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“Composition in Improvisation”

The generation of a musical discourse at the moment of performance, despite

being a practice inherent to music itself since its origins, has not been treated as
a core matter in the field of classical music of our times.

If this is true in relation to improvisation in general and its history, the situation is
even more aggravated when we refer to the specific issue of improvisation in
jazz.

We therefore think that a work like this that covers the technical, theoretical and
even psychological aspects of composition in improvisation, apart from fulfilling
its logical and natural mission of dissemination, can also serve as reference
material and, above all, perhaps help circumvent the gap between the classical
musician and the improviser.
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Introduction

In the history of Western music, from the Middle Ages to Romanticism,

improvisation was considered a skill common to all composers and keyboard
players. Many of the greatest composers were celebrated for their
improvisational abilities as great (or more so) than their written work. However,
while composed music survived thanks to the publication of sheet music, not
only was there no record of these phenomenal improvisations, but over time
musicians outside the realm of jazz stopped improvising, losing this skill.
Thus, the modern conception of music history is missing a crucial piece.
As a consequence of this, both in today's musical education and in concert halls
we see a clear differentiation between the improviser, the composer, and the
performer, with very few classically trained musicians being able to master
these three aspects.

With this work we propose, on the one hand, to study the tools used when
improvising and, on the other hand, to consider the benefits that their study can
bring to musicians of any style.
We will also demonstrate similarities between this improvisation technique with
the way of approaching the analysis of a work, and even with the composition
itself.

The underlying objective that we propose is to demonstrate that the “world of

academic music” and that of jazz improvisation are not as far apart as it seems,
and that classically trained musicians who have not received tools to improvise
during their education and feel incapable of doing so, in reality they are already
using the same language, although with a different orientation and approach.

To delve into improvisation, we are going to expose the historical framework

within which jazz was developed, and then present in more detail the main
conventions that regulate improvisation in jazz and the role of the improviser in
the treatment of these conventions. .

We will also cover the theoretical, psychological and philosophical framework of

composition in improvisation using didactic and easy-to-understand language.
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Since this is a general exposition, we propose to limit ourselves to a time period

that we can call “central” in the history of jazz, that is, between the 1930s, a time
in which improvised “solos” began to develop, abandoning the technique. of
collective improvisation of Dixieland , and the sixties, when the so-called modal
jazz , fusion styles and free jazz began to emerge. We will stop at this period
since the aforementioned styles are based on experimentation with harmonic
and formal structures and slowly begin to move away from the conventions that
we will expose, although of course; Much of the material we will cover is in
some way part of the rules of the game of practically all styles of jazz.

We also believe it is appropriate to clarify that we will limit ourselves to jazz in

this work since it constitutes the only musical style that has improvisation as its
focal point.
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1. History of Jazz

1.1. Roots of jazz

Jazz is the fruit of the meeting of African and European musical traditions that
takes place in the United States, following the arrival of African slaves to that
country at the beginning of the 17th century.
In the 19th century, the Christian religion (especially the Baptist and Methodist
churches) was imposed on many of the slaves, who found in the Old Testament
texts numerous analogies applicable to their own situation and in the choirs a
form of musical expression.
With the passage of time, the psalms influenced by the African tradition would
give rise to what is known as GOSPEL ; religious song that takes various forms:
the pastor's preaching, vocal groups and a large number of soloists (especially
female).

Religious music coexisted with secular music: plantation songs, ballads, and
other forms of popular expression, both African and European, that would feed
one of the great pillars of African-American music, the BLUES .

The blues is a twelve-bar structure, which uses the so-called “bluenotes” ,

alterations of the third and seventh notes of the scale, which gives a sad or
melancholic character to the structure.

On the other hand, a piano style emerged in Saint Louis around 1870, which,
without being jazz, is close to it due to its dynamic and jumping character; the
RAGTIME .

Its main feature is the superposition of a regular rhythm played by the left hand
and a syncopated rhythm in the right hand. This style seems to have its origin in
the dances that slaves danced parodying their masters. Ragtime scores were
recorded on “cardboard rolls” for mechanical piano or player piano and its most
representative musician was Scott Joplin .

1.2. The birth of jazz

The exact date is lost at the end of the 19th century under the confluence of
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musical forms and styles of African American culture: gospel, blues, ragtime,
military marches and European dance music.

However, cornetist Buddy Bolden was the first famous musician to be

considered a jazzman, forming his band in 1895, which is why that year is often
used as a symbolic date for the birth of jazz.

Although some New Orleans musicians traveled north, jazz remained strictly a
New Orleans musical expression until World War I.

On January 30, 1917, a group of white musicians called The Original Dixieland
Jazz Band (ODJB) recorded "Darktown Strutter's Ball" and "Indiana" for the
Columbia label. (Paradoxically, the first official jazz recording was not made by
African-American musicians).

Other groups also began to record and jazz became fashionable. It was clear
that this music represented a great commercial opportunity.

1.3. Evolution and styles

1.3.1. New Orleans style
Music was an important part of daily life in New Orleans since at least the 1890s,
with brass bands hired to play at parades, funerals, parties, and dances. The
musicians, who often did not read sheet music, played adding musical variations
to keep the performances interesting.
In this city, Jerry Roll Morton was born, one of the first musicians who became
aware that this music in which so many influences were intermingled and which
was based on a somewhat blurred tradition, was a new style of music in itself. In
this first jazz the links with parade music and ragtime can still be clearly seen.
Soon jazz groups began to emigrate to other cities in the United States, such as
New York or Chicago.
The mobilization of African Americans in the southern United States seeking
better economic conditions also contributed to jazz musicians leaving New
Orleans for other cities in the north and west and, in the early 1920s, Chicago
became the center of the jazz.
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1.3.2. The 1920s: New York and Chicago

In the 1920s, jazz took place mainly in the premises of alcohol dealers. In 1923 ,
King Oliver and Jerry Roll Morton 's orchestras began recording records that
advertised jazz (later called “traditional”). Louis Armstrong was its most popular
representative and it was thanks to him that the personal expression of the
soloist prevailed over the collective improvisation that characterizes the New
Orleans style.
Another great figure was Bix Beiderbecke , a white trumpeter whose original
phrasing and premature death led him to be considered a jazz myth of that era.
Along with the flourishing of soloists, in the 1920s the splendor of large
orchestras would begin, such as that of Paul Witheman , who would establish
himself among the general public with his version of “ Rhapsody in Blue ” by
George Gerswhin, that of Fletcher Henderson , with soloists such as trumpeter
Rex Stewart or Coleman Hawkins on tenor sax and especially the Duke
Ellington orchestra.

1.3.3. The Depression Years

The economic outlook of 1929 seriously affected numerous musicians who were
kept away from recording studios and stages. However, the public continued to
demand shows to counteract the economic situation and the already established
orchestras continued to flourish, joined by, among others, the Count Basie
orchestra, considered by many the best jazz orchestra of all time.
Many soloists emerged from these orchestras, for example the pianist Art Tatum
and the pianist and singer Fats Waller.
An important consequence of the American economic depression was the
movement of many artists to Europe in search of work. Here the panorama they
found was very different from what they knew, because if at first their
performances were limited to the halls of large hotels, which saw jazz as a sign
of modernity, they would soon move on to concert halls.
It was the time of the rage of “hot clubs”, clandestine meeting places for jazz
fans, while, thanks to the influence of musicians such as Coleman Hawkins or
Sidney Bechet , numerous musical vocations began to awaken. Thus arose the
formation of the Hot Club de France Quintet led by guitarist Django Reihardt and
violinist Stéphane Grappelli.
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1.3.4. The swing era

In 1923, the alcohol ban was lifted in the United States and, together with the
popularity of groups of white musicians such as Benny Goodman and Glenn
Miller, it contributed to jazz partially losing its status as marginal music.
In the second half of the 1930s, jazz reached one of its greatest moments of
flowering under the style of what is known as “mainstream.”
Orchestras continued to be the ideal setting for soloists to shine and at the same
time favored the emergence of new talents such as saxophonist Lester Young
and double bassist John Kirby .
It was also the time of the appearance of two great singers, Billie Holiday and
Ella Fitzgerald , who, along with Sarah Vaughan , represent female icons among
the voices of jazz to this day.

1.3.5. The forties

In 1941, the United States officially entered the war and many jazz musicians
were forced to enlist in the military, collaborating with army bands or recording
records for the entertainment of the troops. In Europe, however, the socialists
rejected this music so it was not well received.
The influence that the war had on the lives of musicians and the need for
innovation that reigned contributed to a profound renewal of jazz.
The Minton's Playhouse club would be the cradle of a new style, bebop , which
has its clearest exponents in Charlie Parker and Dizzy Gillespie .
Bebop enthusiasts represented an awareness where it is about returning to the
origins, reinterpreting and rewriting tradition by exploring new harmonies,
expanding sound registers and exploiting all the possibilities of rhythms and
tempos at the same time. time. Thelonius Monk would be one of the first to adapt
the piano to bebop, as would Charles Mingus with the double bass and Miles
Davis with the trumpet.
Before the birth of bebop, representatives of the tradition tried to revitalize the
New Orleans style, while Afro-Cuban music, established in New York, took over
the dance halls.
It was also the time of the great triumph of the singer Ella Fitzgerald , with
incomparable technical resources such as the "scat", a vocal form based on
onomatopoeic syllables (already used by Louis Armstrong ) that allows her to
compete with instrumental improvisation. Billlie Holiday also stood out as one of
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the great figures of vocal jazz, with an intimate style, and Sarah Vaughan , the
most emblematic singer of bebop.
In addition to the classics such as Armstrong , Basie or Ellington and the modern
Parker and Gillespie , rhythm and blues was experiencing a moment of
splendor with the appearance of figures such as Ray Charles, Etta James or
Chuck Berry . The first radio stations aimed at the African-American public
emerged, leaving aside disqualifying adjectives such as "race records" that had
been destined for this music, and little by little American politics began to warm
to it.

1.3.6. Fifties
In the relatively brief history of jazz, barely a century long, changes have always
occurred in existing movements that have not disappeared. What at first seemed
like "fads" are actually styles, which have been established over time and are
forced to coexist within the broad framework of African-American music. This
situation became evident in the 1950s.
On the one hand, some white musicians, such as Chet Baker , shied away from
the more explosive side of bebop without renouncing the progress that it entailed
and adopted a more calm aesthetic with a touch of lyricism and emotion to which
the name cool jazz is applied.
Cool jazz, however, is a broad movement that ranges from the so-called
"chamber jazz", for being too elegant according to some, of the Modern Jazz
Quartet , to collaborations such as Miles Davis and Gil Evans , pianist and
composer whose wise arrangements, among the best in the history of jazz, they
created the ideal atmosphere for Davis 's intimate style to reach climaxes.
On the other hand, with Max Roach , the Jazz Messengers and the groups of
saxophonist Sonny Rollins or double bassist Charles Mingus , bebop continued
its evolution, becoming enriched day by day with new discoveries that would lay
the foundations of modern jazz.
Meanwhile, rhythm and blues, the most popular form of African-American music,
had achieved great development thanks to figures such as Ray Charles, Louis
Jordan, Fats Domino , or Chuck Berry .
In the strictly jazz field, some musicians who emerged from bebop began to
cultivate funk , impregnated with resonances of blues and gospel, in which
organists such as Lou Benett , guitarists, Grant Green or trumpeters such as
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Donald Byrd would stand out. His music was dense and influenced by the same
mystical spirit of gospel and that soul would make its own.

1.3.7. Modal Jazz

More than a style itself, it is a musical structure when performing.
Before its emergence in the 1950s, jazz soloists' improvisations were based on
the specific key of the theme. Modal improvisations were, on the contrary, based
on modes or scales, although not always on the typical and familiar major and
minor scales.

The results often have a meditative, cerebral touch, although never as smooth
as those of cool jazz.

Modal jazz generally revolves around a single chord, a bass pedal, and a
melody. Improvisation is very difficult to perform due to the static chord in the
background, and it is really where the improviser must show his resources.
Improper modes of the chord are usually played, as well as alternative scales
such as melodic, harmonic, semitone/tone, diminished arpeggios, and create
harmonic structures that agree with the base chord.

Miles Davis was the first jazzman to improvise and compose according to modal
structure; his Kind of Blue is the typical, and definitive, modal jazz album for
many, and two of his accompanists on the recording, John Coltrane and Bill
Evans , would later become modal innovators.

The freedoms of modal music helped pave the way for the radical structural
experimentation of avant-garde jazz, which would begin to take shape in the
1960s.

1.3.8. The sixties

In the United States, African-American political and social movements acquired
increasing dimensions with leaders such as Martin Luther King or Malcolm X ,
and achieved the goal of achieving civil rights that had not been enjoyed until
then due to racism.
Within this framework, the first record company run by a man of color appeared,
Tamla Motown , responsible for the launch of numerous rhythm and blues and
soul stars with great commercial capacity, such as Marvin Gaye, Aretha
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Franklin, Sam Cooke and especially James Brown , nicknamed “the godfather of
soul,” who knew how to transform the essence of gospel into a secular mystical
experience like no one else, turning his concerts into acts of almost religious
fervor.
Meanwhile, the British pop of the Rolling Stone or Erik Clapton discovered and
disseminated blues among the European public through their own versions that,
although they were quite far from the original, served to make known some of
the great masters of blues.
Thus, while a part of African-American music achieved great recognition, the
“New Thing” or free jazz also began to take place, which constituted a radical
alteration of the musical principles used until then in improvisation. Musicians
like Ornette Coleman and Cecil Taylor led this revolutionary movement that was
widely misunderstood. They promoted music that was alien to servility towards
the white public, which paradoxically was the only one that paid attention to
them, while the African-American public leaned towards other styles. Even today
free jazz is more popular in Europe than in the United States. A good part of the
free jazz musicians gradually abandoned this style that left them stranded in
musical incomprehension.
In summary, the end of the sixties was a time of great proliferation of styles and
genres and where a very wide range of offers was available.

1.3.9. The seventies

In the world of music everything had changed: record distribution, the type of
concerts, radio, and television. Art became a marketable good. Jimi Hendrix and
others had ventured into the world of rock with electric music with a strong
African-American accent and had achieved notable success. Rock, progressive
music, pop and other similar styles were all the rage and jazz had to evolve
towards what was called the concept of “fusion”, in which a little bit of everything
fit.
As in the bebop years, controversies will arise again and many considered Miles
Davis and his jazz-rock or fusion outside of jazz.
In the seventies, several emblematic figures of jazz such as Armstrong or
Ellington disappeared and it seemed that with this young people would dedicate
themselves to rock, but the reality turned out to be different. Not only jazz, blues
or rhythm and blues were still in force, but new forms and new musicians
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continued to emerge, such as New York "salsa", heir to the Afro-Cuban tradition
of the first Latin musicians who arrived in New York and impregnated of jazz and
soul influences, or the funk of musicians like George Clinton .
The enormous interpretative desire of the musicians gave rise to a spectacular
evolution of sounds. New instruments were added and techniques progressed
very quickly, such as Jaco Pastorius who transformed the electric bass, or Joe
Zawinul the use of keyboards.
The seventies meant a new transitional stage of jazz.
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1.3.10. The eighties
In the eighties, a “clarification” process took place, in a certain way. Miles Davis
returned to the stage after a long absence surrounded by young musicians. Jazz
received institutional support: even in Spain the government subsidized tours
and concerts, in France musicians were decorated and in the United States,
before having a saxophonist president, Ronald Reagan invited Miles Davis to the
White House.
Jazz was still a minority but had a consolidated audience. A new generation of
avant-garde musicians coexisted with another generation that returned to its
origins. Among the first are Weather Report with Omar Hakim , John McLaughlin
and Lester Bowie . Among those who returned to the origins, the main one was
Wynton Marsalis .
In the nineties these numerous currents were confirmed. The rise of rap, the
recovery of bebop, the "revival" of soul, the commercial successes of funk and
its derivatives, the appearance of new New Orleans style bands, the current
blues or even the success in the clubs of "acid jazz" are symptoms of the validity
of all this music that we find under the name of "jazz".

Below we will locate the most important styles of jazz in a timeline, with the most
representative musicians of each era.

E NEW ORLEANS
DIXIELAND
STYLE
LAGTIME CHICAGO SWING BEBOP COOL

1 r Yo-
m EE IS [22 AND AND
'Scott Jeplin ____l •Jerry R Morton 1 J.__ •Benny Goodman 'Charlie Parker 'Dizzy •Chet Baker
'Body Bolden "Glenn Miller •Modem Jazz Quartet
Gillespie •Thelonius
"'Origindi Dixieland Band
'King OLver •Bilhe Holiday Monk
•Louis Armstrong
•Duke Ellintong •Ella Fitzgerald •Sara Vaughan
•Count Basie
•Coleman Hawkins
"Bix Beiderbecke
1.4. Jazz Chronological Chart
AND
Ornette Coleman
•Cecil Taylor
*Charles Mingus

2. Jazz characteristics
FUSION CONTEMPO-RANEAN
JAZZ

As a main characteristic we can say that

•Miles Dews 'Wynton Marsalis

jazz is based on improvisation and not on the

•Lester Bowie
•Ornar Hakim

faithful interpretation of a written work. Along with improvisation, its defining

ttttiaz
technical characteristic would be rhythm. Jazz is a syncopated music that
produces a stimulating rhythmic sensation, called swing. Below we will expand
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on both aspects.

2.1. The Swing

Swing is the most notable and defining aspect within jazz since it corresponds to
the initial communication element. It is located within the domain of the rhythmic
sense of the pulse. It must be relaxed, stable and fluid.

Concept . Swing is a combination of rhythm interpretation and rhythmic unity.

The firm tempo should also be taken into account, although the situation may
arise in which one continues to play with swing even if the tempo is changed
unintentionally.

The swing has three basic elements:

a) Location of the eighth note “ upbeat ” in English, which gives the

sensation of a triplet.

Note: this is the initial concept. For the swing, the location of all the figures is vital . And it varies
depending on the tempo.

b) Accents and dynamics of polyrhythmic conception.

c) Sensation of forward momentum through the use of syncopations and

rhythmic anticipations (backbeats).

The intensity of swing can vary considerably in different styles of jazz. This will
be determined by the following factors, or a combination thereof: the dynamic
level or volume; the character or sense of tempo and unity, in the sense that all
members of a group play with the same concept of pulse.

It must also be taken into account that in jazz, what is written in eighth notes is
interpreted as a triplet of eighth notes with the first two slurs, and furthermore
this articulation changes constantly. This type of rhythm is called a “shuffle
rhythm.”

Although most jazz music is played legato, there is a tendency among

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improvisers to lightly attack one note out of every two, linking the other, using the
attack on weak beats, contrary to classical music, in order to link the strong
times.

2.2. The improvisation

2.2.1. Background

“Composing is a slow improvisation; “Sometimes you can't write fast enough to

keep up with the flow of ideas” – Arnold Schoenberg

Improvisation is the most natural way to make music. It is intuition in action and
is presented as a form of play where technique emerges from the game. This
technique is acquired through practice; By experimenting disciplinedly, the
resistance of the game is tested. It is worth clarifying that this is not a game as a
hobby but rather as the spirit of free exploration, doing and being for pure
pleasure.

Until the last century, improvisation was an integral part of our cultured musical
tradition in the West. In Italy, for example, Leonardo da Vinci was one of the
greatest improvisers on viola da braccio and later, with different influential people
in the environment, he staged operas whose music and lyrics were improvised at
the time.

We cannot fail to mention the basso continuo. It consists of a composition and

performance technique typical and essential to the Baroque period where the
composer creates the bass voice but does not specify the counterpoint or the
chords of the ripieno ("filling" in Italian, or tutti ), which he leaves in charge of the
interpreters. The basso continuo can contain ''figures'' to guide the performer,
the origin of the term bass cipher or American cipher that we will see later.

The following is an example taken from a work by Buxtehude. The composer

wrote only the solo part and the bass voice:
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The basso continuo is played by one or several instruments, typically a harmonic

instrument (that is, capable of producing chords in polyphony) such as keyboard
instruments (harpsichord, organ) or others such as the harp and lute, with the
bass voice simultaneously in charge of an instrument with a low range such as
the cello, the viola da gamba or others.

Within the practice of basso continuo, another contrapuntal structure of great

importance was also developed: the basso ostinato .

The radical transformation of musical conception, in the context of the growing

interest in harmonics in the 17th century, gave the bass the function of
fundamental voice. The harmonic structure and also the melodic discourse of the
remaining voices were determined by the bass. The solidity of the bass allowed
free improvisation in the field of dance and stage music, a fact that first
manifested itself in Spanish lute music of the 16th century. Monteverdi would
also use this technique later. At the beginning of the 17th century, the English
virginalists developed their own keyboard style, also based on the ostinato bass
(ground), continuously playing new contrapuntal variations, as well as
ornamentations and figurations, above the ostinato model.

In jazz today, what happens is similar to basso continuo, you play on given
themes, motifs and improvise on that, with the bass, or rather the harmony,
being the basis on which you improvise.

Many great musicians have stood out for their creativity when it comes to
improvising, and although these days we know them for their written work, in
their time they were recognized for their ingenuity when improvising, even
organizing improvisation contests and true artistic challenges. It was also
common to use this practice as a way to make oneself known and gain a certain
reputation among the public or powerful figures.
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J. S. Bach improvised masterfully not only during mass services but even the
difficult fugues. Many of the virtuosic passages in his works are based on
improvisation, but are subject to his particular organizational will to create varied
forms, the result of study and research on the repertoire of Bruhns, Frescobaldi
and Buxtehude mainly.

Bach 's extraordinary chromatic fantasy and fugue surprises with its
extraordinary technical complexity and the ingenious distribution of its sections
and musical discourse. The chromatic fantasy is unique, furthermore, because it
is believed that it arose from an improvisation by Bach and that it is the result of
the full transcription of that improvisation on the keyboard.

His son, Carl Philipp, together with Joachin Quantz, wrote two treatises in the
mid-18th century in which they dealt extensively with the way of improvising that
was studied by musicians such as Mozart and Beethoven . Czerny and
Kalkbrenner wrote some of the first treatises exclusively dedicated to
improvisation, although from the early baroque to classicism we can find an
extensive bibliography aimed at developing improvisation and composition skills
in real time. From the Recercadas of the Treatise of Glossas by Diego Ortiz
(1553) in Spain, the various Treatises of basso continuo in Italy, Aggazzari
(1607), Gasparini (1708), and the prolific edition of French methods: Dandrieu
(1719), Delair (1723) and Gervais (1733).
In classical times, the cadenzas of concertos for violin and piano were
improvised, giving the performer the opportunity to put his own creative flow at
the service of the work of art as a whole (although Beethoven later turned out to
be the first to start writing the cadenzas of his concerts tired of listening to other
people's “poor” ideas).

Both Bach and Mozart were renowned as great improvisers, and there are many
funny and witty stories documented about their exploits in these fields.

Mozart , furthermore, was the greatest improviser with paper and pen. He used
to write his scores directly, inventing the music as quickly as his pen allowed
him, almost without corrections, contrary to the scores that are observed by
Beethoven where he erased, corrected and rewrote his musical ideas over and
over again, even throughout the years. However, when it came to composing
spontaneously, Beethoven was brilliantly limitless.
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We cannot fail to relate the anecdote about the meeting between Mozart and
Beethoven published by the 19th century biographer Otto Jahn :

Beethoven made his appearance in Vienna as a promising young musician in the spring
of 1787, but was only able to stay there for a short time. He was introduced to Mozart
and played for him at his request. Mozart, considering that the piece performed had
been previously studied, was somewhat cold in his expressions of admiration. Observing
this, Beethoven asked to perform an improvised theme and, inspired by the presence of
the maestro he so revered, he performed in such a way that little by little he captured
Mozart's full attention and silencing those present, he said emphatically, "Remember his
name, “This young man will make the world talk.”

In other words, Mozart only took young Beethoven 's talent into account when he
“passed” the maximum test; the art of improvising.

It was not uncommon for composers to improvise music that had to be written or
was already written, as was the case with the premiere of Beethoven 's Choral
Fantasy Op.80 in 1808. Because he was overwhelmed with the preparations for
the concert, he did not have time to compose the introduction to the fantasy, so
he simply improvised it at the concert.

From the Middle Ages to Romanticism then, improvisation was an essential skill
for composers and performers. Going from Bach and Handel to Schubert ,
Chopin and Liszt on the keyboard.

In his concerts, Liszt would place an urn where the audience would propose
well-known themes from operas or other compositions of the moment so that he
could improvise on them. It is well known that the only time he played the work
as it was written was the first time he read it.

Looking at Chopin 's scores, we can observe the amount of footnotes at the
bottom of the page, letting us know the different “versions” that circulated of the
passages of his works, and the basic conclusion we can draw from this is that
Chopin played his works by improvising the notes. , that is, not following the
score as it was written.

One of the most fascinating aspects of Isaac Albéniz 's musical abilities and
natural talent is his role as an improviser, the author of “lost exquisiteness,” as
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Delacroix said about Chopin . Records made in 1903, on Edison wax cylinders,
of three improvisations by Albéniz have reached us where we can verify it, just
as Saint Saéns has left his improvisations documented in those old rolls.

The Russian composer Alexander Scriabin considered sound as a spiritual

essence where sonority constituted a channel of access to otherworldly energy
and metaphysical liberation and he became a monumental improviser stimulated
by the music-color relationship.

Bartok 's famous Microcosms were originally improvised as well.

As we observe, the examples of the mastery of the art of improvising by

musicians throughout history are infinite, however, improvisation gradually ended
due to the concert hall that was imposed in the 19th century. Schubert 's
Impromptus, contrary to what its name indicates, were not improvised but were
written methodically.

The industrial age brought an excessive emphasis on specialization and

professionalism in all fields of life. In the first instance, the concert hall was built,
which was the cradle of specialization and also the possibility of recording the
concerts meant that the musicians dedicated themselves to being as faithful as
possible to the score and studying note by note .

The cadences of the concerts gradually stopped being improvised due to the
impossibility of the musicians to improvise them and partly also because the
details that the composers placed in their scores increased more and more.

Thus, composition and performance were separated to the detriment of both.

Then, at the beginning of the 20th century, improvisation reappeared with jazz.
Indian music and other improvisational traditions also brought musicians back to
the pleasures of spontaneous creation.

Improvisation also began to be used in dance and theater where new material
was achieved through technique and where this improvisation was also
presented to the public as a spontaneous and finished performance at the same
time.

Although improvisation and classical music did not come together again as in the
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past, this resurgence of improvisation with jazz has resulted in musicians in
classical music fields continuing to practice masterfully and becoming
increasingly interested in this art. To name a few; Robert Levin, Emanuel Ax,
Andras Schiff and Friedrich Gulda who are mainly known for their interpretations
of Beethoven but who throughout the 1950s became interested in jazz playing
with Viennese musicians. He even composed original songs and instrumental
fragments combining jazz with classical music in his concerts.

It is worth mentioning that improvisation in Argentina was always linked to the

folk music of the provinces and with the first tango musicians where music was
improvised. Later, when tango began to be more accepted by society, musicians
were guided by written arrangements, leaving aside the freshness of
improvisation. In 1953 , Astor Piazzolla had the opportunity to listen to
saxophonist Gerry Mulligan 's octet in Paris, and was impressed by the
improvisatory technique and naturalness with which the musicians played, and
five years later he recorded two albums of what he called Jazz-Tango. in the
United States (although without good repercussions). Throughout his career he
worked with numerous jazz musicians and to recruit new musicians in his
different formations required two fundamental aspects; that they knew how to
read phenomenally at first sight and, above all, that they were able to improvise.
Unfortunately, improvisation in tango practically disappeared again after
Piazzolla , closing a door on improvisation in Argentine music.

3. Improvising in Jazz

3.1. General considerations

Jazz has produced a renaissance of improvisation, being a style that basically

leads to spontaneous creation.

For most of the twentieth century, jazz has been virtually the only style to use
improvisatory practices as its focal point .

Although jazz uses the same musical alphabet as classical music , somehow, its
nomenclatures are different, promoting the distancing of these two styles.

Improvisation in jazz is not about breaking forms and limitations just to be free,
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but about using them as the precise way to transcend. That is, by applying the
forms of this style correctly, we arrive at the vehicle of freedom itself. As
proposed by Vinko Globokar (1934), French composer and trombonist with great
experience in improvisation;

“A good improviser knows that restrictions allow him to give free rein to his
invention and navigate freely within fixed borders. It is a game that occurs between
your intuition, your rational knowledge and the reservoir of information housed in
your unconscious; storages that allow you to use some ideas and discard others.”

Improvisation is then seen as the tool towards originality, in the sense not of
what is totally new but of what is totally and originally ourselves.

Studies have been done with jazz musicians improvising where MRIs
scientifically demonstrate how the improviser's brain works in action.

Areas associated with inhibition and self-censorship could be observed “turning

off” while the illuminated activity was focused in the medial prefrontal cortex,
behind the eyes, an area associated with self-expression. This area lights up
when, for example, you tell a story where you are the main character.

Scientists argued that this part of the brain is necessary for improvisation
because the improviser is challenging his or her artistic identity, searching for the
notes that best summarize his or her own unique style. That is to say that by
improvising one tells one's own musical story, inhibiting brain impulses that could
impede the flow of ideas.

According to Jeff Pressing (1947-2002), a great Australian composer dedicated

to the publication of musical research, a central issue in both elaboration and
improvisation is the notion of "referent." A referent can be conceptualized as an
underlying formal scheme or reference image guide for a given piece, used by
the musician to facilitate the generation of improvisational actions on a real time
scale. The referent functions as a source of resources for the material that may
be repeated, transformed, varied or developed. In musical creation we can
understand these references as “scaffolds”, schemes or frameworks that are
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previously defined by the precise structures of each particular style.

A jazz solo based on a 12-bar blues sequence, or a standard 32-bar AABA

sequence for example, has well-defined parameters that all jazz players know
and this forms the common language that allows musicians to come together. to
play with other unknown musicians with a minimum of preparation. In the case of
“more formal” compositions, the structure can be created and outlined by the
composer himself; That is to say, the framework is not previously outlined.

The referent also, to a large extent, imposes the use of certain melodic and
harmonic resources based on the style that emerges from what is proposed in
his own speech.

3.2. The theory of improvisation

The characteristics of the style are those that allow the player to make quick
decisions, thus allowing the music to flow. This constitutes an opportunity for the
performer to use his technical capacity to the maximum, while at the same time
making use of the creative capacity that spontaneous composition provides.

Therefore, the improviser, for his own peace of mind and the flow of the
improvisation, must know the general framework around which he works, having
to previously analyze the following aspects:

-length of the melody

-harmonic and thematic construction in the macro form (ABA, AABA, etc.)

-length of each of those sections

-tonality of the piece and modulations if any

-each of the chords that occur in succession and the way in which they
are related to each other

-the scales that adapt to the various chords and sections of the piece (see
point 7.5., page 43).

-character of the piece or emotional modality of it.

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3.3. The style

Within the jazz style, common or pre-established elements are usually used such
as the 4/4 time signature, songs of uniform length and form of generally 32 bars
and with an AABA structure, standard instrumentation, regular tempos,
consistent and logical harmonies, melodies. and stylized rhythms, an established
order of introductions, exposition of themes and succession of soloists, codas
and endings. All these elements make up an established framework that is as
useful for the jazz performer as, for example, the twelve-tone system is for the
atonal composer.

This theoretical framework, which corresponds to the one that can be found most
frequently, does not imply, however, stating that jazz music will always remain
within these aforementioned limits, since on the contrary, jazz has expanded its
resources from the beginning through of the absorption of the multiplicity of
musical techniques existing in the music of other styles.

Next we will study the structure of improvisation.

3.4. formal structure

Since the time of Bebop, most jazz is in a format that is very similar to the
sonata allegro form of classical theory; an optional introduction, exposition or
theme (possibly repeated), development section and re-exposition, optionally
followed by a coda. If there is an introduction, it will set the tone of the work; The
exposition constitutes the main melody, the development section is where the
composer expands the ideas of the exposition, the reexposition is a new
approach to the theme and the coda is an ending.

In jazz terminology, those same sections would be called the intro, the head , the
solo section, the outro, and a possible coda. The intro sets the mood; the
heading is the main melody; The solo section is the place where the soloist
improvises on the melody and/or chord progression of the song; the exit heading
is a restatement of the topic; and the coda is an ending.

The vast majority of traditional jazz conforms to this form although not all songs
follow it. Also in this, a valid analogy can be established with the theme-
variations form of classical music since each soloist plays an improvised
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variation of the theme (see point 4.1., page 29).

The most important aspect of jazz, after swing, is improvisation, in the same way
that the development is the most technically striking part of the classical sonata.

3.4.1. Jazz Standards

They are widely known musical compositions, used as the basis for jazz
arrangements and improvisations. This is the pre-composed element that serves
as a structural framework for improvisations.
They are generally songs of approximately 32 bars of AABA or ABA form.
Most of the "jazz standards" were not originally jazz compositions but later
became part of the repertoire of these musicians, so there is no definitive list of
jazz standards, but rather it varies over time and the different publications.
Some songs even came from Broadway shows and Hollywood musicals. For this
reason, the jazz repertoire often coincides with pop music, or with blues.

3.4.2. Use of standards

We find in the use of standard themes interpretive and developmental

conventions that provide formal structure; The norm is to present at the
beginning and at the end of each standard, the heading or melody of the song.
The harmonization of the head is called changes , which acquires greater
importance as a structural and organizing element, since these harmonic
changes will not only serve to provide harmonic color to the melody in the head ,
but are also repeated cyclically over and over again. once throughout the entire
piece. Each complete return of the changes to their place of origin is called a
chorus and are repeated so that the soloists have space to freely improvise
successively, always measuring the length of their solos by chorus units. Thus a
single half (depending of course on the tempo of the piece) can last between two
and four choruses from each soloist.

In other words, not only is the standard written in AABA, or ABA, form, but the
way of working the material in the macro-form of the entire product resulting from
improvisation is ABA as well, with A being the exposition of the complete
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standard both to the beginning as well as the end and B the development or
choruses.

3.4.3. Written reference of the standards

The musicians do not have written or planned what they are playing to
accompany the soloist. The only score you have (and the ideal would be not to
use it in your performance) is the head score. What you will see there is
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a rhythmically simplified melodic line and, above it, a series of letters and
numbers: the so-called American cipher , as seen in the following figure:

The American cipher is a simplified notation system for chords, specific to jazz,
in which a capital letter represents the tonic of the chord, and next to it the type
of chord is specified in abbreviation (major, minor seventh, dominant seventh ,
etc.) but leaving the interpreter free to carry out the encryption, both in the
inversion and specific arrangement of the voices, as well as in the addition of
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notes of harmonic color (tensions and alterations) or the omission of others; the
tonic and the fifth are frequently omitted by pianists (see point 7.1., page 40).

Below we will see the list of encryption and some considerations regarding this
form of notation:

C=Do D=Re E=Mi F=Fa G=Sol A=La B=Si

-An m is added to the chord when it is minor. Ex: Cm = C minor

- M if greater (or if omitted, it is deduced to be greater). Ex: CM= C major

- 7m corresponds to a minor seventh. Ex: C7m=C major with minor seventh

- maj7 if it is a major seventh. Ex: Cmaj7= C major with major seventh

- sus means “suspended chord” that is, with the addition of the 4th, extensions can also
be added to the chords. Ex: b9

As we are seeing, the improvisatory element is present in jazz at all levels, not
only in what the soloists play when their turn comes. To tell the truth, we could
affirm that the only elements that are predetermined, rehearsed and specified
before the performance, are the melody of the song and if there is any
“arrangement” (that is, some accent pattern or pedal of the rhythm section, for
example ), the order of the solos, and the way the themes end; abruptly, with a
coda or with a * tag .

* tag is a group of two or four chords, generally occupying two or four measures, that is
repeated over and over again over a free improvisation of the main soloist, who can
gradually lose volume in a diminuendo until finishing (what is called “fade”). out").

3.5. The melody

The melody together with the harmony, the rhythm, and according to the
consideration of many theorists the timbre as well; They make up the essential
elements of music. It is that part of the music that is heard with greatest
prominence.
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We can say that the melody is a group of fragments such as subsections,
phrases or motifs strung together forming symmetrical schemes.

The motif is the smallest melodic entity and from it arises much of the rest of the
music that is written or performed. Therefore most music, whether composed
spontaneously or not, can be analyzed in terms of motifs and motif variations.

Since auditory perception operates from the global to the specific, it is also
necessary to understand the delimitation of the macro to the micro form.

In other words, from the largest unit the immediately lower units can be broken
down until finding minimum, indivisible and hierarchical elements with which a
work has been produced and created.

3.5.1. Importance of the use of melody in Jazz

In improvisation it is very important to take into account the elements that will
give identity to the improvisation and differentiate it from others. It is in the
treatment of these elements, studied through an analysis of the reference that is
being used, on which it is improvised.

The soloist, when improvising, should, since the “ideal” does not always happen,
emphasize the main melody. You need to establish for the listener what is
important, the main reason, and then show them different variations of that
reason; expanding as much as possible the relationships between improvisation
and the basic material, without ever giving the impression of having moved so far
away from it that common points are no longer perceived. The great composers
have worked this way; exposing, developing and reexposing in all ages.

In other words, the basic principle would be repetition before variety, but not in
excess. An identifiable melody weaves a web of anticipation and so the listener
constantly makes predictions about whether what is coming will be a repetition of
something or something new and the performer constantly confirms or denies
those predictions. If the listener is too successful in predictions he will become
bored; and if it has little success, it will describe the music as disorganized, so
there must be an adequate balance in the listener's successes. This delayed
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inevitability that impacts the emotional aspect of the listener causes feelings of
suspense between tensions and rest, feelings that we can also experience in the
more traditional forms of classical and romantic sonatas.

Most improvisers and composers have a natural inclination to use melodic form,
but often to a degree that is not sufficient, especially in improvisers who tend to
play scales one after another without reminiscences of the original melody.
Common mistake among new jazz fans where they do not take into account that
too much information could become uninteresting and, above all, difficult for the
listener to absorb.

4. Variation

4.1. General considerations

In order not to make the mistake of using too much information in an

improvisation, it is necessary to make use of melodic variation which, in the
macro-form, will result in different developments of a given theme, that is, a
result similar to that of the formal structure. of theme with variations .

Previously ( in point 3.4., page 24 ) we have related the structural form of

improvisation to the sonata form. However, in the treatment of the material to be
improvised we can also speak of a certain parallelism with the theme with
variations.

In jazz, we have already clarified that unlike the traditional form of variation, the
theme itself will have improvised elements due to the conditions of its own
written reference, although in fact its “scaffold” will be respected and then begin
to improvise on it. and as the choruses continue, the formal result will be
“variations” inspired by that first theme.

The principle of musical variation is very old. By Palestrina 's time, and even
earlier, when the sole focus was on vocal music, the principle of melodic
variation was firmly established in musical practice.

The mass of the 16th century masters used to be based entirely on a certain
melody, which was used with variants of each of the various parts of the work.
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Even though the principle of variation was first applied melodically, the English
virginalists soon adapted it to the instrumental style, varying the melodic
framework in a way very similar to what we find today, also in jazz.

From that time to the present day there are very few composers who have not
used the variation form.

As a basic mold they used it repeatedly, to name a few, Haydn and Mozart
among the classics , Beethoven and Schubert as the first romantics and later
Schumann and Brahms . Then we have the examples of Strauss with Don
Quixote , Elgar 's Enigmatic Variations , Stravinsky 's Octet , and the list could go
on forever. This gives us to understand that the variation form is fundamental in
the history of music and it is worth adding; very important in jazz.

We can conclude that variation as a resource or artifice is the basic principle for
improvisation, in the sense that it is improvised by breaking down and
developing the melody, part of it, the harmony or the rhythm of a jazz standard.
But variation as a structural form is also inseparable from this mode of
improvisation since each turn of chorus will result in a new variation on the
theme, using the melodic variations that the improviser so considers.

4.2. melodic variation

The melodic variation presents a contrast with the original version of the melody
but at the same time maintains contact with the motif which will result in an
increase in the level of communication between the performer and the listener.
By offering contrast, variation broadens the improvisation without risking
boredom and provides structural unity to the improvisation.

A given motif can be considered a scheme to reconstruct a slightly different

motif, but still similar to the original idea. In this way the two motifs are united by
a relationship that comes from the memory and logic of the listener. The
improviser must handle the different aspects of said motif according to his
interest. If, for example, you want the first motif to resemble the second, to
construct it you will use its most essential or noticeable element. If, on the other
hand, you want the second reason to be different from the one from which it
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comes, then you will use some of its less fundamental characteristics.

In order not to break the structural balance, it is advisable to carry out a varied
exposition on the consequent and the subsidiary phrases or themes (such as
those in the sections called “bridge”) since in a certain way they have a
secondary hierarchy.

This variation is convenient in the second presentation of section A, once the

antecedent and consequent have been presented. In this way, the variation of
the consequent has a double function: on the one hand it creates greater
melodic-harmonic interest, and on the other hand it confirms the importance of
the antecedent since it is re-exposed in an original form.

4.2.1. Variation techniques

The variation of the consequent responds to certain techniques used by the

great composers of all periods of classical music. These techniques are based
on the principle of “repetition with modification”, and have as an element in
common the idea of the “umbilical cord”, that is, the presence of at least one
unifying element that justifies the variation and facilitates its appreciation,
avoiding the potential imbalance or loss of direction. The most efficient
techniques are:

1) Respect the melody by changing the harmony.

2) Respect the harmony by changing the melody.
3) Changed melody.

In case 1) the different harmonic progression must resolve fluidly in the next
section, such as the first chord of the B section in an AABA form theme. In other
words, the arrival point must be clear.

Harmonic variation opens an infinite field of possibilities: reharmonization, voice

leading, harmony generated by movement of the bass (that is, using other
inversions in the chords that will result in different lines in the bass), imitation of
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vocal ensemble, change of the original progression and even a not very
exploited resource, such as the “parallelisms” of harmonic arrangements, in
which the original melody is the upper voice of the chords and can be constituted
as a fundamental, third or fifth of major or minor chords. The melody can be
doubled to reinforce its presence. Obviously, parallelisms can also include all
types of chords that lend themselves to their use in the context of the theme
(such as fourth chords or superimpositions), and it is also advisable to build
parallelisms on a dominant or tonic pedal as an element of anchorage. In
addition, the constant pulsation of tension/rest must be kept in mind, taking care
that the chords do not accumulate tension without there being rest or, at least,
less tension.

Within reharmonization the use of the cycle of fifths is key. A chord can be
prepared with its own fifth degree to enrich the original harmony. We can also
include sequences of two or more chords that rank among themselves. Tritone
substitution is also an important device that composers and theorists have paid
attention to throughout history; 7th chords that are at tritone distance can be
interchanged with each other.

For example, the sequence RE7m-G7-Do7M (II7m-V7-I7M) could become

Re7m-D flat7-Do7M (II7m-IIb7m-I7M).

Modal exchange may also be interesting for the purposes of reharmonization. It

consists not of modulating but of exchanging chords in parallel mode.
Schoenberg used a similar argument defending that “ parallel tonalities can lend
chords to each other .”

That is to say that if we have a sequence of chords C (C) - Lam7 (Am7) - Sol7
(G7) by exchanging modes we will obtain C - Abmaj7 (A flat 7 major) - G7
“borrowing” the A flat of the parallel mode.

The appoggiatura chord is also often used. This chord has at least one voice in
common with the other, and the other voices resolve by conduction with the
smallest possible jump, they are used as delays or anticipations.

In case 2) certain melodic “reconstruction” resources can be used that produce

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a more structural effect and therefore are not confused with an improvisation:

a) Interval inversion: the directionality of the intervals of the original cell is

reversed.

b) Retrograde sense: “crab” movement, that is, mirror effect. c) Inverted

retrograde: combination of a) and b).

5. Alternative jazz improvisation possibilities:

5.1. Development of thematic cells in free form

After the initial exposition of the head , the improviser begins his solo with the
theme in mind but breaking it down, commenting on it and embellishing it in a
more or less profuse way.

In its freest form, taking a representative cell of the theme, a Beethovenian-type

development can be freely constructed by taking said cell to any region. This
resource would be completed by treating the cell as an antecedent, opposing it
with a free consequent during development that would also help to promote new
harmonic paths. The consequent can also be taken from some subsidiary
element and then transformed into a new antecedent in a following period of
development once the first cell has been exhausted.

Also very effective is the resource of creating a parallel melody that, although it
does not maintain at all the intervallic relationship or the melodic curve of the
theme, is constructed as a complement to it and that, eventually, could even
function as a second voice (although this The latter does not necessarily have to
be fulfilled nor is it what the soloist is thinking about when performing it).

* Of course, this type of development constitutes a form of variation as we explained in

point 4., but now we are referring to a much freer treatment from a structural point of
view and no longer talking about “chorus”.

The procedures that we will explain in the next point apply to all types of variations that
are exerted on a motif.
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6. Development tools

6.1. Sound parameters

There are different parameters that we can differentiate, that limit and define a
sound event. In jazz, and in any other musical style, it is important to have this
knowledge assimilated since it is improvised by varying these parameters. They
are:

-height

-intensity

-duration

-doorbell

-attack and articulation modes

-texture

-temporal evolution

Understanding the work from the macro to the micro, the duration parameter, the
speed, is the first aspect that the listener captures and discriminates. In the
scores, the speed is clarified in a metronomic way or the character of the work.
Following Gestalt's law we know that: perception stabilizes with permanence and
becomes unstable with changes.

Applying this principle we would deduce that constant speed stabilizes and
variable speed unstabilizes. We believe it is appropriate to better clarify this
issue.

In everyday life there is not always a coincidence between objective and

psychological time. When faced with the experience of the same event, it seems
very brief at one moment and endless at another. It is possible to analyze, after
the experience, the reasons that led to the dilation or contraction of the felt and
lived time of the one who marked the clock. When faced with a musical work, it
may happen that due to the organization of the information, equality, similarity or
difference between objective and perceptual time occurs. For composers and
improvisers it is interesting to study the causes that cause these phenomena of
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coincidence or divergence in order to consciously use these mechanisms that
correspond to the deepest of the infrastructure.

It should be noted as an example that alterations in attack density affect

perception. A medium density, let's say, tends towards stability while a high and
low density tends to destabilize. Density can also perceptually modify speed, for
example: very low density to very high speed or vice versa. In both cases,
perception will define the speed in relation to the attack density.

Thus, both the composer and the improviser can “play” at unstabilizing the work
by accelerating or retaining the pulse or with slow tempos.

It is also important to establish the importance of the articulation of the melody.

In music, as in language, the various formal units are articulated in a certain way
to make it understandable. In the interpretation of a work it is absolutely
necessary to be clear about this aspect since it is the first condition for the music
to occur and be perceived in the terms in which it was conceived by the
composer. In the case of improvisation, we must analyze the melody that has
been chosen to work on in this aspect; knowing which motifs to select to
develop, from where to where and with what intention to vary them. The
modification of punctuation marks can then be used as an improvisational
method to transform a succession of musical ideas into another.

In other words, it is necessary to analyze the appearance of the articulations

because they can be used precisely or ambiguously depending on the effect
being sought.

6.1.1. Elaborative procedures

We will mention below the resources or elaborative procedures that are used to
modify the different sound parameters. They can be used one at a time, or
several at the same time:

-Increase : add duration. It can be increased by maintaining the same proportion

in the values or increased with a different proportion, totally or partially. You can
also connect elements by extension ligatures; That is to say that instead of
replacing the attacks, they prolong each other, causing numerous syncopations.

-Decrease : removing duration, it is the inverse of increase.

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-replacement of attacks with silences: causes a decrease in the number of
attacks, as silences are interspersed, the musical discourse becomes less
continuous. The substitution can be done over strong or weak time or fraction of
time. If we substitute a downbeat this causes greater tension due to the metrical
ambiguity caused by the omission of the most hierarchical acceptances; It is
perceived as a large levare that takes time to resolve on a strong accentuation.

-transformation of regular groupings into irregular ones and vice versa

-modulations, change of mode or tonality

-change of register: given a unit, one or more pitches are changed (partial), or all
of them (total), without modifying the sounds.

-interval change: given a reason, one or more of its intervals can be changed by
others or its inversions used.

-contrary movement: changing note by note the original directionality with its
inverse.

-retrograde movement: reexpose an idea from the last note to the first (mirror). If
the directionality of the intervals is preserved, the retrograde is called direct, if
the directionality is changed it is called opposite.

-addition of heights: having exposed a motif, it is re-exposed with the addition of

a greater number of heights. They can come from sending already exposed
sounds.

-addition of ornamentation in weak times: passing notes, embroidery,

anticipations, escapes.

-addition of ornamentation on strong beats: delays, appoggiaturas, pedals.

-omission of heights: reverse procedure to the previous one.

-transpositions: a motif is re-exposed in a textual or similar way but from a

different height. Transpositions do not always cause changes in key.

Apart from the aforementioned resources, in jazz certain characteristic resources

typical of the style are also often used. Namely:
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-Jazz tuning: deliberate distortion or reorganization of the temperament used in
the West, evident in the “blue” notes.

-“Comping”: rhythms performed by instruments capable of chords, such as the

piano, guitar or organ. To achieve a more attenuated density, it is used in
pauses or silences in the phrasing in the thematic exposition. During solos they
can be used that way but with selective rhythmic support. And to achieve a
maximum density effect, it can be used in the climax by performing a full
rhythmic support.

-“change-running”: arpeggiated of each chord in a succession ( change in

common speech is synonymous with chord).

-Truncated ending: shortening of a musical phrase by eliminating notes at the

end of it. Usually the phrase is repeated several times, each time eliminating
more notes.

-“Getting Outside ”: colloquial expression applied to intentionally avoiding order,

consonance and simplicity.

-“Blue” notes: the three notes commonly related to the blues style, those that are
at a distance of third, fifth and seventh descents with respect to the fundamental.

-Polychords: simultaneous incidence of two or more chords.

-Sustained tension: general dissonance without resolution.

*The case of quotes is a separate topic since it does not strictly serve as a
structuring element, but rather as a specific color factor, in any way it is
organized.

Citing a recognizable fragment of a famous theme in the middle of an

improvisation is a frequent and appreciated practice among jazz musicians, not
exempt from considerable difficulty (it is necessary to relate, through imagination
and instantly, the original harmonic context of the cited theme with the present
moment in which the appointment takes place, and this without losing the thread
of the speech, which is resumed immediately. Furthermore, it is most likely that it
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will be necessary to transport the original tonality of the cited theme). Generally it
is a wink to those in the know, which is usually received with a smile by those
who detect it.

7. Functional harmony

The functional structure of a piece constitutes its identity. Often in modern jazz,
after creating a piece, what remains recognizable is its general functional
structure. That is, it may happen that the exact succession of fundamentals no
longer exists; The melody is no longer clearly presented, but the number of
measures of the piece always remains unchanged, and the tonic, dominant or
subdominant is usually reached in the same measures as in the original version
of it. No substitution, false cadence or other artifice can obscure the recognizable
character of that structure. Therefore a jazz student must take this into account.

7.1. Chord arrangement in jazz

Most pianists since the beginning of jazz used chord arrangements that included
the root of the chord on the bass, whether they were played with both hands or
with the left alone. Around 1955, Red Garland joined Miles Davis ' quintet and
introduced a new approach to keyboard layout. He omitted the bass root, placing
it at the seventh or third, playing these arrangements towards the center of the
keyboard (higher than the previous arrangements). This new way of playing
chords was assimilated by all pianists of the time, except in ballads or important
cadence points in especially fast pieces.

There are two arrangements that are usually used, playing in conjunction with a
bass who would play the root of the chord;

a) 9

7/6

3
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b) 5/13

In progressions of fifths these two arrangements are generally altered to achieve

adequate conduction of the voices.
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7.2. Chord Extensions

Extensions are often added to chords in jazz to enrich the overall sound, while
maintaining the function of the chord. These extensions are the ninth, eleventh
or thirteenth.

The ninth can be fair, increased or decreased. If it is fair it can be applied to any
chord but it can only be applied altered in 7th chords.

The eleventh can be fair or increased (b5 or #4) and can be applied depending
on the 3rd. If the third is greater, the eleventh is increased and if it is less, the
eleventh will be fair.

The trecena can be fair or diminished (5#). If it is fair it can be applied to any
chord but diminished it only applies to 7th chords.

7.3. Most frequent functions and chords

Below we indicate the most frequent chords that we find in jazz, ordered
according to the frequency with which they occur. Obviously these are not the
only chords nor the only variants.

V7 Dominant of I

II7m functions as a subdominant of I, precedes the dominant and replaces IV

I7m Tonic (major or minor)

VI7m precedes II

III7m replaces I. It can follow I or occur between III and II.

i7 IV dominant
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IV7m provides variety with respect to the tonic. Can work as a passing tonic

V7m II7m of IV. It usually precedes I7 (dominant of IV)

IV7m transition chord between IV7m and I7m, or between II7m and I

II7 sometimes replaces II7m. It usually occurs between VI7 (or VI7m) and V7

bIII7m replaces VI7. It usually occurs between III7m and II7m

bVII7 usually occurs between IV7m and I7m

7.4. Exchange for functions

As we already know, functions I-IV-V are the basic ones of the tonal system.
They constitute a kind of spinal column around which the others gather, with
their own levels of tension or rest. In jazz, these chords are usually replaced by
others within the same group, reharmonizing the work to give it a new color. The
following table shows the tonic, subdominant and dominant group with their
respective possible replacements.

III (bo ^ ) IV: VIb (relative to Ivm) V: IVm7 (b5)

VI (m) VIIb (IV of IV) VIbm6

VIb (maj) IIb (Neapolitan) VIIm7 (b5)

IIm IIIb+(7/9)

IIb7

Vsus7

The chords in turn can generate different effects through the possible variations
for each one: X6, X7, Xmaj7, Xm, Xm6, Xm7, XmMaj7.

7.5. Chord/scale relationship

In mainstream jazz most improvisation is based on chord progressions. The

chord progression is the sequence of chords that harmonizes the melody.
Typically, each chord lasts one measure, sometimes two, and sometimes only
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half. However, the scales implicit in these chords are very important.

7.5.1. Major scale modes

We will take the C Major scale as an example to know which modes are applied
in the different degrees of the scale.

I: Cmaj7 (C major chord with major 7th):

Ionian mode.

It can be used both in major tonic chords and in chords preceded by a

cadence.

II: Dm7 (D minor chord with minor 7th):

Doric mode.

It can be applied in minor chords with the minor 7th in the subdominant

region.

The harmonic sequence that tends to be used is the following:

VI or I -II (Doric) – V
III: Em7 (E minor chord with minor 7th):

Phrygian mode.

It can be applied in minor chords with the minor 7th in the tonic region.

That is, when III replaces I.

The most used harmonic sequence is:

V – III(Phrygian) – VI

IV: Fmaj7 (F Major chord with 7th major):

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Lydian mode.

It can be applied to major chords that do not function as tonic chords.

V: G7 (G Major chord with minor 7th):

Mixolydian mode.

It can be applied in 7th chords in dominant function.

It tends to resolve with major 3rd chords (diatonic resolution) and

also in the broken cadence of the major mode (Ex: G7-Am)

VI: Am7 (A minor with Minor 7th):

Wind mode.

It can be applied in minor chords with the minor 7th in the tonic region. The

harmonic sequence that tends to be used is:

I or III – VI (m. wind) – II

or in Broken Cadence (V – VI)

VII: Bm7(b5) (B minor chord minor 7th with diminished 5th):

Locrian mode.

It can be applied in minor chords with minor 7th and diminished 5th.
This mode is usually applied in the II degree of minor tonic. Example:

Bm7(b5) - E7 - Am

II - V - I (relative minor of DoM)

Dm7(b5) - G7 - Cm
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7.5.2. Modes of the Bachiana minor scale:

I: Cm maj7 (C minor chord with major 7th).

Melodic Minor Scale.

It is applied in tonic minor chords compatible with the scale.

II: The Dorian b2 would correspond but this scale is not used because the

minor second interval between degrees I and II of the mode gives it a

strange sound, far from the color of the chord with which it would be used

(IIm7 with the fifth unchanged). We then use the Doric.

III: Eb+ maj7 (E flat chord augmented with major 7th).

Augmented Lydian.

It is applied to major 7th chords with a delay of #5 or b6. Typical example:

V7b9 – I+ (augmented Lydian) – I

IV: F7 (F Major chord with minor 7th).

Lydia b7.

It applies to 7th chords (dominant):

a) with #11/b5

b) with chromatic resolution, not diatonic. (Ex: tritonal substitution)

V: G7 (G chord with major 7th).

Mixolydian b6.

It is applied in dominant chords with diatonic resolution in chord with

3rd minor.

It can also be applied in 7th chords with b13/#5.

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VI: Am7b5 (A minor chord with minor and diminished 5th).

Locrio 2 ^ /#2. This scale is also called Aeolic b5.

It is applied in minor chords with minor 7th and diminished 5th:

a) VI of Im

b) II of I major

c) 'deception' effect with Imenor. Playing the IIm7(b5) the diminished

5th would be the VI ° degree of the old C minor scale. If the harmonic
sequence is IIm7(b5) – Im; lab would resolve to G descending by joint
degree and this descending movement defines the color of the second
chord producing the minor context effect. The deception effect consists of
playing the Imajor “deceiving” the expectations of the listener who was
expecting a minor chord. We use this scale in this case because it pre-
announces the major chord since it has E square (and not flat as it would
be in the case of the old mode). This case can also occur the other way
around; waiting for a major chord; play a minor one.

An important antecedent of this deception effect played a very important role in

the Baroque, with the so-called “ 3rd of mischief ” so used by Handel and Bach .
The picardy third refers to the use of a tonic major chord at the end of a musical
section that is in a minor or modal key. It can also be found in any perfect or
plaguel cadence where the predominant key is minor. The reverse picardy third,
in which the expected major chord becomes a minor, is rarely used at the end of
a work. A similar effect, often used, is created with a broken cadence in the
relative minor (for example, in C major, the expected tonic chord is replaced with
A minor); This effect uses a diminished third but without restating the tonality of
the tonic.

Example of third of picardy

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IVI IV IV IM

VII: B7b5 (B flat chord with diminished 5th)

Superlocrio or Altered Scale.

It is applied in altered 7th chords.

According to the sounds that this scale includes, the possible

Altered extensions would be: b9/#9/b5/#5/#11/b13

7.6. Modes applied to a standard

Next we will see the application of the modes exemplified on the “ Alice in
Wonderland” standard.

In the upper staff we will see the melody and chords as they appear in the
original publication and in the lower staff we will add the corresponding modes
according to each case.
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Alice In Wonderland
Fain I Hilliard

16 1 2.
Y
Cmaj?
o

Mixolydian b6 Ionian Doric

Mixolydian
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2
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39

Bm755 Am7 Dm7

Locrian Mixolydian b6 Natural Minor Lydian b7 Doric

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7.7. Use of alternative scales

7.7.1. Blues Scale

The Blues Pentatonic Scale or Blues Scale is basically the Minor Pentatonic
Scale with an extra note. It has a pattern of one and a half tone, one tone, two
semitones, one and a half tone and one tone.

Blues Pentatonic Scale in the key of C:

Blues Scale Usage:

a) The “traditional” way of using it would be to use the blues scale

corresponding to the tonic chord. The scale is then applied throughout the
harmonic progression within that region.

b) The most “modern” way to use it would be to use the blues scale of the
“current” chord. In this way, in each chord we would use a different scale. It must
be taken into account that if the current chord is major, as long as it is not the I, it
must be phrased towards the major 3rd. That is, the 3rd of the chord is added to
the blues scale. For example, in a G7 chord the scale we would use would have
the sounds: G-Bb-BCC#-DFG.

c) You can use the blues scale of the relative minor of the current chord in
major chords that are incompatible with the blues scale (Ex: maj7 chords since
the blues scale of the chord itself does not contain the major 7th, because the
7th is minor and then using the relative minor scale of the current chord there is
no longer any conflict with the major 7th of the chord) can also be applied when
looking for a more attenuated blues effect.

d) use the I relative blues scale. For example; being in C major, use the A blues
scale.
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7.7.2. Vth mode of the harmonic minor scale

This scale prioritizes the diminished 9th due to the absence of an augmented 9th
and tends to resolve by fifth to a minor 3rd chord. It is applied in chords of the V
° degree that may have a diminished 9th and/or a diminished 13th.

V mode: harmonic minor

Minor harmonic C _______________, v

7.7.3. diminished scales

The diminished or octatonic scale has eight sounds. The distances between the
notes alternate between a tone and a semitone and due to the symmetry this
causes there are only three diminished scales (omitting the enharmonic variants)
and they can be played in two ways: tone/semitone and semitone/tone. Starting
in tone/semitone we will obtain the scales of C, Db and D. Starting with the 2nd
degree of those scales we will obtain the semitone/tone variants.
The tone/semitone scale is used for diminished chords (7th chords without the
root) and the semitone/tone is used for 7th chords (disguised as diminished).
In short, the most effective use of the diminished scale in conjunction with
chords commonly used in jazz lies in its application to the dominant 7th chord. In
jazz, this chord often contains altered notes that do not change its function; It
can have the 5th ascended or descended, the addition of novenas, elevenths
and trecenas and their alterations. The diminished scale produces all of those
added notes except the augmented fifth (or minor trezena). Only the diminished
semitone/tone scale admits the altered ninth, but not the tone/semitone, which is
used in diminished or diminished seventh chords. In the case of the dominant
seventh chord with the augmented fifth (or minor thirteenth), a tonal scale would
be played and the super locrian mode would be used for a 7th chord with an
augmented ninth, regardless of whether the 5th is augmented or diminished.

The name diminished comes from the fact that the degrees I, III, V and VII form
a diminished seventh chord while the rest of the degrees form another
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diminished chord interspersed a semitone higher than the first.

Example of T/ST diminished scale

Due to its atypical structure, this scale has a toneless sound where the listener
cannot easily anticipate the next chord. The diminished 7th chord can resolve to
almost any chord, even another diminished 7th chord. Thanks to its ambiguity,
this scale is very flexible, colorful and effective.

Although in the Middle Ages the diminished chord was not used because it had
the tritone classified as "diabolical", in the Baroque, its use began to be allowed,
although always subject to strict regulations. Only in Romanticism did this chord
and the diminished scale begin to gain some prominence, where multiple
composers ( Vivaldi , Beethoven or Debussy ) rescued it in order to recreate
certain atmospheres.
With programmatic music the tritone was very effective in representing different
moods.
Liszt was fascinated with the diminished chord, just listen to his Dante Sonata in
B minor for piano. Another excellent example of its use is in Gotterdammerung (“
The Twilight of the Gods ”) by Richard Wagner . However, although the
prohibitions no longer existed, it was generally treated under demonic themes.
Bela Bartok used a system very similar to that of diminished scales for their
sound effect: it is the three-axis system or axial system.
It was published by Ernö Lendvai , one of his disciples, since Bartok never
documented his compositional techniques.
This technique divides the circle of fifths into three double axes, one for tonic,
one for dominant, and one for subdominant. They are defined by the diminished
scale creating harmonic structures that only use diminished chords.
With the blues, the tritone has been a great refuge as a genre foreign to
prohibitions and close to darkness and suffering. And with jazz the tritone began
to have real prominence and its dark past is least noticeable.
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7.7.4. tone scale

The tone scale is made up of six notes (the only scale with 6 notes) and is
completely symmetrical. As the name suggests, each note in this scale is
separated by a tone. In terms of content, we only have 2 full tone scales, any
transport or mode simply duplicates the content of the notes.

This type of scale has its harmonic limitations since it is not possible to construct
major or minor triads and the only possible seventh chord would be the dominant
7th chord (V7) but with the diminished fifth, that is, with the sound of the French
augmented sixth. or with the augmented fifth. On the other hand, this tonal
ambivalence allows the composer or improviser to think of blocks of notes that
can be used as chords due to the lack of major and minor chords. This
characteristic was used by Impressionist composers such as Claude Debussy
and is closely associated with jazz in general.

7.7.5. Pentatonic scales (minor)

This scale is used in suspended chords with a seventh (sus7), that is, with the
4th on chords of the II or V degree. This application is due to pianist McCoy
Tyner who has influenced other pianists such as Kenny Kirkland , Joey
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Calderazo and Chick Corea to frequently use their harmonic resources.

Pentatonic sequences can generate climax and tension if they alternate

changing keys, giving us the sensation of playing “outside” of harmony. This
technique is widely used in McCoy 's solos. Here we present an example taken
from the solo in “ Passion Dance ” (bar 85):
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Another important aspect to take into account is the left hand where rhythmically
displaced fourth chords can be clearly seen. These chords are used to generate
tension and provide harmonic support to all alterations created with the
pentatonic scales of the right hand.

8. The mental factor in improvisation

Previously we have analyzed what we consider the main elaborative, formal and
organizational strategies available to the jazz improviser. Below we are going to
review the role of concentration and the various forms of thinking that imply
different approaches involved when improvising, namely: auditory, theoretical,
motor, locative/visual, rhythmic and emotional.
8.1. Concentration

Improvisation is a very demanding activity, both mentally and physically,

especially when it comes to the mind. As we saw previously, it must be able to
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concentrate on many factors simultaneously, such as chord and scale
structures, motif development, form, level of intensity, absorption and use of
musical ideas heard in the accompaniment, rhythmic levels and sensations, etc.

In order to build in the present time, it is necessary to exercise different forms of

thinking and use feedback processes on interpretation, that is, evaluating in the
moment. This constant “living in the moment” facilitates real-time estimation of
the flow of proposals, which in turn will make decision-making more accurate to
repeat, discard or develop previously presented elements or the presentation of
new discursive motifs.

The experienced improviser has generally developed his power of concentration

to a very high degree in order to give greater continuity to his interpretation and
achieve a more interesting execution from a technical point of view, avoiding the
physical effort of a less expert performer.

Concentration is what eventually allows the artist to unfold his true musical
personality and thanks to its development he will be able to focus on a musical
situation (always within the manipulation of ideas in real time and on a changing
harmonic background) from various perspectives, consciously selecting or
unconsciously the most convenient solution strategy, also being able to change
from one way of thinking to another, as applied at each moment, although
unintentionally. Below we will delve deeper into this topic.

8.2. Thought Forms

8.2.1. Auditory thinking

Unlike the classical performer, the jazz musician has to create his own speech at
the moment of performance. To do this, it is essential that you trust your ability to
organize ideas in purely sonic terms using your inner ear and immediately
translating the ideas to the instrument.

When a music theory student identifies and writes a musical dictation, he or she
is using the same process that the improviser needs to develop his or her
auditory thinking; translates abstract sound into tangible symbols. The student
listens to a sound and translates it onto paper in the form of symbols while the
improviser imagines a specific sound that he then plays on his instrument.
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Therefore, we can say that the mechanical process of translation is practically
the same and can be developed through intensive practice.

In the case of a composer, he writes a piece by writing musical symbols that he

has imagined on paper and then the performer performs it. The improviser, on
the other hand, can only handle these aspects in the present time, interpreting
what he imagines on the spot.

This learning process is fundamentally about a long process of forming

associations between certain harmonies and certain successions of notes or
specific schemes (dictation), which must continue until the improviser becomes
an almost perfect transcriber of his own. musical ideas, and sometimes also
those belonging to others since if the jazz student can transcribe what he hears
from an external source he can also transcribe what he imagines from his own
internal source through auditory thinking developed by practice with dictations.

Therefore, if a musician practices transcribing music, whatever its style, his or

her ability to improvise will increase.

Improvisational practice is potentially an excellently fertile medium for empirical

research and transcriptions since, in a sense, it allows direct and instantaneous
access to the creative process itself. Through transcription, a series of digital
and locative patterns and the representation of chord configurations on the
instrument will be internalized, which then improvised can be interspersed with
the melodic phrases, serving not only as accompaniment to them, but also as
guidance, constituting points of support and source of suggestions for the
development of successive sentences.

That is why an advanced development of the ear is “required” of the jazz

musician, which does not mean under any circumstances that they are not
musically trained.

At first it was very common for musicians to have no theoretical training and only
play “by ear”, but towards the 1940s, musical reading included an essential
element in the training of the jazz musician, allowing access to written material
(collections of themes , transcriptions of solos and methods), in addition to being
an essential tool for preparing arrangements (especially in Big Bands ). As with
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classically trained musicians, it is currently unthinkable to delve deeper into jazz
without solid theoretical and harmonic knowledge and without reading fluency.
However, in jazz the development of auditory thinking is absolutely more
necessary than in classical music where the notes are already written.

8.2.2. Theoretical thinking

We have already mentioned different aspects of the theoretical treatment of

improvisation.

Now we will specify the way in which this theoretical knowledge is managed. We
are referring to the importance of the practical component of knowledge in
improvisation. One can know very well the rules of the correct conduct of voices
in classical harmony, perform a bass or harmonize a melody with paper and
pencil in the tranquility of a work table, but the jazz improviser has to possess
the theoretical and harmonics in a cognitive modality , which allows you to make
use of them in their instant application to a given interpretation situation. During
improvisation, theoretical thinking must be able to function in a time: the present
time. The time of inspiration, the time of technically structuring and performing
the music, the time of executing it, and the time of communicating with the
public, as well as the time of the clock, are one. The application of theoretical
thinking in the present time covers two modalities of use, according to our own
experience, of that knowledge;

The theory used as a discourse generating factor, that is, as the authentic
driving force of the solo , assuming the role of imagination when, for whatever
reasons (fatigue, distraction, exhaustion of ideas), the creative intensity
decreases. It must be taken into account that the imperative need to provide
continuity to the discourse is inevitable in a situation of public improvisation, so
theory can be resorted to when no new inspired idea can be generated.

The theory used in its hermeneutic function, which instantly interprets the
ideas arising from the purely auditory and sound imagination, and which are
immediately translated into sound configurations on the instrument. The
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unconscious interprets them based on a conceptual framework that has been
gradually formed from the knowledge derived from theory.

This second function matures and grows in the musician in parallel with his
auditory education, which allows him, with practice, to interpret both his own
internal ideas and those of others.

8.2.3. Motor thinking

It seems beyond a doubt to us that, in general, the technical aspects of

instrumental performance have been much more developed in the field of
classical performance than in that of jazz. Although jazz has a repertoire of its
own sounds, in general its range is more limited and less versatile than that of
the classical musician, for whom the technical and sound aspects constitute his
main center of interest. This is logical given that the main way of channeling
expressiveness and creative flow in the classical musician is precisely
constituted by that wide range of sound nuances over which control is acquired
only after a prolonged and meticulous study, while the classical musician Jazz,
as we are seeing, simultaneously attends to several disparate areas and, above
all, has to generate the discourse itself while translating it into sounds. To this
we must add that from their very origin, the canons of sound beauty of classical
music and jazz are quite different (although increasingly less distant nowadays).

A classical pianist, for example, who would like to start playing jazz, already has
a wide path covered, as far as the technical aspect is concerned, since through
practice he will have established the instrumental discipline as much as possible
and thus will not have to be constantly distracted trying to solve problems.
technicians of this nature.

Training is what provides physical ease from which the channel is opened that
gives way to inventiveness and creative flow since skill, upon reaching a certain
level, is hidden in the unconscious, revealing it, and this is where it rests. the
originality of all improvisation. Through the technique, unconscious material then
comes to the surface and this is crucial if we take into account that the difficulty
of improvisation lies in achieving the freshness of the passing moment but with
the structural tension and symmetry of a balanced organism.
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Another aspect of motor thinking that is of great importance and to which jazz
musicians dedicate a lot of study is the creation of so-called “ patterns .” These
are brief motifs that are learned and practiced in all tones until they can be
interpreted without difficulty and in an automatic way, that is, whose control is
entrusted almost entirely to motor thought. The usefulness of these patterns is
based on the little attentional load they require, fulfilling a filling function, which
allows the continuity of the sound discourse not to be interrupted at times when
the generation of new ideas is not abundant.

The patterns not only fulfill their auxiliary function, but through repeated use they
become internalized and integrated in such a way that in the routines of thought
and creation, they come to the mind "mixed" with the ideas, forming a unity
where it is difficult. and to distinguish what is really new and what part comes
from the repeated practice of certain types of patterns.

8.2.4. Visual and locative-visual thinking

With the term “visualization” we refer to the mental representation of images that
help guide improvisation, whether these images represent more or less abstract
aspects (what we will call visual thinking), which can refer to the staff or even the
mental representation. of images more or less distant from the music (such as
colors, situations, etc...), as if they reproduce configurations on the instrument
that represent the points on it where the fingers should be placed to produce a
certain sound ( locative-visual thinking ) . This second case is more common and
frequently used quite explicitly by all improvisers.

8.2.5. Rhythmic thinking

The mastery of rhythmic aspects in the treatment of ideas is one of the skills that
has the most effect on the interpretation and communicative capacity of the
soloist. Within swing, the soloist can organize his solo by phrasing not only
coincident with the beats of the measure, but also controlling the moment of
beginning and end of the phrases so that they are either anticipated or delayed
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in relation to the chords. corresponding to the changes . This sense of
anticipation and delay can also be controlled even within the phrases, in relation
to the beats of the measure, so that what the listener perceives is as if the
soloist's rhythm was subtly delayed (or ahead) with respect to that of the group. .

8.2.6. emotional thinking

Finally we will deal with the emotional aspect, a very important ingredient of
improvisation. In general, an essential condition that a quality improvisation must
meet is that it has substance. That substance is basically emotional. Each piece
has its dominant emotion (or “mood”). With each standard the group creates an
appropriate atmosphere, what is called a “groove”, or sound background.
Groove does not only refer to rhythmic aspects. It is a broader concept, which
encompasses harmonic and timbral arrangements, and which, in short, affects
all musical parameters.

In relation to the groove , the soloist is at the same time a receiver, since the
ideas that come to his mind in each piece undoubtedly have to do with the
collective interpretation of the mood; and conductive because it must guide the
“energy” of the piece towards climaxes.

The communicative capacity of the soloist's emotions constitutes a clearly

recognizable element. It is due to the existence of a form of thought that
generates ideas for improvisation that the control of improvisatory discourse is
given over to emotional factors, which is recognized by anyone who has
approached this activity.

This way of thinking characteristically presents itself with a certain lack of control
and unpredictability. As the musician becomes more experienced, the forms of
thought that are further removed from the sound world (theoretical, technical,
visual thoughts) require less attention, and more and more reliance is placed on
the types of thinking that have a largely sound component. (melodic, rhythmic
and emotional thoughts). Emotional thinking also contributes to improvisation not
exclusively in the extreme modality of “outburst”, so to speak, just described. He
also contributes by using different degrees of intensity and applying moments of
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greater or lesser tension throughout the solo. Control over expressive intensity is
one of the most appreciated skills, which is achieved not only through an
adequate selection of notes and rhythm, but also through the management and
application of expressive nuances whose repertoire, as classical musicians know
well, , It is immense.

9. Variations seriesuses Op.54 and the modes

We believe that the most striking point to take into account in jazz is the one
explained in point 7. in relation to chords and modes, since it constitutes the
central theme in the method of organizing sound material. We have learned that
the improviser uses scale references (including many graded dissonance scales
as alternatives) for improvisation, and chords are a means of determining scale
possibilities.
Previously ( see point 1.3.7., page 9 ) we mentioned modal jazz, we believe it is
appropriate to clarify this matter. In all jazz styles, modes are used, the
difference is that in modal jazz one, two or three modes are used throughout the
work, while in jazz in general there is a harmonic sequence, where each chord
can carry its own own scale.

We find in the latter, a symmetry with respect to the use of modes by the most
important composers throughout history (always in the context of tonal music).

The modes never stopped being used by any composer and at any time. Any
melodic passage by any composer would serve as an example since the subject
matter, so to speak, of tonal music is precisely the modes. What in any case
may have varied over time is the way of using these modes. When at first music
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was written thinking in a certain way, with evolution over time, this knowledge
was assimilated, and was always used by composers in a natural way, as the
very material of the language of what is a harmonic discourse. .

Below we will take Mendelssohn 's Serious Variations Opus 54 as an example .

We will analyze the theme and variations I and II according to what was
explained in point 7. We have chosen to analyze these parts due to their strong
polyphonic character and their predominance of content over form, which by
themselves perfectly exemplify the knowledge presented here.
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the Rem as it is inverted and in weak

time is barely perceptible but
anticipates the next measure
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The sw acts as a chromatic movement towards the C# that cc50 and 51 rotates cadence V-VI and begins sound to a natural minor scale as a sensitive D

and in conjunction with the Eb it forms the F+7 chord.

10. Conclusions

In this work we have tried to break down the language and theoretical framework of

V mode of the harmonic minor of

D
Although this measure
corresponds to the scheme used
in cc 46 and cc 47, here the scale
varies because the A7 chord is
going to move in a different
direction, which means that the
scale is different. The cc47
resolved in C major and that is
why the G7 uses the st/t scale
acting as a dominant that resolves
in a major 3rd chord (Cmaj7).
However, in this measure, when
passing through the F natural the
arrival is being suggested of D
minor and that is why it uses the v
mode of the harmonic minor of D

Mixolydio b6 of A is
again thinking about
A7 because in the next

variation reaches an F
as the third of the Dm

composition in improvisation.
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7
However, the ultimate goal of this was to demonstrate and overthrow certain cultural
prejudices that still exist today regarding improvisation, trying to bring musicians
unfamiliar with the style closer to this form of creation.

As we have seen, this type of improvisation requires a thorough study of both the
theoretical material and mastery of the instrument, and we conclude that once this
technique is mastered it can be highly beneficial for any type of musician.

Improvisation is generally not taken into account when training musicians nowadays and
here we have tried to demonstrate the value of incorporating improvisation in our training,
not only in terms of improvisation itself but in terms of understanding what it means. The
work communicates to the listener perceptually speaking and in any musical style.

In the first paragraph that we find in Graciela Tarquini 's book titled “ Musical Analysis:
Syntax, Semantics and Perception ” we find the following:

“Understanding the musical language requires meticulous and sequenced work where three
fundamental aspects are present that make up the comprehensive training of a musician:
auditory, analytical development and transfer to interpretation activities; improvisation and
composition

As performers, we are obliged to analyze the works we intend to interpret, know the style,
the compositional resources used and above all know what function the notes we are
playing fulfill. When interpreting a work (ideally) we must understand the composer's
intention, somehow putting ourselves in his place. Therefore, every performer must
handle the weapons of a composer, and with this work we have come to the conclusion
that it is precisely this knowledge that will serve as a bridge for the performer to begin
improvisatory practice.

Let us not forget that within every improviser, at first a kind of composer was needed who
would take the trouble to learn to compose in real time since the ultimate goal of
improvisation is that when listening to the improvised material it cannot be differentiated
from something composed. in advance, thus combining the qualities of a composer with
the skill of the performer.

We will now quote Arcadi Volodos , a classical pianist with a brilliant technique and
overwhelming creativity who usually improvises in his concerts:

“ Improvisation is necessary, because it means understanding the composer's language, speaking

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8
it. By improvising like Bach, Liszt or Schubert I understand their language. It's the same thing that
happens with languages. I can learn a poem in Japanese and recite it without knowing the
language, but it becomes mechanical. For me, improvising is speaking the language of the
composer.”

That is why we can conclude that the improvisatory capacity of jazz can only be extremely
beneficial for academic musicians.

To do this, it is enough to listen to or see recordings of classical works by jazzmen of the

stature of Chick Corea or Keith Jarret where the attitude and perception is different to
what we are accustomed to within academic music because the musical understanding
with which they approach the music is another.

This is because these musicians have been trained in the art of improvising where once
the level that makes it possible to do so with the tools exposed in this work is reached, the
musician's way of interpreting changes, and not only in terms of improvisation. Not that it
changes his way of intellectualizing music, even playing a score note by note.

It is undeniable that once a good command of improvisation is achieved, the ability to

perceive an already written musical discourse increases enormously and the interpretative
ease enjoyed is immensely expanded.

Stravinsky maintained that composition is selective improvisation.

Improvisation is at the beginning of all creation and is essential for the composer where in
the first instance he chooses his ideas that he will then polish on paper. If that composer
or performer trained to have the intuition and experience of what is going to look good
until he or she can do it in real time, we would have a great improviser.

A great improviser does not fully know where he is going, but his vividness consists in
realizing that moment, the moment of climax to encourage those characteristics before
the climatory moment, as we find in some Beethoven sonatas where before the climax he
applies an acceleration of the elements combining them more hastily.

It is about seeking that the generative speed of the performer goes hand in hand with the
perception of the witness, going through a well-founded development (following
Schoenberg 's main concept about the idea of following an “umbilical cord”) where ideally
he gradually unfolds his speech.

Through practice and study of the elements exposed here, the performer will be
 6
9
increasingly free to “detach” and in some way become a listener of what he plays based
on centuries-old Eastern philosophies inclined towards meditation but focused on in this
case to art, which will allow you to manage the curve of different degrees of tension and
rest with the precision of someone who has had time to compose it previously.

The open question remains to what extent the scores cannot be treated as “guides” if you
will, since even the composers themselves did not play their published works in the same
way twice, but rather varied ornaments, scales and even entire passages. , and this
without taking into account Beethoven who used to improvise entire movements of
sonatas and even exchanged them for those of other sonatas in concert.

In recent times, pianists such as Friedrich Gulda, András Schiff and Glenn Gould
have followed this “current” and have been characterized, among other things, by
changing ornaments and scales to piacere . Added importance to this is the fact that
Gulda has been a reference as one of the best and most original interpreters of
Mozart and Beethoven for years and Gould was recognized as an undisputed
reference above all for his virtuoso recordings of JSBach 's keyboard works.

On the other hand, we must bear in mind that the most complex rhythmic figurations
(and we would even dare to consider the most interesting) are impossible to write
and even Mozart himself documented in his correspondences that, especially in
adagios, the left hand is the that follows the rhythm and the right hand must move
freely, something that would be non-transferable in the score.

We have reached the conclusion with this work that academic music can be greatly
benefited by some practices or customs inherent to improvisation and therefore it
should be considered a core tool in the training of musicians of all styles.

Fortunately, there is today a lot of evidence, apart from the vision presented here,
that would support this idea and above all, as jazz musicians appear who are
perfected with experience, study and practice, the resulting language mechanism
helps to improve society's prejudice against improvisation, obtaining results so
important and compelling that, if not taken into account, reality would be denied.

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