Improvisation Ideas/Strategies - for backup and for breaks
These strategies are meant to be worked on individually-not all at the same time.
The underlying premise is that limiting our options is an important key to successful and musical improvising.
Key Note
1) Play the note of the key we are in a lot and always keep track of it when you decide to play another note.
2) Add in the note one fret (1/2 step) lower
3) Add in the note two frets (whole step) higher than the key note
Don't forget octaves. You can expand this to any additional notes in the scale (or even a random note) but keep track of, and work from the key note- the tonal center of the song.
Notes from the chord
Play any note from the chord we are on. These are all "safe" notes and will not sound sour.
This is the primary strategy used in the Wernick Bluegrass Jamming Method to "fake a break"
Play with the Rhythm
Instead of altering the melody, alter the phrasing and rhythm of the melody.
Copy the Vocalist
Play what the vocalist just sang.
Sing what you play and play what you sing
This can help free you from playing only what your fingers already know how to do.
Three Frets Up
1) Play the chord, or any notes of the chord we are on.
2) Move the note(s) three frets (1.5 steps) higher and return to where you started
Creates a bluesy sound, try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot.
Random Note
Play a random note with confidence and hold it. Then follow these rules:
1) If it sounds good, play it again.
2) If it doesn't sound that good, play it again anyway with feeling (sell it!).
3) If it still doesn't sound that good, or if you want to hear something different, move the note up or down (a fret or two-no big leaps).
Repeat from #1
The idea is to relax, "play", and not panic. Listen to what is happening with open ears. Cool things can happen.
When combined with the key note strategy, your potentially tension filled solo will resolve.
Seventh chords
Use 7th chords (D7, G7, C7 etc)
1) Whenever you want - to add a jazzy sound, try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot
2) To anticipate a transition to the chord a 4th higher (G to G7 to C, D to D7 to G, C to C7 to F, etc)
Two Frets Back
1) Play the chord, or any notes of the chord we are on.
2) Move the note(s) two frets (1 step) lower and return to where you started. Try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot.
3) Move the note(s) two frets (1 step) lower and use that chord (or partial chord) in the same place you used 7th chords (see above) to anticipate a transition to the chord a 4th higher (G to "F" to C, D to "C" to G, C to "Bb" to F, etc)
Oversimplify the melody
1) Reduce the melody to the minimum-lots of whole notes, lots of skipped notes, play only the essential notes.
2) This strategy helps us navigate complex phrases that we may not be able to find on the fly.
3) This strategy leaves room for us to fill in the spaces with variations that still connect our improvisation to the tune we are playing.
Limit yourself to one string
1) This goes along with the previous idea of simplification as it requires you to make deliberate choices and not overplay.
2) Your ideas will automatically be more lyrical (vocal-like).
3) Also a strategy for making something musical happen on an instrument you are not familiar with or one that is not in standard tuning.
One to Four
If you are sitting on a chord for a while, play the chord a 4th higher and return to where you started (G to C to G, D to G to D, C to F to C, etc)
Flatted Third of Scale
Use the flatted third note of the scale to add a bluesy sound to your playing.
For example, the bluegrass instruments all have a string tuned to G. When in the key of G, the note on the 3rd fret (Bb) is the flatted third. You can use this note in combination with the note at the 2nd fret (the 2nd note of the scale- A) to get a very useful musical thought: the 3-2-0 move on that string has lots of application!
These strategies are meant to be worked on individually-not all at the same time.
The underlying premise is that limiting our options is an important key to successful and musical improvising.
Key Note
1) Play the note of the key we are in a lot and always keep track of it when you decide to play another note.
2) Add in the note one fret (1/2 step) lower
3) Add in the note two frets (whole step) higher than the key note
Don't forget octaves. You can expand this to any additional notes in the scale (or even a random note) but keep track of, and work from the key note- the tonal center of the song.
Notes from the chord
Play any note from the chord we are on. These are all "safe" notes and will not sound sour.
This is the primary strategy used in the Wernick Bluegrass Jamming Method to "fake a break"
Play with the Rhythm
Instead of altering the melody, alter the phrasing and rhythm of the melody.
Copy the Vocalist
Play what the vocalist just sang.
Sing what you play and play what you sing
This can help free you from playing only what your fingers already know how to do.
Three Frets Up
1) Play the chord, or any notes of the chord we are on.
2) Move the note(s) three frets (1.5 steps) higher and return to where you started
Creates a bluesy sound, try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot.
Random Note
Play a random note with confidence and hold it. Then follow these rules:
1) If it sounds good, play it again.
2) If it doesn't sound that good, play it again anyway with feeling (sell it!).
3) If it still doesn't sound that good, or if you want to hear something different, move the note up or down (a fret or two-no big leaps).
Repeat from #1
The idea is to relax, "play", and not panic. Listen to what is happening with open ears. Cool things can happen.
When combined with the key note strategy, your potentially tension filled solo will resolve.
Seventh chords
Use 7th chords (D7, G7, C7 etc)
1) Whenever you want - to add a jazzy sound, try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot
2) To anticipate a transition to the chord a 4th higher (G to G7 to C, D to D7 to G, C to C7 to F, etc)
Two Frets Back
1) Play the chord, or any notes of the chord we are on.
2) Move the note(s) two frets (1 step) lower and return to where you started. Try it, if it sounds good it is good, if it doesn't sound that good, don't use it in that spot.
3) Move the note(s) two frets (1 step) lower and use that chord (or partial chord) in the same place you used 7th chords (see above) to anticipate a transition to the chord a 4th higher (G to "F" to C, D to "C" to G, C to "Bb" to F, etc)
Oversimplify the melody
1) Reduce the melody to the minimum-lots of whole notes, lots of skipped notes, play only the essential notes.
2) This strategy helps us navigate complex phrases that we may not be able to find on the fly.
3) This strategy leaves room for us to fill in the spaces with variations that still connect our improvisation to the tune we are playing.
Limit yourself to one string
1) This goes along with the previous idea of simplification as it requires you to make deliberate choices and not overplay.
2) Your ideas will automatically be more lyrical (vocal-like).
3) Also a strategy for making something musical happen on an instrument you are not familiar with or one that is not in standard tuning.
One to Four
If you are sitting on a chord for a while, play the chord a 4th higher and return to where you started (G to C to G, D to G to D, C to F to C, etc)
Flatted Third of Scale
Use the flatted third note of the scale to add a bluesy sound to your playing.
For example, the bluegrass instruments all have a string tuned to G. When in the key of G, the note on the 3rd fret (Bb) is the flatted third. You can use this note in combination with the note at the 2nd fret (the 2nd note of the scale- A) to get a very useful musical thought: the 3-2-0 move on that string has lots of application!
Jam along blues tracks for improvisation practice
|
|