Sound, Modality & Movement

 

This book outlines an approach to improvisation that is not built up from a patchwork of hints and tips. When you use this book you will have to think about your relationship to the music you like. It won't tell you exactly what to play in a given situation, that is not improvisation.

This book points to the source for your "Sound". It provides an approach to learning the unique qualities of the many possible choices of "Modality"* (mode choices) and shows you how to find melodies within these choices. It provides an organized approach to learning technique or finger "Movement" that supports the kind of melodies or phrases that you hear. It is a framework that information and experience can be placed into.

The book came about as an attempt to unify the various pieces of good information, hearsay, lore and dogma that become the foundation of a improvising musicians knowledge. In short, if you have ever asked the question "why" then this book is for you.

"How" should you approach learning improvisation?

How you approach learning improvisation is based upon your unique personality. That which you find most important at any given moment in your study of music dictates what you should spend most of your time practicing. With that said you should also know that improvisation is a multilevel activity. It requires many things to work at once. It is a balancing act where "Time" or the rhythmic pulse is the rope, "Sound" is the costume of the artist, "Modality" provides the atmosphere and story that enchants the audience and "Movement" is the skill or technique that the performer needs in order to "pull it off" convincingly so that the audience is not even aware that what they see is a performance.

As ye practice, so shall ye play.

You should approach your studies in a balanced fashion.
This book (and here it comes) provides a balanced approach to learning that is based upon what you think/feel is most important.

 

* The word "Modality" is often used in this book and refers to a method of hearing/playing a mode to understand and remember the unique character of each of the 7 tones within the scale as they relate to the root and the basic triad, be it in thirds or fourths.

Excerpts from Sound, Modality & Movement