Key of C Pentatonic Target Examples

How Can I Use the Pentatonic Scale to Target?

Have you been following along on the Improvisation Thursday Facebook Live events? If not, you can click HERE to check out the previous week’s videos highlighting who they’re for, how I believe they can help you, and where to start. If you have and just want the free examples you can scroll to the bottom. But, if need a quick synopsis of what we’ve discussed-here you go:

They’re for beginner Jazz improvisation students
They’re for any level of improvisors that have been frustrated with their progress up to this point and want a different perspective
They’re for educators looking for a better way to start out their students

What is Targeting?

Targeting = aiming at a goal note with purpose. This can be on a micro scale (from chord to chord and guide-tone to guide-tone) or on a macro scale (key areas and longer phrases).

What makes good targets?

When thinking micro: the guide-tones. Traditionally the 3rds and 7ths of chords because they help define the quality of the chord. However, these can be expanded to include the root, 5th, and extensions
When thinking macro: they key center’s 1, 3, and 5. For example, if we have a progression (or part of one) in the key of C; our target notes would be C, E, and G (1st, 3rd, and 5th of the key). I prefer to teach the macro approach to beginners because it’s easier to find and hear. This also gets the beginner thinking horizontally (melodically) instead of vertically (harmonically). Those targets also end up being other guide tones as well.

What tools can I use to get to the targets?

We can use the pentatonic scale as a source of melodic content as well as using it as a tool to get to our targets. I like to use them for both as each line we play should have the end-note (target) in mind. The below examples are in the key of C, but notice how each line ends on either the 1st (C), 3rd (E), or 5th (G) of the key. It’s a free pdf file that you can use to start getting some ideas in your ear and under your fingers.

***Key of C Pentatonic Target Examples*** (download here)

Not Your Ordinary Drones

Not Your Ordinary Drones

I want to talk about drones, but not your ordinary ones. Other sites and musicians have talked about the benefits of warming up with drones, exploring shapes and intervals. All of this is great and something I personally use now and then too. If you haven’t explored this area before I would suggest you at least try it. It’s an amazing way to open up your ears and explore music’s various layers.

If you’re sitting there thinking, “I’m still not sure what you mean by drones. Aren’t those the remote control things you fly around to annoy your neighbors?” Well, yes. But, not this topic. Here’s a great YouTube example of trumpeter Ingrid Jensen talking about how she uses a drone:

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“A musical drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece.” – Wikipedia

Instead of rehashing what others have already talked about, I want explore some other ways we can use a drone through the lens of targeting. Targeting is aiming at a goal (note) with purpose. It’s one of the central points of how I improvise and teach improvisation. While it’s great to explore a scale, intervals, or free-improvisation with a fixed pitch (drone)-I have found that beginners and intermediate musicians often have a hard time hearing the note they are aiming for.

What to Use

There are a number of great tools that create a drone. Ingrid Jensen mentioned her device in the video above. You can use just about anything that will create a sustained pitch. I have used a piano with the sustain pedal, computer software (garageband, Logic Pro, etc), YouTube (which has a WIDE range of options that you could spend hours searching), or one of my favorites: iReal Pro

Beginners and intermediate improvisors have to be intentional with what they practice. It’s too easy to get distracted and let your imagination go on a tangent. That’s ok when it’s time to explore and foster creativity. But, students need to hear where their line is going. What does it sound like when you are targeting the 3rd of major chord? How does that sound different when you’re targeting the 3rd of dominant chord? What about minor? If a student can learn to hear what targeting sounds like it opens up the creative mind to be able to explore it in real-time. This is why I like using iReal Pro because you get to choose not only the harmonic situation (major, minor, diminished, etc), but you get to do it while keeping time and locking in with a rhythm section that won’t slow down or speed up.

Here’s how I use iReal Pro as a drone:

create a new song using the blank template
pick a chord type that you need to work on (major 7th, dominant, minor 9th, etc)
type that chord in the first measure and set up whatever repeat function you desire
set the repeats 30x
pick a tempo and feel (swing, bossa, etc)
work on first targeting the root in as many ways as you can imagine with various tools with GOOD rhythm (for more info on those tools you can check out Targeting: Improvisation With Purpose).
Once you’ve felt like you’ve fully explored the root move on to the 3rd, 5th, 7th, and other extensions (9th, 11th, 13th)
Now move on to the same chord type, but in a different key.
Apply what you just did to a song or harmonic progression you’re working on

All of the above is good practice for any musician. It will get you to focus on the sound of targeting so you can hear where you’re going. This will also give a student plenty of practice!

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How Composing Can Keep You Out of Trouble

That’s right. Composing.

How CAN composing keep you out of trouble? If you’ve followed this blog then you know this is mostly about improvisation tips. But, composing can help you with your improvisation too. I’ve heard it said (and repeated) that composing is improvisation that you can edit along the way (wouldn’t it be nice to edit our improvisations in real-time? Maybe someday…).

I recently finished a new composition called Dad’s Game that will most likely be on the JKQ’s next album later this year. I wanted to show how I composed it and how I use the idea of “improvisation that you can edit.” If you want to check out more on how I compose you can check out that series HERE.

I usually start with a blank sheet of staff paper (good old analog paper), piano, and Finale open on my computer. There’s no one way to start composing and I don’t do it the same way every time, either. In the case of Dad’s Game, I woke up in the middle of the night a few days ago and had a specific rhythmic figure over a Latin-feel. This is the initial sketch:

From there I sat down with the piano and improvised various chord combinations over the rhythmic vamp. I eventually locked into what I believe was what I heard in the middle of the night (I probably should have taken better notes, but I was half asleep). After deciding on the progression I wanted to come up with the B3 organ’s left hand figure over the vamp. This is where having a strong idea of targeting concepts helped keep me out of trouble (or I could have been spending more time finding the right sound). I knew what notes I was aiming for within the rhythmic figure and it helped me come up with the final idea. Here’s the final sketch (in treble clef):

When you improvise in real-time you must have a system of navigating the chord progression. I’m a BIG proponent of targeting (not sure what I’m talking about? Check more out HERE). When you compose, you will use the same process albeit much slower. You get time to think about your various targeting, melodic, harmonic, and rhythmic options and change them if they don’t sound the way you want (i.e. you get to edit). The more you do the composing process the more solidified they become in your mind. That comes out in your playing.

How would you suggest to get started on this?

If you’re just starting out I would suggest writing out a chord progression you’re working on. Write out the guide tones or other targets. Compose a line of nothing but quarter notes. Play it back. Does it sound interesting with just the quarter notes? If not, edit it until it does. Once it does, add eighth notes. Sound good? If not, edit it. Once it does, alter the rhythm. Continue, rinse, and repeat.

This is an area I cover with my improvisation students (on Skype and in-person lesson). If you’ve used this process or found it helpful, please feel free to share how you compose to help your improvisation in the comments below OR feel free to share this with the social media buttons!

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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Pacing Exercises

It has probably happened to you once or twice unless you are just starting out on your improvisation journey. That moment on the bandstand or in rehearsal and you know that you are over playing. I think it happens to a lot of people (if not all) at some point or another. This week I am going to give a few tips and exercises that are short, simple and you can use right away to help your pacing. I would suggest practicing these first before attempting to use on a gig unless you are positive you can do them in real time.

Play your initial line and then sing back the same line in your head before proceeding to play the next. This can help balance the playing/resting ratio. You will notice that depending on the line you could be starting your next phrase in a place you are not accustomed to which can create some interesting results.
Play your initial line and count down from 5. This is similar to #1 that you are creating the space, but now you have 5 beats to make your next statement. Again, this can create some interesting moments because of where it forces you to start your next phrase.
Play your initial line and count down from 5, then 4, then 3 and so on. This takes exercise #2 and decreases the resting space. After you pass 1 beat between phrases you can start the process over.

Try these out this week during your practice sessions and see what they do for your pacing and phrasing. I hope this has added some value and benefit to your playing in some way!

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Fun Challenges

For some of you this may not be an issue, but for others it is something you run into often enough to be frustrating. Have you ever taken a step back and looked at your abilities in improvisation and think, “what should I work on next?” I am not talking about the egotistical thought of I’ve made it, but rather one where you have felt you have hit the wall on progress. You know there is more to learn, more to absorb, more to hear, etc. But yet you do not want to keep working on the same things over and over.

While I do not believe this post alone is the answer; I do believe that this is something that can spark some creativity to help get you out of that rut. In 2013 the Jason Klobnak Quintet went on a short Midwest, US tour after our Mountain, Move CD Release. Those that have ever done tours of any length know that when you play the same music over and over (no matter if you feel the music is great or not) it can get stale pretty quick. One of the ways we kept our concerts fun and engaging with not only the audience, but ourselves as well was to create some simple yet fun challenges with each other. For us, one of those challenges was to find creative ways to input The Lick into our solos throughout the night. If you are not sure what The Lick is; I have a Youtube video someone made of it a while back that made the rounds on social media sites. I also made a quick graphic to show you what it looks like in the key of E minor below.

Why E minor? If you go to the Facebook page called Jam of the Week started by trumpeter Farnell Newton he has a weekly challenge where musicians from all over the world play an a capella solo to a blues/standard. One of the weeks was on the standard All the Things You Are by Jerome Kern. In the video posting I made I played The Lick over the 7th & 8th bar of the form in E minor (the chord is Cmaj7) which gives it a Lydian sound.

So what fun challenge can you create for yourself? Maybe find creative ways to play Happy Birthday or some other simple melodic fragments and work them into your improvisations. If you play in a group, see how many times you can play that melodic fragment without the other noticing. Or come join the Jam of the Week group and take part of the weekly challenges. We enjoy playing our instruments and making music. If you are losing some of that enjoyment…make it fun again!

The Lick Video

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Improv for Beginners part 2

Welcome to part 2 of starting beginner’s on their improvisation journey. Last week we started off with what I believe is a great foundation to getting a beginner going. There are a number of different opinions, theories and options. However, this is how I like to introduce those just starting. I have seen it work and believe it builds a strong foundation for their playing. I would encourage you go back to PART 1 and read through that if you are just joining us.

The next step is introducing MELODY. Where do we get melodies from? First, we get them from the music we play. What songs are the students learning? If they are really young students are they learning those early nursery rhyme type songs? All of these are melodies. Reading music is important, but have the students learn to play the melody without looking at the music. Internalize it. Once we learn the melody we can use it later. The melody can be embellished with a variety of tools, but they mean nothing without the foundation of the melody. As an exercise, have a student take Happy Birthday and improvise on it. If they have been working on rhythm and listening, you would be surprised at what they can probably already create with it.

Still not sure if you think it is a good exercise? Check out this video made by Wynton Marsalis in France a few years back:

Where else can we get melodies from? One of the scale types used in virtually every culture is the pentatonic scale. There is something melodic about that particular scale that has been creating melodies around the world for generations. If a student still needs to work on their major scales they need to be learning those in addition to the major pentatonic scale (minor scales are important too, but get the major one’s down first). While I do not believe running up and down scales themselves is how you should learn to improvise, they are important to know because they give us a color palette to choose from when improvising and the pentatonic scale is a melodic gold mine.

Combining the two elements of the melody of the song the student is learning with the pentatonic scale in the home key is a great place to get them thinking creatively. The pentatonic scale in the home key can be used to target key notes (landing areas) in the melody. For more information about how you or your student can use a pentatonic scale to creatively target notes you can check out my book Targeting: Improvisation With Purpose.

Remember these are just beginning students. Give them achievable goals to start with before adding more complex ideas. I find a higher success rate with beginners that are given a few details to work with and then adding more pieces when ready rather than dumping everything at once. In my teaching studio, rhythm (time, feel, etc) and listening are the foundation. Melody is the next layer. Check back next week for the next layer 🙂

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Improv for Beginners

A lot of the tips that get posted on this site vary from intermediate to advanced concepts found in improvisation. While there are a few focused on beginners, I thought it would be good to post a few more to help those that are just starting out. On the right-hand side of this site there is a pull-down menu that list categories of topics. If you are one of those that beginning improvisation is where you are at now I would encourage you to go check out that category (For Beginners) to see some of the other posts in addition of the one below.

One of the big concerns I have heard from beginning improv students (and teachers of those students) is where do I begin? There is so much information out there it can be hard to find a good starting point. Do we start with scales? Theory? Transcribing? Let me give you my suggestion for where a beginner should start:

Rhythm/Time
Listening

Everything else you can work on, in my opinion, supplements those first two items. Here’s why: To have the proper sound, feel and phrasing you must have good rhythm/time. To have good rhythm/time you have to understand what is considered good by listening. #2 is something everyone should be doing already. Listen to your favorite players (old and new) and get their sound, phrasing, rhythm/time, articulation, use of space and ideas in your ear. Close your eyes and picture yourself there with them. How much should you listen? A lot. As a beginner what you listen to can help shape who you are as a musician and WILL eventually come out. Who you become as a musician is a combination of all the influences you have stored in your head.

#1 is something that can develop over time by listening AND playing rhythmic exercises. The exercise below is one that I like to use with beginners. This is also mentioned in my book Breaking the Monotony. Unless the beginner already has a pretty good sense of rhythm/time, they need to be exposed to good Jazz rhythms. This exercise takes a rhythmic example that the student plays while using any combination of the three notes listed.

Rhythm to be used:

Note choices:

Example of what this would look like over a simple Bb blues:

You can get into the theory later, but I find it is best when talking about notes to limit a beginner to 3 or 4 to start. Let them find out the different variations of what you can do with those notes on their own. Eventually they will become bored with those and will naturally want to expand their palette (although I have heard plenty of Jazz Giants do more with 3 or 4 notes then some do with all 12).

In my opinion, this is the best way to start beginners. This gets them started playing something and using their ears and rhythm to come up with ideas. As I mentioned at the top of this post, be sure to check out some of the other posts in the For Beginners category. In addition to those posts are my books you can find in my Digital Store as well as the Skype lessons/coaching I offer for all levels of players.

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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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