ever wondered why some people seem to have a gift for music have you ever
wished that you could play by ear sing in tune improvise and jam you're in the
right place time to turn those wishes into reality
welcome to the Musicality Podcast with your host Christopher Sutton
in our last couple of episodes we've talked about the model of patterns and
playgrounds we teach at Musical U where you're applying certain
constraints to your improvising in order to more confidently explore other
dimensions of the music and how using patterns for notes or rhythm can help
you get more quickly to a musically effective improvisation while still
leaving you lots of creative freedom a scale is one example of a pattern
meaning it's something that's used a lot in music and is useful for you to know
about you can create a constraint for yourself when improvising of sticking
just to that scale pattern meaning you're going to only play the notes from
the scale of the key you're in that will help ensure that you don't play any
notes that sound obviously wrong or like a mistake for a lot of improvisers this
is almost the whole of that improvisation toolkit they know which
scale to use and they noodle around in that scale and that's how they improvise
this was 100% me when I was a teenage guitar player
I knew my pentatonic scale pattern and you'd tell me a key and I would noodle
around in that scale pattern and I'd be pretty satisfied but looking back it
really didn't sound all that musical or effective and I felt completely
oblivious to how to make it sound more musical except to have more talent as we
touched on in our first episode for improv month going that route can leave
you feeling very restricted and not very creative and that's certainly how I felt
part of the problem is that the full major scale is simply too big a
playground to start with there are too many notes to choose from and so you can
feel like you're just wandering up and down the scale or jumping around at
random without doing ear training like learning sulfur or studying interval
recognition you won't understand the role of each note
in the scale so you are essentially choosing at random so one could step
forwards is to do that relative pitch ear training so that you'll know in
advance how the notes you're choosing will sound and that lets you make a more
musically meaningful choice of notes while improvising another good step is
to learn to improvise with smaller scales first at musical you we really
focus in on the major pentatonic as the starting point for playing by ear and
improvisation because with just five notes it's much easier to wrap your ear
around while still providing enough notes to be interesting musically in
fact you can usefully start improvising with just the scale of doremi the first
three notes of the scale that's something we do with some of our improv
exercises that constraint really pushes you to explore when and why you're
choosing one note over another and it's a great basis for expanding then to the
pentatonic and the full major scale so scales are a useful pattern but there's
still a risk of your solo sounding like just a random jumble of notes they are
notes from the key which is a good starting point and with some ear
training you can learn to choose notes in a way that creates a musical message
you want to but it can still be hard to create any bigger picture impact with
your solo it might not sound like it connects with the music you're soloing
over and you might start to struggle for how to move your solo forwards from one
bar to the next to start improvising well you'll want to apply it some of the
ideas we'll be covering in our next episode about phrasing and form and also
the second topic of this episode which is improvising using chords now before
you jump to conclusions I'm not talking about playing chords so if you play a
solo instrument like trumpet or you're a scat singer don't tune out harmony is
what gives a piece of music its journey yes the melody is the prominent
storyteller but the emotional journey of a piece is often conveyed more by the
overall progression of chords than the details of the melody line whatever
notes you choose for a twelve bar blues improvisation for example it'll still
have the character of a 12-bar blues if you improvise with
the same notes over a 145 rock progression versus a 2 5 7 1 jazz
progression it'll convey a different kind of musical
story so if you want your improvisation to tell a good story you'll want to take
advantage of this idea of harmonic progression we're not going to go deep
into that in this short podcast episode but I do want to share with you the one
crucial concept you need to know and that is choosing your improvised nodes
based on chord tones if you remember our episode 21 on chord tones and episode 27
on finding chords in scales then you'll understand the relationship between the
notes of the major scale and the notes of each chord in that key if not please
check out those episodes for step-by-step explanation and I'll put a
link in the show notes for now the critical thing to understand is that
each chord in a key is built from three or four notes from the scale when that
chord is played in the song those are the notes being played that means that
if you're improvising over a chord progression one of the best things you
can do is to choose your notes based on the current chord the obvious thing to
do is to simply choose from those notes to create your improvised melody and
although it is quite restrictive and might start to sound a bit formulaic
this will sound one notch more musical than just choosing notes at random from
the scale for the listener your solo will fit in nicely with the rest of the
music the next step is then to be very aware of the chord tones that are active
at any time and to consider choosing those notes in your improvisation but
not to stick to them strictly for example you might choose to start or end
your phrases with a chord tone or linger for a moment on a chord tone or indeed a
non chord tone if you prefer this will all give your solo a bit more musical
significance for the listener and what's cool is these ideas can all be used even
if you don't actually have a harmony accompaniment for example a saxophone
player busking solo in the street can actually use chord tones in the melody
he improvises to imply a harmonic progression and give his solo the same
kind of journey it would have if he did have a pianist or guitar player
providing chords underneath in his head he's thinking about the chord
progression he's soloing through and by bringing out those chord tones in his
solo he's going to subtly convey that progression to his listeners we go into
this in much more detail in our new improv training modules with lots of
examples to listen to and hear this all in action along with exercises and
practice tracks for you to really get the hang of it but I just wanted to
share that core idea with you because it's really simple but really powerful
if you've been noodling around based on a scale without really thinking about
the underlying chord progression before then this simple insight is going to
have a big positive impact on how musically effective your improvising is
next time we're going to pick up on something I mentioned in passing there
the idea of phrasing and giving structure to your improvisation and
that's something that works beautifully with this chord tones idea it's a big
enough topic to get its own training module in musical you and its own
podcast episode coming up after our next improv month interview thank you for
listening to the musicality podcast this episode but your musical journey
continues head over to musicalitypodcast.com where you will find the
links and resources mentioned in this episode as well as bonus content
exclusive for podcast listeners that's musicalitypodcast.com
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