Jazz Improvisation I

Course Convenor: Assoc Prof. A. Lilley

Course description: Improvisation I introduces the melodic concepts of jazz
improvisation in context of common repertoire. Lectures will explore technical
materials (scales, concepts) learning of new repertoire and application of concepts
in tunes.
First quarter - An introduction to simple improvisational concepts in jazz - basic
scale drills for technique (chops), Modal improvisation Blues and outlining of
chords in standard tune functional harmonic situations.
Second quarter - jazz scales, passing notes, bebop and tools for creating lines.
These techniques are explored through core standard tune repertoire, blues,
Rhythm Changes and common tune repertoire.
Third quarter - practical exploration of tools presented in context of standard
repertoire. Each week a new tune will be presented.
Fourth quarter - practical exploration of all repertoire in context of tools and scales
presented in class. Focus is on style and preparation for final exam.
Course objective: Upon satisfactory completion of the course, the student will
have progressed, with the guidance of the instructor and with effective individual
practice, toward a greater mastery of the techniques, skills, and musical/ artistic
concerns which are vital to professionally viable performance on your principal.
The student will also have undergone and passed an impartial assessment of
his/her abilities in the performance skills areas particular to this level of study which
will confirm his/her progress in these areas.
Required materials: on Vula
1.
2.
3.

Play along tracks -These are for you to use as play along material and
will also be used in the exam to evaluate your skills
Printed materials -You will find the Aebersold books here and any other
printed materials relevant to or referenced in the outline. Also pictures
(jpeg) taken of the board during lectures where appropriate.
Tutorials - These are summaries of lectures explaining concepts and
ideas presented in class. YOU MUST DO THESE

4.
5.

listening materials - Tracks of jazz players playing your tunes - LISTEN

TO THESE and use for transcription.
loops - These are looped drum tracks from actual recordings. Great to
practice with in place of a metronome especially to get the swing feel.

Course work and Out-of-class Preparation: Included in the students weekly

lesson period will be assignments in technique, drill, repertoire and concept
assimilation. It is your responsibility to manage your practice time such that you
keep up with the weekly requirements. You will be required to improvise in class.
Students must look at materials presented in subsequent classes and bring charts
where necessary. Handouts will not be given in class. You will be asked to present
homework where it has been set. If you have not prepared for class you will be
asked to leave.
Attendance and fulfilment of assignments will be closely monitored. Success will
depend largely on the diligent maintenance of a well-planned practice schedule.
While individual requirements vary widely, it is generally agreed that in order to
maintain satisfactory progress 10 to 15 hours per week of individual practice,
distributed on a daily basis, are necessary.
Exam / test requirements: 80% attendance of scheduled lectures
First Quarter test 10%
June Exam 20%
Third Quarter 10%
Final Exam 60%
Exams are performances. Students that the allocated Exam time is correct and that
he/she is available at least 15 min before the scheduled time. Examiners will pay
attention not only to technical and rhythmic fluency, fulfillment of requirements, but
also other aspects inherent in a good performance including tone production,
phrasing, dynamics and musicality.

FIRST QUARTER
Week 7: TEST
Week 1: Introduction/Tradition/Lineage. - Basics
Different styles in jazz bebop, modal, free, modern. Learning methodology balanced outward expansion of aural, listening, technical, harmonic knowledge,
memory development and playing. Jazz scales and basic technical skills. Scale
practice swing 8th note concept
Required reading: Developing style
Homework: Be able to play basic scale exercises 1, 2, 3 and 5 from Harris Method
all keys, pg 1-2
Week 2: Introduction of jazz blues form and scale
Blues scale orientation - major minorTunes: Blues Blue
Homework: Learn head from Sonny Clark recording and listen to get an idea of
the style. Be prepared to play and improvise over the tune for next week.
Week 3: Modes
Modal style and scales - Dorian, Lydian,
Tunes: Little sunflower, So what,
Homework: Listen to Hubbard Little Sunflower and Miles Davis So what to get
an idea of the style. Learn above heads and be prepared to improvise over the
Aebersold backing.
Week 4: Modes
Modal blues and 3/4. Mixolydian, Super Locrian, Lydian b7
Tunes: Footprints, All Blues
Homework: Listen to and transcribe from tracks and prepare above tunes for next
class, utilizing correct scales.
Week 5: Outlining chords
Using basic arpeggios built on root, 3rd, 7th ascending descending.
Tunes: Sugar
Tutorial: sugar tutorial
Homework: Listen to Stanley Turrentine Be able to play Sugar and outline the
chords in your improvisation
Week 6: Review of material for test in week 7

The test constitutes 10% of your total mark for the year
You will be evaluated on:

Scale basic exercises from Harris and modal scales.

Heads of tunes - Little sunflower, So what, Blues Blue, Footprints, All
Blues, Sugar
Improvisation on each tune that demonstrates style acquired through
listening and transcribing
SECOND QUARTER

Week 1: Jazz scale theory min6/dim

Jazz scales and application. Major bebop scale (passing step 6-5) and dominant
bebop scale (passing step 1-b7) Scale routines over dominant 7ths ref: Harris,
David Baker, How to play bebop, Vol 1.
Tunes: Sweet Georgia Brown
Homework: Be able to play through progression IA, IB beginning on all chord
tones ascending and descending as per handout (Bergonzi). Utilize bebop
dominant on Sweet Georgia and transcribe some lines from Sonny Rollins Dig
(based on changes of SGB), for analysis Students are required to show what
they have transcribed and how it relates to the application of scale theory.
Tutorials: Bebop maj and Dom scale practice, Bebop scale practice, Min6-dim7th
cycle.
Week 2: Negotiating Blues, Important bop tools for creating lines
Whole tone, altered scale on the dominant 7th going to I and to IV; #IVo7 or IVmin
as a means of getting back to I from IV; II-V7 routines; 3-b9 lick, 5-4-3-2 lick,
pivoting
Tunes: Blues
Tutorial: 3-b9 lick, pivoting, Pivoted diatonic arpeggios, Billies Bounce solo
explained.
Homework: Transcribe Blues solos on Blues Blue or Bootin it (Vula). Try to
identify how the soloist moves through pivotal areas of the blues - lines around key

areas of blues into the 5th bar back to I in 7th bar, I into V/II 8th bar, II-V7 in bars 9
and 10, turnaround bar

Week 3: Bop Tools - Scales through Rhythm Changes

Scales and lines over rhythm changes, exploration of bop tools in context of
Rhythm Changes
Tunes: I got Rhythm, Oleo
Homework: Listen to and transcribe from tracks and prepare above tunes for next
class, utilizing correct scales.

Week 4: II V progressions
Tune: Nostalgia in Times Square
Tutorials: II-V ex 1, II-V ex 2, I-V7 lick for Improv I
Homework: Prepare above exercises and tune for improvisation in next class
Week 5: II Vs altered dominants
Tune: Indiana
Tutorial: II-V's - altered dominant - Indiana
Homework: Check out Harris and Powell. Slow down and listen carefully to
construction of lines. Prepare above exercises and tune for improvisation in next
class
Week 6: Constructing lines -Transcription analysis
Tune: How high the Moon
Tutorials: How high the moon (arpeg on 3), Barry Harris solo on how high the
moon explained
Homework: Prepare above tune for improvisation in next class. Show that you are
trying to incorporate materials from BH solo.
Week 7: Review of material for mid year test 20% of total mark
Class will explore concepts over repertoire to properly master scales and bop tools
in preparation of exam
Test requirements: Be prepared to play the following no music will be
allowed in the exam.

Scale exercises from Harris and modal scales.

Bop tools 3-b9, 5-4-3-2, min6/dim concept, pivot exercise, II-Vs, CESH

Tunes: heads and solos - Sweet Georgia Brown, Billies Bounce,

Nostalgia in Times Square, I got Rhythm, Oleo, Indiana, How High the
Moon
Billies Bounce Parkers solo

THIRD QUARTER
Week 1: Silvers Serenade
Tutorial: Silvers Serenade tut
Homework: Listen to the recording of Silvers Serenade. Transcribe and note lines
or phrases that grab your attention. Keep a notebook of lines and phrases to show
in class. Be able to explain your choices.
Week 2: Tenor Madness
Homework: Listen to Tenor Madness - Coltrane The Prestige recordings. Prepare
with Aebersold backing for class in week 3. Transcribe and note lines or phrases
that grab your attention. Keep a notebook of lines and phrases to show in class. Be
able to explain your choices.
Week 3: There is no greater Love
Tutorial: Tutorial - Greater Love tutorial, Greater love (Dominant substitutes),
Tutorial - Greater love (for vocalists)
Homework: Listen to Sonny Stitt with Boss Tenors: Straight Ahead from Chicago
1961 Transcribe and note lines or phrases that grab your attention. Keep a
notebook of lines and phrases to show in class. Be able to explain your choices.
Week 4: Watermelon man.
Homework: Listen to Herbie Hancock. Transcribe and note lines or phrases that
grab your attention. . Keep a notebook of lines and phrases to show in class. Be
able to explain your choices.
Week 5: In a mellow tone.
Homework: Listen to Sonny Stitt. Transcribe and note lines or phrases that grab
your attention. Keep a notebook of lines and phrases to show in class. Be able to
explain your choices.
Week 6: Review of material for test in week 7

Practical class will explore all materials from third quarter

Week 7: Test 10% of total mark
All tunes memorized. You will be required to improvise on all tunes and will be
quizzed on lines you have learnt from solos you have looked at.
FOURTH QUARTER
Practical preparation of exam material for November exam. At this stage you
should be utilizing concepts and scale theory in context of repertoire in a way that
reflects the style. Transcription and working of conceptual ideas for creating
phrases in context of given repertoire should form the focus of your practice
sessions. Class time will be dedicated to listening to each other improvises over
tunes and give feedback and suggestions. Time will be spent illustrating how
phrases can be constructed using the 'rules' presented during the year.
Final Exam 60% of total mark
Everything must be played from memory Students must use backing for exams.
Technical exercises:
Major/dominant bebop scales on progression 1A and 1B
3-b9 lick ex.
Pivoting ex.
5-4-3-2 lick.
II V ex.1 and 2
II Vs altered dominant
Min6-dim7th cycle
licks from your note book with explanations
Tunes with Improvisation examiners will select 3 from the list.
Little sunflower,
So what,
Blues Blue,
Footprints,
All Blues,
Sugar
Sweet Georgia Brown,
Billies Bounce,

Nostalgia in Times Square,

I got Rhythm,
Oleo,
Indiana,
How High the Moon
Billies Bounce plus Parkers solo
Silvers Serenade
Tenor Madness
Greater Love
Watermelon Man
In a Mellow Tone