In this module, we'll explore the improviser's lingo. We'll identify the most common chord scales and the type of harmony they relate to including major, minor, and dominant 7.

Improvisers must be able to quickly recall chord scales and be able to play around on them fluently. This becomes important when choosing which chord scale to use on a given harmony—another thing we must be able to determine immediately. When a new tune is put in front of you at a session or a rehearsal, there isn't time to take the music home and spend an hour or two working out the correct scales. Improvisers need a quick, mostly intuitive way of making these scale choices in real time as the tune is being played. In this module, we'll explore my method for making these quick musical decisions.

It is important for an improviser to clearly imply the harmonies when improvising. It is not enough to just play correct notes on each chord. In this lesson we'll examine how the improviser helps the harmonies move. Part of the improviser's job is to help the listener follow the changes as the chords move from one to another.

In this final module, we will discuss how the improviser develops melodic themes in a solo. As mentioned in week 1, there are natural comparisons between speech and improvising that illustrate how this functions. The most common technique for telling a musical story that engages the listener for the duration of your solo is by using a traditional concept called theme and variation. That is, you introduce a theme—a musical phrase—then repeat it, making variations on it to develop an interesting storyline. A good solo is like an explanation, or a good story. The explanation or story is the content of improvisation.