A Blues-based Improvisation Method for Beginning Instrumentalists

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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


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


APPROVED FOR THE DEPARTMENT OF MUSIC

Um x . iId -Dwight Cannon

William Resch

APPROVED FOR THE UNIVERSITY


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.


1990

Peter A. Spitzer

ALL RIGHTS RESERVED

iv


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


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


TABLE OF CONTENTS

(continued)

CHAPTER PAGE

TO THE TEACHER .......................................................................... 77

III CONCLUSION ......................................................................................... 80

BIBLIOGRAPHY .............................................................................................. 83

vii


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


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."


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).


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.


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.


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


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.


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.


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


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


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


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.


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.


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


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


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


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).


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


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).


20

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.


21

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


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.


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.


24

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


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."


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."


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.


28

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.


CHAPTER n

BLUES AND JAZZ FOR BEGINNERS

29


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!


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.


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.


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 )


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.


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'


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!


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:


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.


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

Reproduced with permission of the copyright owner Further reproduction prohibited without permission

Example 12

Example 13

, fa t/.. Sletis w c kim L. >lettt w&f-


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.


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!


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 .


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:


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


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)


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:


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:

Reproduced witn p e n n o n ot the copyripn, owner. Funner reproduction p ro n g ed witnou. permission.

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.


50

Example 9

You should also play through the sam ple solo below , w hich could go

w ith Example 9.


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

' Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

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:


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.


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--------


55

Example 16

Sample solo for "Dukes Place," using chord tones and dom inant scales:

G -1

m m

1 i 3 = H


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)


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:


58Example 18

Dukes Place

j ------ -----------1 t - 99--------- f *---------b T 'T \fTT TT

b4

b-

I - - I1


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.


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.


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.


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.


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

' Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

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).


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


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


f f c p - t n - s -ZZLcX^yd-izlv^ZZ

1 r... .r . "'I

% > r a f o ------- --------------------------------

Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

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):


> > > > >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.


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


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.


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.


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


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


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.


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

80

with permission of the copyright owner. Further reproduction prohibited without permission.

81

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

Documents

A Blues-based Improvisation Method for Beginning Instrumentalists