Reviews

CLAVIER COMPANION (January/February 2009)

Well written and presented, this volume guides players through straightforward exercises that quickly become interesting and sophisticated.  The text is lively and balanced with musical examples, charts, and periodic summary comments that engage students of all ages.  The chapters discussing how to choose the right scales when improvising above a harmonic structure will help those who have a little experience but need help to give more control.

The musical examples are based on excerpts from the classical literature, and there are chapters covering jazz examples and topics.  Ways to voice seventh and other extended chords will answer questions that accomplished pianists, inexperienced in jazz, will have. 

- Karen Kan-Walsh, Northwestern University (Evanston, IL)

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AMERICAN MUSIC TEACHER (December 2007 Issue)

Did you ever wish you could simply sit down and "play something" without the aid of written music? In this book, the authors tackle the fascinating subject of improvisation with clarity, humor and an earnest desire to demystify the learning process for the uninitiated.

Usually beginning improvisers learn their craft casually by picking out tunes by ear, "noodling" around on their instruments and exchanging ideas with peers prior to more serious study. Here, the reader progresses systematically from simple one-note rhythms through more complex concepts, including melodic manipulation, modes and harmonic improvisation. Whether the first time improviser is better served by free wheeling explorations or this more formal, sequential approach probably depends on one's personality and learning style.

Ideally suited to the student with a serious interest in improvisation and the capacity for disciplined self-study, this book will find many other users. For example, piano teachers could readily utilize many of the simpler concepts by adding short improvisation segments to their lessons. Classroom theory instructors will find a ready-to-use textbook that provides a practical application of their subject. Experienced improvisers who find themselves "in a rut" will enjoy investigating the wealth of new ideas presented here. Since composition differs from improvisation only in the speed with which one makes decisions, student composers could also benefit from the many suggestions about how to create variations from simple melodies. Even readers with a passing interest in improvisation will be interested in the final chapters, which include an overview of jazz and a brief history of improvisation reminding us, for example, that "all medieval musicians were expected to improvise.

All readers will appreciate the format, which lends itself to easily assimilating concepts through labeled paragraphs, numbered lists and a review of key points at chapter endings. Along the way, colorful analogies, such as comparing improvisation to "a snake slithering over and around notes" or "trying to steer a kayak through swift rapids with shifting currents," make for enjoyable learning. Scholarly, witty and thorough, the authors urge us to view improvisation "more as an exploration than a discipline." Whether readers choose to merely dabble in the many tips and insights presented here or diligently work through all of the exercises, they will expand their listening skills, increase their melodic vocabulary and gain a deeper understanding of the process of creating music.

- Bradley Sowash, Independent Music Teacher