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- Following is a copy of Page's senior study from Goddard College,
- which he has kindly made available to readers of the net.
- THE ART OF IMPROVISATION
- Submitted in partial fulfillment of
- the requirements for the degree of
- Bachelor of Arts at Goddard College
- Page McConnell
- December 19, 1987
- At the age of four I began taking piano lessons. For the next
- twelve years I studied with four different teachers. They
- attempted to teach me to read music, a skill I never fully
- developed. My dyslexic tendencies made the process very difficult
- and a good ear made it easier for me to play by ear. In my early
- years of lessons I had no problem playing the pieces that were
- assigned to me as long as I had heard my piano teachers play them
- for me. As the level of difficulty in the pieces I was playing
- increased, I was forced to learn how to read. I struggled with the
- process and didn't entirely enjoy it, though the ones that I did
- learn stretched my technical abilities. The most difficult piece
- that I learned was Scott Joplin's "Maple Leaf Rag."
- During my ninth grade year I stopped taking piano lessons. It
- was during this next stage of my playing that I began to really
- enjoy playing. Obviously this was because I was playing for
- myself, not for my piano teachers or parents. I spent much of the
- next year listening to rock albums, playing what I heard, and
- taking my improvisation more seriously. Often I was just
- improvising the voicings to the songs that I was playing, but my
- ability to do blues improvisation increased also. My first
- introduction to the blues was a book I received in first grade
- called Jazz and Blues for Beginners. This book introduced me to
- blues progressions. These are progressions that alternate between
- the I7 and the IV7 chord and generally end with a V7-IV7-I7
- progression. Both rock and jazz find their roots in the blues, and
- in fact rock has never really left. The majority of rock songs
- written are a variation on the I7-IV7-V7 progression. Many do not
- vary at all.
- I suppose that my main motivating factor for practicing during
- my high school years (other than the fact that I enjoyed it) was
- that I had some opportunity to perform. These opportunities
- generally arose at parties where there would be a piano and I would
- play. I was at the time also involved with a jazz band. The group
- was founded in fifth grade and I started playing with them in
- seventh grade. By ninth grade we had a small repertoire of
- jazz/pop tunes ranging from Herb Alpert's "Taste of Honey" to Van
- Morrison's "Moondance" to Horace Silver's "Song for my Father." I
- had begun to experiment with playing over chord changes, though I
- didn't really understand what I was doing. I used my limited
- knowledge of blues in these situations, but I usually didn't solo.
- What I did understand and enjoy was learning how to communicate
- with other musicians. The band was not extremely dedicated. We
- practiced very little and had only a handful of gigs during the
- years we played together. My soloing may have left a lot to be
- desired but I did learn how to comp, to play behind someone else's
- solo.
- Around tenth grade I found a teacher who was going to teach me
- "Jazz Improv." His name is Doug Frueler and he has some
- interesting ideas concerning improvisation. He had developed a
- theory that there weren't 7 modes as taught in Baroque theory, but
- that there were 72 modes. At the time I wasn't familiar with modes
- at all, and even now I'm not sure how he arrived at the number 72;
- however I did learn some important lessons from him. I learned
- that there is no right or wrong way to approach improvising and
- that as long as you really put yourself into it, it can work. Doug
- and his method are perfect examples of this. I also learned some
- valuable tools through exercises that we did, primarily the tool of
- economy. Doug would have me do exercises where I would have to
- form melodies, or play over blues progressions using only three or
- four notes. I found that this approach could work and that I
- could create interesting melodies with only a few notes.
- Economy is a trait that I try to keep prevalent in my
- improvising today. Keeping a melody simple, particularly in the
- beginning of a solo, gives the performer (as well as the other
- musicians and the audience) something to grasp onto, a starting
- point from which to travel. Economy is an element of jazz that is
- often attributed to Count Basie. As a pianist and a band leader,
- he grew out of the Fats Waller tradition. "Fats had the strongest
- left hand in traditional jazz -- a left hand which could replace
- not only a rhythm section but a whole band... Today, one can
- sometimes hear in the piano solos Basie plays with his band that he
- comes from Fats Waller. He plays a kind of "economized" Fats: an
- ingeniously abstract structure of Waller music in which only the
- cornerstones remain -- but they stand for everything else. Basie
- became one of the most economical pianists in jazz history, and the
- way he manages to create tension between often widely spaced notes
- is incomparable." 1
- Economy is a trait I admire in my influences. Bill Evans,
- probably my most important jazz piano influence, plays an entirely
- different style than Basie yet he incorporates economy:
- "He has worked unceasingly to arrive at a clearer, less cluttered
- jazz conception,, one with no false starts, no side issues, no
- merely showy licks. The logic with which one phrase follows
- another is impeccable. Though he sometimes uses locked-hands
- chords or moving left-hand figures, a typical Evans solo consists
- almost entirely of a single line in the right hand (occasionally
- incorporating some thirds) supported by sustained voicings in the
- left hand that have been almost brutally pared down until
- all that remains is the naked skeleton of
- jazz harmony."2
- After my lessons with Doug, which lasted only a few months,
- I went through a period of relative musical stagnation. I
- practiced for my own enjoyment, but I wasn't playing with other
- musicians on any kind of regular basis, and my opportunities for
- performance were practically non-existent. For the next four years
- (one year at home, one year at boarding school, and two years at
- S.M.U. in Dallas) my practice schedule was very undisciplined
- though I did try to play every couple of days. While at S.M.U., I
- majored in music for one semester and learned a lot about a music
- education at a traditional institution. There seemed to be two
- goals in that educational system: one was to train people to
- become concert musicians; the other was to teach the students that
- weren't good enough to become concert musicians to be able to teach
- the next generation exactly the same thing. At the time I didn't
- see how their approach to music applied to my approach to music.
- Much of the theory they taught I thought of as common sense. I did
- learn modal theory, which proved useful in my early days with Phish
- (the band I currently play with) when most of our jamming was done
- over modal progression.
- At the end of my S.M.U. career (just weeks before I started
- Goddard) I took a course called "Imagination, Awareness and Ideas."
- The course dealt with promoting creativity, left-right brain
- exercises, alpha states, imagination, awareness and ideas. It is
- the most important course I've ever taken. I learned how to (or
- perhaps how not to) deal with creative blocks.
- I took my newly learned insights and came to Goddard in the
- Fall of '84. I finally felt that I was in a situation where my
- education would be equated with what I was learning. Upon arriving
- at Goddard I began to play the piano considerably more than I ever
- had before, usually at least two hours a day. Within weeks I began
- having musical experiences and feelings that I had never had
- before. The feelings could either be described as detaching myself
- from the conscious process of playing the piano, or totally
- attaching myself, becoming one with the instrument. I became able
- to hear music in my head and simultaneously be playing it. The
- breakthrough was a result of my ear training, the attitude I had
- developed in Imagination, Awareness and Ideas, and the discipline
- of practicing every day. The process I am describing is similar to
- a process described in Eugen Herrigel's Zen in the Art of Archery
- when he tells of a swordsman that is learning to master his art:
- "The pupil must develop a new sense or, more accurately, a new
- alertness of all his senses, which will enable him to avoid
- dangerous thrusts as though he could feel them coming. Once he
- has mastered this art of evasion, he no longer needs to watch
- undivided attention the movements of his opponents, or even of
- several opponents at once. Rather, he sees and feels what is going
- to happen, and at the sane moment he has already avoided its effect
- without there being "A hair's breadth" between perceiving and
- avoiding. This, then, is what counts: a lightening reaction which
- has no further need of conscious observation. In this respect at
- least the pupil makes himself independent of all conscious purpose,
- and this is a great gain."3
- This book has proven to be the most valuable piece of literature I
- have ever read in terms of helping me helping me gain an
- understanding of discipline and helping me define myself as an
- artist.
- I spent that first year (Fall '84, Spring '85) practicing,
- recording with the school's 4-track, and playing in a number of
- musical situations. I played with three bands., but the most
- rewarding musical situation, and the only real musical
- communication I experienced was with an acoustic guitar player
- named Thomas McCommas. We would play regularly in the Haybarn,
- acoustically, and the arrangement was very satisfying. The sounds
- of our instruments blended very well and we played comfortably off
- each other, having similar musical tastes. Most of the band
- experiences that I had that year were not so positive. I couldn't
- find anyone on my musical level to play with. I continued to
- record the piano and was very pleased with the results.
- In May of '85 -- at Springfest -- I was introduced to a band:
- Phish. I immediately knew that I wanted to be a member. I moved
- to Burlington and joined the band.
- It has taken roughly two years for me to figure out what my
- musical role is in the band. When I joined there were five of us:
- two guitars; bass; drums; and keyboards. The music was extremely
- busy and there wasn't much space for me to shape the sound. After
- one year one of the guitar players left, and I began to grow into
- my space and develop my style. It was during my fourth semester
- that I began taking lessons with Lar Duggan a jazz pianist in
- Burlington.
- Lar has been the single most important person in helping me
- develop my improvisation. A master of improvisation himself, he
- doesn't suggest directions that he feels are important for me to
- follow, rather he will guide me through any direction I choose.
- When I began taking lessons with him I felt that the area most
- lacking in my playing was my left hand and its interaction with my
- right hand. In retrospect that probably wasn't my most lacking
- attribute but Lar helped me find exercises that would develop
- continuity between my two hands, and offered different approaches
- to improvisation such as ones that focused on the left hand and let
- the right hand comp behind it. From these exercises I learned many
- things, namely that my left hand already led my right hand along
- and that my left hand has a better sense of timing.
- It wasn't until I began reading music again that I felt that
- my right and left hands were working well together. Two pieces in
- particular contributed to this feeling of unity: 1) a two-part
- invention written by Trey Anastasio, the guitar player and composer
- in Phish; 2) Bach's two-part invention #8 in F major. I began
- learning Trey's piece the summer after I started lessons with Lar.
- The piece was inspired by Bach's inventions and is about as
- technically demanding. There is a great deal of imitation and
- inversion between the right hand and the left hand. It took me
- months to learn it, but once I did I noticed a feeling and an
- attitude towards my hands that I hadn't felt before. My left hand
- felt stronger and I had more confidence in it. It was performing
- the same functions as my right hand. The next semester began at
- Goddard, and I was back on campus studying classical piano with
- Lois Harris. I started working on Bach's invention #8. I picked
- the piece up fairly quickly and had it memorized within a few
- weeks. This was partially due to the fact that Lois had helped me
- finger the piece correctly. Once I had learned it I played it over
- and over because it is so beautiful and so easy to play through, or
- rather it is difficult for me not to play through the entire piece.
- Once I play the first phrase, there is essentially no way to stop.
- The piece moves so fluidly and logically that it is almost
- impossible to keep myself from playing the whole piece once I play
- the opening notes. I was putting so much energy into the piece
- that I decided to drop my classical lessons because I thought that
- they were detracting energy that I wanted to be devoting to jazz,
- my primary focus. These two inventions have given me confidence
- and ability I couldn't have gained any other way.
- My playing of the Bach piece has continued to improve. This
- semester I set out with an interest in composition. The best way
- to learn about composition is by analyzing other compositions.
- Bach's invention #8 seemed like a likely place to start since I was
- already familiar with the piece and was curious to see how the
- melody modulated. I did decide after much analysis that my
- discipline this semester wouldn't be composition, but that my true
- passion is improvisation. However, my analysis (which is included
- in my senior study) has proved very useful to me. My performance
- of the invention has improved immensely since this analysis. I
- have learned from talking to Lar that this happens because when you
- commit music to memory, the brain can remember and recall it, but
- when music is analyzed the retention is much deeper and more solid.
- A performer that has analyzed music knows and understands the
- movement of the melody, where it is headed, and why it is headed
- there. The result of my analysis can be heard in my performance of
- this piece. Since I have a deeper understanding of the
- intentions and movements of the music, my interpretation of the
- piece has become much more in tune and responsive to the harmonic
- and rhythmic movement of the piece. I still play this piece once
- nearly every time I sit down at the piano.
- My practice sessions at Goddard for the first few years that
- I was here were rather undisciplined. I was disciplined in that I
- was playing every day, but the sessions themselves were
- unstructured. I would spend hours playing songs (mostly rock),
- singing, and improvising over these songs. Most of these songs are
- harmonically simple, in fact boring. This was the music I listened
- to and the music I played, and I was satisfied with my practice
- sessions because I knew that I could become a good rock piano
- player that way. Once I started taking lessons with Lar and
- listening to jazz, I was humbled. I have made an effort in the
- past year and a half to listen to as much jazz as possible and as
- little rock as possible. I have found that as one who plays by ear
- the easiest way to learn is to listen. I have three major jazz
- influences: Bill Evans; Duke Ellington; and Art Tatum. I have
- listened to more Evans and Ellington than anything else. From Bill
- Evans I have learned to try to play fluidly. I have studied his
- solos "the logic with which one phrase follows another."4 I
- appreciate him in the say way I find Bach's work logically
- graceful. I have directly "copped riffs" from him and I have tried
- to develop my own fluidity through relaxation, but I have a long
- way to go. I know that I have a good ability to tap into someone
- else's flow and comp behind them when they are soloing. My ability
- to communicate with other musicians is, I feel, my most highly
- developed jazz attribute. Listening to Duke Ellington's band has
- also been a great influence, primarily in two ways. First, by
- listening to the members of his band, particularly the horn
- players, I have gotten a feel for swing. Those guys know how to
- swing. They could make their instruments talk, and I found what
- they had to say interesting harmonically as well as rhythmically.
- I have tried to incorporate the swing feel into my playing, and I
- feel that just within the past three gigs that I have any kind of
- consistent feel for it. The second way that Duke Ellington has
- influenced me is through his (and Billy Strayhorn's) compositions.
- My analysis of music moved from classical into jazz as my interest
- in composition moved to an interest in improvisation. My analyses
- of "Mood Indigo", "Take the A Train" and "Sophisticated Lady" were
- not so much structural as they were analyses of how one might play
- over them. In particular I studied what scales could be used and
- how certain notes in the melodies determined these scales. These
- analyses have been integral in my growing ability to play over
- changes. The third influence I mentioned was Art Tatum. He has
- opened me up to a truly pianistic approach to jazz. I envy his
- long runs and his perfectly executed trills, but unless I study
- more classical music, I won't really be able to incorporate his
- style into my playing.
- Back to my practice sessions -- I realized that I couldn't
- achieve the status of jazz piano player going along practicing with
- the attitude of a rock musician. The rock music that I had been
- playing and improvising over was almost all modal or strictly
- blues. This made improvising fairly easy as long as I was playing
- in the right mode or the proper blues scale. In jazz, it is the
- melody not the mode that determines what can and can't be played.
- The melody determines the chords of the tune, and these chords
- (with the melody inherent) are what the improviser uses to direct
- his solo. Modal jamming is a small aspect of jazz improvisation,
- but only a fraction of what jazz is. The ability to play over jazz
- changes requires a deeper understanding of music and a much more
- spiritual approach to improvising than in rock music. One needs to
- discipline himself and practice, learn the music and when it comes
- time to play leave all preconceptions behind. The object is to
- play what one hears at the moment, and any preconceptions about
- what is going to be played will have a tendency to detract from the
- life of the solo. A good way to achieve this is to sing along
- while you improvise. This is a tool which Lar introduced me to, a
- tool which I have since heard many jazz greats (including Art
- Tatum) do on albums. By singing, even if it isn't audible or isn't
- exactly the melody you're playing, you open up yourself to any
- internal melodies, and these can be sources of inspiration.
- It wasn't until this semester that I began to take on a much
- more serious attitude towards practicing. This has been due
- largely to my reading of Zen in the Art of Archery. My primary
- source of discipline this semester has been working out of C.L.
- Hanon's The Virtuoso Pianist, a book designed "for the acquirement
- of agility, independence, strength, and perfect evenness in the
- fingers, as well as suppleness of the wrist."5 These Hanon
- exercises have helped me with all these areas. I began doing these
- exercises daily and working with the metronome. After I had worked
- through the first twenty exercises in the book I began to speed up
- the metronome as recommended. I was having problems with muscle
- cramping and a general tightness in my body. I went to Lar for
- advice, and he helped me position my body and hands so that they
- were in a much more natural position. He suggested that I focus my
- attention on relaxing instead of trying to hit every note, or
- focusing on the metronome. He said that I should constantly be
- checking my wrists and elbows to be sure they aren't tight. He
- mentioned that playing with a metronome can sometimes lead a
- musician to start playing like a metronome, which sounds lifeless
- and inhibits one's ability to swing. Concerning the tightness I
- was feeling all over, he thought it might be from improper
- breathing. He suggested that I try screaming a phrase over and
- over while playing the Hanon exercises. This approach seems rather
- unorthodox, but it got results. By concentrating on my voice and
- lungs, not only did my breathing regulate itself, and by body
- loosen up, but I played the exercises with more conviction,
- emphasizing each note.
- The importance of proper breathing did not just apply to these
- exercises but turned out to be the most important aspect of feeling
- comfortable while improvising. I learned this through Lar and I
- learned this through Zen in the Art of Archery. In this passage
- the master is describing what is necessary for the artist to let go
- of himself for the sake of the art, in this case an arch with
- archery:
- " ... Thus between these two states of bodily relaxedness on the
- one hand and spiritual freedom on the other there is a difference
- level which cannot be overcome by breath-control alone, but only by
- withdrawing from all attachments whatsoever, by becoming utterly
- egoless: so that the soul, sunk within itself, stands in the
- plentitude of its nameless origin.
- The demand that the door of the senses be not closed is not met
- by turning energetically away from the sensible world, but rather
- by a readiness to yield without resistance. In order that this
- actionless activity may be accomplished instinctively, the soul
- needs an inner hold, and it wins by concentrating on breathing ...
- The more one concentrates on breathing, the more the external
- stimuli fade into the background."6
- I am fortunate enough to be in a band that gigs regularly, and
- this has given me many opportunities to practice my relaxation
- techniques. While playing in front of people, if I feel myself
- tightening up, or am not feeling inspired (especially during
- solos) I concentrate on breathing and everything usually falls
- into place.
- About the same time I began to understand relaxation, I began
- playing jazz regularly with a sax, drum, and bass player. We
- primarily play jazz standards though more recently we've gotten
- into originals written by our sax man (my advisor) Karl Boyle. I
- have used these sessions not only to improve my playing but to
- gauge my improvement as a jazz musician. As the semester went on
- I began to be able to play these tunes with much looser feel, and
- even felt comfortable improvising over songs that I had never seen
- or heard before such as Karl's originals.
- My proper breathing, my playing out, my listening to jazz and
- my discipline have given me a new confidence. I know that even
- though I have a long way to go that I am a good jazz player. This
- confidence has helped me approach improvising with fewer
- preconceptions about where the music is going to go. I don't have
- to worry because I know that my improvisations will lead me to a
- good place musically, and if they don't I have the confidence that
- I will be able to get myself out of any awkward musical situations,
- and in fact use these situations to create tension.
- At this point (the end of the semester) I took my skills to a
- recording studio where I would learn even more about my playing.
- We (Phish) went to Boston to record a three song demo. The
- experience of working in a recording studio is different from any
- I'd ever had before. The energy level was high though it was much
- different than playing in front of people. We laid down the
- initial tracks. I didn't feel very comfortable with the playing at
- the time, and in fact I didn't think it was very good. However,
- upon listening to it a few times I found that much of what I'd
- played was interesting. I'd learned another lesson: even if I'm
- not moved by what I play, it doesn't mean that it's not good. As
- a musician I need to become as good as I can, and believe that what
- I'm playing is good, even if I'm not have an amazing musical
- experience. Hearing the work I did in the studio has given me even
- more confidence.
- Bibliography
- 1. Berendt, Joachim E., The Jazz Book, p. 223, Westport,
- Connecticut., Lawrence Hill & Co., 1975.
- 2. Aikin, Jim, "Bill Evans".. Contemporary Keyboard, Vol 6,
- No. 6., p. 45, June 1980.
- 3. Herrigel, Eugen, Zen in the Art of Archery, p, 82, New
- York, Vintage Books, 1953.
- 4. Aikin., p. 45.
- 5. Hanon, C.L., The Virtuoso Pianist, New York, G. Schirmer,
- Inc.
- 6. Herrigel, p. 38.
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