Chordal Studiesfor Improvisation
whatever note we last played. This time, however, you may change direction whenever you like. But you must approach the first tone of each new chord by step. The best sound occurs when you can make a chromatic connection between the last tone of the past chord and the first tone of the new chord. Feel free to change directions, skip a few notes up or down, add scale tones, add chromatic tones, or use a sixteenth note once in a while to help make this connection. Here is an example:
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by Brad Stirtz Quite often I run into mallet percussionists with a great deal of technical knowledge, but who are unaware of ways to apply it to jazz improvisation. The tbllowing are some of the exercises I use to thmiliarize myself with a jazz tune and prepare myself to improvise. Let's use the tune '~utumn Leaves" (key of E minor) as an example. All of the exercises should be done with a metronome. A slow metronome setting on counts 2 and 4 gives a nice swing time base. Start at the beginning of the tune and arpeggiate each seventh chord t?om the third. I use a rhythm offbur eighth notes with the last eighth tied to a half note. Swing the eighth notes for this tune, or play straight eighth notes if you are applying this to a Latin tune. Pedal each note it" you are playing vibes, as this is a melodic line, not chord tones ringing together. The first tbw measures look like this: A'~ ~)~
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Work each of these four exercises up to a satisfactory performance tempo. After completing the exercises you will be able to start on the third or the seventh of any chord in the tune and go in either direction. The third and seventh are the most colorful parts of the chord, and a solo revolving around the third and seventh is more desirable than one relying on the root and fifth. Now it's time to start tying the chords together. The next exercise is a favorite of my students. Start the first chord of the tune by playing the lowest tone on the instrument that belongs to that chord. Now begin by ascending in contrast eighth notes, arpeggiating the chord. You will play through two octaves by the end of the bar. After you play the last eighth note of the bar, continue in an upward direction by playing the closest available tone that belongs to the next chord and the rest of the subsequent arpeggio. ConGo through the entire tune without stop- tinue playing eighth notes without stopping. ping. If you run into two chords per bar, ad- When you reach the highest note on the injust your rhythm to eight eighth notes per strument that belongs to the chord you are bar. It is very important that you allow only playing at the time, turn around and begin tbur counts per measure, and follow the form descending without stopping. Similarly, of the tune. Don't take an extra count or two when you reach the lowest note on the into find a difficult chord. If you must, slow" strument that belongs to the chord, turn down the metronome. Following the form around and ascend again. Continue playing exactly is the fastest way to become ac- these eighth notes without stopping, alterquainted with the chord changes and get nately ascending and descending, and changused to the tbeling of improvising as the tune ing the arpeggio whenever there is a chord goes b3: Once this exercise is well in hand, change. The first few measures look like this: arpeggiate each chord change starting on the seventh of each chord. The first thw meas• _4d_4--" . , ~ . ures will look this: r,~,i,T c~,,-j ~
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Again, use the metronome and follow, the tbm~ of the tune. Now do two more exercises, starting on the third or seventh of each chord and play descending arpeggios using the same rhythm. The version starting on the third would look like this:
Later, you may start the exercise on any chord tone. This exercise will constantly change as you continue to play, and will help you learn to make changes from any chord tone to an?,' adjacent chord tone. For the next exercise, we will once again play arpeggios in constant eighth notes. Again, we will make chord changes from
Finally, start playing in a solo style. Use rhythmic and melodic ideas freely. Stick to chord tones and try to start each new chord on a strong tone like the third or seventh. Use your chord connection techniques. These exercises may be used with any tune on which you desire to improvise. Vary them according to the requirements of each tune or according to your own technical needs. If improvisation is new to you, it is important that you complete each of the exercises above before you attempt to jump in and solo. If you find yourself starting each chord on the root or playing chord changes one or two counts after they occur, you're moving too fast. Go back, slow down, and really learn those chords. As you gain experience, you will need progressively shorter amounts of time to perform the above exercises on a new tune. Your success in adding melodic and rhythmic ideas to this chordal framework will determine your ultimate success as a soloist.
Brad Stirtz received a Master's degreefrom the American Conservatory of Music in Chicago, and is now a member of the Consen,atory'sfaculty. He is also on thefaculty of the Birch Creek Music Center of Wisconsin, where he teaches vibraphone, improvisation, and acts as head of the theory and combo programs. He performs throughout Chicago, and appears at Leslee's every Thursday with the Ramsey Leuqs rhythm section.
Ed Saindon editor Vibe Workshop
Percussive Arts Society is more than just a magazine subscription A p r i l 1986 / 5 9
