"Playgroup:UsingStructuredGroup-ImprovisationExercisestoTraintheEar,
ImproveEnsemblePlaying,andDevelopaCollectiveSonicVocabulary"
By:JeremyUdden
"NewYorkisone-rehearsaltown."
Thisisacommonsentimentamongprofessionalimprovisingmusiciansinthejazz,
"creativemusic,"modernclassical,folk,andworldmusicgenres.Public
performancescanbesparseattimesandmusiciansplayinmanyensembles,soa
typicalscenarioinvolvesaconcertbookedandasinglerehearsaltopreparethe
repertoire.Theleaderhiresexpertinstrumentaliststoreadandrehearsethe
writtenportionsofthematerial.Theimprovisationor"solo"sectionsaretypically
skimmedoverduringrehearsal,ofteninanefforttoallowthemusictobeas
spontaneousaspossibleduringtheactualperformance.Thefinishedproductis
oftenfullyrealizedforthefirsttimeattheconcert,inrealtimefortheaudienceand
musicianssimultaneously.
Ihavebeenapartofthisscenariohundredsoftimes,yetIcontinuetobesurprised
andamazedthatitactuallyworks.Amusicalscaffoldiscreatedduringrehearsal,
whiletheactualbuildingisconstructedbeforetheeyesoftheaudience.Success,
however,dependsonthequalityofthemusicianswhoarehiredinthefirstplace,
particularlyinsituationswherethenotatedmusicofferslittleguidance.Ifan
intermediatemusicianweretobehiredtheymightreachthesamelevelof
performanceasa"professional"levelplayer,buttheywouldrequiremorerehearsal
timeand/orverbalguidancefromthecomposerorleader.Alessexperienced
playerwouldneitherhavethetrainedears,northemelodicorharmonicvocabulary
tocontributetothemusicalconversationontherequiredlevel.Thisisparticularly
trueinmusicthataskstheentireensembletoimprovisecollectivelyforanylength
oftime.Ofteninjazzor"bluegrass"music,forexample,theentirebandmight
simultaneouslyimproviseusingachordstructurethatgivesformtothemusic.
Basicstructureslikemelodyandsoloorderhappenspontaneously,thoughare
basedonpriorknowledgeofthefundamentalaspectsofthegenre.
Theprofessionalishiredbecauseofanassumedskillset,whichtheyhavereached
ontheirownasaresultofindividualpracticeandpreviousperformanceexperience.
Theyarriveatarehearsalandusetheirexpertisetonavigatethewrittenand
improvisedsectionsofthemusic.Onoccasiontheremightbenorehearsalatall,so
amusicianwouldarrivetoapublicperformancehavingnotpreviouslyseenthe
music.Relyingontheirabilityto"sight-read,"themusicianexecutestheequivalent
ofanactorbothreadingandperformingaplayfortheveryfirsttime,withno
rehearsal,astheaudiencewatches.Yet,inthisscenario,theactorwouldalsoneed
toserveasplaywrightduringshortsectionsaswell!
Assumingthattheseresultingperformancesareanartisticsuccess,howdoesa
musicianreachtherequiredlevelofexpertisetobeinvitedtosuchasituationinthe
firstplace?Imentionedthenecessityof"practice"and"previousexperience."
Literatureonthepracticeofexecutingmusicalnotationandphrasingiswidely
available,asaremethodsofimprovingtone,intonationandfingertechnique.While
thereare,ofcourse,disparateschoolsofthoughtandverystrictschoolsofplaying
(GermanversusFrenchsaxophonetechniqueforexample),properguidancefroma
mastermusiciancombinedwiththeadage,"Repetitionisthemotherofalllearning"
isthemostcommonpathinstrivingfortheseskills.
Thestructuredpracticeofimprovisationoverachordstructure,however,isa
youngerpedagogicalpursuit,representedbyamerefiftytoonehundredyearsof
discordantteachingapproaches.Thatsaid,thepedagogytypicallyinvolvessome
typeoftrainingtheeartohearintervalsandchordqualities,whiledevelopingan
executablerhythmicandmelodicvocabularybasedonknowledgeofscalesand
chords.Thedesiredresultisthattheimprovisercanspontaneouslycomposeand
executemelodiesbasedonthechordsandinreactiontoanyrhythmic,harmonic,or
melodicinformationthatmightbeplayedbytheothermusiciansinthegroup.Of
coursethisisagrossoversimplificationofaprocesstowhichmany,including
myself,havedevotedtheirentirelives.
Isubscribetotwokeyprinciplesinmyownpracticeofimprovisation.First,to
"practice"something-aconcept,rhythm,orpieceofvocabulary-shouldlookas
closetotheactualactofimprovisingaspossible,ifitisevertoappearinalater
improvisation.AsStephenNachmanovitchstatesinhisbookFreePlay,"Whenwe
explodetheartificialcategoriesofexerciseandrealmusic,eachtoneweplayisat
onceanexplorationoftechniqueandafullexpressionofspirit"(68).Ideallywe
"practice"anewharmonicorrhythmicdeviceorconceptwithinsometypeof
structuredimprovisation.Itypicallytellmystudentsthatitislikeusinga
vocabularywordinasentence,orforciblyplacinganewwordinasmanyverbal
scenariosaspossiblethroughouttheday.Withthismethodthewordismuchmore
likelytobeinternalizedandusedinthelongrun,ratherthanbyrotememorization
ofadefinition.Soitisnotenoughtopracticeone'smixolydianscale,thenimprovise,
forexample.Thestudentneedstoworkwiththescalebycontextualizingit.They
needtomixuptheorderorrhythmandbeasplayfulaspossible.Theyneedto
placeitwithinvarioussetsofharmonicstructuresiftheyareevertofeel
comfortablespontaneouslycomposingwithagivendeviceintheheatofa
performancewithothermusicians.
Thesecondprinciplecanbedescribedusingthebaseballmetaphorof"swinginga
weightedbat."ManyoftheexercisesIhavecreatedformystudentsinvolvesome
formofimprovisingwithinagivensetofparameters,andusingone'screativityto
makeitinteresting.Themorespecificallyyouholdyourselftothelimits,themore
difficultitwillbe,butthemoreyouwillbeforcedtoflexyourcreativemuscles.
However,onceyouallowyourselfto"swingaway"-ortakethedoughnutoffofthe
bat,thefeelingoffreedomisliberatingandtheconceptislikelyinternalized.This
methodtrainstheearbyisolatingandexploringaspecificmelodic,harmonic,or
rhythmicdevice.Italsoadherestothefirstprinciplebykeepingthisexploration
withinthecontextofactualimprovising.
"Previousexperience"isabitmoreallusive,andIwouldarguethatthetypeof
experienceneededbeyondthepracticeroomisgettinghardertocomebyasthe
yearspass.Theearliestjazzimprovisersoftenhadtheluxuryofnightlyworkina
danceband.Theycouldpracticesomethingnewallafternoonandtestitinalive
situationthatevening,withtheaddedbenefitofsocialpressure.Jazzisasocial
musicanditisdesignedtobeplayedwithpeople.Improvisationalskillsneedtobe
executedimmediatelyinreactiontothechordsandrhythmsbeingplayedbyother
membersofagroup.Theactualperformance,then,doublesasthenecessary
practiceoneneedsinordertointernalizethelanguagefully.Similarly,aperson
learningFrenchcannotdosobyreadingbooksandspeakingalone.Tobefluent
theymustconversewithothers,testingtheirabilitytocallonnewvocabularyin
responsetotheirsurroundings.
Tocomplicatethingsfurther,jazzmusiciansarenotoriouslycoyaboutdiscussing
theintricaciesofgroupperformanceandimprovisation,outsidethecontextofan
actuallessonwithateacher.AsparaphrasedbysaxophonistLeeKonitz,when
askedtodiscussarecentperformanceonaradiobroadcast,tenorsaxophonist
LesterYoungsupposedlyreplied,"SorryPres,Ineverdiscussmysexlifeinpublic."
(Konitz).Regardlessoftheauthenticityofthisquote,itspeakstotheconceptual
influencethatYounghadongenerationstofollow,includingthatofMr.Konitz.
MilesDavis,too,wasfamouslycryptictohissidemen,onceadvisingarhythm
sectionplayer"Don'tplaywhat'sthere,playwhat'snotthere"(Carr,247).Soithas
longbeenconsidered"unhip"toaskafellowmusicianonthebandstandanything
literalsuchas,"Whatchordwasthat?"or"Whenyouplaythatway,whatshouldI
do?"Ibelievethatthiswaslessofadisadvantagetooldergenerations,becausethey
wereactuallyworkingonthebandstandeverynightandthereforeaffordedthetime
toanswermanyofthesequestionsontheirownintheheatofperformance.Today's
musicians,however,arenotalwaysluckyenoughtohavethisconsistentexperience.
ItwaswithinthisatmospherethatIfirstmettrumpeterJohnMcNeil,whowasvery
muchaproductoftheoldergeneration,havinggainedformidableperformance
experiencewithHoraceSilver,GerryMulligan,andThadJones.Afteractingasa
substituteinJohn'squartetonaconcertinNewYork,heaskedifIwouldcometohis
housesowecouldpracticetogether.Webeganbyplayingduets,oftenimprovising
counterpointtogetheroverjazzstandards.Thehugerevelationformewasthat
Johnenjoyedengaginginmorespecificconversationsaboutimprovisation.We
startedexperimentingtogetherandaskingveryliteralmusicalquestions-"WhatifI
playthiswhileyouareplayingthat?"Duorehearsalssoonturnedintoquartet
sessionsasweaddedbassanddrums,andeventuallyaworkingbandcalled
Hushpointwasformed.HushpointrehearsalsarecompletelyuniquetoanygroupI
havebeenapartof.Weexperiment.Wetrynewthings-switchinguproles.We
havecreatedimprovisationalgamesandexercisesbasedonourownindividual
practiceroutines,andwefoundwaystoapplythemtothegroup,gainingdeeper
honestyandunderstanding.
Inessence,webegantospeedupouracquisitionof"experience"bytakingtimeto
discusstheintricaciesofjazzperformanceandgroupimprovisationinavery
specificway.Thistypeoftalk-inapostMilesDavis,LesterYoungjazzworld-is
extremelyuncommonbecauseitmakeseachplayerextremelyvulnerable.
Improvisersaretrainedtotakerisksandsoundtheirbest,butthatcanalsoleadto
playershidingtheirweaknesses.Thiscanhinderthelearningprocessbecause
actualinadequaciesinone'splayingarenotimmediatelyaddressed.
EssentiallywhattheseexercisesprovideisagroupversionofwhatMihaly
CsikszentmihalyidescribesasaFlowstate.Theexercisesprovidea"clearsetof
goalsthatrequireappropriateresponses,"(Csikszentmihalyi,29)withopportunity
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Chorales by Johann Sebastian Bach
forfeedbackaswell.Moreimportantly,the"flowexperienceactsasamagnetfor
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BWV 26
Ach wie flüchtig, ach wie nichtig
learning-thatisfordevelopingnewlevelsofchallengesandskills.Inanideal
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situation,apersonwouldbeconstantlygrowingwhileenjoyingwhateverheorshe
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did."(Csikszentmihalyi,33)Itendtorefertothese"exercises"as"games,"because
thegroupworklendsitselftomoreengagementandfunaswelosetrackoftime,
whicharealsokeycharacteristicsofaflow.
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Belowareexamplesofthreeexercisesthatfirstcamefrommyownpracticingor
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teaching,andwerethenadaptedtoHushpoint.Havingtestedthesewhileteaching
intermediatejazzensembles,Icontinuetobeimpressedwiththeflexibilityof
havingmultipleentrypointsintermsofaplayer'sability.Whilesomeexercisesare
harmonicallyorrhythmicallyspecific,othersaremoreconceptual.Allthree
exercisesfollowtheprinciplesofkeepingascloseaspossibletotheactof
improvising,aswellas"swingingaweightedbat"inanefforttoexercisecreative
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muscles.
Exercise1:ImprovisingChorales
Bachchoralesareoftenusedasexemplarsofperfectcounterpoint.Thereisan
inarguablysatisfyinggravitytothewaytherhythmandharmonyalign.
BWV 262
Alle menschen müssen sterben
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OnoneoccasionIinvitedtwoformerstudentsovertoplay,andwebegan
improvisingfreelyasthreesaxophones.PerhapsbecauseIhadn'tseenthesetwo
talentedplayersinawhile,Ihadtroubledisengagingmypedagogicalmind.While
improvisingfreely,wefellintoanalmost"choral-like"piece,andIsuggestedwetry
puttingaparameteronourselvestoimprovisemorespecificallyinthestyleofBach.
Weattemptedtoemulatehisrhythmandphrasing,whilekeepingourearswide
openfornaturalharmoniccadences.Theresultsweremagic!
Thinkingaboutthisoccasionmore,Itriedsimplerversionoftheexerciseonother
sessions,andwithafewbeginningstudentgroupsaswell.Asitturnsout,this
methodservesasagreat"firstday"exerciseforstudentensembles.Here'showit
works:
Withtwomusicians,putametronomeonat60beatsperminute,andsimplyplay
wholenotesofyourchoosing,simultaneously,startingonbeatoneofevery
measure.Animprovisationmightlookandsoundsomethinglikethis:
Noticethattheresultingpiececonsistsofasetofintervalsintime.Alreadythisisa
usefulexercise,allowingstudentstoworkonintonationandsoundquality,aswell
asrecognitionofintervals.
Itisalsoagreatfirststepfornoviceimprovisers,becauseyouhavetaken
rhythmoutoftheequationcompletely;themusicianonlyneedstochoosea
newnoteeveryfourbars.
Next,pickakeycenter,perhaps"CMajor"first.Dothesameexercise,butstick
exactlytothekeyofC.Itmightlook/soundlikethis:
Noticethatmorerecognizableharmonybeginstotakeshape.Intonationandsound
arestilladdressed.Youcouldevensaythat"changeplaying"beginstohappen(if
thatisanendgoal),becauseyouhaveaddedtheparameterofstickingtoasingle
modeorkey.Thisisstilleasy,becausetheimproviserdoesnotyetneedtoworry
aboutrhythm.Iwouldalsoarguethattheeartendstofeelthegravityofthe
harmonicmovement,andtheplayerbeginsattemptingtoanticipatethenextmove
ofhisplayingpartner,whichmightresultinamoreorlessconsonantinterval.In
additiontodevelopingtheear,theplayerisdevelopinghis/herharmonicinstinct.
Withthreemusicians,thefirstexercisemightlooklikethis:
Andwiththreemusicians,thesecondexercisemightlooklikethis:
Obviously,themoremusicians,thethickerthechordscanbe.Thereisagreater
chanceofdissonance,butagreaterrewardwhenconsonancehappens(ifthatis
yourgoal).Ofcourse,unisonswillhappenaswell.Thisexerciseoffershoursof
reward,astherealwaysseemtobemagicalmomentsoftensionandresolution.
Beginaddingdynamics,andendeachphrasewhenyourinstincttellsyoutodoso.
Fromhere,theexercisecangoinafewpossibledirections.Oneistosimply
increasethetempo,forexamplebyfivebeatsperminuteperrendition.Thiscanbe
veryhelpfultofirst-timeimprovisers,asitstillkeepsrhythmoutoftheequation,yet
allowsthemtochooseanewnoteatfasterandfastertempos.Again,eachplayeris
developingtheirearsandinstincttoshapethesenotesintoapieceofmusic.
Anotherdirectionistobeginaddingtoyourrhythmiccurrency,firstbyallowingthe
occasionalhalfnote.Afterthatiscomfortable,allowfortheoccasionalquarternote,
andsoon.Thegoalistoreachapointwheretheensembleisemulatingthestyleof
aBachchoral,eitherinaspecifickey,orwithnoharmonyatall.
Iguaranteeyouthateverytimeyoudothisitwillsounddifferent.Moreprofoundly,
youwillhavecreatedmusicthathasliterallyneverbeenplayedbefore.Thisisa
greatwaytogeteveryone'ssound,ears,andimprovisingmindworking.Youare
simultaneouslyworkingongroupdynamic,trainingyourears,anddevelopingyour
musicalinstincts.
Thoseinterestedincompositionmightconsiderrecordingtheseexercisesasa
group,thenactuallytranscribingthemusic.Iguaranteeyouwillarriveatchordal
voicingsthatyouwouldneverhaveconsideredotherwise.