Harmonic improvisation is the art of creating melodies that express underlying chord progressions. It involves understanding chord tones, non-chord tones, and the interplay of consonance and dissonance to craft engaging musical lines.

Mastering harmonic improvisation requires analyzing chord progressions, using chord-scale theory, and targeting chord tones. Advanced techniques like chromaticism, reharmonization, and interaction with accompaniment further enhance an improviser's expressive capabilities.

Foundations of harmonic improvisation

• Harmonic improvisation is the art of creating melodic lines that effectively navigate and express the underlying harmony of a musical composition
• Understanding the foundational concepts of harmonic improvisation is essential for creating compelling and musically coherent improvisations
• The relationship between chord tones and non-chord tones, the use of consonance and dissonance, and the creation of tension and release are key elements in harmonic improvisation

Chord tones vs non-chord tones

• Chord tones are the notes that make up a given chord (root, third, fifth, seventh)
• Non-chord tones are notes that are not part of the chord structure but are used to add interest, tension, and variety to an improvised line
• Emphasizing chord tones in improvisation helps to outline the harmony and create a sense of stability
• Skillfully incorporating non-chord tones adds color, tension, and melodic interest to improvised lines

Consonance and dissonance in improvisation

• Consonance refers to the quality of harmony and intervals that sound stable and pleasing to the ear (perfect intervals, major and minor thirds and sixths)
• Dissonance refers to the quality of harmony and intervals that sound unstable, tense, or harsh (minor seconds, major sevenths, tritones)
• In improvisation, the balance and interplay between consonance and dissonance create musical interest and emotional depth
• Consonant notes and intervals can be used to establish a sense of resolution and stability, while dissonant notes and intervals can be used to create tension and anticipation

Tension and release

• Tension in harmonic improvisation is created by introducing dissonance, chromaticism, or by delaying resolution to chord tones
• Release occurs when the improviser resolves the tension by landing on a chord tone or a consonant note
• The cycle of tension and release in improvisation mirrors the harmonic tension and resolution found in the underlying chord progression
• Effective use of tension and release in improvisation can create a sense of forward motion, emotional intensity, and musical satisfaction for the listener

Harmonic analysis for improvisation

• Harmonic analysis involves identifying and understanding the chord progressions, harmonic rhythm, and tonal centers of a composition
• Improvisers use harmonic analysis to make informed choices about note selection, phrasing, and the creation of melodic lines that effectively express the harmony
• Recognizing pivot chords and modulations is essential for navigating complex harmonic structures in improvisation

Identifying chord progressions

• Chord progressions are the sequence of chords that form the harmonic foundation of a composition (12-bar blues, ii-V-I, I-vi-ii-V)
• Improvisers must be able to quickly identify the chord progressions of a tune to create lines that accurately reflect the harmony
• Common chord progressions can be memorized and used as the basis for improvisation in various musical contexts
• Identifying chord progressions by ear is a crucial skill for improvisers, as it allows them to adapt to new songs and situations

Harmonic rhythm

• Harmonic rhythm refers to the rate at which the chords change in a composition
• Understanding harmonic rhythm is important for creating improvisations that align with the pulse and flow of the music
• Compositions with fast harmonic rhythms (Coltrane changes) require improvisers to navigate chord changes quickly and efficiently
• Slower harmonic rhythms (modal tunes) allow improvisers more time to explore each chord and create longer, more developed melodic ideas

Pivot chords and modulation

• Pivot chords are chords that belong to two or more keys and can be used to smoothly transition from one key to another
• Modulation is the process of changing from one key to another within a composition
• Recognizing pivot chords and modulations is crucial for creating improvisations that maintain a sense of harmonic coherence and direction
• Improvisers can use pivot chords to create smooth melodic transitions between keys and to introduce new tonal centers in their improvisations

Chord-scale theory

• Chord-scale theory is a system that associates specific scales or modes with each chord in a progression
• Improvisers use chord-scale theory to guide their note choices and create melodic lines that effectively express the harmony
• Understanding the relationship between chords and scales is essential for creating improvisations that sound harmonically coherent and musically satisfying

Modes for improvisation

• Modes are scales that are derived from the major scale by starting on different scale degrees (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian)
• Each mode has a unique intervallic structure and emotional character that can be used to color improvised lines
• Improvisers often associate specific modes with certain chord types (Dorian with minor 7th chords, Mixolydian with dominant 7th chords)
• Mastering the use of modes in improvisation allows for greater melodic and harmonic variety in improvised lines

Pentatonic and blues scales

• Pentatonic scales are five-note scales that are commonly used in improvisation due to their simplicity and versatility (major pentatonic, minor pentatonic)
• The blues scale is a six-note scale that is derived from the minor pentatonic scale with the addition of a chromatic passing tone (blue note)
• Pentatonic and blues scales are effective for creating melodic lines that sound harmonically stable and emotionally expressive
• These scales are particularly useful for improvising over chord progressions with a strong tonal center (blues, rock, country)

Bebop scales

• Bebop scales are eight-note scales that are derived from the major scale or modes with the addition of a chromatic passing tone
• The added chromatic passing tone allows improvisers to create lines that smoothly navigate chord changes and maintain a sense of forward motion
• Bebop scales are commonly used in jazz improvisation to create harmonically complex and rhythmically dynamic lines
• Mastering bebop scales requires a strong understanding of harmony and the ability to quickly adapt to changing chord progressions

Targeting chord tones

• Targeting chord tones is the practice of emphasizing the notes that make up each chord in a progression (root, third, fifth, seventh)
• Improvisers use targeted chord tones to create lines that clearly outline the harmony and sound harmonically grounded
• Emphasizing chord tones in improvisation helps to create a sense of resolution and stability, particularly on strong beats or at the beginning and end of phrases

Arpeggios and inversions

• Arpeggios are the notes of a chord played in succession, often used in improvisation to outline the harmony
• Practicing arpeggios in different inversions (root position, first inversion, second inversion) allows improvisers to create more varied and interesting melodic lines
• Incorporating arpeggios and their inversions in improvisation demonstrates a strong understanding of harmony and adds a sense of sophistication to improvised lines

Voice leading in improvisation

• Voice leading is the practice of creating smooth, stepwise motion between chord tones in successive chords
• Improvisers use voice leading to create melodic lines that flow seamlessly from one chord to the next
• Effective voice leading in improvisation helps to maintain harmonic clarity and create a sense of melodic continuity
• Practicing voice leading in different harmonic contexts is essential for developing the ability to create coherent and expressive improvised lines

Enclosures and approach notes

• Enclosures are melodic techniques used in improvisation to surround a target chord tone with neighboring notes, typically a half-step above and a half-step below the target note
• Approach notes are non-chord tones that are used to lead into a target chord tone, often by step or by leap
• Enclosures and approach notes add melodic interest, tension, and resolution to improvised lines
• Mastering the use of enclosures and approach notes allows improvisers to create more dynamic and engaging melodic lines that effectively navigate the harmony

Chromaticism in improvisation

• Chromaticism is the use of notes outside the prevailing key or scale, often used in improvisation to add tension, color, and complexity to melodic lines
• Chromatic notes can be used as passing tones, neighbor tones, or leading tones to create smooth transitions between chord tones or to highlight important harmonic moments
• Incorporating chromaticism in improvisation requires a strong understanding of harmony and the ability to resolve tension effectively

Passing tones and neighbor tones

• Passing tones are non-chord tones that connect two chord tones by step, creating smooth melodic motion (C-D-E over a C major chord)
• Neighbor tones are non-chord tones that are a step above or below a chord tone and resolve back to the same chord tone (C-B-C or C-D-C over a C major chord)
• Using passing tones and neighbor tones in improvisation adds melodic interest and helps to create a sense of forward motion in improvised lines
• These chromatic embellishments can be used to highlight important chord tones or to create tension and release in melodic phrases

Chromatic targeting

• Chromatic targeting is the practice of approaching a chord tone by half-step from above or below, often using chromatic passing tones or enclosures
• This technique is used to create tension and highlight the resolution to a chord tone
• Chromatic targeting can be used to navigate complex harmonic progressions and to create melodic interest in improvised lines
• Mastering chromatic targeting requires a strong ear for harmony and the ability to precisely control melodic tension and resolution

Tritone substitution

• Tritone substitution is the practice of replacing a dominant 7th chord with another dominant 7th chord whose root is a tritone (three whole steps) away from the original chord
• This substitution is possible because both chords share the same tritone interval (guide tones) between the third and seventh scale degrees
• Tritone substitution is commonly used in jazz improvisation to create harmonic variety, smooth voice leading, and interesting melodic opportunities
• Improvisers can use the related II-7 chord or altered scale of the tritone substitution to create melodic lines that explore new harmonic colors while still effectively resolving to the target chord

Reharmonization techniques

• Reharmonization is the process of altering the harmony of a composition while maintaining the original melody, often used by improvisers to create new harmonic contexts for improvisation
• Reharmonization techniques involve the use of chord extensions, alterations, substitutions, and other harmonic devices to create new emotional and musical effects
• Mastering reharmonization techniques allows improvisers to create unique and personal interpretations of familiar compositions and to explore new harmonic possibilities in their improvisations

Chord extensions and alterations

• Chord extensions are notes that are added to the basic triad structure of a chord to create more complex and colorful harmonies (9th, 11th, 13th)
• Chord alterations are modifications to the basic chord structure that involve raising or lowering specific scale degrees (b9, #9, #11, b13)
• Using chord extensions and alterations in reharmonization creates new harmonic colors and emotional qualities that can inspire fresh melodic ideas in improvisation
• Improvisers must have a strong understanding of the relationship between chord extensions, alterations, and scales to effectively use these techniques in their playing

Substitution and superimposition

• Chord substitution is the practice of replacing one chord with another that shares similar harmonic functions or voice leading possibilities
• Superimposition involves playing a melody or improvised line that implies a different harmony than the one being stated by the accompaniment
• These techniques are used to create harmonic tension, surprise, and variety in reharmonization and improvisation
• Effective use of substitution and superimposition requires a deep understanding of harmony and the ability to hear and respond to multiple harmonic contexts simultaneously

Pedal points and vamps

• A pedal point is a sustained or repeated note, typically in the bass, that continues while the harmony changes above it
• Vamps are short, repeated chord progressions that create a static harmonic environment for improvisation
• Pedal points and vamps are used in reharmonization to create a sense of harmonic stability, tension, or ambiguity
• Improvisers can use pedal points and vamps as a foundation for exploring new melodic and rhythmic ideas within a limited harmonic context

Developing harmonic vocabulary

• Developing a personal harmonic vocabulary is essential for creating unique and expressive improvisations
• Harmonic vocabulary refers to the collection of melodic patterns, licks, and phrases that an improviser has internalized and can draw upon in performance
• Improvisers can develop their harmonic vocabulary through transcription, analysis, and practice in all keys

Transcribing and analyzing solos

• Transcribing solos involves learning to play and notate improvised solos by ear from recordings
• Analyzing transcribed solos helps improvisers understand how master musicians navigate harmony, create melodic interest, and develop motivic ideas
• The process of transcription and analysis internalizes new harmonic concepts, melodic patterns, and phrasing techniques that can be incorporated into an improviser's own playing
• Regularly transcribing and analyzing solos from a variety of musical styles and artists is essential for developing a diverse and expressive harmonic vocabulary

Harmonic patterns and sequences

• Harmonic patterns are short melodic or rhythmic ideas that outline specific chord progressions or harmonic movements
• Sequences are the repetition of a melodic pattern at different pitch levels or harmonic intervals
• Practicing harmonic patterns and sequences helps improvisers internalize the sound and feel of different harmonic structures
• Incorporating harmonic patterns and sequences into improvisation creates a sense of coherence, development, and musical logic in improvised lines

Practicing in all keys

• Practicing harmonic concepts, melodic patterns, and improvisational techniques in all 12 keys is essential for developing fluency and versatility as an improviser
• Transposing musical ideas to different keys helps improvisers understand the relationships between chords, scales, and melodic patterns on a deeper level
• Practicing in all keys allows improvisers to adapt quickly to different harmonic situations and to express their musical ideas freely without being limited by technical constraints
• Regularly dedicating time to practicing harmonic concepts in all keys is crucial for building a strong and flexible harmonic vocabulary

Interaction with accompaniment

• Effective harmonic improvisation involves not only creating compelling melodic lines but also interacting with the accompaniment in musical and expressive ways
• Improvisers must listen closely to the harmony, rhythm, and dynamics of the accompaniment to create improvisations that are responsive, complementary, and emotionally engaging
• Developing the skills to interact with accompaniment allows improvisers to create more cohesive and communicative performances

Listening and responding to harmony

• Active listening is essential for creating improvisations that are harmonically coherent and responsive to the musical context
• Improvisers must constantly monitor the harmony played by the accompaniment and adjust their note choices, phrasing, and rhythmic placement accordingly
• Responding to unexpected harmonic changes or substitutions requires quick thinking and adaptability
• Developing a strong ear for harmony and a deep understanding of the relationships between chords and scales is crucial for effective listening and responding in improvisation

Implying alternate harmonies

• Implying alternate harmonies involves creating melodic lines that suggest chord changes or harmonic movements that differ from those played by the accompaniment
• This technique can be used to create tension, surprise, or harmonic interest in an improvisation
• Improvisers must have a strong understanding of harmony and the ability to hear and manipulate multiple harmonic contexts simultaneously
• Effectively implying alternate harmonies requires careful attention to voice leading, resolution, and the overall musical context

Harmonic anticipation and delay

• Harmonic anticipation involves playing notes or phrases that belong to an upcoming chord before the accompaniment has fully arrived at that harmony
• Harmonic delay involves extending the sound of a previous chord by continuing to play notes or phrases that belong to that harmony after the accompaniment has moved on to a new chord
• These techniques create a sense of forward motion, tension, or overlap between the improvised line and the accompaniment
• Mastering harmonic anticipation and delay requires a strong sense of timing, phrasing, and the ability to hear the implicit harmony in the melodic line

Advanced harmonic concepts

• As improvisers develop their harmonic understanding and vocabulary, they can explore more advanced concepts that push the boundaries of traditional harmony
• Advanced harmonic concepts such as polytonality, quartal harmony, and symmetrical scales offer new ways of organizing and expressing musical ideas in improvisation
• Incorporating these concepts into improvisation requires a deep understanding of harmony, a willingness to experiment, and an open-minded approach to musical creativity

Polytonality and atonality

• Polytonality involves the simultaneous use of two or more tonal centers or keys in a musical composition or improvisation
• Atonality refers to music that lacks a clear tonal center or key, often using unconventional scales, intervals, or harmonic structures
• Incorporating polytonal or atonal elements in improvisation can create unique textures, colors, and emotional effects
• Improvisers must have a strong grasp of traditional harmony to effectively control and manipulate these advanced concepts in their playing

Quartal and quintal harmony

• Quartal harmony is based on the interval of a fourth, stacking perfect fourths to create chords and harmonic structures
• Quintal harmony is based on the interval of a fifth, stacking perfect fifths to create chords and harmonic structures
• These non-tertian harmonic approaches offer new sounds and melodic possibilities for improvisation
• Incorporating quartal and quintal harmony in improvisation requires a re-thinking of traditional chord-scale relationships and a willingness to explore unconventional melodic patterns

Symmetrical scales and harmony

• Symmetrical scales are scales that have a repeating interval pattern, such as