BREAKTHROUGH
TO IMPROV:
Tnr Srcnrrs
oF hupnovtsATroN
15 STEPS
TO MUSICAL
FREEDOM
FOR
ALL MUSICIANS
by Dave
Frank
Ljbrary tafeSA Satisburv Wiitshire Street S a r i s b u . v S A 5 1 O g7 l
H A L . L e o N A R D .
L - c o R p o R A T t o N 7 7 2 W . B L U a r o u i o R o . p o . 6 0 r t $ t 9 M r ! w ^ u x f , a , w t 5 3 2 t 3 C o p y n g h t I 2 0 0 1 b y H A L L E O N A F D C O R P O F A T T O N International Copyright Secured All Rights Reserved[ t / V g o a l i n t h i s v i d e o is to help you to break throuqh t o t h e a b i l i t y to improvise m u s i c . F o r I Y I b e g i n n i n g i m p r o v i s e r s , t h i s s e s s i o n i s d e s i g n e d t o l e a d to the experience o f b l u e s i m p r o v i s a t i o n . T h o s e m u s i c i a n s w i t h p r i o r im p r o v experience w i l l f i n d t h a t applying t h e c o n c e p t s i n B r e o k t h r o u g h t o l m p r o v w i l l d e e p e n a n d e x p a n d t h e i r im p r o v ability.
The key to getting the most out of this session is to spend the time necessary to master the material of each section as outlined by the proctice points. The abilities learned in the first four practice points p r o v i d e t h e f o u n d a t i o n f o r t h e p r o c e s s o f b l u e s i m p r o v i s a t i o n . F r e e b l u e s i m p r o v i s a t i o n t r u l y b e g i n s i n the section titled "lmprovising with quarter-note riffs."
ln Breokthrough to lmprov, we're concentrating on limited musical elements-the blues progression a n d t h e b l u e s s c a l e . W e ' r e c o m b i n i n g t h e s e e l e m e n t s u s i n g v a r i o u s m u s i c a l c o n c e p t s , i n c l u d i n g r i f f s , " f e e l i n g i n f o u r s , " q u e s t i o n - a n d - a n s w e r ,
a n d o t h e r s . T h e s e c o n c e p t s a r e th e s e c r e t s o f i m p r o v i s a t i o n . T h e m o s t im p o r t a n t t h i n g t o r e m e m b e r a s y o u e x p l o r e t h e p r o c e s s o n t h i s v i d e o is to generare y o u r music from the feeling of the flow of swing eighth notes (once you've got that far). The mechanics of improv, although important, are secondary. As you improvise, always base your music in the flow of l e g a t o ( c o n n e c t e d ) s w i n g e i g h t h notes-it's a natural r h y t h m , a b o u n c y f e e l i n g . l f y o u l e t y o u r m u s i c c o a s t o n t h e w i n g s of these swinging eighth-note r h y t h m s and apply the concepts i n t r o d u c e d i n each section to the notes of the blues scale, you'll be jommin'!
The following is a review of the practice points for each section with some additional comments for you t o u s e a s y o u PlaY: c'7 C 7 c'7 P R A C T T C E P O I N T # 1 : P r a c t i c e t h e b l u e s s c a l e a l o n e . K e y b o a r d i s t s s h o u l d p l a y th i s p r o g r e s s i o n i n t h e l e f t h a n d a l o n e , m e t r o n o m e . = 7 2 ' * N o t e : keep the metronome a t 7 2 a s y o u r v o r k th r o u g h a l l t h e p r a c t i c e p o i n t s . A s v o u f e e l c o m f o r t a b l e w i t h t h e m a t e r i a l a t s l o r v e r t e m p o s , g r a d u a l l y i n c r e a s e t h e s L . e e d . Y o u s h o u l d a l s o p r a c t i c e a t t i m e s r r i t h o u t a m e t r o n o m e , t o P r e v e n t d e ' . e l o p i n g a r e l i a n c e o n a n e x t e r n a l p u l s e . C u i t a r i s t s , i n s t r u m e n t a l i s t s , a n d v o c a l i s t s s h o u l d p l a y a n d / o r t a p e t h e p r o g r e s s l o n a n d l i s t e n t o t h e c h o r d c Y c l e . T h i s p r o g r e s s i o n r s t h e f r a m e w o r k f o r b l u e s i m p r o v i s a t i o n . P r a c t i c e t h i s p r o g r e s s i o n until the sequence is second nature to you.
t l
-o.
P R A C T I C E P O I N T # 2 : P r a c t i c e t h e b l u e s s c a l e a g a i n s t th e b l u e s p r o g r e s s i o n ; c h a n g e d i r e c t i o n s f reely,
First play the scale up and down in quarter notes, then continue to play notes from the blues scale, but ptay ifrem in any order you feel. Ascend and descend the scale freely in quarter notes, creating simple melodies as you play.
PRACTICE pOINT #3: Repeat one riff against the blues progression, then alternate the placement of the two riffs.
PRACTICE POINT #4: lmprovise the order of the two riffs against the blues progression.
C o m b i n e t h e s e r i f f s i n a n y s p o n t a n e o u s o r d e r th a t y o u f e e l . Y o u r i n n e r e a r w i l l c o n t i n u o u s l y p r o m p t y o u to play one riff or the other. This exercise will teach you to respond quickly to your inner ear while f o l l o w i n g t h e b l u e s p r o g r e s s i o n .
PRACTICE POINT #5: lmprovise freely and create short eighth-note riffs followed by a rest.
T h i s i s th e b e g i n n i n g o f f r e e b l u e s i m p r o v i s a t i o n . O n e a d d i t i o n a l t e c h n i q u e t h a t c a n b e u s e d t o a t t h i s le v e l is to make up a simple story as you improvise, matching each word with a note. Speak and play, for e x a m o t e :
l o . . l o r - \ \ ' h a r d o \ o u k n o q _ . ) '
. r - r l
a ' a t a a a a _ o 1 1
Let the words lead the music and simultaneously create a short word phrase with a short musical phrase made up of blues scale notes. This easy technique connects the "musical brain" with the "language brain." Try it-it worls!
PRACTICE POINT #6: Improvise freely and create short swinging eighth-note riffs.
This is similar to step 5, only faster. The key to keeping your cool as you speed up is to consciously relax as you play at faster tempos.
PRACTICE POINT #7: lmprovise using notes of the blues scale to create long swinging eighth-note l i n e s , " f e e l i n g in fours."
P l a y i n g a t t h i s le v e l , y o u r im p r o v i s a t i o n s w i l l s o u n d a u t h e n t i c ! " F e e l i n g i n f o u r s " is one of the unique improvising concepts presented in Breakthrough to lmprov.lt's the most effective improv technique l've f o u n d t o g u i d e t h e c r e a t i v e p r o c e s s . " F e e l i n g i n f o u r s " opens you to the magic and mystery o f i m p r o v i s a t i o n . l t p l a c e s y o u r m u s i c d i r e c t l y i n t o th e fl o w o f r h y t h m . P l a c e a s m a l l a c c e n t o n t h e f i r s t n o t e i n e a c h g r o u p o f f o u r eighth notes a n d c o n s c i o u s l y i m p r o v i s e i n r e g u l a r , d e f i n e d g r o u p s o f f o u r s w i n g i n g e i g h t h s . S t a r t s l o w l y , c r e a t i n g l o n g e r m u s i c a l s e n t e n c e s a n d m a i n t a i n i n g t h i s fo c u s .
PRACTICE POINT #8: lmprovise freely using your inner ear guide to combine short riffs and longer l i n e s . B a l a n c e a n d v a r i a t i o n a r e th e p r i n c i p l e s h e r e . F o l l o w t h e p r o m p t i n g s o f y o u r in n e r e a r , a s it w i l l t e l l y o u w h e n to change e l e m e n t s i n y o u r p l a y i n g - i n th i s c a s e , w h e n to s w i t c h f r o m c r e a t i n g l o n g li n e s t o s h o r t l i n e s a n d v i c e v e r s a . P R A C T I C E P O I N T # 9 : C o n s c i o u s l y i n c o r p o r a t e t h e t h r e e q u e s t i o n - a n d - a n s w e r a p p r o a c h e s i n t o y o u r i m p r o v i s a t i o n s . U s i n g th e s e a p p r o a c h e s w i l l h e l p y o u t o d e v e l o p y o u r m u s i c a l i d e a s , a n d w i l l c r e a t e a r e l a t i o n s h i p between your ideas. This will help your improvisation to tell a story.
P R A C T I C E P O I N T # 1 0 : A d d e i g h t h - n o t e t r i p l e t s in t o y o u r s w i n g li n e s a n d c r e a t e li n e s composed e n t i r e l y o f t r i p l e t s . 7 ' ' H c l 4 \ \ o 6
Here is an example of a blues line composed entirely of triplets:
* excerpted from the /oy of /mprov: Book 2 (Lesson 52).
P R A C T I C E P O I N T # 1 1 : W r i t e o u t a n d i m p r o v i s e s i x t e e n t h - n o t e l i n e s .
S t a r t s l o w l y ! A s i x t e e n t h - n o t e l i n e a t . = 50 is the same speed as an eighth note line at , = 100. T h i n k m e l o d i c a l l y . Y o u r s i x t e e n t h - n o t e l i n e s s h o u l d b e s i m i l a r y o u r e i g h t h - n o t e l i n e s , o n l y tw i c e a s fa s t ! lf at any time you lose your focus and/or the chord progression, relax and begin again. Try not to over-react to "wrong notes." Many of the greatest recordings by the greatest improvisers contain missed notes or incomplete phrases. lmprovisation is a process of discovery, not a guest for note-perfect performances. Over time, the ability to improvise becomes a marvelous process-original music will flow endlessly from y o u r s o u l th r o u g h y o u r f i n g e r s t o y o u r i n s t r u m e n t . O n c e y o u l e a r n t o i m p r o v i s e , a l i f e t i m e o f c r e a t i v e e x p r e s s i o n w i l l b e w i t h i n y o u r g r a s p !
I sincerely hope that Breakthrough to lmprov will offer you a way to begin tapping the infinite source of m u s i c w i t h i n y o u , a n d I e n c o u r a g e y o u to keep s t u d y i n g , k e e p p r a c t i c i n g , a n d k e e p s w i n g i n ' !
S p e c i a l t h a n k s t o : Y o g i B h a ; a n , D r . M i c h a e l M c C e e , C u r u c h a r a n S i n g h K h a l s a , m y w i f e H a r i fo r h e r p a t i e n c e a n d s u p p o r t , C h a r l i e B a n a c o s f o r h i s v a l u a b l e a d v i c e a n d fe e d b a c k , J o h n A m a r a l f o r h i s o n g o i n g p a r t n e r s h i p a n d c o l l a b o r a t i o n , J o h n C e r u l l o f o r h i s b e l i e f i n t h i s p r o j e c t a n d f o r o u r a s s o c i a t i o n w i t h H a l L e o n a r d C o r p o r a t i o n , P h i l C a y f o r h i s e x c e l l e n t d i r e c t i o n , M a r k S t e e l e f o r h i s f i n e e d i t i n g , W y n t o n M c C u r d y f o r h i s g r e a t j o b in the studio, a n d to t h e m a n y s t u d e n t s w o r l d w i d e w h o , th r o u g h t h e i r in t e r e s t a n d e n t h u s i a s m , g a v e m e t h e o p p o r t u n i t y t o d e v e l o p t h e t e a c h i n g a p p r o a c h p r e s e n t e d o n t h i s v i d e o .
f *,,,n,r,,,,,.,-.
IOY OF IMPROV
B y D A V E F R A N K w i t h JOHN AMARAL J o y o t l m p r o v i s a c o m p l e t e c u r r i c u l u m f o r t h e a s p i r i n g i m p r o v i s e r , c o n t a i n i n g 5 2 l e s s o n s f o r a l l in s t r u m e n t s i n t w o v o l u m e s . V o l u m e 1 : D e v o l p i n g t h e F o u n d o t i o n c o n t a i n s l e s s o n s 1 - 2 6 . E a c h l e s s o n i s c o m p r i s e d o f e x e r c i s e s i n v o c a b u l a r y , t e c h n i q u e , 1 0 0 0 b a s i c m o d e r n j a z z c h o r d v o i c i n g s , b l u e s a n d j a z z t u n e s , a n d r e c o m m e n d e d l i s t e n i n g . H u n d r e d s o f w r i t t e n b l u e s r i f f s a n d ja z z li n e s w i l l g i v e y o u unlimited i d e a s t o i n s p i r e y o u r o w n i m p r o v i s a t i o n s . A m u s l f o r a n y s e r i o u s b e g i n n i n g i m p r o v i s e r !Vofume 2: Completing the Foundotion contains lessons 27-52. The curriculum in v o l u m e 2 i s m o r e a d v a n c e d , t h e c h o r d v o i c i n g l i s t s m o r e c o m p l e x , a n d t h e b l u e s a n d j a z z lines more challenging. A s p e c i a l s e c t i o n i s i n c l u d e d d e s c r i b i n g t e c h n i q u e s t o o r g a n i z e t h e v o i c i n g s s t u d i e d i n t o h i p a r r a n g e m e n t s . E v e r y a s p e c t o f y o u r p l a y i n g w i l l i m p r o v e b y s t u d y i n g t h i s in s p i r a t i o n a l b o o k !
B o t h b o o k s c o n t a i n thirty pages of insightful text discussing m a n y a s p e c t s o f i m p r o v i s a t i o n a s w e l l a s a n a u d i o C D , e n h a n c e d f o r P C a n d M a c , c o n t a i n i n g v a l u a b l e v e r b a l t e a c h i n g b y D a v e F r a n k , r e c o r d i n g s o f a l l t h e l e s s o n s , a n d p r e v i o u s l y u n i s s u e d s o l o p i a n o p e r f o r m a n c e s . T h e s e b o o k s a r e h i g h l y r e c o m m e n d e d a s c o m p a n i o n s t o t h e Breakthrouah to lmorov video.
T o o r d e r , c o n t a c t y o u r local H a l L e o n a r d d e a l e r o r m u s i c s t o r e .
T o s c h e d u l e a D a v e F r a n k s o l o c o n c e r t a n d / o r m a s t e r c l a s s i n y o u r a r e a , o r f o r p r o d u c t a n d / o r to u r i n g i n f o r m a t i o n , s e n d e m a i l t o D f r a n k i a z z @ a o l . c o m .
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