I wanted to share a simple tip that has been helping my students. I’ve talked about targeting concepts for a long time, but we can view them in a number of different ways. For example, we can target the guide tones (3rds/7ths of chords) as we move from bar to bar or even do harmonic targeting where we aim for key area changes.
Today’s tip is to look at targeting as a form of punctuation. By having an end-note in mind we force ourselves to not wander aimlessly in the moment.
“If you aim at nothing, you’ll hit it every time.”
This is definitely a challenge (especially for beginners), because we spend so much time worrying about how do I start something as opposed to how do I finish? I have found for most, this is not intuitive and it has to practiced. But, I have found that it has yielded some great results for my own playing as well as some of my students.
The concept is simple. Pick an end-note somewhere in the progression and choose to make that your punctuation. The creative part is what you can do with it on the left-side of the target. Here’s an example:
I decided to pick the 5th of the CMaj7 as my end-note (target) in this ii-V-I example. The goal is to use it as a type of punctuation. I can change the note value or even where it’s placed within the bar, but I need to have some sort of stopping point (punctuation) to try and resist the urge to keep adding on. This where most people tend to wander in their improvisation. We want to keep adding and keep building to the same line without stopping and let it have its own sentence structure.
Here is an option of what I might do with the above (the possibilities are close to endless). The creative part is that we can do almost anything to the left of the target and it will work because we picked a strong end-note. The ear hears the tension on the left and the resolution of the target. If you want some other ideas about what you can do for the left side, check out my online school online school.
I would love to hear your thoughts! Have you used this thought-process before (end-note targets to make a punctuation)? Share the line you’d play if you made the G your end-note target…
I hope this simple tip has added some value and benefit to your playing in some way!
My previous blog posts about targeting concepts (aiming at a goal note with purpose) have dealt with the various ways we can get to the targeted note. We’ve also discussed what makes a good target. But, in today’s post I wanted to touch on something that I think might help a number of players and that is the concept of harmonic targeting.
The idea is similar in that we’re aiming at a goal note with purpose, but it is more about a specific goal note that makes the difference in harmonic targeting. In the harmonic progression, we want to find the note (or notes) that shifts or alters the harmonic landscape of the progression into a different key area (whether that’s a temporary modulation or an actual key change).
Let’s take a look at some examples:
One of the earliest concepts of harmonic targeting I learned as a young student was making sure I was hitting the major third of the chord change in the 8th bar of a blues
There was a definite departure from the Bb key area by having the B natural stick out at you. So it became a goal to make sure that every time that 8th bar came around that I aimed for that B. What do you play to get to that B? Check out other posts on my blog for tips or get my book, Targeting: Improvisation With Purpose.
What can you harmonically target? The answer is just about anything that highlights that you’ve departed from the key area you were just in. That can happen quickly or just occasionally. It’s up to you, but I like making sure that the drastic changes are caught. Let’s look at another example in the B section of There Will Never Be Another You:
This progression (like hundreds of others) have a couple harmonic targeting spots that you could aim for. The Db7(#11) could be a highlight for instance. However, the F7 is what sticks out like a sore thumb. That A-natural lasts for 2 measures making it an excellent choice for a targeted note. As an added note, I like making that F7 into an F7(#11) for added color.
I hope you find this tip useful for yourself or your student’s playing in some way. It’s a simple concept, but one that helps you play through harmonic progressions with more confidence.
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Have you ever had a line in your improvisation that came up in the moment that you liked so much that you wanted to Say That Again? But, the progression keeps moving so you had to transpose the line. For some improvisers this scenario can be nerve-racking because you might only know that line in one or two keys. In today’s post I want to share an exercise I use regularly (and one that you should never stop doing) to help not only with ear training, but with confidence in playing in all keys. This exercise in the academic world has a number of different terms associated with it: sequencing, transposing, modulating, etc. However, when I work with younger students I like to not only teach the academic musical terms, but call them something they might find humorous so they remember it. In this case, I like to call this exercise: Say That Again!
It is simple. When you are practicing find a motif, riff or lick (perhaps the Lick of the Day here on this site) that you like. For this example we will use the lick below:
After playing the lick (motif, riff, etc) a few times as written…stop looking at it. Memorize it and play it without reading the notes. Once you have the lick down you are going to Say That Again, but by playing it a half-step up or down (see below):
You can continue that pattern all the way up (or down) the chromatic scale. Not only have you played the lick in all keys, but you now can play the lick in half-step motions which can be used for taking a line outside. Another very popular way of doing this exercise is by going up in fourths which is often called playing around the cycle of fourths (see below):
Practicing your lick this way gets you to start thinking about moving around one of the most common root progression movements (ex. iim7 – V7- Imaj7 all have root movements of a fourth). The next couple of examples move the lick around major 2nds (up or down the whole-tone scale) and minor 3rds (up or down the Diminished 7th chord):
I hope this week’s tip has added some value or benefit to you or your student’s playing in some way. For a challenge this week take one of the licks from the Lick of Day found here on this site and take it through the Say It Again exercise. Over time you will be able to navigate your favorite lines through different harmonic progressions with ease!
Finally, be sure to pick up your copy of Mountain, Move today. Part of the proceeds of each album sale (physical or digital) help the Pearl Alliance and their fight against human trafficking. You can get one at our Digital Store along with both of my books: Targeting: Improvisation With Purpose and Breaking the Monotony.
I wanted to share a fun sound that I have been experimenting with recently. For those that have followed this site the past 2+ years know that I am believer in the concept of targeting. This post will be looking at how you can use the augmented scale through the lens of targeting principles that I outline in my first book, Targeting: Improvisation With Purpose.
Since we have a number of people who visit this site from different levels and abilities we will take a look at what exactly an augmented scale is. An augmented scale is made up of two augmented triads that are a minor third apart. I have also heard an augmented scale called the “minor third, half-step scale,” but not very often. For most in the jazz community (or at least those that know about it) call it the augmented scale. Below is the C augmented scale:
Most Jazz educators will tell you that you can use this scale over any augmented 7th chord (for example a C7+) or a x7#11 chord (example would be a C7#11). I agree that the augmented scale works well over those so I am not disagreeing with that usage. However, like a lot of melodic/harmonic devices they can be used with targeting principles. Again, I am not going to outline what those are right now.
However, let’s look at how using the augmented scale to target the “C” below in two different situations cause a unique and powerful sound over the listed progressions:
In my practice time I have been gravitating to this particular sound lately. I love the combination of the minor third and the half-step because of its melodic possibilities. I would invite you to try the above example in different harmonic situations where the targeted note would be a “C.” I hope you have enjoyed this week’s tip and that it has added some value and benefit to your playing in some way!
Lately I have been working on my whole tone scales and wanted to share an interesting sound with all of you. I am sure most of you have worked on your whole tone scales and know what they are. If not, they are rather simple and I would suggest you learn them. Since whole tone scales are symmetrical, there are only two of them. A whole tone scale is exactly what it sounds like: a scale made up entirely of whole steps. Below is an example that shows the two versions of the whole tone scale.
I did not want this post to be about whole tone licks, but rather opening a door for you to explore new combinations and the sounds that come with it. I believe far too many musicians learn their whole tone scales, a few whole tone licks and then never revisit them. When you combine the two whole tone scales together you get an interesting “outside” sound that is organized. It does not matter how you combine them. For starters, try combining them in a scale-like manner like the example below:
The above example could create some interesting digital pattern lines if you combined it with other tools like rhythmic creativity or targeting principles. Another way to combine them is by starting a line in one whole tone area and throwing part of the other in half-way through.
Or you can take standard whole tone licks and combine them together. The example below starts with a familiar whole tone lick and then ends with a descending scale of the other whole tone scale (which targets the “C”).
During the week I want to challenge you to find different creative ways to combine the two whole tone scales. Besides being a great ear-training exercise, you might find some combinations that will add a creative spark to your improvisations!
In this week’s post I wanted to show you how you can enhance your jazz improv practice routine by using the Lick of the Day here on this site. I believe you should practice the tools necessary to be successful in improvisation on a regular basis (if not every day). One of those tools is adding vocabulary.
If you don’t have an improv practice routine I’d invite you to try this out for a few weeks. You will have a noticeable improvement in just a few weeks. On the right hand side of the homepage there is a different lick/riff/motif posted every day. The instructions below the Lick of the Day talk about the different things you can do to add that lick into your vocabulary. I know for some of you that you like to have things laid out so here is a sample practice routine you can use with the Lick of the Day:
I hope you’ve enjoyed this week’s tip and that it has added value and benefit to your playing in some way. As most of you know-the Jason Klobnak Quintet was in the studio on March 14-15th and we finished the tracking session for our album Mountain, Move. We still need to finish mixing/mastering and then print the album. I need your help in getting us there. Every book sale, Skype Lesson, clinic and donation get us closer. Go to our Digital Store today to help us finish Mountain, Move!
Analyzing Nica’s Dream. About a year ago I started a series on Analyzing Lines. We took a look at a few lines of some of the giants of jazz and broke them down to see why and how they worked. If we can uncover those questions we can learn to build our own lines. The jazz community recently lost a great jazz trumpeter, Donald Byrd. I remember the first time I heard him play was on Nica’s Dream on The Jazz Messengers album by Art Blakey & the Jazz Messengers (Columbia, 1956). I’ve included a YouTube link at the bottom if you haven’t checked it out.
I wanted to do a tribute analysis from one of my favorite lines in his solo on Nica’s Dream. Like I mentioned in the previous Analyzing Lines series-this is my breakdown of what I see him playing and how we can relate and build from it. I’m not inferring in any way that this is how Mr. Byrd played or thought about improvisation.
For those that have been following my posts, you know how much I dig targeting concepts. So let’s take a look at how Mr. Byrd targets specific notes in the line above. Bar 42 looks like he is thinking in the key of Db. You will then notice that he chromatically targets the “F” in bar 43:
Then he uses a diminished targeting concept to target the “F” in bar 44 on the Bb7(b9):
A similar targeting concept is used to target the Bb in that same bar:
I love the way this particular line flows. It has a great combination of targeting concepts, key centered playing and soul. If you’ve never checked out Donal Byrd’s playing, I would highly recommend it. If you would like to know more about how to construct your own lines with different targeting principles (like those mentioned above), I would suggest you check out Targeting: Improvisation With Purpose which you can find at my Digital Store available as a digital download or for only $15/month get access to everything (every course, book, PDF, album, etc).
I don’t know about you, but I can’t believe we’re already at week #51! Next week will be our 1 year anniversary of weekly improv tips. I haven’t fully decided what topics we’ll be covering after the 1 year mark, but I hope you’ve enjoyed this past year. If you haven’t had a chance to check out the past tips, you can go to the archives (listed by month/year) at the bottom of the homepage. This week I wanted to expand on the chromatic targets that I mentioned in my book, Targeting: Improvisation With Purpose.
The chromatic targets (or enclosures, upper/lower neighbor, etc) mentioned in my book were simply expanding out from our targeted note by as little as a half step or as much as a minor third. The chromatic targets themselves aren’t the focus, but they’re one of the tools mentioned to get to the note that we’re intending to land on (or as it’s mentioned in the book-aiming at a goal note with purpose). For this week’s tip, I wanted to give you an additional chromatic targeting tool that I like to use that’s not mentioned in my book.
You’ll notice with this chromatic target that the pattern starts a half step above your intended target, moves up a minor third, back to the half-step above and up a whole-step before resolving back to the targeted note. This tool has an exotic sound to it that doesn’t conform to the standard chromatic targeting principles (approaching chromatically from above/below, etc). You will want to use your ear to decide which target applications work best for you. For example, I like using this tool when my targets are landing on the 5th of the chord. Let’s take a look at what this would look like in an application on a ii-V-I in C-major:
To get this sound under your fingers and in your ears, practice the targeting tool on all 12 notes. This way you can apply it at any point in different harmonic situations on the fly. I hope you’ve enjoyed this week’s tip! Please feel free to share it with your friends, colleagues, students or any other sites you’re a contributor. For more information on how you can creatively target notes (chromatic as well as others), check out my book at my Digital Store.