Saturday, 24 March 2012
(Objective 6 Task 2) Questionnaire
The Questionnaire for end users has now been completed. It can be viewed here- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OmNlMTA0ZDUyM2MzNjRjNA
Thursday, 22 March 2012
(Objective 6 task 2) Initial Testing Stage
As the first chapter on pentatonic improvisation is now completed, it seems appropriate to carry out an initial test to see how effective the resource is in meeting its aims. The testing comprises of two components; Questionnaires to be completed by end users and opinions of professional jazz educators. The questionnaires of end users aims to seek feedback on aspects such as: layout, accessibility of learning, ease of use, quality of language, how useful the CD is in enhancing the learning environment. The opinion from professional jazz educators' is to get feedback regarding the quality of pedagogy. Having the two components should ensure a comprehensive testing method. Although the test focuses on just the pentatonic chapter, the results that I get will be used to create the remaining chapters.
The questionnaire will seek to aquire both quantitative and qualitative data. 'Using a combination of different types of questions leaves you with a mixture of quantitative and qualitative data; generally the ideal mix for the validity of your questions,' (Winstanley 2010 P137) The sample size is restricted to individuals that identify themselves as fairly advanced classically trained pianists who have the desire to improvise. It is intended that this yields the most accurate results as it is such individuals that the method is aimed at. 'Selecting a sample non-randomly cuts down on the generalisability of your findings'. (Winstanley 2010 P143)
The questionnaire will seek to aquire both quantitative and qualitative data. 'Using a combination of different types of questions leaves you with a mixture of quantitative and qualitative data; generally the ideal mix for the validity of your questions,' (Winstanley 2010 P137) The sample size is restricted to individuals that identify themselves as fairly advanced classically trained pianists who have the desire to improvise. It is intended that this yields the most accurate results as it is such individuals that the method is aimed at. 'Selecting a sample non-randomly cuts down on the generalisability of your findings'. (Winstanley 2010 P143)
(Objective 5 Production of Guide) Extended Patterns
On these two pages the learner is taught how they can extend two-bar patterns over a greater length without essentially adding anything new. They are first given an example with the rhythmic and melodic variations listed. In the second example they are required to list the variations themselves. From the first example and also what they have learnt prior to this, they hopefully should be in a position to do this. This then provides a framework for them to improvise over 8 bars themselves.
(Objective 5 Production of Guide) Transposition
The ability to transpose is an essential skill needed for improvisation. Therefore, I felt it necessary to include a page on it before including more concepts. This way, the learner isn't just learning the C major pentatonic. Again, I have tried to target pedagogy according to the learner's existing enviroment. This is apparent by both the notation and the reinforcement used when I once again state what intervals of the major scale are used. I have also tried to make the learner realise that in most keys the fingering is exactly the same as what they have already learnt from the C major Pentatonic.
Tuesday, 20 March 2012
(Objective 5 Production of Guide) Pentatonic Patterns
These two pages introduce the idea of patterns. As as been disscussed in the research stages, an improvised solo can be compared to that of a classical piece- It has similar compositional qualities. Therefore, by introducing patterns from the onset, there is a rudimentary framework that is intended to make the learner see improvisation in this sense. In addition, following pedagogical practice, there is an emphasis on consolidation. For example, there is first a two bar notated pattern. This is followed by an explanation of how the second bar relates to the first. This is also done for the second example. For the third example, the learner is required to describe the pattern. From the first two examples, this is made much easier. Furthermore, these two pages gradually introduce less dependance on notation. The two bars are first fully notated to convey how the patterns relate. Following this however, just the first bar is notated with the second bar left blank for the learner to improvise.
(Objective 5 Production of the guide) Pentatonic Scale
As has been discussed, the pentatonic scale is a good choice for an introduction to improvisation. This is becuase of its simplicity. Whatever interval of the pentatonic scale, the user chooses, sounds good. Recognising the background of the learner, it has been introduced by showing what intervals it contains of the major scale. This is the first example of targeted pedagogy in the method. Another feature is that I have deliberatly tried to avoid including too much information. Only what is needed to understand the concept is included. I feel that this has an important pedagogical purpose; if the learner is overwhelmed by information then this is likely to be de-motivating. It is also foreseeable that they wouldnt learn the concept as effectively.
(Objective 5 Production of Guide) Preface
The Preface is intended to introduce the learner to the method in a manner that should make them eager to use the book. The first sentence recognises the problem classical pianists face when improvising. I feel this is important as it is the sole purpose they are using the resource. The second sentence is intended to come as a welcome surprize to the classical pianist who perhaps has preconceptions that jazz is unrelated to classical playing. As research has shown, there are many areas that actually relate. Again, this should be encouraging.
Thursday, 8 March 2012
(Objective 5 Production of the Guide) First 3 pages of Book
The first 3 pages of the book have now been completed. It consists of a contents page, preface and introduction to Pentatonic improvisation. It is hoped that from the very onset I have targeted learning to the intended user. For example, the Pentatonic scale has been introduced by taking the correct intervals of the major scale. As disscussed, in the research, a classical pianist already has much knowledge of the major scales.
Click the following link for the first page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjE5MzVlNzYwZjBjOWU2ZmI
Second Page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjUxOWZkOGM0YTVmZDY2MGY
Third Page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjNiOGM3ZTRmYWZjMTg4OGI
Click the following link for the first page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjE5MzVlNzYwZjBjOWU2ZmI
Second Page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjUxOWZkOGM0YTVmZDY2MGY
Third Page- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjNiOGM3ZTRmYWZjMTg4OGI
Tuesday, 6 March 2012
Objective four- Establish the Critical framework to be used to design and justify the methods
Objective 4- Task 1
Establish Critical framework to be used to design and
develop the methods to be used in the resource.
In order to view this with the images, click this link- Objective 4, tasks 1 and 2
This objective should establish what content the resource is
comprised of. In order to do this, the research done on classical training,
transcriptions and pedagogical methods will be drawn on. This gives evidence to the following:
1.
What limitations of a classical training need to
be addressed in the method in respect of improvisation?
2.
How can a classically trained pianist’s existing
knowledge relate to improvisation?
3.
What techniques and devices have respected jazz
musicians used when improvising?
4.
What is a common learning format for the
teaching of improvisation?
5.
How can learning be contextualised according to
the requirements of the user?
The answers to these questions can be used to develop and
justify methods that are going to be used in the resource.
Due to the timeframe
in which the resource is to be completed, it will concentrate on the delivery
of the essential knowledge and skills needed in order to improvise effectively. This means that the user of the method should
be able to improvise a solo that has composition like qualities. ‘A Classical approach to Jazz Improvisation’,
considers a successful improvised solo to have such qualities. These are:
repetition, fragmentation, compression, transposition, syncopation and
reharmonization. (For example see Alldis 2003 p148) Other studies also allude
to this. ‘Many improvisers…also use repetition, variation, contrast and other
forms of development to elaborate on their fundamental ideas’ (Hinz 1995 P32) The first stage of this process is to list all
the tools that are needed to improvise. These will be contained within the
resource. Following this, how these
tools can be used for effective improvisation will be identified and described.
Tools to be used for improvisation-
The study of transcriptions and other self-development
methods reveal what scales and (or) chord tones are used for improvisation.
They also show how these devices are used to improvise. Some of these methods can be used in the
proposer’s guide. The needs of the particular audience along with the time
frame play a large part in determining what concepts are to be included.
Tools for improvisation
Pentatonic scale- The Pentatonic scale is used as a starting
point for improvisation in several self-development resources. ‘Due to the simplicity of the pentatonic scale,
your concentration can be more focussed on rhythm and phrasing while
improvising. As a result your improvisation will not be disturbed by your
having to think about playing the right notes’. (Moehrke 2009 p10, Also see
Alldis 2003 p7)It is therefore arguably easier to produce more pleasing results
from the onset by using the pentatonic scale. Regardless of what note of the
scale the user chooses, dissonance will be avoided. This is important as it means the user should
be encouraged from the initial stages. If major or minor scales were used for
the first step, because of the greater number of notes, there would be more
chance of the user playing harmonically displeasing notes. In addition to this, the analysis of
transcriptions of improvisations which use the chord progressions focussed on,
reveal the use of pentatonic scales. This suggests that the pentatonic scale would
be an appropriate choice for introducing improvisation within the proposer’s
method.
(Ellington 1941)
The solo starts in bar two of the first line. It can be
observed that the notes are mostly from the C major pentatonic scale with the
exception of the two grace notes and the Ab in bar four.
The Blues scale is also arguably a fundamental component of
jazz improvisation. It too is used in several self-development methods. ‘The
blues is an integral part of the language of jazz…’ (Alldis 2003 P24) Upon
studying the transcriptions, it is found that it is often used.
For example-
(Peterson 1963)
It can also be noted in the transcriptions, that major
scales can be used for improvising.
For example-
(Peterson 1963)
Nearly all of the notes used in the first line are from the
Db Major scale. One of the advantages of including major scales as a device for
improvisation is that the intended user of the resource is already likely to
know all the major scales. For example,
the ABRSM syllabus as discussed in objective 2, represents one of the most
common formalised approaches to learning that classical musicians partake in. The
syllabus requires participants to be highly adept at both major and minor
scales. (For example see ABRSM 2010) Therefore, this presents the opportunity for
the user to be presented with a tool for improvisation that they already know,
aiding the learning process. Furthermore, this can be used as a framework
for teaching the most widely used modes; another fundamental component of jazz
improvisation. (For example see Alldis 2003 P63)
Modes- Mixolydian, Dorian, Ionian, Aeolian and Lydian- These
modes are to be included as they provide a means of improvising using a chord
centre approach. In the proposer’s
method, the chord progression focussed on is: I-MAJII-MinII-V-I. The Mixolydian mode can be used over dominant
7th chords. This means it can be used over MAJII. The Dorian mode
can be used for improvising over m7 chords. This means that it can be used over
chord MinII within the resource. Ionian can be used for improvising over MAJ7
chords. This means that it can be used for improvising over chord I within the
resource. The Aeolian mode can be used for improvising over m7 chords. This
means that it provides an alternative to using the Dorian mode. The Lydian mode
can also be used for improvising over MAJ7 chords and so it can be used as an
alternative to the Ionian.
It has also been noted that the use of Chromaticism is a
frequent feature used to provide a contrast to diatonic scales. For example:
(Peterson 1963)
Again, the ABRSM syllabus requires participants to have
thorough knowledge of this. ‘Beginning on any notes named by the examiner,
legato or staccato as directed by the examiner, hands together, 4 octaves’
(ABRSM 2010) This provides another opportunity to give the classical musician
tools to improvise based on what knowledge they already have.
Finally, chord tones are often used as a tool for
improvisation. (For example see Alldis
2003 P97)
Also:
(Peterson 1963)
This is another area where it is
probable classical pianists have got a thorough understanding. This is because
the study of arpeggios forms an extensive part of the technical requirements
for the ABRSM syllabus. (For example see ABRSM 2010 also Green 2006 P8)
All of the above represent the Plat form from which the
improvised content can be based. How
these tools can be used to improvise effectively is the next area to be discussed.
Patterns represent a fundamental component of improvisation
that can lead to an improvised solo having the qualities of a composition. (For example see Moehrke 2009 P15, also
Alldis 203 P16)
The study of transcriptions reveals several patterns over
the course of one improvised solo. For example, from the analysis of ‘Take the
‘A’ Train’ (Ellington 1941)
There are several recurring patterns that can be observed
during the solo section. The chords played at beats three and four of the bar
are sometimes on the beat crotchets which act as a break to the syncopation
which precede them. For example:
There is a repeated pattern of chords which are syncopated by the use of a
quaver rest. For example, the first occurrence:
It is then suggested again here:
And here:
There are two passages where the
melody is comprised of whole tones. The first time this occurs the melody
ascends and the second time it descends. For example:
There are three examples of ascending triplets. Each time
there is a tendency to play thirds. For example:
Also, from analysis of ‘The Girl from Ipanema’ (Peterson
1963)
The final stage concerning
the analysis of melodic content involves detailing how the phrases, both
rhythmically and melodically, relate as a whole.
There are numerous patterns that can be
observed through the analysis of melodic content of the entire solo. The last two notes of the first bar are
suggested again by the last two notes of the first bar, second line. The
interval of a perfect fourth is observed in both cases. In the first bar of the
second line, instead of the last two notes being two quavers the first is a
crotchet and the second a quaver. The two notes are suggested again during the
first bar of the third line. This time the interval is a diminished fourth. The
note values have increased again so this time there is two crotchets. In the first line, second bar, the first
three notes, form a quaver followed by two semi-quavers. This pattern can also
be observed during bar three of the third line and bar four of the fourth line.
In all cases the same intervallic order of notes are used. The same rhythm that
is introduced during bars three and four of the first line is then suggested
again during bars three and four of the second line. This time instead of there
being a tied dotted crotchet there is a dotted crotchet rest. The first three
notes in the last bar of the second line also have the same intervallic order
as that of the above bar. The same pattern of ascending quavers are observed in
bar two of the first line and in bar two of the second line. There are also
repeated triplets. Peterson mostly uses
the Db major scale for the first and second line before using the Bb blues
scale in the third line. Before returning to the Db major scale (bars three and
four of last line) he includes two bars where chromaticism is used as a link
(Bars one and two of the last line)
The two transcriptions reveal the use of devices which have
been used to create patterns. There are repeated rhythmic and melodic patterns
which lead to the solo having composition like qualities. There are several
very common devices used in order to facilitate patterns.
These include:
1.
Target notes- Both transcriptions have examples
of notes which are repeatedly targeted. Often this is influenced by the melody
of the standard. For example:
The first line consists mainly of quavers in
a step-wise melodic motion. The general shape is that notes descend and then
ascend within the range of a minor tenth.
The first note of the solo is significant as it is the same note and
note length as the first note of the melody of ‘The Girl from Ipanema’, in this
key. In addition to this, Peterson uses
three C’s during this line. C is a very
prominent note of the melody from ‘The Girl from Ipanema’. There is an example of repeated note
intervals. During the first bar, the last two quavers marked with an * are
repeated in bar three.
During the first line there is a recurring
pattern of the notes, C and E, being used. This happens five times within the
space of three bars. Ellington uses
grace notes that are a semi-tone away from the target notes that follow them.
This happens during the first bar. The Ab in bar three is a semitone away from
G and A- notes that are both in the C major pentatonic scale. The first four
notes of the second bar have the same shape as the four quavers in the first
bar. The second group of quavers in both bars also have the same intervallic
order.
2.
Approach
notes- Approaches are a very common component of jazz improvisation. This is
when a target note is preceded by one or more notes that create some tension
before being resolved. (For example see Moehrke 2009 P34) From the analysis of
the transcriptions it can be seen that usage of this technique is common.
For example:
The first C and the E
marked with an * could be described as chromatic approach notes. They both
precede notes that are a semi-tone away. (For example see Alldis 2003 p91) The
second C marked with an * could be described as a target note. It is a crotchet
and the four notes leading up to it are quavers. Also C is a very prominent
note of the melody of ‘Girl from Ipanema’ in this key. (For example see Moehrke 2009 p35)
3.
Scale
Patterns- The use of a repeated pattern within the context of a scale is also a
widely used technique. ‘A good way to
generate more musical ideas is to begin compiling a vocabulary of scale
patterns with and without rhythmic displacement’. (Alldis 2003 P16) Again, the
analysis of improvisations reveals the usage of this.
In this example the Whole-tone scale is used
in a descending motion. This highlights the need for the user of the method to
be adept at playing each scale starting on any note.
4.
Chord tone
patterns- It has been evidenced that this is also a common component of
improvisation. This again highlights the need for the user to be adept at playing
chords starting from each of the notes in the chord. For example:
During the last two bars of the solo, there is a continued pattern of
ascending triplets in thirds. Unlike the previous examples, this time the first
and last note of each triplet has been harmonized. This gives it a percussive
quality which is enhanced by the crescendo at that point. The single notes in each triplet- D,F and A
form a Dm triad. From the second bar
there is step-wise movement leading back into the chorus.
5.
Rhythmic
displacement- Alteration of the rhythm through changing note lengths and
including syncopation is a common rhythmic tool deployed within improvisation.
By playing some notes on off-beats this helps create a strong jazz feel. (For
example see Alldis 2003 P100) The transcriptions reveal examples which are in
part characterized by this. For example:
During the first line there is syncopation
introduced from the onset by means of the dotted crotchet where there is
another example of at the start of bar four. Also, the two quavers at the end
of the first bar are repeated again from the second beat of the third bar. This
time though, the length of the second note is increased in length greatly.
There is another example of rhythmic displacement at the end of bar four.
Peterson also uses semi-quavers during bar two to provide a possible means of
including a passing note.
During the second line
there is a repeated minim. There is also
a repeated pattern in rhythm between the last three notes of bar one and the
last three notes of the fourth bar. At the same places the rhythm has also been
displaced.
6.
Swing feel- A strong sense of swing is essential
to evoking the true character of jazz. (For example see Cooke, Horn 2004 P4)
Often quavers are to be swung even if they are not notated this way. For example, the transcribed solo of ‘The
Girl from Ipanema’, does not give any indication that the quavers are to be
swung.
From listening to the recording however, the swung feel can
be heard to be a fundamental component of the improvisation. (For example see
Peterson 1963)
7.
Including various combinations of scales and
chord tones within the improvisation- When improvising, it is common practice
to use a variety of different scales and (or) chord tones within the one solo.
(For example see Sarath 2009 P138) By doing this the improviser is creating a
solo rich in the vocabulary of jazz. The transcriptions of improvisations
reveal the use of this. For example, ‘The Girl from Ipanema uses the Db major
scale and Bb blues scale extensively. There is also frequent chromaticism,
adding greater colour.
Contour-This refers to the shape of the melody line,
determined by its pitch. The contour of a solo must be considered carefully in
order for the improviser to produce a convincing solo. If the improviser uses
too narrow a register throughout the entirety of a solo then this may become boring.
If the improviser makes use of the full register available then this can aid
the development of the solo. For example, on starting the solo, the improviser
may play in the lower register and then move up the register as the solo
continues to enhance momentum. (For example see Alldis p155 2003) All of the
techniques listed to this point must be taught in a way that aids melodic
contour.
Knowledge of harmony- In order to facilitate both
improvising using chord tones and the user being able to apply a rudimentary
accompaniment, it is essential that some knowledge of harmony is included in
the guide. It is common place for
resources concerning the teaching of jazz to often have a separate guide for
jazz harmony. For example ‘A Classical Approach to Jazz Piano’,(Alldis 2003) is
also supplemented by ‘ A Classical Approach to Jazz Piano Exploring harmony’(Alldis
2003) ‘Jazz Piano solo concepts’, (Moerke 2000) is supplemented by ‘Jazz Piano
Voicing Concepts’ (Moerke 2007). The author states the basis for the book: ‘One
reason for this new edition of Voicing Concepts was that many students lacked
the basic understanding of chord structures. However, these basics are
necessary for understanding more complex harmonic concepts employing different
voicings.’ (Moehrke 2007 P7) The addition of a second resource dedicated to
harmony is to help the learner achieve a comprehensive understanding of
harmonic structures that underpin the improvisation. As a second resource is out with the scope of
the proposer’s project, the guide will concentrate on the essential knowledge
required to improvise using chord tones and for the user to be able to provide
a rudimentary accompaniment for solo improvisation.
Left-Hand voicings- Close Voicing’s can be played in the
left-hand which contain the root, third and seventh of the implied chord. This
provides a means of relating accompaniment to chord-tone patterns that the learner
is to be introduced to in the right hand. For example, if the learner has
already been taught how to improvise using chord tones before being taught left
hand accompaniments, then they already know what notes are contained within
each chord. This could then form the
basis for a left-hand voicing consisting of root, third and seventh. This is recognised
as an appropriate choice for solo accompaniment. (For example see Moerke 2007
P74) With the absence of a bass player, the root note is provided which means the
chord centre is established, the third defines whether the chord is major or
minor and the 7th provides the additional layer of colour needed for
a 7th chord. For a 9th,
11th or 13th chord, a fourth note could be added in order
to do this. The transcriptions studied also reveal the use of this form of
accompaniment. For example:
Another accompaniment style that the improviser can use when
unaccompanied is the Walking Bass Line. This is because it resembles that of
what a double bass player would play within the context of an ensemble. Therefore, it provides an effective rhythmic and
harmonic foundation for the improvisation. ‘Walking bass lines are an essential
part of the vocabulary of jazz.’ (Alldis 2003 P144) The bass line of ‘Take the
‘A’ Train’ (Ellington 1941) reveals this form of accompaniment.
For example:
Upon analysis of the first system a walking bass line consisting
entirely of crotchets can be observed. It is apparent that nearly all of the
notes are from the C major scale which establishes the tonal centre. The notes
that are an exception to this are, the Ab in bar one of the solo and the C
sharp in the last bar. These could be described as chromatic approach notes as
they come at the last beat of the bar, preceding notes from the C major
scale. The right hand during this line
provides fairly sparse harmony as there is never more than two notes played
together. Because of this there is sometimes one note of the chord omitted. For
example, the first two notes in the right hand are C and E. The first note in
the left hand is C. The chord symbol is C and so the G is omitted.
A Walking Bass line in isolation doesn’t provide as full a
harmonic underpinning as the Close Voicing’s do. In order to accommodate for
this, notes of the chord are often included in the right hand. For example:
During the second system the left hand continues with the walking bass
line. The second note of bars one and two could be described as a passing note.
This is because they both link chord tones. From the second bar of the right
hand, the full harmony implied by the chord symbol can be seen. This introduces
a dense texture which contrasts with the sparse texture seen up to this point.
In conclusion, through the analysis of transcriptions of
improvisations, existing teaching methods and characteristics of a classical
training, the essential ingredients needed to improvise have been identified.
This comprises of: The Pentatonic major scale, the Blues Scale, Major Scales
and the modes derived from them and chord tones. What techniques and concepts
can be used to improvise effectively has then been identified. This comprises
of: Target notes, Approach notes, Scaleic Patterns, Chord tone patterns, the
inclusion of various scales and (or) chord tones within one solo and contour.
With the desire that the learner should be able to apply a rudimentary
accompaniment suitable for soloing within an unaccompanied context, appropriate
accompaniment styles have been identified and explained. This comprises of close
voicings and walking bass lines.
References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Creech,et,al(2008)
Investigating musical performance: commonality and diversity amongst classical
and non-classical musicians, Music
Education Research,10(2)p215-243
Hinz,B.(1995)Helping
students master improvisation: Bob
Hinz introduces the concept of improvisation and suggests ways to develop
improvisation skills in students, Music
Educators Journal, 82, p32-36
Hussey.C.
Ed.,(2007).Great Jazz piano solos Book
two,(Music scores), Wise publications.
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music
scores), Wise publications
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
Sarath,E.(2009) Music Theory
Through Improvisation: A New Approach to Musicianship Training, Routledge
Cooke,M.Horn,D.(2003)The Cambridge
companion to Jazz, Cambridge University Press
Establish Critical framework to be used to design and
develop the methods to be used in the resource.
In order to view this with the images, click this link- Objective 4, tasks 1 and 2
This objective should establish what content the resource is
comprised of. In order to do this, the research done on classical training,
transcriptions and pedagogical methods will be drawn on. This gives evidence to the following:
1.
What limitations of a classical training need to
be addressed in the method in respect of improvisation?
2.
How can a classically trained pianist’s existing
knowledge relate to improvisation?
3.
What techniques and devices have respected jazz
musicians used when improvising?
4.
What is a common learning format for the
teaching of improvisation?
5.
How can learning be contextualised according to
the requirements of the user?
The answers to these questions can be used to develop and
justify methods that are going to be used in the resource.
Due to the timeframe
in which the resource is to be completed, it will concentrate on the delivery
of the essential knowledge and skills needed in order to improvise effectively. This means that the user of the method should
be able to improvise a solo that has composition like qualities. ‘A Classical approach to Jazz Improvisation’,
considers a successful improvised solo to have such qualities. These are:
repetition, fragmentation, compression, transposition, syncopation and
reharmonization. (For example see Alldis 2003 p148) Other studies also allude
to this. ‘Many improvisers…also use repetition, variation, contrast and other
forms of development to elaborate on their fundamental ideas’ (Hinz 1995 P32) The first stage of this process is to list all
the tools that are needed to improvise. These will be contained within the
resource. Following this, how these
tools can be used for effective improvisation will be identified and described.
Tools to be used for improvisation-
The study of transcriptions and other self-development
methods reveal what scales and (or) chord tones are used for improvisation.
They also show how these devices are used to improvise. Some of these methods can be used in the
proposer’s guide. The needs of the particular audience along with the time
frame play a large part in determining what concepts are to be included.
Tools for improvisation
Pentatonic scale- The Pentatonic scale is used as a starting
point for improvisation in several self-development resources. ‘Due to the simplicity of the pentatonic scale,
your concentration can be more focussed on rhythm and phrasing while
improvising. As a result your improvisation will not be disturbed by your
having to think about playing the right notes’. (Moehrke 2009 p10, Also see
Alldis 2003 p7)It is therefore arguably easier to produce more pleasing results
from the onset by using the pentatonic scale. Regardless of what note of the
scale the user chooses, dissonance will be avoided. This is important as it means the user should
be encouraged from the initial stages. If major or minor scales were used for
the first step, because of the greater number of notes, there would be more
chance of the user playing harmonically displeasing notes. In addition to this, the analysis of
transcriptions of improvisations which use the chord progressions focussed on,
reveal the use of pentatonic scales. This suggests that the pentatonic scale would
be an appropriate choice for introducing improvisation within the proposer’s
method.
(Ellington 1941)
The solo starts in bar two of the first line. It can be
observed that the notes are mostly from the C major pentatonic scale with the
exception of the two grace notes and the Ab in bar four.
The Blues scale is also arguably a fundamental component of
jazz improvisation. It too is used in several self-development methods. ‘The
blues is an integral part of the language of jazz…’ (Alldis 2003 P24) Upon
studying the transcriptions, it is found that it is often used.
For example-
(Peterson 1963)
It can also be noted in the transcriptions, that major
scales can be used for improvising.
For example-
(Peterson 1963)
Nearly all of the notes used in the first line are from the
Db Major scale. One of the advantages of including major scales as a device for
improvisation is that the intended user of the resource is already likely to
know all the major scales. For example,
the ABRSM syllabus as discussed in objective 2, represents one of the most
common formalised approaches to learning that classical musicians partake in. The
syllabus requires participants to be highly adept at both major and minor
scales. (For example see ABRSM 2010) Therefore, this presents the opportunity for
the user to be presented with a tool for improvisation that they already know,
aiding the learning process. Furthermore, this can be used as a framework
for teaching the most widely used modes; another fundamental component of jazz
improvisation. (For example see Alldis 2003 P63)
Modes- Mixolydian, Dorian, Ionian, Aeolian and Lydian- These
modes are to be included as they provide a means of improvising using a chord
centre approach. In the proposer’s
method, the chord progression focussed on is: I-MAJII-MinII-V-I. The Mixolydian mode can be used over dominant
7th chords. This means it can be used over MAJII. The Dorian mode
can be used for improvising over m7 chords. This means that it can be used over
chord MinII within the resource. Ionian can be used for improvising over MAJ7
chords. This means that it can be used for improvising over chord I within the
resource. The Aeolian mode can be used for improvising over m7 chords. This
means that it provides an alternative to using the Dorian mode. The Lydian mode
can also be used for improvising over MAJ7 chords and so it can be used as an
alternative to the Ionian.
It has also been noted that the use of Chromaticism is a
frequent feature used to provide a contrast to diatonic scales. For example:
(Peterson 1963)
Again, the ABRSM syllabus requires participants to have
thorough knowledge of this. ‘Beginning on any notes named by the examiner,
legato or staccato as directed by the examiner, hands together, 4 octaves’
(ABRSM 2010) This provides another opportunity to give the classical musician
tools to improvise based on what knowledge they already have.
Finally, chord tones are often used as a tool for
improvisation. (For example see Alldis
2003 P97)
Also:
(Peterson 1963)
This is another area where it is
probable classical pianists have got a thorough understanding. This is because
the study of arpeggios forms an extensive part of the technical requirements
for the ABRSM syllabus. (For example see ABRSM 2010 also Green 2006 P8)
All of the above represent the Plat form from which the
improvised content can be based. How
these tools can be used to improvise effectively is the next area to be discussed.
Patterns represent a fundamental component of improvisation
that can lead to an improvised solo having the qualities of a composition. (For example see Moehrke 2009 P15, also
Alldis 203 P16)
The study of transcriptions reveals several patterns over
the course of one improvised solo. For example, from the analysis of ‘Take the
‘A’ Train’ (Ellington 1941)
There are several recurring patterns that can be observed
during the solo section. The chords played at beats three and four of the bar
are sometimes on the beat crotchets which act as a break to the syncopation
which precede them. For example:
There is a repeated pattern of chords which are syncopated by the use of a
quaver rest. For example, the first occurrence:
It is then suggested again here:
And here:
There are two passages where the
melody is comprised of whole tones. The first time this occurs the melody
ascends and the second time it descends. For example:
There are three examples of ascending triplets. Each time
there is a tendency to play thirds. For example:
Also, from analysis of ‘The Girl from Ipanema’ (Peterson
1963)
The final stage concerning
the analysis of melodic content involves detailing how the phrases, both
rhythmically and melodically, relate as a whole.
There are numerous patterns that can be
observed through the analysis of melodic content of the entire solo. The last two notes of the first bar are
suggested again by the last two notes of the first bar, second line. The
interval of a perfect fourth is observed in both cases. In the first bar of the
second line, instead of the last two notes being two quavers the first is a
crotchet and the second a quaver. The two notes are suggested again during the
first bar of the third line. This time the interval is a diminished fourth. The
note values have increased again so this time there is two crotchets. In the first line, second bar, the first
three notes, form a quaver followed by two semi-quavers. This pattern can also
be observed during bar three of the third line and bar four of the fourth line.
In all cases the same intervallic order of notes are used. The same rhythm that
is introduced during bars three and four of the first line is then suggested
again during bars three and four of the second line. This time instead of there
being a tied dotted crotchet there is a dotted crotchet rest. The first three
notes in the last bar of the second line also have the same intervallic order
as that of the above bar. The same pattern of ascending quavers are observed in
bar two of the first line and in bar two of the second line. There are also
repeated triplets. Peterson mostly uses
the Db major scale for the first and second line before using the Bb blues
scale in the third line. Before returning to the Db major scale (bars three and
four of last line) he includes two bars where chromaticism is used as a link
(Bars one and two of the last line)
The two transcriptions reveal the use of devices which have
been used to create patterns. There are repeated rhythmic and melodic patterns
which lead to the solo having composition like qualities. There are several
very common devices used in order to facilitate patterns.
These include:
1.
Target notes- Both transcriptions have examples
of notes which are repeatedly targeted. Often this is influenced by the melody
of the standard. For example:
The first line consists mainly of quavers in
a step-wise melodic motion. The general shape is that notes descend and then
ascend within the range of a minor tenth.
The first note of the solo is significant as it is the same note and
note length as the first note of the melody of ‘The Girl from Ipanema’, in this
key. In addition to this, Peterson uses
three C’s during this line. C is a very
prominent note of the melody from ‘The Girl from Ipanema’. There is an example of repeated note
intervals. During the first bar, the last two quavers marked with an * are
repeated in bar three.
During the first line there is a recurring
pattern of the notes, C and E, being used. This happens five times within the
space of three bars. Ellington uses
grace notes that are a semi-tone away from the target notes that follow them.
This happens during the first bar. The Ab in bar three is a semitone away from
G and A- notes that are both in the C major pentatonic scale. The first four
notes of the second bar have the same shape as the four quavers in the first
bar. The second group of quavers in both bars also have the same intervallic
order.
2.
Approach
notes- Approaches are a very common component of jazz improvisation. This is
when a target note is preceded by one or more notes that create some tension
before being resolved. (For example see Moehrke 2009 P34) From the analysis of
the transcriptions it can be seen that usage of this technique is common.
For example:
The first C and the E
marked with an * could be described as chromatic approach notes. They both
precede notes that are a semi-tone away. (For example see Alldis 2003 p91) The
second C marked with an * could be described as a target note. It is a crotchet
and the four notes leading up to it are quavers. Also C is a very prominent
note of the melody of ‘Girl from Ipanema’ in this key. (For example see Moehrke 2009 p35)
3.
Scale
Patterns- The use of a repeated pattern within the context of a scale is also a
widely used technique. ‘A good way to
generate more musical ideas is to begin compiling a vocabulary of scale
patterns with and without rhythmic displacement’. (Alldis 2003 P16) Again, the
analysis of improvisations reveals the usage of this.
In this example the Whole-tone scale is used
in a descending motion. This highlights the need for the user of the method to
be adept at playing each scale starting on any note.
4.
Chord tone
patterns- It has been evidenced that this is also a common component of
improvisation. This again highlights the need for the user to be adept at playing
chords starting from each of the notes in the chord. For example:
During the last two bars of the solo, there is a continued pattern of
ascending triplets in thirds. Unlike the previous examples, this time the first
and last note of each triplet has been harmonized. This gives it a percussive
quality which is enhanced by the crescendo at that point. The single notes in each triplet- D,F and A
form a Dm triad. From the second bar
there is step-wise movement leading back into the chorus.
5.
Rhythmic
displacement- Alteration of the rhythm through changing note lengths and
including syncopation is a common rhythmic tool deployed within improvisation.
By playing some notes on off-beats this helps create a strong jazz feel. (For
example see Alldis 2003 P100) The transcriptions reveal examples which are in
part characterized by this. For example:
During the first line there is syncopation
introduced from the onset by means of the dotted crotchet where there is
another example of at the start of bar four. Also, the two quavers at the end
of the first bar are repeated again from the second beat of the third bar. This
time though, the length of the second note is increased in length greatly.
There is another example of rhythmic displacement at the end of bar four.
Peterson also uses semi-quavers during bar two to provide a possible means of
including a passing note.
During the second line
there is a repeated minim. There is also
a repeated pattern in rhythm between the last three notes of bar one and the
last three notes of the fourth bar. At the same places the rhythm has also been
displaced.
6.
Swing feel- A strong sense of swing is essential
to evoking the true character of jazz. (For example see Cooke, Horn 2004 P4)
Often quavers are to be swung even if they are not notated this way. For example, the transcribed solo of ‘The
Girl from Ipanema’, does not give any indication that the quavers are to be
swung.
From listening to the recording however, the swung feel can
be heard to be a fundamental component of the improvisation. (For example see
Peterson 1963)
7.
Including various combinations of scales and
chord tones within the improvisation- When improvising, it is common practice
to use a variety of different scales and (or) chord tones within the one solo.
(For example see Sarath 2009 P138) By doing this the improviser is creating a
solo rich in the vocabulary of jazz. The transcriptions of improvisations
reveal the use of this. For example, ‘The Girl from Ipanema uses the Db major
scale and Bb blues scale extensively. There is also frequent chromaticism,
adding greater colour.
Contour-This refers to the shape of the melody line,
determined by its pitch. The contour of a solo must be considered carefully in
order for the improviser to produce a convincing solo. If the improviser uses
too narrow a register throughout the entirety of a solo then this may become boring.
If the improviser makes use of the full register available then this can aid
the development of the solo. For example, on starting the solo, the improviser
may play in the lower register and then move up the register as the solo
continues to enhance momentum. (For example see Alldis p155 2003) All of the
techniques listed to this point must be taught in a way that aids melodic
contour.
Knowledge of harmony- In order to facilitate both
improvising using chord tones and the user being able to apply a rudimentary
accompaniment, it is essential that some knowledge of harmony is included in
the guide. It is common place for
resources concerning the teaching of jazz to often have a separate guide for
jazz harmony. For example ‘A Classical Approach to Jazz Piano’,(Alldis 2003) is
also supplemented by ‘ A Classical Approach to Jazz Piano Exploring harmony’(Alldis
2003) ‘Jazz Piano solo concepts’, (Moerke 2000) is supplemented by ‘Jazz Piano
Voicing Concepts’ (Moerke 2007). The author states the basis for the book: ‘One
reason for this new edition of Voicing Concepts was that many students lacked
the basic understanding of chord structures. However, these basics are
necessary for understanding more complex harmonic concepts employing different
voicings.’ (Moehrke 2007 P7) The addition of a second resource dedicated to
harmony is to help the learner achieve a comprehensive understanding of
harmonic structures that underpin the improvisation. As a second resource is out with the scope of
the proposer’s project, the guide will concentrate on the essential knowledge
required to improvise using chord tones and for the user to be able to provide
a rudimentary accompaniment for solo improvisation.
Left-Hand voicings- Close Voicing’s can be played in the
left-hand which contain the root, third and seventh of the implied chord. This
provides a means of relating accompaniment to chord-tone patterns that the learner
is to be introduced to in the right hand. For example, if the learner has
already been taught how to improvise using chord tones before being taught left
hand accompaniments, then they already know what notes are contained within
each chord. This could then form the
basis for a left-hand voicing consisting of root, third and seventh. This is recognised
as an appropriate choice for solo accompaniment. (For example see Moerke 2007
P74) With the absence of a bass player, the root note is provided which means the
chord centre is established, the third defines whether the chord is major or
minor and the 7th provides the additional layer of colour needed for
a 7th chord. For a 9th,
11th or 13th chord, a fourth note could be added in order
to do this. The transcriptions studied also reveal the use of this form of
accompaniment. For example:
Another accompaniment style that the improviser can use when
unaccompanied is the Walking Bass Line. This is because it resembles that of
what a double bass player would play within the context of an ensemble. Therefore, it provides an effective rhythmic and
harmonic foundation for the improvisation. ‘Walking bass lines are an essential
part of the vocabulary of jazz.’ (Alldis 2003 P144) The bass line of ‘Take the
‘A’ Train’ (Ellington 1941) reveals this form of accompaniment.
For example:
Upon analysis of the first system a walking bass line consisting
entirely of crotchets can be observed. It is apparent that nearly all of the
notes are from the C major scale which establishes the tonal centre. The notes
that are an exception to this are, the Ab in bar one of the solo and the C
sharp in the last bar. These could be described as chromatic approach notes as
they come at the last beat of the bar, preceding notes from the C major
scale. The right hand during this line
provides fairly sparse harmony as there is never more than two notes played
together. Because of this there is sometimes one note of the chord omitted. For
example, the first two notes in the right hand are C and E. The first note in
the left hand is C. The chord symbol is C and so the G is omitted.
A Walking Bass line in isolation doesn’t provide as full a
harmonic underpinning as the Close Voicing’s do. In order to accommodate for
this, notes of the chord are often included in the right hand. For example:
During the second system the left hand continues with the walking bass
line. The second note of bars one and two could be described as a passing note.
This is because they both link chord tones. From the second bar of the right
hand, the full harmony implied by the chord symbol can be seen. This introduces
a dense texture which contrasts with the sparse texture seen up to this point.
In conclusion, through the analysis of transcriptions of
improvisations, existing teaching methods and characteristics of a classical
training, the essential ingredients needed to improvise have been identified.
This comprises of: The Pentatonic major scale, the Blues Scale, Major Scales
and the modes derived from them and chord tones. What techniques and concepts
can be used to improvise effectively has then been identified. This comprises
of: Target notes, Approach notes, Scaleic Patterns, Chord tone patterns, the
inclusion of various scales and (or) chord tones within one solo and contour.
With the desire that the learner should be able to apply a rudimentary
accompaniment suitable for soloing within an unaccompanied context, appropriate
accompaniment styles have been identified and explained. This comprises of close
voicings and walking bass lines.
References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Creech,et,al(2008)
Investigating musical performance: commonality and diversity amongst classical
and non-classical musicians, Music
Education Research,10(2)p215-243
Hinz,B.(1995)Helping
students master improvisation: Bob
Hinz introduces the concept of improvisation and suggests ways to develop
improvisation skills in students, Music
Educators Journal, 82, p32-36
Hussey.C.
Ed.,(2007).Great Jazz piano solos Book
two,(Music scores), Wise publications.
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music
scores), Wise publications
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
Sarath,E.(2009) Music Theory
Through Improvisation: A New Approach to Musicianship Training, Routledge
Cooke,M.Horn,D.(2003)The Cambridge
companion to Jazz, Cambridge University Press
Objective 2 task 3- Identify and describe aspects of classical training which could help the classical pianist to improvise.
The previous task concentrated on what aspects of a
classical education act as a barrier to improvisation. In this task, areas of a
classical training that are beneficial to improvisation will be
identified. This is intended to further
contextualise the pedagogy that will be applied to the proposer’s method.
To view this with the images click this link- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjVlZTkxNDM0NGE0MmNiZWE
Perhaps one of the most apparent similarities between jazz
improvisation and classical music is the level of technical expertise that
exists within the two fields. ‘A Classical approach to Jazz Improvisation’,
(Alldis 2003) puts forward the view that a strong technical ability contributes
much to improvising a successful solo. ‘Technical expertise is the gateway to
freedom of expression, spending some time focussing on the mechanics of playing
the piano will greatly improve your overall performance.’ (Alldis 2003 P152) From
the analysis of recorded improvisations, evidence for this can be heard. (For
example See Peterson 1963) As has been described in the previous task, the
ABRSM classical syllabus represents perhaps the most common example of a
formalised approach to learning. The
syllabus requires the participant to study technical exercises which are
contained within one workbook of the syllabus. (For example see ABRSM
2010) Such a workbook is what the author
of ‘A Classical approach to improvisation’ is alluding to when he states:
‘Alternatively, play some scales, arpeggios or five-finger exercises. You should purchase a scale manual and book
of finger exercises’. (Alldis 2003) Furthermore, the analysis of transcriptions
of improvisations reveals some identical characteristics to that of the
requirements of the syllabus. For
example:
(Peterson 1963)
The chord tones that are
used in the first example resemble the Am arpeggio. The four quavers in the
second example resemble the whole tone scale and there is repeated
Chromaticism. Indeed, improvising using
chord tones is recognised as a very common method of improvisation,
particularly within be-bop. (For example see Alldis 2003) The whole tone scale
can be very often heard in recordings of jazz musicians such as Oscar Peterson
and Art Tatum. (For example see Tatum P, Peterson P ) Chromaticism is also very
often found which often contrasts with diatonic scales. (For example see Hussey
2007 P12) These are all examples of
technical exercises which are contained within the ABRSM syllabus. It contains major and minor scales, chromatic
scales, whole tone scales, arpeggios built from triads, dominant seventh
arpeggios and diminished seventh arpeggios. (For example see ABRSM 2010) The
dominant seventh arpeggios in particular can be of much use within
improvisation. There are two reasons for
this: Chord tone improvisation mostly uses four note chords of which the
dominant seventh is one of the most common. (For example see Moerke 2009 P47)
Also, left-hand voicing’s can be built from dominant seventh chords. A common
example is root, third and seventh. Therefore, when teaching this within the
method, a classical pianists existing knowledge can be drawn upon and the
pedagogy contextualised according to this. Taking chord-tone improvisation
using dominant sevenths as an example: If the learner already has a strong
familiarity with the concept, there is less time taken to teach it. This means that more of the learning can be
focused on how to use it within an improvised context. This is likely to
encourage learning as the user of the book is using it solely to get better at
improvisation. By grade 8 level the
participant is required to have developed a very thorough understanding of such
exercises. For example, on the Chromatic scale the syllabus reads: ‘Beginning
on any notes named by the examiner, legato or staccato as directed by the
examiner, hands together, 4 octaves’ (ABRSM 2010). Similar stringent
requirements are apparent on most of the exercises at this grade. The ABRSM states what the purpose of the
progression of the technical exercises is: ‘The gradual building of a key sense is
as important as the growing physical dexterity needed to perform these
requirements successfully.’ (Taylor
2009) It is therefore arguable that a classical musician, who is making the
transition to improvisation, is already, to a certain extent familiar with
particular devices which can be used within the context of improvisation.
Another area that indirectly could be beneficial is the study of pieces
within the ABRSM syllabus. 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. Within the ABRSM syllabus, the
learner is presented with pieces where it is beneficial to be able to
understand the form and compositional qualities of the piece. Each of the pieces is supplemented by the
addition of performance directions. For
example, ‘The theme is pretending to start a new development in a new key, and
the whole point here is that it nevertheless ends the whole work within a
normal eight-bar phrase’. (Cooper 2010 P18) Through being able to appreciate
such qualities, the learner is more likely to achieve a successful reproduction
of the piece. (For example see
Green 2006 P8) A successful improvised solo should also contain composition
like qualities. . ‘Many improvisers…also use repetition, variation, contrast and
other forms of development to elaborate on their fundamental ideas’ (Hinz 1995
P32) This therefore represents another
area where a classical musicians knowledge can be contextualized according to
what they already know. Although this doesn’t help with the spontaneity that
improvisation requires, it presents improvisation as having qualities that the
classical pianist is already familiar with through studying classical
works.
The final area of a classical training that
could aid with learning improvisation is the aural skills element of a
classical training. As part of the ABRSM syllabus, learners are required to
study this. ‘Listening lies at the heart of all good music-making. Developing
aural awareness is fundamental to musical training because having a ‘musical
ear’ impacts on all aspects of musicianship’. (ABRSM 2010 P2) This aural element
is a central theme within a jazz musician’s musicality. Indeed, existing methods of teaching
improvisation focus on this. ‘Jazz Piano Improvisation Concepts’, (Moehrke
2009) is one example of this. The author advocates playing phrases back by ear
as an effective delivery mechanism for learning improvisation. ‘When playing
along to a recording, all the important elements belonging to the music are
learned simultaneously.’ (Moehrke 2009 p8) This is further evidenced when
considering the importance placed on transcribing improvisations within the
process of learning how to improvise. ‘Transcribing is particularly effective for
high school and college students who wish to become more familiar with jazz
techniques and styles’. (Hinz 1995) The
act of transcription preserves the spontaneity of a given solo within an
accessible format. This fulfils education purposes as the characterization of a
particular artists approach can be identified an analysed. The importance of
transcription within jazz education is probably most clearly exemplified by the
existence of published transcriptions. ‘The Jazz Master Series’ is a series of
published transcriptions of several seminal jazz artists. The purpose of the
series is stated: ‘Designed for the
musician who is excited by the unique opportunity to learn the styles and
techniques of jazz greats.’(Distler 1986 Back page) It is therefore arguable that the aural
component is another feature of a classical musicians training that can be used
to learn how to improvise. By targeting
the learners existing aural capacity, learning can be delivered in this
fashion. In this sense, learners can be helped to grasp the feel of improvised
phrases as well as achieve an acquisition of key skills needed for effective
improvisation.
In summary, it has been evidenced that the
technical skills a classical pianist is likely to possess, is advantageous to
the process of improvisation. Fast, technically demanding passages seen in
classical music can be compared to similar improvised passages. The technical
exercises that a classical pianist is likely to be familiar with helps
formulate the ingredients needed for improvisation. This means that more of the
learning can be focused on the actual teaching of improvisation. The repertoire
that a classical pianist will have studied reveals compositional techniques that
have similar qualities needed for a successful jazz solo. This therefore
extends the base of a classical musician’s musicality. It is a motivating
factor for the learner as they see can be taught that improvisation is related
to their existing musicality. Finally, it has been shown that aural learning is
an important education tool in both classical and jazz education. This too can
be drawn upon to deliver the most effective learning.
References
ABRSM.(2010).Specimen Aural Tests Grade 8,ABRSM
Publishing
Alldis,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Cooper.R.Ed.,(2010).Selected piano exam pieces 2011 and 2012
Grade 8,(Music scores), ABRSM Publishing
Distler,J.(1986)ART TATUM, Consolidated Music Publishers
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
Hinz,B.(1995)Helping students master improvisation: Bob Hinz introduces the concept of
improvisation and suggests ways to develop improvisation skills in students, Music Educators Journal, 82, p32-36
Hinz,B.(1995)Transcribing for greater musicality: Bob
Hinz explains how transcribing can be an effective tool for music students and
gives some helpful suggestions for teaching it, Music Educators Journal, 82, p25-33
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
Taylor,C.(2009)THESE MUSIC EXAMS,ABRSM Publishing
classical education act as a barrier to improvisation. In this task, areas of a
classical training that are beneficial to improvisation will be
identified. This is intended to further
contextualise the pedagogy that will be applied to the proposer’s method.
To view this with the images click this link- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjVlZTkxNDM0NGE0MmNiZWE
Perhaps one of the most apparent similarities between jazz
improvisation and classical music is the level of technical expertise that
exists within the two fields. ‘A Classical approach to Jazz Improvisation’,
(Alldis 2003) puts forward the view that a strong technical ability contributes
much to improvising a successful solo. ‘Technical expertise is the gateway to
freedom of expression, spending some time focussing on the mechanics of playing
the piano will greatly improve your overall performance.’ (Alldis 2003 P152) From
the analysis of recorded improvisations, evidence for this can be heard. (For
example See Peterson 1963) As has been described in the previous task, the
ABRSM classical syllabus represents perhaps the most common example of a
formalised approach to learning. The
syllabus requires the participant to study technical exercises which are
contained within one workbook of the syllabus. (For example see ABRSM
2010) Such a workbook is what the author
of ‘A Classical approach to improvisation’ is alluding to when he states:
‘Alternatively, play some scales, arpeggios or five-finger exercises. You should purchase a scale manual and book
of finger exercises’. (Alldis 2003) Furthermore, the analysis of transcriptions
of improvisations reveals some identical characteristics to that of the
requirements of the syllabus. For
example:
(Peterson 1963)
The chord tones that are
used in the first example resemble the Am arpeggio. The four quavers in the
second example resemble the whole tone scale and there is repeated
Chromaticism. Indeed, improvising using
chord tones is recognised as a very common method of improvisation,
particularly within be-bop. (For example see Alldis 2003) The whole tone scale
can be very often heard in recordings of jazz musicians such as Oscar Peterson
and Art Tatum. (For example see Tatum P, Peterson P ) Chromaticism is also very
often found which often contrasts with diatonic scales. (For example see Hussey
2007 P12) These are all examples of
technical exercises which are contained within the ABRSM syllabus. It contains major and minor scales, chromatic
scales, whole tone scales, arpeggios built from triads, dominant seventh
arpeggios and diminished seventh arpeggios. (For example see ABRSM 2010) The
dominant seventh arpeggios in particular can be of much use within
improvisation. There are two reasons for
this: Chord tone improvisation mostly uses four note chords of which the
dominant seventh is one of the most common. (For example see Moerke 2009 P47)
Also, left-hand voicing’s can be built from dominant seventh chords. A common
example is root, third and seventh. Therefore, when teaching this within the
method, a classical pianists existing knowledge can be drawn upon and the
pedagogy contextualised according to this. Taking chord-tone improvisation
using dominant sevenths as an example: If the learner already has a strong
familiarity with the concept, there is less time taken to teach it. This means that more of the learning can be
focused on how to use it within an improvised context. This is likely to
encourage learning as the user of the book is using it solely to get better at
improvisation. By grade 8 level the
participant is required to have developed a very thorough understanding of such
exercises. For example, on the Chromatic scale the syllabus reads: ‘Beginning
on any notes named by the examiner, legato or staccato as directed by the
examiner, hands together, 4 octaves’ (ABRSM 2010). Similar stringent
requirements are apparent on most of the exercises at this grade. The ABRSM states what the purpose of the
progression of the technical exercises is: ‘The gradual building of a key sense is
as important as the growing physical dexterity needed to perform these
requirements successfully.’ (Taylor
2009) It is therefore arguable that a classical musician, who is making the
transition to improvisation, is already, to a certain extent familiar with
particular devices which can be used within the context of improvisation.
Another area that indirectly could be beneficial is the study of pieces
within the ABRSM syllabus. 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. Within the ABRSM syllabus, the
learner is presented with pieces where it is beneficial to be able to
understand the form and compositional qualities of the piece. Each of the pieces is supplemented by the
addition of performance directions. For
example, ‘The theme is pretending to start a new development in a new key, and
the whole point here is that it nevertheless ends the whole work within a
normal eight-bar phrase’. (Cooper 2010 P18) Through being able to appreciate
such qualities, the learner is more likely to achieve a successful reproduction
of the piece. (For example see
Green 2006 P8) A successful improvised solo should also contain composition
like qualities. . ‘Many improvisers…also use repetition, variation, contrast and
other forms of development to elaborate on their fundamental ideas’ (Hinz 1995
P32) This therefore represents another
area where a classical musicians knowledge can be contextualized according to
what they already know. Although this doesn’t help with the spontaneity that
improvisation requires, it presents improvisation as having qualities that the
classical pianist is already familiar with through studying classical
works.
The final area of a classical training that
could aid with learning improvisation is the aural skills element of a
classical training. As part of the ABRSM syllabus, learners are required to
study this. ‘Listening lies at the heart of all good music-making. Developing
aural awareness is fundamental to musical training because having a ‘musical
ear’ impacts on all aspects of musicianship’. (ABRSM 2010 P2) This aural element
is a central theme within a jazz musician’s musicality. Indeed, existing methods of teaching
improvisation focus on this. ‘Jazz Piano Improvisation Concepts’, (Moehrke
2009) is one example of this. The author advocates playing phrases back by ear
as an effective delivery mechanism for learning improvisation. ‘When playing
along to a recording, all the important elements belonging to the music are
learned simultaneously.’ (Moehrke 2009 p8) This is further evidenced when
considering the importance placed on transcribing improvisations within the
process of learning how to improvise. ‘Transcribing is particularly effective for
high school and college students who wish to become more familiar with jazz
techniques and styles’. (Hinz 1995) The
act of transcription preserves the spontaneity of a given solo within an
accessible format. This fulfils education purposes as the characterization of a
particular artists approach can be identified an analysed. The importance of
transcription within jazz education is probably most clearly exemplified by the
existence of published transcriptions. ‘The Jazz Master Series’ is a series of
published transcriptions of several seminal jazz artists. The purpose of the
series is stated: ‘Designed for the
musician who is excited by the unique opportunity to learn the styles and
techniques of jazz greats.’(Distler 1986 Back page) It is therefore arguable that the aural
component is another feature of a classical musicians training that can be used
to learn how to improvise. By targeting
the learners existing aural capacity, learning can be delivered in this
fashion. In this sense, learners can be helped to grasp the feel of improvised
phrases as well as achieve an acquisition of key skills needed for effective
improvisation.
In summary, it has been evidenced that the
technical skills a classical pianist is likely to possess, is advantageous to
the process of improvisation. Fast, technically demanding passages seen in
classical music can be compared to similar improvised passages. The technical
exercises that a classical pianist is likely to be familiar with helps
formulate the ingredients needed for improvisation. This means that more of the
learning can be focused on the actual teaching of improvisation. The repertoire
that a classical pianist will have studied reveals compositional techniques that
have similar qualities needed for a successful jazz solo. This therefore
extends the base of a classical musician’s musicality. It is a motivating
factor for the learner as they see can be taught that improvisation is related
to their existing musicality. Finally, it has been shown that aural learning is
an important education tool in both classical and jazz education. This too can
be drawn upon to deliver the most effective learning.
References
ABRSM.(2010).Specimen Aural Tests Grade 8,ABRSM
Publishing
Alldis,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Cooper.R.Ed.,(2010).Selected piano exam pieces 2011 and 2012
Grade 8,(Music scores), ABRSM Publishing
Distler,J.(1986)ART TATUM, Consolidated Music Publishers
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
Hinz,B.(1995)Helping students master improvisation: Bob Hinz introduces the concept of
improvisation and suggests ways to develop improvisation skills in students, Music Educators Journal, 82, p32-36
Hinz,B.(1995)Transcribing for greater musicality: Bob
Hinz explains how transcribing can be an effective tool for music students and
gives some helpful suggestions for teaching it, Music Educators Journal, 82, p25-33
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
Taylor,C.(2009)THESE MUSIC EXAMS,ABRSM Publishing
(Objective 3) 3.0 Define, describe and discuss aspects of pedagogy, relevant to the appropriate teaching theory context, required to ensure that the guide is of high educational value.
This objective follows on from objective 2 which concentrated on the characteristics of a classical education. By taking the results from that, it allows for a more foccussed pedagogical approach. In addition to the research done on a classical education, this objective also draws from research done on pedagogical practices. The purpose of it is to ensure that learning is delivered most effectively within my guide.
To view this with the images click this link- Objective Three- Tasks 1, 2 and 3
Methods of teaching improvisation to classical musician
Objective 3- Pedagogical considerations
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. As
discussed in task two, the repertoire that a classical pianist is familiar with
reveals compositional qualities which are desirable to understand in order to
achieve a successful reproduction of the piece. 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. To supplement the
practical application, it is appropriate that the learner notates examples of
concepts. For example, the learner could be required to notate a scale in every
key before trying to play it in every key. The process of notation not only
targets the particular audience’s learning preferences, it forces the learner to
think about what notes are contained within each key before the practical
application. This means that when they apply it practically they are likely to
have greater success. Other methods use this as a theme of the learning. ‘When playing along to a recording, all the
important elements belonging to the music are learned simultaneously.’ (Moehrke
2009 p8)
At each
stage of the learning, what qualities constitute a composition will always be
of focus. As has been discussed in task two this can be contextualized
according to the repertoire that a classical pianist is likely to be familiar
with. By considering that a successful improvised solo should have similar
compositional qualities to a typical classical piece, this helps the learner
realise that their existing musicality is of assistance. 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
that is suggested by Alldis. For example, the concept of repetition could be
conveyed- first with reference to the melodic and rhythmic content that the
user has already learnt from the two bar phrases. Only once they are familiar
with repetition within a framework that they already know can more complicated
aspects such as syncopation, reharmonization and transposition be introduced.
All this has to be done by consolidation each time to ensure there is no leap
of knowledge. The psychology of
improvisation will also be of influence when considering how to target
learning. The aural component of the
method can be used both to give the classical musician a sense of the feel of
notated improvisations- something note easily notated. It can also be used t 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-
The theme of the learning is discussed below. As has been discussed
in the critical framework (Objective 4) the particular concepts focused on will
be: Major Pentatonic scale, Blues scale, Chromatic scale, major scales and the
modes derived from them and chord tones. These will be introduced using the
same theme of learning as discussed below.
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. In order
to facilitate the capability to transpose, the user could be asked to notate
the major pentatonic scale in every key. As has been discussed, the process of
notation allows for a greater understanding to be achieved. They could then be
asked to play the four examples of the two-bar phrases in each key.
7. 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.
8. 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. Again, by asking
the user to notate the two bars, this should act as a means of reinforcement.
9. The user
could then be introduced to perhaps 4 bar phrases in this fashion therefore
helping to consolidate the learning.
10.
At this
stage the user, by mean of consolidation it is desired that the user has formed
a good understanding of how patterns relate. It should therefore be appropriate
to introduce eight bar improvisations that further develop the sense of how
repetition can be used in order to help create an improvisation that has the
qualities of a composition that is discussed in Alldis’ method. This can be
contextualized according to what the learner has already learnt. For example,
the same phrases that have already been introduced could be used.
The above
example uses the same two bar phrase as was introduced at 6. It has been
extended to an eight bar pattern by means of rhythmic variation and inverted
position of notes. It doesn’t however introduce the learner to any new
concepts. The same scale, phrases and note values that have been used in the
first two bars are still used in a varied form in the remaining bars. This way, conveying a sense of repetition,
key to a successful composition, (For example see Alldis 2003 p145) has been
done without there being any leap of knowledge. Following the established system of learning,
the user could be introduced to the eight bar improvisation by means of
notation first. This has the benefit of stating clearly how bars three to eight
relate to bars one and two. The user could then be played the improvisation on
the CD so that they get the correct feel before being asked to play it
themselves- This develops an understanding of how the repetition is used. They
could then be introduced to the first two bars in notation with the remaining
six bars left blank for the user to improvise. By this stage they have formed
an understanding of how the two bars can develop by means of the previous
exercise.
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
To view this with the images click this link- Objective Three- Tasks 1, 2 and 3
Methods of teaching improvisation to classical musician
Objective 3- Pedagogical considerations
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. As
discussed in task two, the repertoire that a classical pianist is familiar with
reveals compositional qualities which are desirable to understand in order to
achieve a successful reproduction of the piece. 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. To supplement the
practical application, it is appropriate that the learner notates examples of
concepts. For example, the learner could be required to notate a scale in every
key before trying to play it in every key. The process of notation not only
targets the particular audience’s learning preferences, it forces the learner to
think about what notes are contained within each key before the practical
application. This means that when they apply it practically they are likely to
have greater success. Other methods use this as a theme of the learning. ‘When playing along to a recording, all the
important elements belonging to the music are learned simultaneously.’ (Moehrke
2009 p8)
At each
stage of the learning, what qualities constitute a composition will always be
of focus. As has been discussed in task two this can be contextualized
according to the repertoire that a classical pianist is likely to be familiar
with. By considering that a successful improvised solo should have similar
compositional qualities to a typical classical piece, this helps the learner
realise that their existing musicality is of assistance. 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
that is suggested by Alldis. For example, the concept of repetition could be
conveyed- first with reference to the melodic and rhythmic content that the
user has already learnt from the two bar phrases. Only once they are familiar
with repetition within a framework that they already know can more complicated
aspects such as syncopation, reharmonization and transposition be introduced.
All this has to be done by consolidation each time to ensure there is no leap
of knowledge. The psychology of
improvisation will also be of influence when considering how to target
learning. The aural component of the
method can be used both to give the classical musician a sense of the feel of
notated improvisations- something note easily notated. It can also be used t 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-
The theme of the learning is discussed below. As has been discussed
in the critical framework (Objective 4) the particular concepts focused on will
be: Major Pentatonic scale, Blues scale, Chromatic scale, major scales and the
modes derived from them and chord tones. These will be introduced using the
same theme of learning as discussed below.
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. In order
to facilitate the capability to transpose, the user could be asked to notate
the major pentatonic scale in every key. As has been discussed, the process of
notation allows for a greater understanding to be achieved. They could then be
asked to play the four examples of the two-bar phrases in each key.
7. 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.
8. 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. Again, by asking
the user to notate the two bars, this should act as a means of reinforcement.
9. The user
could then be introduced to perhaps 4 bar phrases in this fashion therefore
helping to consolidate the learning.
10.
At this
stage the user, by mean of consolidation it is desired that the user has formed
a good understanding of how patterns relate. It should therefore be appropriate
to introduce eight bar improvisations that further develop the sense of how
repetition can be used in order to help create an improvisation that has the
qualities of a composition that is discussed in Alldis’ method. This can be
contextualized according to what the learner has already learnt. For example,
the same phrases that have already been introduced could be used.
The above
example uses the same two bar phrase as was introduced at 6. It has been
extended to an eight bar pattern by means of rhythmic variation and inverted
position of notes. It doesn’t however introduce the learner to any new
concepts. The same scale, phrases and note values that have been used in the
first two bars are still used in a varied form in the remaining bars. This way, conveying a sense of repetition,
key to a successful composition, (For example see Alldis 2003 p145) has been
done without there being any leap of knowledge. Following the established system of learning,
the user could be introduced to the eight bar improvisation by means of
notation first. This has the benefit of stating clearly how bars three to eight
relate to bars one and two. The user could then be played the improvisation on
the CD so that they get the correct feel before being asked to play it
themselves- This develops an understanding of how the repetition is used. They
could then be introduced to the first two bars in notation with the remaining
six bars left blank for the user to improvise. By this stage they have formed
an understanding of how the two bars can develop by means of the previous
exercise.
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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