Jazz improvisation: the first steps

leoravera wrote:

I tried to create a tutorial to take the first steps in improvising on a jazz standard.

I hope it can be a useful and fun tool for beginners who want to learn how to play jazz.

http://www.leoravera.it/2015/04/02/imparare-a-improvvisare-i-primi-passi-tutorial-parte-1/

I would greatly appreciate your opinion, thanks everyone and Happy Easter

Beautiful and well done... something similar could also be done for rhythmic control, with exercises on anticipation, polyrhythm, rhythmic displacement, etc. However, I feel the need to make a consideration; the rational approach, which tends to set up a series of logical and gradual steps leading to an objective, risks never reaching the "therefore," or at least taking too much time. At least for me, it usually happens this way with students... there is always the moment when you have to tell them to throw their hands on the piano and do something without thinking... this connection between rational control and spontaneous expression could be the true goal of an improvisation course... sorry, I didn't mean to go on so long, I just felt like adding a thought that I had already caught myself having internally. Compliments on your work, bye

Hi Crisantemi, welcome (not a bad nickname…).

I also find Leo's work interesting and at the same time I agree with you on the "non-rational" aspect; the fact is that, precisely, what we can teach, especially in written form, is only the theoretical part. As much as I also teach theory, improvisation, and similar things, paradoxically I am increasingly convinced that jazz, understood as a language, can be learned but not taught. What we can do is provide inputs, like you do when you say "throw your hands on the piano" or "do something without thinking".

DrJellyfish wrote:

Hi Crisantemi, welcome (not a bad nickname…).

I also find Leo's work interesting and at the same time I agree with you on the "non-rational" aspect; the fact is that, precisely, what we can teach, especially in written form, is only the theoretical part. As much as I also teach theory, improvisation, and similar things, paradoxically I am increasingly convinced that jazz, understood as a language, can be learned but not taught. What we can do is provide inputs, like you do when you say "throw your hands on the piano" or "do something without thinking."

i had chosen the nickname I usually use but it was already taken... Nice to meet you, DrJellyfish. Your definition that jazz can be learned but not taught is beautiful... however, some students need you to be able to translate into words the processes that come into play during improvisation (this makes it possible, among other things, for a musician who is merely decent but intelligent and a good communicator to teach better than a great improviser who doesn't know how to name what they do). Anyway, as you say, what we can do is create the conditions so that if there are qualities in the student, they can come out. Exercises, like Leo's, analysis and transcription of solos, listening to and practicing repertoire, studying harmony, ear development, passion and infectious enthusiasm for the wonderful art form we practice, and more...

Thank you for the attention to my work and for the interesting insights from this discussion.

There is certainly much that escapes a rational approach, not only in improvisation but in music in general.

"A language that can be learned but not taught", the definition is very effective. I would add that it is a language that can be studied, but everyone must do so in their own way, striving to find their own method and constantly putting it to the test. For a teacher, communicating passion should be the first thing, the most important; instead, I often realize I take it for granted, making a mistake.

Crisantemi wrote:

... sorry I didn't want to make it too long

You weren't long at all, but if you apologize for four lines of intervention, it means you are used to being even more concise. As was also the case with DrJellyFish. Demonstrating that if one has intelligent things to say, four lines are more than sufficient. Thank you both, see you soon

I agree with every word of yours Leo, and regarding the fact that everyone must find their own way, a statement by Bill Evans comes to mind from an interview where he said that every musician is necessarily self-taught... and when, in the famous video/interview on American TV, his brother Harry scolds him for not wanting to show him voicings and other things on the piano, Bill responds more or less: "I didn't do it because I didn't want to deprive you of the pleasure of discovering them yourself..." this is why, when I encounter those students who first tell you "no, but you have to stay under me, give me assignments and monitor me, otherwise I know myself... etc.", I lose my patience a little because I realize that I am facing a person who has no real interest in the subject, but seeks in you the motivations they should find in themselves.

I hope I haven't derailed your thread, but one reasoning leads to another, bye