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Four Approaches to Jazz Improvisation Instruction

This article will investigate underlying processes of improvisation using pianist Bill Evans as a model. I will also compare and contrast four master teaching styles that follow Evans's methodology. These artists, though diverse in their teaching approaches, show a commonality of focused thought and structure at the core of their craft. It is at this juncture that artist interaction with students is most significant. Like any complex subject, jazz is difficult to teach. One of its great challenges, and one that makes jazz education unique, is that the success of a jazz musician lies in the ability to improvise. How does one teach the ability to be spontaneously creative "in time"? In academia, the ability to improvise is taught in the context of a broad liberal arts education which gives students an overview of materials rather than a strong musical foundation. Without an adequate musical foundation, students can only approximate the improvisational process. This creates confusion rather than developing a vehicle for creative expression. Jazz improvisation is limited in its approach when expressed merely within the context of a style or genre. Such views can hinder the understanding and appreciation of improvisation as a vehicle for exploring other types of music. Rather than focusing on stylized characterizations of music using cultural, social, or political models, Bill Evans recommends thinking of improvisation as a process rather than a style. He believes that the essence of jazz is the creative process. Comparing jazz to classical music, he explains that composers such as Chopin, Bach, and Mozart improvised spontaneously. In order to "permanize" their works, they used shorthand such as figured bass and eventually notation of complete scores. Such permanization eventually led performers to interpret music rather than to improvise on it. * Jazz improvisation, like the work of these classical composers, should be viewed as spontaneous conversation based on developments in the moment rather than as a prepared speech. Within the academy, curriculum restraints do not leave time to assimilate the developmental principles of music before the student is allowed to move forward. Unaware that they have been approximating the process of improvisation, students and teachers can become satisfied with their musical ability, unaware that their lack of mastery has caused them to become mired within the developmental process. Evans believes that those who approach improvisation through approximation, rather than building from its most basic elements, cannot successfully achieve the essence or freedom found within improvisation. Attacking each musical problem systematically offers much more satisfaction for the improviser, while vague approximation can create greater confusion and frustration.2