improvisation / tonal convergence

Ah, the art of creating melodic line, coupled with the theory of converging upon a tonality through the discovery of the varying degrees of the tension / release dynamic as created from equal temper and points in between. So very cool. In practice, a most unique aspect of the purely American styles of music is that in the performance of many of the popular styles, there are oftentimes sections where the all players get to "spontaneously" create or improvise their parts together as the music grooves along, each player potentially becoming the leader of the musical direction of the group ( the soloist ) or contributing their voice to the musical conversation in real time. Not really all that new, players creating their parts from memory, based on their experience, has been done for ages. The classical players do have their concerto, which features a soloist and band, although all the parts usually written out. What is new, well relatively speaking ( the last 250 years or so ), is the emergence of the consistently tuned aural resource of tonal colors available to the improvising artist for sharing their ideas within this age old format of playing from memory.

Present day coolness also emerges for the artist of the American styles in that in many of these performance situations, these improvisations created from memory are the highlight of the musical experience. Historically, jazz trumpeter Louis Armstrong is often considered the first of the "American solo voices", blazing new and exciting pathways for the instrumental jazz voice and eventually gaining a global prominence, becoming Americas first "ambassador of jazz." Perhaps it could be said that Mr. Armstrong set the new standard for the importance of the improvisational voice in American music. Today, over 75 years later, the many voices which have followed in Mr. Armstrong footsteps have helped define the course and development of American musical society. In folk, blues, jazz, rock, country, hip hop and rap, and all of their sub genres, improvisation during the performance of the music is so often an integral part of communicating the joy and creative excitement of the players to the listeners and dancers alike.

So, what is meant by the term improvisation in this text? Although the term "improvisation" generally implies a "now happening" present tense, when we hear musical improvisations that we dig, chances are the creators of these improvised ideas have spent mucho, mucho time in preparation. And although what we experience as listeners seems to be spontaneous, which so often it is, as each of the players react to each other within the group, the skills to improvise fluidly are hard earned and deeply respected among the players, who know first hand what it takes to create happening, improvised, interactive musical dialogue in real time in an ongoing, tonally convergent dynamic.

The following improvisation links are for the most part the 90% of perspiration, that along with the 10% of inspiration, can create cool art. The music theory in the following links / topics gets pretty thick in a hurry. Included in these more advanced theoretical discussions are lots of ways back into the "nuts and bolts" of improvisation, providing a look at the essential musical components and artistic concepts used in the following discussions.

So, what is meant by tonal convergence? Tonal convergence simply implies the creation and release of musical tension. Tonal implying a key center, convergence implies the musical route we take to get there. Perhaps think of a bicycle wheel, the hub is the tonal center, each spoke a potentially different line of convergence towards that tonal center, each of which embodies their own unique sense of tonal gravity and emotional essence. So, D min 7 / G 7 / C maj 7 is one "spoke?" Yep. Is Ab min 7 / Db 7 / C maj 7 another spoke or line of tonal convergence to our chosen hub or key center? Exactly. Others? Of course, click here to get there.

Format for this improvisation / tonal convergence section. The topics in this section look at the myriad of different ways we create, sustain and release artistic tension within the various styles of American music, using the melodic and harmonic resources of equal temperament. Choosing which of these pathways sound cool to you will hopefully provide musical elements to create new ways to expand the music you are presently creating. And although stylistically we are hanging mostly in the jazz realm of things, is it safe to say that all of the styles of American music are continually being reinvented as new talent emerges? Is one style immune from using the coolness of another? Ah, the artist at work, continually searching for new elements to better express the art in their heart.

Getting started. These first few links contain information with the beginning improviser in mind and perhaps might also be a quick review for the intermediate improvising artist. Perhaps an idea to always consider regardless of improvising experience, that the artistic embellishment of the melody of the song we are playing is a sure and easy way into the world of the art of musical improvisation. But you knew that right? Like sing the line, play the line yes? With this in mind, here are a few links to various discussions, concepts and ideas for the beginning player to perhaps consider. Reference texts.

Musical resources. These discussions look at the musical resources available to the creative musician and common ways they are manipulated.

Theoretical improvisatory concepts. The next grouping of topics explore the theory of the musical elements of equal temper, examining various colors with an eye towards improvisation and tonal convergence. Various artistic properties of essential components are explored individually then combined together to create different pathways of tonal convergence resulting in a tonal convergence chart, some of which get pretty far out there tonally. Perhaps to consider, that by far and away the vast majority of of the coolness we hear in improvisation in any of the styles is simply diatonically generated.

Internalizing the resources. These next topics are concerned with musical principles used in applying the resources and begin to outline the potential shedding for the intermediate / advanced improviser.

Shedding. Putting it all back together at potentially a more complex level. These topics provide ways to manipulate and view the resources, adding additional "grist for the mill" for the advancing improviser.

With all of this improvisational resource, how about some common but cool artistic techniques used to shape the resources of modern American music? Need a performance format to check out your new ideas? Click jamm loops, tune up and off ya go!

This will be our own reply to violence; to make music more intensely, more beautifully, more devotedly than before. Leonard Bernstein