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Gavin B. · 07-31-2013, 01:27 PM

This is from an excellent article on playing improvisational saxophone by Ash Furrow:

Quote:

1. Given that you know the basics of saxophone playing, learn your major, minor, dominant 7th, and Pentatonic/Blues scales and arpeggios IN ALL 12 KEYS. It is extremely important to be comfortable in all 12 keys (Not every song is in the key of C, G, or F). Although this may seem boring at first, it is the essential building blocks of improvisation (I bet John Coltrane and Charlie Parker were more than comfortable in all 12 keys).

2. After becoming comfortable in all twelve keys, learn how these scales and arpeggios fit into the twelve bar blues. Being the simplest and most common set of changes, the blues is essential for the beginning improviser.

3. Now that you've got some chord changes in your head, what are you going to do with them? Improvisation is quite literally composing on the spot, and it can be very intimidating in the heat of the moment. Listening to your favorite players improvise is a great way to get ideas--you can even transcribe (figure out for your own use) a cool lick you find in a solo and learn it in all twelve keys, and use it in your own soloing.

4. Alright, now you have the scales, the chord changes, and the vocabulary; you just simply need to put it together. You may find that you aren't playing well enough in time when you play passages of eighth notes or sixteenth notes or triplets. Work some time into your practice routine where you just play eighth notes with a metronome at a slow tempo in any given key or perhaps any given set of chord changes. Slowly speeding up your metronome will gradually put you right in the pocket, allowing you to play faster (but remember that the ability to play fast is not the ability to make a good solo, it is one of your tools to HELP your solo. You wouldn't want to through a whole pepper shakers worth of pepper onto your food would you? It would overpower your meal as a whole. Use your fast technical stuff to spice up your solo, not to dominate it).

5. An extremely important aspect of Jazz is the conversation the soloist has with the rhythm section. You don't need to fill every beat with notes--give your audience some time to take in your last idea, and give your rhythm section some time to respond to you. Jazz is simply another language we use to communicate--and you wouldn't want to talk to someone who just talks and talks and never listens to you, would you? The same goes with jazz.

6. Finally, be creative. Use different rhythms, syncopate, swing 8th notes to fit the style, build a sequence, repeat motifs, and just get into the music.