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How Does Jazz Improvisation Work?

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  1. Theory with Bob hey what's happening beautiful Geniuses Trumpeter Bobby Spellman here and if you're just getting into listening to or
  2. playing jazz music or you're interested in learning how to improvise on your instrument you may be asking yourself how does all this Jazz business work how
  3. much of the music is improvised versus written down what are the roles of each of the instruments in a jazz band and how is it possible that a bunch of
  4. musicians can all be creating music spontaneously without it sounding like total chaos well today I'm going to try to demystify the mechanics of jazz and
  5. try to shed some light on why it is such an exciting style of music to play and to listen to but in order to do so I'm going to need a Little Help from My
  6. Friends Julian Smith on the base Evan Hyde on the drums and Julia Chen on the piano
  7. and we're going to do a little demonstration of some of the mechanics of how a jazz performance works and plays through a little tune for you and
  8. have some fun so let's get started we're going to start out with the bass [Music] now the bass is the backbone of most
  9. Jazz groups the base has two very important jobs simultaneously first base player's job is to play the
  10. time usually in the form of a walking bass line consisting of mostly quarter notes and some Embellishments
  11. and the other thing the bass player does is establish the harmony by playing the root notes and connecting them with the chord tones and passing tones so the
  12. bass player is going to be playing the time while also holding down the harmony for the rest of the band and it's a big job
  13. but Julian's capable of it he's the guy are we gonna bring the drums now all right Evan come on in with the drums the drummer's job
  14. is to embellish the time and to interact with the soloists and with the melody in order to drive the music forward and give it a little bit more excitement
  15. Evan here is playing a typical swing pattern on the ride cymbal and holding down the two and four on the hi-hat
  16. that leaves his left hand and his foot to Accent the music in any way he would choose improvisationally
  17. throughout the piece now unliking Rock and pop music the drummer has a lot of freedom to play around with the groove so it's not a
  18. strict drum beat but it can be a variable pattern in order to be able to interact with the other musicians while we're improvising all right with that
  19. we're going to bring in Julia on the piano and here we go
  20. the piano's job the chords and help out with the harmony as well as play solos and play melodies especially
  21. in the case of a Piano Trio [Music] now once again in jazz unlike in rock and pop music there isn't a set Rhythm
  22. that The Pianist or other harmonic instrument player needs to play but rather they have the opportunity to improvise with those rhythms as long as
  23. those chords fit the underlying form now this is called accompanying which we shorten to comping so Julia what I've been talking now has been comping and
  24. she will accompany me when I play the trumpet or play uh you know solos play The Melody etc etc alright that brings it to me in the horn section
  25. now the horn section in a typical Jazz combo or our jazz quartet or a jazz group of any kind May consist of a number of instruments including trumpet
  26. trombone tenor saxophone saxophone any clarinet flute sometimes you might have
  27. a harmonica or a recorder or melodica or some kind of other thing but uh our job in the horn section is to play The Melodies and to play solos
  28. we in the horn section rely on the Rhythm Section for the Rhythm and for the Harmony and the Rhythm Section relies on us in the horn section for a
  29. tenuous sense of existential reality for a for a sense of purpose in all this music and together it's a symbiotic relationship all right
  30. so moving along the band as we've been talking has been playing a very common 12 measure form known as the blues a blues typically consists of
  31. 12 measures and uh it can change a lot there's a lot of variability in the Blues form but very typically we will have
  32. four chords and they go like this the one chord of the key the four chord of the key back to the one you stay on the one for another bar then
  33. it goes to the four chord four back to the one and the last four bars of the Blues is called the turnaround it goes two
  34. five one now this is a Blues in the key of f so the chords are going to be F7 to B flat seven to F7
  35. [Music] going on to B flat seven flat seven back to F7
  36. once again to turn around we get G minor seven C7 back to F7 again
  37. now most jazz tunes have a unique chord progression based on The Melody of the tune the atmosphere that the composer is trying to create but a blues is one of a
  38. number of forms that can be uh used for a number of different tunes and provides the basis for a lot of different tunes that we play so Blues is the most common
  39. form that you run into in jazz there are a couple other ones that you see that are common forms but certainly uh the blues is a great one to start with
  40. because we're dealing with a relatively simple chord progression and it's really the basis for what we do not only in jazz but in rock and Funk and just about
  41. all of American popular music alright so now we're going to talk about how we relate as improvisers to these underlying chords
  42. so for each chord in the form there is a scale or mode that is most consonant to that underlying chord so if we can learn these various scales and how to
  43. improvise with them how to invent Melodies using these scales we can relate to the chords in such a way that the whole thing sounds harmonious even
  44. though we're all improvising at the same time so we're going to go over each chord one at a time in the Blues and talk about some of these scales that I
  45. might choose to use so let's start with the F7 so this is the one chord we're just going to hang out on F7 we've abandoned the form we're going to hang
  46. out on F7 for a minute on that F7 chord the F7 is an F major Triad with a flat seventh on top so an E flat
  47. so that's going to sound like this there it is now I'm going to play generally speaking on that F7 chord I'm going to play an F
  48. mixolydian scale an F mixolydian mode mixolydian is a major scale but with a flatted seventh and that flattened seventh is going to match with what's
  49. going on in the chords and that scale is going to sound a little something like this
  50. [Music] hahaha [Music] [Applause]
  51. [Music] all right from our F7 chord we're going to move on to the next chord the four chord in the F major scale
  52. and that is going to be the B flat 7 chord and we will come in right here all right that's the four chord now just like with the F7 is an f mixolydian
  53. scale for the B flat seven I will tend to use a B flat mixolydian scale which once again is going to be the B flat major scale for the flat seven and that
  54. is going to sound like this foreign [Music] now typically in the Blues form we go
  55. back to the F7 but we're going to skip ahead to the last four bars of the Blues which is called the turnaround and the turnaround gets us back to the top again
  56. now the turnaround consists in this particular jazz blues of a very very common chord progression that we know as the two five one and that is because it
  57. starts on the second chord of the key of f goes to the V chord and then we're back to the one again so two five one this is a little chord progression that
  58. makes up a lot of different tunes that you will hear but for now we're going to stick to one chord at a time so we're gonna go with G minor seven to start
  59. it's going to be right here all right now for the G minor seven my tendency is going to be to use a g Dorian mode which is going to be uh G
  60. minor scale with a natural six flat three flat seven but natural six and that sounds a little something like that [Music]
  61. from there we move on to the five chord coming to the end of the turn around here and that's going to be your C7 chord and that's gonna sound like this
  62. and for that just like with the F7 and the B flat 7 I'm going to use the C mixolydian mode and that's gonna sound like this
  63. [Music] all right so those are the four modes the four chords and corresponding consonant modes that we might use on a
  64. blues such as this and we're going to return to the blues form now we're back in the 12 Bar form known as The Blues and we're going to take a little time
  65. now to play a Melody that I wrote for this occasion to avoid any copyright strikes on my YouTube channel and then I'm going to take a one chorus solo a
  66. chorus is one time through the whole form it's gonna sound like hahaha [Music]
  67. hahaha [Music] now our option is to use some of those
  68. more consonant modes that you've heard but there's also a number of different kinds of scales that you can use and that's up to the improviser to decide so
  69. one very common alternate scale I could use would be the blues scale that's a very common one and that's going to sound a little something like this
  70. foreign [Music] now one of the things that makes jazz music so much fun is that each
  71. individual musician has their own personal sound and oftentimes you can hear the way that a musician you can identify a musician by just one or two
  72. notes now a part of that musician's individual sound is their tone on the instrument uh you know what instrument they're playing as well as what kinds of
  73. rhythms and Melodies and what their influences are any number of different things that will make up a musician but one of the things that you can also hear
  74. in a musician sound is the way they choose to use consonants versus dissonance so very commonly you know you would think of uh dissonant notes we
  75. might have traditionally heard dissonant notes as being referred to as wrong notes but in our post Eric dolphy world it's just another Choice any kind of uh
  76. creative musician can choose to use more dissonant sounds dissonant scales dissonant intervals in his or her improvisations and that's going to be a
  77. part of his or her characteristic sound so I'm going to show you a little bit about what happens if I Take It Outside of those chords that we played in those
  78. regular modes and take it into a different realm and that's going to sound a little something like this [Music]
  79. all right so anything's possible here in the world of jazz music or taking it out we're having a good good old time here all right so usually you will play the
  80. head in the head in is the melody so we played that already and then everybody in the band will take a little solo we'll trade around it could be any
  81. length but for now we're gonna stick to one chorus and we're gonna start with Julia Chan on the piano
  82. [Music] foreign [Music]
  83. for Mr Julian Smith [Music] all right and once everybody takes a solo of their own chosen length whatever
  84. the however much they they want to say in the whole grand scheme of the form comes time for the drum solo now there's a couple different options that we have
  85. with the drum solo but one option is called trading fours and in trading fours what we're gonna do is each of us will go around in the band and take four
  86. bar improvisations trading with Evan over here on the drums throughout the form so we're gonna stick with the form but we're just each gonna take a little
  87. four of our solo now you could trade eights you could trade 16s you could probably trade 32s or 64s but it might get a little unwieldy so we're gonna
  88. stick to Fours for now and that sounds a little something like this foreign [Music]
  89. now that's one option for a drum solo the other a very common option is for the drummer to take an unaccompanied solo and even though the drummer is
  90. going to be playing by himself without any kind of accompaniment by any of the harmonic instruments he's still gonna follow the form so he might play one
  91. chorus two chorus three choruses however many courses that's gonna sound like this in this case we're just going to take one chorus of drum solo here we go
  92. Evan hide [Music] all right now typically after the drum solo we'd go right back into the head
  93. out just like the melody in is called the head in the melody on the end of the tune is called the head out so we're going to play the head out now for you
  94. and close out this tune hope you had a little fun here we go [Music]
  95. and that's a little introduction on how Jazz improvisation works we got the instruments in a regular Jazz combo there may be many other different
  96. instruments that we haven't covered here and anything it goes but for now this is a very standard instrumentation after that we've got the chords of the tune
  97. once again the blues is just one of a number of different forms usually jazz tunes will have their own unique chord progressions but it's a good place to
  98. start with the blues because it's a common one that you will run into regularly we got four chords in this one each of those chords has a scale that is
  99. most consonant to that chord that we can use to create Melodies at any given time any one of us in the band becomes the composer so it's always a very exciting
  100. it's an exciting style of music because all of a sudden the job of the individual musician becomes the job of the composer in a spontaneous fashion
  101. and we all will interact with each other we all have the opportunity to listen in very closely to what the other one is playing and to try to interact in such a
  102. way that we can make beautiful music and have a good old time after that we're able to expand on what we're doing beyond the normal chords that we have
  103. and really try to capture some interesting rhythms and and in the whole process of the thing really try to capture our own view of the very essence
  104. of The Human Condition and try to convey that through sound to the adoring fans in the audience all right gang and that is a little bit on how to Jazz
  105. all right gang and there you have it a little rundown on the fundamental mechanics of how jazz music works hope that clears up a little confusion
  106. surrounding what's going on while we're playing and I hope it inspires you to go check out some great records go check out some live music and pick up your own
  107. instrument go hang out with your friends and try some of these ideas out for yourself if you like this video be sure to give it a like And subscribe to the
  108. channel for more videos on jazz music improvisation and music theory going forward also if you have any questions on any of the topics that we covered in
  109. this video be sure to leave them in the comments below and I'll do my best to get back to you and clear up any residual confusion on the topic at hand
  110. alright gang well until next time be sure to go check out some great records and have a lot of fun with it and I'll catch you on the next one see ya
  111. Theory with Bob all right friends thanks so much for checking out this video I hope it helped in your understanding of the musical
  112. world and in your pursuit of the Majesty of musical self-expression if you like this video you can let us know by giving it a like and be sure to subscribe to
  113. the channel for more musical education videos going forward you can also follow me on Instagram at Bob Spelman for some more musical fun the Ridgewood school of
  114. music is now accepting new students online as well as in person in the Brooklyn Queens and greater New York City area you can find us on our website
  115. at www.ridgewoodschoolofmusic.com or you can send us an email at Ridgewood
  116. schoolofmusic gmail.com and we'll get back to you as soon as we can try to set you up with a great teacher for the kinds of music that you're looking to
  117. study all right gang well thanks again and until next time happy practicing foreign [Music]

Zum Nachlesen

JazzharmonikMit Jazzharmonik oder Harmonik des Jazz wird das harmonische Konstrukt beschrieben, auf welchem die Jazzmusik aufbaut. Zwar werden auch in der Jazzmusik … JazzbluesBlues meint dabei eine spezielle Chorus-Struktur von 12 Takten, die wiederholt wird und in ihren Harmonien aus dem traditionellen Blues abgeleitet ist. Dabei … Chorus (Jazz)Oft umfasst der Chorus 32 Takte (bzw. beim Blues meist 12, gelegentlich 16 Takte). Er ist auch der Teil, über den improvisiert wird. Ein Jazzmusiker … II–V–IDie II–V–I-Kadenz ist die häufigste Akkordverbindung in der Jazzmusik. Die Tonika ist ein Dur-Akkord. Moll hat auf der fünften Stufe einen Mollakkord, …