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You can establish a theme that you come back to again and again, and then use as a jumping off point for further improvisation. The theme doesn’t have to be long or complicated, and it’s probably better if it’s not. Think of the theme as a chorus, and think of your improvisational stretches as verse. As long and wild as your improvisational stretches may be, ...


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There's a lot of difference between 'noodling' or 'widdling' and improvisation. One can use, say, a pentatonic and noodle over a three chord wonder all day long, playing long extemporisations without any mistakes being apparent. This can, however, be a great point to take off from.Only using, say, 4 of the notes, play a motif, perhaps 6 notes long. Over, for ...


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One of the main reasons that a whole-tone scale works so well to indicate dreaming and rootlessness is that it's a symmetrical structure that divides the octave into equal parts. Multiple notes can therefore work equally well as a "tonic" which kind of means that they're also equally bad at being tonic. A symmetrical structure makes it much easier to avoid ...


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The style of the impressionist can be very dreamy. Listen to Le Plus Que Lent by Debussy, or perhaps Ondine. A number of his preludes create this dreamy ambiance too. As far as Ravel goes, La Valse does a good job of presenting a foggy, distorted version of the main theme. If I were to summarize these techniques briefly, parallelism and extended tertian ...



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