(Objective 6-Task 5 Testing) Questionnaire Responses

The first of the questionnaires has been sent back to me. It can be viewed here https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjE3ODRhMmVmM2I4MTdlZGU

(Objective 5- Production of Guide) 12 Bar Blues Chord Progression

The 12 bar Blues chord progression has been included as it is an intregral part of the Blues. 'The blues is traditionally based on a twelve-bar sequence'. (Alldis 2003 P27) This part of the chapter has two aims: The user should be able to apply a rudimentary left-hand accompaniment, The 12 bar sequence is extending the length of the improvisation. Prior to this it has been 8 bars. Furthermore, because of the different chords used there is greater compositional quality. ' In the last example we can hear that through using chords IV and V momentum is created. It also comes to an effective conclusion by using the tonic chord for the last two bars. This is reflected by the increasingly lower notes and the diminuendo.' (From my resource)

I begin by notating the left-hand accompaniment in isolation. From researching classical piano literature, it was shown that classical pianists would likely be familiar with dominant 7th chords. I have therefore taken this familiar concept and adapted it so that, in each chord, the fifth has been omitted. This is becuase it is common practice to omit certain notes from chords. The analysis of transcriptions revealed this. Following this, what the user has just learnt is presented again with a C blues improvisation in the right hand. This builds on the sense of contour which has already been included prior to this. After this, the user is then asked to improvise. The first two bars have been notated and the dynamics kept the same as the last example. This is intended to aid the development of contour. For example, in the previous example, as the notes acsended and descended, the dynamics followed this.

Finally, grace notes are included. This is a typical characteristic of blues improvisation. (For example see Alldis 2003 P35) It is again a concept that classical pianists would likely be highly familiar with. I have stated that 'Grace notes can be used effectively when using the blues scale to improvise. The sound they produce is a key characteristic of Blues Improvisation. These can work particularly well when the grace note precedes a note a semi-tone higher.
The next example uses the G blues scale. There are two examples of a Db, (The bV note of the scale) preceding a D natural. (The V note of the scale)'

(Objective 5 Production of Guide) Blues Transposition

Transposition of the Blues Scale is presented in the same format as pentatonic transposition. The manner in which the scales are notated resembles how scales are notated within classical piano literature such as the ABRSM sylabus. In order to encouage the learner, I have stated that the: A, D, G, F, and E, blues scales, just use the same fingering as that of what they have already learnt.

(Objective 5 Production of Guide) Blues Improvisation Continued

The first notated improvisation in this chapter once again highlights melodic and rhythmic patterns. By this stage it is hoped that the user is already highly familiar with this. Therefore, it has been done within the context of the Blues scale as opposed to the Pentatonic. The Page following this introduces Contour. Indeed, as the analysis of the transcriptions revelaed, the overall shape of a solo contributed to strengthening the compositional qualities. Recognising the background of the learner, I have chosen to use Eric Satie's Gymnopodie to convey this. As the melody ascends and decsends, the dynamics reflect this.

The page following this has the same solo, but this time the dynamics reflect the shape of the melodic line. The learner can hear the effect of this on the CD. Finally, the user gets the chance to improvise. The dynamics that have been written in act as a guide for how to achieve a successful sense of contour. From the previous two examples it is hoped they understand how to do this. The dynamics are also heard on the CD accompaniment.

(Objective 5 production of Guide) Blues Improvisation

Blues Improvisation seemed the next appropriate choice to include. This is because study of self-development resources often include it after pentatonic improvisation. Blues is an integral part of jazz and so it needs to have a significant proportion of the guide dedicated to it. The needs of the audience have been considered by teaching them the scale by reference to how it can be worked out from the major scale. The notation also shows it in a form that they will be familiar with.

(Objective 5 Production of Guide) Extended Patterns Learner Improvisation

During these pages the learner has the chance to put into practice what they have learnt from the preceding pages regarding how two bar patterns can be extended. How this is done has been reiterated on this page. This should hopefully reinforce the learners knowledge. I have stated that extended an initial two bar pattern can be done by:
· Inverting a series of notes
· Altering the length of a note or a series of notes
· Altering the placement of rests
· Repetition of notes and rests


These are all aspects that were notated in the analysis of the transcriptions. This page also uses the major pentatonic in 4 different keys. This seemed appropriate as it followed on from the pages about transposition.