How do these phrases work and how to practice them for improvisation?

[BrotherYao]

I really love these two trumpet jazz phrases over Am chord from this song at 01:22 and 01:41:

.

l'd love to understand the principles behind how this kind of melodic phrase is constructed, and how to practice so that I can improvise phrases like this, I've already transcribed them:





I understand the idea of analyzing it the way as chromatic approaches and enclosures, and I’ve studied a lot of jazz vocabulary and line-construction concepts. But here there are many things that don’t seem to follow the usual logic.

For example, right at the beginning of phrase 1, the enclosure actually lands on F, which is clearly a b6 against an Am chord—an obvious clash, and not an extension that’s usually treated as acceptable. And later on, a lot of the chromatic approaches resolve to notes that aren’t even diatonic to the key.

So I’m wondering whether the player wasn’t really thinking very consciously while playing, and was instead relying on muscle memory—whether some of those sounds were almost accidental, sounds he didn’t specifically intend but happened along the way, even though I personally really like how they sound?

Can anyone help me?

[AllanAllen]

A b6 over an Am is totally fine and not a clash. To my ear, it emphasizes the minor feel.

Why do you feel otherwise?

[Mick-7]

I really love these two trumpet jazz phrases over Am chord from this song at 01:22 and 01:41:

l'd love to understand the principles behind how this kind of melodic phrase is constructed, and how to practice so that I can improvise phrases like this, I've already transcribed them:





I understand the idea of analyzing it the way as chromatic approaches and enclosures, and I’ve studied a lot of jazz vocabulary and line-construction concepts. But here there are many things that don’t seem to follow the usual logic.

For example, right at the beginning of phrase 1, the enclosure actually lands on F, which is clearly a b6 against an Am chord—an obvious clash, and not an extension that’s usually treated as acceptable. And later on, a lot of the chromatic approaches resolve to notes that aren’t even diatonic to the key.

So I’m wondering whether the player wasn’t really thinking very consciously while playing, and was instead relying on muscle memory—whether some of those sounds were almost accidental, sounds he didn’t specifically intend but happened along the way, even though I personally really like how they sound?

Can anyone help me?

First off, there are no "wrong" notes, just poorly timed ones. The only note that one is "forbidden" to emphasize over an A minor chord is C#, all the other notes can be found in related minor scales: natural minor, harmonic minor, the minor modal scales phrygian and locrian, etc. - the note F is in all the A minor scales I just mentioned.

[bako]

One thing overlooked in analyzing notes against a harmonic context is the accompaniment scenario in which it is played.
A giant church pipe organ sustaining Am7 in 2 octaves presents a situation where dissonance need be handled with more precise rhythmic placement. A frequent jazz comping scenario involves short and sparse rhythmic punctuations of the harmony. So in this context a C# is simply a short "bright" statement of Am7 (also known as A major).

Barry Harris talks a about playing movements as opposed to playing the changes. I would suggest that melody can work in the same way. Many of us study playing melodies within the written harmony, but melodic movements can go many places.
The overall effect overrules a note by note analysis in my opinion.

[BrotherYao]

A b6 over an Am is totally fine and not a clash. To my ear, it emphasizes the minor feel.

Why do you feel otherwise?

I don’t feel this a clash too, I accept to play all 12 notes on a chord, but sometimes I would like to be more precise in harmonic clarity so I could get more mastery in improvisation. Anyway, do you know how this kind of solos is practiced? This is so fast and seems well-designed, I’ve already seen many musicians can improvise this kind of solos, I can only play chromatic runs and little bit enclosures, I can’t even decide in real time which note to target, how could this be an improvisation?

[BrotherYao]

One thing overlooked in analyzing notes against a harmonic context is the accompaniment scenario in which it is played.
A giant church pipe organ sustaining Am7 in 2 octaves presents a situation where dissonance need be handled with more precise rhythmic placement. A frequent jazz comping scenario involves short and sparse rhythmic punctuations of the harmony. So in this context a C# is simply a short "bright" statement of Am7 (also known as A major).

Barry Harris talks a about playing movements as opposed to playing the changes. I would suggest that melody can work in the same way. Many of us study playing melodies within the written harmony, but melodic movements can go many places.
The overall effect overrules a note by note analysis in my opinion.

I accept to play all 12 notes on a chord, but sometimes I would like to be more precise in harmonic clarity so I could get more mastery in improvisation. Anyway, do you know how this kind of solos is practiced? This is so fast and seems well-designed, I’ve already seen many musicians can improvise this kind of solos, I can only play chromatic runs and little bit enclosures, I can’t even decide in real time which note to target, how could this be an improvisation?

[BrotherYao]

First off, there are no "wrong" notes, just poorly timed ones. The only note that one is "forbidden" to emphasize over an A minor chord is C#, all the other notes can be found in related minor scales: natural minor, harmonic minor, the minor modal scales phrygian and locrian, etc. - the note F is in all the A minor scales I just mentioned.

I accept your opinion while sometimes I would like to be more precise in harmonic clarity so I could get more mastery in improvisation. Anyway, do you know how this kind of solos is practiced? This is so fast and seems well-designed, I’ve already seen many musicians can improvise this kind of solos, I can only play chromatic runs and little bit enclosures, I can’t even decide in real time which note to target, how could this be an improvisation?

[bako]

I accept to play all 12 notes on a chord, but sometimes I would like to be more precise in harmonic clarity so I could get more mastery in improvisation. Anyway, do you know how this kind of solos is practiced? This is so fast and seems well-designed, I’ve already seen many musicians can improvise this kind of solos, I can only play chromatic runs and little bit enclosures, I can’t even decide in real time which note to target, how could this be an improvisation?

Enclosures are beautiful ways to approach a target note, often a chord or scale tone. My best guess: it is based on hearing other super-imposed passing/approach chord harmonies and integrating melodies aimed at these sounds. Practice I suspect would look like a lot a of trial and error experiments.This is a relatively risky business and it is likely that not every effort will be successful. Also, listen a lot to players who can do this even if you can't immediately understand it.

[Mick-7]

I'd say practice improvising with a chromatic scale, it's more suited to the sort of jazz fusion modal harmony employed in the tune you mentioned (reminds me of Freddie Hubbard's playing).

Practicing the chromatic patterns in Nicolas Slonimsky's book could help too, I shared a link to his book here: Slonimsky Curiosities

[AllanAllen]

I don’t feel this a clash too, I accept to play all 12 notes on a chord, but sometimes I would like to be more precise in harmonic clarity so I could get more mastery in improvisation. Anyway, do you know how this kind of solos is practiced? This is so fast and seems well-designed, I’ve already seen many musicians can improvise this kind of solos, I can only play chromatic runs and little bit enclosures, I can’t even decide in real time which note to target, how could this be an improvisation?

Speed comes with a solid foundation. Get those scale patterns, melodic cells and licks in all 12 keys. Play them along to a metronome and pay attention to your time.

Keep at it and you’ll improve. Slower than you want to, but faster than you realize.

[Mick-7]

So I’m wondering whether the player wasn’t really thinking very consciously while playing, and was instead relying on muscle memory

This may be true, these may be variations on chromatic patterns he has memorized. In fact, with sixteenth notes, it's almost certainly the case, he probably has an idea where he wants to start one of those long phrases and maybe where he'll end it, but the specific notes played in between are less important.

[Jonah]

He plays it in double-time and quite fast line. I do not hear it lands somewhere until the end of the phrase.

To me such phrases kind of soar over the backing harmony and do not really interact with it.

I cnanot say for sure what the player thinks of... but what I see is

1 phrase

- descending line, it is built with the same pattern sequence
- ascending pattern that is also built with a sequence, though the elements are not repeated precisesly, the idea is diatonic ascending motives with chromatic appogiatura in between.

2 phrase
- the general movement is ascending though there are lot of 'walk abouts' - walking around without moving up. The outline in the elements are approximately the same, though not exactly the same.

So if I have to recreate thinking for example:

- I go downwards/or upwards
- I go not just doing it directly in one descending line but postpone it with 'walk about's'
- I choose descending motive, I choose a 'walk about' motive (to suspend movement)
- I stay more or less within Am
- I resolve properly at the end

The most important things: direction (up/down), pattern choice how to do it, correct resolution at the end
Background harmony in this case is secondary to me

Of course he does not think about it literally ... improvization is a complex process in sense of neurology, but I think this is how such lines were practiced most probably and then they got into muscle memory, into unconcious area where he just reacts to the sound.

Also on trumpet these things are easier to throw in spontaneously (I played trumpet myself), on guitar there are too many things connected with mapping notes, different fingerings and articulation... on horns it is easier to get away with 'wrong notes' imho.