I saw a fascinating scene at an orchestra rehearsal once. We
were rehearsing "Oh When the Saints Go Marching In", and in the arrangement is an open section
for solos. The conductor turned to
one of the musicians in the orchestra (a classical musician of the highest
caliber) and asked him to improvise a solo over a chorus. The fellow
looked at the conductor as if he had just been asked to speak
Chinese. He did not play the solo.
Improvising is fun. Improvising well is difficult, but the
interesting thing is that improvising well isn't any more fun than
improvising badly. It's just fun to make up your own melodies.
Classical musicians should all learn to improvise at least a little.
The biggest difference between classical and jazz music in terms of how
they are played is the focus of your mind. In classical music, you are
constantly referring to what you practiced so many times, thinking
"what comes next what comes next what comes next" -- preparing
your mind and your fingers to do exactly what you have already done many
times before. You are "pushing" the music out.
To improvise, you must set aside this urge to push and focus more on
listening -- listening to what you just played and to what the others
around you are playing.
If you are brand new to improvisation, don't worry about modes and
scales all up and down the neck. You can learn modes and scales everywhere
and still not be able to improvise well.
To start, work with a very small portion of the neck. Actually, I would
suggest you start with just one note. Find a source of chord changes (tape
yourself, use Band in a Box, play along with a record), and then pick just
one note on the neck that works with the chord changes. Use
very simple chord changes with a slow tempo and a simple feel. For
example, strum a C chord, and play the note C.
Close your eyes and listen to the music. Then play the one note you
have chosen. Play, but don't push the music out -- listen to what
you are playing and pull it out.
Play just this one note in different rhythms, sounds, articulations.
Play this note and just have fun with it. When you're satisfied with just
the one note, pick another note that also works over the changes and play
it, too. You'd be amazed how many ways you can play a solo using just 2
notes.
As you get more and more comfortable with two notes add more
notes. Use all 8 notes of the C scale over your C chord.
Listen to each note to get a feel for how it sounds against the C chord.
If you do this every day for a couple weeks, you'll learn what
improvisation feels like. From that point, you begin to apply all the
elaborate mechanisms for playing through chord changes that are
found in all the jazz books.
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