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.
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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
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