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    Improv Final

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    Lee Williams
    1. To assimilate transcribed solos, sing phrases, play along to mimic nuances, grab as many notes as possible, and learn licks in different keys. 2. "Essential tones" are the 3rd and 7th of each chord, allowing the ear to understand harmonic movement. This is useful for improvisation and analysis. 3. Melodic development connects ideas by starting with a fundamental idea and varying or repeating phrases across different keys fitting the changes.

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    Improv Final

    Uploaded by

    Lee Williams
    8 views2 pages
    1. To assimilate transcribed solos, sing phrases, play along to mimic nuances, grab as many notes as possible, and learn licks in different keys. 2. "Essential tones" are the 3rd and 7th of each chord, allowing the ear to understand harmonic movement. This is useful for improvisation and analysis. 3. Melodic development connects ideas by starting with a fundamental idea and varying or repeating phrases across different keys fitting the changes.

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    Improv final

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    1. To assimilate transcribed solos, sing phrases, play along to mimic nuances, grab as many notes as possible, and learn licks in different keys. 2. "Essential tones" are the 3rd and 7th of each chord, allowing the ear to understand harmonic movement. This is useful for improvisation and analysis. 3. Melodic development connects ideas by starting with a fundamental idea and varying or repeating phrases across different keys fitting the changes.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    8 views2 pages

    Improv Final

    Uploaded by

    Lee Williams
    1. To assimilate transcribed solos, sing phrases, play along to mimic nuances, grab as many notes as possible, and learn licks in different keys. 2. "Essential tones" are the 3rd and 7th of each chord, allowing the ear to understand harmonic movement. This is useful for improvisation and analysis. 3. Melodic development connects ideas by starting with a fundamental idea and varying or repeating phrases across different keys fitting the changes.

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    © All Rights Reserved
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    Summer Session: Improvisation Final

    1.Describe how to work with a transcription-include at least four examples of concrete


    techniques to assimilate the transcribed solo material into your vocabulary .
    -Sing the phrase you hear for an aural concept of what you are transcribing.
    -Play along with the soloist to mimic their nuances and better understand their approach
    to specific chord changes
    -Attempt to grab as many notes as possible
    -Learn the solo/ specific licks in different keys

    2. Explain the concept of “essential tones”. Explain how it is useful in both writing and
    improvisation

    -The most important tones within a tune. 3 rd/7th scale degrees of each chord change
    Primarily allow the ear to understand where the music is going. Most beneficial in
    improvisation and analyzation.

    3. What is the fundamental principle underlying melodic development: i.e. how are the
    ideas connected
    -Start with one fundamental idea and expound on that idea.
    -Repetition of phrases and varying ideas in different keys that fit the chord changes.

    4. What is the preferred way to determine the scale derived from a given chord

    -Sing the pitches within the chord to understand the essential tones needed to identify
    the scale

    5. Describe how to prepare a jazz composition for an improvised performance


    - Listen to the tune
    -Identify essential tones within the tune
    -Rehearse ideas over the chord changes

    6. Why is a “chord running” approach to improvisation aesthetically objectionable?


    -It takes away from the improvisational aspect of jazz
    -It only highlights/embellishes the harmony within the tune

    7. What is the most important scale and why?


    There is not one “go to” scale that is a substitute for listening. Scales just allow you the
    facility to be able to improvise more freely.

    8. What should you do if you play an unintended note during a solo?


    - Make a conscious attempt to resolve the unintended tone unless the tone was
    deliberate
    9. Describe 5 methods of melodic development along with a brief description of each
    technique
    - Keep pitches, change rhythm
    - Keep rhythm, change pitches
    - sequence- diatonic or intervallic
    -transposition either diatonic or intervallic
    -preservation of contour- keeping the general shape without being so precise about
    the intervals

    10. Describe the main limitation(s) of traditionally taught chord-scale relationships—


    why am I critical of this educational modality?
    -Playing the changes is simply not improvisation. Chord-scale relationships
    sometimes takes away from the creative process improvisation is.

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