Imagine with me a neighborhood. My home is in the center of the block and we live on a slight hill with the street going up to the right of our house and down to the left.
I have a neighbor on the right of my home and one of the left. We’ll call the neighbor to the right of my home going up the hill my upper neighbor and the neighbor to the left going down the hill my lower neighbor.
I really like my neighbors. They are great friends and I love to hang out with them, but I am always most comfortable at home. I could spend an entire afternoon at one of my neighbors, but I always have the desire to go home. I want to start out at home and end the day at home. I like to sleep in my own bed!
If we think of that C we used last time in one-note improvisation as home, we could say D is our upper neighbor and B is our lower neighbor. C is our Home, but I’m going to give it another name--it is our tonality.
One of the most important parts of a good improvisation is understanding tonality. No matter what the chords do, whether we’re improvising in classical or jazz, or the complexity of the chords, we have a tonality and that is our home.
We are now going to improvise in the exact same way as we did in one-note improvisation, using those first four elements: Dynamics, Note Duration, Silence, and Repetition
Pay attention to the tonality--are we helping the listener know where our home is? How can we creatively use our upper and lower neighbors yet allow as much creativity or even more with regards to dynamics, note duration, silence, and repetition?
Next time, we’ll add even more notes to our improvisation