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Order Num ber 1342737
A b lues-based im provisation m ethod fo r beginn ing in stru m
en ta lists
Spitzer, Peter A., M.A.
San Jose State University, 1990
Copyright 1990 by Spitzer, Peter A. All rights reserved.
U M I300 N. Zeeb Rd.Ann Arbor, MI 48106
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A BLUES-BASED IMPROVISATION METHOD
FOR BEGINNING INSTRUMENTALISTS
A Thesis
P resented to
The Faculty of th e D epartm ent of M usic
San Jose S tate University
In Partial Fulfillment
of th e Requirem ents for th e Degree
M aster of A rts
By
P eter A. Spitzer
November, 1990
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APPROVED FOR THE DEPARTMENT OF MUSIC
Um x . iId -Dwight Cannon
William Resch
APPROVED FOR THE UNIVERSITY
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ABSTRACT
A BLUES-BASED IMPROVISATION METHOD FOR BEGINNING
INSTRUMENTALISTS
by Peter A. Spitzer
This study consists of tw o parts: (a) an introductory essay
considering
nineteen published m ethods for teaching m usical im
provisation, both jazz
and classical, and (b) an original sequence of fifteen lessons,
using exercises
and tu n es in various blues, jazz, and rock styles.
The lessons developed in th is project are divided into three
lev els .11
Level 1 is concerned w ith basic orientation, approached through
sim ple
idiom atic w ritten exercises, call-response gam es, and im
provisation in easy
formats. Level 2 introduces theory concepts (blue notes, blues
scales,
chords, chord scales, and form) in a w ay th a t is intended to
be clear, simple,
and participatory. In Level 3, five original and standard pieces
in various
blues, jazz, and rock sty les are presented, as vehicles for
improvising. An
effort is m ade throughout th e m ethod to maximize
participation and to
em phasize th e precedence of creative im pulse over theory
concepts.
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1990
Peter A. Spitzer
ALL RIGHTS RESERVED
iv
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TABLE OF CONTENTS
CHAPTER PAGE
I INTRODUCTION
....................................................................................
1
Purpose
..............................................................................................
2
Lim itations
.........................................................................................
3
M ethods Presently Available
........................................................ 4
H istorical Overview
...................................................................
4
Evaluation of Existing M ethods
.............................................. 6
Guidelines for a Successful BeginnersM e th o d
................................................................................................
18
G eneral C riteria
...........................................................................
18
Specific Inform ation to Cover
................................................... 19
Explanation of Lesson P la n s
.......................................................... 20
Levels
............................................................................................
21
Lessons
.........................................................................................
22
II BLUES AND JAZZ FOR BEGINNERS
................................................ 29
TO THE STUDENT
...........................................................................
30
LEVEL 1 - GETTING STARTED
................................................... 31
LESSON
1 Easy Blues in
G....................................................................
32
2 Im itation G am es
.................................................................
35
3 Im provising Your Own Solo
............................................ 37
v
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TABLE OF CONTENTS
(continued)
CHAPTER PAGE
4 Blues in F ................................................. 3
9
5 Expressing Y o u rse
lf...........................................................
41
LEVEL 2 - CONCEPTS FOR IMPROVISING
................................ 43
LESSON
6 Blue N otes
..........................................................................
4 4
7 Blues Scales
.......................................................................
4 7
8 Chords and "Dukes Place"
............................................... 52
9 A Full A rran g em en
t........................................................... 56
10 The Real T ruth
...................................................................
5 9
LEVEL 3 - SONGS AND STYLES
................................................... 61
LESSON
11 Bo Diddley Beat
.................................................................
62
12 Chicago Style
......................................................................
64
13 "Nows the Time"
..............................................................
67
14 Slow Bb Blues
...................................................................
69
15 Jazz Mambo
........................................................................
72
16 The Next S t e p
.....................................................................
7 4
GLOSSARY
.........................................................................................
75
vi
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TABLE OF CONTENTS
(continued)
CHAPTER PAGE
TO THE TEACHER
..........................................................................
77
III CONCLUSION
.........................................................................................
80
BIBLIOGRAPHY
..............................................................................................
83
vii
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CHAPTER I
INTRODUCTION
Beginning-level instrum ental instruction, usually in grades
four to six,
is th e first experience m any people have w ith "formal" m
usical tr ain ing i t is
a tim e w hen basic view points can b e formed, and a ttitu d es
set, concerning
m usic and th e m usical learning process.
M any w riters on m usic education have advanced th e idea
that
im provising can be an enjoyable and useful part of m usical
education ,1 and,
increasingly, teachers are incorporating im provisation into
their curriculums.
In response to th is in terest, a num ber of publications have
appeared in the
last half-century, w ritten from both th e "non-jazz" and th e
"jazz" perspectives:
m ethods, articles, books for teachers, dissertations.
A t th e sam e tim e, jazz-based m aterials have found a secure
place in
the m usic program s of Am erican public schools, especially
through the
w idening popularity of "stage bands" (now often called "jazz
bands" or "lab
bands") since th e 1950s. These ensem bles, usually u sing "big
band"
instrum entation, are now found in m any American h igh schools
and m iddle
^ e e , for exam ple, W ollner (1967), Schafer (1976), Villiamy
and Lee (1976), or Lanfer (1979).
1
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schools. The "stage band movement," bo th a symptom and a cause
of rising
in terest in jazz, helped create a need for instructional m
ethods in
im provisation, since the jazz band literature, and indeed the
jazz tradition,
require th a t a t least some players be ab le to im provise
solos.
D espite th e profusion of jazz-based m usic and m ethods, and
th e
w idespread in terest in introducing im provisation to
beginners, few
im provisation m ethods are geared to th e beginning instrum
entalist, and none
of them seem s to adequately take advantage of th e opportunity
to offer a
teaching m ethod th a t would serve as an introduction to both
im provisation
and th e blues/jazz/rock idiom .2 This th esis is a step in the
direction of
filling th e need for such a m ethod.
Purpose
The in ten t of th is project is to provide a workbook for
introducing
im provisation to th e beginner in a m anner th a t is easy,
pleasurable, and
informative. N eeds of the beginning player w ill be evaluated,
and streng ths
and w eaknesses of previous m ethods considered, in an effort to
form ulate a
series of lessons th a t will constitu te a successful beginners
m ethod.
Im m ediate goals of the m ethod are to introduce beginning
perform ance and
theory, to provide some fam iliarity w ith th e blues/jazz/rock
idiom, and to
2This study w ill consider b lues, rock, and jazz as partially
separate bu t largely overlapping "idioms." Taken together they
form a m ore general blues/jazz/rock idiom; w ithin each are found
various "styles."
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3help develop m usical technique and understanding through im
provisation.
Beyond th ese are th e larger goals: to foster in the student
higher levels of
self-expression, communication, confidence, aw areness of
tradition, and
creativity .3
Lim itations
This th esis to some extent is bo th a research project and a
creative
work. As research, it involves (a) exam ining existing
literature, (b) finding
usable common ranges for beginners on various instrum ents,
and
(c) evaluation of th e lessons developed, by field-testing w ith
approxim ately
fifty students, in both individual lesson and class settings.
(However, no
attem pt has been m ade a t statistical evaluation .)4 As a
creative project, th is
th esis en tails (a) developing guidelines for a new method, (b)
form ulating a
series of lessons covering the desired m aterial, (c) w riting
blues m elodies
and "sample solos" appropriate for th e anticipated level of
student, and
(d) placing th is m aterial in a clear and usable format. The m
ethod w as
produced not only in concert key, bu t in Bb and Eb
transpositions, not
included here. Supplem entary m aterial for the instructor w as
also produced,
^ o r a discussion of the correspondence betw een artistic im
provisation and basic creativity, see Nachmanovitch (1990).
4A ttem pts a t statistical evaluation of the effectiveness of
jazz im provisation teaching m ethods are found in the d
issertations by Bum sed (1978) and Damron (1973).
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4and is found a t the end of th e m ethod. This workbook is
intended primarily
for u se by young beginners (grades four to eight), under a
teachers
guidance, in either an individual lesson or classroom situation.
Secondarily,
it could be useful to adult beginners as a self-tutor.
M ethods Presently Available
H istorical Overview
Improvisation, or the creation of a m usical work . . . a s it
is being
perform ed ,"5 is surely a practice "as old as m usic itself."6
Throughout the
history of W estern "art music," im provisation has alw ays
existed in some
form, horn th e im provised iubilus of early chant, to m odem
avant-garde
concert pieces. Instruction books, from th e tenth-century M
usica enchiriadis
to m odem works, docum ent th e evolving nature of "classical"
improvisation.
The developm ent of m usical notation, polyphony, and concert m
usic
w ere accom panied by a gradual, b u t increasing, separation of
com poser and
perform er. By the tw entieth century, perform ers rarely com
posed or
5Im ogene Horsley, M ichael Collins, Eva Badura-Skoda, and
Dennis Libby, 'Im provisation," in The New Grove Dictionary of M
usic and M usicians, ed. Stanley Sadie (London: Macmillan, 1980),
IX: 31.
Emest T. Ferand, Im provisation in Nine C enturies of W estern M
usic (Cologne: Amo Volk Verlag, 1961), p. 5.
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improvised, and im provisation had becom e a fairly esoteric
discipline,
surviving m ainly in th e tradition of church organists .7
The rise of b lues and jazz as commercial m usic, beginning in
th e
1910s and 1920s, occurred w ith the aid of powerful new m edia:
th e
phonograph record and radio. Though blues and jazz used
standard
instrum ents and structural resources, th e origins and route to
popularity of
th ese new genres lay in areas culturally distinct from
traditional W estern art
m usic. Because of th is cultural separatism , m aintained by
"serious"
m usicians non-acceptance of th e new genres ,8 b lues and jazz
(and later,
rock) developed as idiom s largely separate and distinct from W
estern art
music. In th e tw en tie th century, blues, jazz, and rock have
been th e
strongholds of m usical im provisation in North America.9 A w
idespread
in terest in learning to perform in these idiom s has been answ
ered by the
publication of m uch instructional literature.
A tw entieth-century revival of im provisation in th e
"non-jazz" W estern
tradition m ay be traced in certain m usic education m aterial,
including the
work of Emile Jaques-D alcroze (beginning c. 1910) and Carl Orff
(beginning
c. 1924). In m ore recen t years, th is current has led to th e
well-known book
7Horsley e t al., p. 50.
Graham Villiamy and Ed Lee, Pop M usic in School (Cambridge:
Cambridge University Press, 1976), pp. 33-47.
BHorsley e t al., p. 51.
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by G ertrude Price W ollner (1963). Since th a t tim e, th e
stubborn exclusivity
betw een th e "jazz and "non-jazz" w orlds m ay have begun to
break down, as
m ay be seen in, for exam ple, th e approaches of Konowitz
(1973) and
Hamaker e t al. (1979).
Evaluation of Existing M ethods
The focus of th is th esis is on producing an optim ally
effective
im provisation m ethod for beginners, using blues-based m
aterials. In
preparation for th is task, a num ber of m odem teaching m
ethods w ere
exam ined. M ost are w ithin th e 'jazz" tradition, though som e
others w ere
considered. Following is a chronological listing of relevant w
orks, w ith a
description of each, and an evaluation of streng ths and w
eaknesses. This is
not a com prehensive listing of m odem im provisation m ethods,
b u t represents
those w orks available a t th e tim e of th is w riting, either
com m ercially or a t
th e San Jose S tate University library.
Im provisation in M usic. G ertrude Price W ollner (1963)
This work, a m odem classic in th e non-jazz tradition, is in th
e format
of a guide for teachers. W ollners program begins w ith rhythm
study via
clapping and conducting exercises. Next come, in order:
melody-making,
using th e concepts of m elodic curves and motives; scale
resources; use of
mood; ear training; and form study. After th is beginning, ra
ther free and
unconventional for its tim e, th e book se ttles into standard
chord study and
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analysis of Bach and Beethoven p ieces for their "musical
logic." The closing
chapters involve im provisation using imagery, and suggestions
for teaching
beginning group im provisation.
W ollners book incorporates m any valuable techniques. It is
primarily
for p ianistsnot for young students, b u t for their teachers.
The book
com pletely neglects jazz-related resources, though occasional
lip service is
paid to th e discipline of jazz im provisation.
Im provising Jazz. Jerry Coker (1964)
Coker is one of th e handful of prolific w riters responsible
for m uch of
th e jazz im provisation instructional m aterial produced from
th e mid-1960s
through th e mid-1970s. This pioneering little book, still
valuable today, is
aim ed a t th e college-level student. It leans heavily on chord
studies,
including also chord-related scales, use of motives, role of
rhythm section
players, and th e concept of "swing. Blues is considered a s a
harm onic
progression, and is p resen ted early on. O ther books by Coker,
especially
P atterns for Jazz (1970), focus on acquiring th e technical too
ls for self-
expression by practicing m yriad perm utations of scalar,
chordal, and melodic
figures, in all keys. This approach, necessary for th e ded
icated older student,
has little value for orienting and m otivating the young
beginner.
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8P atterns for Improvisation. Oliver N elson (1966)
In a brief introduction, Nelson sta te s h is basic prem ise:
"as long as
th e original pattern is correct, any irregularities w hich m
ight appear in its
sequence are justified . . This w as th e first "patterns book.
It differs
from Cokers 1970 work in th a t patterns are p resented more as
ideas th an as
note-groups to be exhaustively practiced. Nelsons patterns range
from
Hanon-like diatonic phrases, to bebop melodic lines, to tw
elve-tone row s.
M any of th ese p atterns are in evidence in Nelsons own
recorded saxophone
solos. Again, th e "permutations" approach is inappropriate for
beginners.
However, N elson is also attem pting to com m unicate th e elem
ents of h is own
jazz style. The "idea book approach is one th a t could be
usefully adap ted for
beginners.
A N ew A pproach to Jazz Improvisation. Jam ey A ebersold
(1967-1990)
A ebersolds "new approach" is th e play-along record, w ith
accom panying booklet. A recorded rhythm section provides a
background for
studen t exercises and im provisations. While th is kind of
accom panim en t is
m ore realistic and enjoyable th an a metronome, it does have th
e draw back of
encouraging an approach to im provisation th a t is m echanical
and lacking the
elem ent of com m unication th a t is basic to a "real" jazz
group. A ebersolds
Oliver Nelson. P atterns for Improvisation (Los Angeles: Noslen
Music, 1966), p. i.
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9m ethod has enjoyed g reat success and popularity, and h as
been extended to
forty-five volum es a t th e tim e of th is w riting. Volume 1
of th is series
em phasizes exercises using dorian, m ajor and minor pentatonic,
and chord-
related patterns, and p atterns for n-V-I chord progressions.
The am ount of
m aterial presented in Volume 1 is too dense for the young
beginner. Volume
2, Nothin* But Blues (1971), is m ore m anageable, useful for
younger students
if they are m otivated and have a teach er's help. This volume
approaches
blues soloing through th e "blues scale" (l-b3-4-#4-5-b7-l) and
chord-related
scales. Recorded tunes include b lues of various types,
including m inor, slow
and fast standard sw ing, rock (minor), and "Parker changes," in
various keys.
An em phasis on dorian tonality is evident. Volume 3 w orks w
ith th e n-V-I
progression, and subsequent volum es are nearly all concerned w
ith
providing a recorded background for practicing "standards." This
rem arkable
and very useful series is conspicuously m issing a volume for
young
beginners, in a clear and sim ple format.
A Guide to Improvisation. John La Porta (1968)
Twelve lessons are presented in th is m ethod, w ith each lesson
broken
into four parts: "theory," "rhythm training," "instrum ental ear
training," and
"performance." An accom panying record is used for th e ear
training and
performance sections. The perform ance section of each lesson
involves
playing an original piece by La Porta, w ith space for an im
provised solo. La
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10
Porta u ses th e Bb m ajor pentatonic scale a s a starting
point, adding th e blue
no tes h3 and b7 in Lesson 2. He places im portance on proper
jazz (swing)
phrasing, and utilizes call-response ear training. Later lessons
involve
playing in th e keys of Eb, F, and C; working w ith th e concept
of motivic
developm ent; and common-tone soloing. This m ethod is a m odel
of good
pacing and clear organization. Presum ably it w as w ritten for
u se w ith
college studen ts (La Porta is a central figure a t th e Berklee
College of M usic,
and th e m ethod w as published by Berklee Press), b u t it
could be used w ith
younger students. La P orta 's u se of th e m ajor pentatonic w
ith added b3 and
b7 is an idiosyncratic, bu t sensible, w ay to se t param eters
for soloing th a t
reflect m ainstream practice w hile lim iting resources so as to
provide security
for th e student. There is no m ention of any rhythm ic style
except sw ing in
th is m ethod.
Techniques of Improvisation: Vol. 1. David Baker (1968)
This book is representative of the m any publications by Baker,
one of
th e m ost prolific authors of instructional m aterials for jazz
im provisation.
Baker u ses lydian-related scales to generate patterns, to be
practiced in all
keys. Bakers Im provisational Patterns: th e Blues (1980) begins
w ith an
informative essay, followed by listings of blues chord
progressions, original
tunes by Baker, b lues phrases, b ass lines, and piano voicings.
These books
are overly technical for th e beginner, bu t th e "idea book"
concept is, again, a
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11
useful one. A nother of Bakers books, Jazz Im provisation
(1983), is a
com pendium of patterns, technical devices, and good advice to
th e relatively
advanced im proviser. To be useful to th e beginner, th ese
concepts w ould
require considerable distillation.
A dventures in Im provisation a t th e Keyboard. Glenn M ack
(1970)
Keyboard and band instrum ent pedagogy are largely
independent
fields, for obvious reasons. Band instrum ents are not
self-accompanying, and
pianos are not used in school concert or m arching bands.
Instructional
literature for keyboard im provisation is th u s not generally
applicable to
single-line instrum ents. M ack's book u ses an approach built
around
fingering p attern s and rhythm ic figures. M odes, various
pentatonic scales
(black-key and others), w hole-tone scales, and related chords
are presented
as resources. A chapter on 'building blocks" em phasizes
motivic
developm ent and phrasing. O ther subjects covered are harm
onizing a
m elody and im provising for dancers. No jazz m aterials w
hatsoever are
included.
M usic Im provisation as a Classroom M ethod. Bert Konowitz
(1973)
In th is book, p resented as a teachers guide, Konowitz
recognizes
th ree "phases" of teaching: exploratory or "loosening up"
activity, expanding
skills, and "developm ent and involvement." T hese stag es are
applied to
w orking w ith voice, instrum ents, and keyboard, in turn.
Konowitz outlook
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12
values positive attitude formation, th e expression of em otion,
and
im provisation as its ow n rew ard, above building technical
facility. Although
he does no t show a deep concern w ith or understanding of jazz,
he does
em ploy som e jazz-related resources. Konowitz h as also
authored tw o
beginning im provisation books for p ianists, unavailable for th
e p resen t study.
Jazz Expressions. Phil Hardymon (1975)
Though packaged as a series of arrangem ents for beginning jazz
band,
Hardymons work, in th e hands of a com petent teacher, constitu
tes a form of
jazz im provisation m ethod. C harts include solo opportunities,
in w hich
studen ts are directed to work w ith a few notes derived from a
pentatonic
scale ("solo-notes"). Accom panying teachers m aterial suggests
call-response
exercises a s ear-training and as a preparation for improvising.
Ranges are
m oderate, and non-standard instrum entation is m ade possible
by sim ple
harm onizations and p art doubling. These arrangem ents are an
outgrow th of
Hardym on's "Berkeley Jazz Project in the Berkeley (California)
public schools,
beginning in 1966, and are currently in w ide use. Positive
features include:
(a) an em phasis on "doing rather th an on theory, (b) a
gradual, non
threaten ing introduction to im provisation, (c) playable ranges
for m iddle
school students, and (d) a format su ited to practical public
school situations.
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13
Blues and th e Basics. Dominic Spera (1975)
This booklet, w ith cassette , is a blues-based im provisation m
ethod
aim ed a t younger students. Speras approach is chord-oriented,
utilizing a
Bb b lues progression and chord-related (mixolydian and m ajor
pentatonic)
scales, w ith added blue no tes (b3, b5, and b7). The "blues
scale" as a
concept is avoided, though th e practical result of adding blue
notes to a
major pentatonic scale is a type of blues scale. Visually, th e
form at is
som ew hat cluttered. W hile strong on ear training, theory, and
sw ing
interpretation, th is m ethod has som e drawbacks: no b eats
except sw ing,
overem phasis on theory, and m aterial too densely
presented.
Basic Rhythms and th e Art of Jazz Improvising. Joe Tarto
(1976)
D espite its title, th is is not exactly an im provising m
ethod, b u t rather
a collection of idiom atic m usical exam ples, particularly
rhythm drills. Brief
w ritten sections on im provising and on blues contain som e
debatable
sta tem ents (e.g., "when im provising m odem jazz in th e key
of C th e following
related scales C G and F can all be used w ith th e following
chords. C6 ,
CMaj 7, C7, C9, C ll, and C13 (sic]."11) This book is b e s t
considered as a
collection of swing- and dixieland-related exam ples.
Joe Tarto, Basic Rhythms and th e Art of Jazz Im provising (New
York: Charles Colin, 1976), p. 26.
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14
Im provisation Syllabus a n d Guide. Edith Hamaker,Clarice
Lincoln, M arilynn Thalm an (1979)
This m ethod w as produced by th e M usic Teachers A ssociation
of
California, for u se w ith piano students. The progression of
its lessons is
intended to correspond to th e MTACs Certificate of M erit
program. The
approach com bines theory study w ith improvising, also using
variations on
folk tunes, and im agery. In an effort to not neglect jazz elem
ents, th is
m ethod introduces chord charts and blues early on. M elodic
resources for
blues im provisations include major pentatonic scales and blue
notes.
Because of th e density of m aterial, em phasis on theory, and
length of th is
m ethod, it w ould probably succeed only w ith those few studen
ts w ho enjoy
working w ith theory. The m ethod is notew orthy because of th e
authors'
sincere efforts to incorporate jazz elem ents into a m ethod
produced by, and
for, teachers w ho work m ostly in th e classical tradition.
"The Blues: A Practical Project for the Classroom," P iers
Spencer
This essay, published a s a chapter in P o p M usic in School
(Vulliamy
and Lee, 1980), is a teach ers guide for a structured
presentation of b lues in
th e classroom. Spencer begins w ith riffs using m ajor
pentatonic a n d m inor
pentatonic scales. Call-response gam es centered on rhythm
(clapping or
percussion) are ex tended to creating rhythm ic responses, th en
melodic
responses, to th e teach ers phrases. Before proceeding to
12-bar blues,
Spencer suggests playing arrangem ents of Negro spirituals
incorporating
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15
short (2 -8 m easure) im provised sections. Next, studen ts are
asked to listen
to and w rite b lues lyrics. Spencer th en has them take a large
step , to
exam ining th e 12-bar chord progression, and finally d irects
studen ts to w rite
their ow n 12-bar blues m elodies. In its early stag es (riffs,
im itation, first
im provisation), Spencers curriculum m akes sen se for th e
beginner, b u t th e
pacing and content of later activities (words, spirituals, chord
study,
com position) are perhaps no t a s pertinent to developing b e g
inn ing stu d en ts
im provising skills. Spencer points out a relationship betw een
Orff
"Schulwerk" m ethods and h is own.
Everybody Can Plav th e Blues. Don Ham ilton (1984)
Brevity is a virtue of th is book. It consists of seven pages of
tex t and
four tu n es to play (one of them is Ellingtons "Dukes Place," w
ithout title or
attribution). Call-response ear training is used a s a starting
point, w ith a
page on chords. Tunes are p resen ted in a lead-sheet form at, w
ith chords
spelled out on a staff below th e melody, and a b lues scale
show n a t th e top
of th e page in th e key of th e tune. Clarity of form at is th
e books m ain
strength; incom pleteness is its m ain w eakness.
Jazz/Rock Trax. Will Schmid (1985)
The aim of th is m ethod is to introduce im provisation to th e
young
player by using a m odem blues-related idiom ("jazz/rock")
exclusively. A
casse tte tap e contains perform ances of w ritten exam ples nri
recorded
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backgrounds. All m aterial is straight-beat rock, played on th e
tap e by
synthesizer and growl-tone saxophone. Im provisation is
introduced by
having th e studen t experim ent first w ith four no tes
selected from an F minor
pentatonic scale (C-Eb-F-Ab), over a recorded background, w ith
lists of "solo
licks" to use as idea sources. Chord construction is avoided. An
explanation
of how to construct pentatonic scales is given, b u t is som ew
hat confusing;
otherw ise, th e form at is quite clear and w ell-considered.
This m ethod
should be practical to use w ith th e beginner. However, it h as
inherent
w eaknesses: (a) sw ing, or any other b ea t th an w hat m ight
b e called disco-
funk rock, is not m entioned, (b) although minor pentatonic no
tes are used
over minor and dom inant chords, there is no m ention of blue
notes or blues
scales, (c) no atten tion is paid to tradition, and (d) im
provisation is taught as
a m onochrom atic product, to be turned on or off w ithout
reference to the
m elody or character of the tune. Indeed, the m ethod does no t
u se tunes as
vehicles, bu t rather u ses chord progressions. This m ethod com
es very close
to being a good one by virtue of its format, pacing, and
practicality, but
th ese qualities come a t th e cost of disregarding som e im
portant elem ents of
jazz.
Leamin* th e Blues. Joseph Lilore (1986)
A s is th e case w ith the previous work, th is book has a
unique mixture
of positive and negative aspects. Here, tradition is respected;
th e book
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17
includes a short history of b lues (its accuracy is another
question), and a
listing of "great b lues 8313818" as recom m ended listening.
Soloing is
approached through a b lues scale (l-b3-3-4-5-b7-1). The form at
is m ostly
clear, including succinct and useful w ords of advice. The key
of Bb is
explored first; chord charts for b lues in all other keys are
included later.
Each of th ese charts bears a note on "suggested style" (latin,
reggae, etc.),
b u t contains neither m usic pertinent to th a t style (melody
or rhythm), nor
explanation of th a t style.
Other Works
The following tex ts w ere also examined, bu t w ere not
considered
applicable to th e p resen t study because of their level of
complexity:
Jazz Im provisation. John M ehegan (four vols., 1959-1965).
The Encyclopedia of Basic Harmony and Theory A pplied tn
Trrmrnv-i ggtion on
All Instrum ents. Dick Grove (1971).
Pentatonic Scales for Jazz Improvisation. Ramon Ricker
(1975).
Im provising and A rranging on th e Keyboard. Jam es O estereich
and Earl
Pennington (1981).
The 21st Century Wav to New Sounds. Rudolf Schramm and Doug
Freuler
(1981).
The Basic E lem ents of Jazz. Jim Progris (1986).
Creative Jazz Im provisation. Scott Reeves (1989).
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18
Guidelines for a Successful Beginners M ethod
General Criteria
The n ineteen m ethods review ed above all have th e sam e goal:
to
develop th e studen ts skill in im provised m usical
self-expression. However,
the m eans em ployed vary considerably. Basic elem ents of th e
n ineteen
approaches include (a) theory instruction, (b) ear training
activities,
(c) exercises for technical developm ent, (d) vehicles for im
provisation, and
(e) exercises and advice aim ed a t developing im agination and
a positive
attitude. These elem ents, not m utually exclusive, are em
phasized to a
greater or lesser degree by each of the m ethods. To be optim
ally effective, a
new m ethod for beginners would balance these elem ents in a w
ay th a t
w ould enhance th e effectiveness of all of them.
For teaching beginners, a special balance is required. By far,
th e m ost
im portant elem ent for beginners is developm ent of a positive
attitude.
Activities m ust send th e underlying m essage, Anyone can do
this. It is easy
and fun." Because b lues is a pervasive influence in m odem
popular music,
blues-based m aterial is ideal for developing motivation. S
tudents perceive
th e idiom as enjoyable and relevant. A blues-based im
provisation m ethod
has a m otivational advantage inherent in its nature.
To encourage a positive attitude in the beginning studen t,
early
success is essential. This can be achieved by participatory
activities in
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19
carefully chosen form ats, a t gradually increasing levels of
difficulty. By
m aximizing playing tim e, technical developm ent can be
pursued
sim ultaneously w ith other activities. Call-response gam es are
a commonly-
u sed and effective w ay to approach ear training. Even theory
concepts can
be approached through participatory activity.
Theory is th e m ost problem atic elem ent. Ideally, theory
facilitates
understanding. Too often, how ever, educators over-em phasize
theory in their
p resentations, and thereby d istort its significance. Not only
does th is error
lead to an incorrect and sterile view of m usic, b u t if can
alienate th e average
student, w ho is generally not m entally disposed or equipped to
work w ith
theoretical concepts, or to understand their relevance. In a
book for
beginners, theory concepts should b e reduced to simplicity.
Specific Inform ation to Cover
Drawing from th e positive features of existing m ethods,
and
considering th e needs of beginning studen ts a s discussed
above, certain
specific features em erge as desirable for inclusion in a new
beginner's
method:
1. A maximum of participatory activity.
2. A broad sam pling of different sty les w ithin the idiom,
including
various "beats" (not ju s t sw ing or rock).
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3. E ssential theory concepts (blue notes, blues-related scales,
chords,
form) presen ted w ith clarity and simplicity.
4. Technique presen ted as subservient to expression.
5. Tradition trea ted w ith respect, a s a base to build on.
6 . Call-response gam es, as ear training and a s preparation
for
improvising.
7. A level of difficulty appropriate for th e in tended
audience.
8 . W ell-written, idiom atic ("funky") exam ples and vehicles
for
im provisation.
9. A gentle, non-threatening introduction to first im provising
efforts,
aim ed a t guaranteeing early success.
10. A clear format, giving each "element" a balanced em
phasis.
11. A n orientation th a t does not exclude other types of m
usicth a t is,
th e skills acquired by th e student should be extendable into
other idioms.
Explanation of Lesson Plans
The booklet com prising C hapter 33 of th is thesis, Blues and
Jazz for
Beginners, is th e resu lt of an effort to im plem ent th e
above guidelines in an
effective series of lessons. Following is an explanation of th e
reasoning th a t
led to the specific content and order of lesson plans.
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Levels
Fifteen lessons, grouped into th ree levels," w ere produced.
Level 1
(Lessons 1-5) u ses four-bar riffs, w ith a background of
standard 12-bar blues
supplied by teacher or cassette tape, to orient th e studen t
and to introduce
basic concepts. Primary em phasis is placed on participation,
and theory
concepts are downplayed. The m ain in ten t here is to generate
an early
feeling of comfort. To th is end, ranges are narrow; repeated
four-bar riffs are
used; soloing is approached carefully. Im provisation is presen
ted as a
m atter of working w ith melody, rhythm , and mood. The
introduction of scale
and chord approaches is pu t off until Level 2.
Level 2 (Lessons 6-9) p resen ts basic theory concepts: blue
notes,
scales, chords, and how th ese elem ents in terrelate w ith m
elody and w ith
each other. Theory is a delicate subject: th e stu d en t w ould
be ill-served by
a com plete avoidance of chord-building or blues scales, yet th
ese topics can
easily come across a s dry and boring. In addition, theoretical
structures
should not be presented to beginners as th e la st w ord in how
m usic
(especially im provisation) is organized. Therefore, th ese
concepts are only
pursued to th e ex ten t th a t they will aid th e studen ts
perform ance and
com prehension. "Sample solos are used m ore extensively in
Level 2 (in
Level 1, th e riff-tune m elodies served th e sam e purposes).
These exercises
provide: (a) exam ples of th e application of concepts being
discussed, (b) a
participatory aspect to w orking w ith theory, (c) practice in
reading idiomatic
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22
m usic, and (d) m ental input of idiom atic m usical ideas, for
la ter u se in
improvising.
Level 3 (Lessons 10-15) consists of a series of tu n es w ritten
in
different b lues-related styles. This section is intended to
provide vehicles for
im provisation using concepts learned in Levels 1 and 2, w hile
conveying a
sense of th e w ide and rich traditions associated w ith blues,
jazz, and rock.
It is no t m eant as a com prehensive catalog of styles. R anges
and general
difficulty are increased som ew hat.
A final chapter, T h e Next Step," suggests directions for
continued
study, and a glossary for studen ts ends the m ethod. A
three-page section of
advice to other teachers w ho m ight u se th e m ethod is
included, following
th e glossary.
Lessons
Lesson 1 - Easy Blues in G
The purpose of th is lesson is basic orientation. Range is
minimal,
using only th ree notes (G, F, and D, or 1, b7, and 5, in G).
This range w as
arrived a t by com paring standard band m ethods for various
instrum ents; it is
w ithin th e overlap of ranges a t th e point w here eighth no
tes are introduced.
Accom panim ent by a teacher (or recording) is assum ed.
Subjects include
concept of sw ing beat; exam ples in straight and sw ing, a t
various tem pos;
and th e basic concept of arrangem ent.
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Lesson 2 - Im itation n am es
This is a participatory activity serving both as ear training
and a s a
preparation for first solos. In fact, call-response gam es p
resen t th e basic
elem ents of im provisational soloing (pre-hearing; production
of im agined
sound), except th a t th e decisions concerning note and rhythm
choice are left
to th e instructor. A creative teacher could use th ese gam es
also to p resen t
concepts of developm ent and variation, in th e phrases chosen
for im itation.
Like th e sam ple solos, th is activity serves a s input of
idiom atic m aterial for
later studen t use. One further aspect of value in preparing th
e stu d en t for
soloing: im itation gam es com pletely bypass th e prin ted
page.
Lesson 3 - Im provising Your Own Solo
Im itation gam es are extended to "trading fours" w ith th e
teacher or
w ith another student, still using only th ree notes, then to
playing a 12-bar
chorus. M otivic playing, w ith ideas derived from th e melody,
is p resen ted as
good im provisational technique. A sam ple solo is provided for
illustration,
for reading practice, and a s an idea source.
Lesson 4 - Blues in F
Range is extended slightly; a new key is introduced. A
three-note
concept using 1, h3, b7 is em ployed for exam ples. The la st tw
o exam ples
add scale s tep s 5 and i f 7. Practice w ith soloing from th e
melody is
continued.
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Lesson 5 - Expressing Yourself
To com plete Level 1 a s a basic orientation section, additional
m eans of
expression are explored. Students are asked to select an earlier
exercise and
to play solos using different moods, note densities, and levels
of volume.
The in ten t here is to estab lish em otion and tex ture along w
ith m elody and
rhythm as basic elem ents in improvising. Scale and chord
concepts (to
follow) m ay th en be seen in proper perspective: a s technical
m eans to the
m ore basic end of expression, not as answ ers in them
selves.
Lesson 6 - Blue N otes
This lesson begins Level 2, in w hich essen tia l theory
concepts are
presented. Blue notes are presented as th e low ered 3, 5, and 7
of a key.
Illustrations show blue notes against C, F, and G m ajor scales.
This
p repares th e ground for Lesson 8 , a b lues in C using C7, F7,
and G7 chords.
Thinking of no tes as related to a major scale, using num bered
scale steps, is
an integral p art of th is lesson. The idea of bending no tes (a
concept related
to "blue notes") is presented.
Lesson 7 - Blues Scales
Three of th e scales m ost commonly encountered in jazz im
provisation
m ethods are show n here in th e key of F. Three are used bo th
in order to
educate th e studen t and to avoid em phasizing any one of th e
th ree scales.
All th ree scales w ill sound" against d o m in a n t, chords on
I, IV, and V. The
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25
stu d en t is asked to w rite th ese scales out in C and G. A
sam ple solo is
given th a t u ses ideas related to th ese scales. This exam ple
is w ritten in
changing scale areas; th e purpose is to show th a t scales are
only one of
m any organizing forces. The prim ary technique of organization
in th is and
other sam ple solos is extension and expansion of m
elodic-rhythm ic motives.
Lesson 8 - Chords and "Dukes Place"
Students are show n how to build dom inant chords by using step
s 1, 3,
5, b7 of a major scale. Several goals are accom plished here:
(a) chord
building is introduced, (b) chords are presented as related to
scales, a useful
perspective for th e im proviser, and (c) dom inant (mixolydian)
scales are
introduced. The studen t is now equipped w ith b lue note,
scalar, and chordal
concepts, applied in C, F, and G. This should provide a strong
background
for dealing w ith "Dukes Place," a blues in C by Duke Ellington.
Using th is
tune provides a reference to jazz history and teaches studen ts
a p iece th a t is
considered standard repertoire.
Lesson 9 - A Full A rrangem ent
Traditional roles of instrum ents in a jazz ensem ble are
discussed. A
typical jazz combo arrangem ent format is applied to "Dukes
Place."
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26
Lesson 10 - The Real T ruth
Using a short idiom atic phrase as an exam ple, th e point is m
ade th a t
th e phrase could be explained theoretically several different w
ays, bu t th a t
th e "real truth" is th a t it is a phrase in a m usical
language. This is an
explicit statem ent of th e subservience of theory to
expression. W hile
students m ust be given a w orking know ledge of theory
concepts, they
should develop a natural, intuitive approach to im provising th
a t u ses theory
concepts m ore as tools for understanding than as prim ary
devices of m usical
organization. This lesson concludes Level 2, th e section m eant
a s a practical
introduction to essen tial theory concepts. Six item s of advice
for improvising
are added here.
Lesson 31 - Bo Diddlev Beat
Lessons 11-15 constitu te vehicles for practicing im
provisation; no new
theory concepts are p resen ted in Level 3 except those
encountered in
playing th e tunes, w hich are w ritten in various styles. The p
iece in th is
lesson u ses a rhythm ic p a tte rn found in m any 1950s rhythm
and blues (early
rock) tunes. A lthough th e m elody u ses sixteenth notes, th e
range should be
easy, and chords for soloing are virtually th e sam e as those
for "Duke's
Place."
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27
Lesson 12 - Chicago Stvle
The key of G is re-introduced; chords include G7, C7, and (for
th e first
tim e) D7. The piece is w ritten in one of th e "Chicago" sty
les associated w ith
Muddy W aters, Howlin Wolf, etc.
Lesson 13 - N ow 's th e Time
This is another p iece in th e standard jazz repertoire,
providing the
opportunity to introduce th e "bebop style and an alternate
standard blues
chord pattern. The key of F, already familiar to th e student,
is used; one new
chord is introduced (G-7).
Lesson 14 - Slow Blues in Bb
The m elody of th is piece u ses som e very traditional phrases,
and the
chords are in a traditional, b u t slightly m ore difficult,
progression. New
chords include Eb7, C-7, A7, and Ab7 (the la st tw o chords are
optional). The
tem po should be comfortably slow. This key is, of course,
commonly used
for instrum ental blues. I t w as not included earlier in th is
m ethod because
th e narrow range chosen as a starting b asis seem ed to tran
sla te b e tte r into
th e keys of G and F. Theory concepts in C led naturally to
"Dukes Place" (in
C, and using C7, F7 and G7 chords). N evertheless, Bb and F are
th e m ost
com m only-encountered keys for b lues in m ainstream jazz.
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Lesson 15 - Jazz Mamho
W hile not exactly a b lues form, mamhn w as selected a s th e
style for
th e la s t piece, for several reasons: (a) because blue notes,
especially b7, are
a p art of th is style, (b) because la tin " sty les are
frequently used by jazz
players, (c) to convey th e idea th a t im provisers can
function in a variety of
idiom s, and (d) to u se another organizing framework besides
12-bar blues,
nam ely layered rhythm s.
The Next Step
For th e studen t in terested in further developing im provising
skills and
know ledge of th e idiom, th is chapter provides suggestions for
directions of
future study, and parting w ords of advice.
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CHAPTER n
BLUES AND JAZZ FOR BEGINNERS
29
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TO THE STUDENT
Blues, jazz, and rock are different sty les of m usic th a t
have a lo t in
common. There are even different kinds of b lues (country blues,
Chicago
blues, etc.), jazz (big band, bebop, fusion, etc.), rock (1950s
rock, heavy
m etal, etc.). O ther related styles include rhythm and blues,
soul, funk and
rap. But all of th ese types of m usic have som ething in
common: they all
depend very m uch on "blues" sounds, and they all u se im
provisation.
In th is book you w ill learn w hat th ese blues sounds are, and
how to
use them to m ake up your own m usic (or "improvise"). This book
is intended
to be easy to u se and fun to play, and w ill help you to
understand how th is
sort of m usic is p u t together. Have fun, and be creative!
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31
LEVEL 1
GETTING STARTED
You could think of b lues, jazz, and rock a s m usical languages
th a t are
closely related. To learn th e se languages, you should work on
bo th reading
and expressing yourselfin th is case, w ith no tes and phrases
rather than
w ords and sentences.
This section w ill introduce you to b lues, jazz, and rock
through
reading, im itating, and improvising.
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32
LESSON 1
Easy Blues in G
In th is lesson, you w ill play som e easy b lues using 4-m
easure "riffs" as
m elodies (a riff is a short, repeating m usical idea).
All of th ese riffs are in th e key of G. This m eans th a t G
is th e hom e
note, or "tonic."
First, play Example 1 by itself. Next, listen carefully w hile
th e rhythm
section (teacher or recording) plays a 12-bar blues. This is th
e kind of
background w e w ill vise throughout th is book.
Exam ple 1
3x
Now play Example 1 th ree tim es, w hile th e rhythm section
plays a
b lues background. This w ill m ake a b lues melody, or "head."
Try th is
several tim es.
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33
Note: "Swing" b ea t m eans th a t every pair of eighth no tes
is played
long/short, like this:
II r ir ir ir ill
Sometimes sw ing b ea t is w ritten J 7 3 in stead of I""J
though it really sounds closer to m . In th is book, w e w ill
say
"rock1 w hen w e m ean straight (regular) eighths.
Now play each of th e following 4-bar riffs:
Example 2
Example 3
3*
( c t l & t x )
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34
Example 4
Example 6
/7 s b v o * * I , i 3x ^ c: J \ \ n p g ^ - . j 3 - ^ j \ - [ -
1
You can m ake a short arrangem ent out of any of th ese m
elodies by
putting a 12 -m easure solo in th e middle, w ith th e head a t
th e beginning and
th e end. For now, le t th e teacher play a sim ple solo, or
have th e rhythm
section fill th e m iddle 12 bars. Lesson 3 will show you how to
m ake up your
ow n blues solos.
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35
LESSON 2
Im itation G am es
These ear training gam es w ill help you to know your instrum
ent, and
to think m usically. The idea is th a t th e leader (teacher) m
akes up a m usical
idea, and th e class im itates it as exactly a s possible. S
tart w ith ju s t th e note
G, in any rhythm , for one m easure, like this:
Example 7
e \* 4 J
\tUu \cM " P das_____________
A s you g et b e tte r a t th is gam e, add th e notes F and D;
th en try tw o-
m easure phrases. For exam ple.
/f \.uhtf tltff t'
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You can practice th is gam e on your ow n w ith ju s t tw o
students,
taking tu rns as leader and im itator.
Try playing a t different tem pos, and w ith different beats
(rock or
swing). Keep th e rhythm steady!
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LESSON 3
Im provising Your Own Solo
To w arm up for th is lesson, here is a different version of th
e im itation
gam e, called "trading fours." The teacher w ill play a four-bar
phrase, using
G, F, and D. This tim e, studen ts will answ er individually, no
t by im itating,
b u t w ith four m easures of anything else they feel like
playing, using any
rhythm th a t com es to mind.
W hen you feel comfortable trading fours, pick one of th e riffs
from
Lesson 1 to u se as a "head. Play the melody (repeating th e
riff th ree tim es)
over a 12-bar b lues background, bu t th is tim e continue by
making up short
solos, still using th e notes G, F, and D. Each stu d en t
should try to fill up 12
m easures.
Your solo should fit w ith th e tune you are playing. One w ay
to do th is
is to s ta rt w ith an idea from th e head. For exam ple, here
is a 12-bar solo
th a t could go w ith th e first tu n e in Lesson 1:
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38
Example 8
g - _ j _ j _ j j
mlll.iL.. JOL
^ = j = T )
In th e space provided below , w rite a few ideas th a t you m
ight w ant to
use in a solo for Example 4.
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39
LESSON 4
Blues in F
Next, try th ese riffs in th e key of F. Play each one a s a
tune, w ith th e
head a t th e beginning and end, and solos in th e m iddle. Base
your solos on
ideas from th e melody.
Example 9
3 *
Example 10
Exam ple 11
trS iSiu# _________________________________ ^
I J \ J
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Example 12
Example 13
, fa t/.. Sletis w c kim L. >lettt w&f-
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LESSON 5
Expressing Yourself
Choose one of th e riffs from Lesson 4 to u se as a head. For th
is
lesson, you w ill play it a s a com plete tune
(head-solos-head), as many
different w avs a s possible.
H ere are som e variations to try:
1. U se a different beat.
2. Play w ith different em otions: angry, peaceful, nervous,
friendly, etc.
3. Soft or loud.
4. F ast or slow .
5. Solos w ith lo ts of silence.
6 . Solos w ith lo ts of notes.
7. Any com bination of th e above.
After you have played th e tune as m any w ays a s possible,
decide
w hich variations "fit th e tu n e best" (or just, "which w ay
you like most"). Then
play it one m ore tim e th a t way.
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42
In th e m usical language, there are m any different w ays to
express
yourself. M usicians should explore all kinds of expression.
This is one of th e
m ost im portant lessons in th is book!
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43
LEVEL 2
CONCEPTS FOR IMPROVISING
There are th ree basic approaches to improvising th a t are
often used
by blues, jazz, and rock m usicians:
1. Play off th e m elody (you have already tried this);
2. Base your ideas on a scale th a t relates to th e piece;
and/or
3. Use no tes from th e chords in th e accom panim ent.
In th is section, w e will explore th e "scale" and "chord"
approaches.
You w ill learn w hat th ese scales and chords are, and how to u
se them .
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LESSON 6
44
Blue N otes
W hat m akes m usic sound "bluesy or "funky?" P art of th e
reason is
th a t blues, jazz, and rock often use "blue notes." Blue notes
are th e flat 3, 5,
and 7 of a key.
H ere are th e b lue notes in th e key of C, w ith a C major
scale for
com parison.
C m ajor scale:
H ere are th e blue notes in G, w ith a G m ajor scale for com
parison. Go
back to Lesson 1 and circle all th e blue notes.
Blue no tes in C:
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G m ajor scale:
j SZ 1i j, 3 *f r 6 i i
Blue no tes in G:
Vp feg:-W -
V3 K *7
And below is th e sam e thing, in th e key of F. Go back to L
esson 4
and circle all th e blue notes.
F major scale:
bo ff-
i t . i v r 6 -) i
Blue no tes in F:
T * b o 1 W
b3
j rz r
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46
You can g et a bluesy feeling in a solo by "bending notes. This
m eans
b itting them low in pitch, th en bringing them up to norm al
pitch. This is
especially effective w ith th e th ird scale step (see below).
Bent no tes are
show n like this:
m .
Play th e following example:
Example 14 (in F)
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LESSON 7
47
Blues Scales
To g et a bluesy sound, m usicians often b ase solos on scales
th a t
include blue notes. Three of th e m ost popular of th ese are
show n below in
th e key of F, w ith an F m ajor scale for com parison. Play
each scale through
several tim es, up and down, to check its sound.
F minor pentatonic:
1 i n *f r *7 t
F blues:
' w h '
F dorian:
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48
Com pare to:
F major:
%To m ake sure you understand how th ese scales work, w rite out
th e
following:
C minor pentatonic:
C blues:
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reproduction p ro n g ed witnou. permission.
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C dorian:
49
G minor pentatonic:
G blues:
G dorian:
Now play Example 9 again as an arrangem ent (head-solos-head), w
ith
solos based on one or more of these scales.
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50
Example 9
You should also play through the sam ple solo below , w hich
could go
w ith Example 9.
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Example 15
deria.
i l i E zzz:vJ
U u tS
^ I j. r ; V ^ - r ^j4~
jtuu*9 t&ch (or /o r. f f* (?h*&) lin o s
&
&0l\&XAS
U u f i plIu /S
g p n ^ p ^ i p s
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LESSON 8
52
Chords and D uke's Place*
The chords in th e b lues accom panim ents you have u sed so far
are all
built th e sam e way. This type of chord is called a "dominant
seventh" (or
"dominant") chord. Play th ese chords:
You will often see chords w ritten th is way:
Of course, only instrum ents like piano or guitar can actually p
lay all th e
no tes a t th e sam e tim e.
Chords and scales are closely related. You can build any dom
inant
chord by im agining a m ajor scale built on th e nam ed note,
low ering th e
seventh step , th en leaving out every other note:
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53
"Duke's Place," by Duke Ellington (a fam ous jazz pianist,
composer,
and band leader), is a p iece th a t u ses only dom inant,
chords: C7, F7, and G7.
Try playing it, w ith solos b ased on th e chords in th e accom
panim ent, or on
th e scales th a t go w ith them (this kind of scale, like m
ajor b u t w ith a b7, is
called a "dominant" or "mixolydian" scale).
You w ill have to keep your place and change chords a t th e
right time!
Play through th e sam ple solo for an exam ple of how to use th
e chord
tones and dom inant scales.
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54
D u k e ' S P l a c e Duke Ellington
fr--- - A., . (jV^---5----
C l - a ->-
#-i-i-#-1--
/ -y -* y',- " rr/---- --------- -
n- 4
--- (J 'i.,:.----
1f=--- 1
-----------
^ |-- - --s---------
P7 (
#*#^S---
--,-y - - -
y - \ : 1..c?
...... "" hr, * ' ----*---- r1 -^-----------
-ppv^ -------
---- y.-------- a
--------4-4&----------
o *
j ^ --
p1 *>. j---
----------- 1(pp\i Ujf Y
---^,0-^0e>~------------ -------- 0Jl--------
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55
Example 16
Sample solo for "Dukes Place," using chord tones and dom inant
scales:
G -1
m m
1 i 3 = H
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LESSON 9
56
A Full A rrangem ent
Next, w e w ill play "Dukes Place" as a full arrangem ent.
Traditionally,
each instrum ent plays a certain role in th is sty le (sw ing
jazz, w hich started
in th e 1920s):
Melody instrum ents (clarinet, trom bone, flute, etc.): Play th
e melody,
m aybe w ith harm ony no tes added.
Rhvthm section:
Piano or guitar: Play chords using short rhythm ic figures in sw
ing
b ea t (this is called "comping").
Bass: Play steady quarter notes (this is a "walking
pattern).
Drums: Keep a steady sw ing beat.
All instrum ents: May play solos.
Try th is arrangem ent:
H ead (all in unison)
H ead (add rhythm section, harm ony parts)
Solos (any approach)
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57
Trade fours
H ead (including rhythm section, harm ony parts)
For added in terest, try having players who are not soloing
play
background riffs during solos. H ere is one exam ple; you can m
ake up other
riffs on your own:
Example 17
Harmony no tes for th e head are show n below . A s you can see,
they
form p art of th e chord, p laced below th e m elody note:
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58Example 18
Dukes Place
j ------ -----------1 t - 99--------- f *---------b T 'T \fTT
TT
b4
b-
I - - I1
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reproduction prohibited without permission.
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LESSON 10
The Real Truth
Look a t th e following phrase, from the very first lesson in th
is book:
W here did it come from? From a chord? From a scale? Actually,
you
could explain it several ways:
1. P art of a G minor pentatonic scale.
2. P art of a G b lues scale.
3. P art of a G dom inant scale.
4. P art of a G dorian scale.
5. P art of a G7 chord.
But th e real tru th is simply th a t it is a phrase in th e m
usical language
w e call b lues (or jazz, or rock). Theory exists to explain m
usic. M usic comes
first, no t theory.
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Here is some m ore advice for improvising:
60
1. Practice improvising, by yourself or w ith others. You can do
th is
w ith your instrum ent, w ith your voice, or in your head.
2. Keep your ears open. You can get m usical ideas from th e
sounds
around you. In a group, th is m eans listening to th e other
players and fitting
your ideas to theirs.
3. Dont be afraid of m istakes. Ju st "go for it."
4. Remember th a t in teresting rhythm ic ideas are a t least as
im portant
as melodic ideas.
5. W hen you are improvising, le t your solo take its own
direction.
You dont need to stick to one se t of notes, unless th a t is
the sound you
w ant. Any note can be m ade to sound "right," by th e w ay it
is used.
6 . Dont forget th e value of using em otion or mood in your
playing.
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LEVELS
61
SONGS AND STYLES
In th is group of lessons, you will be able to try im provising
on songs
th a t use som e of th e im portant styles of blues, rock, and
jazz. These are
sty les th a t a m odem m usician should be aw are of.
You w ill be able to try out ideas th a t you have already
learnedfor
exam ple, im provising w ith ideas from th e melody, different
scales, or ben t
notes.
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LESSON 11
62
Bo Diddley Beat
This b lues u ses a rhythm th a t is found in quite a few 1950s
rock
songs, and is still popular today. It is usually called a "Bo
Diddley" beat
because a "rhythm and blues" singer and guitarist nicknam ed "Bo
Diddley"
(Elias M cDaniels) u sed it in so m any of h is songs.
The b ea t goes like this:
This b ea t is kep t by th e drum s, and guitar or piano.
N otice th a t th e chords are a standard blues progression in
C, alm ost
exactly like "Dukes Place." Play it w ith a basic arrangem ent
(head tw ice,
solos, head, coda). This is a good song for a drum solo.
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63
B o D i d d l e y B e a t
pfj.iL itPcU.mt
k - ; J -? f . - ------------------------------------- . . = * ?
=
& ~~g 9 9
:f^ a z
H
F nh r .
c s
&
t Q-*-
bnr
l-R -t=^-^ 0 ^ = 1
------ .
OP F 1i..:; r - / ------
^ ----------------- o' ............... : -' t ~ :i ------ A
---------
V
: = - v *^
~ .m .n T W -
..... . 1
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64
LESSON 12
Chicago Style
"Chicago blues" is a sty le th a t developed w hen m any b lues
a rtis ts
moved from th e South to Chicago, and began playing their m usic
on electric
guitar and bass. The rhythm pattern in th is tune is ju st one
of th e b ea ts th a t
is used in Chicago blues.
This style has b een a heavy influence on rock music, and w as a
t its
strongest from th e la te 1940s through th e 1960s. Famous
"Chicago blues"
m usicians include M uddy W aters (McKinley Morganfield) and
Howlin' Wolf
(Chester Burnett).
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65
C h i c a g o S t y l e
/? d m ^7 *______________ "7 s ______________
]y - 6 ^ E E :C n
( f pt^y/yf - ^_________ |_____ t____________ ^ /*j>'
-)y c -4^-i ^ = = j = u f = y ^ j ~ 'r ^ - y - j > - F J ] i
:
T _ T . 5 1 _ ^ ______________ ? , r ,
' =^ C P 2 *
E ] A L -l~ t r j = ^ = T j r - -\ zip
[-x jp . j j I \ e
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-
r r = F F F l = ^9 9
!>\}& cfc$ * w C * d b fix* tP j
- iff), ^ /Ti
ix J te , ceidM* k? t J L
CXdWrt (j$>r Safes')
SL - o . - f - * - * -----y ------------------------------,/
----------j-flp-o ' ------------------
O 'j---:-------------- {>- o ^
E o ^ ' ' - T
ts
i i z i :
V ^E ^1 J j i ~ iA l
( d 1) . . ( & ' ' )i j m l
Jgp-s*^r -
. v
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f f c p - t n - s -ZZLcX^yd-izlv^ZZ
1 r... .r . "'I
% > r a f o ------- --------------------------------
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LESSON 15
72
Jazz Maxnbo
Jazz is influenced by m usic from all over th e world. The
mambo
started in Cuba and becam e popular in th e U nited S tates in
th e 1950s.
To play th is style, you w ill add parts in layers, until th ey
form a
"groove." S tart w ith th is p art (usually played on piano, and
called a
"montuno"), a t a m edium tem po:
frmpi'riTrrnTiAfter 8 m easures, add th e drum s, playing a
straigh t b e a t w ith th ese
accents (the accent pattern is called a "clave"):
A fter 8 bars, add th e b a ss part (you could substitu te
another
instrum ent if you dont have a bass):
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> > > > >n/ #
-
Then, after 8 bars, add th e melody, played by bom s (melody
instrum ents) and piano (sw itching from th e m ontuno to th e
melody).
L t> ) *
a a sI -m-------------- 5-------
"bvw&-3I yJ v J L L z^ c & tr ia fe tz .
* The Bb7 and Db7 chords are optional. If you use them , th e b
ass w ill have
to play an Ab under th e Db7 chord, in stead of a G.
Play solos over th e m ontuno, b ass, and drum p arts (C dorian,
b lues, or
minor pentatonic scales are good here). If you like, m ake up
riffs to add
behind th e soloist.
To end th e song, play th e head again, and stop a t th e
"fine.
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74
LESSON 16
The Next Step
If you enjoy im provising jazz, blues, and rock, and w ant to
learn more,
here are a few suggestions for future projects:
1. "Jam" w ith other m usicians w henever you possibly can.
2. L isten to recordings of g reat players like Charlie Parker,
John
Coltrane, M iles Davis, Louis A rm strong (jazz); Chuck Berry,
Jim i Hendrix,
Rolling Stones (rock); M uddy W aters, Howlin Wolf, B essie
Smith (blues)the
list goes on and on.
3. Work w ith o ther teaching m ethods, especially th e Jam ey A
ebersold
play-along series.
4. Go to live concerts of all kinds of m usic, to check out how
th e
"pros" play.
5. W rite your ow n tunes.
6 . Be open-m inded. Try to play, and listen to, a s m any
different kinds
of m usic as possible.
Good luck, and stay funky!
The End
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75
GLOSSARY
bebop (or bop): A style of jazz th a t started in th e early
1940s, in New York.
bending notes: H itting notes below pitch and th en sliding up
to normal pitch, a trick often used in blues.
blues: A n Am erican form of m usic th a t is also an im portant
p a rt of jazz and rock; also, a particular 1 2-bar chord
progression.
blue notes: The flatted 3, 5, and 7 of a scale.
Bo Diddley beat: A particular b ea t found in m any rhythm and b
lues and rock tunes.
Chicago blues: A style developed in Chicago in th e 1940s using
electric instrum ents.
chord: Several notes played a t th e sam e time.
clave: A rhythm ic pattern used in Latin American music.
coda (-^-): A special section of m usic added to end a
piece.
dom inant chord: A chord built w ith scale steps 1, 3, 5, and
b7.
dom inant scale (or mixolydian scale): A major scale w ith a
b7.
fine: The end of a piece (Italian for "finish").
funky: Very blues-like.
groove: A sm ooth, in teresting and satisfying rhythm.
head: The melody, played a t th e beginning and end of a
song.
horns: Jazz term for melody instrum ents (like trom bone,
saxophone, flute, etc.).
improvise: To make up your ow n music as you play,
jam: Playing m usic w ith other people.
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76
jazz: A style of m usic th a t u ses im provisation and a b
lues-related m usical language; jazz has developed m any styles
over th e la st hundred years.
mambo: A style of music developed in Cuba in th e 1940s, using a
straight b ea t and som e elem ents of b lues and jazz.
montuno: A repeated riff u sed in Latin Am erican m usic,
usually played on piano.
riff: A short, repeating m usical idea.
rock: A style of m usic th a t grew out of blues in th e
1950s.
rhythm section: In a band, th e bass, drums, piano, and/or
guitar.
scale: A concept th a t p u ts a group of notes in a straight
line, going up from th e tonic note.
solo: W hen one instrum ent plays a lead part, or plays
alone.
straigh t beat: A b eat th a t u ses eighth notes th a t have
equal value. M ost rock, classical, and South Am erican m usic u
ses a straigh t beat.
sw ing beat: A beat th a t u ses eighth notes th a t move in
pairs of long and short notes.
sw ing jazz: A style of jazz th a t developed in th e 1920s and
1930s, oftenplayed by 'big bands" of about fifteen instrum ents,
including sections of trum pets, trom bones, saxophones, and a
rhythm section.
tem po: Speed of th e music.
tonic: The hom e note.
trading fours: A w ay of soloing in w hich m usicians take tu
rns improvising for four bars each.
walking: A b ass pattern used in sw ing and bebop, w ith th e b
ass playing steady quarter notes.
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77
TO THE TEACHER
The purpose of th is book is to provide w ritten m aterials, in
a
program m ed format, th a t w ill be useful in teaching im
provisation to
beginners on any instrum ent, in either private lessons or sm
all classes.
Naturally, you will adap t it to your ow n needs. The book
itself w ill no t do
th e teaching, and in fact it assum es th e presence of a
teacher as bandleader,
and probably as a p ianist.
If you cant already play through a sim ple b lues in G, F, or C,
using
dom inant chords, th is m ethod w ill provide you w ith th e
opportunity to learn.
Your in terpretation could be a s sim ple as root position block
chords, or it
could use a left-hand b a ss line and b e tte r right-hand
voicings, if ability
perm its. You m ight w an t to incorporate u se of a drum m
achine, a sequencer
for b ass lines, or a recorded background as teaching aids.
The m ethod assum es th a t studen ts are beginning-level
instrum entalists. If th is is indeed th e case, then keyboard,
guitar, and drum
se t players could all u se th e sam e melodic line m aterial as
everyone else,
perhaps until chords are introduced in Level 2. If your rhythm
section
players are m ore advanced than th is, they m ay be instructed
to play their
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78
traditional ensem ble roles a t an earlier point. H ere are som
e rem arks on
b ass and drum parts:
Bass
Students can be assigned ensem ble p arts fairly early on, if
they seem
ready. A w alking p a tte rn (for swing) can be m ade out of
either chord tones,
or l-b7-5 (the no tes used in Lesson 1). Rock p arts could b e
repeated blues
m elodic patterns. B ass p arts m ay be covered by keyboard,
electric or
acoustic bass, guitar, or even b ass clarinet or tuba; or they
could be left out
entirely.
Drums
In th e absence of a trap se t player or drum m achine, th e b
ea t (sw ing
or stra igh t eighth notes) could be kept on a cym bal or hi-hat
alone. This
concept, w ith appropriate accent patterns, will serve even on
th e "Bo
Diddley (use six teenth notes) and "Jazz Mambo" pieces. To
simplify these,
play accen ts (clave) only.
You (the teacher) should rem em ber th a t th e purpose of th is
project is
above all to build a positive attitude in studen ts tow ard
their ow n creative
efforts. All your com m ents on their im provising should be
positive,
uncritical, and reinforcing. The point is to develop th e
creative process, not
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79
to w ork up p ieces for a concert. If th is teaching m ethod
seem s to work for
you, here are a few suggestions for augm enting or expanding
it:
1. U se plenty of call-response drills, a s in Lesson 2. You m
ake up the
drills, and ad just th e level of difficulty as necessary.
2. A pply th e concepts from Lesson 5 in other p laces
(emotion,
density, dynamics).
3. Expand arrangem ents (improvise w ith form).
4. Bring in jazz standards (e.g., W aterm elon Man, Blue Bossa,
Blue
Monk, C antaloupe Island).
5. Bring in recordings of jazz, rock, blues, salsa, etc. This is
perhaps
b e tte r done after studen ts have tried playing th ese tu n es
or styles. Take th e
opportunity to say a few w ords about th e players, style, or
history of th e
recording.
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CHAPTER m
CONCLUSION
W estern m usic in th e tw entieth century has seen a grow ing
in terest in
th e art of im provisation. In the "classical" tradition, th is
art had been allow ed
to lapse nearly into extinction by th e early p art of th is
century. It is now
being revived in w ays th a t are pertinent to both avant-garde
and historical
styles. In th e jazz world, m usicians have becom e increasingly
skillful in
codifying and articulating perform ance practices of th e g reat
im provisers, for
use in teaching future generations.
This project represents an attem pt to fill a perceived gap in
available
teaching m aterial: nam ely, the lack of a b lues-based im
provisation m ethod
for beginning instrum entalists th a t presents m usical elem
ents in proper
focus. The m ethod developed here stresses participation and th
e formation
of view points th a t m ight later prove valuable to the
student. Use of
expression and m usical intuition is em phasized, w hile theory
concepts are
p resented as tools for understanding rather than as prim ary
organizing
concepts.
This m ethod does not create new teaching techniques, b u t
utilizes
com ponents of proven efficacy. These include th e use of b lues
m aterials to
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prohibited without permission.
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introduce th e blues/jazz/rock idiom and im provisation;
call-response drills;
idiom atic w ritten exam ples; theory study; and a careful,
reinforcing approach
th a t generates success w ith first im provising efforts. W hat
is new in th is
workbook is th e sequence and balance of th ese teaching
devices.
In reality, teaching "methods" exist not so m uch on paper as in
the
actual practice of th e persons engaged in teaching (or m ethod
writing).
Blues and Jazz for Beginners is a w ritten m anifestation of th
e presen t
authors ow n m ethod, a t th e tim e of w riting. It will bear
continued and
endless revision. Its real usefulness, it is hoped, w ill be a s
a visual aid for
students, to supplem ent th e authors teaching; and perhaps a s
a suggested
sequence of activities for other teachers.
B esides refinem ent of th e m ethod, there is the potential for
its
expansion. Several directions are possible: (a) into a m ore com
plete survey
of blues, jazz, and rock styles, (b) into a m ethod addressing
know ledge of
theory and developm ent of technique, and (c) into th e