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There seem to be lots and lots of approaches to developing skills at improvisation. Just a few that spring to my mind are:
I guess that all or most of the techniques can help students to improve at improv, but what I haven't really seen written about is where the ideas of what to play come from.
I read an interview with Dizzy Gillespie where he described thinking up interesting rhythms first and then choosing the notes to play, almost as a separate task (all my words). That seems an amazing skill.
I've read about other improvisers who basically seem to clear their mind and "think of nothing", presumably because the chord sequences are so well internalised that they can function almost on autopilot.
And there is the tale of Sonny Rollins being badly affected by reading Gunther Schuller's analysis of his superb solo on "Blue 7" (Sonny Rollins and the Challenge of Thematic Improvisation) Sonny Rollins and the Challenge of Thematic Improvisation | Jazz Studies Online
Rhys
- Variations based on the melody
- Musical fragments and thematic development
- Copying from improvised solos recorded by great players
- Learning lots of riffs
- Learning to recognise sequences of chords and what notes or scales work against them
- Learning about guide tones for chords and how to use them
- Insert your favourite approach here
I guess that all or most of the techniques can help students to improve at improv, but what I haven't really seen written about is where the ideas of what to play come from.
What are good improvisers thinking about as they play ?
Where do the (good) ideas come from ?
Can students learn techniques to stimulate their imagination ?
How is the "ideas generating" part connected to the "execution" part ?
Where do the (good) ideas come from ?
Can students learn techniques to stimulate their imagination ?
How is the "ideas generating" part connected to the "execution" part ?
I read an interview with Dizzy Gillespie where he described thinking up interesting rhythms first and then choosing the notes to play, almost as a separate task (all my words). That seems an amazing skill.
I've read about other improvisers who basically seem to clear their mind and "think of nothing", presumably because the chord sequences are so well internalised that they can function almost on autopilot.
And there is the tale of Sonny Rollins being badly affected by reading Gunther Schuller's analysis of his superb solo on "Blue 7" (Sonny Rollins and the Challenge of Thematic Improvisation) Sonny Rollins and the Challenge of Thematic Improvisation | Jazz Studies Online
Rhys