I hope this series on Improv for Beginners has been helpful to you and your students. The 3 parts in this series is obviously not the only steps necessary in introducing and teaching improvisation to a beginner. There are a number of good sources and educators that specialize in beginners. If you or your students would like additional lessons and/or coaching, please feel free to contact me. I am also available to do clinics and masterclasses from Middle School-College/University level.
The 3rd part of Improv for Beginners is where I would introduce some basic theory and guide tones (as well as the different tools you can use to target those guide tones). In the three elements of music (Rhythm, Melody and Harmony) this would be the last piece I would introduce to students. It is my belief that a beginner should start on Rhythm and Melody before talking about Harmony. One of the very first tips ever made on this site (almost 3 years ago) was on this very topic. While some of it was copied over to save time, there are a few visual updates to this one to help with beginners.
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! But, before you can talk about guide tones you need to explain to beginners what a chord is and how they are made. Below are two graphics I use from my book Targeting: Improvisation With Purpose.
The above picture represents a key scale (in this case C) moving up from the root note. Each scale step is assigned a number representing a scale degree. Don’t worry about the F# as the #11th scale degree with beginners for now. That comes up later in theory, but it is important for them to see the scale degrees and noting that the root, 3rd and 5th (which are the foundations of a chord) do not get re-numbered. Which brings us to the second graphic of separating the root, 3rd, 5th (and 7th) scale degrees to make the chord. These notes tell you the quality (major, minor, diminished, augmented, etc) of the chord.
This post is not an entire theory on harmony so if you need help with talking about the different chord types there are plenty of great materials and websites that go into that subject.
You may be wondering from what I initially wrote about guide tones and what they are… 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).
Take a song you are working on and figure out all of the 3rd and 7ths (guide tones or targets) for each chord. When you are 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 what tools you can use to get to your targets, check out Targeting: Improvisation With Purpose.
These three subject areas (and the order I mentioned them) are a great way to start a beginner out on their improvisation journey. If you or your students need additional help, please feel free to contact me and check out my books. I hope these have added value and benefit to you and your students!
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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 🙂
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!
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!
If you have followed this blog and have purchased Breaking the Monotony I wanted to share a Drumgenius App Review I recently downloaded. It is called Drumgenius v1.4 by the guys at Projazz Lab. For the record, I was NOT asked to do a review of this app. However, I did want to let you know about the app and how it can be used to enhance your jazz improvisational studies (whether you are a drummer or not). I strongly believe this app can be a powerful resource for my students and use it in both the Modern Jazz Trumpet Routine and my Targeting Master Class.
Drumgenius v1.4 is made for the iPhone and Android based operating systems so it wont matter what type of smart phone you prefer. The app contains (at the time of this writing) around 300 different styles of drum loops that sound great and have a number of applications that you could use. Loop styles range from Afro-Cuban, Brazilian, Funk, all types of jazz (straight and swung) and odd meters. For drummers, you can play along with each loop to not only get the feel, but work on timing and groove. For other musicians, it gives you the opportunity to work with a drummer anywhere you have your phone.
You can work on timing, rhythmic creativity and phrasing. For those that have Breaking the Monotony, this app can be especially helpful because a number of the loops come with an option to include the clave pattern over the loop! You can use a number of different loops as a practice aid with just about every chapter in Breaking the Monotony (or Targeting: Improvisation With Purpose)! Another great benefit (especially for someone like me who is not a drummer) is you get proper names and a short history of the drum loop. As a composer I now have a resource to say, “Oh yeah…that is the drum groove I am wanting for this section on my chart. I always wanted to know what that was called!”
To get a feel of what it looks and sounds like, below is their video found on their website as well as Youtube (the video is below).
The app itself is free to download. Along with the app you get 3 free loop downloads that come with the app. You can purchase 3 levels of loop downloads in their app store. The first is 10 loops, 50 loops or infinite (which is all 300 loops or any new updates they have in the future). I did not catch the prices for the first 2 levels because I went straight for the infinite option. It was $9.99. For the iPhone, the app also works in the background so you can continue to use your phone for other features while still listening to the loop.
Since I have made this app purchase I have been using it in my daily jazz practice and have been thrilled with the benefits. There is something to playing duets with a drummer that help an improviser’s time, phrasing and rhythmic creativity. Now I can work on those whenever I have my horn and phone. Overall I give this app 5 stars!
While I was pondering what I should write about this week I was reminded of a post that was made two years ago around this time and is also written about in more detail in my book, Breaking the Monotony. In the U.S. we celebrate our Independence Day on July 4th which is later this week. I thought this week a re-post was in order. I hope you enjoy!
“Hey Everyone! Welcome to Week #5’s tip-Independence in Improvisation. Today (July 4th, 2011) in the U.S., we celebrate our Independence Day and what better day to talk about independence in improvisation than today? This is a topic that I don’t hear talked about enough in jazz education when discussing improvisation. This week’s tip is something that I try to work on at least once a week and encourage everyone to do the same.
Independence in improvisation could have a few different definitions, but the one that I’m applying refers to the ability to improvise effectively with no accompaniment. A few years ago I had the honor to take a lesson with jazz trumpeter, Ron Miles. We talked a lot about melodic considerations while improvising, but the topic that dominated the majority of our discussion was the ability to improvise when no one else is around (or when the rhythm section drops out for a chorus). This not only works on your time, but makes you focus on the melody and chord changes on a deeper level.
In our modern age of technology, we have become very dependent on our digital “rhythm sections.” Don’t get me wrong, I LOVE using Aebersold’s, Band-in-A-Box and my current favorite…iReal Book for the iPhone. As a matter of fact, I use them on a regular basis. However, we become dependent on having something else feed us the changes and dependent on it keeping time for us. It can cause our improvisations to become reactive instead of proactive. When we’re playing on the bandstand, we’re playing with other musicians who are making music with us. If we’ve spent all of our time with a digital rhythm section, it becomes more difficult to interact with the REAL musicians on stage. The more time we spend working on a song independently, the more freedom we have with that song. It’s become so ingrained that we don’t have to think about it on the bandstand and our focus can move from what I’m playing to what we’re playing.
For this week, take the song(s) that you’re learning and improvise with no backing track of any kind. If this is your first time utilizing this concept, it will probably be a little difficult for the first couple of times. However, after a short time of working on it, when you play it with a rhythm section you will feel a new level of confidence and a sense of freedom to interact with those around you.”
I hope this week’s tip has been as helpful to you as it has been to me! Be sure to go to Jason Klobnak Music to grab your copy of Breaking the Monotony or Targeting: Improvisation with Purpose. Every book sale and donation helps the JKQ with our Midwest tour expenses coming up in August. More details on the tour will be coming soon!
In this week’s post I wanted to talk about a scale that does not get a lot of mention in improvisation classes, but it one that is quite effective and easy to learn. That scale is the Harmonic Major scale. Some of you may be wondering, “Wait a second Jason…harmonic MAJOR? I have heard of the harmonic minor scale, but what is the harmonic major scale?” Well, I am glad you asked! Before we take a look at the harmonic major scale, let’s take a look at the more common harmonic minor scale.
The harmonic minor scale is a minor scale that has a lowered (flat) 6th scale degree and a major 7th scale degree as shown in the example below.
There has been quite a bit written about this scale and its uses. However, we are going to look at the harmonic major scale. The harmonic major scale is essentially a major scale with a lowered (flat) 6th scale degree. The C-harmonic major scale is shown below.
The harmonic major scale, like every other scale, can be used over various harmonies. One of my favorite uses is over V7(b9) chords. If you take the harmonic major scale and start on the 5th scale degree (if in C…that means you would start on the G), it fits perfectly over the V7(b9) chord. Another way to think about it is if you have a V7(b9) chord, you can use the harmonic major scale a perfect fourth up from the root of the V7(b9) chord. You get the b9 of the V7 chord, but none of the other alterations that are found/heard when you would use a diminished or altered scale.
The example below is a line based off of the C harmonic major scale played over the G7(b9) chord:
I personally like the sound between the flat-6th and major 7th. The scale still has an exotic texture to it-yet still has that familiar major feeling at the same time. I hope this tip has added some value or benefit to your playing!
For more information on how you can use the harmonic major OR harmonic minor scale to creatively target notes in your improvisations you can check out my book Targeting: Improvisation with Purpose or Breaking the Monotony at my Digital Store.
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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.
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
I have been making edits so I can have short previews of the songs that will be on my Mountain, Move. album and heard something that I thought would be great to talk about. So, in this week’s post we will look at the augmented triad and how we can use it to creatively target notes in our improvisations. I love using the augmented triad because it does not have the typical triad sound. To many listeners it causes an unexpected, “whoa…what was that?” response. This makes it a great tool to have in your improv arsenal.
I know there are a number of beginner visitors, so we will take a brief look at the augmented triad itself. An augmented triad is simply a major triad with a raised 5th (see example below):
The augmented triad is a great candidate to use as a tool for targeting. I invite you to check out some of the many different previous posts on targeting on this site as well as my book, Targeting: Improvisation With Purpose to get a better understanding of how to fully utilize this concept. But, we will take a look at a few different ways you can use the augmented triad to target. The augmented triad is symmetrical. That means no matter which inversion you start on you will have an augmented triad. The examples below will be using the G (or B, or Eb) augmented triad over a V7-I pattern.
The first example takes the augmented triad in a descending order (starting on the “B”) and resolves up a half step to land on the root of the I chord (Cmaj9):
The second example is an infamous lick that you will hear many great improvisers using in their solos. In this case, the augmented triad doesn’t directly lead into the targeted note (D). Instead of continuing down to the Eb (continuing the triad), the line resolves up to the D (which is the targeted note of the line…the 2nd/9th of the Cmaj9):
Our final example uses the augmented triad with another targeting concept (the chromatic target) to target the 5th of the I chord (Cmaj9):
One of my favorite ways to use the augmented triad to target notes is over the V7-I harmonic movement. There are other ways to implement the augmented triad, but I wanted to share my favorite. For the V7-I movement you can think about it a number of different ways. For instance, you could think about using an augmented triad on the 5th of the I chord or the root of the V7 chord. You can think about using an augmented triad a half-step below the root of the I chord or the 3rd of the V7 chord. Or you can think about using an augmented triad a flat third from I chord or the b13 of the V7 chord. Whatever works best for you. One goal I try to reach with my students is to narrow things down so you have less to think about while playing.
I hope you have enjoyed this week’s tip and that it has added value and benefit to your and/or your students playing in some way!