A friend of mine recently asked about my views on improvising. He said he felt like he was fairly dexterous and had a good basic knowledge of scales but that he wasn’t able to free up his ow and be expressive on the guitar. In the course of thinking about this, I’ve come up with several observations that may be of some use to anyone looking to “improve their improv,” as it were.
Effective improvising depends on the successful juggling of a myriad of interconnected concepts.
(1) Think Ahead. Of utmost importance amongst these is the knack of thinking ahead in a tune at the same time as you’re playing it in the present moment. In fact, if we look at the root of the word “impro- vise” we see that it comes in part from “providére” —to see ahead. Indeed, if one can “see” an upcoming chord change or transitional moment approaching, one can plan for it by building up to it using dynamics, note selection, or phrasing to delineate the song’s structure. This is much easier to do with a familiar song or one with predictable changes. However, even in jam situations one can often feel when a shift is eminent, if one has their temporal antenna properly tuned out ahead of the action.
(2) Work From the Melody. Always improvise from a rm grasp of the melody line, whether in an instrumental tune or a vocal one. This may mean sitting down and guring out the best hand and nger position for the melody, even guring out the notes themselves, which isn’t really improvising, is it? We’ll get to that later. If a solo occurs, for instance, over the verse chords, pick out the shape of the melody just like it’s presented by the singer, at least for the rst phrase or so. The listener has been hearing the melody sung already. It’s a nice change to hear it again in the
guitar’s voice. It helps to establish a link between the melody and the underlying chord changes, a common frame of refer- ence. After achieving this solid foundation, start inventing, and have some fun w ith all the possibilities inherent in the song. Our hypothetical listener is more likely to go there with you if he or she can hear where you’re starting.
(3) Decide On the Amount of Control. There seems to be two broad schools of improvisational thought. The difference between them boils down to the degree of control one prefers to have. At one extreme we have the spontaneous, in the moment, Jerry Garcia scenario, in which we cast cau- tion to the winds and let the subconscience, the inner musician, have complete control, full speed ahead, damn the torpedoes. Those of us of this persuasion reap great rewards, but court correspondingly great risks, as well. Nothing ventured, nothing gained, right? Over here in the other corner, we have the guys who prefer to come from a slightly more structured place; one in which an “improvised” solo actually consists of elements that have been care- fully orchestrated and arranged in advance. So, which approach to use? Well, that segues nicely into. . .
(4) Stylistic Appropriateness. Always be sensitive to the stylistic appropriateness of what you’re playing as it relates to the mood of the piece. Some types of songs just naturally lend themselves to the free ow “jamming” kind of an approach, whereas others may well require something a little more arranged or fabricated. Knowing the difference between these two and when each is appropriate is what we’re after. (5) Play with Connence. It’s important to play condently, just as it is to portray a condent demeanor in other aspects of life. One way to being a more condent
player is to have fast access to an arsenal of chops; a working knowledge of lots of runs; chord variations and voicings; the foundation of some basic music theory; and things you can pull out on the y and use in a hurry. Indeed, one of the denitions of the word “improvise” is “to fabricate out of what is conveniently at hand.” The more materials you have at hand, the more expressive you can be. Having the ability to access all this quickly is the key, as is the ability to do it in a musical, tasteful, condent way. Easily said, you say? Well, you can always go work on your. . . . (6) Ear-training. That magical loop between ngers and voice and ear in which you scat-sing a line and then nd it on the guitar. This will help you become a more uid improviser, create tastier lines, and help with phrasing, among other benets. When the great B.B.King was asked how he comes up with his wonderful improvised leads, he indicated that all he’s trying to do is play lines that he’s actually singing to himself in his head. Well, heck, if it works for B.B.... So start doing your best Ella Fitzgerald impersonation and start forging that voice-box to fret-board connection. Become George Benson for just a few minutes a day and you’ll be a better impro- viser for it.
(7) Viable Exit Strategy. It’s always important to have a viable exit strategy. Again, as in life itself, a graceful ending can save an otherwise mediocre effort. As you approach the end of the allotted time for the lead break, be thinking ahead (sound familiar?) about your best ending strategies. How one chooses to nish ends up having a relatively large impact, as it’s the last thing that’s heard. It’s always nice
29 Flatpicking Guitar Magazine July/August 1999
to nd something with a nice “wow” factor, I mean, why not? Try a hammered-on, pulled-off descending rst position scale from the top string to the bottom, topped with some lovely chiming harmonics. Or try switching from major key mode playing to minor blues-based playing with some gritty string bends. Try something geometric, jazzy, really fast, really slow, classical. Try quoting game show and sitcom theme music phrases; the skies the limit.
When all these elements and many more not touched on here are in place, improvis- ing can be an exhilarating ride. To use a slightly Santa Cruzian metaphor, it can be much like paddling into a big, foaming blue- green wave, the rush of the approaching surge, the stomach-lurching drop over the lip, the time-stopping interlude within the grasp of the immense power that surrounds you, the intuitive sensing of when to get out, hopefully with stylistic verve and air. . .as opposed to getting caught unaware, ail- ing over the falls to be pinned down, lungs bursting. Let’s avoid this second scenario if possible, shall we?
So, before you step up to the plate for your next lead break, just keep these seven handy
tips in mind:
1. Think ahead
2. Work from the melody
3. Decide on the amount of control 4. Stylistic appropriateness
5. Play with condence
6. Play your internally sung phrases 7. Viable exit strategy
In place of tab this time, take an old tune you know that you usually play by rote and try applying the points illustrated here and see if that won’t help “improve your improv .”
‘Til next time, “ears” to listening, big ears to all and to all a good solo.
Joh n Tind el perform s regularl y in th e Monterey bay area with his band, Santa Cruz-based RST, as well as doing studio and session work at their Seacliff Studios, occasional national touring, watercolor art commissions and portraiture. For more info on John, Seacliff Studios, or RST contact [email protected]