IMPROVISATION

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When studying or practicing improvisation,
it is a good idea to think compositionally.
Think in terms of creating small motifs
which you build on from one section to
CHAPTER 1/ ITEM #2A
Example 1:
RHYTHMIC "PULSE"

***Chapter and Item numbers directly correspond to the Menu***

another, everntually reaching some sort of conclusion.

Below are examples. Repetition and small melodic changes
to your motif should become a part of your soloing structure.

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Phrasing is what successful improvisation is all
about. Practicing the various phrasing techniques
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discussed in the DVD in the same manner you
would practice scales.
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"How about starting with an idea like..."

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F-7
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G-7/C F-7

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G-7/C

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"Try this (little motif)..."
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F-7

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G-7/C

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A1
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1ST "EVENT"

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F-7

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A2
2ND "EVENT"
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CH1/#2B
3RD "EVENT" (SHORTENING TIME SPAN, MAKING END OF PHRASE MORE COMPRESSED AND AGITATED)
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F-7
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--BUILDING PHRASE & PUSHING INTO NEXT PHRASE

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"BEGIN ANOTHER MOTIF OR MELODY TO BUILD"
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...THE MELODIC PHRASE IS ELONGATED...

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"How about..."
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F-7
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"just falling off the phrase..."

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CH1/#2C
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"This thing needs to explode - maybe we should do something rhythmic..."

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Although I discussed soloing on "You've Changed"
in a different key from the Anita Baker example,
the principle is the same in any key.
CH1/#5
BALLAD
Example 2:

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experiment with

REPETITION
The transcription below is in the key of the example - B
A B & C

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BbM13

A13
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A7(b13)

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Ab13
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D-11/G

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G7(b13,#9/B

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C13

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F#13

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F13(b9)
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Bb13(b9)

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EbM13
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MY SOLOS WITH MILES DAVIS FURTHER ILLUSTRATE
LEADING AND BUILDING ONE MOTIF INTO ANOTHER.
STUDY THESE CAREFULLY! MOTIFS ARE THE BULDING
BLOCKS OF MUSIC AND STRUCTURE IS THE FOUNDATION.
BECOME THOROUGHLY VERSED IN CONSTRUCTING, EXE
Example 3:
CH1/#6
FUNK

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(WITH PITCH WHEEL)

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MOTIF

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CUTING, AND BUKIDING PHRASES FROM
SMALL MOTIFS.
BE AWARE OF WHAT'S GOING ON AROUND YOU.
INTERPLAY BETWEEN MUSICIANS KEEPS THE MUSIC
INTERESTING AND CHALLENGING

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G-11

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simile...
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G-11

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G-11
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B

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(with pitch wheel)

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G-11

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simile...

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B2
(transition)

pitch wheel

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G-11

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simile...

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C1
G-11

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C3
TRANSITION

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G-11

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Left hand comping for your solos is as
important as learning your scales! The
rhythms and voicings you use in the left
hand have everything to do with what you
play with the right. If you are going to
CH2/#9
Example 4:

play with other musicians, learn to play in time! A drum
machine will help you get a "feel" missing with a metro-
nome, but I think it's best to alternate and use both.

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Bb13

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Eb13(#11)

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Ab9

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SOmetimes it's nice to "pull" the beat back or
play slightly behind the beat, especially whaen
you have started a figure in time. Towards the
end of the phrase, begin to slow down the fig-
ures until the the end of the phrase.
Example 5:
CH2/#11

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The video example with Robin Ford demonstrates this.
The transcription below shows the piano part. Not displayed
is that the tempo stays the same - only the soloist slows
the figures down. Of course there are times when it might be
desirable to have the entire band do the same.

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"PULLING BACK" CREATES TENSION

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Simple single note repetitions can be a good way
to begin a solo
Example 6:
CH2/#12

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C13

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Eb13

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D7(#9)

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D-9

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Db9

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C13

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OR---
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Eb13

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D7#9

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G7(b13)

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Example 7:
This is an example of a fourth interval
arpeggiated progression that I used to practice
everyday. At fast tempos, especially with both
hands, it is an impressive figure in the middle of
a solo. Create as many of these type of progress-
ions as you can, and practice them until they are
seconf nature. All the great pianists make use of

these "what I call" bags of tricks - somewhat technically

challenging phrases that astound and add to the overall
dynamics of the music.
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CHord voicing is not a mystery! It is a matter
of knowing which notes will work best within
a particular chordal structure, and where to
place them for maximum effect. Generally The
best bet is to use a combination of open and
closed voicings. Don't be afraid to experiment
Example 8:
Triad
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add 7th
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until you find the voicing that works best in your situation.
Remember. you are the orchestrator. You are the carpet on
which the music rides, and the spice that the music must have.
Go for it! Study this section until you understand it backwards
and forwards
add 9th
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add 11th
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F-7 F-9
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add 13th
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"Let's open this up a bit..." (5th interval voicing)
CH2/#13
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"You can also tighten that up..."
(drop the 4th down an octave)
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CH2/#15
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F-11

G-11

D-11
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Eb6/9(#9)

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Ab13(#4)
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Another interesting chord is a fourth interval
chord. Without the third of the chord repre-
sented, the chords can musically lead anywhere.
Even with the 3rd, these chords are virtually keyless.
CH2/#16
Example 9:
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For example, you can solo in the key of G minor, and move
the fourth chords around and it will work. Fourth chords
also work over almost any bass note.
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(courtesy of Freddie Hubbard)
CH2/#17
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CH2/#18
Example 10:
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Here is an example of an F-11 chord using various voicings.
Don't be afraid to experiment, especially when you're practicing.
The time you take to experiment could turn you on to a
revolutionary way of looking at music. In any case, it will open
your mind to the many possibilities available to you. Good Luck!
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F-11
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