1. Learn melody, chord changes, chord/scale relationship
2. develop new ways to construct a meaningful solo
Melodic/Horizontal Approach
- Play melody of the tune over and over
- alter it each time until the embellishment outweigh the original melody.
- eventually it won’t sound like the melody but an improvisation devoid of obvious patterns or cliches
Harmoinc/Vertical Approach
- 1. Play a guide tone line consisting of 3rds and 7ths of each chord.
- 2. then create a solo by improvising lines and embellishments around the guide tones while still targeting the 3rds and 7ths at the beginning of each chord change.
- 3. Improvise on the chords using primarily chord arpeggios or 1-2-3-5 patterns but in a very free, improivsatory manner. Your melodic lines should define the harmony without relying on the harmonic accompaniment.
Scalar Approaches
Determine which scales color each chord and use these in your improvisation.
Play a continuous line of 8th notes using the appropriate scale choices:
1. Diatonic approach — use modes in the major scale and the bebop 7th scale to color the chords
2. Alter the extensions – use altered and diminished scales whenever possible, treating all dominant chords as if they had altered 9ths or 5ths.
3. Chromatic approach — use chromatic scales and small intervals that are not necessarily derived from the diatonic scale that fit each chord. Resolve to strong chord tones at the places in the phrase.
Motive Approach
Base your solo on a small melodic idea. Use concepts such as repetition, sequencing, fragmentation, augmentation, and rhythmic displacement to build your phrases
Think primarily of playing rhythms.
Try to find notes that fit the chords but focus o the rhythmic content.
Pretend that you are a drummer.
Intervallic/Bitonal Approaches
Superimpose intervallic structures, such as 4ths, forth-note groupings and pentatonic scales over the chords, departing from the key area at times.
Resolve to strong chord tones at key places in the phrase such as the cadence.
Play over the time using polyrhythms or by playing in another meter. Keep track of the underlying rhythm and periodically resolve in the time.
Advanced concepts
Imagine you are one of your favorite improvisers. Try to play in their style, not yours.
Think of physical shapes and contours, such as angles, lines, circles and zigzags. Let the notes come as a consequence of playing these shapes.
Give up analytical control; improvise on the tune without thinking about the chords. Don’t preconceive of anything you are going to give. Allow any sound to manifest itself without you having to make an effort.