IMPROVISAT
THROUGH
GUIDED
SELF-STU
Teachingimprovisationsoundslike a hugeundertaking.RobertE. Henry
detailsan approachto teachingimprovisationwhile learningyourself
W ow!Whata terrificjazz
X tion from one particularpoint of view.
X n ensemble!The entire
X In learning to improvise,however,one
group swung like you
wouldn't believe! I
mean, they were real-
ly tight-the precision,the balanceand
intonation, the consistent styling,
phrasings,and articulations-I'm really
impressed!You know, though, it's too
bad that all that excitementjust seemed
to disappearduringthe solos."
How often has that last statement
about improvised solos been heard?
Countless times to be sure. Granted,
there are many factors that impinge
upon learning to improvise. What are
some of the problems associated with
learning to improvise?Some accounts
include "I'm just too busy to teach
improvisation-there's not enough
time in the day";"Improvisationcan't
really be taught-it's something you
either have or don't have"; and "I
never learnedto improvise,so how can
I teach it?"
Improvisationcan be taught to any-
one-there is plenty of time to teach it.
You can teach improvisation to your
studentsat the same time you arelearn-
ing to improvise. Many teachers who
have neverimprovisedbeforehave tried
the approachoutlined in this articleand
havebecome quite good at improvising.
E.Henry
Robert is associate of music
professor
andassociate
education oftheSchoolof
director
MusicatTexasTechUniversity, Texas.
Lubbock,
APRIL 1993
Downloaded from mej.sagepub.com at Bobst Library, New York University on July 4, 2015
must take a balanced approach that
includes technical study along with
jamming. All of the materialssuggest-
Improvisationcanbe ed in this articleare published and eas-
ily accessible.
taughtto anyone Each practice session should com-
prise five component parts:scales, pat-
-there isplentyof terns, theory, improvising, and listen-
timeto teachit. ing. The inclusionof each of thesecom-
ponents within a programof study will
providea balancedapproachand, at the
same time, keep a student fresh by not
doing one thing overand over.
Scales
Scale and patternpracticecan often
become a very tedious and boring
task-in order to keep it from becom-
This approachhas been used quite ing too much of a chore, students
successfullyfrom both a teacher'sand should always practice with a record-
a student'sperspective.The student in ing. Other reasons for using a record-
this approach takes the responsibility ing are that it allows the student to
of going through a structuredpractice hear how each note of the scale or pat-
routine, yet can enjoy immediate suc- tern fits within the underlying har-
cess and gratificationby being able to monic structure;it forces the student
jam from the beginning. The teacher's to play in all keys; and it forces the
role is dictated by how well he or she student to keep on playing without
organizes the routine and materials stopping and get past the "clams,"or
used by the student and how much mistakes. Scales can be practiced in
time he or she wishes to spend with whole notes, half notes, quarternotes,
the student. eighth notes, or sixteenth notes. The
There are a number of fine student's level of capabilitywill deter-
resources available, both published mine how he or she is to proceed. The
and unpublished, that address impro- goal is to work up to eighth and six-
visation. Many approach improvisa- teenth notes. When playing in eighth
33
Figure1
Major
Basic blues
More advanced blues
FP L w b-.
Dorian
..--.....
-Mixolian
Mixolydian
e-- s m k-
e~~~~ ~~~~
~
[IL _L.._.I,.I
_ _1,I[ [ l
notes, it is imperative that they are
done in a way that is stylisticallycor-
rect: if the recorded track is in swing
style, swing the eighths; if the track is
Latin, straight eighth notes are appro-
priate;and so forth.
Because most players are initially
more familiar with major scales, fur-
ther development of the technical
capacity to play major scale patterns
well is the starting point. For practic-
ing major scales with a recording, try
tracksone and two from JameyAeber-
sold's volume 21, Gettin'It Together.1
Once better technical facility has been
attained, students can practice major
scales over tracks three through eight
as well. Blues scales should also be
introduced in various keys while
working on the major scales.They will
provide the basis for some of the early
improvisationexperiences.
Once the major scales become
more comfortable, the Dorian mode
in all keys should be added to the scale
component of the practice session. It
is very easy to relate the Dorian mode
to the major scale as it uses exactly the
same notes as the major scale but
34
. b
frl*ant-A
k~I-Klu
(latd
(related to C major)
?w
III
starts one step higher (see figure 1). It
is very important, however, that the
ears become attuned to the Dorian as
having a minor flavor to it ratherthan
a major. The best way to accomplish
this is to continue practicing with a
recording.Track 18 of Aebersold'svol-
ume 21 is very good for this, and later
use tracks 19-24 as well.
The next thing to be added to the
scale component of the practice rou-
tine is the Mixolydian mode in all
keys. It can be conceived of in two
ways: it is relatedto the major key but
begins on the fifth note, or it is a
major scale with a lowered seventh
note. As in the case of the Dorian
mode, it is best that the functional
sound of the Mixolydian be under-
stood in terms of its harmonic rela-
tionship to a progressionby practicing
with a recording. Track 13 of Aeber-
sold's volume 21 is good for this, later
moving on to include tracks 15-17.
It is important to understand that
the practice of scales is done not only
for developing technical proficiency,
but also to come to the awarenessthat
there is a scale to chord relationship.
Lt
rt-u r
Il
?
I
UJuIl
to C majo
.-
a___e
In other words, certainscales are more
appropriatefor deriving and develop-
ing improvisedmelodic lines over spe-
cific underlying chord types such as
major,minor, and dominant.
At this point in the study of scales
and their relationship to chords, one
should have sufficient basis for impro-
vising over easy blues changes, over
major chords, over minor chords
(tonic or supertonic function-using
the Dorian mode), and over dominant
chords (using the Mixolydian mode).
Additionally, players will begin to be
able to play over ii-V7 and ii-V7-I
progressionsin major keys as the actu-
al notes being played are all the same
for each of the different chords in
these progressions according to their
function.
As the harmonic complexity of the
tunes one is playingincreases,the study
of additional scales and modes will
become necessary. A resource that is
excellentfor scale study and determin-
ing scale choices for particularchords
and functions is Scalesfor Jazz Improvi-
sation, by Dan Haerle. In addition to
Aebersold's volume 21 for recorded
MUSIC EDUCATORS JOURNAL
backgroundsfor scale practice,volume Figure 3 contains a correlation of
26, Scale Syllabus, and volume 24, patterns according to root movement
Major and Minor, provide many good from Patternsfor Jazz with specific
trackswith concomitantsuggestions.2 tracks from Aebersold's volume 21.

Patterns
The second component part of
every practice session is the inclusion
of patterns. Patternsare short melodic
segments, or motifs, derived from
scales appropriate to certain chord
types. Pattern practice not only pro-
vides for additional technical facility
development but also provides "seeds"
of melodic ideas for improvising solo
lines. For initial pattern practice,Jerry
Coker's Patterns for Jazz contains a
wealth of material.3
As in scale practice, patternsshould
be practiced over recordings. The
same tracks used for scale practice,
from Aebersold'svolume 21, are good
for pattern practice correlated to the
scales and modes the patternsare built
on. For track one alone, at least eigh-
teen patternsfit the root movement of
the recording.Since track one stays in
one key for four measures, some pat-
terns may need to be played more
than once or shortened to fit the six-
teen availablebeats for each key area.
For example, pattern 1 would have to
be played four times before changing
keys, pattern 13 twice, and pattern 21
four times (see figure 2).
Some patterns can be combined to
make longer patterns. An example of
It is importantto
understandthat the
practiceofscalesis done
not onlyfor developing
technicalproficiency,
but also to cometo the
awarenessthat there
is a scaleto chord
Learningthe Theory
relationship. A third component part of learning
this would be to playthe previousexam-
ples in the order 13-1-21 (for musicali-
ty). In effect, this createsone four-mea-
surepattern.Other patternscan certain-
ly be combined-plus you can come up
with originalpatternson your own. Pat-
tern practice develops more technical
facilityin a more melodic mannerthan
scale practicealone would produceand
providesmany good ideasfor more fully
developedsoloing.
Other patterns can be adapted to fit
the root movements of the individual
tracks.
Patternsthat can be played over ii-
V7 and ii-V7-I progressions are also
contained in the Patterns book and
can be played with certain tracksfrom
Aebersold'svolume 1, A New Approach
to Jazz Improvisation,volume 3, The
ii-V7-I Progression,and volume 16,
Turnarounds, Cyclesand ii-V7's (see
figure 4 on page 37).4
to improvise is the study of theory.
While niany students may argueabout
studying theory at first, experiencehas
proven that they soon come to realize
the true importanceof this aspect and,
in fact, work even harder once the
applicationsbecome more apparentin
their playing. A resource that can be
used by students as self-study or with
minimal teacher help is TheJazz Lan-
guage, by Dan Haerle.5 It presents the
materialin a logical orderaccordingto
complexity and need. At the end of
each chapterare study questions, writ-
ten exercises, and keyboard and ear-
training exercises. A student can set
the pace and go through the text only
as fast as he or she is capableof going.

Figure2

C 3 D
3Db
33 3
1

CM6 DbM6 DM6

13
I Ct j lb DL'M7
bj DM7

CM7 DblM7 DM7

21
^j^^j j< j ^

Patternsfrom JerryCoker's PatternsforJazz(Lebanon, IN: Studio P/R, 1970)

_-7~C~Pr
---7-........--.... P~ ]...1Il . . i I Il

APRIL 1993 35
 Improvising
The next component part of each
Figure3 practicesession is the one that is really
the reason for studying improvisa-
MAJOR (side 1, tracks 1-9) tion-the chance to create original
Track 1 2 3 4 5 6 7 8 9 solos over some tunes. This is the
1 1 40 2 3 4 5 8 aspect that can be the most rewarding
or could turn out to be the most dis-
13 5 41 15 14 16 6 44
couraging. The key is to provide for
21 6 42 19 31 32 48 successful experiences from the start.
29 7 43 26 35 36 50 Certainlyone of the easiestand quick-
est things to do is to improvise over
38 11 60 28 47 45 51 blues changes, developing melodic
39
I 12 61 30 49 52 lines derived from the blues scale. Too
40 vV 13 62 34 53 54 many people find themselves trapped
0
into thinking that success in playing
41 S 21 63 44 55 56 over the blues is only as far as one
0
42 0 22 64 48 57 must go in learning to improvise,
V which results in all of their solos
43 23 65 50 58
sounding like the blues whether it is
59 V-
29 66 51 appropriateor not.
V
60 V1 33 67 52 To avoid this trap,one should begin
61
v,
37 79 54 working on improvisingover recorded
tracks that correlate to the scales or
62 40 80 56 DOMINANT (Mixolydian) modes that are being studied and prac-
63 41 81 (sides 2 & 3, tracks 13-17) ticed. Forinstance,when learningDori-
an modes, workingon improvisedsolos
64 42 82 Track 13 14 15 16 17 with Rich Matteson and Jack Petersen's
65 43 83 volume I of TheArt of Improvisation is
89 87 87 88 87
66 44 84 recommended.6 All of the tunes are
97 88 88 93 based on the Dorian mode-the D
67 45 85
95 94 Dorian is first introduced, then the F
79 46 86 Dorian, and then the two combined so
99 98 that changes are actuallybeing played.
80 59
60 99 Next, the G Dorian and C Dorian
81
scalesare presentedseparatelyand then
82 61 combined. Finally, several tunes are
83 62 included that mix the various Dorians
84 63 MINOR (Dorian) - (side 3, tracks 18-24) togetherinto differentconfigurations.
Becausethe exerciseportions of the
85 64
Track 18 19 20 21 22 23 24 album have such simple melodies, stu-
86 65 dents can transcribe (on their instru-
102 101 101 103 121 102
66 ments) the given melody lines before
104 106 106 115 104 they ever see them. This is great ear
67 training. It is also the beginning of
105 111 111 105
79 learning to transcribe not only other
113 114 114 113 melodies and solos, but also their own
80
melodic thoughts. When working on
81 116
Mixolydian modes in scale practice,
82 117 the jam portion can include the exer-
cises and tunes from volume 2 of The
83 118 Art of Improvisation.7
84
122
85 SoloingonStandards
86 Easy standards that contain many
of the chords and progressionscorre-
Cross-referencechart: Numbered patternsfrom Patternsfor Jazz, for use with recorded lating to the level of technical study
tracksfrom volume 21 of A New ApproachtoJazz Improvisation. can be added to the improvisatoryseg-
-
rii ii r ii /l l HIIH IllH [i I II rl ment, eventually increasing in com-

36 MUSIC EDUCATORS JOURNAL

plexity. Just a few examples would be
"Watermelon Man" from Aebersold's
volume 11, Herbie Hancock, which Figure4
could use only Mixolydians, and
"Killer Pete" from volume 5, Time to
ii-V7
Play Music! which uses Mixolydians,
Aebersoldvol. 1, side 1, track 5:
Dorians, and Mixolydians in ii-V7
configurations,plus you could add the
123 128 133 142
majors in complete ii-V7-I progres-
sions.8 Standardssuch as "Satin Doll" 124 129 134 143
and "Perdido" on volume 12, Duke 125 130 139 144
Ellington, provide great opportunities 126 131 140 145
for improvising in all the above con- 141 146
127 132
figurations.9"Takethe 'A'Train,"from
the same album, provides the oppor-
Aebersoldvol. 3, side 1, track2:
tunity to introduce the use of the
whole-tone scale in improvising. -same as above-
There are many other great tunes
recorded for play-along that can be
ii-V7-I
studied and worked on and that
Aebersoldvol.1, side 1, track6:
progress from simple to complex
chords and progressions.JameyAeber-
sold has produced fifty-six play-along 135 138
albums to date, which include collec- 136 147
tions of standards, bossa novas, bal- 137 148
lads, blues, tunes by specific artists,
and technical study material.10 It is
Aebersoldvol. 3, side 1, track 1:
very important to select exercises and
tunes that are within the student's -same as above-
capabilitiesat all the various stages of
learning and correlateto their studies, 1--L- - I
Notes
1. JameyAebersold,"Gettin'It Togeth-
er,"vol. 21, A New ApproachtoJazz Impro-
visation(New Albany,IN: JameyAeber-
sold, 1979).
2. Dan Haerle, Scalesfor Jazz Improvisa-
tion (Lebanon, IN: Studio P/R, Inc.,
1975); David Liebman and Jamey Aeber-
sold, "Scale Syllabus," vol. 26, A New
Approach to Jazz Improvisation (New
Albany, IN: Jamey Aebersold, 1982);
JameyAebersold,"MajorandMinor,"vol.
24, A New Approachto Jazz Improvisation
(New Albany, IN: JameyAebersold,1981).
3. Jerry Coker, Jimmy Casale, Gary
Campbell, and Jerry Greene, Patternsfor
Jazz (Lebanon, IN: Studio P/R, Inc.,
1970).
4. Jamey Aebersold, "A New Approach
to Jazz Improvisation," vol. 1, A New
Approach to Jazz Improvisation (New
Albany, IN: Jamey Aebersold, 1973);
Jamey Aebersold, "The ii-V7-I Progres-
sion," vol. 3, A New Approach to Jazz
Improvisation (New Albany, IN: Jamey
Aebersold,1976); JameyAebersold,"Turn-
arounds, Cycles and ii-V7's," vol. 16, A
New Approachto Jazz Improvisation(New
Albany, IN: JameyAebersold,1979).
5. Dan Haerle, The Jazz Language

yet will challenge them and promote (Hialeah,FL:Studio 224, 1980).

an interest in continued work on
improvisation.
byListening
Learning
Last, but certainly not least, the
study of improvisation must include
the component of listening. The best
way to understand the conceptualiza-
tion that goes on in jazz is to listen-
listen-listen! It is not enough to just
listen to favoriteplayerson one partic-
ular instrument. Listening should
encompass all instruments, all config-
urations from solo to combo to big
band to expanded orchestrations, all
styles, and all eras. Severalrecommen-
dations for a place to start in accessing
what to listen to are Listeningto Jazz,
Jazz Styles,and Jazz.1 Each of these
sources provides a historical perspec-
tive to jazz describing styles, practices,
people, and myriad other things that
influence jazz performance.Organized
references to specific recordings are
included that are of great value in
guiding one to listen to the best exam-
ples. Many other resources are also
available that can help you find
recordingsfor gaining a better under-
standing of what playing jazz and
improvising is all about. The best
resource is the actual sounds them-
selves.
The approachoutlined in this arti-
cle should provide a basis of instruc-
tion for a music educator with great
time demands. The teacher can help
organize a student's routine of self-
teaching practice and it requires very
little of the teacher'stime. If you, as a
teacher, are interested in learning to
improvise or to improve on what you
can already do, then this procedure
will work equallywell.
The important thing to remember
is to include each of the component
parts of the process-scales, patterns,
theory, improvising, and listening-in
a balanced fashion, and to use materi-
als appropriateto the learners'level of
capabilities.The teacher should expe-
rience as much success and satisfaction
out of this approachas many students
and colleagueshave already.
6. Rich Matteson and Jack Petersen,
TheArt ofImprovisation,vol. 1 (New York:
Music Minus One, 1974).
7. Rich Matteson and Jack Petersen,
TheArt of Improvisation,vol. 2 (New York:
Music Minus One, 1974).
8. JameyAebersold,"HerbieHancock,"
vol. 11, A New ApproachtoJazz Improvisa-
tion (New Albany, IN: Jamey Aebersold,
1978); Jamey Aebersold, "Time to Play
Music!" vol. 5, A New Approach to Jazz
Improvisation (New Albany, IN: Jamey
Aebersold,1975).
9. Jamey Aebersold, "Duke Ellington,"
vol. 12, A New ApproachtoJazz Improvisa-
tion (New Albany, IN: Jamey Aebersold,
1978).
10. Jazz Aids,JameyAebersold,PO Box
1244C, New Albany, IN 47150.
11. Jerry Coker, Listening to Jazz
(Englewood Cliffs, NJ: Prentice-Hall,Inc.,
1978); Mark Gridley, Jazz Styles,4th ed.
(Englewood Cliffs, NJ: Prentice-Hall,Inc.,
1991); Paul O. Tanner, David W. Megill,
and Maurice Gerow, Jazz, 6th ed.
(Dubuque, IA: Wm. C. Brown Publishers,
1988). ?

APRIL 1993 37