Triad Exercises for Musical Improvisation

               Before we can improvise using the chord tones of various triads, we must know those chord tones.  My previously posted video entitled Learning Music With Ray: Triads, helps to explain the various types (qualities) of triads, how they are formed and how to derive their pitches.  To improvise using these pitches, we must obtain the ability to rapidly recall and perform these pitches at will.  The following exercises are designed to help achieve that ability.

                In this first exercise, the pitches of each triad are arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

                In this exercise, the pitches of each triad are arpeggiated down and back up by starting on the root.  Every key is covered by descending through the keys in half-step increments.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

                In this exercise, the pitches of each triad are arpeggiated down and back up by starting on the root.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

                In this exercise, the pitches of each triad are arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the circle of fifths.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

               In this exercise, the pitches of each triad are arpeggiated up and back down by starting on the third.  Every key is covered by descending through the keys in half-step increments.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

In this exercise, the pitches of each triad are arpeggiated up and back down by starting on whichever pitch exist in the lowest part of the instrument’s range (demonstration written for saxophone).  The point is to challenge the player with random triad inversions.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

In this exercise, the pitches of each triad are arpeggiated down and back up by starting on whichever pitch exist in the highest part of the instrument’s range (demonstration written for saxophone).  The point is to challenge the player with random triad inversions.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

In this exercise, the pitches of each triad are arpeggiated up and down in straight paths that extend through the full range of the instrument (demonstration written for saxophone).  The direction of the arpeggio remains constant (through multiple chords) until the end of the instrument’s range is reached.  The point is to create fluid lines across multiple triads, using the full range of the instrument.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major triads, but it can be applied to any type of triad.

In this exercise, the patterns illustrate in the previous exercises are applied to a simple chord progression composed of three triads (I – IV – V – I).  The musician should start with simple applications like arpeggiated triads starting on the root; and then progress to more difficult applications.  The ultimate application is to create a free form musical improvisation that only utilizes the pitches of each triad and outlines the chord changes of the progression.

The above exercise can be repeated in various keys until every key is covered.

                In this Learning Music With Ray video I demonstrate various triad exercises that can be used to develop the rapid recall of the pitches of any triad for use in musical improvisation.  Each exercise is demonstrated with major triads, but can be applied to any type of triad.  Then I apply the same exercises to a simple three chord progression to add musicality to the practice routine.  Finally, I apply the same exercises to the chords of a simple folk song.  

Musical Improvisation (different approaches)

           Musical improvisation is the instant composition of melodies while performing over a set harmonic structure.  Melodies are musical lines composed of varying pitch and rhythm.  However, musicians cannot just randomly select pitches and rhythms while improvising.  To skillfully improvise, a musician must vary the selection of rhythms and pitches in a way that creates musical interest and beauty.

          There are many elements that contribute to musical interest and beauty, but for today’s lesson we will focus on two key factors.  The first of these factors that we will discuss is contrast.   Both rhythmic and pitch contrast aid in the creation of interesting and beautiful melodies.  If a melody is composed of only one rhythmic value, it becomes boring and predictable.  Variation between short and long rhythmic values helps to add interest and beauty.  Also, the rhythmic development of phrases causes the rhythmic variation of a melody to take on more of the qualities of human expression and emotion. 

          Beside rhythmic variation, contrast in pitch also can add to the interest and beauty of a melody.  Pitch movement can contrast in both the direction of travel (up or down) and the distance between pitches (leaps and steps).  Again, too much of any one type of movement will result in melodies that are boring and predictable.  Tasteful contrast between stepwise motion, leaps, upward motion and downward motion helps to add interest and beauty. 

          The second factor that we will discuss today is musical patterns.  Recognizable melodic patterns help to orient and ground the listener.  If a listener is bombarded with a collection of random melodies that are not related to each other in any way, he/she can become overwhelmed and lost in the music.  Melodic patterns serve to provide structure and order within the music.  In addition, melodies communicate ideas and feelings.  Recognizable patterns aid in clarifying the melodic communication.  Some composers have even used certain recognizable melodic patterns to personify different characters in plays, operas and movies. 

          In addition to the skillful variation of rhythmic values and pitch motion, a musician must also skillfully select which pitches he/she plays while improvising.  In order to skillfully improvise over a particular musical chord, the musician must first limit themselves to a pool of pitches that will be a good tonal match for that chord.  One approach for creating such a pool of pitches is using chord tones. Another approach is to apply specific scales (or temporary key signatures) to each chord of the song. 

          When using chord tones to create the pool of usable pitches for improvisation, we must be able to identify the pitches that compose each chord of the music we are playing.  I have had lessons in the past that explain the theory behind the formation of triads and seventh chords.  Triads are built off of the 1^st, 3^rd and 5^th scale degrees of a given root.  Seventh chords are built off of the 1^st, 3^rd, 5^th and 7^th scale degrees.  Any of these pitches would be excellent selections for improvisation over a given chord. 

          In addition to these main chord tones, we can also select pitches that are color tones or upper extensions.  The 9^th, 11^th and 13^th are scale degrees that can be added to a seventh chord as upper extensions (or the 2^nd, 4^th and 6^th when adding to a triad).  I also made a past lesson that discusses color tones and upper extensions in detail.     When voiced in the chord, these tones can also be used as main pitches in improvisation.  When absent from the chord, these pitches can be used as passing or neighbor tones that lead to primary chord tones.

          When these upper extensions are written an octave lower and combined with the primary chord tones, the resulting group of pitches is a scale.  For this reason, the creation of improvised melodies can also be accomplished by selecting pitches from a scale that relates to the chord being improvised over.  There are several scales (modal, altered, locrian #2, lydian augmented, diminished, suspended 4^th) which are directly built from the combination of primary and extended chord tones.  There are other scales (whole-tone, melodic minor, harmonic minor, blues, pentatonic) which are not directly derived from chord tones, but they can still be applied in certain improvisation situations. 

          One advantage to using a chord based approach to pitch selection in improvisation is that it results in a direct relation between the harmony and the pool of pitches being used.  However, this technique may lead to the formation of melodies with too many jumps.  Beginners in this technique must learn to master octave displacement, the use of passing tones and neighbor tones to smooth out their melodic lines.  These strategies are centered around the concept of the target pitch.   Main chord tones are viewed as target pitches, which are the main destination points of the melodic line.  The other pitches are viewed as passage ways leading to the target pitches.  Another advantage of the chord based approach is that the main chord tones (and upper extensions mentioned in the chord name) are the possible target pitches for a given harmony.  This relation makes it easier for the performer to visualize the target pitches.

          The scale based approach has a much more distant relation to the original harmony.  One must realize the combination of the main chord tones and upper extensions in order to identify the entire scale.  However, once this task is complete the performer will probably find it easier to memorize a scale as opposed to memorizing the main tones and upper extensions of a chord.  In addition, the scale approach aids in the creation of melodies that contain more stepwise motion.  However, too much stepwise motion may cause the improvisation to sound like a scale exercise and not a melody.  Care must be taken to avoid this.

           As mentioned earlier, passing and neighbor tones can be used to connect and transition between target pitches in an improvised melody.  A passing tone is a pitch that lies between to target pitches when traveling in stepwise motion in one direction (either up or down).  A neighbor tone is a pitch that is located either directly above or below a target pitch.  Complete neighbor tones start on a target pitch, travel to the neighbor tone and then return to the original target pitch.  Incomplete neighbor tones start on the neighbor tone and then travel to the target pitch.  The correct use of these filler pitches combined with target pitches can result in a wide variety of beautiful and interesting melodic lines.

          Musical improvisation is a beautiful form of musical expression.  I think of it as instant melodic composition guided by a framework of predetermined chords.  Since there are many methods a musician can employ when improvising, we must be open to explore multiple mindsets in order to discover the techniques that best suit our way of thinking.   

          In this Learning Music With Ray video I discuss the various approaches to musical improvisation.  I define improvisation and discuss the skillful selection of rhythms and pitches.  I also discuss the chord and scale based approaches to pitch selection.  Finally, I explain what target pitches, passing tones, complete neighbor tones and incomplete neighbor tones are. 

              

Left Hand Shuffle Piano Patterns:

        When playing a shuffle style of music on the piano, much of the shuffle feel is created by the bass line.  If you are playing in a band with a bass player, then the bass player would be playing this part.  However, when you are playing solo piano (not with a band), or playing in a group that does not have a bass player, you can play this part in you left hand. 

        A walking bass line is often an effective left hand shuffle technique.  Most walking bass lines contain a combination of steps and jumps.  This style of playing is technically advanced, and difficult for players to master.  Plus, some shuffle feels lend themselves to more widespread movement in the left hand line (more leaps).

        A simpler left hand pattern that incorporates more leaps involves creating a walking bass line that only incorporates the root and the fifth of the cord.  Place your pinky on the root of the chord and you thumb on the pitch one octave above this.  Place you index finger on the fifth of the chord found between this octave.  Now, create a simple pattern that incorporates these pitches and fills the measure with constant quarter note movement.  One example of a pattern would be playing four quarter notes in a 4/4 song that consist of the lower root, fifth, upper root and back to the fifth for each measure. 

The order and register of the pitches can vary to create divers and interesting patterns.  Passing tones can also be incorporated to walk between root tones.  These passing tones are most effective when they are placed on the beat just before the next root.  The pattern used in this example song (Not By Sight) consists of playing the lower root, upper root, fifth and then the lower root again.  A passing tone of G is used to connect the root motion between Am7 and F. 

In addition, this example song contains a G/B, which is a G chord in first inversion (containing the third in the bass).  Since the third of this chord is the bass tone, it must be included in the shuffle pattern.  In a case like this, the simplest technique is to play an octave of the third (since it is the bass tone) and place your index finger on the root that is found between this octave.  The fifth is omitted in this pattern. 

The right hand can play many things while being accompanied with this type of left hand style.  In solo jazz piano playing, the right hand can play the melody of the song or an improvised solo.  In group playing (where as singer or additional instrument is covering the melody) the piano can play comp chords in a variety of rhythmic patterns.  Varity is a key element to creating musicality and maintaining interest.  Short stabs with plenty of open space can be complemented by measures of more full rhythmic patterns.  Flashy right hand fills can also be inserted sporadically throughout the arrangement.  This is especially effective at the ends of phrases where the voice or solo instrument is resting.    The fills in this arrangement consist of riffs that are mainly derived from the C blues scale.

   

        This Learning Music With Ray video discusses a basic application of left hand shuffle piano patterns.  In this lesson, I provide a step by step demonstration (and explanation) of the left hand shuffle piano pattern found in my arrangement of the original song Not By Sight.  I also provide a chord analysis and explanation of chord voicings used throughout the lesson.  However, the primary focus of the lesson is to demonstrate the application of the left hand shuffle piano pattern.  

Reading Musical Rhythms – part 2 (dots, ties and stem direction):

        As we discussed in part one of this series, there are additional rhythmic symbols that can be added to the fundamental rhythmic values found in musical notation.  The two primary additional rhythmic symbols are dots and ties.  A dot next to a rhythm increases the value of the rhythm by half the amount of its original value.  This is not to be confused with a dot placed under or above the note head which is a staccato (indicates to play the note with a short and separated articulation). 

         

        If a dot were to be placed next to a half note, in 4/4 time, the result would be a 3 beat long rhythm.  The half note in 4/4 time has a rhythmic value of 2 beats.  The dot adds half of this value to the overall rhythm.  In this case, that means that the dot adds 1 beat.  This additional beat combined with the original 2 beats results in a total rhythmic value of 3 beats.

                If a dot were to be placed next to a whole note, in 4/4 time, the result would be a 6 beat long rhythm.  The whole note in 4/4 time has a rhythmic value of 4 beats.  The dot adds half of this value to the overall rhythm.  In this case, that means that the dot adds 2 beats.  This additional 2 beats combined with the original 4 beats results in a total rhythmic value of 6 beats.

The other additional rhythmic symbol is the tie.  A tie is a curved line that connects two notes of the same pitch.  The two pitches are played as one (unbroken) pitch.  The tied rhythm is held for the combined rhythmic value of the two rhythms.  Simple tie combinations (such as two half notes tied together in 4/4 time) result in rhythm values that could also be drawn using fundamental rhythms (such as using a whole note instead of the above stated tie example). 

The real reason the tie was invented was to create rhythmic values that would not fit within one measure.  For example, a 4/4 measure only allows four beats per measure.  Drawing a rhythmic value that exceeds 4 beats would be impossible in this time signature.  In addition, when the first three beats of the measure have been taken up by other rhythmic values then only one beat of space remains.  In this type of situation, drawing even a half note (valued at 2 beats in 4/4 time) would be impossible.  We draw these rhythms that extend beyond the boundaries of one measure by distributing the rhythmic value across multiple measures using tied rhythms. 

Finally, let’s discuss the rules regarding stem direction in musical notation.  As stated in part one of this lesson series, stems can either go up or down from a note head.  Stems that go up attach to the right side of the note head and stems that go down attach to the left side of the note head.  Every pitch below the 3^rd line of the staff has the stem going up.  Every pitch on or above the 3^rd line of the staff has the stem going down. 

There is no musical reason for these rules regarding stems.  Stem direction does not affect the rhythmic value or pitch of a note.  The only purpose for these rules is to keep the sheet music neat and legible.  If low pitches had stems going down, the stems may extend into the notation of the next line of music below that one (especially if the next line contained high pitches with stems going up).  The rules regarding stem direction help to keep each note oriented over its staff without extending too far into the staff above or below. 

This Learning Music With Ray video discusses how to read the additional rhythmic symbols of dots and ties that can be added to the fundamental rhythmic values found in musical notation.  In this video, I describe the physical appearance of each additional symbol and explain how to determine the total rhythmic value after the additional symbol is applied.  I also explain the rules regarding stem direction and the reason why these rules were established.  I provide visual illustrations and charts to help explain all of these concepts.  

Reading Musical Rhythms:

                As we discussed in the Learning Music With Ray: Reading Music (Rhythm vs. Pitch) lesson, there are two main aspects of musical notation.  A musical note simultaneously conveys both pitch and rhythm.  Pitch tells us how high or low to play (what frequency).  Musical rhythm tells us how long to hold a note for.  Today we will be focusing on the rhythmic aspect of notation

We read rhythms by observing the shape of the note.  Each musical rhythm is portrayed by a differently shaped note.  A whole note is the longest fundamental rhythm of most modern music.  By fundamental, I mean it is the longest rhythmic value represented purely through notation.  Other notational additives, such as dots and ties, can be used to lengthen a circle.  We will discuss these additives in more detail in future lessons.  The whole note is the shape of a hollow circle.  Its value is always equal to the whole base value of the time signature. 

Before I continue, let me explain this concept of base value.  The bottom number of a time signature tells us the base value of that piece of music.  Just like math, music can be performed in different base values.  The most common base value for music is 4.  This concept is more thoroughly covered in my Learning Music With Ray: Time Signatures part 1 lesson.  Most beginning musical performance repertoire contains time signatures with a 4 on the bottom.  For this reason, most teachers tell their students that the quarter note receives one beat, the half note receives two beats, the whole note receives four beats and the eighth note receives half a beat.  These are the correct rhythmic values in a base 4 time signature.  However, these values change in a different base system.  Today, I am choosing to present all of the information about base systems and rhythmic values in the interest of teaching for understanding.  If understanding this concept proves difficult for you at this stage, concentrate on studying the rhythmic values in base 4 time signatures since these are the most common.  Since all of the information is being presented, the lesson can easily be customized for various levels of learning.  It would be impossible to add to the lesson if I decided to leave out the information about rhythmic values in other base systems. 

A half note is a circle with a line extending from one side.  This line is called a stem.  This additional physical characteristic is the only thing that distinguishes this rhythm from a whole note.  A half note receives half of whatever the base value is set in the time signature. 

A quarter note is a circle that has been colored in and has a stem.  The fact that the circle is now colored in (instead of being hollow) is the only thing that distinguishes this rhythm from a half note.  A quarter note receives a quarter of whatever the base value is set in the time signature.

An eighth note is a circle that has been colored in, has a stem and has a flag attached to the stem.  The flag is the only thing that distinguishes this rhythm from a quarter note.  An eighth note receives an eighth of whatever the base value is set in the time signature.

The rhythmic values that are shorter than an eighth note are created by adding additional flags.  Two flags added to a stem indicates the value of a sixteenth note (one sixteenth the length of the base value), three flags indicates the value of a thirty-second note (one thirty-second the length of the base value), four flags indicates the value of a sixty-fourth note (one sixty-fourth the length of the base value) and so on.  It would be impossible to list all of the rhythmic values, since they continue on (theoretically) in this pattern indefinitely.  The pattern I refer to consists of the denominator of the fraction constantly being doubled (or the fraction itself constantly being halved). 

When two or more rhythms with flags are written next to each other, they can be connected by beams as a substitute for the flag.  In this case, one beam would indicate a grouping of eighth notes, two beams would indicate sixteenth notes, and so on.  Even mismatched flag rhythms can be beamed together.  They are all connected with at least one beam, and additional segmented beams are added to indicate the different rhythms.

As mentioned earlier, the values of the rhythms are derived from the base value of the time signature.  The most common base value is 4, so the most common rhythmic values (in base 4) are:

In a base value of 8:

In a base value of 2:

All of these values are depicted in one master chart provided below.     

               This Learning Music With Ray video discusses how to read the fundamental rhythmic values found in musical notation.  I describe the physical appearance of each basic rhythmic value, pointing out the physical attribute that changes with each shorter rhythm.  I also explain the beat value that each basic rhythm possesses in various time signatures, and why their values change in different time signatures.  I provide visual illustrations and charts to help explain all of these concepts.  

Gospel / R&B Parallel Harmony Piano Patterns:

The styles of gospel and R&B piano often incorporate close voiced parallel harmony moving up and down the keyboard. A well known example of this is Bill Wither’s song, Lean On Me. In that song, the melody is harmonized with close voiced parallel chords. This style is often used to create the harmony parts for gospel choirs. It can also be used by piano players to fill out periods within a song that are harmonically stagnant.

My original song, Walk My Way, is composed of two basic chords (A7 and D7). However, this simple harmonic structure is filled out with elaborate parallel harmonies. All of these harmonies are derived from either the mixolydian or blues scales that correspond to these two chords. This technique creates the illusion of a much more complex harmonic structure.

The parallel harmonies of the right hand are further complemented by the style of straddled octaves in the left hand. The rhythmic performance of these straddled octaves varies between straight hits, syncopated accents and triplet patterns in combination with the right hand chords. These varied rhythmic options in combination with chromatic lines serve to create a left hand part that both compliments the right hand and fills out the arrangement.

The final element of this arrangement is the use of occasional riffs based off of the A blues scale. These riffs provide a temporary break from the primary playing format. The skillful combination of parallel harmony (with varied motion), left hand straddled octaves and blues riffs creates a varied and full arrangement that remains interesting and fresh. In the video, I clearly demonstrate the use of all these techniques.

This Learning Music With Ray video discusses a basic application of parallel harmony piano patterns within gospel and R&B music. In this lesson, I provide a step by step demonstration (and explanation) of the parallel harmony piano patterns found in my arrangement of the original song Walk My Way. I also provide an explanation of the left hand techniques and musical riffs used throughout the song arrangement.

Reading Music (Rhythm vs. Pitch):

                Why do we have to read musical notation?  Why can’t they just write the letters that they want us to play on the page?  What is the point of having all these lines and circles on the page?  While functioning as a public school beginning band teacher, these are some of the questions I am asked every start of a new school year.  Learning to read music is essentially learning to read a new language.  However, when composers write music down on paper they have the difficult task of conveying many ideas simultaneously.  The main function of most written languages is to convey words.  Feeling and tone can be conveyed through punctuation and implied through content.  However, the main function of musical notation is to convey sound.  In this case, the rhythm, pitch, dynamic, articulation and mood must all be conveyed in the notation.  Two of these aspects, rhythm and pitch, are directly conveyed through the actual musical note (the others are conveyed through additional symbols and words found in the sheet music).  Today we will focus on these two aspects of musical notation.

                A musical note simultaneously conveys both pitch and rhythm.  Writing letters on a page would be an ineffective form of musical notation, because this would only convey pitch.  In addition, there would be no way to distinguish between the various octaves when writing a musical letter on a page.  Our musical notation system automatically conveys the exact pitch (letter and register) that is to be played and how long it is to be held for.  This dual purpose of the musical note calls for specificity when discussing musical notation.  Using the word “note” makes it difficult to determine if we are referring to the rhythmic value or the pitch.  Referring directly with the use of the word “rhythm” or “pitch” helps to avoid this confusion.

               A musical rhythm tells us how long to hold a note for.  We read rhythms by observing the shape of the note.  Each musical rhythm is portrayed by a differently shaped note.  For example, a whole note is a circle.  A half note is a circle with a line extending from one side.  This line is called a stem.  A quarter note is a circle that has been colored in and has a stem.

                Pitch tells us how high or low to play.  This does not refer to the volume of the note, it refers to the frequency.  We read pitch by discerning the specific line or space that the head (the circle) of the musical note rests on.  Each line or space of a musical staff refers to a different pitch.  The details of musical pitch are discussed further in my video entitled Learning Music With Ray: The Musical Alphabet.      

               Some people get confused when reading a musical example in which there are multiple occurrences of the same pitch with different rhythmic values.  Since the shape of the note is different, it is easy to assume that this is a different “note” (meaning pitch).  Remember, using that word “note” can cause confusion.  It is important to always distinguish between pitch and rhythm.  In this example, the rhythm (shape of the note) looks different.  This means that each note should be held for a different rhythmic value.  However, if all of these notes are all written on the same location of the musical staff (same line or space), then they are all the same pitch.  

This confusion can also occur when several varying pitches (written on different lines or spaces of the staff) with the same rhythmic value are written. 

               This Learning Music With Ray video discusses the two main characteristics of a musical note, and how to distinguish between these two characteristics.  Musical notes written on a staff help us to determine both the pitch that is to be played and the rhythmic value of that pitch.  In this lesson, I discuss the difference between reading pitch and reading rhythm.  I explain the different aspects and functions of both of these parts of notation.  Finally, I provide musical examples that often cause confusion for beginning readers, and explain the proper way to read these examples.