Willie Myette

Improvisation Techniques
 Improvisation Techniques
lesson by Willie Myette
Rhythmic Patterns

1 2

              
dee ba dee ba DAH DAH DAH DAH dee ba dee ba

3 4

            
dee ba dee ba dee ba dee ba DAH DAH DAH DAH

Chord tone improvisation


Using the first 3 measures of "Our Love is Heare To Stay" and rhythmic patterns 1+2.
We are always starting on the root.
A G7 G-7 C7 F6

      
       
    
  


Same rhythmic pattern but changing the order of the notes.
B
G7 G-7 C7 F6

         
    
    
  


Same rhythm, changing the notes and target notes.
C
G7 G-7 C7 F6

       
     
    
  
©11/24/10 - PianoWithWillie.com
From the lesson: "Improvisation Techniques"
Find more lessons at: http://www.pianowithwillie.com/
 Rhythmic Patterns with Up-beats
3

1 2

  
        
  
"dee" ba dee ba DAH DAH DAH DAH ba dee ba

3 4

  
          
"dee" ba dee ba dee ba dee ba DAH DAH DAH DAH

Using Approaches


Here we are using approaches on the up-beats to create some tension. The approach is labeled 'a'.

G7 G-7 C7 F6
a

         
 
   
  
    
  


Approaches can also be embedded within the measure. There are several approach choices like:
1/2 from above, 1/2 from below, double chromatic, and 1/2-double chromatice combinations.
G7 G-7 C7 F6

              
   
1/2 above 1/2 above
1/2 above
  
1/2 below

  
 

©11/24/10 - PianoWithWillie.com
From the lesson: "Improvisation Techniques"
Find more lessons at: http://www.pianowithwillie.com/
4
Using approaches and guide tones


As I talked about in the lesson, you use approaches into your guide tones to create some interesting lines.

G7 G-7 C7 F6

      
                
    
  

Chord/scale relationship

You might of heard "Use this scale on this chord and this scale on that chord...etc...". This
approach is true and valid. However, another approach to chord scales is the utilize chord
tones and their available tensions. In this example I will label each note so you can see if it
is a chord tone (1-3-5-7) or a tension (9-11-13).


On the G-7 notice the approach I am using before getting to the 3rd of C7.

G7 G-7 A C7 F6
11(pass) 13

9 9

           
    5 7 5 R 7
 
3 5 3 R 7
1(root) 3

    
  
Using arpeggios in your solo


Here I am arpeggiating the chord tones and using some tensions.
G7 G-7 C7 F6

             
    
    
  

©11/24/10 - PianoWithWillie.com
From the lesson: "Improvisation Techniques"
Find more lessons at: http://www.pianowithwillie.com/
 5

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Thanks!

-Willie

©11/24/10 - PianoWithWillie.com
From the lesson: "Improvisation Techniques"
Find more lessons at: http://www.pianowithwillie.com/