Improvisation

lemanouchecbien

That's depend about people. Some get stuck because of the theory others from a lack of creativity.
But still Dennis was saying that some people get stuck playing a chord because they do not know the name of it.
And I think that is the problem if you use it in the wrong way you get stuck. Do not base your playing on theory but use the theory to understand what you play. So I guess I do agree with you BluesBop Harry .

BluesBop Harry

Yet, I've seen a lot of people get so hung out in theory that they forget the magic.
I guess it can be an obstacle if you see it as an end instead of as a means.
But used right it can be helpful.

Still, as you said, the priority should be the ear and the heart.

So, yes we agree.

djangology

Creating nice improv is also very hard for me. The only think I can think of usually is to play around with a chord progression that I know , or part of a song.

But, when I listen to one of Djangos improvisations, he doesn't seem to necessarily be following a general concept or template, but instead seems to be jumping around and modulating with no particular pattern. It seems to be more about connecting one idea to the next in a unbroken chain regardless of any of the other musicality of it.

Is this true? What do you think Michael H.?

MichaelHorowitz

djangology wrote:

Creating nice improv is also very hard for me. The only think I can think of usually is to play around with a chord progression that I know , or part of a song.

But, when I listen to one of Djangos improvisations, he doesn't seem to necessarily be following a general concept or template, but instead seems to be jumping around and modulating with no particular pattern. It seems to be more about connecting one idea to the next in a unbroken chain regardless of any of the other musicality of it.

Is this true? What do you think Michael H.?

Jon...are you talking about Django's Unaccompanied pieces?

KB

djangology wrote:

Creating nice improv is also very hard for me. The only think I can think of usually is to play around with a chord progression that I know , or part of a song.

Just my humble opinion but trying to follow chord progressions is a good way not to play wrong notes and improvise "correctly" but my approach to soloing on the piano and guitar has always been to follow the melody in my head which then leads to better phrasing when improvising. The chords are more of a guidance to keep you in the right direction. Thats why when I see songs w/ really crazy changes its tough for me to play meaningful solos unless i try to think of the song's melody in my head. To me Giant steps is one of those tunes where you really can't lyrically and soulfully improv coz you get stuck thinking changes etc etc. I hate to say this and i may get flamed for this but Coltrane's solos in that song sounded a bit mechanical for me although it was beautiful playing over changes. Metheny's version is closer to something more meaningful coz its at a slower tempo. That's why i love gypsy jazz.

djangology

Michael: yep, that be what I talk about. i suppose I could open your book and examine it to get my answer but i was just asking anyway.

KB: i wasnt talking about improvising over changes. i was talking about solo improvisation.

KB

djangology wrote:

Michael: yep, that be what I talk about. i suppose I could open your book and examine it to get my answer but i was just asking anyway.

KB: i wasnt talking about improvising over changes. i was talking about solo improvisation.

oh...yeah that stuff is not easy...lol. Keith Jarrett & Chick corea are aweseome at that. It would probably help if you could hear a melody/theme and start off w/ that and gradually build on it and not specifically think structure. its probably the wrong approach though. When i sit down at the piano/keyboard i just play random notes when i'm bored and then i hit a note or chord which then suddenly opens up possibilities. the notes/chords just want to get resolved and you keep experimenting after that.