Woodshed MASTER CLASS by Lynne Arriale Five Easy Notes A Simple Path Toward Experiencing Improvisation I am drawn to melody, and I encourage my students to be aware of melodic structure from the beginning of their study and experience improvisation right away—on a basic level. Most people can improvise coherent musical phrases within a few minutes, given the right information, regardless of their musical background. Melodic logic is part of our culture, as television, radio, CDs and other media constantly expose us to melodies and embed them into our consciousness. With simple instructions on how to sing and play a few short melodic phrases using only five notes, anyone can begin to improvise. I have tested this exercise with several friends who have no musical background, and it worked beautifully. Of course, a beginning player needs to diligently study all of the building blocks of jazz improvisation. However, the melodic approach in this lesson can serve as an easy introduction, enabling you to improvise within a few minutes, even if your tools and musical vocabulary are simple. It can be done on your own, or with an instructor. The purpose of this exercise is twofold: 1) to create a “feel” for melody; and 2) to strengthen the ability to spontaneously create melodies that make sense. It will be easier to think melodically with more advanced material as you progress. Initially, you should work with two simple rhythmic phrases, and as you get the hang of it, you can create your own rhythmic/ melodic phrases. This lesson can be done on any instrument. Repeating each step for at least a minute makes it effortless. First, you should say the rhythm in Example 1, feeling free to swing the phrase, using the syllables da-doo-da, with the stress on the da’s, especially the second “da.” Repeat this around 10 times, until it becomes automatic. Next, tap the rhythm on your leg (or the wood of the piano). Continue to say the rhythm simultaneously. Tapping on the leg using different fingers, repeat the rhythm several times; continuing to say the rhythm. Place your right hand on D, E, F, G, A (the first five notes of the minor scale). Play this rhythm using only these five notes for several minutes, and sing it at the same time. If singing and playing simultaneously is too difficult, it’s OK to just play. Some possibilities are shown in Example 2. You are now improvising. Even though the rhythm is predetermined, the note choice is spontaneous. Each phrase creates a new melody. Using the same rhythm allows you to hear the variations of one rhythmic phrase related to the first. Do this exercise for several minutes to get comfortable varying the notes, while repeating the same rhythm. This exercise expands your melodic vocabulary. Once you’re comfortable playing the first phrase (Phrase 1), pick a different rhythm. The syllables can be “da-doo-doo-da.” (See Example 3) Verbally repeat Phrase 2 around 10 times, until it is effortless. Tap this rhythm, and continue to say the rhythm. Use different fingers and repeat the rhythm several times while continuing to say the rhythm. Place your right hand on D, E, F, G, A, and play this rhythm using the five notes. Continuing this for several minutes, try to sing the melodies at the same time. A beginning player will tend to stop after a few repetitions as the exercise gets easier. However, it’s important to continue for several minutes after that point, so that this new vocabulary becomes integrated in mind and hand, and the exercise can be done with ease. Some Phrase 2 possibilities are in Example 4. Next, you should combine Phrase 1 and Phrase 2. Speak and tap the rhythm of two Phrase 1s and two Phrase 2s. Do this several times, singing or playing the 1, 1, 2, 2, combination, using the five notes. (See Example 5) Next, say the rhythms of phrases 2, 2, 1, 1 for several repetition, and sing or play 2, 2, 1, 1 several times, using the five notes. (See Example 6) Next, alternate your phrase combinations. Say the rhythm of phrases 1, 1, 2, 1, and sing or play 1, 1, 2, 1 several times. The two Phrase 1 sections will sound similar, though not the same, and that creates continuity and some nice melodic shapes. Phrase 2 contrasts with the first phrase and creates a sense of departure, and the return of the Phrase 1 brings the rhythmic phrase full circle. The phrases have internal logic, which makes them feel natural and sound good. The exercise strengthens your ability to remember what you played a moment ago. There are limitless rhythmic phrases that could be used; I have just chosen two for this exercise. (See Example 7) Now that you have spent some time repeating predetermined rhythmic phrases, play freely using the five notes. Don’t think about anything. Since you have spent some time with the 1, 1, 2, 1 structure, the phrasing will probably be affected and the phrases will make sense. If you are playing with a teacher or colleague, trade phrases with them. Play a simple one-bar phrase, using the same five notes, and ask them to answer your phrase. This creates an interactive mind-set, where you listen to something and respond to it with your own original idea. Try some variations of this exercise. Play a phrase, and then have the other person play back the same rhythm, but using different notes. This allows you to hear rhythm separately from note choice. You can also play a phrase and have the other person respond with a different phrase, with a different rhythm and notes. You can also do these exercises in a new key every day. DB Motéma recording artist Lynne Arriale is assistant professor of jazz piano and director of jazz combos at the University of North Florida in Jacksonville. This winter she will release her 11th project as a leader, a CD and DVD set entitled The Bennett Studio Sessions, featuring Randy Brecker, George Mraz and Anthony Pinciotti. She can be reached at lynnearriale.com and unf.edu/coas/music/faculty.html. JEAN-MARC LUBRANO 56 DOWNBEAT September 2008
EXAMPLE 1 EXAMPLE 2 EXAMPLE 3 EXAMPLE 4 EXAMPLE 5 EXAMPLE 6 EXAMPLE 7 September 2008 DOWNBEAT 57
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