Approaches for Improvisation

Approaches, such as those listed below, can be used to initiate and develop an
improvised solo. They are described with text, charts and exercises in this book.
A solo Approach can be practiced as a technical exercise until it becomes a
subconscious part of Improvisation. Space between phrases, varied articulations
and dynamics should be applied to all improvisation Approaches.
Horizontal Playing Simplifying chords and progressions to a general tonality and
common tones; altering pitches in basic scales to fit changes; using rhythm, repetition,
space, etc to make small amounts of material interesting.
Vertical Playing Relating to the differences within chords in a progression; use
guide tones and tensions to let the listener know that you can navigate through the
song progression. Resolve phrases into target notes such as the 3rd, 5th and resolve
tensions.
Patterns Creating motion using patterns; draw the listener in with a pattern
sequence; imply tonality (such as II-V pattern, blues lick, etc), imply tonality or raw
chromaticism as an effect (also known as intervallic improvisation) usually end on a
chord tone or tension to complete a phrase.
Melodic Development (Motives) Using a melodic/rhythmic motive or multiple
motives (or intervals) to engage listener (material from the song is effective); embellish
with approach notes; create melodic variation using contour, transposition, extension,
fragmentation, etc. Creating "call and response" phrases.
Color (Tensions/Non-harmonic Notes) Using tensions and non-harmonic notes to
brighten or darken melodic lines (for example: Lydian brightens Major chord,
Phrygian darkens minor chord); use super scales (different root from chord for
example B minor pentatonic on CMaj7); and super chords derived from extensions
and non-parallel sources.
Pedals (Pitch and Rhythm) Emphasizing a common tone or pivot note is very
effective in rock, blues and modal music; repeated rhythmic figure (such as a hemiola)
to interact with rhythm section commonly done on modal songs.
Harmonic Development Implying more harmonic movement such as adding miniprogressions (passing and substitute chords), substitutions, super chord progressions;
anticipation chords/progressions, secondary dominant chord cadences, etc.
Rhythm Focusing on the center of the beat, laying back (tail end of beat), pushing
the beat against the rhythm section (forward motion); adding chromatic approach notes
and tension/resolution to create a sense of moving forward.
Vocal Phraseology Using vocal effects; rhythm of lyrics or verbal phrase; use
pitch shaping, emotion, dynamic contrast, articulations, bluesiness space.
Sound Painting Treating the rhythm section sound as a canvas; impressionism;
atonality; shading and density sound as a color rather than a harmonic unit;
think of images, nature, emotion, etc.
Styles and Effects Using: stylistic interpretation based on the genre of music (rock,
blues, bluegrass, avant garde jazz, etc); use range to create interest; effects unique
to your instrument; use varied articulation, bends, vibrato, growls, etc. Creating
peaks and valleys in your solo.