The identification and related application of kinetically efficient patterns in jazz guitar improvisation
de Waal, Hugo Adriaan
Since the release of ‘Kind of Blue’ in 1959 by Miles Davis, various approaches to jazz improvisation have become more modal. Scales and their various modes has become a well-documented topic in music education. Through my own teaching I have noticed that learners do understand the theory and various applications of chord scales on harmonic structures but often fall short in the practical implementation on their instrument during improvisation. Lack of quick visualization of the various scale patterns by learners has proved to be more of a physical than musical issue. This leads to the research question: How do kinetically efficient actions and patterns interact to enable an improvising guitarist to navigate the fretboard most effectively?
Pat Martino (1983) introduced a reduction concept where five master areas of activity based around minor patterns across the fretboard were identified. These five minor patterns were moved through various keys with slight fingering variations. Through my studies with John Fourie we explored the Martino reduction concept from a Dorian point of view. By recycling these Dorian patterns and application of a set of formulas, all seven modes of the major scale could be implemented in any key on the fretboard. Martino’s minor concept provided the foundation for this project, as well as further exploration under guidance of Johnny Fourie from 1998-2007.
Five skilled participants performed various tasks from memory in the practical execution of master scale patterns and their intervallic formulas. Economy and efficiency were tested through vertical as well as horizontal movement across the fretboard by means of IPA, video recordings of semi-structured interviews and active research.
This project finds that the standard tuning system of the guitar bids affordance to the improviser through implementation of a reduction concept with chunking of master scale patterns and their various intervallic applications. Through effective practice, repetition and practical application of these master scale patterns and intervallic formulas, effectivities become available during improvisation. It was found that the affordances of the instrument remain the same for various participants in the research undertaking, but their effectivities are variable and directly influenced by the participants’ individual perceptions and practical competencies.
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