Jazz Improvisation Tips Volume 1

Melodic Lines

When playing a melodic line, try thinking in terms of four-note groups.

Using various scales, try the following patterns: 1-2-3-1, 1-2-3-4, 1-2-3-5, 1- 3-5-7, and 1-7-7b-1. For example, in the Eb harmonic minor scale, 1-3-5-7 would be Eb-Gb-Bb-D. 

Practice these forward, backward, and upside-down. 

Try them using different rhythms. See what works and what does not. Remember what Duke Ellington said, ... "If it sounds good, it is good." 

Try combining groups that sound good.

Playing Within the Scale 
To maintain the harmony of a progression while improvising within the scale, try the following: Hold chord tones longer. Play chord tones on the first, last, high, & low notes. Play chord tones on the downbeats (especially roots & thirds). Accent chord tones. Precede chord tones with an arpeggio. Approach the chord tone with a series of chromatic tones. Remember what Duke Ellington said, ... "If it sounds good, it is good."

Functional Structure
When moving through a harmonic progression: Focus on harmonizing with the root and fifth (and possibly the seventh). Space the remaining notes in thirds or fourths for a resonant sound. Space the remaining notes in seconds for a sharper sound.
In general, most chord progressions move around the circle of fifths (C-FBb-Eb-Ab-Db-Gb-B-E-A-D ...).
The progression can move upward in perfect fifths (clockwise) or downward in perfect fourths (counter-clockwise).
The chord types (M7, m7, 7, m9, b9, etc.) in the progession will vary.
Some chords may be added, deleted, or repeated but this general pattern is very common in jazz progressions.
The circle of fifths represents a good example of how many jazz chord progressions move from the subdominant to the dominant to the tonic.
The most common progression is IIm7 -- V7 -- IM7. Variations of these chords may also be substituted to keep the progression interesting (as shown below).
SUBDOMINANT: IIm7 (1-3b-5-7b), IIm9 (3b-5-7b-9).
DOMINANT: V7 (1-3-5-7b), V7b9 (3-5-7b-9b), V7b5b9 (3-5b-7b-9b), VM7b13 (7-9-11-b13).
TONIC: IM7 (1-3-5-7), IM6 (1-3-5-6), IM9 (3-5-7-9).

The next most common tendency is for the progression to move chromatically downward (usually using the same chord type).
Remember what Duke Ellington said, ... "If it sounds good, it is good."

Miscellaneous Jazz Tips
The best thing is to make your own solo transcriptions. Tristano had his students start with Lester Young, then move on to Charlie Parker. Get it in your head, then onto your instrument, then notate it.
Run a lick through the cycle of fifths at a slow enough tempo to keep the beat. Comp with the lick.
Clap hands with a metronome -- put your whole body into it.
Listen to all sorts of music, all sorts of jazz. Keep your ears wide open.

A Blues Progression
Listening is one of the biggest parts of improvisation. Listen until you can sing back the solo, the bassline, and even the piano voicing without even thinking about it. This will give you phrasing.
You must listen to jazz, not only to learn how to play, but also for pleasure.
You will learn a lot by giving everything a chance.
Here is a typical blues progression in the key of F: F7-F7-F7-F7-Bb7-Bb7-F7-F7-C7-Bb7-F7-F7.
Here is the same blues progression in the style of Charlie Parker [each chord is one bar, except for those in ( ), which indicates two beats for each chord]: F6-(Bb7-Bdim)-F7-(Cm7-F7)-Bb7-Bdim-FM7-(Am-D7)-Gm-C7-(Am-D7)-(Gm-D7).
Although this may not be known to most novices, the second progression adds a lot more movement to the blues.