Anyone can improvise

Last weekend I attended the 2-day Jamey Aebersold Jazz Improvisation Workshop held at the University of Louisville in Kentucky.  This workshop is taught by Jamey Aebersold himself, which I think is great.  If you've ever used any of his play-along CDs (or LPs, if you've used them for a very long time) you've heard his voice, counting off the tempo.

I must say, he's a monster of a musician, demonstrating his points beautifully on both piano and saxophone.  The first morning session didn't have much in the way of theoretical information, but it did serve to get everyone into the "be creative" mindset.  As a teacher, I was interested in ways of introducing improvisation to some of my students, and the first day afternoon session gave me some helpful tips.  For example, instead of having the student try to solo over a progression, have them try over just two or three chords, using only two or three scales.  This keeps the amount of intimidating choices down to a manageable number and allows the player to experiment with actually trying to make up a melody on the spot.

Day 2 dealt more with some theoretical aspects of jazz music, like ii-V7-I progressions, scale usage, and ear training.

He did address the interesting question of whether or not analyzing or talking about jazz diminishes its spontaneity.  To paraphrase Aebersold: The greats may have not known whether or not they were playing diminished scales or tritone substitutions, or even if they played them intentionally (some did, Coltrane and Miles Davis were known to use modes and scales in experimental ways) but that's what they were doing.  And it's interesting how much you can learn about soloing by analyzing a solo from one of the great players.  We looked at couple of transcriptions, one from a Jimmy Forrest solo and one from Sonny Stitt.  By comparing note choices to the chord symbols, it's possible to see how they followed the progression.  It's really illuminating to see how a great soloist builds their melodies.

Some other interesting points: 

• Rhythm is at least as important as the correct notes.
• Imagination provides FREEDOM.  Develop your creativity.
• Music doesn't care who plays it.
• TV kills imagination. 
• LISTEN! All of the answers are in the recordings.
• Charlie Parker practiced 11-15 hours every day for 3-4 years.
• Get some music in your head (and in your fingers).  Don't rely too heavily on books and written music.
• Use your ears and memory.
• Try first improvising by singing.  Your voice can go places you may not be able to easily find with your instrument, and it helps to get ideas moving.

Also, Jamey can circular breathe.  It didn't hit me right away, at first I only noticed that he never stopped to take a breath when he played his saxophone.  Circular breathing is a technique where the player breathes in through the nose while exhaling into the instrument.  It requires practice; few people can do it naturally. 

Overall, it was a useful two days.  I picked up some new ideas to try with my students and new ways of practicing and developing my own playing.  Maybe in a year or two I can return for one of the week-long sessions to learn more.

After the final session, Jamey was so kind as to autograph my book!