Hot answers tagged improvisation
6
You should focus on chord tones and half-step resolutions.
Let's assume the key of C.
The 7th chords in this key:
Cmaj7: C E G B
Dmin7: D F A C
Emin7: E G B D
Fmaj7: F A C E
G7: G B D F
Amin7: A C E G
Bmin7b5: B D F A
Let's use a classic jazz example, the iimin7 | V7 | Imaj7.
In C, this would be Dmin7 | G7 | Cmaj7.
To ...
6
It may be less about breaking out of the pentatonics, and more about breaking in to them: breaking them open.
When you're playing a run with a minor pentatonic scale, throw a 2 and 6 in to the mix. At first you'll pick the wrong ones some or most of the time. But that will pass. Suddenly you've got Natural Minor, Dorian Minor, and Locrian under your belt. ...
6
Unless you attend training with a skilled teacher, I think the best method to build your vocabulary is to listen to tunes played by renowned musicians from various genres, and play along.
It's a bit like what you have done already, but actively seek out new or challenging styles. For example, if you are a blues guitarist, get yourself a stack of jazz music, ...
5
Develop your ear and your sense of melody, phrasing and time.
I did this by figuring out songs I wanted to play, by EAR. No tab and no how-to-play-x lessons from youtube. You have to develop your ear for music.
That said, there are some lick lesson type things that can help with your vocabulary.
Jeff McErlain has several 50 licks type lessons on ...
5
This site doesn't do shopping recommendations, but naming three products will give you a start in finding the kind of software you want.
The SoundTrek "Jammer" range
PG Music's "Band In A Box"
Hard Note's "Jump"
I have tried demo versions of two of these, from way back in the days when people bought computer magazines with cover CDs. I can't make a ...
4
While there are a number of reference books about guitar improvisation there is no substitute for experience. Such a reference library might include the following books:
Hal Leonard Improvising Lead Guitar Book and CD
Mel Bay's Complete Book of Guitar Improvisation (Mb93278)
Berklee Press Jazz Improvisation for Guitar Book/CD
The Big Book of Jazz Guitar ...
4
I think one of the easiest ways to improvise is to find some easy left hand accompaniment which allows you to play about anything with the right hand while still sounding at least ok. Here are a couple examples:
With the left hand play the loop Eb, Gb, Ab, Bb, maybe about 1 note/second. I think the second lowest Eb on the piano sounds best.
When you've ...
3
I think the first question you need to answer is what made you inspired to play when you started, and what kept you inspired for those first 2 years when it was fun? If the reason that it's not fun anymore is because you're not learning anything new, then you need to learn something new. If there's nothing new in the books you have or any online resources, ...
3
I think you'd get different answers depending on who you ask, so this may yet be closed as being too subjective.
Even the same composer may start at a different 'point' depending on the ideas they have at that moment in time.
For example, if they heard someone whistling an interesting melody in the street that day, then they may develop that melody first ...
3
The Cmaj scale and the Amin (natural minor) scale have the same notes. However this doesn't mean that the notes are used in the same way. The note A for instance sounds and functions completely differently in the two keys. It will sound colorful and perhaps even slightly unstable in Cmaj but will sound solid and foundational in Amin. When improvising, it ...
3
My advice would be: singing before playing(aka 'follow your ears'). So: play a chord and try to sing the broken chord (A7 -> A C# E G) and play this on your instrument, from the root note to the heighest note you can reach in a position, then back to the lowest note in that position and back to the root. Listen, sing and play. Then, try to listen where the ...
3
I still (despite meaning to learn) don't know which mode I am in. Ever...
But I know that if I look ahead to the chords coming up I can plan on dropping down a semitone rather than a full tone on my way to the new chord, for example, or I can shift my position so that I am no longer at the 5th fret, but at the 8th and where the fingers naturally sit here ...
2
In addition to what Dr Mayhem has mentioned, I would also suggest you to search in internet too for some guitar site specifically having a good colection of licks.
For example, I found Guitar Solo pretty useful.
Give it a try and if you find it useful add it to your toolkit :)
Few other links:
http://www.jazzguitar.be/jazzguitar_licks.html
2
I had the same problem, I for the longest time only knew the pentatonic scales and would usually resort to them to play any sort of lead.
Even when I started learning about modes I would still just use the good ol' pentatonic scales.. thats because that is what I conditioned myself to play. You know them so well that they just flow through your fingers ...
2
David that's a great question. Understanding how to use your pentatonic scale, in major and minor keys, is crucial. Ultimately it all comes down to major and minor key, except when learning the modes and playing in jazz scenarios.
If you like that jazz sound then the modes are for you. If you like popular music like blues, rock, country and that sort of ...
2
You've set yourself a schedule, and that's fine. It's now a question of what you do in that time, and what skills you need to develop.
You're likely to need a backing track. There are lots of options -- have a friend accompany you, play over a CD, record yourself, use a loop pedal, computer software, etc.
Alternatively, since you're on piano you can ...
2
A. Find a good teacher.He will give you targets to aim for, on a short term and long term basis.
B.Assuming you know a good few basic chords, put the radio/CD player etc. on and just jam along to whatever is playing- find the key, play chords,make up lead breaks.You've played for a couple of years, so this will not be impossible.Don't keep going over the ...
2
Improvisation has two major steps: "Hearing" the music, and playing the music. That is, you need to know what sound you want out of your instrument, and then you have to go make it. This means you need to listen to plenty of diverse music. No one tip is unique to all forms of music--improvising in a medieval style is vastly different from improvising in ...
1
To try to avoid too much theory, start and finish your run of notes on those being played in the chord at that time. Watch the rhythm player, and use one of his notes played as a springboard for your phrase, and do the same for your last note. Bear in mind he may or may not be on the same chord that you both started on. Obviously, using the pentatonic notes ...
1
Semi-longish answer
Under most normal circumstances, resolve from the dominant to the tonic. This known as an authentic cadence (V to I). This is the most common and sounds the most complete.
There are other types of cadences, such as the phyrgian cadence (iv6 to V) and the interrupted cadence (V to anything besides I, usually ii, vi, or VI). These aren't ...
1
Am pentatonic has exactly the same notes as C maj pent.The main difference is that playing in Cmaj., you'll centre on C F and G mainly, whereas in Am you'll centre on A D and E mainly.By centre, I mean when the tune is e.g. on a G chord, the phrase which will work well will probably start with G or at least reference G somewhere significant.
Am full scale ...
1
IANMT ("I Am Not A Music Teacher"), so take my advice with a grain of salt. Maybe a handful of salt, even :-)
A scale is nothing without context. As you point out, C major and A minor are the same notes. The patterns you use to improvise in any of them (I'm speaking guitar-wise here) could be the same. Having said that, "specific" patterns (i.e., "A minor ...
1
In addition to Slim's answer there's
iReal b
with apps for iOS and Android.
You can enter or download chord progressions of songs you want to jam along to. And there are a bunch of features you'll have to explore yourself, of course including transposing, and meter, tempo, and style selection.
1
Jim,
I play a different style, but I think the principles are the same no matter what. Practice is great, and I commend practicing scales and chords. That is your good personal practice.
But for improv with a group, the best practice is to play with the band. If you don't have chord charts for the songs you play, then make some. Start with 4 or 8 note ...
1
You need to learn how to how to harmonize songs - which means creating chord progressions that fit the melody - and then for each chord you need to learn which tones are appropriate, and which aren't. The normal "chord-scale" theory is flawed in this respect because it does not discuss that.
I posted a reply on a piano forum which goes into it a little ...
1
You should practice ear training in order to be able to play what comes to your mind. You probably also want to study some chord and scale theory in order to get an understanding for what will "sound good" and why.
You could perhaps get these books:
The Jazz Piano Book by Mark Levine - it teaches you everything related to playing jazz piano including ...
1
I recommend watching this video from Gary Burton, in which he gives a great explanation about improvisation, that should probably be a good starting point.
Some key thoughts:
Improvisation is like talking: you sort of follow some rules (a grammar -- and there is a grammar for music), but the rules aren't all that enforced and may be flexed when you may ...
1
This may not be hugely applicable as it's somewhat hard to find (I also hesitate to recommend a video game that doesn't actually involve teaching theory), but I find that Rock Band 3 with the keyboard attachment has some good exercises for improvisation. It's heavily based around scales and chords.
You're still reading notes, sort of, but as it's not ...
1
Interpreting jazz changes is far too subjective to allow for the possibility of software evaluating what you play on a MIDI keyboard, in my opinion. If you want to work on this, it would be better to just practice changes in actual tunes and use your ears to decide if you're getting it or not.
There are patterns that you can use to drill yourself, for ...
1
I play percussion and run a slightly anarchic drum jam. I have the same problem, it's in my head but can't get it out through the hands.
Watching the good players, I see a lot of "remixing" they will take a pattern they hear and like, copy it, then change it. They also do the same with their own patterns.
So I'd suggest you don't try to change everything at ...
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