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Music improvisation tips for teachers and pupils
I feel one of the most important aspects in teaching improvisation is to create a situation where the pupil feels safe from negativity. They have
to feel that errors are part of the learning process. This in turn,
will build confidence and trust -
the most important aspect in a teacher-pupil relationship. Also, the teacher must be able to
demonstrate what the pupil is expected to do. If in the rare case, the
pupil is outplaying/outperforming the teacher, the teacher must be
honest enough to admit to the student that they cannot demonstrate what
they teach - or if the teacher has a strong educational/intellectual
background, such a teacher can still be effective in presenting concepts
and ideas without actually being able to demonstrate them.
It can be hard for a teacher to articulate (or a
pupil, understand) a concept that seemingly comes from within, from
'feel'.
Therefore, here are 3 tips for
teachers and students to use in order to develop a good, structured
learning process for improvising music:
to feel that errors are part of the learning process. This in turn,
will build confidence and trust -
the most important aspect in a teacher-pupil relationship. Also, the teacher must be able to
demonstrate what the pupil is expected to do. If in the rare case, the
pupil is outplaying/outperforming the teacher, the teacher must be
honest enough to admit to the student that they cannot demonstrate what
they teach - or if the teacher has a strong educational/intellectual
background, such a teacher can still be effective in presenting concepts
and ideas without actually being able to demonstrate them.
It can be hard for a teacher to articulate (or a
pupil, understand) a concept that seemingly comes from within, from
'feel'.
Therefore, here are 3 tips for
teachers and students to use in order to develop a good, structured
learning process for improvising music:
1. Teach the language - in musical terms, you have to learn the basic “words” and eventual “phrases” with which you will convey. It’s the same thing
as when you learn a language
different from your own. This includes
as when you learn a language
different from your own. This includes
Try using a game of call and response, or “I play, you play,” often with a backing track playing in the background. If you like jazz, for example, someone
could play a few jazz licks. As you become familiar with what you’re
hearing, you’ll be ready to begin. The other person plays a lick and
then the student plays a lick. This continues until the phrases, or
riffs, are internalised by the student. Then they reverse roles: the
student plays a phrase, and the
musician responds.
could play a few jazz licks. As you become familiar with what you’re
hearing, you’ll be ready to begin. The other person plays a lick and
then the student plays a lick. This continues until the phrases, or
riffs, are internalised by the student. Then they reverse roles: the
student plays a phrase, and the
musician responds.
For first timers, I will typically stay inside one key, either C or G, and move first from licks (if teaching guitar
for example) to two measure phrases, then four measure phrases, and so
on, using call and response. But I don’t spend much longer than 20
minutes of an hour-long lesson on improvisation techniques. For example,
I might start talking about chords but then I guard against giving too
much information all at once.
for example) to two measure phrases, then four measure phrases, and so
on, using call and response. But I don’t spend much longer than 20
minutes of an hour-long lesson on improvisation techniques. For example,
I might start talking about chords but then I guard against giving too
much information all at once.
2. Use scales - whatever the students experience, by the end of their first lesson, they would be able to improvise on a scale. I recommend choosing songs with chords in one key
as they are great for call and response with melody. This way, the
student experiences success while taking a small initial step toward
learning how to improvise.
as they are great for call and response with melody. This way, the
student experiences success while taking a small initial step toward
learning how to improvise.
3. Use rhythm - tapping the beat is important and also fun. Before you play your instrument, you need to be able to feel a pulse and nod your
head/body to the rhythm.
head/body to the rhythm.
In any improvisation lesson, the teacher should set the rhythm on the two and four count beats and instruct the student to pick up their instrument, but NOT play it. Instead of
playing, the student should learn to tap/clap on the two and the four
counts. Then you can use some call and response and then it’s on to
something a little more advanced like the teacher playing their
instrument while the student improvises a rhythm.
Once the pupil has fully
understood the rhythm, they can move on to phrases with the
understanding that they’ll have to sit and listen for a specific rest
period. It is important for the pupil to play a short phrase and then
stop. So, for example, the teacher and pupil could do a one-beat/measure
phrase, rest and then, if there is a two-beat/measure phrase, the pupil
will rest for exactly that same length. This soon results in playing a
simple three-note melody that is rhythmically-focused.
For more information, visit
www.grademusictutors.com
or www.grademusictutors.blogspot.com
playing, the student should learn to tap/clap on the two and the four
counts. Then you can use some call and response and then it’s on to
something a little more advanced like the teacher playing their
instrument while the student improvises a rhythm.
Once the pupil has fully
understood the rhythm, they can move on to phrases with the
understanding that they’ll have to sit and listen for a specific rest
period. It is important for the pupil to play a short phrase and then
stop. So, for example, the teacher and pupil could do a one-beat/measure
phrase, rest and then, if there is a two-beat/measure phrase, the pupil
will rest for exactly that same length. This soon results in playing a
simple three-note melody that is rhythmically-focused.
For more information, visit
www.grademusictutors.com
or www.grademusictutors.blogspot.com
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