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Jason Parra
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Some notes on jazz improvisation for trumpet: It can be difficult and often frustrating, but tremendously rewarding to say the least.
Here are some basic tips/techniques that I have used with great success with my beginning improv students. I am actually writing a small method book on what has worked for me, my students and what I have picked up from other pro players and teachers.
Basic fundamentals of the trumpet are assumed here, but there is one key component that needs to in place before really digging in. This may sound trivial, but the phrasing, feel and style basics of jazz have to be in your head first; then your fingers and chops.
What I try to do is bypass is the trumpet curse that many players suffer from: when they solo they sound like they have NO rhythm at all. Why do most Sax players pick up improvisation quickly, while most trumpet players struggle?
I firmly believe that the not so simple mechanics of playing the trumpet interfere with improvisation. By the time a player has developed enough to start soloing; his or her mind and routine inhibit creativity. We OVERTHINK before we play, and that is why the average player sounds so square or 'un-hip'.
It doesn't matter how much theory you know, or patterns, scales, licks and tricks you have...They will not sound good unless they are played in a “jazzy sounding way”. Overcoming this obstacle is essential before the theory and scales can come into play.
1---If you can’t scat sing it, then you certainly can’t play it on the trumpet. Listen to solo’s, scat the phrases, the timing, the swing feel etc. It doesn’t matter if you can carry a tune or not, just that your mind and mouth both agree that what’s coming out isn’t a perfect square. Do this for however long it takes; chances are you can already scat better than anyone in the jazz choir. Once you feel good with the scatting, we can move on to the horn.
2---Definitely get some Aebersold; I usually recommend Volume 57-Minor blues in all keys, #2 Blues in all keys and then a few easy AABA vamp style tunes or blues. I have a file with MP3s of So What, Mr. PC, Impressions, and Cantaloop etc for beginning players. I like the minor blues # 57 because it’s very forgiving, not to mention it is really more of an extended vamp, which can challenge your imagination further than you may think.
3---I generally do this with my students, but you can have a go at it alone. Don’t use any music or written music, just your first valve. You heard right-- using only down and up on your first valve; try to produce melodic jazz phrases. Again, I would normally play a simple line and have you play it back using the same phrasing. Like trading fours, but on a more basic level; you may be surprised to hear what can be done with such a simple technique. Listenable cool solo’s can be laid down in f minor and Bb minor (concert) using just valve #1. It also brings out your basic creativity from the gate, and can even challenge and or expand the skills of seasoned players.
4---Now use this same technique with the Aebersold blues/minor blues in F/Bb (concert)…..Don’t move on until you feel pretty good about what you played. This can sometimes take a while, or you might sound hip from Jamey’s monotone 1-2-3-4. Maybe record the session(s) and critique yourself, or have another player judge it as well. Make sure it has dynamics, slow and fast sections, and seems to flow; with a clear starting point, middle and a definite ending.
When you say to yourself “Hey, that’s not bad”; pause for a moment, and then realize what you have accomplished up to this point! You played a real, decent jazz solo utilizing no theory and having limited use of the instrument. You just overcame the biggest plateau and hurdle that most (trumpet) players have to face in jazz. That is blending the mechanics of your horn with the creativity of your mind; unfortunately some players never accomplish this.
Contact me HERE if you have any questions about this method...
