Category Archives: Practicing Improvisation

The Most Useful Scale In Jazz Improvisation

The primary sonic material of melody is scales. Sure, arpeggios, passing tones and symmetrical intervals are in the mix, too. But so much melodic beauty comes directly (and indirectly) from the scales themselves.

It’s highly unlikely you’ll study jazz improvisation without going deeply into the study and practice of scales, and how they relate to harmony.

Of course, simply running up and down scales isn’t going to help you make beautiful music. To improvise expressively, you have to be able to imagine (hear) and create pleasing melodic patterns and shapes from the scalar (and other) material and develop them into an improvised composition.

Here are some of the many scales that are used in modern jazz improvisation: diminished, augmented, whole tone, major, minor, blues, pentatonic (and altered pentatonic), hexatonic, harmonic major…

There is a lot of music to be found and made with these scales, and I’ve spent much time studying and applying them in my practice as an improviser. But the one scale that gives me the greatest amount of musical possibilities is the melodic minor (I’m talking about the ascending form, i.e., a major scale with a lowered 3rd). Here’s 3 big reasons why:

1. It has a compelling contour. Take a look at the example below, a C melodic minor scale:

There is a tritone formed between the 3rd degree (Eb) and the sixth degree (A), as well as one from the 4th degree (F) to the 7th (B). The first four notes of the scale imply a strong minor tonality. The last four (G through C) imply a major tonality. The 3rd through the 7th (Eb through B) imply a whole tone scale. The 4th through the 7th degree (F through B) imply a Lydian tonality. Lots of different colors for melodic creation. When you arrange the notes of the scale into chords, even more tonal implications (and richness) emerge.

It has such natural melodic contour, that if you were to simply improvise over the scale itself in any key, without passing tones, you’d easily find lots of beautiful melodic shapes and patterns that fit well into the jazz language.

2. It relates well to dominant 7th chords. In the example below I demonstrate the use of the C melodic minor as the “jazz minor” scale (the scale from the raised root of the dominant 7th chord, in this case the B7):

If you analyze the above melodic idea, you can see that there is lots of harmonic tension, some of it diatonic, some of it as altered, upper partial notes: A (7th), D (+9), C (-9), Eb (3rd), G (-13) and F (+11), resolving to “E”, the root of E Major.

But look how this exact melodic line over dominant resolves to tonic in other ways:

Again, if you analyze the above examples, you’ll see that the harmonic functions of each note changes in relationship to the dominant chord, but the melodic sequence with the minor scale stays the same. Play through these patterns and you’ll hear 5 different colors of tension to resolution, some with lots of upper partial harmony. When you’ve mastered these scales, you give yourself a huge amount of possibilities over iiV7-I chord progressions, as you expand your thinking and your ears.

3. It can be organized and combined to form many interesting “modern” tonalities. One of the great things about melodic minor is that it can be the basis for lots of other tonalities and harmonic substitutions that have become part of the jazz language of today. Triad pairs formed from one scale (G Major and F Augmented from the D melodic minor scale) work well over several ii7-V7 sequences:

If you combine the minor scales, you can find an almost unlimited new resource of tonal possibilities, like harmonic major pentatonic scale sequences (combining Bb minor,and Ab minor, for example):

You can also find new ways to combine triads for harmonic substitution. Here I extract major triads from the C minor, F minor, Ab minor and D minor scales and combine them in a way that implies movement around the circle of keys (with a bit of a surprise in the last two beats of the second measure):

About 3 years ago I plunged deeply into the study and exploration of melodic minor scales, particularly as they relate to dominant 7th chords, and how they resolve to tonic. In studying this way I’ve come to have a clearer functional understanding of so many other tonalities in modern jazz, and my ability to improvise freely and melodically has grown significantly. Above all, I’ve learned to hear and imagine music in a different way.

I’ve documented and organized all the work I’ve done with the scales and put it into the form of a downloadable pdf book, which I’ve made available for purchase. The book is called Melodic Minor Scale Jazz Studies: Tonal Organizations And Applications Over Dominant 7th Chords. There are over 200 pages of notated exercises and instructions, from basic to very advanced applications, along with downloadable backing tracks for you to use to practice the material in the book.

If you’d like to gain deep mastery over this highly useful scale, and open up your improvisational thinking and possibilities, I encourage you to consider it. If you’d like some more examples of the material in the book, please visit my Jazz Etudes page, where you can test drive several different ideas and applications. Enjoy!

Practicing Music: Balancing Subtraction And Addition

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To improve and grow as a musician, you have to practice with very specific aims in mind. When you’re practicing effectively, you’re doing either one or two things:

You’re unlearning habits that interfere with your ability to play better.
You’re learning new ideas, skills, information, repertoire, patterns, etc., to expand what you are able to do.

So in essence, you’re subtracting (unlearning) or adding (learning). Learning to balance your efforts so you’re working on both is key to your progress.

As an Alexander Technique teacher, I always give subtraction top priority. All the musicians that come to me for help do so because they have movement and postural habits that are creating problems for them as they play their instrument. They need to learn how to subtract these habits, so they can play with greater ease, efficiency and precision.

As a saxophonist, I spend a good percentage of my practice time specifically devoted to keeping my habits in check.

Today, for example, I spent a period of time consciously preventing myself from tightening my neck and jaw as I played scales into the altissimo register. When I’m able to stop myself from indulging in this excess tension, my sound is so much more clear, round and warm (not always an easy thing for saxophone altissimo).

In Alexander Technique jargon, we call this kind of conscious prevention inhibition. It is this inhibition, this conscious subtraction of habit, that has helped me improve more than anything else.

In fact, I would say that most issues involving instrumental pedagogy are best addressed with subtraction. Stop doing the thing that’s causing the problem, and you’re “half way home”, as F.M. Alexander would say.

Of course, if all you do is work on subtracting habits, you’ll deprive yourself the opportunity to expand in other areas. To grow as an artist, you also need to add things (see number 2 above). You need a nice mix of both.

As a teacher, I’ve encountered musicians who are out of balance with their practice routine in this regard.

I’ve worked with jazz guitarists who were so concerned with adding repertoire, learning licks, transcribing solos, etc., that they were completely out of touch with how sloppy their technique and time had become through all the excess, unconscious tension they created in themselves as they play.

When I get them to become aware of their habits, and get them to address them (subtraction) through practice, they are pleased with how nicely all their newfound knowledge and skills integrate into beautiful, expressive music.

But I’ve also seen the reverse of this imbalance. For example, I’ve worked with brass players who spend so much time on “habit control” (especially with embouchure), that they get kind of stuck in their progress. Stuck, not only because they’re doing nothing to increase their ears, repertoire, etc., but also, because they’ve become so obsessed with controlling their habits that they’ve grown stiff (physically, emotionally and mentally) in their playing.

With these students, it’s been a matter of teaching them how to better approach their subtraction process so they’re not trying for absolute perfection. And then getting them to gradually step into the unknown by learning some new musical material.

So aim for striking a balance between these two aspects of your practice. Strive to be clear about cause and effect. If you keep adding to what you do, but find yourself sounding worse (time, tone, intonation, articulation, control), remember that unless you get those habits of misdirected tension under control, you’ll just amplify bad results. You may have more notes you can play, but with far less beauty.

I recommend doing these five things:

Write down, in great detail, the short term and long term goals you aim to achieve through practice.
Make a list of the things you’ll have to do in your practice to reach your goals.
Determine which of these things you’ll practice are subtractive or additive by definition, and mark then on your list accordingly using a plus mark for addition (+), and a minus mark (-) for subtraction.
Keep a practice log everyday, again putting plus or minus marks next to each thing you practice.
Reassess regularly to see how you might need to change the balance of pluses and minuses to continue on toward your goals.

And just to emphasize again, always begin each practice session with subtraction. Ask yourself, “What do I need to stop doing to play better?” Start with this everyday, then enjoy all the new things you’ll study and learn.

The Number One Reason Why You Should Transcribe

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In the study of jazz (as well as many other improvisational music disciplines) transcription of improvised solos is standard practice. Jazz is often described as being a “language”, and one of the best ways to learn this language is through listening and transcribing.

There are various skills you develop from transcribing solos.

Many teachers of improvisation have their students transcribe solos to learn this so-called jazz language, as well as to give them a chance to build a vocabulary of useful “licks” that can be practiced in all 12 keys and applied to chord changes, tunes, etc.

Transcribing is also a great way to improve technique, as you most likely will be confronted with sequences of notes that just don’t fit easily into what you’re used to playing. And of course it’s a great lesson in jazz harmony as you analyze what the soloist has played.

But I think the most valuable skill you gain when you transcribe a solo (and the number one reason why you should consider doing it) is that you learn how to listen in a deep way.

Deep listening. You see, when you transcribe an improvised solo, you’re listening to more than just the pitches being played. You’re listening to tone color, attack, dynamics, articulation, tempo/rhythmic play and more, as it unfolds in the real time environment of the recording.

But you’re not just addressing the musical elements separately, as I’ve listed above. You’re also going deep into the mind of the artist. It’s almost as if you’re attempting to embody his/her experience in creating the solo. You’re learning to hear and reproduce sounds that musical notation could never fully or accurately express. You’re learning to actually understand and speak the language.

Each note has meaning. Each inflection has weight. Every element the improviser has chosen is related to every other element. And all this is happening as a whole experience of communication and response between the soloist and the rest of the ensemble. And you’re right in the middle of that experience.

Of course you vastly improve your ear for discerning pitch and rhythm. The more you transcribe, the easier it becomes. This is true largely because you are able to hear, understand and retain more in your working memory. And that translates into huge gains in your own playing. You go from a more self-concious, intellectual approach to improvising, to one in which you trust your muse and follow your ears.

When you transcribe, you’re developing the ability to listen at a high level of consciousness, learning to pay great attention to detail, and cultivating your musical imagination.

This is why many teachers of jazz improvisation recommend that you study only solos that you’ve transcribed, and not from the written notation of somebody else’s transcription.

The great jazz pianist and teacher, Lennie Tristano, would have his students (Warne Marsh, Lee Konitz, et. al.) devote themselves to listening to a solo for a long period of time (often several weeks) before he’d have them transcribe it. He’d insist that they be able to sing it absolutely accurately: pitches, rhythms, scoops and bends, articulations, dynamics…the entire feeling of the solo. His main objective: to get his students to listen deeply.

I think it’s fine to play other people’s transcriptions, by the way, but with different objectives in mind. For me personally, they’re a great way to improve sight reading and technique, as well as sometimes a chance for me to get immediately more familiar with an artist that I might not have much experience with. Plus, it’s just plain fun.

But if I want to go deep, I have to do the transcribing myself. And I encourage you to do so, too. The benefits are just too huge to ignore.

If you’ve never transcribed a solo before, here are some things to do/keep in mind to help you out:

Choose a solo that you really love-As obvious as this sounds, you might be surprised at the amount of novice transcribers who are slogging away in their first transcription attempt at a solo that they think they should transcribe (perhaps for its historical or musical significance), as opposed to what they really want to transcribe. If you’re compelled by the material, that motivation will take you far, and you’ll enjoy the process much more. But….(see below)

Keep it simple-Choose something that is easily singable, not too rhythmically complex. Find something lyrical and spacious. Lots of flowing eight notes punctuated with quarter notes and rests.

Listen, listen, listen-For a long time. If you can sing the solo accurately (the way Mr. Tristano had his students do), you’ll be amazed at how fast and easily you can find the notes on your instrument. Also, I recommend your first few transcriptions be limited to the artists who play your instrument. So if you play alto saxophone, for example, transcribing Paul Desmond would be highly user friendly, a good place to start (as long as you like Paul Desmond).

A little bit at a time is fine-If you’re intimidated by the length of a solo you really like, remember that you don’t have to transcribe it all. See if you can get the first phrase. Then the next. Work your way up to transcribing a chorus. If you feel it, continue on. Make it a long term project and enjoy the sense of accomplishment as you make it to the end. If you don’t make it to the end, that’s fine too. You still will have learned a good deal, and will have improved your skills. No regrets.

Slow it down-If it’s just going by too fast for you to take in, consider some of the software and smartphone apps that are designed specifically for transcription (to slow the tempo of a recording without altering pitch). One well-know software application is Transcribe!, by Seventh String. And of course there are lots of smartphone apps available now that do the trick.

Don’t write anything down-Not at first anyhow, as it can be a sometimes frustrating distraction. It’s important that the solo goes deep inside of you. That you know every note and every inflection, and that you can play it back to your satisfaction by memory. Once you can do that, feel free to write it out. It’s a great skill to develop as well (particularly for helping you read and understand rhythms).

Above all, enjoy yourself. By learning to listen deeply and reproduce sounds and rhythms in such a specific way, you’ll broaden your musical expression, become clearer as to who you are as an artist, and teach yourself to trust your ears. Best wishes!

Some Helpful Words About Finding Your Creative Voice

A Simple Tip To Help You Play Better At Fast Tempos

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One of the things that too often goes hand in hand with playing at fast tempos is excessive bodily tension. This is not a requirement of the music. Instead, it’s largely because of the habits, perceptions and attitudes of the performer. It doesn’t have to be like that.

One of the aims of the Alexander Technique is to learn to approach any activity with a minimal amount of misdirected effort. Ease, efficiency of movement, freedom, clarity, balance.

As an Alexander teacher and practice coach, I help my students become aware of and prevent the various movement and postural habits that interfere with this easier, more efficient way of playing music. This is mostly a matter of getting them to change how they pay attention as they are playing.

Many of the problems of excess muscular tension musicians have begin with their thinking. Playing at fast tempos is a prime example.

One of the things that invites all this unwanted tension is something I call “micro-managing” the pulse. In essence, this means that you conceive the tempo as fast beats coming one after the other.

For example, in 4/4 time, at a tempo of quarter note = 262, the quarter note pulse moves by quite rapidly. If you try to feel each beat this way, it not only invites excess bodily tension (you might try to tap your foot like mad as you tighten the rest of your body), but also, it creates a feeling of urgency that scrambles your thinking a bit. It makes you less open to the control and choices available to you.

If you watch some of the great jazz masters playing at these fast tempos, you virtually never see them moving with the quarter note pulse this way. Why? Because they conceive of the pulse in a broader sense.

This means that instead of trying to feel 1-2-3-4, 1-2-3-4, 1-2-3-4, etc. as the main pulse, they tend to feel it more as a broad 1…1…1…, etc. (each “1” being the beginning of the bar). Some feel it even more broadly than that, feeling the time as long phrases crossing bar lines.

This shift in time perception tends to do two helpful things for these masters:

It helps them to maintain a helpful level of physical and cognitive ease, flexibility, responsiveness and balance that supports a great technique (sound, too!)
It helps them imagine and create the music in an entirely different way, with many more rhythmic and phrasing possibilities as well as note choices. Instead of merely “making the tempo”, they’re actually expressing themselves with a great deal of clarity and choice.

So no matter what kind of music you play, you’ll play with less misdirected effort and more precision if you broaden your perception of the tempo. Here are some guidelines you can use to help you with this:

Stop relying so strongly upon your foot. Seriously. Learn to feel the time without doing that. If you watch great classical musicians playing at blistering tempos you don’t see that foot flapping around. Same with many of the jazz greats. It’s fine to move with the music. But think of it as a lilting dance instead of a foot-stomping-neck-tightening lurch.

Start reducing the metronome click. Once you’ve got the basic idea of the piece under your fingers (or the harmonic form, if you’re a jazz player) stop setting the metronome on the quarter note. At the very least, set it to half notes, with the aim in mind of letting it click once at the beginning of each measure. So, for example, quarter note=260 becomes half note = 130, which then becomes whole note = 65. I rarely let my metronome go faster than about 80 bpm (that would be feeling the pulse on the first beat of each measure at quarter note = 320!)

Think more broadly about rhythmic groupings. If you’re working on a fast eighth-note passage, for example, start thinking of this passage as slower sixteenth notes. Or even slower 32nd notes (yes, really!) Use your metronome.

Go from even to odd. If you’re working on a very symmetrical phrase, pattern, exercise, etc., consider modulating it metrically. This change in perception can really free you from your habitually tense anticipation of playing it. So, for example, if you’re working on a phrase that is grouped as sixteenth notes, try playing that same phrase thinking of the notes as triplets, or even quintuplets (maintaining the same velocity of each note). Again, use the metronome for this.

Practice rhythmic displacement. This is another way to help you to think outside the box about tempo and rhythm. It has a similar benefit as the “even to odd”, I’ve mentioned above. Here’s an article on how to approach this.

Reconsider beats “2” and “4” (for jazz playing). I know it is standard for many students of jazz to set the metronome to click on beats 2 and 4 (in 4/4 time) in order to help them feel the backbeat. But once you’ve reached a place in your musical development where you’re swinging comfortably, consider setting the metronome to click only on the first beat of each measure (especially at faster tempos). Besides helping you to stay less tense, this will also significantly improve your sense of time (it can be a bit of a challenge at first).

So whether you’re playing jazz, working on an etude, or even sight reading, thinking of the beat in this broader way will help you to stay calm and free. Give it a try and let me know how it goes.