Definitions of Improvisation

Musicians have been improvising jazz for a long time. Below are some typical definitions of jazz improv, with some common questions raised by each definition.

Definition A: Jazz improv is making up music as you go.

Question 1: So how do you make it up?

Question 2: What makes it sound good or bad?

Definition B: Jazz improv is choosing notes to fit chords.

Question 3: What are notes?

Question 4: What are wrong notes?

Definition C: Jazz improv is musical communication.

Question 5: Who communicates?

Question 6: What do you communicate and how?

Q1: How Do You Make It Up?

Improvising is creating music on the spot, but you don’t improvise

out of thin air. With the 12 chromatic pitches (C, C#, D, Eb, etc.) you can get unlimited combinations by changing:

• The order of the pitches

• The range of the pitches (higher or lower octaves)

• The rhythms and expressions used

• The way pitches are repeated or varied

Remember: creativity is more a matter of organization and expression than finding “newness.” 

Q2: What Makes It Good or Bad?

Your definition of bad, good, or great solos will change and mature as you learn more about the art of improvisation. When you discover how and why musical ideas fit together, solos that at first sound too simple may reveal their hidden beauty, while solos that seem too complicated may actually be a wonderful collection of smaller ideas. On the other hand, solos that sound impressive at first may be long on technique and short on creative ideas. When you recognize the Seven Elements of improvisation in your own solos and in recordings, you can make significant progress in your improvisation. Bad Habits of Improvisation You should avoid common bad habits of weak improvisation:

• Continually trying to play higher, faster, and louder, leading down a dead-end street.

• Playing too many new ideas instead of building on some of the musical ideas you have

already played.

• Getting locked into the same ideas, same pitches, same rhythms, and same expression

(or lack of it).

Q3: What Are Notes?

Dumb question. Or is it? A note is more than just a pitch: it also has rhythmic placement and musical expression. A note can be played many different ways, and a group of notes can have countless variations. Sadly, many improvisers get wrapped up in finding the next “golden pitch,” thinking little about the rhythms, expression, and development that would turn those pitches into artistic improvisation.

Q4: What about Wrong Notes?

Is a wrong note one you didn’t intend to play? Often you can build a musical idea around an unintended note so it sounds intended. If that doesn’t work, at least you can go on with the rest of your idea (instead of moaning after a “wrong” note). Is a wrong note one that doesn’t fit the current chord symbol? Actually, any of the 12 pitches can be played against any chord; each pitch is either a chord tone (consonant), a chord extension (somewhat dissonant), or a non-harmonic tone (dissonant). The real issue is handling those notes so they sound like they belong. That way, there aren’t right and wrong pitches, just better or worse ones for the current chord and idea. A “wrong” note could simply be a boring one. This book help you choose pitches, rhythms, expressions, and musical ideas to make your solos more interesting.

Q5: Who Communicates?

As you improvise, you first communicate with yourself. You hear chords, select and play notes, and decide whether to build upon what you just played or try something new. This takes practice, concentration, and quick reflexes so your solo can be what you want and how you want it, without slowing the music down. Next, you communicate with the other members of your group. Your improv decisions are affected by what they play, and vice versa. This book contains many helpful ideas on how you can establish good communication in your jazz group (Chapter 4G: Group Interaction). Finally, you communicate with your listener. Usually, this works well if you’re communicating with yourself and with your group members. But don’t try to guess what your audience wants to hear. Tell them your own story from your heart and mind. (For more about live performance psychology, see Chapter 3H: Soloing Live.)

Q6: What Do You Communicate and How?

You communicate by how you play and develop your musical ideas. Just like conversation, you have to balance what you say with how much you say and when you say it, so you can communicate something truly interesting. Remember: quantity doesn’t equal quality. The economy of your melodies and the context of your musical ideas make a huge difference in your improvisation.

Jazz Improvisation and Other Arts

Jazz improvisation is like other art forms, such as painting, classical composition, language, and standup comedy.

Painting and Jazz Improvisation

Improvising is much like painting with sound, but without erasing, touch-ups, or corrections; what you paint the first time is what you get.

Painting

1) Organize lines, shapes, colors in a space (canvas).

2) Balance and contrast filled and empty spaces.

3) Use foreground and background objects.

4) Balance unity and variety.

5) Contrast dark and light, thick and thin textures.

6) Use artistic tools and skills wisely.

7) Combine acute vision and imagination.

Jazz Improvisation

1) Arrange sounds (melodies and rhythms) in the space of time.

2) Balance sound and silence.

3) Solo in the foreground, accompany in the background.

4) Develop with repetition and contrast.

5) Contrast high/loud/fast with low/soft/slow, use group or individual solos.

6) Use musical tools and skills wisely.

7) Combine acute musical hearing and imagination.