Today’s guest post has been penned by renowned composer and educationalist Christopher Norton. This is the second post in a series which offers practice ideas and suggestions for those teaching group improvisation (you can read Part 1, here). Christopher’s work has, for many years, involved teaching students how to improvise using his imaginative and very popular music.
Having looked at right hand chords (with a track) using root position G, first inversion G and second inversion D chords, with a bass pattern added, we can now talk about some simple techniques for right hand improvising on Samba Sand from Connections for Piano 3. Here’s the piece again:
With the track, play this left hand pattern 3 times:
Once this feels comfortable, almost automatic, you are ready to try adding right hand.
With students, I often find they are happier tapping than playing initially, so I would try tapping unaccented quavers (eighth notes!) on the right leg while playing the left hand chords:
Now for the magic moment – miss one eighth note out. For example:
Now we play right hand notes, playing the same rhythm. I suggest starting with G, A, B, C, D, but play around to see which ones sound good where! My first solution:
I’m already using some principles of melodic development – repeating a phrase with one note changed (bars 1 and 2) repeating an idea (bar 3) and having a contrasting idea (bar 4) The tune also joins the left hand rhythmically for the final bar of the phrase.
Now try missing out the 5th eighth note. Tap first:
This suggests different tunes. For example:
Notice I’ve added a low D and an E (so a sixth note) Students often do this – adding new notes – quite naturally (and so do I!). If a tune suggests itself, go for it, whether the notes are the given ones or not.
Now experiment with missing other eighth notes out to create different rhythm patterns. Always tap first, then play. And don’t be worried if slight variations happen spontaneously, while tapping and while playing. The left chord rhythms may also vary spontaneously as well…
Another useful tip: play the left hand chords and try playing right hand rhythm patterns starting on one note. G is the best starting point. Then try 2 notes (G and A) 3 notes (G, A, B) and 4 notes (I like G, A, B, D – when in doubt, keep it pentatonic!)
Here’s an example of a tune which gradually build the number of notes:
This is another principle of melodic development – playing the same rhythm with different notes. And I’ve also done a new rhythm in bar 7 and I have also repeated a pattern higher up (bars 1 and 2, then bars 5 and 6).
In the next lesson, we will look at various other right hand tricks – grace note, chords (ie more than one note at a time), pedal notes, arpeggio figures and changing direction. Lots of fun!
Until next time…
The Connections for Piano series, with tracks, are available from www.80dayspublishing.com.
Melanie Spanswick has written and published a wide range of courses, anthologies, examination syllabuses, and text books, including Play it again: PIANO (published by Schott Music). This best-selling graded, progressive piano course contains a large selection of repertoire featuring a huge array of styles and genres, with copious practice tips and suggestions for every piece.
For more information, please visit the publications page, here.