I’ve finally realized that the only way for me to keep the blog up-to-date is to write smaller posts, and post more often. My habit of writing posts long and detailed enough to be their own book chapters has led me to produce one lengthy post every month or two (same with my videos, but that’s another monster entirely). Who would want to follow a blog that releases a post every 2 months, with the off-chance that it will be about something they kind of care about? I sure wouldn’t, and this is exactly the reason that I’m going to start breaking posts into a “series” format.
So, rather than bombard you with a wall of text covering everything about improvisation I can think of, I’m starting a series called “Improv Tactics”, which will contain posts dealing with different methods for learning how to improvise with any instrument. If you haven’t already figured it out from the title, this initial post is simply an introduction. I do plan on releasing other posts in-between this series, so don’t un-bookmark my blog just yet if you aren’t interested in this topic! Let me continue this introduction with some bold text simulating the question of a curious/confused reader.
What exactly will this series help me with?
Great question. This particular series is geared toward those of you who are just dying to “improvise” on their instrument, but have absolutely no idea where to start. After all, improvisation is arguably one of the the most difficult musical concepts to teach. Sure, you can practice scale after scale after scale, but nothing will matter unless you can think creatively (cue shameless self-promotion), and how do you really practice that?
There is no quick fix, no secret exercise, no shortcut. Learning how to improvise involves changing the way you think about music. It involves creative thinking with and without an instrument at your fingertips. Throughout this series I will convey to you the methods and thought process that worked for me. My goal is to take away that fear you get when it’s your turn to play, that sinking feeling of uselessness during a jam session, and most importantly, that boredom that strikes when you’re tired of memorizing songs.