Digital Patterns Archives - Jason Klobnak Music

The End Is Here

End-Note Targets

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.

Targeting as Punctuation

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.”

-Zig Ziglar

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 book Targeting: Improvisation With Purpose in my store.

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!

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Harmonic Targeting

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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How To Practice Licks That Don’t Sound Like Licks: Part 2

In Part 1 of this series, we examined three strategies to spice up your practice sessions: 1) octave displacement, 2) rhythmic variation, and 3) sidestepping.

I’d like to suggest two more ideas: 1) playing your licks backwards and 2) utilizing inversions. We’ll use the lick from Part 1 and the previous variations discussed for both techniques.

By practicing these exercises in all 12 keys, you’ll be well on your way to expanding your harmonic and rhythmic vocabulary as an improviser.

Playing Licks Backwards

No explanation needed here. Just take your licks and play ’em backwards. It’s almost like Pig Latin, but it sounds cooler. Here’s what the four variations look like from Part 1 played backwards:

Inversions

An inversion involves choosing a pitch axis. From the pitch axis, where the original lick went up or down one or more intervals, you will do the exact opposite. If you’re playing a wind instrument, it’s usually safe to say you’ll need to start an octave or two up from your original lick to make this work. Also, be advised that playing the inversion of a lick that utilizes sidestepping will end up sounding more “out” than “in” harmonically.

Using the original lick and variations from Part 1, here is what all of the inversions would look like with C as the pitch axis:

I hope you have enjoyed this series. Be creative with your practicing and don’t be afraid to create your own musical vocabulary! For more practice ideas, continue to follow Jason’s blog, and feel free to check out thejazzdaddy.com as well!

Thank you for taking the time to read this blog/post. As a thank you I wanted to give you a FREE MP3 from the JKQ. Simply click the button below and fill out the short form and you’ll have it in just a few short moments!

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How to Practice Licks That Don’t Sound Like Licks

It is my honor to introduce all of you to our guest contributor for our latest post, Mr. Justin Scoville. Justin and I first met at the University of Denver in 2004. Justin, in addition to being a fine jazz trumpeter, has recently started his own blog at The Jazz Daddy (which I highly recommend you check out). He comes from a rich heritage of Denver-based jazz instruction at CCJA, studied at the University of Denver and holds lucrative liberal arts degrees from BYU and the University of Colorado Denver. And (like many musicians these days) balances a family, day job, blogging, playing jazz, etc.

Thanks to Jason for letting me pop in for a guest post!

The precocious and tragically short-lived trumpeter Booker Little recalled some sage advice he received from Sonny Rollins while rooming with the venerable tenor saxophonist in 1954: “Sonny was a big help. For one thing, he cautioned me about becoming overly influenced by other players. ‘You’ve got to be you,’ he told me, ‘whether that’s good or bad.’” At the time, Little was heavily influenced by Clifford Brown. After taking Sonny’s challenge to heart, Booker went on to be one of the most unique jazz soloists during the late 50’s and early 60’s before his premature death.

Part of Little’s singular approach to improvisation was utilizing quarter tones and employing harmonic dissonance (influenced by his understanding of classical music) over traditional bebop harmonies. For an example of this, check out Booker’s solo at 4:30 on “Things Ain’t What They Used To Be”:

I believe Booker is a great example for us all. He spent the time to emulate the great masters that had laid the foundation of jazz, but then infused his own musical interests into what was (at the time) common jazz vocabulary.

Booker wasn’t the first or last to do this. Charlie Parker copied Lester Young, Clifford Brown copied Fats Navarro, and so on. The question is, what are you going to do with all of the cool licks you’ve learned?

Today I’m going to share three simple techniques that will help you go beyond rote imitation and start discovering your own sound. These three techniques are 1) octave displacement, 2) rhythmic variation, and 3) sidestepping.

Let’s take a lick that is fairly common in jazz, like this one:

To add a little variety and challenge to my practice session, I’ll arbitrarily decide to raise or lower certain notes by an octave, paying homage to Eric Dolphy. Here’s an example:

Next, I’ll add some rhythmic variation. Throw in some quarter note triplets, triplets, and quintuplets, and voila! You sound pretty different from all of your lick-playing buddies:

Finally, some sidestepping adds a final dash of harmonic ambiguity. Here, I raised or lowered certain notes to hint at F7 Altered Dominant. Or something like that.

Well, those are some techniques I use to spice up my licks. What have you all tried? Share your comments below.

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Using Drop 2 in Improv Part 2

Welcome to part 2 of Using Drop 2 in Improv. In this post we are going to talk about another we can use the Drop 2 concept to help your improvisations. This tip is one that you would use in your practice room. If you go back and check out the series called Map It Out you can get the initial concept of “planning your route” on a tune you are working on. While mapping out a plan mark the changes with (where appropriate) a 4-part rootless voicing. Then apply the Drop 2 to those voicings (see below).

Much like planning out a guide-tone map we can use these rootless voicings as a map too. However, the Drop 2 voicings add more flavor to the line because of its change in interval. The example below takes a arpeggiated line based off of part of the rootless voicing. Notice what happens to the same line when the Drop 2 is applied. Be sure to play them on your instrument or piano to hear the difference:

Let’s do another example. This time instead of an arpeggio we will use a simple line and apply the concept. The first example uses the 4-part rootless voicing as a guide. The second example uses the Drop 2 version as the guide which made it easier to apply a pentatonic targeting technique (more information on that can be found in my book Targeting: Improvisation With Purpose).

Try it out this week. Take a tune you are learning and map out a “Drop 2 route.” See what new sounds and intervals you can creatively use in your improvisations. If you need help with the what/how to play over the Drop 2 voicings then I suggest you check out Targeting: Improvisation With Purpose and Breaking the Monotony.

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Say That Again

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):

Major 2nds

Minor 3rds

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.

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Sequences

The Jazz community recently lost another great musician in pianist Mulgrew Miller. I have been a fan of his playing for years-especially his time with Woody Shaw. While thinking about his playing and some of his characteristics (and there are many) I loved the way he played sequences. In honoring Mr. Miller I thought this week’s post should be on using sequences in your improvisation.

What are sequences? There are two types of sequences you will find in jazz: melodic and rhythmic.

A melodic sequence is the repetition of a line at a different pitch.
A rhythmic sequence is simply the repetition of a rhythmic line.

Both types of sequences are not hard and fast rules. A melodic sequence can be exact interval repeats (digital patterns) or different notes entirely. The general outline or shape of the line is what is repeated. It can have a different rhythmic pattern or the exact rhythm pattern repeated (but with the notes changing).

We are going to look at an example and how we can sequence a pattern. Below is our basic pattern that we are going to use throughout this post.

The next example takes our pattern above and uses a sequence over the first part of a 4-bar progression. This example takes the exact pattern and modulates it to the next chord. In this example we keep the same rhythm as the original:

You do not have to keep the exact rhythm to create a sequence. The next example takes the idea from above and rhythmically anticipates the F# going to the D7:

Another way you can continue the sequence is by keeping the rhythm and shape of the original pattern, but changing the notes so they fit the next chord:

That same idea could be repeated over the entire progression, but you may want to add other elements to the idea to keep it from going stale. A few ways to do that is to compress the rhythm down or expand the rhythm out:

In the final example below we take some of the different elements of sequencing above and put them into the 4-bar progression (I-VI7-ii7-V7):

I hope this post has added value to you and your playing in some way and that you can start adding sequencing to your improvisational tools. For more information on how you can use digital patterns for sequencing, check out my book Targeting: Improvisation With Purpose. For more information on how you can rhythmically energize your improvisation check out Breaking the Monotony at my Digital Store

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Whole Tone Combinations

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!

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