In this section we will discuss the various methods of improvisation available including improvising over difficult chord progressions that utilize more than one key.
First we'll look at very basic chord progressions. 2-5-1 (if in the key of C--Dm-G7-C) and 1-4-5-1 such as most Blues proressions and many early Rock progressions.e.g.C-F-G7-C.
The idea here is to choose your notes carefully and in a manner that is most pleasing to your ear. try first using small four to six note phrases.In the case of the first progression (2-5-1),d-f-a-c(ascending)b-a-g-f(descending)landing on the e. If in 4/4 time the first two chords(Dm and G) will be in half notes and the third chord(C) will be in whole note duration. Next try something different of your own choosing. Bear in mind that Dissonance and Consonance have to be taken into consideration. If you try this in 3/4 time, each chord will normally be in dotted half note duration i.e.3 beats each. Alter your improvised line accordingly.
For the next progression, you will notice one more chord is thrown into the mix. Also, all chords are major rather than any minor. This progression 1-4-5-1 is commonplace in Blues.It can afford you the opportunity to utilize the Blues scales in the keys of the chords as they appear.i.e. C-F-G. You can use what are known as "riffs" in Blues and Jazz. These small 2 to 4 bar phrases are what you hear individually or linked together to form continuous lines. Try copying short Blues phrases from recordings of Blues artists such as B.B. King or Stevie Ray Vaughn. The most common Blues keys are C-F-G-E-A-D-Bb. Sometimes guitar players will use alternate tunings. These can result in your having to play in other remote keys such as Ab or Db. When using Blues scales remember that they contain fewer notes than Major or Minor scales. This can actually be an advantage since it clears the way for you to develop "riffs" using combinations of both scale types.
Let's examine chord progressions that wind their way through various keys. Try this progression...
You first notice 2 things. Only 3 chords are within the key of C. Alos,they follow a predetermined equal path i.e. up a fourth (C-F#) and down a fifth (B7) repeatedly. It is also interesting to note that the changes are Major/Minor repetitions. This is very common in Jazz. Look at what notes are involved in the above chord progression and you will discover that most are included in the C Blues scale already. A7 includes a C#, but it is not always necessary to include that note in your improvisational lines or "riffs".C# is also(enharmonically) Db which is part of the C7b9 chord discussed earlier. The flat ninth degree of the scale is frequently used in Jazz improvisation. Note also that the above progression allows you to resolve the seventh of the chord to the third of the next chord i.e.F#m7 the seventh being E will resolve to D#, the third of the B7 chord. This can make for interesting patterns that can be repeated over the entire progression.
Now we will look at a more modern progression. This excerpt is taken from Bill Evans composition entitled "Laurie". This piece is in Bb. Ready? Here goes...
These are in 4/4 time with the measures notated with the brackets. By now you're probably thinking to yourself,'this looks too difficult,' but given a chance you'll see it's not as tough as it looks. Each of these chords in the progression contain notes that are common to the next chord in the progression. E7b9 or E-G#-B-D-F contains a G# or Ab that is found in the previous Bbm7 chord. These common chord tones act as your links to the next chord in the progression. Am9 contains both the E and the B you will find in the E7b9. Most of the time when chords are designated (#5) for example, that note lies in the actual melody line of the piece. When working with a progression of this diversity it is best to first play "around" the melody line to get a feel for the chord changes. When using only triads in a progression, remote chords may not have a direct link to the next chord. You can alter a scale or pattern to accomodate them.
Remember, there will always be a link to use in order to get from one note of a chord to another no matter how remote the "borrowed" chord is from the original key. You can go from a C chord to any other chord even if it is an altered chord. Try building a chord progression using middle C as a single melody line note. You will discover that a chord can be constructed under that note for every note in the chromatic scale i.e.
The next section will talk about
improvisation without any harmonic progression
whatsoever. Freestyle improvisation can be less
restrictive when chord progressions are not
utilized or are abandoned entirely.
