: Vertical Improvisation Improvisational Techniques Based on Tension Resolution BY ED SAINDON Dhrasing, articulation, ete, but also by the use of impro- visational techniques. One of the most important and fundamental ofthese techniques is that of tension resolution. Improvisational techniques can be divided into two catego- ‘es: vertical (focusing on chord changes) and horizontal (focus- ing on melodic development). Some lines played by jazz players ‘ay fall under both categories. In horizontal playing, improvi- sational techniques may or may not sound the harmony. A few of these linear techniques are intervalle playing, motivic deve opment, use of pentatonic scales, and blues phrases, ‘Vertical improvisation specifically addresses the harmony of ‘the composition. Consequently, the harmonie progression of a song is sounded by the improvised line, There's no “skating over the changes" the lines are complete in terms of melody, rhythm, and harmony. In vertical improvisation, emphasis is placed on chord tones and on resolution of non-chord tones— those tones that create tension. Resolution occurs when a non- chord tone is resolved to the adjacent chord tone. ‘The vertical concept allows the use of any note over a chord. ‘However, careful consideration is given to every note, since un- resolved notes ean destroy the sound of the chord, Notes in so- Jos will sound wrong or outside of the changes if very dissonant non-chord tones are not resolved or are improperly resolved, ‘This tension-resolution principle avoids stagnation in the me- lodie ine and keeps the line moving. Even when improvising on ‘one chord change, such asin a modal tune; the vertical line still has forward momentum created by the integration ofthe ten- sion-relesse concept A jazz player’ sound is created not only by the time feel, BASIC TENSION RESOLUTION Chord tones are stable notes that outline and sound the har- ‘mony. Any notes other than chord tone create tension and re- salve up or down tothe nearest chord tone. Along with chord tones, any non-chord toe is sounded during the measure and resolved tothe adjacent chord tone at some point inthe mea- ‘Once a tension i sounded, it need not be resolved immedi- ately. Delaying the resolution prolongs the dissonance, thereby heightening the tensan and reatng a sense of unpredictability. Sometimes, the resolution of the tension can be resolved into the next chord ‘Note: Before using any tension resolution techniques be sure you can maneuver through the song or progression using chord tones ony. With that in mind, here are two techniques to ty. From the lowest note on the instrument to the highest (and then back down), ple through the tune (using eighth notes andor triplets) using chord tones, This technique is called “chordal tone connection.” When moving from one chord tothe next, goto the closest possible chord tone of the new chord. An other approach is to stay within one octave while only using chord tones, Chord tones plus one tension: Note choice is limited to chord tones along with one tension note, Experiment with sounding the tension at various points in the measure. Also try accenting the tension note or holding it longer for more color. Before the measure is over, the tension should be resolved up or down to the nearest chord tone. (Jon Coltrane's 1,2, 3, 5 and 41,8, 4,5 patterns fall under this category) Be careful with the resolution ofthe tensions, Some tensions resolve only one way: For example: sharp 11th should resolve up to the Sth; a lat 13th should resolve down tothe Sth; a flat ‘Sth should resolve down to the root; and s0 on. @m7 c7 GH ealz ia © Chord tones with one chromatic approach note: Note choice is limited to chord tones along with one chromatic ap proach note. The line may sound “in” or “out,” depending on hhow much emphasis is placed on the chromatic nat. Ifthe chromatic note is leaned on and held, the line will have more “bite” than if the chromatic is played on an upbeat and resolved immediately. Gm7 c7 Diatonic approach: Note choice are limited to chord tones along with diatonic approach notes to chord tones. A chord tone‘ean be approached from a note in the scale tht is above or be low the chord tone. over a chord and resolve all of the tensions before the measure is over, as in bars two and four inthe fllowing example. Chromatic approat tones along with chromatie approach notes a halfstep above or below, Gm7 c7 Chromaticldiatonie approach: Note choices are limited to chord tones with a combination of diatonilehromatic approach notes. Experiment with the many patterns that are possible, keeping in mind that the diatonic approach notes should pre- cade the chromatic approach notes. Work out all of the chro ‘matieldiatonic approach notes for each chord tone of every chord in the song. ‘Analyze solos of the masters for typical approach patterns used in swing and bebop. Players such as Bix Beiderbecke and Louis Armstrong were using these types of approach notes as far back as the 1920s, F Ffam7 2o. —. 3 af Spee s ee Z z ‘Multiple tensions: There can be more than one tension note in a measure, Sound a tension, leave it unresolved, sound an- other tension, go back and resolve the first tension, and then re- salve the second tension. Try using an upper-structure triad recessive nares 34 rama 2200 ‘Tension resolution using scales: When playing scales, any passing tone in the seale is automatically resolved when the ad- jacent chord tone is sounded. But playing scales does not create interesting lines. Try using scale fragments (three or four notes) in eonjunetion with skips and the above-mentioned techniques ‘Another option when using scales isto omit one or two notes of| the scale andlor add chromatic notes. Fham7 (CHROMATIC BEBOP SCALES "When playing scales, depending on where the chord tones are placed relative to the beat, the chord sound may ar may not be sounded, Chromatic bebop scales allow the improvisor to use Seales and sound the chord. A chromatic note is added to make fan eight-note seale. Chord tones are played on the downbeat while the passing notes occur on the upbeat. Asa result, the chord is sounded. The following isa breakdown of this process listed by various chord types. ‘Major Gth chord (Major 7th chords are played as Major 6th chords) add sharp 5 to the Ionian or Lydian seal. Tonian (ada) ce C Lydian (add 15) ceMinor 7th chord: add natural 7 tothe Dorian, Aeolian or Phrygian seale. (Dorian (ada 7) cm7 —_— a fae Aeolian (add *7) m7 Phrygian (adds?) om7 Minor 756: add natural 7 to the Locrian seale or Locrian natural-2 seal. ( Locrian (adds?) cm7(bs) = Loerian #2 (ada #1) cm7(bs) Dominant 7: add natural 7 tothe assorted seale possibil ties. In the case of an altered or diminished scale, add the natu- ral 7 and leave out the sharp 2 CC Mixolydian (add \7) o7 v C Lydian 7 (add i?) Mixolydian 2 (add <7) c7 Ee eee ee Mixolydian + (add “7 c7 o Symmetrical Diminished (omit 2, add) Altered (omit 2, add 7) 7 The following exercise connects the chromatic bebop scales ‘rom chord to chord. This i similar tothe chord tone connection technique previously described. Notie that every downbeat is a chord tone. Ifthe downbeats are played and the upbeats are ‘omitted, the chord is literally spelled out by the four downbeats. Peed, o7 Gm7 c7 MOVING? Be sure to send PAS your current address. 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