Texas Bandmasters Association
Bandmasters Review • December 2014
25
Rule 2:
Remember, there are no wrong notes
when improvising a solo. There are only consonant or
dissonant notes and remember that we are only a half-
step or whole-step away from a consonant note at any
given time on any given tune, so don’t panic. Just stay
on your dissonant note and then let your ear guide you
quickly (in either direction, up on down) to make it
sound consonant.
Rule 3:
During your solo, feel free to play the
melody as much as you like. When it’s your turn to
solo again, try and embellish it a little.
Rule 4:
Play major scales over a ii-V-I progression
in a major key area (e.g., play a C major scale over a
DMi7 – G7 – Cmaj7).
Rule 5:
Play a harmonic minor scale over a
ii7(b5) – V7(b9) – i in a minor key area (e.g., play a
C harmonic minor scale over a DMi7(b5) – G7(b9) – i).
Rule 6:
Play a blues scale over a minor or major
ii-V-I chord progression (e.g., over a C major or minor
key center play the following blues scale: C, Eb, F, F#/
Gb, G, Bb, C).
Rule 7:
Play your scales (i.e., or just one note if
you like, etc.) with the 4-step rhythm exercise: 1) Play
quarter notes on the beat; 2) Play quarter notes off of
the beat; 3) Play eighth notes as if combining the on/off
quarter notes (which hopefully should now sound like
swinging eighth notes); and 4) Play sixteenth notes
(i.e., which should sound like double time).
Rule 8:
Feel free to scat-sing a solo as a break from
one’s wind instrument or to generate new ideas. Louis
Armstrong loved to scat-sing!
Rule 9:
Choose a leader to play a short idea (i.e.,
short blues cell or lick), and then everyone else copy
it. This is a “Call and Response” exercise. Be sure to
change leaders from time to time.
Rule 10:
When possible play with a rhythm section
(i.e., bass player, drummer, pianist and/or guitarist).
However, you can play with any Jamey Aebersold play-
a-long CDs, iReal Pro, or other proprietary programs.
Rule 11 :
In the beginning, if possible, try and
learn to play-by-ear before reading chord changes. It
will help to focus on listening instead of focusing on
reading.
That’s all there is to it and you’re ready to play!
During my presentation at the convention, one of the
first things we did was invite a handful of high school
band directors, with varying degrees of experience,
to play the afore-mentioned exercises on instruments
provided for them for this clinic by Yamaha, Inc. I
believe that these participants really enjoyed learning
these basic techniques. The other clinic attendees also
had very positive reactions as well. I encouraged the
participants to learn Milt Jackson’s, “Bags Groove”
by ear and then everyone participated in a call and
response scat-singing session with me as the leader.
As a final note, in order to teach beginning jazz
improvisation, I believe it’s important to experience
this process to a degree, so as to be a role model
for one’s students. One does not have to be totally
proficient, but only to have experienced the jazz
improvisation process. I find, more often than not, that
these types of exercises dispel the fear associated with
improvising when there is no written music. My hope
is that you get “hooked” by the jazz improvisation bug
like I got hooked on “Texas Hold ‘Em Poker.”
Let ’s Play the Game “Jazz Improvisat ion”
Dr. Aric Schneller holds a Doctor of Musical Arts in Trombone Performance from the University of North Texas, a Masters of Music in
Vocal Performance from Boston University, a Masters in Music in Jazz Studies from the University of North Texas, and a Bachelor of Music
in Trombone Performance from the University of Montana. Dr. Schneller is the Director of Jazz Studies at Sam Houston State University and
is the Creator and Artistic Director of the annual SHSU Bill Watrous Jazz Festival since 2011. This year, under Dr. Schneller’s direction, the
SHSU Jazz Ensemble will perform at the 68th Annual Midwest Clinic.