great improvising

[OzTrumpeteer]

hey,

I was just reading on old post about improvising where someone made a point about Clifford Brown's phrasing, and it made me think about what makes a player a great improviser.

You've probably all heard guys playing, good players, improving and playing a lot of licks from a certain player, let's say Clifford Brown. Now, to me, that's always sounded exactly like that: a good player copying Clifford Brown. But is it really improvising? (And before you start, I know that we all have to start by 'copying ' other players and it is really the best way to learn the language

What is it that makes for a truly great improviser? We all use the same notes on the same chords, more or less:), and if you transcribe different players from the same era you even see the same licks, but these players don't sound the same, do they?

I think that the most important aspects of improvising are phrasing and structure, and these are the harder aspects to learn because they are less tangible than, say, making the guide tones on the chord changes.

When you listen to Clifford Brown or Chet Baker (or any great player) it's almost like you can anticipate what they are going to play because they 'make sense'. Their solos are like one continuous melodic line.

It's not what notes you play, but the WAY that you play them that enables you to convey meaning. So, how do you go about making this a part of your playing?

_____________
Corey

[jhatpro]

i think keeping a strong sense of the original melody is critical. the great improvisors have always, in their own way, alluded to the head. when they get too far away, in my opinion, they lose their audience. i read somewhere, i've forgotten just where, that for improv to be successful from the listener's standpoint, it has to be done so they anticipate about half of what they hear and are surprised by the rest. if you play way outside and never come back to at least a sense of the original tune, the listener becomes frustrated. that's why a lot of people gave up on jazz: too many notes, all technique and no melody. just one man's opinion.
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

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[OzTrumpeteer]

That's a good point about the original melody.

A few years back I was at a masterclass conducted by Lee Konitz, in which he talked about '10 levels of improvising'. The first level was the original melody of the tune; as you move through the levels you alter the melody, slightly more each time, until you get to the tenth level, in which you are, ideally, creating an entirely new melody based on the harmonic material.

[Quadruple C]

[ This Message was edited by: Quadruple C on 2003-09-29 14:45 ]

[Quadruple C]

[ This Message was edited by: Quadruple C on 2003-09-29 14:46 ]

[trjeam]

[EBjazz]

Here's what I think a player needs to have in order to create a good improvisation.
1. Skill on your instrument. AKA chops. You must always try to improve your chops. The trumpet should never come between your ideas and their execution.

2. Theory and study. Even jazz players that know nothing can play the dorian or mixolyidian modes. Learn everything you can about harmony. Learn tunes. Freddie Hubbard knows more tunes than anybody. And he's good.

3. Use your ear. In the heat of battle, you only have one weapon: your ear. Use it. It's your leg up in the world of improv.
_________________
Eric Bolvin
http://bolvinmusic.com/product/the-modern-jazz-trumpet-method/
www.bolvinmusic.com

[Strawdoggy]

Imitate. Assimilate. Create.

- Clark Terry

[Quadruple C]

[ This Message was edited by: Quadruple C on 2003-09-29 14:47 ]