The publisher declares itself available to pay the amount due for the pictures whose source could not be
acknowledged. The musical examples used in the text, if not the property of the author, were used acting in
accordance with the procedure laid down in Article 70 of the law 633, adopted on April 22nd 1943, as well as
with the subsequent legislative decree 68 of April 2003, on citation right.
Translated from Italian by Francesca Buran.
 A special thanks to Clio Pizzingril
Pizzingrilli
li for his editin
editing
g service.
Graphic design copyright ©RR

Copyright ©VAP (Voglia d'Arte Production)

viale Europa 15 - 64026 Roseto degli Abruzzi (TE) Italy
www.vogliadarteproduction.com
info@vogliadarteproduction.com
tel.
tel.  +39 333 4926093
 First published in Italy in 2012 by VAP 1002E 
 

Renzo Ruggieri

TEN APPROACHES TO
(JAZZ) IMPROVISATION

 Voglia d'Arte Production

 

CONTENTS
PREFACE..............................................................................................................................9
1. LISTENING, TRANSCRIBING AND ANALYZING..................................................
ANALYZING...................................................11 .11
1.1 Introduction.....................................
Introduction............................................................
........................................................................
...................................................11
..11
1.2 How to transcribe
tra nscribe a solo.........................................
solo................................................................
.................................................
............................12
..12
1.3 Conclusions.....................................
Conclusions............................................................
........................................................................
...................................................14
..14
Exercises.................................................
Exercises........................................................................
..............................................
..................................................15
...........................15
2. AN IN-DEPTH EXAMINATION OF PATTERNS..................................
PATTERNS........................................................
......................17
17
2.1 Introduction.....................................
Introduction............................................................
........................................................................
...................................................17
..17
2.2 Melody patterns..............................................
patterns.....................................................................
...........................................................
....................................18
18
2.3 Rhythm patterns................................................
patterns.......................................................................
..............................................
..................................19
...........19
Exercises.................................................
Exercises........................................................................
..............................................
..................................................21
...........................21
3. USING PATTERNS IN MUSICAL COMPOSITIONS.................................
COMPOSITIONS..................................................23 .................23
3.1 Introduction.....................................
Introduction............................................................
........................................................................
...................................................23
..23
3.2 Application.......................................
Application..............................................................
..............................................
.....................................
...........................
.............25
25
Exercises.................................................
Exercises........................................................................
..............................................
..................................................27
...........................27
4. USING STRONG NOTES TO IMPROVISE ON MELODIES.....................................
MELODIES......................................29 .29
4.1 Development and creation..............................................................
creation.........................................................................................
...........................29
29
4.2 A step-by-step guide to the strong notes method......................................................30
4.3 Improvisation with strong notes: a suggested procedure...........................................33
procedure...........................................33
4.4 Conclusions.....................................
Conclusions............................................................
........................................................................
...................................................33
..33
Exercises.................................................
Exercises........................................................................
..............................................
..................................................34
...........................34
5. IMPROVISING WITH THEMATIC CELLS...............................................................
CELLS.................................................................35 ..35
5.1 Introduction.....................................
Introduction............................................................
........................................................................
...................................................35
..35
5.2 A step-by-step guide to the use of thematic cells......................................................35
5.3 Conclusions.....................................
Conclusions............................................................
........................................................................
...................................................38
..38
Exercises.................................................
Exercises........................................................................
..............................................
..................................................39
...........................39
6. PLAYING WITH SCALES......................................................
SCALES.............................................................................................41
.......................................41
6.1 Modal procedure...........................................
procedure..................................................................
..............................................
......................................41
...............41
6.2 An example............................................
example...................................................................
..............................................
.............................................41
......................41
Exercises.................................................
Exercises........................................................................
..............................................
..................................................43
...........................43
7. PLAYING OVER CHORDS...............................................
CHORDS...........................................................................................
............................................45
45
7.1 An example............................................
example...................................................................
..............................................
.............................................45
......................45
7.2 A step-by-step guide to the application of this method.............................................47
7.3 How to address a piece..........................................................
piece..............................................................................................
....................................49
49
Exercises.................................................
Exercises........................................................................
..............................................
..................................................50
...........................50
8. PLAYING WITH APPROACH NOTES........................................
NOTES...............................................................
.................................51
..........51
8.1 Introduction.....................................
Introduction............................................................
........................................................................
...................................................51
..51
8.2 A step-by-step guide to the study of this method......................................................51
8.3 Some examples...............................................
examples......................................................................
...........................................................53
....................................53
Exercises.................................................
Exercises........................................................................
..............................................
..................................................55
...........................55
9. IMPROVISING WITH PHRASES..................................
PHRASES.........................................................
................................................57
.........................57
9.1 Phrases.............................................
Phrases....................................................................
..............................................
...................................................
............................57
57
 

9.2 Question and answer...............................................

answer......................................................................
...................................................58
............................58
9.3 Connexions..................................
Connexions.........................................................
..............................................
.......................................................
................................58
58
9.4 Short riffs...............................................
riffs......................................................................
..............................................
.............................................59
......................59
Exercises..............................................
Exercises....................... ..............................................
..............................................
.....................................................61
..............................61
10. PENTATONIC IMPROVISATION...................................................
IMPROVISATION..................................................................... ...........................
.........63
63
10.1 Introduction.........................................
Introduction................................................................
...............................................................
.............................................63
.....63
10.2 A single pentatonic scale revolving around a tonal centre......................................63
10.3 Pentatonic scale revolving around a tonal centre with dissonance..........................64
10.4 How to use pentatonics for outside playing.................................................
playing.............................................................64
............64
10.5 Conclusions.........................................
Conclusions................................................................
...............................................................
.............................................65
.....65
Exercises..............................................
Exercises....................... ..............................................
..............................................
.....................................................66
..............................66
 Notes.........................................
 Notes................................................................
..............................................
..............................................
..............................................69
.......................69
 

PREFACE
Orig
rigin
ina
atin
ing
g fro
from the need of outlininining
g a practical method for
impr
improv
ovis
isat
atio
ion
n (n
(not
ot on
only
ly inte
intend
nded
ed for
for jazz
jazz pe
perf
rfor
orme
mers
rs),
), th
this
is book
book is
designed for those who alrea
designed already
dy master the basics. Jazz classes most of the
time
timess prprim
imar
aril
ily
y focu
focuss on theo
theory
ry as we well
ll as on it itss appl
applic
icat
atio
ion,
n, of
ofte
ten
n
neglec
neg lecting
ting or put
putting
ting aside pra
practi
ctice.
ce. But the theore
theoretic
tical
al fram
framewo
ework rk can
someti
som etimes
mes be per
percei
ceived
ved as ove
overwhe
rwhelmi
lming
ng by studen
students ts to suc
suchh an extextent
ent
that they may find it hard to get the major elemeelementnt of improvisation
improvisation,, that
is the creation of a personal
personal language which must incluincludede an appropriate
assimilation.
assimila tion. Know
Knowing
ing what to do (or not to do) is not enough. In order to
 perform a true improvisation one must first of all know a large number of
 pieces, but also be good enough as to forget them - in a sort of
brainstorming
brainsto rming – so as to avoid any remains
remains of seduction
seduction left behind and
cr
crea
eate
te an empt
empty y sp
spac
acee to be fill
filled
ed wi
with
th th
thei
eirr own
own cr crea
eati
tivi
vity
ty.. In th
thee
 following pages we are therefore going to explain in detail the procedures
allowing a student to be introduced to the pragmatic of creativity.

The directions for the use of these ten figures, however, should not be
stri
strict
ctly
ly fo
foll
llow
owed
ed.. Quit
Quitee the
the op
oppo
posi
site
te.. It is
is,, inde
indeed
ed,, desi
desira
rabl
blee fo
forr th
thee
student/teacher to make them personal (for instance, by changing their
order)
ord er) throu
througho
ghout
ut the
their
ir scho
schooli
oling.
ng. So as to make that possib possible
le the pupil
pupil
should already have a good knowledge of major and minor cadences, cadences, most
common jazz scales, let alone theory, in other words: the basics. In order to
make the here outlined concepts
concepts more effect
effective
ive it is, then, advisable
advisable for the
reader
rea der to att
attent
entive
ively
ly foc
focus
us on eve
every
ry sin
single
gle chapt
chapterer and move to the next
one only after each explained figure is well assimilated. As individual
learning
learnin g paths may highly differ from person to person, the teache teacherr will
hav
ha ve to adapt to the heiir student's needs. It is neverthel heless worth
reme
rememb
mber
 Moreover,erin
ing
g least
at that
that four
no
nott pe
perf
rfec
ecti
piecestion
on
for bu
but
t afigure
each fair
fair le
leve
vell is be
should to considered:
be ac
achi
hiev
eved
ed.
a.
ballad, a medium, a fast and a peculiar rhythm selected by the student.

This sosorrt of textbook has become particu icularl

rly
y pro
rom
mine
inent in my
intermediate level courses, even though it does not require students, who
have
ha ven'
n'tt ac
acqu
quir
ired
ed a we
well
ll de
defi
fine
nedd styl
stylee of th
thei
eirr own
own yeyet,
t, to perf
perfec
ectl
tly
y
understand
under stand jazz harmony. Still, every single figure requires
requires to be studied
on its
its owown,
n, eve
evenn tho
thoug
ugh
h it is the
then
n su
supp
ppose
osed
d to be used
used alon
along
g wi
with
th th
thee
others.
“Neither everything is necessary, nor useless”.

the Author
 

 Listening, Transcribing
Transcribing and Analyzing

1
LISTENING, TRANSCRIBING
 AND ANALYZING
 Listening: selecting a solo which has made a major impact on the history
of jazz, listening to it and playing it getting into all its stylistic nuances.
Transcribing: putting what you hear onto music paper.
 Analyzing: understanding
understanding the chosen artist's
artist's grammar of comcomposition.
position.

1.1 INTRODUCTION
Listening to the most famous jazz musicians'
improvisations is by far the most important thing you can
do to learn about jazz. For years in the past this was the
only way to learn/teach and still nowadays it is essential
for any pupil to do that. As a matter of fact, listening
helps a musician recognize and understand intervals,
chords and the rhythmic grid, as well as the form of the
piece, whenever the soloist's real purposes are clear.
This procedure supports any student in a conscious and
exha
ex haus
usti
tive
ve deve
develolopm
pmenentt of ththei
eirr pe
pers
rson
onal
alit
ity
y wh
whilile
e
intr
introd
oducucining
g ele
lem
men
ents
ts to the their mem
emor
ory
y whic
which
h are
essential for everyone who wants to perform
profes
pro fessio
sional
nal and stylist
stylistica
ically
lly advan
advanced
ced solos.
solos. A good
good
listener will then be able to pick out the notes of the solo
and identify the music genre it belongs to, as well as its
form (intro,
(intro, chorus, solos, etc.)
solos, etc.) and harmonic structure.

Listening and transcribing a solo can be a very difficult

process, which requires a well-trained ear and a good
know
kn owled
ledge
ge of harm
harmon
ony
y an
and d theo
theory
ry.. Id
Iden
enti
tify
fyin
ing
g the
the
already known elements is not enough. In addition, the
incong
inc ongru
ruitie
itiess which
which typica
typically
lly occ
occur
ur wit
within
hin the Afr
Africa
ican
n
11
 

Ten Approaaches to (Jazz) Improvisation

Americ
Amer ican
an rhyt
rhythm
hm ca
can
n make
make th
the
e tr
tran
ansc
scri
ript
ptio
ion
n ev
even
en
harder. But don't give up in the face of initial
challenges! Besides, as a teacher, you can sometimes
deci
de cide
de to make
make the
the task
task easi
easier
er eith
either
er by ch choo
oosi
sing
ng
piece
iecess th
that
at ha
have
ve alr
lrea
eady
dy been
een trtran
ansc
scri
rib
bed anandd

p
alutoge
alto bgeth
lis
ish
hther.
eder. oFirnally
Fina ig,nofor
lly, rin
foing
r gth thee aimi
thos
ose trang
aimingnscrat
ip
ipttio
an signprifica
signifiocant
cent ss
stylistic growth, it is crucial to perform the solo along with
it
itss re
reco
cord
rding
ing pa payi
ying
ng cl clos
ose
e at
atte
tent
ntio
ion
n to allall it
itss st
styl
ylist
istic
ic
inflections (licks,
(licks, timing, grace notes, articulations,
articulations, etc.).
 etc.).

1.2 HOW TO TRANSCRIBE A SOLO

Here
He re is a de
deta
taililed
ed ex
expl
plan
anat
atio
ion
n of th
the
e step
step-b
-by-
y-st
step
ep
process you need to follow when learning a solo.

1. Li
List
sten
en to
trying to
to sing
tthe
he tune
tu ne you
youwith
it along hav
have ec
thecho
hose
sen
noove
verr and
recording. and ov
over
er,,
This will help you identify the general mood of your
solo, the performer's timing as well as make you
comfortable with its sound.

 2. Determine when the song was first recorded, its

 style and the musician's work.
This will allow you to identify patterns you already
know in the tune you are going to transcribe. If you
are listening to bebop solos, for instance, it will be
easier to recognize their voicings and phrases.
3. Fig
igur
ure
eo ou
ut tthe
he harm
harmon
ony yo
off y
you
ourr ssol
olo.
o.  
This
This ti
tip
p will
will be papart
rtic
icul
ular
arly
ly he
help lpfu
ful,
l, sin
since
ce ch
chor
orda
dall
notes, as well as chords and scales are the most
widely used. Try to identify the complete chords for
every single tension the performer seems to aim at.

 4. Begin by breaking up your solo into short phrases

and start singing the first one. Once you have learnt
it, repeat it on your instrument. Do the same for
each single phrase until you can accurately play
12
 

 Listening, Transcribing
Transcribing and Analyzing

the entire solo.  

This
This is the
the mo
mostst imp
impor
orta
tant
nt as we
wellll as th
the
e hard
hardes
estt
stage of the whole transcription process. Singing is
crucial as it offers you clues to what the rhythmic
scansi
sca nsion
on and the gengenera
erall mel
melodi
odic c dev
develo
elopme
pment
nt

ar
are.
in e.rume
inst
stru Furt
Furthe
mentherm
nt rmor
willore,
will e,ferp
offe
of r layi
layo
ying
young
u a th
the
e ance
ph
phra
chan
ch rase
ce ses
s on
to pracyo
your
practi ur
tice
ce
improvisation patterns as well as check if the notes
you have figured out are correct.

 5. Use a music transcription software to write down

your solo, in order to check the accuracy of the
work you have done so far.
This is a necessary
necessary step to fix the elements you have
figured out by ear and help you memorize them, as
writing down things is equivalent to reading them
four tim
imees. Las
Last but not lea least, it gives you the
opportunity to build up a proper repertoire of the
patterns you have come to know since the
begin
inn
nin
ing
gooff yo
your lle
earning
ing pa
path.

6. Transcrib
Transc ribee your
your pie
piece
ce payin
paying
g close
close attattent
ention
ion to its
articu
articulat
lation
ionss (a
(acce
ccents
nts,, tem
tempo
po,, tim
timing
ing,, orn
orname
amentsnts,,
etc...).  
etc...).
This often neglected step is essential if you wish to
achieve a deep understanding of a solo as well as
of it
itss auth
authoror.. If you
you do notnot fo
focu
cuss on ththe
e styl
stylis
isti
tic
c
elements, timing and phrase dynamics, in fact, you
will never be able to truly benefit from your
transcription efforts. So, do not forget to write down
all articulations when possible.

7. Analyse your solo.

Ever
Ev ery
y solo
solo is the
the resu
result
lt of a cont
contro
rolllled
ed fr
free
eedo
dom,
m,
empl
em ploy
oyed
ed by ththe
e perf
perfor
orme
merr to ex
expr
pres
esss th
their
eir own
own
creativity as well as their personal art project. By
listening to a tune, you can learn a lot including
something about the soloist's personality. Begin by
determining the historical period of the transcription,
13
 

Ten Approaaches to (Jazz) Improvisation

then move on to chords connections,

reharmoni
reha rmonizatio
zations
ns when pres
present,
ent, tona
tonality
lity chan
changes,
ges,
accompan
acco mpaniment
iment arra
arrangem
ngements,
ents, melod
melodicic patt
patterns
erns
as well as the approach adopted by the musician.
Finally, be sure not to forget the innovative elements

introduced by the performer.

1.3 CONCLUSIONS
The action of simply reading a sequence of notes is a
waste of time if you do not provide a comparison with
the originina
al recordin
ing g, wit
ith
h all of it
itss expressive
ive,
perfo
erform
rmin
ingg and st sty
ylilist
stic
ic nuan
nuance
ces.
s. Whe
hen nev
ever
er you
approach a transcription, try to choose solos performed
by famous musicians. As a teacher, remember never to
force your students to transcribe tunes which are too far

above their gradually.

approached skilills
ls.. This You
subjecan
ct m ust with
start fir
first short,
of alleasy
be
solos and then move on to more complex ones. Playing
already transcribed solos is a good exercise anyway.
Finally, with those of your pupils who prove to be less
resp
respon
onsisive
ve,, co
cons
nsideiderr the
the id
idea
ea of im
impl
plem
emen entin
ting
g yo
your
ur
regular classes with ear training exercises.

14
 

 Listening, Transcribing
Transcribing and Analyzing

EXERCISES

1.
Transc
Transcrib
ribee a sho
short
rt sol
solo
o (at least one cho
chorus
rus)) fro
from
m the Tradi
Traditio
tion
n (Ne
(New
w
Orleans, Dixieland, Chicago, Swing).

2.
Transc
Transcrib
ribee a short
short sol
solo
o (at least one cho
chorus
rus)) fro
from
m the Bop Revolu
Revolutio
tion
n
(Bebop, Cool Jazz, West Coast, Hard Bop).

3.
Tran
Tr ansc
scri
ribe
be a shor
shortt solo
solo (at
(at le
leas
astt one
one choru
chorus)
s) from
from the
the Avan
Avant-
t-Ga
Gard
rdee
(Modal Jazz, Free Jazz).

4.
Transc
Transcrib
ribee a short
short solo
solo (at least one cho
chorus
rus)) fro
from
m the Contamin
Contaminati
ation
on
(Jazz Rock, Fusion, Ethnic Jazz, World Music).

5.
Transcribe a solo you particularly like.

15
 

 An In-depth Examination

Examination of Patterns

2
 AN IN-DEPTH EXAMINATION
EXAMINATION
OF PATTERNS
 A pattern is a melodic cell which can be easily adapted to the harmony
and rhythm of a spec
specific
ific musical
musical moment and is often repeated
repeated over and
over in improvisations. In other words, it is a a   styleme
styleme   containing all the
basics of a music genre as well as an artist's most relevant features.

2.1 INTRODUCTION
Many textbooks contain lists of patterns resulting from
the transcription of the most popular musicians' solos.
You can find them grouped together either according
to their historical period or their distinctive
characteristics. These books prove to be helpful tools if
you aim at mastering every single key while improving
your memory. These are both necessary requirements if
you wish to create your own sound within a specific
music genre. The purpose of this chapter is to provide
you with a critical guide to the use of patterns and it

mainly focuses on the practical aspect of the issue.

As a matter of fact:
• as a student, you will be able to select yourself the
patterns you prefer;
• they must be short and convey a sing ingle, self-
sufficient and easily adaptable idea. Your task will
be then
then to ana
analyse
lyse,, pick
ick out and
and skim
skimpp on ththe
e
selected melodic cell;
• this
this stu
study is no
nott not only
only con
once
ceiv
ived
ed as ththe
e key
key
transposition of a tune, but also as its arrangement
according to many different conditions.

17
 

Ten Approaaches to (Jazz) Improvisation

2.2 MELODY PATTERNS
We are now going to discuss the concept of melody
pattern. In order to do so, we will restrict our analysis to
the case of a soloist's arrangement primarily focusing on
notes whililee keepin ingg the selec lected phrase easily
recognizable.
Here is a recommended approach for you to follow:
1. Select a pattern, which is either used by an artist or
belongs to a specific period in the history of music.
Make sure it conveys a strong and easily adaptable
id
idea
ea.. Be ca
carerefu
full mo
morereov
over
er to ch
choo
oose
se sh
shor
ortt and
and
meaningful phrases.
2. Play
lay and memorize ize your sequence paying clos lose
attention to its whole articulation as well as to the
author's licks.
3. Trans
ranspopose
se yo
yourur pa
patt tter
ern
n int
into
o eve
every
ry key
key or, at leas
least,
t,

4. into
Playthe
Play it most
it movi
mo common
ving
ng d
dia
iato
toni ones.
nica
call
lly
y fi
firs
rstl
tly
y in to C major, then
into
into all the most widely used keys.
5. Arrange it according to the five basic types of
chor
ch ords
ds (mamajo
jor,
r, mino
minor,
r, do
domimina
nantnt,, di
dimi
mini
nish
shed
ed an
andd
 semi-diminished).
 semi-diminished ).
6. You can replace the notes as well as change the
direction (ascending to descending). However, be
careful not to change the original rhythm chart nor
the basics of the performance.

• Fig. A:
A: the pattern is clear ad well-defined.

18
 

 An In-depth Examination

Examination of Patterns
• Fi
Fig.
g. B: The
The sequ
sequenence
ce show
showss ho how
w to di
diat
aton
onic
ical
ally
ly
tran
transp
spo
ose th
thee pat
atttern
ern ont nto
o anototh
her kekey
y whwhilile
e
keeping its original characters intact.
• The order of notes can be inverted (Fig. ( Fig. C)
C) and
leaps can also be used (Fig.
( Fig. D).
D).
•

Fig. E 
limit E
by  shows youreplacing
radically how to push your of
the notes options to the
your pattern.
On live
live perfor
performan
mances
ces sma
smallll cha
change
ngess bo
both
th to the
rhythm and the number of notes frequently occur.
The most important thing, however, is to keep the
nature of each phrase intact.

2.3 RHYTHM PATTERNS

Another way to use patterns is to memorize their rhythm
chart only. This is a very helpful tool especially if you aim
at trying improvisation since it provides you with a ready
rhythmic scansion. You can also beat once again the
same
same no note
tess on th
the
e sele
select
cted
ed sequ
sequen
ence.
ce. Th
These
ese sasame
me
patterns could prove useful at different times, whenever
you find it hard to approach a solo.

Here are some rhythm sequences that can be filled with

notes. You can either use them as a whole or split them
into single bars.

19
 

Ten Approaaches to (Jazz) Improvisation

2.3 CONCLUSIONS
Sinc
Since
e patt
patter
erns
ns ar
are
e othe
otherr pe
perf
rfor
orme
mers
rs’’ st
stat
atem
emen
ents
ts,, be
careful. Remember they can be often used in songs
made up of several chords (tonal and fast runs), while

they
poor require you
of chords to be or
(modal more cautious
ballads). with harmonies
Be careful, though,
not to overdo with the use of sequences. Otherwise, you
may sound predictable and gradually los lose your
creativity. As a caring teacher, be sure to increase or
reduce practice in this field whenever needed.

20
 

 An In-depth Examination

Examination of Patterns

EXERCISES

6.
Choos
hoosee four
four shshor
ortt pa
patt
tter
erns
ns fr
from
om sol
olos
os per
erffor
orme
medd by fam
famous
ous ja
jazz
zz
musicians:  1) Tr
Trad
adit
itio
ion;
n; 2) Bo
Bop
p Re
Revo
volut
lutio
ion;
n; 3) AvAvan
ant-
t-Ga
Gard
rde;
e; 4) Ja
Jazz
zz
Contamination. Transcribe
Transcribe and transpose all of them into every key.
7.
 Apply the melodic figures you have learnt in this chapter (A, B, C, D, E) to
the four transcribed patterns. Be sure to do that on the twelve major
scales (Ionian mode).

8.
 Same as exercise 7 but on the twelve mi
minor
nor scales (Dorian m
mode).
ode).

9.
 Same as exercise 7 but on the twelve dom
dominant
inant scales (Mixolydian
(Mixolydian mode).

10.
 Same as exercise 7 but on the twelve dim
diminished
inished scales (T/S mode).
mode).

11.
 Same as exercise 7 but on the twelve semi-diminished scales (Locrian
mode).

12.
Choose
Cho ose a har
harmon
monicic str
struct
ucture
ure and improv
improvise
ise on it app
applyi
lying
ng the melodic
melodic
 figures (A and B).
B).

13.
Use the melodic figures you have
have learnt in this chapter (C,
(C, D) to improvise
over a harmonic structure of your choice.

14.
Use the melodic figures you have learnt
learnt in this chapter (E, F)
F) to improvise
over a harmonic structure of your choice.

 15.
Use the melodic figures you have learnt in this chapter (G, H) to improvise
over a harmonic structure of your choice.

21
 

Using Patterns in Musical Compositions

3
 USING PATTERNS
IN MUSICAL
COMPOSITIONS
The applicatio
applicationn of a pattern to the harmony
harmony (all chords) of a specific
specific
tune helps the soloist getting familiar with the pattern
pattern itself. It will be
then easier for them to use it over and over again without making
mistakes.

3.1 INTRODUCTION 
We have already discussed the use of a pattern,
that is to say how to memorize a cell, deal with its
di
diat
aton
onic
ic tran
transp
spos
osit
ition
ion (o
(one
ne kekey)
y) an
andd ch
chro
roma
mati
tic
c
transposition (all keys), as well as how to write down
free notes on a rhythm chart. You are now going to
le
lea
arn how to us usee a seq
sequen
uence in rhrhy
yth
thmi
micc and
harmonic contexts different from the original one.
The unrehearsed adaptation of a pattern may in
fact cause problems when you are required to use
whatsoever. 
it in a context whatsoever. 

Here is a su
Here sugg
gges
este
ted
d meth
method
od for
for mast
master
erin
ing
g th
thes
ese
e
techniques:
• sele
lecct a pattettern and play it pay ayin
ing
g close
attention to all chords its structure is made up
of. Notice that the notes of the harmony must
be adapted without regard to time;
• repe
repeat at the
the sa
same
me prproc
oced
edur
uree fo
forr each
each of ththe
e
patt
pa tter
erns
ns you
you wiwish
sh to use,
use, th
this
is ti
time
me prprov
ovid
idin
ing
g
adaptation for the rhythm only;
23
 

Ten Approaaches to (Jazz) Improvisation

• start your improvisation trying to combine the

harmon
harmonicic and rhy
rhythm
thm cha
chara
racte
cterist
ristics
ics of your
your
pattern with original phrases.

Here
Here is an ex
exam
ampl
ple
e (an
(an ex
extr
trac
actt fr
from
om the
the Ch
Char
arlie
lie

Parker's theme Moose the Moche) to show you how

a seq
sequen
enc ce can
can be arr rran
ang
ged accccoordin
rding
g to a
specific harmony and shifted to other bars. Later on
you will learn how to adapt the rhythm to the same
pattern
patte rn and you will also be able to invent differ
different
ent
figures. Finally, you will simulate a solo over a blues
struct
structure
ure while
while exp
explor
loring
ing its numer
numerous
ous ap
appli
plicat
cation
ion
possibilities.

It is worth remembering
ing that, unlik
like melody
arra
arrang
ngem
emen
ent,
t, rh
rhyt
ythm
hm ad
adap
apta
tati
tion
on is no
nott al
alwa
ways
ys
necessary, since it tends to differ too much from the
orig
origin
inal
al piec
piece.
e. Howe
Howeveverr when
when it cocome
mess to solo
solos,
s,
rules are never too strict and the use of patterns
belonging to a specific time in the history of music
allows you to turn to an alphabet you already know,
which is also easy to understand both for musicians
and non-musicians.

24
 

Using Patterns in Musical Compositions

3.2 APPLICATION

• Look ca
Look care
refu
fulllly
y at the
the firsfirstt stav
stave
e co
cont
ntai
aini
ning
ng
Parker's cell as well as its
i ts harmony.
• Figure B is similar to Figure A, but for the fact the
attention is focused on bars no. 2 and no. 4 of
the (harmonic) turnaround.

25
 

Ten Approaaches to (Jazz) Improvisation

• In Fig
Figure C  the same procedure as above is
applied to every single bar. Notice that the last
note of the progression was left out, since it was
already present in the bar used to strengthen
the whole turnaround.
•

Figure D shows a rhythmic arrangement. The first

quaver are, in fact, unsyncopated; chromatic
notes (including passing notes) are lengthened.
The second half of the cell is polyrhythmic used
(a 3/4 figure over a 4/4 metre).
• Figure E  show
showss a tr true
ue imimpr
prov
ovis
isat
atio
ionn wi
with
th a
pattern used all along the chorus of a blues in
F. It begin
gins witith
h a fafait
ithf
hfu
ul rerep
petit
etitio
ion
n of th
the
e
patt
atter
ern
n (bar
arss no.
no. 1 and
and 2) 2),, whic
which h is in tur
urn
n
repeat
rep eated
ed even
even thothough
ugh 3/4 anticip
anticipate
atedd (bars
(bars
no.. 2 and
no and 3)3).. Th
Thee rhyth
hythmi
micc scscan
anssion
ion of th
the
e
patt
atter
ern
n re
remmai
ains
ns inta
intact
ct all alon
long bar no. 4,
except for the final part, where it takes the form
of a descending phrase shaping itself around
the harmony. In bar no. 5 the pattern is 2/4
postponed and it fits the chords as usual. In bar
no. 7, a brand new melodic cell can be found.
In bars no. 8, 9 and 10, the pattern, arranged in
melody and harmony, turns into progression. Bar
no.. 11 dou
no double less the
the pa
patt
tter
ern
n open
enin
ing
g whil
whilee
adapting it to the context; in bar no. 12, it finally
draws to a close.
•
Figure A  is a fir
irsst example of HAR ARMMONIC
arrangement onto a different structure (first four
chords of a Rhyth
Rhythm m Chang
Changes
es).
). It par
partic
ticula
ularly
rly
focuses on bars no. 1 and no. 3. Notes were
arra
arrang
nged
ed as requ
requirired
ed by ch
chor
orda
dall de
degrgree
ees.
s.
Chromatic passing notes (for instance the 3rd
and the 5th, C#) stay th the
e same and tend
towards the degree of the employed chord.

26
 

Using Patterns in Musical Compositions

EXERCISES

16.
 Select a tune either from the Real Book or among those you have
already learnt (be sure chord changes do not occur too often). Now
choose a pattern from the melody
melody and use it on every single
single bar after
the necessary harmony arrangements have been made.

17.
With the aid of either a metronome or a backing
backing track, use a different
 pattern. Be careful the necessary rhythm arrangements required by
the structure
structure are made before you use it. Also remembe
rememberr you do not
need to practice on every single bar
bar and you can begin from different
 points within the bar itself.

18.

Choose a pattern
to the end and
(melody a slow
and tune
solos), (ballad).
tryin
trying Playnce
g to enhance
enha it from the beginning
its character
characteristic
isticss
(one repetition every four bars at least).

19.
Choo
Ch oose
se a patt
patter
ernn and
and a me medi
dium
um tune
tune (s
(swi
wingng).
). Play
Play it from
from th
thee
begi
beginn
nnin
ing
g to the
the en
end
d (m
(mel
elod
odyy and
and solo
solos)
s),, tryi
trying
ng to enha
enhanc
ncee its
its
characteristics (one repetition every four bars at least).

20.
Choose a pattern and a fast tune (fast swing or latin). Play it from the
begi
beginn
nnin
ing
g to the
the en
end
d (m(mel
elod
ody
y and
and solo
solos)
s),, tryi
trying
ng to enha
enhanc ncee its
its
characteristics (one repetition every four bars at least).

27
 

Using Strong Notes to Improvise on Melodies

M elodies

4
USING STRONG NOTES TO
IMPROVISE ON MELODIES
Using stron
Using strong
g not
notes
es to impro
improvis
visee on mel
melodi
odies
es means
means arr
arrang
anging
ing the
main theme according to guide-tones

4.1 DEVELOPMENT AND CREATION

Lee Konitz advised his students to keep practicing
the same melody for a long time (which means
playing it slow ten times at least) in order for them to
achieve the greatest inspiration as possible, before
focusing on chords. He also suggested that they
obtained sung recordings of the piece.

The arrangement of a melody always involves both

elaboratio and
elaboratio and inventio
inventio..
• The workout process produces a paraphrase of
the main melo lod
dic line
ine with a more or less

definite change
(L. Armstrong, achieved
A. Tatum, by using ornaments
R. Eldridge).
• Invention gives birth to phrases only sharing the
harmonic structure (for instance the one used
by Bebop jazz performers) with the main theme.

If you wish to perform solos drawing inspiration from

the
th e melo
melodydy,, an in
inte
tere
rest
stin
ing
g memeth
thod
od is ba
base
sedd on
determ
det erminin
ining
g the mos
mostt sig
signif
nifica
icant
nt not
notes
es (i.e.
(i.e. str
strong
ong
notes), where the major melodic pillars rest. In order
to do so, assign a long duration to each one of your

notes (for example halfnotes or whole notes) before

writing them down. Then play them until you get
29
 

Ten Approaaches to (Jazz) Improvisation

them perfect. Start now to improvise focusing on

the notes. It will be impossible for you to lose sight of
the melodic sense of your tune.

4.2 A STEP-BY-STEP GUIDE TO THE STRONG NOTES

METHOD
The word "strong" generally refers to the significant
notes of a melody, i.e the notes which are mostly
learnt. These notes help you memorize the melodic
flow while suggesting you proper creative clues.

Obviously, the research for significant notes can be

accomplished by instinct, that is to say singing. The
most important notes are those you choose should
be. But, if you prefer a more practical approach,
here is a less spontaneous though equally effective
procedure.

Whenever you need to figure out what the

significant notes of a melody are, you must consider
three essential elements:
a) their length;
b) th
thee cr
cruc
ucia
iall posi
positi
tion
on they
they oc
occucupy
py with
within
in th
the
e
phrase or bar;
c) the fact melodic accents affect the importance
of certain notes compared to others.

LENGTH
A long note always plays a key role in a melody and
the composer normally chooses to use it within the
piece where no risk of dissonances might occur.

30
 

Using Strong Notes to Improvise on Melodies

M elodies

According to this definition, the first ( Ab), second

(Db) and last (E) notes of this well known standard
must then be strong notes, since they all are long
and have a relevant (melodic) value.

POSITION
Whenever you have to choose a note, another key
element you must consider is its crucial position (for
example   fi
example firs
rstt be
beat
at of th
thee ba
bar)
r) wi
with
thin
in th
the
e ph
phra
rase
se
(eit
ith
her at th thee begin
inn
ning
ing of a progression ion or
wherever it enhances the harmonic flow).

In this case emphasis can be put on G  (bar no. 3)

and F (bar no. 5). Despite the fact they are both
quar
qu arte
terr no
note
tess (hen
(hence
ce no
nott long
long),
), th
they
ey inde
indeed
ed fall
fall
withi
within
n a melo
melodidic
c prog
progres
ressi
sion
on be
begiginn
nnin
ing
g fr om  Ab
from
(bar no. 1) and going through G (bar no. 3),  F (bar
no.. 5) and E (bar no. 7). Finally, be careful not to
no

31
 

Ten Approaaches to (Jazz) Improvisation

undervalue the beat position of the notes, which

draws a greater attention on the melody itself.

MELODIC ACCENTS
As you can see on the above-mentioned melody,
relevant melodic elements lay next to ones in a less
relevant position. Nonetheless they play a key role
within the phrase and are therefore useful in order
to achieve the desidered effect.

In bars no. 4 and 6 you can find notes on the

second
sec ond mov
moveme nt (C  an
ement and B) which
which poport
rtra
rayy th
the
e
cases we have just discussed. When you listen to the
melody, these notes stand out, even though they
are
are no
nott lo
long
ng or in a rele
releva
vant
nt po
posi
siti
tion
on wi
with
thin
in th
the
e
measure. The syncopation acts on them producing
a melodic natural accent which keeps them in the
foreground.

Gathering the notes shown in the previous

examples, you will therefore obtain a melodic line
similar to this one:

32
 

Using Strong Notes to Improvise on Melodies

M elodies

as you can see all three previously discussed cases

have been considered and used in a single melody.
Despite that, the piece is still easily recognizable.

4.3
 A IMPROVISATION
SUGGESTED PROCEDURE
PROCEDUREWITH STRONG NOTES:
1. Pla
lay
y the obtain ine
ed melodlody as writ ittten (st
strrong
not
otes
es only) nly) over
ver and ove ver,
r, un
unti
till yoyouu get it
perfect.
2. Now work on the strong notes by adding
embe
em bellllis
ishm
hmenentsts (a
(acc
ccia
iacc
ccat
atur
uras
as,, mo
mord
rden
ents
ts,,
turns, trills, etc.) as well as any element that can
well define your style.
3. Use
Use a pa passssin
ing
g nonote,
te, (pre
(prefe
fera
rabl
bly)
y) di diat
aton
onic
ic or
chromatic (half tone above or below) to link

your
note,notes.
play Ifityou
faschoose
t so asa nchromatic
ot to mapassing
ke the
intonation heavier.
4. As abov
ove,
e, but usin
using g 2 no
nottes.
es.
5. As abov
ove,
e, but usin
using g 3 no
nottes.
es.
6. As aab
bove. This
This ttim
ime e feel free to us
use
e gr
gro
oups of
short notes (1 to 5).
7. Try to pla
lay
y freely ly,, alw
lway
ayss keeping
ing an eyeye
e on
strong notes

4.4 CONCLUSIONS
You
Yo u can
can gr grea
eatlytly be
bene
nefit
fit fr
from
om ususin
ing
g th
this
is me
meth
thod
od,,
which will moreover make the memorization of the
harmonic structure of a piece much easier. Those
who find this subject particularly hard will
appreciate it. On the other side, we must recognize
it could potentially reduce creativity since it suffers
from the restrictions imposed by strong notes, which
are
ar e so heav
heavilily
y used
used in rerepe
peti
titi
tive
ve an
andd ununor
orig
igin
inal
al
solos.   In or
solos. orde
derr to bal alan
ance
ce susuch
ch a guide
uidedd solo
solo
without losing sight of the harmonic structure, just

rely on your good taste and common sense.

33
 

Ten Approaaches to (Jazz) Improvisation

EXERCISES

21.
 Pick a piece of music and find out what its strong notes are. Now
impr
im prov
ovis
isee on it only
only by us
usin
ing
g or
orna
name
ment
ntss such
such as acci
acciac
acca
catu
tura
ras,
s,
mordents, turns, trills.

22.
On the same piece as above, use 1 or 2 passing notes to link the strong
strong
notes.

23.
On the same piece as exercise
exercise 21, use groups of passing notes (3, 4, 5,
etc.) to link the strong notes.

24. the piece freely always calling attention

 Play attention to the strong notes
notes..

25.
Use the strong notes method on the following pieces: a ballad, a
medium, a fast, a peculiar rhythm (latin, ethnic, original...).

34
 

 Improvising with Thematic

Thematic Cells

5
IMPROVISING WITH
THEMATIC CELLS
 In order to change the main theme of a piece,
piece, you need to use and
change the cells it is made up of.

5.1 INTRODUCTI
INTRODUCTION ON
This
This inte
intere
rest
stin
ingg pr
proc
oced
edur
ure
e - firs
firstl
tly
y ad
advo
voca
cateted
d by
Sonny Rollins - consists in using the cells of the theme
as a base for the whole solo. You need indeed to
pick
pick an ea easi
sily
ly reco
recogngniza
izabl
ble
e melo
melodi dicc cell
cell (o
(one
ne or
mor
oree up to three hree)) and conconst
sta
antntly
ly va
vary
ry it also lso
providing an adaptation to the harmonic structure.
This is a highly effective approach as well as a good
alternative to the ones discussed so far. Finally, note
that during the solo the attention is not called to the
whole theme, but to one or more small parts of it. i t.

5.2 A STEP-BY-STEP GUIDE TO THE USE OF THEMATIC

CELLS
The first thing you need to do is picking a melodic
passage. This must be self-sufficient and easily reco-
gnizab
gnizable,
le, while
while retain
retaining
ing a cle
clear
ar connec
connectio
tionn wit
with
h
the original theme.

Here are the ways ays you can use the selec lected
melodic passages:
• transposed
transposed repe
repetition
tition::  the
the ph
phrarase
se is re
repe
peat
ated
ed
exactly the same as the origina inal but on a
di
diff
ffer
eren
entt pitc
pitch
h (for
(for exam
exampl ple,
e, to acachi
hiev
evee out
out
effects);
35
 

Ten Approaaches to (Jazz) Improvisation

• harmonic repetition:
harmonic repetition:   ththe
e ph
phra
rase
se is rerepe
peat
ated
ed
literally, but built on different chords;
• diatonic
diato nic repe
repetition:
tition:   same
same ph
phra
rase
sess st
start
arting
ing on
different degrees of the same scale;
• melo
me lodi
dic
c repe
repetit
titio
ion:
n:   sam
same note
notes,
s, diff
differ
eren
entt
rhythm;
•  rhythmic repetition:
repetition:   diffe
iffere
rent
nt no note
tes,
s, sasame
me
rhythm;
• poly
po lyrh
rhyth
ythmi
mic
c repe
repetit
tition
ion::  a sequence of
arranged cells producing a different time, but
synchronized on the basic time;
•  retrograde repetitions (mirror reflections): 
reflections):  same
notes, but the motives are turned backwards;
•  repetitions in different registers: same
registers: same phrase but
played in different octaves;
• inve
invers
rsio
ion
n an
andd cont
contra
raryry moti
motionon::  ph
phra
rase
sess ar
are
e
turned upside-down. The same effect can also
be achiev
achieved
ed by alt
altern
ernat
ating
ing ris
rising
ing and falfalling
ling
intervals;
• diminution:   same
diminution: same phra
phrase
se bu butt th
the
e dura
duratition
onalal
valu
va lue
e of each
each nonote
te is divi
divide
ded d by the
the sasamme
amount;
• augmentation: same
augmentation:  same phrase but the durational
value of each note is multiplied by a variable;
•  repetition with additional notes: phrase similar
to the original but additional notes are used,
the phrase must be easily recognizable;
•
diminution:   phra
diminution: phrase
se simi
simila
larr to ththe
e orig
origin
inal
al bubutt
some notes are delated. The phrase
phrase is still easily
recognizable.

36
 

 Improvising with Thematic

Thematic Cells

MODELS FOR MOTIVIC DEVELOPMENT

Each one of these techniques can be used

when
wh enevever
er you
you wiwish
sh me
melo lodi
dic
c cell
cellss to guguidide
e your
your
improvisation. If you find it hard to start playing a
solo, begin by selecting a phrase as it is written.
Then simply repeat it starting at a different degree
(3rd, 5th, etc) or at a different point in the measure
and finally use one of the suggested
tran
transf
sfor
orma
mati tion
ons.
s. So
Some
metitime
mess ththe
e repe
repettitio
itionn of a
melodic cell in a risin isingg or fallin ling progression
(diatonic or chromatic) proves to be very effective.
Howe
Ho wevever,
r, th
thee best
best sosolu
luti
tion
on wi
willll be ththe
e one
one you
you
choose yourself.

The BASASIC
IC IDE
IDEA is a technique based on the
repetition and development of a melody
throughout the solo. Despite the fact the material

37
 

Ten Approaaches to (Jazz) Improvisation

doesn't belong to the melody, it nevertheless falls

int
into the
the fiel
field
d we havave
e jujust
st di
disc
scu
ussed
ssed sinc
since
e it
itss
development is very similar to the one of the other
techniques.

5.3 CONCLUSIONS
Since the material is suggested by the theme itself,
impr
im prov
ovis
isin
ing
g upupon
on el
elem
emenents
ts wh
whic
ich
h be
belo
long
ng to ththe
e
orig
origin
inal
al melo
melodydy may
may have
have impo
import
rtan
antt effe
effect
cts:
s: an
enha
en hanc
nced
ed resp
respec
ectt for
for th
thee co
comp
mpososer
er (c
(che
heri
rish
shed
ed
both by the public and the critics), a firmer grasp of
the soloist's purposes (the listener may have several
points of reference), as well as motivated and style-
appropriate ideas.

38
 

 Improvising with Thematic

Thematic Cells

EXERCISES

26.
 Select a piece you know well enough from your repertoire (or from
the real book). Now start performing DIATONIC, CHROMATIC and
 HARMONIC transformations upon it.

27.
 Same as exercise 26, but using RHYTHMIC, POLYRHYTHMIC,
POLYRHYTHMIC,
 DIMINUTION and AUGMEN
AUGMENTATION.
TATION.

28.
 Same as exercise 26, but using MELODIC RETROGRADE,
RETROGRADE,
CONT
CONTRA
RARY
RY or AL
ALTE
TERN
RNAT
ATIN
ING
G MOTI
MOTION
ON and
and th
thee CHAN
CHANGE
GE OF
 REGISTER.

29. as exercise 26,

 Same 26, but using DELATION
DELATION and ORNAMENTATIO
ORNAMENTATION.
N.

30.
 Same as exercise 26,
26, but using all the aforementioned
aforementioned techniques.

39
 

 Playing with Scales

6
PLAYING WITH SCALES
 

This figure of improvisation

improvisation appl
applies
ies a specific
specific scale to every single
single
chord the harmonic structure is made up of.

6.1 MODAL PROCEDURE

As far as it concerns the modal procedure, it is less
important for you to figure out the connections of
the harmonic structure, than the nature of every
single chord as the scale will be used on them.

It is therefore necessary for you to perfectly master

the scales as well as the chord progression, since
this procedure aims at performing each chord in a
diff
di ffer
eren
entt mode
mode.. Pl
Play
ayin
ing
g on sc scal
ales
es pr
prov
oves
es to be
much
mu ch mo
morere ef
effe
fect
ctive
ive with
within
in co
cohehere
rent
nt ha
harm
rmon
onic
ic
contexts, characterized by broader sequences of
atmospheres, while it is impossible when there are
plenty of chords performed at a fast time.

6.2 AN EXAMPLE
Here is how scales applied to the harmonic
stru
struct
ctur
ure
e of So What 
What  by Miles Davis look like. This
modal tune is only made up of two chords in an
AABA structure.

41
 

Ten Approaaches to (Jazz) Improvisation

Now, let's take a look at the example here below.

This phrase uses improvisation with scales switching
from one chord to the other simply by changing the
mode while keepin ing
g the schema of the scale
intact.

It's remarkable how in the aforementioned example

chord variations are always shown by chordal notes
(Eb in bar no. 2, 1st degree of Ebm9; F in bar no. 3,
2nd
2n d dedegr
gree
ee of Dm9). This is crucial whenever you
wish to avoid strong dissonance, which would occur
for sure if you lingered on the scale passing notes,
inst
insteaead.
d. A bo bord
rder
erlin
line
e cacase
se is re
repr
presesen
ente
tedd by thethe
clo
lossin g note (B, 6th degree in Dm9) which
ing ich
produces a very strong sound as this degree doesn't
belo
be long
ng to th thee basi
basicc chor
chord.
d. Howe
Howeve ver,
r, sin
since th the
e
aver
av eragagee lilist
sten
ener
er is al
alre
read
adyy fami
famililiar
ar wi
with
th the
the 6t6th
h
degree,
degr ee, this c could
ould ccome
ome as much o off a surp
surprise.
rise. In
all these cases you will need to adjust the basic
voicing as well (Dm6/9).

42
 

 Playing with Scales

EXERCISES

31.
 Analyse the following harmonic chart. Now identify all scales and
root position voicings.

 SO WHAT (Miles

(Miles Davis)
harmonic structure AABA

 A   Dm9 | % | % |% |% |% |% |% |

 A   Dm9 | % | % |% |% |% |% |% |

B  Ebm9 | % | % |% |% |% |% |% |

 A   Dm9 | % | % |% |% |% |% |% ||

32.
 Now improvise on the same piece as exercise 31 only using the notes
scales are made up of: eighth notes (duplets),
(duplets), triplets
triplets and sixteen
sixteenth
th
notes (quadruplets).

33.
 Freely improvise on the piece: any figure can be used, but linear
sequences must be predominant.
 

43
 

 Playing over Chords

7
PLAYING OVER CHORDS
 Playing over chords means improvising mainly using the notes these
are made
made up of. By doing
doing so, you will choose
choose a tonal rather
rather than
than a
modal procedure.

7.1 AN EXAMPLE
If playing with scales tends to eliminate harmonic
conn
co nnec
ecti
tion
onss (mod
(modal
al proc
procededurure)
e),, pl
play
ayin
ingg over
over
chords
cho rds requir
requires
es you to und
unders
erstan
tandd fun
functi
ctions
ons and
lilin
nks of chords according ing to their tonic. This
tech
te chni
niqu
quee is the
the one
one tr
trad
aditi
ition
onal
al jazz
jazz pe
perfrfor
orme
mers
rs
(Bop) seem to like best. They, indeed, use passing
chromatic notes to link chordal degrees.

Pl
Play
ayin
ingg ov
overer ch
chorords
ds me
mean
anss playi
laying
ng ararpe
pegg
ggioioss
melodically and freely over chords in their position
(voi
(v oici
cing
ngs)
s).. Th
That
at allo
allows
ws yo
you
u to make
make inte
intere
rest
stin
ingg
soun
so unds,
ds, es
espepeci
cial
ally
ly on te
tens
nsio
ions
ns (9th
(9th,, 11
11th
th,, 13
13th
th).
).

Moreover
chord it minimizes
improviser the possibility
will create of mistakes.
a sound which A
is mainly
tonal. Sentences will therefore begin and end with
scale fragments, conveying a distinct lyricism, even
though mainly obtained by arpeggios.

Now look carefully at the example shown below:

45
 

Ten Approaaches to (Jazz) Improvisation

Excerpt from Charlie Parker’s solo in AU PRIVAVE (VERVE 8010)

In bar no. 1, the phrase has a melodic opening (on

the 7th and 9th degree of the Gm). It then goes on
with
wi th an ar
arpe
peggggio
io ov
over
er the
the ba
basi
sic
c vo
voic
icin
ing
g fina
finalllly
y
ending on the G note (in C7). In bar no. 2 (the 5th
degr
egree use
sed
d as a pass ssin
ing
g not
ote
e is al alte
terred and
and
becomes 5#, even though it is transcribed with a
b6th) the interesting melodic cells still use chordal
notes. The melodic ending with a major second on
the 6th degree is remarkable.

In orde
orderr for
for this
this pr
prococed
edur
ure
e to be succsuccesessf
sful
ul an
and
d
make
ma ke the
the ph
phra
rase
sess mo
morere sign
signifi
ifica
cant
nt,, yo
youu ne
needed to
embellish your arpeggios by adding short, melodic
lilink
nkag
agee elelem
emen
entsts.. Pl
Play
ayin
ing
g ararpe
pegg
ggioioss on
only
ly over
over
voicin
voicing
gs wo
woul
uld
d pro
rod
duce a st stat
atic
ic,, du
dullll ef
effe
fec
ct.
Whenever you choose a polyphonic instrument, you
can also use other ornaments, such as groups of
chords (always to be added to the voicings) so as
to make your piece more pleasing.

When practicing, this method is often applied along

witth oth
wi other
erss alr
lre
eady
ady disc
iscus
usse
sed
d in ththee pr
prev
evio
ious
us
chapters. By interacting with the soloist’s own style,
they will be helpful to create always new
professional solos.

In add
additi
ition,
on, lis
listen
tening
ing to pie
pieces
ces per
perfor
formed
med by jaz
jazzz
musicians of the 50s, such as Cannonball Adderley,
Clif
Cliffo
ford
rd Brow
Brown,
n, Joh
ohnn Co
Colt
ltra
rane
ne,, Miles
iles Da
Davi
vis,
s, Re
Redd
Garland, Art Pepper, etc.,
Pepper, etc., can be very helpful, since
they represent inspiring models for the application
of this technique.

46
 

 Playing over Chords

7.2 A STEP-BY-STEP GUIDE TO THE APPLICATION OF THIS

METHOD
Afterr having
Afte having harmon
harmonica
ically
lly ana
analyz
lyzed
ed your
your piece,
piece,
work on getting yourself acquainted with voicings.
Instead of considering one chord at a time, build
your phrases by linking the progressions one with
the others paying close attention to the major as
well as the minor cadences. By stressing the 3rd
and 7th,  which are essential degrees, you will also
highlight the harmonic movements. To put
emp
em phasasis
is on ten
ensi
sio
ons meaeanns to en
enhhan
ance
ce th the
e
harmonic richness of the piece as a whole.

1) in order for you to master this technique, the first

step
step cons
consist
istss in ga
gain
inin
ing
g a pe
perf
rfec
ectt cont
contro
roll of th
the
e
above-mentioned degrees. Start by memorizing the
following exercise:

2) now change it as shown below:

47
 

Ten Approaaches to (Jazz) Improvisation

**Th
The
e exercis
ise
e continues in all keys (you can
 replace the bichord on the left with a dominant
chord).

3) The
The fo
follo
llowi
wing
ng ex
exer
erci
cise
se,, ba
base
sed
d on th
the
e vo
voic
icin
ings
gs
(dominant) of the 13th degree, is meant to be done
in all measures, as shown by the model in bars no. 1
and
an d 2. WhWhenen yo
you u fe
feel
el co
conf
nfid
iden
entt en
enou
ough
gh,, tr
try
y to
improvise only by using the notes of the voicings you
have
ha ve just
just le
lear
arnt
nt.. You
You can
can re
repl
plac
acee th
the
e lef
leftt ha
hand
nd
bichord with a dominant chord.

4) The most significant progressions in tonal music

are
are the
the MAJO
MAJOR R an
andd MI
MINO
NORR ca
cadedenc
nces
es.. Us
Use
e the
the
aforementioned models on the shown below chart.
Then transpose your piece into all keys.

48
 

 Playing over Chords

Chords are written in  in  free notes for piano, organ,
guitar, free basses accordion 
accordion   and other harmonic
instruments
instruments.. If you are using a standard
standard bass system
instrument, you can refer to the bass combinations
shown below, only using low registers (lacking high
harmonies).

Dm7 = Dm + Am Dm7(b5) = Fm + Fd
G7 = GM + Em G7alt = G7 + EbM
Cj7 = Cm + Gm Cm7 = Cm + Gm

7.3 HOW TO ADDRESS A PIECE

•Analyze carefully the harmonic structure of your
piece and learn all its voicings.
•Pl
Play
ay arpe
arpegg
ggio
ioss up anandd down
down th
thro
roug
ughh yo
your
ur
piece (don’t forget inverted chords). In order to
do so, use a free rhythmic figure made up of
groups of four ascending or descending notes
each.
• Star
Startt to im
impr
prov
ovise
ise fr
free
eely
ly us
usin
ing
g on
onlyly th
the
e nonotetess
voicings are made up of.
• Improvise freely over chords, using
chro
ch roma
mati
tic/
c/di
diat
aton
onic
ic pass
passin
ing
g no
note
tess to lin
link
k th
thee
voicings one to the others.

49
 

Ten Approaaches to (Jazz) Improvisation

EXERCISES

34.
Choose
Choo se a piece of music. Once you have identifie
identified
d all voicings,
voicings, play
theirr notes both simultaneousl
thei simultaneously
y (harm
(harmonic
onic positio
position)
n) and in seque
sequence
nce
(melodic position). Don’t forget to do the same with inverted voicings.

35.
 Play the voicings you have found starting each time at a different
 position, as shown below (start for instance at Cmaj
Cmaj   and use it
throughout the harmonic structure of the piece).

36.
 Start to improvise over the same piece by using only the notes
voicings are made up of.

37.
 Do the same as exercise 36, linking the notes voicings are made up of
using chromatic/diatonic scale fragments.

50
 

 Playing with Approach Notes

8
PLAYING WITH
 APPROACH NOTES
 Playing with approach notes means using chromatic or diatonic
 passing notes to approach the main notes (i.e. strong notes) of a
melody

8.1 INTRODUCTION
This system arose spont ontaneously among jazz
perfo
erform
rmer
erss and reareached
ched it
itss clim
limax du duri
rin
ng the
the
Bebop era, when musicians used chromatic notes
to obtain their harmonic degrees (chromatic
approach).
approach ). Th
This
is proc
proced
edur
ure
e leav
leaveses asid
asidee momoda
dall
scales
sca les whi
while
le enhanc
enhancing
ing chorda
chordall not notes,
es, whi
which
ch are
approached by using short sequences of notes (a
sem
se mit
ito
one ab aboove or below
elow)) th that
at arare
e geneenera
ralllly
y
chromatic.

8.2 A STEP
8.2 TEP-B
-BY
Y-S
-STE
TEP P GUIDE TO THE THE STSTUUDY OF THIS
METHOD
The first thing you need to do is figure out what the
main notes ( strong notes
notes)) of your chords or melody
are. For the sake of simplicity, the 3rd and the 7th
degrees of a series of chords descending by fifths
are used in the here below examples.

51
 

Ten Approaaches to (Jazz) Improvisation

A very common ascending chromatic approach as

well as a rarely used descending
ing chromatic
approach are shown below:

The ex
The exa
amp
mple
le bel
elow
ow illu
illust
stra
rattes a se
seld ldom
om us
used
ed
asce
ascend
ndin
ing
g di
diat
aton
onic
ic ap
appr
proaoach
ch as we
wellll as a very
very
common descending diatonic approach:

The combination of different methods privileges the

asce
ascend
nding
ing ch
chro
roma
mati
tic
c as we
wellll as th
the
e de
desc
scen
endi
ding
ng
diatonic:

52
 

 Playing with Approach Notes

The diatonic approach, which is more tonal than

the chromatic one, requires a real knowledge of
the chord scale you need to use. In static situations
it normally works better than chromaticisms.

You can also choose more complex approaches all

reso
re solv
lvin
ing
g to the
the C note
note,, as sh
show
own
n be
belo
low
w in th
the
e
example. Whatever technique you prefer, anyway,
it will help you achieve a well recognizable sound of
your own.

8.3 SOME EXAMPLES

1. This is from the theme
Ornithology   by Charlie
Ornithology
Parker. Notice that the
6th note of the
measure is preceded by a diatonic note above
(Bb) and a chromatic note below ( Ab).
2. This is an
extract
from the
piece Kim
(Verve
8005),
always by Charlie Parker. The opening is
characterized by an ascending chromatism ( F#
on G). The second measure contains a
chromatic ascending approach, characterized
by groups of three eighth notes each ( D, Eb, E
– C, C#, D) which appear on any of the four
53
 

Ten Approaaches to (Jazz) Improvisation

quarter note beats of the measure following a

polyrhytmic criterion.
3. This is an example
taken from the
piece Prime
Lacrime
(Kap
(Kappa
padu
due,
e, RAI AI1,
1,
1978) by Gorni
Kramer. Look
carefully at the third
beat of the
measure. You can find an approach to the b5°
of the Bb°  chord i.e.. E) wit
chord ((i.e with F#  (descending
diatonic approach) and D#  (ascending
chromatic approach).

54
 

 Playing with Approach Notes

EXERCISES

38.
Transpose the here below chart into all keys (use approach notes over

chordal notes) for all MAJOR chords.

39.
Transp
Tra nspose
ose the cha
chart
rt shown
shown in Exerc
Exercise
ise 38 into
into all keys for MINOR
MINOR
chords ( C,
C, Eb, G, Bb ).

40.
Transpose the chart shown in Exercis
cise 38 into all keys for
 DOMINANT chords
chords ( C,
C, E, G, Bb ).

41.
Transpose the chart shown in Exerciscise 38 into all keys for
 DIMINISHED
 DIMINISHE D chords ( C,
C, Eb, Gb, A ).

42.
Transpose the
 DIMINISHE
 DIMINISHED chart shown
D chords C, Eb,in
( C, Exercise
Gb, A ). 38 into all keys for SEMI-

55
 

Ten Approaaches to (Jazz) Improvisation

43.
 Play a piece of music trying the following methods to approach
strong notes:
- chromatic (ascending);
- diatonic (descending);

-- both of the with

chromatic previously
severalmentioned approaches (asc./desc.);
notes (ascending/descending);
- diatonic with several notes (ascending/descending
(ascending/descending).
).
 
44.
 Improvise on the same piece as Exercise 43 (or another if you prefer)
using the approaches discussed so far.

56
 

 Improvising with Phrases

Phrases

9
IMPROVISING WITH
PHRASES
This proc
This proced
edur
ure,
e, draw
drawnn frfrom
om ththee oral
oral trad
tradit
itio
ion
n (que
(quest
stio
ion
n and
answer), pays a special attention
attention to voice tones and underlying inner
intentions.

9.1 PHRASES
A question is a spoken sentence
spoken  sentence whose
 whose last syllable
is characterized by the pitch of the voice getting
higher. An answer , on the other hand, is marked by
a fallin
ing
g pititc
ch on the end. If we applied ied this
pri
rin
ncip
iple
le to impimpro
rovi
vissat
atio
ion,
n, we co
cou
uld st
stat
ate
e the
the
following: each musical improvised phrase should
be connected to the preceding one (answer (answer ) as
well as provide an incipit for the next one
(question
question).).

So as to better analyze this technique, we will use

the word “phrase” only referring to a sequence of
notes which has a musical meaning of its own and is
is
delimited by two significant empty spaces, marking
each one a pause.

In order for this method to be efficient, you must,

then, isolate a phrase and take the following steps:
1. lis
istten tto
o th
the p
phhrase;
2. ta
take ke a
awa
way y a sing
single
le ssma
mallll c
cel
elll fr
from
om tthe
he fin
final
al p
par
artt
of the phrase;
3. use the cell to create a new lick evoking a
completely new meaning;
57
 

Ten Approaaches to (Jazz) Improvisation

4. go b
bac
ack
k to tthe
he fir
first
st step
step afte
afterr a pro
prope
perr paus
pause.
e.

This procedure allows the solo to constantly evolve

and strengthen itself in its entirety by establishing a
strong link between the elements it is made up of.
By doing so, it will be easier for you to develop new
ideas while providing the listener with a concrete
and interesting interpretation.

Pl
Play
ayin
ing
g with
with ph
phra
rase
sess gi
give
vess ri
rise
se to thre
three
e di
diff
ffer
eren
entt
proc
pr oced
edur
ures
es each
each one
one hahavi
ving
ng its
its ow
ownn pecu
peculiliar
ar
nuances.

9.2 QUESTION AND ANSWER 

The most natural procedure consists of:
A question sentence (whose
• sentence (whose final part implies a
follow-up) followed by:
an answer   (whos
• whose
e co
conc
nclu
lusi
sion
on rereliliev
eves
es the
the
tension created by the question).

Question and answer have very similar features and

need to be dis isttin
ing
guis
ish
hed so as to be clealearly
understood.

Look
Look care
carefu
fulllly
y at th
the
e exam
exampl
ple
e show
shown
n be
belo
low:
w: to

eve
everyry sentence.
falling ris
rising
ing sen
senten
tence
ce the
there
re co
corre
rrespo
sponds
nds a sim
simila
ilarr

9.3 CONNEXIONS
A typical evolution of improvisations based on the
question/answer method consists of using the final
part of a phrase as a brand new melodic cell. It is
58
 

 Improvising with Phrases

Phrases

theref
therefor
ore
e cru
cruci
cial
al to use
use papartrt of th
the e prprec
eced
edin
ing
g
phrase as a starting point for the new lick.
li ck.

The ex
The exam
ampple bel
elo
ow (sim
similar
ilar to ththe
e one shsho
own
above) closes with a small series of notes (bar no.
2). These are then used at the beginning of the new
phrase (bar no. 4). Another appendix (bar 5 and 6)
will provide the means for the new creation.

9.4 SHORT RIFFS

This
Th is proc
proced edur
ure e is diff
differ
eren
entt frfrom
om ththe
e coconc
ncepeptt of
melo
me lodi
dicc evol
evolututioion,
n, bu
butt it no noneneth
thele
eless
ss de
dealalss wit
with
h
phra
ph rase
sess to imimpr prov
ovise
ise.. Riff
Riffin
ing
g me meananss re
repe
peatating
ing a
partic
par ticula
ularly
rly for
forcef
ceful
ul ph
phras
rasee over
over and ove overr (Count
(Count
Basi
Ba sie
e peperfrfec
ectltly
y mamastster
ered
ed thisthis te
tech
chni
niqu
que)
e).. WhWhat
at
matters is the repetition of a chosen riff as well as of
it
itss var aria
iati
tion
onss (nor orma
malllly
y do doububle
led
d or incrincreaease
sedd
fourfold) as following:
• melodic: variation
melodic:  variation of the basic motive;
• rhythmic: variation
 rhythmic:  variation of the basic rhythm;
•

polyrhythmic:   phr
polyrhythmic: phrase
asess sta
start
rt at differ
different
ent po
point
intss
within the measure in order to create more than
a rhythm at a time;
• harm
ha rmon
onicic:: va
vari
riat
atio
ion
n obta
obtainined
ed by adap
adaptin
ting
g a
single lick to a progression of chords.

59
 

Ten Approaaches to (Jazz) Improvisation

• Figure B: the motive shown in Fig. A  is

melodicalllly
y changed making ing the phrase
longer.
• Figure C: the motive shown in Fig. A  is
rhythmically changed.
• Fi
Fig
gur
ure
e D: the cell at the beginning is treated
poly
po lyrh
rhyt
ythm
hmic
ical
ally
ly.. The
The phra
phrase
se sh
show
own n in Fi
Fig.
g. A
here lasts 5/4 and is repeated starting ing at
different points within the bar (on the 2nd beat,
on the 3rd beat and so on).
• Figure E: the motiv ive
e of Fig
ig.. A  is sh
sho
own in a
different pitch.
• Figure A: the motive is repeated every two bars.

60
 

 Improvising with Phrases

Phrases

EXERCISES

45.
 Select a phrase from a famous piece of music and improvise on it by

using the QUESTION&

QUESTION&ANSWER
ANSWER method.
46.
Use the same phrase and improvise
improvise on it by using the CONNEXION
CONNEXION
method.

47.
Use the beginning of the same phrase to create riffs to be treated
melodically.

48.
Use the beginning of the same phrase to create riffs to be treated
rhythmically.
49.
Use the beginning of the same phrase to create riffs to be treated
 polyrhythmically.

50.
Use the beginning of the same phrase to create riffs to be treated
harmonically.

51.
 Select a motive and use all the discussed techniques to improvise on it.

61
 

 Pentatonic Improvisation

PENTATONIC
IMPROVISATION 10
 Pentatonic scales (i.e. musical scales with five degrees which do not
contain semitones) are very popular in modern music/jazz for the
lack of dissonant notes and linearity.

10.1 INTRODUCTION
INTRODUCTION
Ther
There
e has
has be
been
en much
much wrwritt
itten
en ab abou
outt pent
pentataton
onic
ic
scales. Here are some examples just to show you
how
ho w to use
use natu
natura
rall prog
progre
ressssio
ions
ns (m
(majajor
or,, minor
minor),
),
which can be easily adapted to any other
pentatonic scale.

10.2 A SINGLE PENTATONIC SCALE REVOLVING AROUND

 A TONAL CENTRE
CENTRE
A pent
pentat
aton
onic
ic scal
scale
e will
will pe
perf
rfec
ectly
tly work
work ov
over
er an
any
y
chord
chord di
diat
aton
onic
ical
ally
ly gene
genera
rate
tedd by a to tona
nalit
lity.
y. Th
The
e
MAJOR pentatonic contains the same notes as the
MINOR, which however starts at different degrees.

C Major 
Major Pentatonic
 Pentatonic C, D, E, G, A 
 A Minor Pentatonic
Minor Pentatonic  A, C, D, E, G

Look carefully at the harmonic progression below:

|C | Bm7b5 E7 | Am7 Am/G |Fmaj7 |

| Dm7 Em7 | Famj7 G7 | Am7 |Dm7 G7 ||

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Ten Approaaches to (Jazz) Improvisation

Note that it contains all the chords generated by

the C major  and its relative minor ( Am).
Dissonances are present in the E7  chor chordd (G#
instead
instea d of the pentato
pentatonic
nic natura
naturall G), but they are
perfectly acceptable since they frequently occur in
blues.
blu es. Moreove
Moreoverr the excl
exclusi ve use of the C major
usive
pentatonic while imp
improvising,
rovising, will
will make the employ
of chords easier. Your ears will suggest you what the
degrees that really count are. The outside effects
produced by this solution never sound too strong.

10.3 PENTATONIC SCALE REVOLVING AROUND A TONAL

CENTRE WITH DISSONANCE
If you wish to make the dissonance more striking,
you can use the major pentatonic built on the 5th
degr
de gree
ee of a ke
keyy (for
(for instan
instance,
ce, in the key of Cmaj
the
you can use the Gmaj pentatonic). That does not
have difficult degrees to deal with, except for the
7th
7t jor (B  in Cmaj), wh
h major whic
ichh cr
crea
eate
tess a ra
rath
ther
er
sophisticated and modern tension. However, since
this degree does not work well with all chords of the
tonic key, be careful when using it.

G  Pentatonic = G, A, B, D, E (in Cmaj )

(it does not work well over  Dm, Fmaj  )) 

10.4 HOW TO USE PENTATONICS FOR OUTSIDE PLAYING

Modern improvisers often weave in and out of a key
in or
orde
derr to cr crea
eate
te sh
shor
ortt of
off-
f-key
key lines
lines,, wh
whic
ich
h th
they
ey
usually bring back into the chordal degrees shortly
after. Pentatonic scales are especially useful when it
comes to side-stepping. The example below shows
you
yo u ho
how
w from
from a majo
majorr pent
pentat
aton ic (C) you
onic you can
easily shift up to the same scale a semitone above
(C#).

64
 

 Pentatonic Improvisation

The same example would also work with a

pentatonic a semitone below.

10.5 CONCLUSIONS
CONCLUSIONS
The use of pentatonic scales should not be
undervalued, since the lack of linearity may cause
fingering problems difficult to tackle. This is anyway
a very good method and the final result is generally
much
mu ch more
more co conv
nvin
inci
cing
ng th
than
an th
thee qu
qual
alit
ity
y of th
the
e
phrase
phras e itself (contrary
(contrary to what happens
happens when using
scales to improvise). Its adaptability to several music
genres has for sure contributed to its success.
.

65
 

Ten Approaaches to (Jazz) Improvisation

EXERCISES

52.
Use the shown below charts ( C  C  pentato
pentatonic=
nic= C, D, E, G, A ) on the
 MAJOR pentatonics
pentatonics in all keys

  ...similar

  ...similar

  ...similar

  ...similar

  ...similar

  ...similar

  ...similar

  ...similar

66
 

 Pentatonic Improvisation

53.
Use the same
same cha
charts
rts as exe
exerci
rcise
se 52 on the MIN
MINOR
OR penta
pentaton
tonics
ics ( C
 pentatonic= C, Eb, F, G, Bb ) in all keys.

54.
Use the same charts as exercise 52 on the DOMINANT pentatonics ( C
 pentatonic= C, D, E, G, Bb ) in all keys.

55.
Use the same ch cha
art
rtss as exercise 52 on the BLUES scale
caless ( C
 pentatonic= C, Eb, F, F#, G, Bb ) in all keys.

67
 

NOTES