| >> | No.54016505
Start simple, take it slow, play a lot, learn theory, experiment, don't be afraid to make mistakes.
Improv is basically just inventing a melody on the spot. Keep reminding yourself of that whenever you catch yourself doing too many scale runs and stupid shit like that. Improv shouldn't sound like scale practice. If you have trouble thinking of good melodies, it can help to practice without the instrument: hum, sing, whistle, whatever. Practice ear training to better recognize intervals and chords. Try to improvise sometimes without even knowing the progression or key so you're forced to to everything by ear. Learn theory, but don't let it control what you're playing: theory is good to understand and can lead to new ideas, but ideally you want to never actually think about it when playing. You'll want to end up having mastered your instrument so well that you can just think of a note and then play it without either step being a conscious process, just like you do when you're humming. Finally, gently insert your instrument into your rectum. Jazz is for faggots.
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| >> | No.54021358
>>54021285
Google "scales and modes" or "scales in jazz". There are hundreds upon hundreds of them. If you're just starting out, learn your major, your minor, your mixolydian, your dorian, and your bebop inside out. That means up, down, starting on every note, in thirds, in fourths, every conceivable way you can imagine them arranged.
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| >> | No.54021465
>>54021368
Jazz is hard work if you don't want to sound like an amateur.
anyone can string together a competent-sounding solo on a 12-bar blues using the blues scale as long as they don't get note diarrhea and just spew without thought to rhythmic feel or motifs/ideas.
Then you have people who know what they're doing, and use things like chromatics, smacking 3s and 7s on 1 or the and of 4, and fluency to have a pretty good sounding solo on a 12-bar blues. Might have some metric modulation, hemiola, or superimposition thrown in.
And then you have masters of the genre who slip between multiple complex levels of rhythmic netting and rhythmic superimpostion/metric modulation, people who know exactly what harmonic "rules" exist and break them tastefully, people who use unorthodox scales to string together substituted chords and who add complexity to the harmonies, people who interact rhythmically and harmonically with their band, and people who manipulate dynamics, tone quality, and articulations to create a work of art when they improvise.
Getting from 1 to 2 takes a fair bit of work, maybe a couple years of playing too. Getting from 2 to 3 takes many decades or more of extended daily practice.
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