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Guitar
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Last time
you'll recall that we broke the ice on the rather large
subject of improvising. I spent some time offering my
opinion regarding the importance of the skill itself,
focusing on the best genre for a vehicle, and associating
the accumulation of "language" (i.e. blues & jazz licks)
as a key element in your evolution as a competent soloist.
In Part Two we'll continue our conversation, getting
down to more specifics along the way.
Life Without Scales? I Don't Think So
Despite my general disdain for the fact that so many
players and teachers overemphasize scale practice, I'd
be the last person on earth to suggest that you skip
the notion of including them in your improvising arsenal.
But let's spend a few moments defining the most important
scales to know, and why.
While it's well, good, and downright commendable to
learn as many scales and modes as possible, the knowledge
of just a couple of forms can take you a long way. At
the very least, concentrate on commanding the major
scale and the blues scale (or minor pentatonic) in all
playing positions. To this end, work exclusively in
one key (I traditionally begin with the key of C), and
work your way up the fingerboard from first position
through twelfth. Generally speaking, I'd avoid the use
of open strings in the process. This way you can easily
move any form that you learn to another key, and that's
exactly what you should do on a routine basis once the
initial key becomes old news. It'll only take a couple
of minutes a day to retain this knowledge, and for that
matter only a few minutes more should you decide to
incorporate more scales (and variations) into your practice
routine. Small price to pay for the solid benefits to
be gained. Now as to what those benefits are and why
scale study is useful?
Let's clear the air on one misnomer. The knowledge and
mastery of scales is quite simply not the "be and end
all" of your language vocabulary. In the past I've routinely
made the comment that a scale is nothing better than
any other lick, and not even a very exciting one at
that. However, if you absorb all positions of the major
scale, and then take the time to filter any melodies
or licks through the "eyes" of those positions, you
can become a terrific guitar/bass soloist with a thorough
grasp of the fingerboard. Definitely worth the price
of admission.
Dry & Wet Improvisation
Without a doubt, one of the biggest (and often frustrating)
challenges to the aspiring improviser is being able
to apply what you've practiced spontaneously in a live
situation. You can labor for long periods of time learning
countless scales, licks, and progressions, yet still
have a difficult time recalling them on the fly. I've
faced more than my share of adversity in this area,
so I understandably have some tips to share with you.
First of all, no matter what method you employ, you
still must know the language and the chord progression
that you're trying to apply it to. At this point you're
ready to address the idea of "dry" vs "wet" improvising,
something that I've spoken of before but bears repeating.
"Dry" improvisation is soloing without accompaniment
of any kind. By yourself, with no timebase to adhere
to, and just your instrument in hand. As a guitarist,
you can comp the chords to the progression, periodically
stopping to try out this or that lick, then resuming
the rhythm role in the progression. As a bassist, you
can play the bass line (or walk) to the chord progression,
then stop and do the same thing (nothing new, incidentally,
for a bass solo). The big advantage with the use of
dry improvisation is that you can really take the time
to work what you've practiced into your playing, in
a way that slowly becomes suggestive to your "automatic
pilot" in the real world.
"Wet" improvisation, on the other hand, is soloing with
accompaniment, but not necessarily live accompaniment.
Common alternatives to live situations are taped progressions,
MIDI accompaniment (PC-based or stand alone), or even
playing along with a favorite track on one of your CDs.
The adversity here is, of course, that you do have a
timebase. So consequently it's tougher to be mental
and work ideas out when the next chord change or song
section is rearing its head. I'd highly recommend that
you balance your approach and employ both dry and wet
improvisation in your studies.
Onward & Upward
In Part Three of "The Art of Improvising" we'll talk
about model solos, transcribing & recording, and more.
Stay tuned...
About
the author
Mark Stefani is a jazz guitarist and eduactor in
Portland Oregon. He has written many books in the
guitar educational field. In 1987 his career was
spotlighted in Guitar Player Magazine where he was
described as possessing a 'versatile style on both
electric and acoustic guitars' in addition to having
a 'master's touch'. For more info and to contact
Mark go to www.visionmusic.com |
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