THE BLOCK EXERCISE

 

I'll start by saying that, as you know, I'm quite an enemy of the pattern method, which in my opinion doesn't help at all to build a reasoned and musical phrasing but only a "Lego" approach to improvisation.

But as in all things there is an exception - the block exercise, which has as its goal the development of the ability to develop a phrase while "underneath" the chords change.

1) Prerequisites: knowing the following principles:

- Target note on the downbeat

- Tension and resolution

- Tripartite division of the phrase

- Alternation up and down/chord scale

2) Only three chords are tackled at a time - at least initially. For example, the classic IIm7 V7|I maj7. Or the first three chords of the anatole: Imaj7 VI7|IIm7. Or whatever you want.

3) The trick is the following: to avoid getting bogged down right away because everyone is focused on "how to start the phrase", you get rid of the problem by always starting with the same block (which you have prepared in advance by taking it for example from a solo of a great, or from a collection of patterns, or even by writing it down judiciously).

The important thing is that this block "ends" on a target note of the second chord. For example, if we are studying Imaj7 VI7| IIm7 in Bb (Bb G7|Cm7), the initial block could be F Eb D C - B (natural - or the third of G7)

4) At this point the real exercise begins: starting from the note on which the block has "left" you, you have to build a fragment of a phrase that - starting from there - takes us to a target note of the third chord. All this respecting the usual rules: target notes on the strong beat, alternating direction etc.

Very important: do not "drag" the phrase. As soon as you reach the first target note of the third chord, stop playing. Example, F Eb D C - B (natural) D G F | Eb (which is the bIII of Cm7). Then you stop. No fiddling. Square, granite. Precise. Perfect.

5) To structure the work you can use some restrictive approach: one time you reverse the motion, one time you proceed in the same direction, or one time conjunctive motion and the other arpeggio of the chord. Or once again diatonic and the other "bypassing" of the target notes. The important thing is that the work is:

- Improvised. As much as the first block is written - and always the same - the "continuation" must be created "on the spot" (after all, this is precisely the goal of the exercise).

- Precise. Each note must be in its place, played with intention and not haphazardly. You must learn to "feel" tensions and resolutions instantly. Play slowly, give yourself space to think. If you feel that the phrase that came out doesn't work, stop and try to understand why. The good is kept (possibly repeating it two or three times), the bad is thrown away.

- Musical. It must "sound", it must have swing, expressiveness, intention.

- Varied: Try to "develop" the first block in all possible ways, going to land on all possible target notes of the third chord.

6) When you have finished exploring the first block, you can do two things:

- Change block

- Use the first block in all keys

FINAL WARNING!

Remember that we often play too much while we practice - and we practice too much while we play. In our bedroom you must practice in a structured, deep, methodical way. No flights of fancy.

Let’s take this fucking block and get everything you can out of it, in every key.

Now at work!