Learn to Improvise
Melodic Improvisation: Using the
melody as a cue and motif for
improvising over the tune
Rhythmic Improvisation: Using a
variety of rhythms and articulations
to improvise over the tune
Harmonic Improvisation: Using the
chord changes to make clear and
concise improvisational movements
throughout the progressions of the
tune
Practice on the beat articulation,
bebop articulation
Articulating and ghosting different
beats of the notes can make your
lines sound rhythmically diverse,
even if it’s just simple eighth notes
Off the beat licks that play over the
bar line
Diversity in rhythms and articulations
for improvising can be done on
quarter notes, eight notes, triplets,
playing over the barline, sixteenth
notes, and more. These add flair and
variety to your playing, which will
intrigue the listener
Use the melodic as a motif for
improvising. This works well
because the melody always follows
the changes, and outline each chord
To have diversity in your motifs,
listen to different vocalists and
instrumentalists sing or play the
melody. You can use these different
interpretations in stylistically
different means
If the song is a standard, or has
lyrics, listen to how vocalists sing the
melody. This will teach you different
ways to phrase the melody
The most important thing to consider is
to memorize the chord changes and
know the voice leading
Use extensions on chords for extra
colours
Use scales associated with each chord.
You can then create patterns with
scales and arpeggios so your
improvisation doesn’t sound too static,
but also clearly outlines the chord
Use chromatic approach tones and
enclosures, appoggiaturas,
anticipations and delays
 Learn to Improvise

3-7 and 5-9 voice leading

demonstrates the intervallic
relationships between the notes in
each chord
We will see the three of the first
chord fall to the seven of the
second chord, and determine how
close those intervalic notes are. This
can also be used by looking at the
five of the first chord, and where it
falls in relation to the nine of the
next chord
Voice leading allows for improvisers
to solo using few notes, but still
remain true to the harmonic content
Each chord has a scale associated with it.
Using a specific scale on its related chord will
allow for improvsors to play notes in the key
centre, and will demonstrate their ability to
play within the changes.
Major scale (for Maj7)
Lydian mode (for Maj7#11)
Mixolydian mode (for Dom7)
Whole-tone scale (for Dom7)
Half-Whole diminished scale (for Dom7)
Dorian mode (for Min7)
Locrian mode (for Min7b5)
Whole-Half diminished scale (for Dim7)
Harmonic minor mode (for MinMaj7)

Harmonic accompanists and soloists can use
extensions on each chord to add colours to the
sound. These colours can include warm, resonant,
dark, light, etc
Major Seven: 9, #11, #5;
Dominant Seven: 9, b9, #9, #11, b13;
Minor Seven: 9, 11, 13
Half-Dim and Dim Seven: 9
Lift solos by ear and write them down
“Plug and Chug” lines into your solos
Use the same lick over different
chords (example: one lick can work
over DMaj7, Amaj7, Gma7#11, Bmin7)
Use a combination of lines you’ve
transcribed and lines you’ve created
to write out a solo
Practice everything in all 12 keys

Listen to a variety of different versions of the song. These will stylistically

vary from artist to artist. Active listening will aid you in discovering the more
critical moments of the melody, as well as important elements to take note
of:
- Groove, Feel and Rhythms
- Melody and Counter-Melody
- Harmony, Progressions and Chord Changes
- Dynamics
- The Form of the tune
- Texture, Timbre
From this skills, you can attempt to imitate what you hear. Learning jazz is
like speaking English; you learn from listening, imitating, repeating