george duke - improvisation workshop.pdf

8/11/2019 George Duke - Improvisation Workshop.pdf

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IMPROVISATION

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When studying or practicing improvisation,it is a good idea to think compositionally.

Think in terms of creating small motifswhich you build on from one section to

CHAPTER 1/ ITEM #2AExample 1:

RHYTHMIC "PULSE"

***Chapter and Item numbers directly correspond to the Menu***

another, everntually reaching some sort of conclusion.Below are examples. Repetition and small melodic changesto your motif should become a part of your soloing structure.

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Phrasing is what successful improvisation is allabout. Practicing the various phrasing techniques

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discussed in the DVD in the same manner youwould practice scales.

.

G-7/C

nj

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>

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F-7

. nj . n

j.G-7/C F-7

j . nj . n

j.G-7/C

j

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w> w> w

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nJ

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F-7

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w>

1ST "EVENT"

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F-7

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w>

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-nJ.. F-7

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CH1/#2B3RD "EVENT" (SHORTENING TIME SPAN, MAKING END OF PHRASE MORE COMPRESSED AND AGITATED)

A3

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j . j . j .C-7

j

&bbbb F-7

. j --BUILDING PHRASE & PUSHING INTO NEXT PHRASE

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"BEGIN ANOTHER MOTIF OR MELODY TO BUILD"

B

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...THE MELODIC PHRASE IS ELONGATED...

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B1

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&bbbbw"How about..."

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&bbbb. j . j . j ."just falling off the phrase..."

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CH1/#2C

C"This thing needs to explode - maybe we should do something rhythmic..."

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Although I discussed soloing on "You've Changed"in a different key from the Anita Baker example,

the principle is the same in any key.

CH1/#5

BALLAD

Example 2:

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experiment with

REPETITION

The transcription below is in the key of the example - B

A B & C

n cont figure------------? ? ?

b

?bb BbM13

A13

nA7(b13)

n 3

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fi nb finjb b

nj

b fi#jb n 3

33

?bbAb13

b b 3

D-11/G

n nG7(b13,#9/B

J3 3

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# # # nnb3

3 3

?bb C13

nF#13

#F13(b9)

n 3

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J

Bb13(b9) . J3 3

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EbM13

w

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MY SOLOS WITH MILES DAVIS FURTHER ILLUSTRATELEADING AND BUILDING ONE MOTIF INTO ANOTHER.STUDY THESE CAREFULLY! MOTIFSARE THE BULDING

BLOCKS OF MUSIC AND STRUCTUREIS THE FOUNDATION.BECOME THOROUGHLY VERSED IN CONSTRUCTING, EXE

Example 3:

CH1/#6

FUNK

A

..

(WITH PITCH WHEEL)

.

rMOTIF

.

CUTING, AND BUKIDING PHRASES FROMSMALL MOTIFS.

BE AWARE OF WHAT'S GOING ON AROUND YOU.

INTERPLAY BETWEEN MUSICIANS KEEPS THE MUSICINTERESTING AND CHALLENGING

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r . r rsimile...

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A1

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A2

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.

A3

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G-11

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?bb ?G-11

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-n . . - . (with pitch wheel)

. B1 j

?bbG-11

r .simile...

r ? ? ? ? ? ? ? ? ? ? ? ?

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-

. B1

j

?bb ? ? ? ? ? ? ? ?

&bbB2 (transition)

C

pitch wheel

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?bb G-11

j j

etc.

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..

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Left hand comping for your solos is asimportant as learning your scales! The

rhythms and voicings you use in the lefthand have everything to do with what youplay with the right. If you are going to

CH2/#9

Example 4:

play with other musicians, learn to play in time! A drummachine will help you get a "feel" missing with a metro-nome, but I think it's best to alternate and use both.

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.b

.J

.b

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b b b b b b b

? .bJ

Bb13bJ....

.bJ

JEb13(#11)

.J

Ab9bb ... b

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SOmetimes it's nice to "pull" the beat back orplay slightly behind the beat, especially whaenyou have started a figure in time. Towards theend of the phrase, begin to slow down the fig-ures until the the end of the phrase.

Example 5:

CH2/#11

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.

The video example with Robin Ford demonstrates this.The transcription below shows the piano part. Not displayed

is that the tempo stays the same - only the soloist slowsthe figures down. Of course there are times when it might bedesirable to have the entire band do the same.

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."PULLING BACK"CREATES TENSION

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Simple single note repetitions can be a good wayto begin a soloExample 6:

CH2/#12

m m mJ #j j

?C13

.bJ

Eb13.b

D7(#9).

bJ

.

D-9.J

Db9.b

C13.bJ

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& m m

OR---

& mJ

m m m

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b

Eb13

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C13.

bn J .J

Eb13.

b J

&

m

m

m

m

m

m

m

m

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D7#9.

#J #J

D-9

nJ

&m m m m

? mj G7(b13).b C13

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Example 7:

This is an example of a fourth intervalarpeggiated progression that I used to practiceeveryday. At fast tempos, especially with bothhands, it is an impressive figure in the middle ofa solo. Create as many of these type of progress-ions as you can, and practice them until they areseconf nature. All the great pianists make use of

these "what I call" bags of tricks - somewhat technicachallenging phrases that astound and add to the overdynamics of the music.

b b b b b b b b b3

3 3

3

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bb bbbb

bb b b b b b b b b b

bbb bb

bb bb

3 3

3 3

3 3 3

3

&

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b b b

b b b b

3 3

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b b b b b b b

3

3

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CHord voicing is not a mystery! It is a matterof knowing which notes will work best withina particular chordal structure, and where toplace them for maximum effect. Generally Thebest bet is to use a combination of open and

closed voicings. Don't be afraid to experiment

Example 8:

Triad

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until you find the voicing that works best in your situation.Remember. you are the orchestrator. You are the carpet onwhich the music rides, and the spice that the music must have.Go for it! Study this section until you understand it backwardsand forwards

add 9th

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F-7 F-9wwb F-11wwb

& add 13thwwwwbb"Let's open this up a bit..." (5th interval voicing)

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? F-13wwwb ?

F-11wwwb F-11

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&"You can also tighten that up..."(drop the 4th down an octave)

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b j bb

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? F-11 G-11

D-11

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Eb6/9(#9)

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F-11

G-11

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Ab13(#4)

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Another interesting chord is a fourth intervalchord. Without the third of the chord repre-sented, the chords can musically lead anywhere.Even with the 3rd, these chords are virtually keyless.

CH2/#16

Example 9:

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For example, you can solo in the key of G minor, and movethe fourth chords around and it will work. Fourth chordsalso work over almost any bass note.

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(courtesy of Freddie Hubbard)

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CH2/#18Example 1 :

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Here is an example of an F-11 chord using various voicings.Don't be afraid to experiment, especially when you're practicing.

The time you take to experiment could turn you on to arevolutionary way of looking at music. In any case, it will openyour mind to the many possibilities available to you. Good Luck!

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bj bb .... b

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?F-11

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b ..j

F-11

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george duke - improvisation workshop.pdf

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