The course › Unit 10: Play, improvise, create

Improvising over a chord chart

Lesson 57 of 72 · Question and answer: tell your own story in music

In this lesson, you will:

• Answer one musical phrase with another
• Build an improvisation from a motif you repeat and vary
• Improvise with the A minor pentatonic over A minor – F – C – G

1. Learn: A conversation in music

Improvising is speaking in music. And a conversation often starts with a question, followed by an answer: a phrase left hanging, then a phrase that wraps things up.

This call and response, handed down from African traditions, is at the heart of African American work songs and gospel; you hear it everywhere in blues, jazz and pop.

To improvise today, a five-note scale: the A minor pentatonic, A – C – D – E – G. These are the same keys as the C pentatonic, but centered on A: the music settles on A, with a minor color.

The A minor pentatonic. In orange, A: the “home” note.

Why this way: We learn to speak by imitating, long before we invent our own sentences. Suzuki called his method the “mother tongue” approach; jazz musicians learn the same way, playing other musicians’ phrases back by ear. So you start by imitating, then you vary.

2. Practice: Echo: pentatonic motifs

The computer asks a question, and you repeat it exactly. The first note lights up. All the notes are in the A minor pentatonic.

3. Piece: A minor – F – C – G

Before you improvise over a chord chart, get it into your fingers. Here’s A minor – F – C – G with the 3-3-2 rhythm: it’s exactly the chart you’ll improvise over. The same rhythm on the progression. The computer’s bass follows your rhythm.

4. Learn: Three secrets of improvisers

• Leave space. Rests let the music breathe: play a phrase, then wait. A good solo is as much listening as it is notes.
• Repeat and vary a motif. Find a little idea of 3 or 4 notes, play it again, then change it a bit: a different rhythm, a different last note, a little higher… The listener recognizes the idea and follows you.
• End on a chord tone. To wrap up a phrase, land its last note on a note of the current chord: A, C or E over A minor; A or C over F; C, E or G over C; G or D over G.

A motif, then two variations: first the ending changes, then the rhythm. And rests between the phrases.

Tip: Sing what you play, even very softly: your phrases will get shorter and more melodic… because you have to breathe!

5. Practice: Landing on the chord

The computer plays a chord from the chart. Play a note from that chord: that’s where your phrases will come to rest.

6. Quiz: Question or answer?

• Does this phrase sound finished or left hanging?
• And this one?
• You’ve found a motif you like. What should you do?
• Over the C chord, which note best ends a phrase?
• What are rests for in an improvisation?
• Which notes make up the A minor pentatonic?

7. Improvisation: Question and answer

Four chords, one measure each: A minor – F – C – G. Over the first two measures, play a question (end on D or G, left hanging). Over the next two, your answer… and land its last note on A when A minor comes back. Leave some rests!

8. Improvisation: Your solo

The stage is yours! A motif, its variation, rests, and dynamics: start piano, build up to forte, end very softly. Land your phrase endings on the chord tones.

To practice

• The 3-3-2 pop rhythm: The groove that makes chords dance
• The hit-song progression: C – G – A minor – F, without moving your hand
• Your pop song: A verse and a chorus, like a real hit

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