Complete musical improvisation method

This method, created by Nicola Sergio (pianist / arranger / composer), is designed specifically for the beginner and intermediate level musicians with a practical and non-theoretical approach.

The object of this method is to present a set of step-by-step exercises allowing you to improvise on the piano, saxophone, guitar, etc., and to create your own music.

The book, available in book or numeric version, is intended for students / musicians wishing to improvise on any type of chord charts : jazz, pop, rock, popular music and classical. 

Method summary

The “primordial atoms”: visualization/improvisation on 3-note chords (triads) in all keys (circle of fifths)

Triads

• major triads beginning on the tonic (3/4 time)
• sequences of major triads beginning on the third
• sequences of major and minor triads beginning on the tonic and the third
• doubling a note of the triad, repetition or extension to the octave
• from triads to tetrads (triad + 7th)

“Melodic cells based on triads + external notes”. addition of external notes to the triad: 2nd, 4th or 6th as passing tones or for tension

• addition of 2nd / triad as passing tone or for tension
• addition of 4th / triad as passing tone or for tension
• addition of 6th / triad as passing tone or for tension
• the 8 melodic cells based on triad + external notes (4/4 time)
• the 8 models of melodic cells based on triad + external notes (3/4 time)

Appendix: pianists’ corner

• left hand accompaniment / major key circle of 5ths in 3/4
• left hand accompaniment / major key circle of 5ths in 4/4

The “brain”: fundamental principles of harmonic analysis

Major mode: harmonization, cadences and practical exercises

Minor mode: harmonization, cadences and practical exercises

Cadences derived from the blues

Chords “external” to the principal key

• ascending chromatic approach
• descending chromatic approach
• replacement of chords: “secondary dominants”: example on a full cadence in c major
• replacement of chords by “tritone substitution”
• the ii7 degree

The “heart”. melodic creation: vertical/horizontal thinking and chromatic approaches

Practical applications on a full cadence with “quarter notes” (beginner level): introduction of “tetrads”, “conjunct motion + 1 skip” and “intervallic melodic” cells

• major and minor modes (4/4 time)
• major and minor modes (3/4 time)

Practical application on a full cadence with “eighth notes” (intermediate level)

•  major and minor modes (4/4 time)

Chromatic approaches

Appendix: pianists’ corner: left hand accompaniment in 3/4 and 4/4

The “skeleton”: rhythm, phrasing and density

Playing ahead of or behind the beat, subtraction, the 7 rythmic variations, length of phrases: practical application on ii-v-i cadence and full cadence

• major mode (4/4 time)
• major mode (3/4 time)

The density of a solo: examples of phrases of different densities on a full cadence (4/4 and 3/4 time)

Transcribing jazz solos: melody, rhythm and phrasing in the jazz idiom

Appendix: the 7 rhythmic variations applied to 4 quarter notes

Summary of the stages of a jazz standard “step-by-step”

“Take the ‘a’ train” (major key)

• appendix: pianists’ corner: take the a train left hand

“Summertime” (minor key)

• appendix: pianists’ corner: summertime left hand
  notions:
  1) vertical thinking,
  2) horizontal thinking on the basic major/minor “colors”,
  3) addition of chromatic approaches,
  4) rhythm, phrasing and density, 5) pentatonic and blues “colors”

Guide to analysing famous jazz standards

• working on jazz standards
• analysis of 15 famous jazz standards