Simple Improvisation Exercise Great for Beginners

Today I feel that I should talk about a simple improvisation exercise that is great for beginners.  It seems that many beginners are totally lost when it comes to learning improvisation, or else the advice that is given to them is just too complicated or hard for them at that moment.  So the question they typically have is something like this, "What is a simple way for me to learn to improvise?"

Today I hope I can give a good answer to this question for all you beginning improvisers.

Recently, well looking through some threads on Cafe Saxophone ,I came across a post where a beginning player was having some trouble with improvisation and feeling confident about their scales.  After reading this I thought I should share a simple improvisation exercise that is great for beginner players.  The following is a part of this gentleman's post.

       "However, when it comes to the improvisation 'slot' I freeze. The teacher is very laid back and  encouraging and often suggests that we just play a few notes from whatever scale we're using.   This sounds very easy at one level, but the things I worry about are:- whether I'll remember and stick to those notes that are contained within that scale (I'm not very confident about my scales yet); what order to play the notes in; what length of notes to play; how to achieve a sort of rhythm that matches the backing track.

      I usually have a go but I really don't like it. It's not about making mistakes or feeling that I should be good at it or worrying that I'll sound rubbish. For me, it's more an anxiety about not knowing what to do. This feels very different from playing from a music score that provides direction (that's comforting even when I know I'm killing the tune!"

I suspect that this individual isn't alone in their feelings of not knowing what to do and not being confident in their scales.  So here is the improvisation exercise that I suggested that helps a player both become more comfortable with their scales and also learn how to make simple melodic ideas at the same time. We all know that simple melodic ideas are the foundation of a good improvisation, so this exercise is great in helping a beginning player take their first steps into the world of jazz improvisation.

To get started with this improvisation exercise we are going to simplify the scale that you want to work on. Then later we will add to it until you have the whole scale mastered.  For this example I will use C major.  To start we will only focus on the first three notes C, E, and D.

You have the notes you’re going to use now it is time to practice making simple melodies.  An example of something you can do is the following.  Play the notes C, D, E with the rhythm being quarter, quarter, followed by a half note.  Then follow it by C, C, D, E being played eighth, eighth, quarter, half note.  You can come up with many different kinds of variations with just these three notes when you add different kinds of rhythms.  You don't always have to start on C either.

The thing to keep in mind with improvisation is that you are making your own melody and expressing yourself.  Learning to make simple melodies out of the tools you have such as scales and various rhythms is a great starting point to learning to improvise well.

Once you have the three note scale down add to it.  So now try using the notes C, D, E, F, and G.  With this you have five notes of the major scale.  After you are comfortable with the first five notes of the scale add the rest, the last two notes being A, B.  You can do this with any scale.

Something else that might be helpful once you are fairly comfortable with a scale is to practice it in a flexible manner.   Basically flexible scale practice is going up and down a scale any way you want.  Ex. you could play something like, C, D, E, F, E, D, C, B, C, D, E, F, G.  Basically you play the scale but you switch directions whenever you feel like it.

The above improvisation exercise is a great starting point for beginners who need to get more comfortable with their scales and who want to learn to improvise at the same time.  After performing the above improvisation exercise you will have a better idea of how to create melody's in real time, and you will have the confidence and direction that will lead to better and better improvisations as you continue to practice.  One thing I should point out about this improvisation exercise for beginners.  It is a starting point, but if you want to sound like a jazz player you still need to develop you style and jazz feel by listening to the music.  

The Best of luck

Caruso

Saxophone Tip #2: Listen to tons of music.

Listen, Listen, Listen, how many times have you heard this?  A lot?  I know I have.  If you want to reach your highest potential musically you need to listen to tons of music.  As much as people want to believe it, music just can't be taught from a book or in a vacuum.  Music is a hearing art meaning you need to learn to hear to master music.  It doesn't matter if your a jazz saxophonist, a classical saxophonist, or something else altogether you need to listen to music daily.  Don't get me wrong books are important and can be helpful, but to sound authentic and real you need to listen to lots and lots of music.

Think of it this way.  How did you learn to speak?  You listened to a model usually your parents.  Keyword there being listened.  You didn't learn your native language from a book.  Music is the same way, it is a language.  The best way to learn a language is by hearing it.  Think of music like a foreign language.  If you want to learn to speak the language you have to hear it. If you just learn the language form a book and never hear anyone speak it you might understand the grammar and structure, but you won't have the proper inflections, articulations and so forth.

I know I'm making a big deal about listening to music, and I know it seems obvious that a musician should take time to listen to lots of music, but guess what, a lot of musicians just don't do it enough especially beginners.  With that being said I guess I should tell you about some of the benefits of listening to tons of music.

For beginners listening to great musicians is key because it gives them a model of how to sound good.  As a saxophonist you should listen to other saxophonist.  What this will do is teach you what kind of sound you should strive for.  It will teach you different ways to approach playing the saxophone, how to phrase and accent musical passages, and it will give you an idea of what you will need to learn if you want to be a successful saxophonist.

For the intermediate to advanced saxophonist listening to tons of music helps you in different ways from that of a beginner.  It can give you ideas that you can later implement into your playing.  You can start to recognize how music theory relates to real music, and you can better understand the different nuances available to you as a musician.  At this point if your an intermediate or advanced player you should feel fairly comfortable on your saxophone,  because of this your focus should lend more and more to stylistic things instead of technique.  This is especially true if you have decided to focus on a specific genre.  As your listening to music really focus on the little things that the performer does that makes the music come to life.  Then try and implement those sorts of things into your playing.  This is especially important in learning to improvise jazz or any other style of music that has improvisation such as rock and roll.  Two people can play the same exact thing, but one person will sound great and the other sounds bad.  Why, the one pays attention to detail and accents and executes the lick in a manner that is stylistically correct were the other just plays the notes but is missing the inflections, articulations and accents needed to sound authentic.  You see this sort of thing all the time when a beginning jazz student tries to play a tune out of a fake book.  They play the tune, but it doesn't sound like jazz.  You just have to remember music is more than notes.  Listening to tons of music is the only way to learn about the nuances that really bring it to life.

So as a refresher listen to tons of music.  This will give you a model of how to  play, it will fill you up with ideas, and it will teach you how to bring the music you play to life.  Until next time.

Caruso

Jazz Improvisation for Beginners

Today I want to share with you a jazz improvisation technique that I used in high school with great success.  For most beginners the idea of having to improvise in front of others is quite daunting.  They really have no idea where to start.  They typically can't read chords and they have little experience on their instrument.  This leads to a fear of improvisation.  I can't tell you how many peers I had in high school and jr. high that were afraid to improvise just because they had no idea where to start.  I want to help with that fear and concern.

Jazz improvisation can be a tricky subject so I understand a beginners concern, especially when they are required to improvise but they're not ready.  Personally I found the idea of learning to improvise a challenge so instead of backing down I took every opportunity I could to improvise.  This led to me getting the first tenor parts  even though there were older  more experienced students around.  In my journey I discovered a lot of things, but I found that most methods of learning jazz improvisation just didn't help a beginner.  Often times your told read the cords, use scales, play notes that fit, transcribe the greats and so on.  These are helpful for learning to improvise in jazz, but just plain overwhelming for a beginner. What scales do you use, what notes fit the chords, how can I transcribe the greats when they play so fast?  These are challenges and questions that beginners have.  To get through these challenges a beginning saxophonist just needs to simplify things.  That's what I did in high school and it worked wonders.  Let me explain.

In high school I was reading a lot of jazz charts.  So many in fact that I never had time to truly learn the chord progressions.  What I ended up doing was looking at the key signature of the chart, and figuring out what key the piece was in.  I would then look to see if the chart had any accidentals that showed up frequently.  Then when it came time to improvise I would just use the major or minor scale that fit the key signature as my base.  If the tune had accidentals I would add those too.  From there I just played by ear.  When I started doing this I no longer had to worry about the chords, or what scales to use, or even what notes to choose.  This technique worked great for me and it gave me so much more freedom.  Instead of having to think about a million things all at once. I was able to focus on creativity and music. So in a nut shell here is the technique that I recommend beginners use as a starting point to learning to improvise jazz.

1. Use the songs key signature as a basis of finding what scale or scales you should use in your improvisation
2. See if the tune has frequent accidentals.  If so use those accidentals in your jazz improvisations.
3. Play and have fun.

It's that simple, find the key and use that scale as your base.  If you do this the notes you play will for the most part fit, and you will be more free to be creative and to experiment.  The jazz improvisation technique I just mentioned is a great one for beginners.  It is fairly simple and it's a good starting point.  I do have to say this however it is not a start all, end all technique.  Meaning you will still have to work at it and that there will become a point where for you to progress you will have to learn other techniques and you will have to learn how to read and play over chord progressions.  For beginners this technique works great because the music they play typically stays in the same key and doesn't have crazy stuff, but when you get more advanced music this technique won't work nearly as well because advanced music changes tonality from time to time and if you try to play the key signature when the tonality changes it will sound wrong.  Also for this technique to work well you will have to listen to jazz so you get an idea of how to build your ideas.  I hope this is helpful for all those beginning improvisers.  Later I plan on sharing other drills and techniques that help with learning to improvise jazz.  Good luck

Caruso

Three Keys to Long Tone Success

I realized that in my last post on the mechanics of playing long tones that I forgot to mention a few key things to remember.  Here they are,  First remember that as your practicing your long tones that you want your sound to be as consistent as possible.  Don't let the pitch go all over the place  you want your sound to be centered.  Try to make it one pure sound.  Also don't add vibrato, this can hide problems that you may have with your tone.  Second,  have smooth transitions between notes.  If you slur make sure that the notes stay centered.  If you tongue make sure that it is a clear clean articulation.  Don't use a breath articulation, slur or tongue only.  Third, remember to take it slowly.  Long tone practice isn't supposed to be done quickly.  There you have it three key things to remember while practicing your long tones.  I know this post is short, but your probably sick of hearing about long tones so I decided to keep it short.  In my next post I'm thinking about discusing a jazz improvisation technique that is great for beginners.  Until then,

Caruso

The Mechanics of Practicing Long Tones

It's another day and I have more to say, on long tones that is. So grab your saxophone and get ready to blow.  Today is the the day you learn about the mechanics of practicing long tones on the saxophone.  For many saxophonist the big question is " What note do I start on?  How long do I practice long tones? Or  Do I practice long tones like scales or chromatically.?"  I hope to answer these questions today.

For the first question, "What note do I start on?"  I suggest you start on middle "C", or in the middle of the saxophone.  I know this differs from others who say you should start on lower "C", but for beginners this note might be to hard.  The goal is to work to the point that you can start anywhere on your saxophone low or high, but in the beginning starting in the middle is best.  This allows you to start in a comfortable spot and work your way to the more challenging notes.

Now, "How long do you practice long tones?"  This is more a personal preference.  It also depends on your goals and the amount of practice time you have,but I would say the minimum is 5 minutes.  Personally I will practice long tones for 15 to 30 minutes.  It really depends on the day.  I will say this however,  when I do practice long tones I try to make sure that I have enough time to practice my long tones through the whole range of the saxophone.  I start on middle "C" then go all the way down to "B Flat" chromatically then I go chromatically back up the saxophone until I reach the "F Sharp" in the palm keys.  I then go back down chromatically  to middle "C" once I've done this I have practiced every note on the saxophone excluding altissimo.  Some times I do add altissimo to my long tone practice but that really depends on my time.  The important thing is to become comfortable with your saxophone and to be able to play in all the ranges with equal clarity.

OK, for the last question.  "Do I practice long tones like scales or do I do it chromatically?"  The answer is do both.  To start I would suggest doing your long tones chromatically, however you should be just as adept at practicing them like scales.  From time to time I will break up my chromatic long tone practice by practicing my scales at a really slow tempo.  By doing this I treat my scales just like long tones and am able to focus on getting a smooth transition from note to note.  Once you are really comfortable with long tones you will want to practice them in intervals too such as fifths and fourths.

Well that's really it for the mechanics of practicing long tones.  Find a comfortable note to start on. Play it for a while then smoothly transition to the next note.  Follow this pattern until you have covered the full range of your saxophone.  Do this for at least 5 minutes a day and your sound will improve trumedoulsy.  Good luck practicing.

Caruso

The Essence of Practicing Long Tones

Essence, it’s a funny word when considering something like long tone practice, but it is descriptive.

When you hear essence what does it make you think of, the life of something maybe, or how about the core or inner working; its characteristics.

All these things are used to describe the essence of something, and this is what I would like you to keep in mind today as I discuss essence and its relationship to practicing long tones and jazz improvisation. 

So what are long tones and what does essence have to do with it?

Most people think practicing long tones implies taking your instrument and then playing a note for awhile.

Well this is partially true, there really is more to practicing long tones. 

Long tone practice is really a form of focused practice that develops your tone, sound, and your musical voice.

Keyword being focused practice.  Otherwise long tone practice is pointless and just plain boring.

Believe me when I say that the only way long tone practice is going to be productive, meaningful, and not plain boring is if you have a clear focus on what you want to accomplish.

This is where essence comes in.  You need to ask yourself, “What do I want the essence of my sound to be?   What is my musical voice?  What elements do I want in my sound?  Is it smoothness, or maybe a bright buzz, or do want a light breathy sound?”

Whatever you want the core of your sound to be, whatever your sound conception is, your sound is developed, made, and created by figuring out how to bring out the essence of your sound through the practice of long tones.

Where Musical Essence comes from

This brings up the question, “Where does musical essence come from?”

Well, your musical essence will come from within, and this can only happen if you relax, take your time, and really get inside your sound.

Hear the different shades and colors in each note.  Feel the life within the sound.  Let your instrument become a part of you.  

When you are relaxed, yet focused, really trying to create something real with your sound, that’s when your personality, self, and musical conception will shine through.

I know that when I say things like feel, hear, and see it might sound funny but if you want your music to have life to it.  If you want your music to ring true with others, and if you want your music to be timeless you have to give it life. 

The only way to give your music and your instrument life is to breath that life into it by hearing, feeling, and seeing the possibilities and nuances.  This is what I call essence.

Really when it comes to developing essence in your sound through the practice of long tones you need to be conscious of the fact that you’re striving to bring life to your music and playing.

People like music because it connects with them both emotionally, and spiritually.

Bringing your life force, or essence into your music will allow you to more completely connect with your audience and share something that is truly meaningful.

The proper mindset

What I’ve shared with you today is really the mindset that you need to have while practicing your long tones, and any musical exercise for that matter.

Strive to bring your musical conception along with yourself to all aspects of your music through focused practice.

Long tone practice is a great way to go about bringing essence to your sound and creating life in your music.  
It is the one exercise where you can put all your time and effort into creating your own personal sound.

So here is the mindset that you need as you are practicing your long tones.

Focus on the idea that you create beautiful and creative music only by instilling your personality and life into your instrument.

The deeper you dive and delve into the various ways you can express emotion, thought, and personality in your sound the more real your music will be, and the greater you will progress.

Well that’s all for now. 

I hope that the concept of creating essence in your playing will help you create the musical voice you desire and make it so that your music will have life.  I know the above has helped me greatly and it will do the same for you.

I’d be interested in hearing how you have gone about creating your own unique voice.  Whether this is through the use of long tones like I’ve described or some other method feel free to share.

Until next time,

Caruso

5 Reasons Why Long Tone Practice is Important

You’ve all heard it.  Practice those long tones, but the question is why should you?

Well you’re in luck.  Today I have 5 reasons why you should practice long tones.

People only cheer for those who sound good

Let’s face it; no one wants to listen to a musician that sounds bad.

You may have the coolest, most burning saxophone solo ever, but if your tone is bad you just won’t be convincing.  Believe it or not, people can tell if you have worked on your sound or not.

Besides, the best way to sound like a professional is to do what they did, and guess what they practiced their long tones.

Everyone needs a warm-up

Long tones are a great warm-up. They prepare you both mentally and physically.

When practiced properly long tones get you in the right state of mind to have a successful and productive practice session.

Don’t forget that long tones are simple. This makes it so you can really pay attention to little nuances.  This will make all the difference in the world.

Believe it or not daily long tone practice will do wonders to the way you sound, practice and progress musically.

Trust me when I say long tone practice makes your practice sessions better.

Gain complete control

Who doesn’t want to master their horn?

To gain mastery over you instrument, whether it’s a flute, saxophone, or even a trumpet, focusing on your sound is important.

Complete control comes from spending time mastering the little things.

Really you want your instrument to become an extension of yourself.  This only happens when you become intimate with your horn.

Long tones might not seem like much, but they really are the key to unlocking a professional mature sound.

By practicing long tones you develop your embouchure, lungs and your ear.  It also gives you the control necessary to being expressive on your instrument.

Instead of just having notes come out, you will have shades of colors in your tone.

Develops your own personal sound

This is my favorite.  We all have an idea of what we want to sound like, but the question is do you do something about it.

I know I sure do.  That’s practice long tones.

Practicing long tones on your instrument gives you the opportunity to turn your conceptualized sound into a reality.

It won’t happen by accident.  You have to take time working on developing your own personal sound.

Long tone practice does this by allowing you to experiment and figure out what you need to do with your throat, larynx and oral cavity to get the sound you personally desire.

Foundation for success

Everything you practice will benefit from the work you do on your sound.

Long tones really are the foundation of your success.

With long tones you learn how to blow, and I mean really blow.  You gain balance throughout all ranges of your instrument, and you understand what needs to be done with your whole body to handle your instrument.

High, low, middle it won’t matter long tone practice gives you what you need to play consistently everywhere on your horn.

Then don’t forget that with a stronger embouchure and greater lung strength comes a smoother airstream.  Something important for those really fast passages you play.

You can’t become a monster player without that smooth and steady airstream.

Putting it all together

Well there you have it, five great reasons why you should make practicing long tones a part of your daily practice.

It makes you sound better.  Gives you complete control, and don’t forget it is a great warm up that helps you develop your own personal sound.  All this while being a great foundation that all you’re musical endeavors can rest upon.

Need I say more? Yes I do.

Practicing long tones is the simplest and most beneficial thing you can do to improve your playing dramatically. 

I hope that’s not too much.  I just want to make my point clear.  Just do it. 

Well I would have to say that is all.

Until Next Time

Caruso

PS. Feel free to share how practicing long tones has helped you.