilitates the use of the whole tone scale in the below examples:
The Db9 which is seen in the first bar of the fifth system fits the criteria for a substitute chord. (For example see Boyd 1997 p8)
The chords that precede this are: C –D7-Dm7-G13. These all fit within the I-II-II-V section of the chord progression. Instead of the next chord after G13 being C, there is a Db9- A semi-tone above C. This is also used at the concluding chord of the solo:
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
The walking bass line arguably simulates that of what a double bass player would play within a ensemble context. Most of the time the bass line plays crotchets and so could be described as metronomic. This sometimes contrasts with right hand passages which are almost entirely syncopated. For example:
The bass line provides a means of enhancing the rhythmic delivery of the right hand. The last three crotchets come when there are rests during the right hand which aids this effect.
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
1. Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
2. Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
3. Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
During the first system of the solo, the C major scale is suggested in the left hand. This supports the right hand which largely plays the C pentatonic major. The last note of the first bar, an Ab, therefore creates some harmonic tension as it is a semi-tone out width both of the scales. The same note also occurs in the right hand during bar three.
During the second system of the solo, the first note of the left hand in bar two provides a harmonic foundation for the right hand chords. The note is D and all the chords in the right hand are inversions of Dm7. The E which is the second note of the left hand in this bar suggests the melody note of the right hand which follows it. This is also the case for the next two notes in the left hand. The G of the third bar is played just before the Dm7 chord in the right hand. It changes the colour of the chord and suggests a G11 chord. It also establishes a chordal centre of G ahead of the two last chords in the right hand which are rootless voicing’s.
In summary, through the analysis of ‘Take the ‘A’ Train’, several approaches to improvisation have been revealed. The solo first makes use of the major pentatonic scale to facilitate the use of target notes and provide an initial light, sparse texture. This then contrasts with the block chords which provide a dense and persuasive texture. The use of patterns, both rhythmic and melodic, has been observed which allow for ideas to relate and develop much like a composition does. The use of a walking bass line, imitating that of a double bass player, has been shown to provide a suitable rhythmic foundation for the improvisation by means of its consistency and metronomic qualities.
The solo of 'Take the 'A' Train' uses the chord progression that I am focussing on- I-II-II-V-I. It is contrasting to that of 'The Girl from Ipanema' as it was recorded more than twenty years prior and so provides a very famous example from the swing period. As such, the features it uses are different. As with 'The Girl from Ipanema', the juestification for analysing the transcription is that it provides an accessible means of identifying and understanding a particular artists approach to improvisation. This then contributes to building a critical framework for the development of concepts within my method. The rationale for the inclusion of concepts is then provided as the analysis of transcriptions act as a reference for what different artists' approaches are.
Analysing ‘Take the ‘A’ Train’
The piano solo transcription of ‘Take the ‘A’ Train’, contrasts with that of ‘Girl from Ipanema’ as the left hand almost entirely consists of a walking bass line as opposed to the Peterson transcription which uses close voiced chords. As a result of this, the right hand of ‘Take the ‘A’ Train often includes fairly dense harmony as part of the improvisation. Being recorded in 1941, it also comes, during the swing period- more than twenty years earlier than Peterson’s recording of ‘The Girl from Ipanema’. It therefore represents a contrasting piece that still uses the same chord progression.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation and isolate this fromthe accompaniment.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation.
1. There is a 24 bar solo in ‘Take the ‘A’ Train’. It can be observed that the left- hand consists almost entirely of single notes that resemble a walking bass line. The right hand therefore comprises of the improvisation. What is a consistent feature is that most of the content in the right hand has been harmonized with the harmony following the same rhythm as the highest note. The highest note of the right hand therefore could be said represents the melody. For example:
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
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.
During the first bar of the second line chord tones from E7 can be observed before various inversions of Dm7 are used in the second and third bar. The inversions used are determined by what the melody note is.
During the first bar of the third line, all the notes are from the C major scale and have been harmonized in minor thirds. The rest of the line uses various inversions of chords depending on what the melody note is.
During the first bar of the fourth line there is a series of notes which move chromatically and have been harmonized in thirds.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
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.
During the second line the last three notes of the first bar comprise of the root, fifth and seventh of the E7 chord. The seventh, a D, creates a step-wise movement onto the melody note, C, of the next bar. In bar two, the first three inversions of the chord descend, before the next three inversions ascend. The last two chords, G9 and G7(b9) have E and F as the melody note. This has been already been suggested during bar two of the second line.
During the third line, first bar, it can be noted that there is an emphasis on notes B and D, which are played on all of the four beats. During the second bar there is decreasing intervals between each of the four melody notes. What is also apparent is that there is a D sharp introduced during at the third chord inversion of bar two. This is ahead of the D sharp being introduced as a melody note in the next chord. It is also significant because of the emphasis on D natural during bar one. During bars three and four, all the chord inversions are of C6 and so the A gives an additional layer of colour. Bar four follows the same ascending pattern as bar three. There is an additional inversion of the chord that uses E as the melody note which seems to act as a response to what is suggested in the preceding bar.
During the fourth line, bars one and two, the melody ascends using whole tones. From bar three to four, the notes continue ascending using the interval of a third each time.
The pattern of ascending notes concludes by means of the semibreve chord in bar two of the fifth line. The chord that precedes this has the melody note of F which provides a stepwise movement to the melody note of G seen in the target chord. During the third bar the G sharp is significant as it is a semi-tone higher than the G natural that can be seen in the target chord.
During the sixth line, the same intervals used in the first bar are once again used in the second. The major 7th of the chord, E, is the first note used both times. The E is then suggested again during the first note of the third bar where it is a semi-tone below F. From that point, another series of ascending notes in thirds starts.
During the first bar of the seventh line, the first triplet has the same intervallic order as the last triplet in the bar. The second triplet continues a pattern of thirds which was seen in the previous bar. Also, the major 7th interval introduced as the first note of the series of triplets during the previous line, recurs again as the last note of the series of triplets. During the next two bars the first four notes contain a phrase which is then repeated starting on a lower note during the second phrase and a lower note again during the third phrase.
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. Bec From the second bar there is step-wise movement leading back into the chorus.
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
During the first line of the solo the rhythm of the second phrase has been suggested in the first phrase. The dotted quaver which is the second note of the first bar has been used again as the first note of the second bar. The off beats are also accentuated at beats four and a half during the first and second bar. This enhances the effect of the rhythmic displacement.
During the second line of the solo, the dotted rhythm pattern that was introduced during the first line is suggested again at bar one. From bar two there are five quaver chords in a row that have been separated by quaver rests. These have all been accentuated resulting in a strong sense of rhythmic displacement. The two crotchets during the third bar act as a transition into the next line. They come on on-beats and so contrast with the syncopated chords which come before them.
During the third line of the solo, the dotted note pattern continues. Also, the syncopated quaver pattern introduced in the above line is continued in bar two of this line. In bar three, the last two chords are on-beat crotchets which were suggested at the last bar of the previous line. In addition, the phrase in the fourth bar of the third line could be described as a rhythmic variation of the preceding bar. Quavers are used in order to decrease the note lengths.
The first two bars of the fourth line again continue with the syncopated quaver pattern which has been included in the last two lines. The third bar, introduces a triplet pattern without the addition of quaver rests which creates a sense of momentum.
During the fifth line the triplet pattern leads to two on beat crotchets during beats three and four. This is a recurrence of what happens during lines two and three.
During the sixth line, the second bar could be described as a rhythmic variation on the preceding bar. The quaver rest which comes on the first beat of the first bar moves to beat two of the second bar. The first dotted crotchet chord of the first bar becomes a quaver in the next bar. The triplet pattern is continued in the third bar which once again gives a contrasting rhythm to the two syncopated bars which precede it.
During the seventh line in bars two and three, just as the melody follows a pattern, the same syncopated rhythm occurs three times.
During the seventh line, the ascending pattern of triplets is used to conclude the solo. It could also be said that the lengths of the notes decrease as it concludes. For example, the last chord of bar one is still part of a triplet, in bar two; two quavers are played on the first beat before the last chord of the solo is two and a half beats long.
The final stage concerns analysing how the phrases, both rhythmically and melodically relate as a whole.
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:
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
1. The left hand part of ‘Take the ‘A’ Train’ consists almost entirely of a walking bass line which means that it can be regarded as accompaniment. It has already been discussed that the right hand often consists of the melody being harmonized by the lower notes in the right hand. For example:
It can be observed that all of the notes below the top note of the right hand are from the chord. Therefore, they could be described as part of the accompaniment as they contain the harmony implied by the chord symbols.
2.
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.
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.
During the third system increased intervals can be seen in the first two bars of the left hand. Instead of a step-wise movement seen in the first two systems, the intervals of a third and fourth are used. At bar one of the right hand, the lower of the two notes increases the colour of the harmony. The chord is C and the lower notes are B and A- The major seventh and major sixth. From bar three the left hand, for the first time follows the exact shape of the right hand. The tonal centre of C is implied by the first C of the left hand, which is unaccompanied, at bar three.
During the fourth system, the first unaccompanied D of the left hand establishes the tonal centre before the left hand plays the same notes as the melody but an octave lower. The two notes of the right hand that come below the melody note in each chord therefore imply the harmony suggested by the chord symbol. At bar three it can be noted that all the notes are chord tones from Dm. The texture is however much sparser as the right hand consists of just single notes.
During the fifth system there are two examples of an octave interval in the left hand which reinforces what the chord is at these points. From where the chords in the right hand are re-introduced at the first bar, they all have a major second interval. This creates a dense texture which contrasts with the single note triplet pattern which preceded them.
During the fifth system all the notes in the left hand are chord tones from F major. This defines the chordal centre and the notes in the right hand produce the additional chord tones that are suggested by the chord symbol.
The bass line in the sixth system continues with playing solely, notes of the triad from which the chord is built.
The first note in the left hand of the seventh system is an unaccompanied D which is followed by the left hand following the shape of the right hand for the third time in the solo. Therefore this has become a pattern of the solo.
3.
Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
As has been specified the chord progression used is: I-II-II-V-I. As the key is C major this results in the chords: C-D-Dm-G-C . Therefore any chords that are found that vary from this will be identified and analysis made on them.
There is an example of an altered chord seen in the G7(b9) in the third bar of the second line and in bar two of the third line. In both instances the ninth has been flattened which is amongst the most common alteration. (For example see Baerman p8 1998) Another common alteration seen in the solo is the augmented fifth. This often happens on the first chord II. It facilitates the use of the whole tone scale in the below examples:
The Db9 which is seen in the first bar of the fifth system fits the criteria for a substitute chord. (For example see Boyd 1997 p8)
The chords that precede this are: C –D7-Dm7-G13. These all fit within the I-II-II-V section of the chord progression. Instead of the next chord after G13 being C, there is a Db9- A semi-tone above C. This is also used at the concluding chord of the solo:
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
The walking bass line arguably simulates that of what a double bass player would play within a ensemble context. Most of the time the bass line plays crotchets and so could be described as metronomic. This sometimes contrasts with right hand passages which are almost entirely syncopated. For example:
The bass line provides a means of enhancing the rhythmic delivery of the right hand. The last three crotchets come when there are rests during the right hand which aids this effect.
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
1. Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
2. Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
3. Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
During the first system of the solo, the C major scale is suggested in the left hand. This supports the right hand which largely plays the C pentatonic major. The last note of the first bar, an Ab, therefore creates some harmonic tension as it is a semi-tone out width both of the scales. The same note also occurs in the right hand during bar three.
During the second system of the solo, the first note of the left hand in bar two provides a harmonic foundation for the right hand chords. The note is D and all the chords in the right hand are inversions of Dm7. The E which is the second note of the left hand in this bar suggests the melody note of the right hand which follows it. This is also the case for the next two notes in the left hand. The G of the third bar is played just before the Dm7 chord in the right hand. It changes the colour of the chord and suggests a G11 chord. It also establishes a chordal centre of G ahead of the two last chords in the right hand which are rootless voicing’s.
In summary, through the analysis of ‘Take the ‘A’ Train’, several approaches to improvisation have been revealed. The solo first makes use of the major pentatonic scale to facilitate the use of target notes and provide an initial light, sparse texture. This then contrasts with the block chords which provide a dense and persuasive texture. The use of patterns, both rhythmic and melodic, has been observed which allow for ideas to relate and develop much like a composition does. The use of a walking bass line, imitating that of a double bass player, has been shown to provide a suitable rhythmic foundation for the improvisation by means of its consistency and metronomic qualities.
Friday, 10 February 2012
Complete Analysis of The Girl from Ipanema
The Analysis of 'The Girl from Ipanema' is now complete. The purpose of carrying out this analysis was to reveal typical components of improvisation that Peterson uses. The piece is also a very famous example that uses the chord progression that I'am focussing on. Some of these components of improvisation can be used within my method. This way it helps build a critical framework.
To view the analysis with the images click this link- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjY5Y2JmYzEyMDg0NDFlN2Y
The first transcription to be analysed is ‘The Girl from Ipanema’ by Oscar Peterson. (1963) This transcription uses the I-II-V-I chord progression and so is the same as that of what the proposer’s method is to use. It provides an accessible means of capturing one particular artists approach to improvisation and so aspects of this can be included in the proposer’s method.
In order to analyse the transcription, the analytical framework devised will be applied. The first stage of this concerns analysis of melodic content.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
Peterson 1963
1. It is clear that in this transcription the improvised content is all contained within the right hand. The left hand consists entirely of chords which form the accompaniment.
2. The next stage concerns the identification of what scales and (or) chord tones are used for the improvisation. The first line consists of notes which are contained in the Db major scale with the exception of E natural.
First line of improvisation
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)
Second line of improvisation
The second line of the improvisation contains an example of chord tone improvisation. This starts at the last note of the first bar. The notes from this consist of quavers and form the chord of Am. It leads to an Cb crotchet which could be described as a target note. There are also two further examples of chromatic approach notes in bar two and three. In bar four all of the notes are from the Bb blues scale.
Third line
All of the notes in the third line are from the Bb blues scale with the exception of a C in the final bar.
Fourth Line
In the first bar of the fourth line there is an example of notes from a chromatic scale. Another example of Chromaticism occurs during bar two. In the third bar, Peterson once again uses the Db major pentatonic before including another example of chromaticism in the final bar.
How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
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 second line, Peterson uses chord tones for the first time as opposed to just step-wise movement. The phrase from bar one to bar three starts high, then descends, then ascends before descending again. This is within a fairly narrow register of an augmented fifth. There is also a repeated chromatic movement. The * highlights the first example of chromatic movement.
During the third line, the majority of the notes are contained within a narrow high register. There are repeated patterns during the line. For example, there is a repeated semi-tone interval between the first two notes of the first bar, the first two notes of the second bar and the first two notes of the third bar. There is also a repeated fourth interval. For example, there is a fourth between the two notes during the second beat of bar one, between the third and fourth note of bar three, between the last two notes of bar three and between the third and fourth and fifth and sixth notes of the last bar. In addition, during the last bar Peterson once again uses chord tones.
During the fourth bar there are a few patterns observed. The first four quavers of the first bar ascend chromatically and the first four quavers of the third bar descend using whole tones. Throughout the bar Peterson uses a similar pattern of chromatic movement of notes followed by notes where no interval is less than a whole tone. There also is an emphasis placed on the note D which have been marked with an * .
Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
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.
During the third bar there is a theme introduced during the first bar which is varied rhythmically during the second bar. The last two quavers of the second bar are first introduced by the last two notes of bar one. This happens again at the end of the third bar. The last bar consists just of quavers which contrast with the other bars during the line where there is a variety of note values.
During the fourth line there is the same repeated rhythm of quavers in bar one and bar two. In addition, the last note of bar one is a crotchet and in bar two, there is a crotchet rest on the last beat. The last note of the solo is a dotted crotchet as is the first note of the solo.
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)
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
As has been identified, the melodic content in ‘The Girl from Ipanema’ is all contained within the right hand. The left-hand therefore contains the accompaniment.
What can be noted is that all the chords in the left hand, during the first line are close voicings. This is identified by the notes in the chord all being within one octave. What can also be noted is that all the voicing’s are within a limited register. This way the voicings don’t intrude on the right hand part which forms the improvisation. The voicings also don’t intrude on the register where the Double bass is playing. In order to facilitate this, Peterson has to use various inversions of chords. He also uses rootless voicings for some of the chords. This could be because the double bassist takes care of the root notes. Another possible reason is that some of the time playing the root may create harmony that is too dense. Bar 3 of the below figure illustrates this. If the root note was added to the first chord then the arrangement of notes from bottom to top would be: G,C,Db,Eb and F. Chord substitutions are observed during the first line. The chord progression used for the melody is I-II-II-V-I. (For example see Peterson 1963) The chords during the first line are DbMAJ7, Eb13, Bb7AUG then Eb13. The Bb7AUG therefore takes the place of chord II. All the notes in Bb7AUG are a semi-tone higher than that of the preceding chord. Therefore this could be described as a chromatic alteration. (For example see Boyd 1997 p24)
During the second line, all of the chords are again close voicings. The Bb7AUG, again is included in bar three as a chromatic alteration. Also, Chord IV, which can be seen as the last chord in bar one and the only chord in bar two has been altered as the fifth interval of the chord has been raised a semi-tone. Therefore the chord is Ab7aug.
During the third bar, all of the chords are again close voicings. The Bb7AUG is included again.
During the fourth bar all the chords are again close voicings. Chord IV is once again included as an Ab7AUG as can be seen in the third chord of the first bar. In the second bar though, it is included as an Ab13. Peterson also doesn’t include the chromatic embellishment of the Bb7AUG this time.
When analysing the rhythm of the left hand as a whole, it can be noted that nearly all of the voicing’s are syncopated. It is significant that this improvisation was within an ensemble context and so Peterson keeps all of the voicings within a limited register where they don’t interfere with the register the double bass is playing.
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
On examining the relationship between melody and accompaniment in the first line, a key centre approach to improvisation can be seen.
The key is Db major and all the notes except from the last E natural is from the Db major scale. The melodic content also has harmonic implications. For example, the first note, Eb is the ninth of the chord and so extends the colour of the implied harmony in the left hand. The last note, E natural creates a semi-tone clash with the underlying harmony, Eb13 at that point.
During the second line Peterson continues to use a key centre approach which can be seen in the first and last bar. In bar two, the chord tones played in the right hand create a semi-tone clash with the chord in the left hand. The right hand chord tones form the chord of Am and the left hand chord is Ab7aug. Another example of playing a semi-tone out from the underlying harmony can be seen during bar three where the first note of the triplet, creates a clash in harmony before it is quickly resolved by the next note.
During the third line Peterson uses the Bb blues scale for the first three bars. As a result of this there is a semi-tone clash when the Fb is included in each of the three bars. In addition to this, using the Bb blues scale over the Db maj7 chord creates colour through the additional chord tones that are introduced. For example, Bb is the thirteenth and Eb is the ninth. During the last bar there is no harmonic clash between the right and left hand as all the chord tones used in the right hand are found in the Eb13 chord.
During the first bar of the last line, the first four notes ascend chromatically and therefore the E natural and the G natural are at odds with the Ebm9 chord. The last two bars, Peterson returns to a key centre approach by using the Db major scale over the three final chords. There is a pattern observed between the improvisation and the left hand in that the left hand chords often come on offbeat’s, causing the improvised content to be accentuated at these points. For example:
Conclusion
From the analysis of this transcription, several approaches to improvisation have been revealed. The use of patterns, both rhythmically and melodically, and the use of different registers, contribute to the solo having a sense of direction and melodic contour. How the harmony influences what scales or chord tones to use has been observed and the implications realised when melodic content of the right hand is at odds with harmonic content of the left hand.
References
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Dahlke,A.,2003. An analysis of Joe lovano’s tenor saxophone improvisation on “Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism. DOCTOR OF MUSICAL ARTS. University of North Texas
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
NewJacksWing,(1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch? [Accessed 03/01/2012]
Pfleiderer, Frieler.,N.D. The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations. University of Hamburg, Institute for Musicology
Potter.G.,(1992)Analysing Improvised Jazz, College music symposium, 32, p143-160
To view the analysis with the images click this link- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjY5Y2JmYzEyMDg0NDFlN2Y
The first transcription to be analysed is ‘The Girl from Ipanema’ by Oscar Peterson. (1963) This transcription uses the I-II-V-I chord progression and so is the same as that of what the proposer’s method is to use. It provides an accessible means of capturing one particular artists approach to improvisation and so aspects of this can be included in the proposer’s method.
In order to analyse the transcription, the analytical framework devised will be applied. The first stage of this concerns analysis of melodic content.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
Peterson 1963
1. It is clear that in this transcription the improvised content is all contained within the right hand. The left hand consists entirely of chords which form the accompaniment.
2. The next stage concerns the identification of what scales and (or) chord tones are used for the improvisation. The first line consists of notes which are contained in the Db major scale with the exception of E natural.
First line of improvisation
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)
Second line of improvisation
The second line of the improvisation contains an example of chord tone improvisation. This starts at the last note of the first bar. The notes from this consist of quavers and form the chord of Am. It leads to an Cb crotchet which could be described as a target note. There are also two further examples of chromatic approach notes in bar two and three. In bar four all of the notes are from the Bb blues scale.
Third line
All of the notes in the third line are from the Bb blues scale with the exception of a C in the final bar.
Fourth Line
In the first bar of the fourth line there is an example of notes from a chromatic scale. Another example of Chromaticism occurs during bar two. In the third bar, Peterson once again uses the Db major pentatonic before including another example of chromaticism in the final bar.
How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
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 second line, Peterson uses chord tones for the first time as opposed to just step-wise movement. The phrase from bar one to bar three starts high, then descends, then ascends before descending again. This is within a fairly narrow register of an augmented fifth. There is also a repeated chromatic movement. The * highlights the first example of chromatic movement.
During the third line, the majority of the notes are contained within a narrow high register. There are repeated patterns during the line. For example, there is a repeated semi-tone interval between the first two notes of the first bar, the first two notes of the second bar and the first two notes of the third bar. There is also a repeated fourth interval. For example, there is a fourth between the two notes during the second beat of bar one, between the third and fourth note of bar three, between the last two notes of bar three and between the third and fourth and fifth and sixth notes of the last bar. In addition, during the last bar Peterson once again uses chord tones.
During the fourth bar there are a few patterns observed. The first four quavers of the first bar ascend chromatically and the first four quavers of the third bar descend using whole tones. Throughout the bar Peterson uses a similar pattern of chromatic movement of notes followed by notes where no interval is less than a whole tone. There also is an emphasis placed on the note D which have been marked with an * .
Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
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.
During the third bar there is a theme introduced during the first bar which is varied rhythmically during the second bar. The last two quavers of the second bar are first introduced by the last two notes of bar one. This happens again at the end of the third bar. The last bar consists just of quavers which contrast with the other bars during the line where there is a variety of note values.
During the fourth line there is the same repeated rhythm of quavers in bar one and bar two. In addition, the last note of bar one is a crotchet and in bar two, there is a crotchet rest on the last beat. The last note of the solo is a dotted crotchet as is the first note of the solo.
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)
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
As has been identified, the melodic content in ‘The Girl from Ipanema’ is all contained within the right hand. The left-hand therefore contains the accompaniment.
What can be noted is that all the chords in the left hand, during the first line are close voicings. This is identified by the notes in the chord all being within one octave. What can also be noted is that all the voicing’s are within a limited register. This way the voicings don’t intrude on the right hand part which forms the improvisation. The voicings also don’t intrude on the register where the Double bass is playing. In order to facilitate this, Peterson has to use various inversions of chords. He also uses rootless voicings for some of the chords. This could be because the double bassist takes care of the root notes. Another possible reason is that some of the time playing the root may create harmony that is too dense. Bar 3 of the below figure illustrates this. If the root note was added to the first chord then the arrangement of notes from bottom to top would be: G,C,Db,Eb and F. Chord substitutions are observed during the first line. The chord progression used for the melody is I-II-II-V-I. (For example see Peterson 1963) The chords during the first line are DbMAJ7, Eb13, Bb7AUG then Eb13. The Bb7AUG therefore takes the place of chord II. All the notes in Bb7AUG are a semi-tone higher than that of the preceding chord. Therefore this could be described as a chromatic alteration. (For example see Boyd 1997 p24)
During the second line, all of the chords are again close voicings. The Bb7AUG, again is included in bar three as a chromatic alteration. Also, Chord IV, which can be seen as the last chord in bar one and the only chord in bar two has been altered as the fifth interval of the chord has been raised a semi-tone. Therefore the chord is Ab7aug.
During the third bar, all of the chords are again close voicings. The Bb7AUG is included again.
During the fourth bar all the chords are again close voicings. Chord IV is once again included as an Ab7AUG as can be seen in the third chord of the first bar. In the second bar though, it is included as an Ab13. Peterson also doesn’t include the chromatic embellishment of the Bb7AUG this time.
When analysing the rhythm of the left hand as a whole, it can be noted that nearly all of the voicing’s are syncopated. It is significant that this improvisation was within an ensemble context and so Peterson keeps all of the voicings within a limited register where they don’t interfere with the register the double bass is playing.
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
On examining the relationship between melody and accompaniment in the first line, a key centre approach to improvisation can be seen.
The key is Db major and all the notes except from the last E natural is from the Db major scale. The melodic content also has harmonic implications. For example, the first note, Eb is the ninth of the chord and so extends the colour of the implied harmony in the left hand. The last note, E natural creates a semi-tone clash with the underlying harmony, Eb13 at that point.
During the second line Peterson continues to use a key centre approach which can be seen in the first and last bar. In bar two, the chord tones played in the right hand create a semi-tone clash with the chord in the left hand. The right hand chord tones form the chord of Am and the left hand chord is Ab7aug. Another example of playing a semi-tone out from the underlying harmony can be seen during bar three where the first note of the triplet, creates a clash in harmony before it is quickly resolved by the next note.
During the third line Peterson uses the Bb blues scale for the first three bars. As a result of this there is a semi-tone clash when the Fb is included in each of the three bars. In addition to this, using the Bb blues scale over the Db maj7 chord creates colour through the additional chord tones that are introduced. For example, Bb is the thirteenth and Eb is the ninth. During the last bar there is no harmonic clash between the right and left hand as all the chord tones used in the right hand are found in the Eb13 chord.
During the first bar of the last line, the first four notes ascend chromatically and therefore the E natural and the G natural are at odds with the Ebm9 chord. The last two bars, Peterson returns to a key centre approach by using the Db major scale over the three final chords. There is a pattern observed between the improvisation and the left hand in that the left hand chords often come on offbeat’s, causing the improvised content to be accentuated at these points. For example:
Conclusion
From the analysis of this transcription, several approaches to improvisation have been revealed. The use of patterns, both rhythmically and melodically, and the use of different registers, contribute to the solo having a sense of direction and melodic contour. How the harmony influences what scales or chord tones to use has been observed and the implications realised when melodic content of the right hand is at odds with harmonic content of the left hand.
References
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Dahlke,A.,2003. An analysis of Joe lovano’s tenor saxophone improvisation on “Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism. DOCTOR OF MUSICAL ARTS. University of North Texas
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
NewJacksWing,(1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch? [Accessed 03/01/2012]
Pfleiderer, Frieler.,N.D. The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations. University of Hamburg, Institute for Musicology
Potter.G.,(1992)Analysing Improvised Jazz, College music symposium, 32, p143-160
Sunday, 5 February 2012
How can learning be targeted Objective 3
Methods of teaching improvisation to a classical musician
It is recognised that in a classical education there is much emphasis on following notation. ‘While classical musicians emphasized the drive to excel musically and technically and prioritized notation-based skills and analytical skills, non-classical musicians attached greater importance to memorizing and improvising’. (Creech, et al 2008) Therefore, when devising targeted learning methods, the delivery of concepts within a context a classical pianist would understand is arguably desirable. A model for this can be seen in ‘A classical approach to jazz piano improvisation’ (Alldis, 2003) The author first introduces the concept to be learned and then shows its usage within a classical context before it is applied within an improvisation setting. (For example see Alldis,2003 p19) If learning can be contextualised in this manner then it is likely that the classical pianist will make the realisation that improvisation isn’t completely unrelated to that of what they are already familiar with. The effectiveness of learning can then be increased by introducing the concept at the simplest level and then developing learning based on knowledge a student has already acquired. This should ensure that the method doesn’t assume any leaps of knowledge; a fundamental part of pedagogy. ‘New facts build on and relate to old facts...If the beginning piano student has learned how a quarter note looks and that it gets one count, three more quarter notes will look like the first quarter note and each will receive one count’, (For example see Jordon, 2003, p76)
In order to teach improvisation effectively, facilitating the use of patterns from the onset is arguably desirable. If the user can be taught how to relate phrases from the beginning then this should start the process of composition. ‘Our intentions are to explore the cognitive foundations of improvisation while testing theories about the cognition of creative processes, e.g. by determining recurring melodic and rhythmic patterns’ (Pfleiderer, Frieler N.D P2) This concept could be delivered by introducing simple patterns, using one scale, at first in full notation form before gradually including less dependence on the notation as the user becomes more adept at improvising. In this sense learning can be delivered that is contextualised according to the needs of the learner as it focuses on the emphasis on notation that is so common in a classical education.(For example see Alldis 2003 p153)
Once the user is competent at creating simple patterns, how these can be developed into building a solo must be an integral part of the method. This again can be contextualized according to the background of the learner. In ‘A classical approach to jazz improvisation’, the author compares the development of an improvised solo to that of a classical symphony. ‘By using melodic, harmonic and rhythmic repetition and variation, we shall see how themes are developed in a classical symphony, and then apply this approach to improvising over a simple blues progression’. (Alldis 2003 p145) He then takes the opening theme of ‘Symphony No.40’ by W.A. Mozart and describes how the theme develops throughout the symphony by means of: repetition, fragmentation, compression, transposition, syncopation and reharmonization. (For example see Alldis 2003 p148) By using these techniques the improvised solo should possess the qualities of a composition by means of how themes relate and develop. This way the improvisation isn’t just a series of unrelated ideas. In order for the user of the method to develop the ability to improvise effectively, it is necessary that they are able to apply practically the theory associated with improvisation at every level. ‘Music theory is a common example of a knowledge area from which many musicians feel disconnected due to the lack of an outlet for creative application’. (Sarath 2009 P2) Therefore, the practical application of concepts, even at the most rudimentary level should be a fundamental theme of the learning method. The user should be presented with various examples of a concept, within a practical setting which should increase the effectiveness of learning by means of reinforcement. At each stage of the learning, what qualities constitute a composition will always be of focus. For example, having themes that develop is introduced in a basic sense by means of two bar patterns so this can be developed and consolidated as the delivery of concepts continue. (For example see Baker-Johnston 2003 p76) Once the user sees and understands the pattern that exists between two bar patterns, the content of the two bars could perhaps be varied and extended so that it still resembles a pattern over eight bars. The means of doing this would be so it fits with the criteria for a composition. For example The psychology of improvisation will also be of influence when considering how to target learning. It is widely recognised that experienced improvisers draw on lines and phrases that they have used in the past. ‘From a psychological point of view, preformed patterns are important tools for an improvising musician’ (Pfleiderer, Frieler N.D P4) Again, from the onset of the method this can be introduced as a theme of the learning by means of repetition of phrases.
Devising a framework for learning-
An example of concept delivery- The first concept that is going to be taught in the guide is the pentatonic scale. This is because other self-development methods use this as a starting point due to its simplicity. (For example see Alldis, 2003, p7 and Moehrke 2009 p8)
1. Introduce the C major pentatonic scale, over one octave and with the right hand only. Do this by notating the scale, showing fingering and stating what intervals of the C major scale it uses.
2. Ask the user to play the scale ascending and descending until they can play it from memory.
3. Include a typical example of the pentatonic scale from popular classical piano literature. For example, bars 22-23 of Debussy’s The Girl with the Flaxen Hair. Transpose this into key of C and write in the intervals. This has the advantage of highlighting from the onset how concepts from classical literature can relate to improvisation, thereby increasing confidence and motivation.
4. The user could then be asked to put on the C.D and an example will be heard of the C major pentatonic being played ascending and descending, just as the user has now learnt, with a harmonic and rhythmic backing. In this way the C.D substitutes for a teacher. The track following this will contain the accompaniment but the scale; this time should be played by the user until they can play it in time.
5. Following this, simple variants of the scale will be included in notation form. The first to be introduced could simply omit one of the notes and replace it with a rest. This could be done over two bars to show a simple pattern. For example:
The user would be asked to play this until they can do so from memory, and then will be referred to the C.D where they will first hear an example of it being played with an accompaniment. Then they will be asked to play it themselves with the accompaniment and so start to get a feel for how improvised phrases are made up. There could perhaps be another three examples of slightly different two-bar improvisations that use the scale where the second bar follows the same pattern as the first, therefore reinforcing the learning.
6. At this stage, instead of a two-bar pattern being presented in notation form to the user, perhaps only one bar could be presented to them in the notation with the second bar being left blank and so allowing them to improvise during that bar with the aim that the second bar follows the same pattern as the first. By this stage the user has strong familiarity with the scale and how two-bar patterns can be formed which have been presented both in notation form and on the C.D. Therefore, they should now have the knowledge in place to attempt this. The C.D could be used to provide the accompaniment and the first bar. The second bar will consist of just the accompaniment.
7. After each playing, the user could be encouraged to try and play the same two bars again. The reason for this is that it is widely recognised that experienced improvisers draw on lines and phrases that they have used in the past. (For example see Clarke,Dibben,Pitts 2010 P49, Weick 1998) By incorporating this into the method, it is helping the user build up a vocabulary for improvisation from the onset.
8. The user could then be introduced to 4 bar phrases in this fashion, therefore consolidating learning before moving on to improvisation with no help from the notation.
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
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Jordan,M,B.(2003)Practical piano pedagogy, Alfred Music publishing
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay Publications
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