VISING a. = PRO 2 bts a SbIntroduction the Improvisor’s Basic Tools an Introduction to Melody the Rhythm Section the First Playing Session Development of the Ear xi Contents 20 26 =Contents 6 Further Study of Chord Types 7 swing 8 the Diminished Scale 9 Analysis and Development of Melody 10 chord superimposition 11 Functional Harmony Appendix A Appendix B Appendix Appendix D xi 38 45, 50 63 i- 81 83 85 83 Introduction Few methods have been designed for group improvisation, whieh, in essence, is a spontaneous exchange or interplay of musi- eal ideas and moods. Jazz music, with its roots in basic rhythms and simple melodies, has developed naturally into a blend of mu- sicianship, humanity, and intellect, having universal appeal. Impro- visation has existed in other styles, but in the classical music of Western civilization its use has been stifled by enlarged instrumen- tations and the complexity of compositional techniques which have made no allowances for this means of individual expression. The composer achieves the effect of spontaneity when his written music flows naturally and is well played. Jazz has brought about a renaissance in improvisation, providing 4 style which is conducive to spontancous creation by utilizing standard musical elements, such as 4/4 time, songs of uniform length and form (usually 32 measures in length, with an A-A-B-A struc. ture), fairly standardized instrumentation, steady tempi, consistent and logical harmonies, stylized melodies and rhythms, and even an established order of introductions, statements of themes, sequence of soloists, and codas and endings. Such an established framework 4s we find in jazz improvisation is as useful to the jazz player as the twelve tone system is to the atonalist composer. The characteristics of the style make for swift decisions, enabling the music to move