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Conceptual Jazz
Conceptual Jazz
Date Posted: March 08 2011
Written By: Frank Caruso
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Conceptual Jazz
Optimal Use Of The Upper and Lower Neighbor Principle
By Frank Caruso
In my experience as a student and player of jazz I have found the “Upper and Lower Neighbor Principle” to be an invaluable tool in creating interesting improvisational lines. I feel that an examination of the full use of this principle is something that is valuable in discovering sound environments that may not be apparent in the normal practice methods you currently use.
In a few of my past articles I have stressed the use of a “chromatic” approach to harmonization (see article “Chromaticism Equals Freedom”). I have found that the instruments that seem to employ the upper and lower principles to the greatest degree are the saxophone and guitar (though I haven’t determined why this is true––I need to discuss this sometime with sax and guitar players!).
I have optimized the use of the “neighbor principle” in my playing, and can tell you that when properly used by pianists it is a very effective percussive and harmonically interesting device. When it is executed with any degree of virtuosity it always brings the playing to a higher level of intensity due to the dual rhythmic and harmonic implications.
When using this principle as a practicing tool I have found that the simplest approach is the best. The following exercise will be the most effective method in getting you from point A to point B.
As creative players, many of us have limited the use of upper and lower neighbor notes to isolated notes in a passage. While working with these I decided to view every note in a scale as an opportunity to use a neighboring note. So here is a good exercise to help you acquire the necessary skills and ultimately enter these skills into your jazz vocabulary.
1. Play a scale, preferably starting on a “guide tone” (3rd or 7th).
2. Precede each scale tone with an upper or lower neighbor and then play a group of notes from the tonality (ascending or descending); then precede the next scale tone with an upper or lower neighbor note (see examples).
It’s that simple. The beauty of acquiring this vocabulary skill is that you are simply thinking in a tonality while incorporating the “chromatic element” into what otherwise would be a rather simple sounding group of ideas. The degree to which you use it is completely up to you.
I hope that this article will inspire you to optimize the use of this principle. If so, you will discover the creation of patterns that you have not previously considered.
Frank Caruso currently serves on the jazz studies faculties at North Central College and Elmhurst College. He has published a book on piano improvisation, which may be reviewed at learnpianoimprovisation.com. Caruso also teaches at his home studio, and may be reached at carusopiano@yahoo.com.
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