| As an instrumental music teacher, I have found that | | | | (three notes, five notes, all notes) increasing confidence |
| music students on any instrument at any age and level | | | | in their creative ability. |
| can improve their technique while learning how to | | | | When the student has gained proficiency playing over |
| improvise. Just as music teachers guide students to | | | | each chord individually, it is time to introduce the full |
| learn music theory with written music, we can take | | | | 12-bar progression. The tricky part for students is |
| theoretical knowledge and apply it to improvisation. | | | | remembering which notes to use when the chord |
| The same way we learn how to perform complex | | | | changes. In my method books, I have the students |
| rhythms and finger combinations by breaking those | | | | pencil in the notes where the chord changes. I also call |
| elements down into smaller pieces and using repetition | | | | out the chord name when we arrive at the change. |
| to achieve successes, we can break down the proper | | | | Example: |
| scales to use over a chord into using just a few notes | | | | "ready &" |
| at a time over one chord to achieve our first | | | | C / / / | / / / / | / / / / | / / / / | |
| successful improvisations. We repeat each step until | | | | "ready &" "ready &" |
| the student is comfortable using those notes in a | | | | F / / / | / / / / | C / / / | / / / / | |
| variety of combinations. | | | | "ready &" |
| This process removes fear of failure. As long as the | | | | G / / / | / / / / | C / / / | / / / /:|| |
| student can play those first three notes they will not | | | | I conduct the student with my right hand and cue them |
| fail. A resulting series of successes then builds the | | | | when the chord changes. This helps give the student a |
| students' confidence that they can do it. They can | | | | visual representation in space of what's happening in |
| begin to create their own melodies. | | | | time. |
| We start with Concert C Blues. Once the student has | | | | There is also an opportunity to incorporate a variety of |
| become comfortable using the first three notes over | | | | tonguing patterns, staccato vs. legato passages and |
| the I7 chord, we add two more notes from the scale. | | | | any other technical aspects we are currently working |
| Since they are already more comfortable with the | | | | on into our improvisations. We can practice creating |
| process now, it's easier to add these next two notes. | | | | motifs or "riffs" - patterns that fit into the chord |
| Any fear they may have felt about tapping into their | | | | structure. Anything we put into practice we can add |
| own creativity has been faced by taking Step One. | | | | into our creativity. Improvising can take what many |
| Any perceived discomfort comes from not being | | | | students see as a chore (learning scales, developing |
| required to read notes from the staff, as they have | | | | finger dexterity, executing arpeggios, etc.) and turn it |
| been taught to do previously. This freedom was an | | | | into creative fun. |
| unknown before it is introduced. If there was any fear | | | | One of the biggest challenges I've seen with students |
| present before, it has likely been lessened considerably, | | | | is their recognizing when the chord changes. If this |
| if not conquered, by achieving small successes. A | | | | occurs, you can play the progression and have them |
| generous dose of encouragement and guidance is | | | | call out the chord at the beginning of each measure so |
| extremely helpful at these beginning stages. It is also | | | | they begin to hear the changes. Have the student |
| beneficial to demonstrate examples either vocally or | | | | follow each beat with their index finger and call out the |
| on your instrument how to use the notes. | | | | chord when it changes. If they need more practice |
| The last step for the first scale (C Blues over C | | | | hearing it, repeat the process. |
| Dominant 7th) is to use all the notes of the scale to | | | | When the student has learned to play over their first |
| create our melodies. By now the student has gained | | | | progression successfully, it is time to apply the same |
| more confidence with their previous successes using | | | | process to the next key. Eventually, the student will |
| three notes and five notes. | | | | learn to improvise over all twelve keys. After that we |
| For students who are beginners, I limit them to using | | | | introduce the Dominant 7th scales and chords. By the |
| quarter notes and half notes to start. As they increase | | | | time they have completed all keys, they will have |
| their technical proficiency, we add eighth notes for | | | | gained significant technical proficiency on their |
| intermediates and add sixteenth notes for advanced | | | | instrument in addition to the ability to create their own |
| performers. We always limit the first time through each | | | | melodies in live performance. |
| step to only one octave at a time. By limiting initial | | | | I learned jazz improvisation in private lessons with |
| choices, our students achieve more successes to build | | | | Dave Burns, former trumpeter in Dizzy Gillespie's Big |
| upon. When they are ready, we can add another | | | | Band. He had a grand piano in his basement teaching |
| octave. When they are proficient at both (or more), | | | | studio and would record the chord changes into a |
| we can expand the parameters and allow our | | | | cassette recorder for me to practice improvising at |
| students to experience the true creative freedom | | | | home. |
| embodied in improvisation. | | | | Right now, my youngest guitar student using this |
| Once we have successfully created melodies over | | | | method is 12 years old and my oldest tenor sax |
| the first I7 chord (the C Blues Scale over C Dominant | | | | student is 62 years young. They are successful with |
| 7th) we break down the next IV7 chord and blues | | | | this process because it builds on small achievements |
| scale of the progression to its smaller steps (F Blues | | | | until the student becomes proficient soloing in each key. |
| Scale over F Dominant 7th). We repeat the process | | | | If you are interested in expanding your classroom |
| (three notes, five notes, all notes), generating | | | | music teaching or private studio to include teaching |
| successes and confidence as before. | | | | improvisation, this method can help your students to |
| Then we move on to the third chord and scale of the | | | | become proficient improvisers and better performers |
| progression, the V7 chord (G Blues Scale over G | | | | overall. It's the beginning of your journey together into |
| Dominant 7th). We repeat the process once more | | | | creativity. |