Improvisation: not just jazz

One of the most enjoyable aspects of playing a musical instrument is playing "by ear" or improvising. There are many so-called classical musicians who feel they are unable to improvise and have a large fear associated with playing anything other than notes they see on a printed page. It is interesting that the musicians of past centuries improvised as a normal part of their fundamental musical skills. Why this is no longer the case is open to speculation and theory, let us simply say that the skill fell away from classically trained players and into the hands of folk and popular musicians. In the Baroque era (1600-1750) music notation assumed that players would add improvisations and ornamentation to the written music. "Figured Bass" is the term used for the numeric code that composers placed above notes in the piano or continuo part to give clear indications of the harmonies that were to be used in support of the melodies. In popular and jazz music of the twentieth century chord symbols have taken the place of figured bass. These indications such as C7 are a specific code for indicating harmonies for each composition. Unfortunately single line players such as flutists rarely see this code and naturally develop a fear of such things.

As instrumentalists have gotten better and better over the decades we seem to have become more "tunnel visioned" and less interested in the surrounding rhythm and harmony we are playing. This is probably just another aspect of the "specialization" syndrome that occurs in most fields. It is humorous but sad that often single line players are only aware of their part and don't have a clue about the accompaniment. There have been notable exceptions in the history of musicians who were equally at home playing written music and improvising. It would be easy to assume that such players were enormously talented and therefore were able to do both things. On closer examination I would like to propose that the major ingredients in being able to play "both sides of the street" are time and dedication. If you want to do it, all you have to do is get the best information available and put in the time. The problem is that to play an instrument well in either genre, an enormous time commitment is required. To do both, simply double the practice time and you will find a player who can play well, both classically and “by ear”.

Why improvise? There are many reasons but the best one may be the joy and freedom that this skill brings to your playing. There will be many fringe benefits that come from developing this skill, not the least of which is a more solid understanding of music theory and harmony. This alone will bring a deeper understanding of your classical compositions, but in addition your ability to memorize and truly learn a piece will be greatly enhanced. Maybe the most significant reason for improvising is the automatic smile that a young player gets on their face the first time they improvise a simple phrase that sounds good. It is the intention of this teacher/flutist to bring lots of smiles and understanding of music. Use improvisation methods as vehicles for making progress in one of the mystery areas of music. It will not be very long before the secret code of improvising is broken for you and you are able to sail off into the glorious musical sunset, creating your own melodies and improvisations.

JAZZ ARTICULATION
by
Jim Walker


             Perhaps one of the most difficult aspects of learning to improvise convincingly is the area articulation (especially on the flute). Most classically trained flutists are taught to use the syllable of "ta" or "tah" to start notes. This occurs when there is either: 1. No articulation 2. Accent or 3. Staccato (dot). To achieve softer attacks the "da" or "duh" sound is used. This occurs when the indication is 1. A tenuto line over a note 2. Dot under a Slur 3. Line under a slur. For faster passages often the double tougue is used, either "ta-ka" or "tu-ku". For softer more connected articulations "da-gu" or "du-gu" are used. In jazz improvisation the style of articulation comes closer to the "du-gu" than "ta-ka". This is a good starting place for the novice improviser. The first exercises are designed to practice this softer attack. NOTE: Often a "Jazz phrase" will begin with the "tah" syllable and be followed by the softer "dah". ALSO, the use of syncopated off-beat 2-note slurs are used to capture the jazz feel. 

       The complicating factor for the classical musician is the notation of rhythm or swing. The standard method of notating a "swing" or "jazz" style is to use 12/8 using a soft "du" attack. This "triplet" feel is close to the way the the music should sound. (HOWEVER - generally swing/jazz feel is almost always notated in regular 4/4.) The most common mistake for classical players is to sound "corny" by TOUNGING EVERY NOTE IN A REPETITIVE "ta-----ta ta------ta ta------ta" style. The quick fix for this is to employ the "du--du" and attempt to shorten the gap between syllables: "du--du du--du" rather than the exaggerated over "tiplety" ta------ta ta------ta. In reality the vocal sound that comes closer to simulating the articulation/rhythm interpretation a very soft "du" or "duh" attack keeping the tongue close to the attack point and attempting to not move the tongue too much. 

           Finally this articulation has its own name: "DOODLE TOUGUE". In fact by saying the the word "doodle" we come very close to the tongue stroke which sounds "cool". If you have ever tried to "scat" sing you have a good idea about the proper kinds of articulation. Some of the scat sounds and phrases might be something like: "bah doodlely be-ba du-ba dee-dat". For anyone who wants to sound "cool" and NOT "corny", it is highly recommended to practice "scatting" quietly (or not so quietly) in the privacy of the shower, car or practice room. Vocalizing and creating simple "swing" lines will lead to a faster path to sounding less corny and more cool.

           A good analogy to consider when confronting this aspect of flute playing is that of learning another language or dialect of a known language. The Claude Bolling Suites for Flute and Jazz Trio have some articulations indicated which come close to sounding jazzy. BUT the music of Mike Mower, a tremendous jazz player/composer comes the closest to accurately indicating which articulations sound more authentically "Jazzy".