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