Texas Bandmasters Association
Bandmasters Review • December 2015
12
their disposal so that they can assemble phrases that sound
both interesting and logical.
The next step is memorizing these ideas. Students often
memorize material in academic courses, so memorizing a
musical idea shouldn’t be any different than, for example,
memorizing the sound and spelling of a word. An effective
way to memorize an idea is to relate it to chord tones, for
example 1, 2, 3, 5. Try to hear it and visualize either sheet
music with the idea or fingerings, then play it. If a student
can repeat an idea flawlessly ten times, they’ve probably
got it. Repeat this process with about 15-20 ideas, all over
a similar chord (e.g. F7 and Fmi7).
Now have students play over a simple form, in this case
maybe a blues or an 8-measure section on F7 or Fmi7,
inserting one idea every two measures. Some will be
shorter than two measures, so they will rest. Some may be a
bit longer than two measures, so after that idea, they might
rest for a measure or so, or play a melodic fragment. They
should limit themselves to ideas that they’ve memorized,
and they generally shouldn’t be longer than two measures.
Why two measures? In the beginning, it’s a very natural
way to group ideas and create symmetry. It’s also much
easier to keep your place in the form!
Finally, have students focus on the timing of each idea
and how they complement each other (balance). If one
idea is active, dense with notes or rhythms, perhaps the
next idea should be less active, using just a couple of notes
or rhythms. If the contour of an idea ascends, perhaps the
next idea might descend, creating a peak.
If an idea descends, perhaps the next idea
will ascend, creating a valley. This helps
students to develop a sense of balance,
maybe even taste. All of this is discussed in
the improvisation course.
When students can reliably execute ideas
they’ve memorized, and have instincts that
allow them to assemble ideas in a logical and
musical manner, they can say something
when “improvising”. The more material they
have, the more they can say. Eventually, their
instincts will allow them to play new things
that they just hear at a certain moment, or
react to what their bandmates are playing,
saying things they’ve never said. They will
then be able to balance their improvisation
between “knowing and not knowing”. It’s
powerful stuff, not to mention a whole lot
of fun!
Jim Snidero is a saxophonist, author and educator
living in New York City. He is the president of
The Jazz
Conception Company
, producing multimedia courses
on jazz improvisation and performance. Go to www.
jazzimprovisation.com to find out more.
Teaching “Improvisation”
