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lesson16

Improvisation Techniques

Harmony Reform

Harmony Reform

— 3 min read
Improvisation Techniques
Photo by Isaac Martin / Unsplash

In the previous lessons, you’ve learned to harmonize hymns step-by-step. Now, let’s dive into improvisation—the art of creating music spontaneously!

What is Improvisation?

Improvisation is composing and performing in real-time without prior preparation. Essential in jazz, blues, and gospel, it allows flexibility in reharmonizing, modulating keys, or extending progressions on the fly.

I -> IV

Add a Vmin9 ➔ 19/6 Chord Progression: This progression always leads to the IV Chord. I use it a lot! In C major, this progression is: Gmin9 ➔ C9/6 ➔ F9 (or some other variation of the F Chord).
Add a vimin9 ➔ ii 9/6 ➔ Vmin9 ➔ I 9/6 Chord Progression: This is just an extension of the previous progression. It follows the same pattern on the vi and ii scales, and on the V and I scales. Since the V ➔ I creates a pull toward the IV Chord, this progression can be used when you have "time"! In C major, this progression is: Amin9 ➔ D9/6 ➔ Gmin9 ➔ C9/6 ➔ F9.
Add an IV#9 chord before the IV chord: If the IV chord is a dom9 chord, just add a dom9 chord a half step above it, creating a IV#9 ➔ IV9 progression. This sounds great in blues and gospel music. For example, in the key of C major, this is C9 ➔ F#9 ➔ F9 (try it!)

I -> V

Add an ii9 Chord: The ii9 chord can always lead to a Gmaj, G7, or G9 chord. In C major, just add a D9 chord before the G9 (or Gmaj7, etc.).
Add an ii min f'5) Chord: I use this chord before I perceive an I chord with a V as the bass. For example, if I see a Cmaj/G progression, I will play a Dmin f'5) before the Cmaj/G chord. You may have noticed this progression in many of my hymn arrangements.
Add an ii7 f'9) Chord: This chord functions similarly to the ii9 chord. It can be used before a Gmaj, G7, or G9 chord. In C major, this progression is: D7 (b9) ➔ G9 ➔ Cmaj (also a 2-5-1 chord progression).

I -> VI

Add an iii7(b9#5) chord: Usually when an I chord resolves to a vi chord, this is the start of a "6 - 2 - 5 - 1" chord progression. By simply adding an iii7 chord with variations, a "3 - 6 - 2 - 5 - 1" chord progression can be formed. In C major, this is Cmaj ➔ E7(b9#5) ➔ Amin9 ➔ D7(b9) ➔ Cmaj/G.
Add an iii7 chord: The function is the same as the previous chord.
Add a vii min7(b5) ➔ iii7(b9#5) progression: This simply adds a vii chord to the "3 - 6 - 2 - 5 - 1" chord progression above, forming a "7 - 3 - 6 - 2 - 5 - 1" chord progression. Note that the vii ➔ iii progression leads to the vi chord, so if you want to stay on the vi chord, you can simply omit the "2 - 5 - 1" progression.

Improvisation Tips

Resolving to the IV Chord

  1. Vmin9 ➔ I9/6 ➔ IV Chord
    • Example in C Major: Gmin9 → C9/6 → F9.
    • Adds tension and gospel flair.
  2. vi min9 ➔ ii9/6 ➔ Vmin9 ➔ I9/6
    • Example in C: Amin9 → D9/6 → Gmin9 → C9/6 → F9.
    • Extends the progression for dramatic buildup.
  3. IV#9 ➔ IV9
    • Example: C9 → F#9 → F9.
    • Creates a bluesy chromatic slide.

Resolving to the V Chord

  1. ii9 ➔ V Chord
    • Example: D9 → G9 → Cmaj (classic ii-V-I).
  2. iiø (ii min7♭5) ➔ I/G
    • Example: Dø → Cmaj/G.
    • Adds a dark, jazzy transition.
  3. ii7(♭9) ➔ V9
    • Example: D7(♭9) → G9 → Cmaj.
    • Intensifies resolution with dissonance.

Resolving to the vi Chord

  1. iii7(♭9♯5) ➔ vi min9
    • Example: E7(♭9♯5) → Amin9 → D7(♭9) → Cmaj/G.
    • Starts a iii-vi-ii-V-I progression.
  2. viiø ➔ iii7(♭9♯5)
    • Example: Bø → E7(♭9♯5) → Amin9 (for a vii-iii-vi chain).

Applying Progressions

Example Blues Progression with Alterations:

C7 → F#9 → F9 | Gmin9 → C9/6 | D7(♭9) → G13 | Cmaj

Walking Bassline for C9/6:

Left hand: **C → E → G → A → B♭ → A → G → E**

Key Takeaways

  1. Tension & Release: Use altered chords (e.g., ♭9, ♯9) to create suspense before resolving.
  2. Voice Leading: Smoothly connect chord tones (e.g., ♭9 of V7 resolves to 5th of I).
  3. Style Adaptation:
    • Gospel: Chromatic slides (e.g., IV#9 → IV9).
    • Jazz: iiø ➔ I/G for modal shifts.
    • Blues: Dominant 13ths and walking bass.

These chord progressions can be used in improvisations to add variety and richness to the music. Try to apply them to appropriate musical situations and play them according to your own feelings and creativity. Remember to use these progressions flexibly to enrich your performance as the music develops.

Final Tip: Practice these progressions in all 12 keys. Record yourself improvising over a looped backing track and analyse what works. Embrace mistakes—they often lead to new ideas!

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