Objective 5- Production of Guide Chord Tone improvisation

This chapter was included as objective one had shown that chord tones could be used effectively to improvise. Ojective two also revealed that classical pianists would likely be familiar with dominant seventh arpeggios. Improvisation using these chords involves making patterns out of arpeggiated figures. This therefore extends the Classical Pianist's existing skill. I have once again attempted to consolidate the learning. The chapter begins by solely concentrating on chord tones. The music of Bach provides an excellent example of composing using chord tones. This was therefore chosen to provide a familiar context to the concept. The notated improvisation following the Bach example, again contains only chord tones. This places the concept within an improvisation context.  After this initial preperation stage, the user is asked to apply their knowedge by improvising using  chord tones with the first two bars provided. Consolidation is also apparent in the next part of the chapter that reintroduces approaches and target notes. The leaner should already be confident at this because of the previous chapter.

Questionnaire feedback

The two remaining user questionnaires have been uploaded. Click the following links-Questionnaire feed back 2,    Questionnaire feedback 3

Objective 6 Testing

For the practical element of the testing stage, three candidates were filmed improvising over the four extended patterns. For privacy reasons these have been included on a DVD within the portfolio. The test directly corresponds to the end user questionnaire. The first chapter concentrates only on pentatonic improvisation and how to create patterns. Due to this, success can be measured by judging if each candidate kept to the prescribed pentatonic scale and was able to relate their improvising to the first two bars that were provided in each example. If they could then it would show they understood what was explained in the chapter. By using 4 examples in different keys, this highlighted if they were able to transpose effectively which was a significant part of the chapter.

Objective 5 (Production of Guide) Structuring an extended solo

 This final chapter draws on many of the concepts taught throughout the guide. Other self development resources on improvisation also dedicate a chapter at the end for structuring extended solos. In recognition that most improvisers will use a jazz standard as a basis, I have chosen 'The Girl From Ipanema'. This uses the I-minII-MAJII-V-I, chord progression which has been of focus during the second half of the guide. I explain that the learner can generate much initial ideas from the main melody. They can use concepts that have already been taught, such as approach notes and target notes, to do this. In order to extend the improvisation to 24 bars, the initial ideas are elaborated on. Again, this is done using concepts that have already been taught. In particular, as the solo develops, the learner's technical skills are acknowledged which allows a greater degree of creativity to be expressed. 

Following the notated example, the learner can improvise with the main theme of the melody provided.  

(Objective 5 Production of Guide) Target Notes and Approaches

 

Target notes and approaches are very commonly used in improvisation. The research done for objective one highlighted this. Also, other self-development resources on jazz improvisation always include it. This seemed an appropriate point in the resource to include it. The learner, by this stage, should be highly familiar with pentatonic and blues improvisation. Approach notes build on this by introducing chromaticism.  This gves the learner more freedom, which hopefully should encourage learning. It is vitally important the learner doesn't get bored at any stage.  I have once again tried to target the classical musician's existing musicianship by providing examples from music they are likely to be familiar with. By including the Debussy and Beethoven example it is hoped that they make the realisation that appoaches and target notes is commonplace in classical literature: 'Approach notes create tension in a melody line that is purposefully resolved.  This technique has been used by composers for hundreds of years.' (Moerke 2009 P34) It is therefore another example of improvsiation being taught as an extension of existing Musicianship. I have provided three examples on the third page of how target notes and approaches can be applied within an improvisation context. On the fourth page I have asked the learner to notate some approaches before the target notes which are provided. The previous page therefore acts as a point of reference. In addition, this interactive element stems from researching pedagogy in objective three. It was concluded that learner interaction was essential in a self development resource. The preparation stage, and practical application stage which occurs in one to one teaching, has to be effectively simulated.

(Objective 5- Production Of Guide) Blues and Pentatonic Improvisation

This Chapter reflects the fact that experienced improvisers often use more than one scale throughout the course of a solo. This was highlighted in objective one where the transcriptions analysed both used at least 2 scales throughout the course of the solo. This is reflected to the learner in the top page. It gives the learner a means of creating greater colour.  The CD recordings convey the effect of this to the learner. I have also tried to consolidate the learning. The pages that preceded this taught blues improvisation, with grace notes and melodic contour, in isolation. The chapter that preceded this taught pentatonic improvisation. Therefore, this chapter is a natural conclusion of that learning. It hopefully builds on what the learner, by this stage, already knows. The last page shows the example where the learner has to improvise. It can be considered guided improvisation; it prescribes what scales are to be used over what bars. Again, as researching pedagogy shown, limiting posibilities is especially important in a self-development resource.  The previous example on the second page  also directly corresponds with it. This provides the learner with a reference.