Excerpts from... DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Christopher D. Azzara Eastman School of Music of the University of Rochester Richard. Gruno Eastman School of Music of the University of Rochester GIA Pulications, Inc. Chicago
Developing Musicianship through Improvisation Christopher D. Azzara Richard. Gruno Layout and music engravings: Paul Burrucker Copy editor: Elizaeth Bentley Copyright 2006 GIA Pulications, Inc. 70 S. Mason Ave., Chicago 60638.giamusic.com All rights reserved. Printed in the United States of America 2
INTRODUCTION Do you kno someone ho can improvise? Chances are he or she knos a lot of tunes and learns ne tunes ith relative ease. It seems that improvisers can sing and/or play anything that comes to mind. Improvisers interact in the moment to create one-of-a-kind experiences. Many accomplished musicians do not think of themselves as improvisers, yet if they have something unique to say in their performance, they are improvisers. In that sense, e are all improvisers, and it is important to have opportunities throughout our lives to express ourselves creatively through improvisation. Improvisation in music is the spontaneous expression of meaningful musical ideas it is analogous to conversation in language. As presented here, key elements of improvisation include personalization, spontaneity, anticipation, prediction, interaction, and eing in the moment. Interestingly, e are orn improvisers, as evidenced y our ehavior in early childhood. This state of mind is clearly demonstrated in children s play. When not encouraged to improvise as a part of our formal music education, the very thought of improvisation invokes fear. If e let go of that fear, e find that e are improvisers. Improvisation enales musicians to express themselves from an internal source and is central to developing musicianship in all aspects of music. The process of learning music is much the same as the process of learning a language. Think for a moment aout ho you learned language. irst you listened to language. rom irth and even efore, you ere surrounded y the sound of language and conversation. You asored these sounds and ecame acculturated to the language. Soon you egan to imitate the ords and phrases you heard spoken y your parents and silings. Before you ere successful at imitating, you ere praised for your efforts and encouraged to ale even hen the sounds you ere making did not make complete sense to others. Eventually you egan to associate ords (names) ith people, things, feelings, desires, etc., and you egan to make statements and ask questions that ere your on. You egan to think and improvise in the language, and your interaction ith parents and silings as crucial to your language acquisition. After several years of developing your aility to think and speak, years of eing surrounded y print, and years of eing read to y others, you learned to read and rite. You learned to read and rite ith understanding ecause of the experiences you had listening, thinking, and speaking. Developing Musicianship through Improvisation offers an approach to learning music that is similar to the process for learning language. And ust as it is possile for everyone to learn a language and engage in meaningful conversation, it is also possile for everyone to engage in meaningful improvisation, hich is at the core of the music learning process. Like conversation in language, interaction ith others is crucial. In this ook, you are asked to listen to music and sing and play melodies and ass lines y ear. The oective is not to memorize the tunes. After all, you didn t memorize your speech as a child. Rather, the oective is to internalize so many melodies and ass lines that you egin to hear harmonic progressions (the changes, or patterns in music) and generate your on melodic lines. At the same time you uild a repertoire of tunes and a sense of musical style, you develop an understanding of harmonic progression, harmonic rhythm, and the aural skills you need to listen to music meaningfully and to interact expressively ith others. Throughout these materials you ill uild a vocaulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases to apply in many ays. As a part of Developing Musicianship through Improvisation you ill read and rite music, thus connecting your improvisation to meaningful experiences ith notation. The oective is to read and rite music ith comprehension. You ill hear and understand the music documented on the page in the context of hat you have created and improvised. You ill also gain a greater understanding of music you hear in everyday experiences. 3
When reading music, it is important to rememer that notation is the documentation of a creative process. Learning to read and rite music should e presented in light of that creativity. Developing your musicianship through improvisation provides a context for reading and composing music ith comprehension. When musicians express themselves y putting together their on musical thoughts in composition, they can create, develop, and reflect on musical ideas. Composers are ale to go ack or move forard in time as they create. This reflection and revision process is a good ay to discover relationships in music, and, as a result, to improve your overall musicianship. There is a poerful relationship among listening, improvising, reading, riting, and analyzing music. Each has the potential to influence the other in significant ays hen presented in the context of improvisation. With the goal of improving your musicianship, each unit in Developing Musicianship through Improvisation is ased on a familiar tune. Each unit contains six parts: 1) Repertoire; 2) Patterns and Progressions; 3) Improvising Melodic Phrases; ) Learning to Improvise Seven Skills; 5) Reading and Writing; and 6) Learning Characteristic Solos. Improving your musicianship ill promote more spontaneous and meaningful music-making. Regardless of your musical ackground, it is never too late to egin learning tunes and harmonies y ear. This process is at the heart of improvisation, and it is perhaps the most exciting aspect of Developing Musicianship through Improvisation. DEVELOPING MEANINGUL IMPROVISATIONS The folloing are additional suggestions for your continued groth as an improviser. These suggestions and the improvisation rating scale included in the ooks provide you ith many ays to improve your musicianship as you acquire the skills presented in Developing Musicianship through Improvisation. To get started, you may ish to practice one or to of the folloing concepts at a time. With experience, you ill internalize these ideas and develop more meaningful improvisations. A good place to start this process is listening to other musicians. Become aare of ho improvisers: personalize melodies ith expressive phrasing, dynamics, and tonal and rhythmic variation. are spontaneous and in the moment. play ith space (silence). interact ith each other. develop motives. understand harmony and rhythm y ear. can play anything that comes to their mind. Developing Musicianship through Improvisation ill help you to develop the principles listed aove and ill also assist you ith the folloing ideas for improving your skills as an improvising musician. Learn a repertoire of tunes and improvised solos y ear from other musicians and y listening to recordings. Building a large repertoire of tunes y ear ill provide a asis for developing improvised solos. Listen to improvised music like an improviser notice the spontaneous interaction. Learn harmony y ear. Learn a harmonic, rhythmic, and expressive vocaulary y ear. Take risks try out some ne ideas. Surround yourself ith others orking on the same principles.
CONTENTS O THE BOOKS Developing Musicianship through Improvisation 1 Long, Long Ago Mary Ann Joshua Don y the Riverside Developing Musicianship through Improvisation 2 When the Saints Go Marching In Tinga Layo A la Nanita Nana This Old Hammer Saint Louis Blues Developing Musicianship through Improvisation 3 Red Wings Amazing Grace Blues in Motherless Child Transformation (Rhythm Changes) 5
PERORMERS ON THE ACCOMPANYING CD piano Christopher Azzara guitar Gene Bertoncini Bo Sneider ass Aleck Brinkman Jeff Campell drums/percussion John Beck Mike Melito alto saxophone Ramon Ricker tenor saxophone Kirsten Edkins trumpet Clay Jenkins Mike Kaupa tromone Mark Kellogg vocals Lisa Azzara Karl-Erik Jansson Luann Saunders 6
UNIT PART 1 REPERTOIRE When first learning, cover the notation. 1. LISTEN to melody (, Track 6) and ass line (, Track 7). 2. With the accompaniment (, Track 8) SING the melody y ear ith ords and on a syllale such as doo and SING the ass line y ear on doo. Tracks 6 9 3. PLAY your instrument y ear on the clicks immediately folloing each melodic pattern (CD 2, Track 9).. With the accompaniment (, Track 8) PLAY the melody and ass line on your instrument ith the appropriate style of articulation. Personalize the tune using expressive phrasing, dynamics, and tonal and rhythmic variation. Melody Bass Line Tis the Πhere e ought to e, and e gift to e sim- ple, tis the in the val - ley of love o and to end e gift to e free, tis the hen e find our - selves in the and de- light.. When true sim - shan t e a - shamed. To 7 gift to come don place ust right, till. plic - i - ty is gained, to. turn, turn ill Joseph Brackett, Jr.
e our de - light, til y turn - ing, turn - ing e come round right. PART 2 PATTERNS AND PROGRESSIONS RHYTHM PATTERNS AND SERIES O PATTERNS IN DUPLE METER Learn the patterns y ear echo the patterns performed on the CD or y your teacher. When first learning the patterns, cover the notation. Echo Rhythm Patterns for Tracks 10 11 Learning these patterns is similar to learning ords in a language. Becoming familiar ith these patterns ill improve your vocaulary for improvising rhythms to this tune. 1. ECHO the duple patterns on the syllale ah, Track 10. 2. ECHO the patterns ith rhythm syllales, Track 11. The rhythm syllales ill help you to organize and rememer the patterns. 3. ECHO the patterns on your instrument on DO. Use the style(s) of articulation appropriate for., Track 10 or 11. The numer (2) tells ho many macroeats (DU) are in a measure. The symol ( h ) indicates hat kind of note is a macroeat (DU). ( h =DU; q q =DU DE; =DU TA DE TA) 1 3 5 7 2 H 2 2 H 2 H 2 H 2 H. 2 H 2 H 2 8 H 6 REPEAT AS NECESSARY 8
Improvise Rhythm Patterns for No that you are familiar ith the rhythm patterns on, Tracks 10 and 11, improvise patterns using the rhythm vocaulary that you have learned. 1. Listen to the rhythm patterns performed on, Track 10. After each pattern a different pattern using the syllale ah. Tracks 10 11 2. Listen to the rhythm patterns performed on, Track 11. After each pattern a different pattern using rhythm syllales. 3. patterns on your instrument on DO. Use the style(s) of articulation appropriate for., Track 10 or 11. Example: 1 2 LISTEN 2 H 2 H 2 H 2 H Continue ith rhythm patterns 3 through 8 (, Tracks 10 11). Echo and Improvise Series of Rhythm Patterns in Duple Meter Improvising a series of patterns is like speaking a sentence or phrase in language. 1. ECHO rhythm phrases using the syllale ah (, Track 12), ith rhythm syllales (, Track 13), and ith your instrument on DO (, Track 12 or 13). 2. After each rhythm phrase, a different phrase using the syllale ah (, Track 12), ith rhythm syllales (, Track 13), and ith your instrument (, Track 12 or 13). The numer (2) tells ho many macroeats (DU) are in a measure. The symol ( h ) indicates hat kind of note is a macroeat (DU). ( h =DU; q q =DU DE; =DU TA DE TA) Tracks 12 13 9
1 LISTEN (Example) 2 H 2 H 2 3 LISTEN LISTEN LISTEN 2 H 2 H 2 H. 2 H 2 H 2 H REPEAT AS NECESSARY TONAL PATTERNS AND HARMONIC PROGRESSIONS You have ust learned to improvise rhythm patterns and phrases of rhythm patterns. No learn to improvise tonal patterns and harmonic progressions. Improve your tonal vocaulary y learning the folloing tonal patterns, first ith a neutral syllale and then ith solfège. Learn the patterns y ear echo the patterns performed on the CD or y your teacher. When first learning the patterns, cover the notation. 10
Echo Tonal Patterns for ( Maor Tonic and Dominant) 1. ECHO, singing the folloing patterns on the syllale um (, Track 1). 2. ECHO, singing the folloing patterns ith solfège (, Track 15). 3. ECHO, playing each of the folloing patterns on your instrument (, Track 1 or 15). Estalish Tonality (Concert Pitch)? I V7 I Tracks 1 15 1 2 3 5 6 7 8 9 10 11 12 C 7 REPEAT ASNECESSARY SING the Root (DO, A, or SO) and NAME the unction (Tonic, Sudominant, or Dominant) in Maor. 1. LISTEN to the tonal patterns performed on, Track 15. After each pattern, SING the root of that function using tonal syllales, and immediately identify the harmonic function. SING: DO and Tonic, A and Sudominant, or SO and Dominant. (=Tonic; Bf=Sudominant; C7=Dominant) Track 15 2. LISTEN again to, Track 15, and PLAY the roots on your instrument. indicates TONIC function, Bf indicates SUBDOMINANT function, and C7 indicates DOMINANT function. A TONIC pattern in maor tonality includes any comination of DO MI SO ; a SUBDOMINANT pattern includes any comination of A LA DO ; and a DOMINANT pattern includes any comination of SO A RE TI. 11
SOLÈGE SHOULD ALWAYS BE SUNG NOT SPOKEN 1 2 3 5 6 7 8 DO TONIC A SUBDOMINANT 9 10 11 12 SO DOMINANT REPEAT AS NECESSARY Improvise Tonal Patterns for (Tonic, Sudominant, and Dominant unctions in Maor) Tracks 1 15 1. LISTEN again to the tonal patterns performed on, Tracks 1 and 15. 2. After each pattern, a different pattern ith the same harmonic function ith a neutral syllale ( um, Track 1). 3. After each pattern, a different pattern ith the same harmonic function ith solfège (, Track 15).. After each pattern, a different pattern ith the same harmonic function on your instrument (, Track 1 or 15). Example: LISTEN LISTEN 1 2 3 LISTEN Continue ith tonal patterns through 12 (, Tracks 1 15). 12
ECHO and Series of Tonic and Dominant Patterns in Maor Improvising a series of patterns to make a harmonic progression in music is like speaking a sentence or phrase in language. Anticipate and predict the harmonic progression. Where does the harmony go and here might it go? 1. Using the syllale um, ECHO (SING) the series of patterns (, Track 16). 2. Using solfège, ECHO (SING) the series of patterns (, Track 17). 3. ECHO the series of patterns on your instrument (, Track 16 or 17).. After each series of patterns, SING the ass line (roots) using solfège (, Track 17). 5. After each series of patterns, PLAY the ass line (roots) on your instrument (, Track 16 or 17). 6. After each series of patterns, a different series of patterns over the same harmonic progression using solfège (, Track 17), ith a neutral syllale ( um, Track 16), and on your instrument (, Track 16 or 17). Tracks 16 17 Example: LISTEN ECHO ROOTS 1 LISTEN ECHO ROOTS C7 C7 2 LISTEN ECHO ROOTS C7 C7 13
3 LISTEN ECHO ROOTS LISTEN ECHO ROOTS C7 C7 PART 3 IMPROVISING MELODIC PHRASES Track 18 Sing improvised melodies to familiar repertoire. 1. Listen to, Track 18. The performer sings the first phrase of ; instead of continuing ith the original second phrase, you hear an improvised melody that continues the harmonic progression. Listen to all four first phrases (antecedent phrases) and improvised second phrases (consequent phrases). Example: MELODY.. 1
2. Listen to, Track 19. After hearing the first phrase (antecedent phrase) of, continue the harmonic progression of the tune and sing a second phrase (consequent phrase) that is different from the original melody. Continue in a similar manner ith the remaining phrases. Direct your melody toard chord tones, e.g., DO, MI, SO (CD 2, Track 19). 3. Perform in a similar manner on your instrument (, Track 19). Track 19 No, you try: MELODY... Improvise oth antecedent and consequent phrases to the harmonic progression of the tune (, Track 26). (The accompaniment repeats to times.) Track 26 15
PART LEARNING TO TONALLY RHYTHMICALLY EXPRESSIVELY SEVEN SKILLS Tracks 6 9, 20 Before you egin the Seven Skills, revie (, Tracks 6 9). 1. SING and PLAY the melody. 2. SING and PLAY the ass line (roots). Skill 1 1. Listen to, Track 20. The performer improvises rhythm patterns to the ass line of. Example: Πon Chord Roots Improvise Rhythms ΠΠTrack 26 2. Improvise rhythm patterns to the ass line of. SING your improvisation ith the neutral syllale doo, and then PLAY it on your instrument (, Track 26). Skill 2 1. Estalish tonality in maor and SING each of the four parts on the next page for the harmonic functions of. or example, SING DO, A, SO, DO DO, DO, TI, DO MI, A, A, MI SO, LA, SO, SO. 2. Play each part on your instrument. When in a group setting, each student should select a part to sing and play for Skills 3 and. When performing alone, start ith the ass line (chord roots Skill 1). Be sure to perform Skills 3 and using the other three parts as ell. 16
Example of Tonic, Sudominant, and Dominant Harmony in Maor Parts: Bass Line DO, A, and SO DO and TI MI and A SO and LA Skill 3 DO DO MI SO A DO A LA SO TI A SO DO DO TONIC SUBDOMINANT DOMINANT TONIC I IV V7 I MI SO Learn the harmonic rhythm for using the pitches from the harmony in Skill 2. SING every part. PLAY these parts on your instrument (, Track 26). Skill Track 26 Using a neutral syllale (e.g., doo ), improvise rhythm patterns to the harmonic progression using pitches learned in Skill 2 (#2, 3,, and 5 elo and on the next page). Select a part and improvise rhythm patterns. Do this ith each part. Interact ith the melody (#1) and other parts (, Track 26). irst SING, then PLAY these parts on your instrument. MELODY 1... BASS LINE; RHYTHM 2 17
RHYTHM ON DO AND TI 3 RHYTHM ON MI AND A RHYTHM ON SO AND LA 5 Track 21 Skill 5 1. Listen to, Track 21. The performer improvises tonal patterns to the harmonic progression using macroeats. Example: 18
2. Using macroeats improvise (SING, then PLAY on your instrument) tonal patterns to the harmonic progression (, Track 26). Skill 6 Tracks 22, 26 1. Listen to, Track 22. The performer improvises tonal patterns and rhythm patterns to the harmonic progression. Example: Œ Œ 2. Improvise (SING, then PLAY on your instrument) tonal patterns and rhythm patterns to the harmonic progression (, Track 26). Skill 7 Tracks 23, 26 1. Listen to, Track 23. The performer improvises y decorating and emellishing the melodic material in Skill 6. Example: Œ.. Œ. 2. Decorate and emellish the melodic material in Skill 6. Improvise melodies to the harmonic progression (, Track 26). Learn to SING and PLAY the solos provided (, Tracks 2 and 25). to (, Track 26). Tracks 2 26 19
PART 5 READING AND WRITING Rhythm Writing 1. Write the patterns on page 52 or notate improvised patterns. Estalish meter and rememer to group the notes into patterns and phrases efore riting them. 1 2 3 5 6 7 8 2. Write the series of patterns on page 5 or notate an improvised series of patterns. 1 2 3 Tonal Writing 1. Write the patterns on page 55 or notate improvised patterns. Estalish tonality and rememer to group the notes into patterns and phrases efore riting them. 1 2 3 5 6 7 8 9 10 11 12 20
2. Write the series of patterns on pages 57 58 or notate an improvised series of patterns for the progression. 1 2 3 READ COMPOSE READ and to the harmonic progression (, Track 26). SING and PLAY the melody and/or ass line on your instrument. Also, COMPOSE other melodies using the harmonic progression indicated and the tonal and rhythm vocaulary that you have learned. MELODY 1... BASS LINE 2 Π21
3 COMPOSE C7 C7 PART 6 LEARNING SOLOS Tracks 2 26 Listen to, Tracks 2 and 25. The performer plays an interpretation of the melody folloed y an improvised solo. Learn to sing and play the solo performed on the CD. Use the space provided to finish transcriing the solo on, Track 25, or to notate other solos. Analyze the solos for vocaulary and ideas to incorporate into your on improvised solos. See page v for suggestions aout developing meaningful improvisations. Perform ith the accompaniment on, Track 26. Œ.. Œ. 22
C7 C7 C7 C7 C7 C7 23
DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Christopher D. Azzara Richard. Gruno Learn to improvise ith this groundreaking, state-of-the-art ook and CD set! With Developing Musicianship through Improvisation, you ill learn to improvise as readily as you ould oin in a conversation. Using the tunes in this ook, you ill uild a vocaulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases that you can apply to a ide range of music, including classical, azz, and folk styles. You ill also read and rite music, connecting your improvisation to meaningful experiences ith notation. Each unit in Developing Musicianship through Improvisation contains six components: 1) Repertoire, 2) Patterns and Progressions, 3) Improvising Melodic Phrases, ) Learning to Improvise Seven Skills, 5) Reading and Writing, and 6) Learning Solos. Regardless of your musical ackground, you can play tunes and learn harmony y ear, skills at the heart of improvisation. This intuitive and engaging approach to Developing Musicianship through Improvisation is a maor advance in music teaching and learning. Book and 2-CD sets in this series availale from GIA Pulications: C Instruments (Trele Clef) (G-6657).......................... $3.95 C Instruments (Bass Clef) (G-6816)............................ 3.95 B Instruments (G-6820)..................................... 3.95 E Instruments (G-6817)..................................... 3.95 Instruments (G-6818)...................................... 3.95 Vocal (G-6819)............................................. 3.95 To order, call 1.800.GIA.1358 or 708-96-3800 or fax 708-96-3828 E-mail: custserv@giamusic.com Or place an order via our We site, http://.giamusic.com 2