Hey Everyone! Welcome to week 3 of the improv tip series. We’re continuing the rhythm series and this week I’m going to talk about how we can use a clave to help with our rhythmic interest in swing. Some of you may be saying, “Wait a second, Jason. Clave is a pattern used in Latin music. How can I incorporate that into swing?”
Good question! Clave (and it’s various patterns, i.e. the 2 + 3 and 3 + 2 son clave and rhumba clave) is a HUGE part of latin rhythms. However, we can utilize those same patterns in swing. There are countless YouTube videos up of drummers showing how they work on their swing by playing their kit alongside a clave pattern. As improvisers, we can utilize the same concept. It’s great to have connected and flowing eighth note lines in our improvisations, but we need to create rhythmic interest as well. Last week I quoted Dizzy and how he mentioned he “fills his head with rhythm.” So in this week’s tip, we’re going to “fill our head” with clave rhythms. There are a number of clave patterns that you can use. I’m going to give just a few brief examples of some clave patterns (there are more and you can utilize them as well).
As an exercise, practice improvising using just those rhythms over a song you’re working on. Obviously, this is just an exercise and not something you would play on the bandstand over and over as that would be too predictable and boring. However, when you have the feel of the clave going in your mind, you can create rhythmic interest in your improvisation. Some lines can have the clave pattern or you might find yourself articulating eighth note lines with the clave pattern. Below are just a few quick musical examples of how an improvised line can be influenced by the clave. The first one is pretty obvious the pattern. The second is a predominately eighth note pattern, but the articulation is reflective of the clave pattern.
I hope you’ve enjoyed this week’s tip! I talk about how I connected my melodic lines in the examples above in my book, “Targeting: Improvisation with Purpose.” You can check it out by going to THE STORE.
Welcome to Week #2 in the improvisation tip series. Starting this week, we’re going to discuss a few topics related to rhythm. In today’s music education, most people can agree that rhythm is one of the weakest areas for students. Today, I’m giving a “2 for 1” special on rhythm because I couldn’t decide which rhythm topic to start with! So let’s dive in….
#1: Beats 1 & 3. There’s so much to talk about with just this topic that I’ve decided my next book will be all about rhythm and this could easily be a chapter or two. In 4/4 time you have strong and weak beats (or tension and resolution). Beats 1 & 3 are the resolution and 2 & 4 are the tension (we clap on 2 & 4). The majority of harmonic changes happen on beats 1 & 3 (resolution). Melodically speaking, we want our lines to end on resolution (or targeted) points most of the time (unless you’re extending the line, etc). However, many struggling improvisors tend to start their melodic lines on beats that make their resolutions awkward. One way to resolve that problem is to feel 4/4 music in “half time” or by feeling the pulse on beats 1 & 3. This does two major things. First, it’s easier to conceive ideas at “slower” tempos. However, you will need to remember that while you’re feeling it slower…the changes are still going by at the normal rate. Secondly, by feeling beats 1 & 3…they give you great launching pads for your melodic line. Notice how many great lines you transcribe start on the “and of 1” or the “and of 3.” They also tend to make your line resolve in logical places. There’s more we can discuss on this, but I’ll save some of that for another week.
#2: Syncopation. When we hear the phrase jazz rhythm…the first word that should pop in to your mind should be-syncopation. Jazz is FULL of syncopation. It’s what gives the music it’s forward movement. I don’t know about you, but when I hear someone improvise, I want to hear more than just a string of eigth notes. Don’t get me wrong, continuous eighth note lines are important and every musician should be able to do them. However, they’re not the end all. If you look at a lot of the bebop heads that were written, very few of them were quarter notes and half-notes (like many of the American Songbook standards). They were full of syncopated rhythms (i.e. Confirmation, Donna Lee, etc). In an interview, Dizzy Gillespie was asked what he thinks about when he improvises and he said, “I fill my head with rhythm.” If you talk with those who were around Dizzy the most…they would tell you he filled his thought process with syncopation. For an exercise, take a song you know the most and forget about what you would do harmonically. Fill your head with jazz syncopation (if you need help, sing what a drummer would play or sing the rhythm to a bebop head). Keep that syncopation flowing in your mind and then start to improvise over the changes. For the first couple of times you will either revert back to your melodic sense (you stopped thinking the syncopation) or your lines will sound awkward and wont resolve in a logical manner. Don’t worry about it…because it’s an exercise. However, over time, the syncopated rhythms and your melodic sense will start working together and your lines will make sense and they’ll SWING.
Next week we’re going to continue on the topic of rhythm. Also, if you haven’t checked it out already, be sure to either click the link to your right or click below for more information about my book, “Targeting: Improvisation with Purpose.”
Welcome to the first of what will be a weekly post of improvisation tips! This week’s tip is based off of a chapter in my book, “Targeting: Improvisation with Purpose.” If you’ve ever heard someone improvise and it sounds like they’re wandering….guess what? They probably are. One of the reasons improvisers wander is because they’re not aiming at specific targets. What are good targets, you ask? Guide Tones, of course!
You may be wondering, what is a Guide Tone? Traditionally speaking, a Guide Tone is either the 3rd or the 7th of the chord of the moment. However, if you’ve ever listened to great improvisers…they never limit themselves to just the 3rd or the 7th (but they’re a GREAT place to target if you’re starting out). They often expand their guide tones or targets out to other chord tones or upper structures (i.e. root, 3rd, 5th, 7th, 9th, etc).
To implement Guide Tones, take a song you’re working on and figure out all of the 3rd and 7ths for each chord. When you’re practicing your improvisation with that song, target or aim with purpose for those Guide Tones. Just targeting the 3rd and the 7th is not going to make you an instant improvising sensation. But, they will help keep you on track of your improvisation and limit your wandering. One way to think about this is like planning a road trip on a map. You’re leaving point A (the beginning of your improvisation) and need to get to point Z (then end of your improvisation). You need destination points along the way to gas up or to eat. Those destination points are targets on your map. Those targets in your improvisation are your guide tones!
For more information on how you can get to your targets, check out the link to your right to purchase “Targeting: Improvisation with Purpose” or you can click the link below!