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.  

(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.

(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

(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)

(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.

(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.

(Objective 5 Production of the guide) Completed Chapter of Resource

The first chapter of the resource on the Pentatonic scale has now be completed along with the accompanying CD. The contents page reveals what I have decided, from research are the most important features needed to improvise.