Are you looking for jazz piano improvisation ideas? You’ve come to the right place. If you’re new to improvising, knowing a few important basics can open up countless possibilities for you to experiment with. Keep on reading for a few tips to get you started.
You may not have wanted to hear this, but scales are the key to improvisation. Learn your key signatures and commit those scales to your memory (preferably your muscle memory). You’ll then be able to play around in a specific key during a solo without stumbling onto unwanted accidentals. Take a listen to this clip of Pascal Wintz improvising on the piano, and notice how well he is able to play around with notes in the right key in here. Read the full article …
Too many people have never considered improvising on their instrument because they’ve been “Chained to the Written Page.” You think you can only play music when you have a music stand with some written music on it. That’s not true.
All you have to do to get started is try something as simple as playing Mary Had A Little Lamb starting on any note, maybe D concert. I think you’ll be surprised how quickly you can play simple nursery rhymes. After a little success, I encourage you to move ahead and try to play songs you’ve heard on records, radio, TV, etc. Check out my Volume 1 “How To Play Jazz and Improvise.” Have fun. No need to be stuck to the written page!
Christian McBride is a bassist, composer and arranger, and jazz commentator/host. He tours and travels the world with the energy of a man constantly pumped up on the spirit of the music.
It is from listening to him play that you feel his joy for the art form. His tight musical sense of connection with other artists is strikingly apparent in the very rich and easy-going “Conversations with Christian,” his interview show now on Sirius XM’s “Real Jazz.”
What he likes about the changes in the music instrument are that the world of sound has become a lot smaller since early 1980s. “In an instant, you can pull out your smartphone and immediately find out what somebody’s doing halfway around the world. You can put music out there and anyone can access it,” he says. Read the full article …
Aziza Miller was a teacher in the New York City school system, and, because music has always been a huge part of her life, infused jazz into her classroom lessons whenever it was possible. She asked her students if they knew of any jazz musicians and found their realm of experience allowed for responses like Stevie Wonder or James Brown.
“I realize how blessed I was to be exposed not only to jazz but every kind of music,” recalls the pianist and singer. “The students didn’t get that exposure. I pondered over how I could pull them in so they would be interested.” She found her answer in rap, knowing the genre would pull them in and get them to listen. Read the full article …
I began thinking about all this seriously when I first heard the Bird interview of Paul Desmond and Bird said he practiced 11 to 15 hours a day for three to four years. That was the beginning of me realizing that practice and desire are THE key elements in getting the music out of one’s mind.
Since I’ve been doing clinics for many years and hearing students, people of all ages play their instruments on something as simple as a Dorian minor scale and still not really make any music, there must be a reason why they can’t play MUSIC. I mean phrases that replicate what they would sing with their voice or think with their mind. It comes down to one thing: they don’t have the facility on their given instrument to produce what their mind is hearing. The connection between mind and fingers isn’t complete and in most cases, never started. If you ask them to sing, like I often do, (I had a stage hand at ISU during one clinic sing with me playing chords slowly on the piano) they sing VERY SOPHISTICATED phrases and pick out all the beautiful notes. Their voice never sings a wrong note like their instrument does and the audience hears MUSIC. Ask them to do something similar on their instrument and the world stops dead in its tracks. No music comes out. Frustration raises its head and says “I told you. You can’t do this. Jazz is too hard. It’s not for you! Stop embarrassing yourself. Get back to the written page!”
Everyone can sing and follow complex harmony if the tempo is slow and they are not scared. It’s really exciting to hear people sing while I play and then hear the audience genuinely applaud. THEY ARE MAKING MUSIC. Lack of time spent with their instrument is the culprit.
Once you start to get the train of THOUGHT, matching the fingers, you need to work on articulation, sound, tone, etc. in order to continue playing on your instrument what you hear in you mind. You can’t give up once this process begins. There will be set backs, but they will be overcome with more practice on the instrument. Your mind will always be way out in front of what you can actually play and that’s good. Here’s where listening becomes an important factor in progressing on a daily basis. The thousands of jazz recordings become your private teacher. Listening over and over and then trying to match some of what you hear the jazzers play becomes an exciting part of learning to express yourself and ultimately finding your own musical personality.
Jazz is a special kind of music. It’s for everyone. Not just a few that we may call special. It’s ever new. All of us who are teaching jazz need to realize the music inside every student is worth of our time in coaxing it out of the students mind and into the open via their instrument so WE can hear it. And everyone hears differently and that’s the special part of all this.